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Posts Tagged ‘Tamron’

Tamron Announces an Eye-Catching Travel Zoom, the 35-150mm f/2-2.8 for Sony

02 Oct

The post Tamron Announces an Eye-Catching Travel Zoom, the 35-150mm f/2-2.8 for Sony appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron announces the 35-150mm f/2-2.8 zoom lens

Tamron has unveiled a uniquely versatile zoom lens, the 35-150mm f/2-2.8 Di III VXD for Sony E-mount cameras.

Perfect for travel and other on-the-go photographers, the lens features an impressive focal length range, spanning from wide-angle (35mm) through standard (50mm) to telephoto (150mm) focal lengths. At the wide end, capture beautiful landscapes, architectural scenes, and environmental portraits; in the middle, shoot tighter landscapes, portraits, and street scenes; toward the end, capture headshots, architectural details, and even the occasional bird or animal.

But the most impressive feature of the Tamron 35-150mm lens is not its focal length, but its aperture range:

f/2 at 35mm, narrowing to f/2.8 by 150mm, in what Tamron is billing as the “world’s first mirrorless zoom lens with a maximum wide-open aperture of f/2.”

It feels groundbreaking. Even versatile f/2.8 zooms are hard to come by, yet Tamron’s 35-100mm takes this a step farther, guaranteeing tremendous low-light performance at the wide end (and a respectable low-light performance at 150mm, too). And Tamron promises another wide-aperture benefit: “enhanced, beautiful bokeh…even on the wide-angle end of the lens’s focal range.”

Image quality will be top-notch, according to Tamron, “[t]hanks to the latest optical design featuring four LD (Low Dispersion) and three GM (Glass Molded Aspherical) lens elements optimally arranged.” Expect outstanding sharpness at every focal length, both in the image center and in the corners, ideal for detailed landscape photography, architectural photography, and even commercial work.

Tamron is pushing the 35-150mm as a “travel zoom,” and the wide maximum aperture and versatile zoom range ensures that the lens will satisfy even the most demanding of travel shooters. It’s compact, too, especially for an f/2.8 (and f/2) lens, and Tamron’s VXD focusing motor offers fast focusing, useful for those travel photographers who enjoy photographing action – or for sports and action photographers more generally.

Unfortunately, a pro-level, all-in-one zoom lens doesn’t come cheap, though the $ 1899 USD price tag is reasonable given the outstanding feature set. The lens is currently available for preorder, and you can expect a ship date toward the end of October, though Tamron does note that, “[d]ue to the current global health crisis, the release date or product supply schedule could change.” 

Regardless, if you’re interested in a powerful zoom lens for travel photography, landscape photography, and so much more, check out the Tamron 35-150mm f/2-2.8.

Now over to you:

What do you think of this new lens from Tamron? And what do you think of the price? Will you consider purchasing it? Share your thoughts in the comments below!

The post Tamron Announces an Eye-Catching Travel Zoom, the 35-150mm f/2-2.8 for Sony appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Tamron 150-500mm f/5-6.7 Review: A Wildlife Photographer’s Dream Lens?

06 Sep

The post Tamron 150-500mm f/5-6.7 Review: A Wildlife Photographer’s Dream Lens? appeared first on Digital Photography School. It was authored by Suzi Pratt.

Tamron 150-500mm f/5-6.7 review: a wildlife photographer's dream lens

Tamron just released the 150-500mm f/5-6.7 Di III VC VXD lens for Sony E-mount cameras – but while it seems impressive, is it the right lens for you?

In a hands-on Tamron 150-500mm review, we’ll go over the specs, first impressions, and sample photos taken with this zoom lens. It’s Tamron’s first Sony full-frame E-mount lens with Vibration Compensation (VC), and thanks to the built-in image stabilization and the impressive zoom range, it sounds like a wildlife photographer’s dream. But how does it actually perform?

Let’s find out.

Tamron 150-500mm: overview

The Tamron 150-500mm telephoto zoom lens is designed for full-frame Sony E-mount cameras, but it also works with APS-C cameras (for an effective 225-750mm focal length). The lens features a variable aperture of f/5-6.7 to f/22-32 and a front filter size of 82mm.

Pros

Solid design and build

Considering its extreme zoom range, the Tamron 150-500mm is relatively compact. It weighs in at 60.8 ounces (1725 grams) and is 8.3 inches (21 centimeters) long. Like many other telephoto lenses, it extends when zooming. There are several physical switches on the lens, including a focus range limiter, AF/MF switch, VC switch, and VC mode switch. The lens comes with a removable hood and a tripod mount.

Built-in tripod mount

The tripod collar was one of my favorite features, thanks to its Arca-Swiss compatible tripod mount. You can quickly and easily mount the lens to a tripod without fiddling around with the usual tripod plate. Also incorporated into the tripod collar are strap attachment loops. And for those who want to save on some weight, the tripod collar is removable.

Tamron 150-500mm tripod collar

Moisture-resistant

The Tamron 150-500mm offers moisture-resistant construction for shooting in inclement weather conditions. There are leak-resistant seals on the mount and throughout the edges of the lens. And the front lens element includes a fluorine coating to deter dirt, dust, and fingerprints.

Vibration compensation

Historically, the biggest drawback to buying a Tamron lens has been the lack of image stabilization (i.e., Vibration Compensation). Thus, Tamron’s decision to add VC to the 150-500mm is a big deal and goes a long way toward reducing blur caused by camera shake. There are three VC modes on the lens, including Standard (Mode 1), Panning (Mode 2), and Framing Priority (Mode 3). In fact, the inclusion of VC makes this lens more viable not only for still photography but also for video.

Good macro capabilities

Despite being a super-telephoto lens, the Tamron 150-500mm can shoot at impressively high magnifications. It features a minimum object distance (MOD) of 23.6 inches (59.9 centimeters) at the 150mm end and 70.9 inches (180 centimeters) at 500mm. The lens also offers a magnification ratio of 1:3.1 at 150mm. In other words, you can maintain a reasonable shooting distance when capturing macro and close-up images with this lens.

close-up of a sand dollar
194mm | f/6.3 | 1/640s | ISO 400

Compatible with Sony in-camera features

Though it’s a third-party lens, the Tamron 150-500mm plays well with Sony cameras, especially when it comes to autofocus. Not only is the focusing snappy and accurate, but eye autofocus is available on relevant Sony cameras. All in all, the Tamron offers a very similar shooting experience to native Sony lenses.

Good price

The Tamron 150-500mm costs $ 1399 USD, and while this might seem steep, it’s actually a fair price considering the competition (more on that below).

Tamron 150-500mm review moon
500mm | f/6.7 | 1/250s | ISO 320

Cons

Variable aperture

The Tamron 150-500mm uses a variable aperture, which means that the maximum aperture changes based on the focal length. This can be a dealbreaker for those seeking a constant aperture throughout the zoom range – namely, those shooting in low light. However, a constant aperture telephoto lens would cost significantly more and be much larger in size.

Zoom lock

The Tamron 150-500mm has a flex zoom lock that holds the zoom at any focal length by simply pushing the zoom ring forward. Some users might appreciate the convenience, but I found it too easy to activate the flex zoom lock by mistake. My preference is to keep the zoom switch instead, which does the same thing, but is much harder to trigger on accident.

Cannot be used with teleconverters

Many who shoot with telephoto lenses like to add teleconverters for additional focal length reach. Unfortunately, teleconverters are not currently available for use with the Tamron 150-500mm.

Tamron 150-500mm review deer in a field
478mm | f/6.3 | 1/500s | ISO 640

Image quality

Overall, the photos produced with this lens are crisp and sharp (with peak sharpness at f/8). Shooting at such a slow aperture does require ample lighting, and this can potentially affect image quality if you need to raise the ISO in dark shooting conditions.

Because the lens is long and heavy, it is best to use it with a monopod or tripod for maximum sharpness. Vibration Compensation does help when shooting handheld, but the lens is still hard to stabilize without additional assistance.

Great Blue Heron on a post
500mm | f/6.7 | 1/250s | ISO 100

Tamron 150-500mm alternatives

The closest competitors to this lens are the Sony 100-400mm f/4.5-5.6 and the Sigma 100-400mm f/5-6.3. Of these lenses, the Sony is the most expensive (at $ 2,398 USD), and the Sigma is the cheapest (at $ 949 USD).

Both the Sony and the Sigma offer a slightly wider focal length compared to the Tamron but lose out by 100mm on the long end. The Sony 100-400mm’s higher price tag is likely due to lens build, performance, and overall optics. The Sony is also compatible with teleconverters.

Who should purchase the Tamron 150-500mm f/5-6.7?

The Tamron 150-500mm lens is ideal for wildlife, nature, and sports photographers. You’ll need ample light and a monopod or tripod to get the best performance and image quality – but its flexible focal length range and reasonable price tag make this a no-brainer zoom lens for Sony E-mount shooters.

The post Tamron 150-500mm f/5-6.7 Review: A Wildlife Photographer’s Dream Lens? appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Tamron Unveils the 28-75mm f/2.8 G2 for Sony, With Enhanced Image Quality and AF

06 Aug

The post Tamron Unveils the 28-75mm f/2.8 G2 for Sony, With Enhanced Image Quality and AF appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron unveils the 28-75mm f/2.8 G2 with enhanced IQ and AF

Three years ago, Tamron announced the 28-75mm f/2.8 Di III RXD for Sony, a powerful lens that made its way into the bags of many photographers – and now the company is back for more. This week, Tamron revealed the 28-75mm f/2.8’s successor: the 28-75mm f/2.8 Di III VXD G2, which packs several significant upgrades, along with all the features that made the first 28-75mm f/2.8 such a hit.

And the original 28-75mm f/2.8 certainly was well-received. According to many a reviewer, the lens combined a compact build, a wide maximum aperture, speedy autofocus, and stellar image quality, not to mention a focal length range that performed well in pretty much every scenario, from portraits and landscapes to events and more. And then, of course, was the price; at well under $ 1000, the 28-75mm positioned itself as the affordable alternative to Sony’s 24-70mm f/2.8 GM lens and even undercut Sigma’s low(ish)-cost 24-70mm f/2.8 Art lens for Sony.

So what does the upcoming 28-75mm f/2.8 offer over its predecessor?

Mainly optical and autofocus upgrades. According to Tamron, you can expect “significantly improved optical and autofocus performance” – specifically, the 28-75mm will likely offer enhanced sharpness thanks to an optical redesign, and Tamron promises “higher autofocus speed with greater precision,” perfect for photographers who tackle sports and other action subjects.

The lens will also feature an increased maximum magnification (from 1:2.94 to 1:2.7), helpful for the occasional detail shot. And Tamron hints at “a new design in the pursuit of enhanced operability and ergonomic texture,” though the company also makes clear that the 28-75mm f/2.8 will offer “the well-received compact size of its predecessor.” In other words: better ergonomics, but in the same small package.

While we don’t yet know the price of the new 28-75mm, expect it to match or only slightly exceed that of the original lens – a bargain, giving the lens’s undoubtedly outstanding optical performance, speed, and low-light capabilities. 

Tamron also emphasizes the lens’s integration “with [a] new ‘Tamron Lens Utility’ software” for “personal customization [that] gives flexible shooting options to match the shooting situation.” For instance, the Lens Utility software will let you adjust the aperture via the focus ring, focus at predetermined positions, and more. 

If you’re after a budget f/2.8 lens for Sony, one that spans from wide-angle to standard telephoto and punches far above its weight in optics and autofocus, then keep an eye out for the 28-75mm f/2.8 G2. Tamron suggests a 2021 release date, so you shouldn’t have long to wait!

Now over to you:

What do you think of the new 28-75mm f/2.8 for Sony? Have you used the original? Are there any upgrades you would like to see that are missing from the updated version? Share your thoughts in the comments below!

The post Tamron Unveils the 28-75mm f/2.8 G2 for Sony, With Enhanced Image Quality and AF appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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DPReview TV: Tamron 11-20mm F2.8 Di III-A RXD

31 Jul

With smoke from nearby wildfires preventing them from taking the Tamron 11-20mm F2.8 into nature, Chris and Jordan stay in Calgary to test the lens. See how this ultra-wide optic performs for both stills and video on Sony APS-C E-mount bodies.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Sample images
  • Build and design
  • Autofocus and focus breathing
  • Chromatic aberrations
  • Close-up performance
  • Flare and sunstars
  • Bokeh
  • Sharpness
  • Versus the Sony 10-18mm F4 OSS

Tamron 11-20mm F2.8 sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony)

23 Jul

The post Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron launches 18-300mm zoom for Fujifilm and Sony

Earlier this week, Tamron unveiled the 18-300mm f/3.5-6.3 Di III VC VXD, an all-in-one lens designed for both Sony E-mount and Fujifilm X-mount cameras.

While Tamron has spent several years perfecting mirrorless lenses for the Sony E-mount, the company has not yet launched glass for Fujifilm users. The announcement hints at a new direction for Tamron; assuming the X-mount version is sufficiently popular, you can expect future Fujifilm-compatible lenses, a major win for Fujifilm’s dedicated fanbase.

The lens itself draws on Tamron’s experience with flexible zooms and will sit alongside products such as the 28-200mm f/2.8-5.6. According to Tamron, the 18-300mm “is the world’s first all-in-one zoom lens for Sony and Fujifilm APS-C mirrorless cameras featuring a 16.6x zoom ratio,” and indeed, the zoom range is remarkable. At 18mm, you can capture landscapes, wide street shots, and architectural shots. And at 300mm, you can photograph tight telephoto landscapes and even some birds, thanks to a near-500mm field of view (with the crop factor applied). Then there are the midrange focal lengths, and you can use these for portrait photography, sports photography, and much more.

If you enjoy capturing the occasional close-up shot of insects or flowers, then you’ll love the 18-300mm’s close-focusing capabilities. You can shoot at up to 1:2 magnification, perfect for casual macro photography (and you’ll even be able to capture an abstract close-up or two for variety).

Tamron also promises “extremely fast and precise autofocus – the highest level in its class.” As you can imagine, this is a big deal for fast-paced travel and street shooting, not to mention bird and wildlife photography. Users will need to be content with a relatively narrow maximum aperture (f/6.3 on the long end, f/3.5 on the wide end), but the Vibration Compensation should offset this problem somewhat when shooting in low light.

Of course, when purchasing a lens, a lot hinges on optical quality, and superzooms are notoriously finicky – though Tamron promises “high-resolution performance” and “high image quality that is among the best of all all-in-one zoom lenses.” Bottom line, the 18-300mm is bound to work for photographers aiming to keep their backpack lightweight and minimalistic. For the right shooter, this lens could genuinely replace an entire bag of glass, saving on space, money, and more.

So if you like the sound of a convenient superzoom and you’re a Fujifilm or Sony user, keep an eye out for the 18-300mm f/3.5-6.3. While the price hasn’t yet been revealed, bank on a Fall 2021 release date and prepare for some fun photoshoots!

Now over to you:

What do you think about the Tamron 18-300mm? Is it a lens you’d be interested in? What would you use it for? Share your thoughts (and images) in the comments below!

The post Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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9 Takeaways After Shooting With the Tamron 150-500mm Di III VC VXD

17 May

The post 9 Takeaways After Shooting With the Tamron 150-500mm Di III VC VXD appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

9 takeaways after shooting with the Tamron 150-500mm

Tamron recently unveiled the 150-500mm VC VXD for Sony E-mount, a compact, low-priced, ultra-telephoto zoom packing plenty of eye-catching features.

It certainly sounded like a stellar lens for bird and action photography (after reading the press release, I wanted a copy!), but as all experienced photographers know, the specifications are only half the story. To really understand a lens – and to determine whether it’s a worthy addition to your camera bag – you have to see how it holds up in practical, real-life, everyday situations.

Which is why I recently sat down with Ken Hubbard, Tamron’s Field Services Manager and resident bird photography extraordinaire. Ken’s been using the new 150-500mm for quite some time now, so I knew that he could give me the low-down on its real-life capabilities. He didn’t disappoint! 

What follows are key takeaways from my discussion with Ken, covering the lens’s performance, its usefulness for bird and action photographers, plus some bird photography tips for good measure.

hawk flying forward

1. The 500mm focal length lets you get frame-filling shots in the wild

In bird photography, you frequently need the longest lens you can afford. And as many beginners quickly realize, even a 70-300mm zoom doesn’t cut it – especially when you’re shooting distant and unapproachable subjects such as birds of prey or tiny subjects such as songbirds.

That’s where the Tamron 150-500mm comes in handy.

Zoomed in to 500mm, you can get ultra-close to birds, even those that are skittish or small. You can capture birds in flight, and you can produce gorgeous, detailed shots of songbirds such as orioles and goldfinches. Ken shared a few of these beauties with me:

goldfinch in a tree
oriole landing on perch

You also have a shorter 300-400mm range just in case you need it. If you’re shooting at your backyard feeders or at a location where birds have become acclimated to humans, you can just zoom out to capture the perfect frame. 

Also, if you’re after more environmental images, you might even try working at 150-300mm.

Quick tip: When you’re photographing a perching bird, don’t frame it too tightly. It might spread its wings, which will get clipped by the frame’s edges (a big no-no in bird photography!). Leave a bit of space around the bird; that way, when you get a nice wing spread, you can capture the pose.

2. The incredible optics provide ultra-sharp feather detail

Here’s a simple fact about the Tamron 150-500mm:

It’s really, really sharp, even at its widest apertures. 

In fact, the phenomenal sharpness was the first thing Ken noticed upon viewing his images. 

For bird photographers, this is a big deal, because birds offer lots of tiny details worth capturing (feathers!), plus you’ll sometimes want to crop in for a frame-filling final result. And if the sharpness isn’t there, your photos just won’t pass muster. 

Take a look at the feather detail on this owl:

owl perching

Another problem that bird photographers often face – especially when shooting darker birds against a bright sky – is chromatic aberration. It appears as colorful fringing along high-contrast edges such as bird wings, and it looks terrible.

Fortunately, chromatic aberration on the 150-500mm is negligible, certainly not enough to cause problems (even for a serious bird shooter like Ken). 

3. Thanks to the lens’s lightweight build, you can handhold without trouble

Ultra-telephoto lenses tend to be insanely heavy. Which means that handholding for long periods of time is often out of the question. 

The problem, of course, is that handholding can be useful, especially if you like the freedom and flexibility of pointing your lens in every direction from every reachable perspective, or you just don’t want to carry a tripod on top of cameras and lenses and other accessories. 

But as it turns out, the Tamron 150-500mm is surprisingly lightweight (it comes in at 60.8 oz or 1725 g). Yes, it feels like a lens, and it’s not exactly a feather, but you should be able to handhold without issue. 

Photographers will also appreciate the lens’s three Vibration Compensation modes, which keep your shots sharp when handholding at slower shutter speeds. In fact, two of the modes – Mode 2 and Mode 3 – seem tailored to birds and other action subjects, which means you can shoot sharp action images even in low light. 

4. A small minimum focusing distance guarantees close-ups of tiny objects (such as songbirds)

Imagine this: 

You’re standing in a clearing, surrounded by beautiful yellow warblers. As they hop from branch to branch, getting closer and closer, you wait with your camera – but then, just as one tiny subject fills the frame, your lens fails to focus

So you miss the shot. And the next shot, and the one after that, because your lens just can’t focus close enough. 

You see, every lens has a particular minimum focusing distance (or MFD). Once your subject crosses the MFD, a lens won’t be able to focus any closer, and your shots will turn out blurry. 

This becomes especially important when photographing tiny subjects such as songbirds and shorebirds. If you want to fill the frame, you need a lens with a small minimum focusing distance (in other words, you need a lens that can focus close). You do have the option of purchasing extension tubes, but these can be annoying to carry around and use.

The Tamron 150-500mm, however, is an unusually close-focusing lens. Its minimum focusing distance is 70.9 in (1.8 m) at 500mm, which means you can create intimate portraits of tiny goldfinches, or you can capture tight headshots of larger birds such as owls.

It’s how Ken manages to capture images like this: 

owl close-up

And this:

barred owl face close-up

(As an aside, you can also create some great photos of insects and flowers. While the Tamron 150-500mm isn’t a true macro lens, it can still get you pretty darn close!)

5. An Arca-Swiss compatible mount makes for easy tripod use

Earlier, I explained how the 150-500mm lets you handhold in low light. 

But sometimes you’ll want to consider working with a tripod. Tripods are great for smooth panning, and they’re also nice for situations where you’re photographing in the same position for hours on end.

Unfortunately, working with telephoto lenses on a tripod can be a pain. You don’t want to mount the lens to the camera and the camera to the tripod; that can put stress on the lens and camera mount, which is definitely a bad thing. So instead you need to put a tripod collar on the lens, which then attaches to an Arca-Swiss plate, which mounts to the tripod head and balances the whole setup.

Some of the above does apply to the Tamron 150-500mm. It comes with a tripod collar, which slips around the lens. But very conveniently, the collar includes an Arca-Swiss compatible foot. So you can forego the Arca-Swiss plate and instead attach your Tamron 150-500mm directly to the tripod head.

(Quick tip: The tripod collar contains strap holes, so if you plan to hang the rig around your neck, make sure to thread your camera strap through. That way, your strap can connect to the lens, and you’ll get a better-balanced setup.)

6. The f/5-6.7 maximum aperture provides wing-to-wing sharpness

When you’re photographing birds in flight, here’s a good goal to strive for:

Getting the entire bird sharp, including the wings. 

falcon flying

The same is true for perching birds, except you simply need to get the body in focus (there are no spread wings, after all!).

falcon perching

But how do you do this?

You’ll often want to keep your aperture relatively narrow, because a narrow aperture gives a deeper depth of field and hence keeps the full bird in focus. Ken often shoots in the f/6.7-f/8 range for this reason; it’s how he gets optimal detail in his bird photography.

The Tamron 150-500mm offers a maximum aperture of f/5 on the wide end, which increases to f/6.7 by 500mm. And as you can see from the photos above, this works out great!

Would it be nice to have an f/4 aperture for low-light shooting? Sure – but as Ken explains, a wide maximum aperture comes with tradeoffs, such as size (f/4 ultra-telephoto lenses tend to be huge), weight, and price. So if you’re after a more compact lens that still reaches those ultra-telephoto distances, the Tamron 150-500mm is a stellar option.

7. You can use the flexible Zoom Lock to keep a constant focal length

I’ll admit: 

The Zoom Lock wasn’t a feature I had thought about until Ken mentioned it. I knew what it did – it lets you lock the lens focal length in place – but not why it was useful.

However, once Ken explained it to me, I realized that it was a neat little addition, especially for shooting birds high up in trees. 

You see, heavy zooms tend to suffer from something called lens creep, where the lens barrel starts to contract as you aim the lens upward (and extend as you aim the lens downward). In other words: when you shoot eagles against the sky at 500mm, you may notice your focal length dropping over time. It can be frustrating, especially if you’re photographing subjects from a consistent distance. 

The Zoom Lock, however, prevents lens creep. Once you’ve settled on a focal length, you simply push the zoom ring forward, and it locks the zoom mechanism in place. Then, once you’re ready to adjust the focal length again, you pull the zoom ring back to disable the Zoom Lock.

While you won’t always use this feature, it’s nice to have – and in certain situations, it’ll be a huge help.

8. You can focus on fast-moving birds with the VXD mechanism

As you’re likely aware, birds are speedy. Which means that photographing moving birds can be a challenge, especially if your equipment isn’t up to snuff.

So going into the discussion with Ken, I wanted to know, point blank: Does the Tamron 150-500mm focus fast? 

Ken confirmed that yes, it does focus fast. In fact, thanks to Tamron’s VXD technology, focusing is both ultra-fast and super accurate. The lens stops on a dime, and it can lock onto moving subjects with ease. (It’s also very quiet, in case you’re shooting in situations where you don’t want to be noticed.) 

It’s great for birds in flight: 

hawk flying toward the camera

As well as birds taking off:

bald eagle taking off from branch

Now, it is worth noting that focusing depends on three things:

  1. Your technique
  2. Your lens
  3. Your camera

The 150-500mm won’t guarantee you perfect focus, the same way a world-class guitar won’t guarantee you beautiful music. But if you refine your technique, and you use a reasonably fast-focusing camera (most of Sony’s recent full-frame or APS-C cameras will work great), then the 150-500mm will give you that final variable in the focusing equation. 

Speaking of focusing technique, I asked Ken to share how he gets photos like those featured above. 

He explains that focusing begins with your camera settings. Put your camera into AF-C mode so that it continues to focus as long as you hold the shutter button. If you have it, activate Animal Eye AF. You’ll also want to choose an AF area mode that works for moving subjects, such as Sony’s Zone AF, and you should select the fastest-available burst mode.

Then, if your subject is perched on a branch, pre-focus. Get your AF zone over the bird, and be locked and ready to go. As discussed above, make sure your framing isn’t too tight – remember, you don’t want to clip the wings! – then as soon as the wings extend, fire off a long burst of shots. Track the bird with your camera, continuing to shoot as it flies by. 

Capturing a bird already in flight is harder, but still doable. Use all the same settings as above: AF-C, burst mode, and an optimized AF area mode. Put your eye to the viewfinder, but – here’s the trick! – keep both eyes open. One eye should be looking through the viewfinder, while the other eye searches the wider sky. 

Then move your lens to follow the bird, and half-press your shutter button to lock on. Keep your framing loose, and try to center the bird (you can always crop later!) – then fire off burst after burst.

falcon flying in the forest

(Note: If you really want to maximize your accuracy, try using back-button focus. It decouples focusing from the shutter button, so you can maintain focus even when your finger comes off the shutter.)

Ken shares that you’ll end up with a huge number of shots, and only a few of them will actually look good, with a well-lit head, a nice wing position, and a nice background. 

But that’s okay, he says. Because you can easily go through your photos later on the computer; the good ones will stick out, you can flag them, and get rid of the rest. 

(One more tip: Buy the fastest memory cards available. Without fast cards, your camera won’t be able to shoot long bursts, which can lead to missed photos in critical situations.)

9. The strong build quality is perfect for outdoor photography

Bird photography (and outdoor photography in general) can get pretty rough. 

You’re often traveling in dusty conditions, lying in mud, and/or dealing with high humidity. And the best shots tend to come from the worst weather: when you’re standing in the cold, getting soaked by rain or snow. 

So you need a camera setup that can handle the elements. 

Of course, I (and Ken) can’t speak to your camera. But the Tamron 150-500mm offers very solid build quality – it’s likely the first thing you’ll notice when you pull it out of the box.

Plus, thanks to its moisture-resistant construction, you can shoot in messy weather without worry (though I still recommend you use a waterproof cover!).

Tamron 150-500mm takeaways: final words

Well, there you have it:

The nine key takeaways after shooting with the Tamron 150-500mm Di III VC VXD. Ken is a huge fan of the lens, and I can see why: It’s an affordable, fast-focusing zoom that bird, wildlife, and action photographers will love. Ken’s experiences – as well as the photos in this article, all taken with the 150-500mm – make that clear.

Note that the lens will start shipping on June 10th, though it’s currently available for preorder at Tamron-authorized in-store and online retailers.

So if you’re a Sony shooter looking for a stellar ultra-telephoto lens, I highly recommend you take a look!

northern cardinal perching on a branch

Tamron is a paid partner of dPS.

The post 9 Takeaways After Shooting With the Tamron 150-500mm Di III VC VXD appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Tamron Announces the 150-500mm, a Portable Zoom for Sony Mirrorless

23 Apr

The post Tamron Announces the 150-500mm, a Portable Zoom for Sony Mirrorless appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron announces the 150-500mm, a portable zoom for Sony

Earlier this week, Tamron unveiled the 150-500mm f/5-6.7 Di III VC VXD for Sony E-mount cameras, a lens that will offer significant power, versatility, and affordability to Sony users.

The 150-500mm f/5-6.7 is Tamron’s “first ultra-telephoto zoom lens for full-frame mirrorless cameras that reaches the 500mm focal length.” But despite the super-telephoto range, the 150-500mm is surprisingly compact. At 500mm, the lens reaches 11.1 in (28 cm), and when retracted to 150mm, it clocks in at a portable 8.3 in (21 cm) for a travel-ready package.

While the f/6.7 maximum aperture may frustrate professionals, enthusiast sports, wildlife, and bird photographers will love the opportunity to get up close and personal without splurging on Sony’s $ 2000 USD 200-600mm lens. At 150mm to 300mm, you can capture wider photos of your subject; zoomed in to 400mm and 500mm, you can grab crisp detail shots and wildlife portraits. 

And though the Tamron 150-500mm will work just fine on Sony full-frame cameras, when mounted on an APS-C camera – such as the Sony a6600 – the lens delivers a whopping 225-750mm range, perfect for photographers seeking to shoot small, skittish subjects such as birds.

Of course, image quality remains to be seen, but Tamron confidently claims that the 150-500mm packs “amazing high image quality,” boasting “exceptionally high resolving power across the entire image.” 

As for autofocus, the 150-500mm “provides high speed, high precision, and excellent quietness,” thanks to Tamron’s VXD focusing technology. 

Sure, a wider maximum aperture would be useful, especially for low-light wildlife and sports photography. But wider apertures come with eye-watering costs, plus Tamron has added Vibration Compensation (VC), which ensures sharp images even when shooting handheld in limited light.

While the Tamron 150-500mm doesn’t come cheap, it’s not pricey, either (relatively speaking). You can preorder the lens for just $ 1399 USD, though expect to receive your copy after June 10th (also, Tamron notes that “the release date or product supply schedule could change” due to COVID-related problems).

So if you’re an enthusiast photographer in need of a super-telephoto zoom, I highly recommend you check out the Tamron 150-500mm.

Now over to you:

What do you think of this new lens from Tamron? Will you be interested in purchasing it? Share your thoughts in the comments below!

The post Tamron Announces the 150-500mm, a Portable Zoom for Sony Mirrorless appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Tamron 17-70mm f/2.8 for Sony Review: A Versatile Lens for a Great Price

13 Mar

The post Tamron 17-70mm f/2.8 for Sony Review: A Versatile Lens for a Great Price appeared first on Digital Photography School. It was authored by Suzi Pratt.

Tamron 17-70mm f/2.8 for Sony review

In December 2020, Tamron announced an exciting new lens: the 17-70mm f/2.8 for Sony.

The Tamron 17-70mm is small, lightweight, and designed for APS-C cameras – plus, it offers two excellent features often lacking on Tamron lenses.

But how does it function in the real world? And is it worth the $ 799 price tag?

Let’s find out in this hands-on Tamron 17-70mm for Sony review!

Tamron 17-70mm for Sony: overview

A 24-105mm lens offers one of the most popular focal length ranges available, thanks to its wide-to-telephoto reach. It’s a versatile pick used by casual and professional photographers alike.

And the 17-70mm is Tamron’s version of this lens because its focal length translates to 25.5-105mm on an APS-C body.

The Tamron 17-70mm is made for Sony APS-C (crop-sensor) cameras, so it’s ideal when combined with the popular Sony a6000 (or any of its recent variations). The lens can also be used on Sony full-frame cameras like the Sony a7S III – as long as the APS-C mode is selected.

Constant fast aperture

The 17-70mm f/2.8 for Sony is Tamron’s first fast-aperture zoom lens for APS-C cameras.

The lens maintains a constant f/2.8 aperture throughout the entire zoom range, while other APS-C Tamron zooms use variable apertures (i.e., apertures that shift as you zoom).

A constant aperture, especially a fast f/2.8 aperture, makes the 17-70mm great for shooting in low light. And at f/2.8, you can capture shots with creamy bokeh, like this one here:

Tamron 17-70mm f/2.8 for Sony sample photo
1/1000s | f/2.8 | ISO 640

Vibration compensation

The 17-70mm also comes with Tamron’s image stabilization (Tamron calls this VC, or Vibration Compensation) to reduce camera shake.

Note that VC is often missing on Tamron lenses, especially those with constant apertures, so it’s certainly a welcome bonus on the 17-70mm.

Lenses with VC make it easier to shoot handheld photos and videos, especially at slow shutter speeds. That’s how I was able to pull off this handheld long exposure:

waterfall Tamron 17-70mm f/2.8 for Sony sample photo
Handheld shooting at low shutter speeds is made possible by Vibration Compensation.
1/6s | f/13 | ISO 320

(Speaking of video: the 17-70 is a great video lens, thanks to the flexible zoom range, constant aperture, and inclusion of VC!)

Build and handling

If you’ve tried any recent Tamron lenses, the 17-70mm will look and feel very similar.

The lens is made mostly of plastic, which helps keep the weight down (it comes in at 1.2 lb/525 g), though you also get rubber zoom and focus rings.

The lens physically extends and retracts when the zoom ring is twisted. With dimensions of 2.9 x 4.7 in (74.6 x 119.3 mm), the lens can feel a bit large and off-balance when attached to a smaller camera like the Sony a6000. It definitely feels more balanced when used with a Sony full-frame camera.

The Tamron 17-70mm f/2.8 for Sony is moisture resistant and also has a front element with a fluorine coating to protect it from smudging.

And speaking of the front element, the lens has a filter size of 67 mm, common among Tamron’s recent lenses.

Tamron 17-70mm f/2.8 for Sony sample photo of woman with dough
1/250s | f/4 | ISO 640

Performance

I used the Tamron 17-70mm in outdoor hiking and indoor restaurant settings, and the autofocus worked well for photos and videos.

The lens has quiet focusing thanks to an RXD stepping motor. This works wonderfully with Sony mirrorless cameras, which still offer the best autofocus on the market.

It’s easy to switch to full manual focus simply by twisting the focus ring. Also, with a minimum focusing distance of 7.5 in (19 cm), the lens has decent macro capabilities (and close-up shots look great with that gorgeous f/2.8 bokeh).

Tamron 17-70mm f/2.8 for Sony sample image close-up
1/200s | f/4 | ISO 640

Image quality

Constant-aperture lenses tend to produce sharp, crisp images. You pay for it, though, because constant-aperture lenses – especially zoom lenses – don’t come cheap.

But while the Tamron 17-70mm is priced well under $ 1000, image quality is tack sharp across the entire focal length range, even at f/2.8. If Tamron can make more lenses like this at similar price points, they’ll win over many photographers and videographers.

At times, the 17-70mm does produce chromatic aberration and excessive vignetting, especially when shooting scenes with high contrast. Luckily, these are problems that can easily be solved in most photo editing programs, including Lightroom or Photoshop.

Tamron 17-70mm f/2.8 for Sony forest sample image
1/60s | f/2.8 | ISO 2000

Tamron 17-70mm alternatives

There are no true competitors to the Tamron 17-70mm f/2.8, at least not at its price point. When looking at similar lenses, the price goes up dramatically – or you sacrifice certain features.

Sony lens choices

The closest Sony competitor is the Sony E 16-55mm f/2.8 (24-82.5mm on APS-C cameras), which offers the constant f/2.8 aperture but is 15mm short on the telephoto side. The 16-55 also lacks image stabilization and will set you back $ 1,300.

The Sony E 18-105mm f/4 is a more affordable choice, coming in at around $ 600. This APS-C zoom lens offers a wider focal range than the Tamron plus image stabilization. However, the constant aperture is f/4, which is a lot slower than the Tamron’s f/2.8.

Tamron 17-70mm f/2.8 for Sony bridge to a forest
1/320s | f/10 | ISO 640

Who should buy the Tamron 17-70mm for Sony?

Considering the price and features of this lens, the Tamron 17-70mm is suitable for both professional photographers and videomakers alike, especially for those on a budget.

The lens’s features are typically found on glass that costs twice as much, including the constant f/2.8 aperture and the Vibration Compensation. It also offers remarkably sharp image quality considering its cost.

And given the relatively accessible price, the Tamron 17-70mm is also appropriate for beginner or amateur photographers and videomakers looking to increase their skills.

Using a constant f/2.8 aperture is a treat, and this lens will help budding photographers take better images in low light with nice, creamy bokeh.

So grab the Tamron 17-70mm f/2.8 for Sony right here!

Now over to you:

What do you think about the Tamron 17-70mm f/2.8? What do you like about it? What do you dislike? Will you consider buying it? Share your thoughts in the comments below!

Tamron 17-70mm f/2.8 sample images

The post Tamron 17-70mm f/2.8 for Sony Review: A Versatile Lens for a Great Price appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Tamron 70-300mm for Sony Review: A Compact, Well-Priced Telephoto Lens

02 Jan

The post Tamron 70-300mm for Sony Review: A Compact, Well-Priced Telephoto Lens appeared first on Digital Photography School. It was authored by Suzi Pratt.

Tamron 70-300mm for Sony review

The new Tamron 70-300mm f/4.5-6.3 lens is the “world’s smallest telephoto zoom lens for Sony E-mount full-frame mirrorless cameras.”

But does this lens live up to the hype?

Let’s find out in this Tamron 70-300mm for Sony review!

Tamron 70-300mm for Sony review

Tamron 70-300mm for Sony: Overview

The Tamron 70-300mm is made to be used on a full-frame camera, but you can also mount it on an APS-C camera; the equivalent focal length just gets cropped to 105-450mm. This can be an advantage if you prefer getting more zoom out of your lens.

Besides its compact and lightweight build (more on that below!), the biggest appeal of this lens is the price. At just $ 550 USD, the Tamron 70-300mm is more than half the price of the Sony alternative.

For comparison’s sake, the Sony FE 70-300mm f/4.5-5.6 has a slightly faster f-stop and also comes with image stabilization. But it is larger, heavier, and more expensive than the Tamron model. So if budget, size, and weight are a concern, the Tamron 70-300mm is the way to go!

  • Released: September 2020
  • Focal Length: 70 to 300mm
  • Maximum Aperture: f/4.5 to f/6.3
  • Minimum Aperture: f/22 to f/32
  • Lens Mount: Sony E (full-frame)
  • Minimum Focus Distance – 31.5″/0.8 m
  • Focusing: Autofocus
  • Image Stabilization: No
  • Filter Size: 67 mm
  • Dimensions: 5.8” x 3″/148 mm x 77 mm
  • Weight: 19.2 oz/545 g
Tamron 70-300mm for Sony review

Lens design

The Tamron lens follows on the coattails of some impressive Tamron releases, such as the 28-200mm f/2.8-5.6. And if you’ve used any recent Tamron lenses, the 70-300mm will feel very familiar in your hands. It has a similar look and feel to other Tamron lenses, and it takes a 67 mm front filter, just like many other Tamron lenses.

While the build is mostly plastic, the lens is weather-sealed with a dust- and moisture-resistant construction. This makes the 70-300mm ideal for shooting in a variety of outdoor conditions. I wouldn’t take the lens out in pouring rain, but a light drizzle is totally fine.

Aside from its low price point, the biggest advantage of the Tamron 70-300mm is its compact size. With a weight of just 545 g (1.2 lb) and a length of 5.8 in, it’s easy to forget that you’re hauling a rather long-range telephoto lens. The small size also makes it easier to hold the lens for long periods of time, especially compared to bigger lenses like the Sony 100-400mm. 

Tamron 70-300mm for Sony review

Ease of use and performance

The Tamron 70-300mm is a very straightforward lens. There’s a zoom ring and a manual focus ring with no additional buttons or switches on the lens.

It would be nice to have a lock switch to prevent the zoom barrel from sliding out when you use the lens – and while it’s not a dealbreaker, the lack of a lock is something to be aware of.

All Sony autofocus modes (including Eye AF) are as snappy as they’d be if using a native Sony lens. If you have any concerns about using a third-party lens, rest assured that all modern Tamron lenses work flawlessly with Sony E-mount cameras.

Image quality

Snowy owl
300mm | 1/1600s | f/6.3 | ISO 400

Photos on the 70-300mm Tamron are razor sharp. Color rendition is also accurate, with absolutely no chromatic aberration or distortion.

While this lens doesn’t have a fast f/2.8 or f/1.8 aperture, beautiful bokeh can still be achieved with sufficient distance between the subject and the background. The bokeh is pleasing and smooth. The lens’s sweet spot seemed to be between f/4.5 and f/11.

The lens also has a nice minimum focusing distance of 31.5 in (0.8 meters) when shooting at 70mm. This allows you to get pretty close to your subject and still get crisp shots. 

autumn leaves
186mm | 1/800s | f/5.6 | ISO 1600

Best uses

Given its focal range and features, the 70-300mm is best used as a complementary lens to a wide-angle or mid-range zoom, such as the 24-70mm.

Shooting purely at 70-300mm may suit some photography styles, but most photographers will want to occasionally get a shot wider than 70mm, which is when a wider second lens will come in handy.

snowy landscape
70mm | 1/320s | f/6.3 | ISO 640

However, you can use the Tamron 70-300mm as your sole lens and get some great wildlife, landscape, and portrait shots. Just make sure you have enough light or a camera that can shoot at high ISOs because of the narrower maximum lens aperture. If you plan to shoot indoors or in low light, the Tamron 70-180mm f/2.8 will better suit your needs.

The Tamron 70-300mm can also work as a great video lens. Just note that it lacks image stabilization (IS), so it is best used on a tripod or a gimbal stabilizer if shooting video.

Tamron 70-300mm for Sony review: Conclusion

For the budget-conscious photographer, or for those wishing to have the smallest and lightest camera kit, the Tamron 70-300mm is a bargain of a lens.

One of the only reasons why you may not opt for this lens is if you prefer the all-in-one Tamron 28-200mm lens. The 28-200mm is smaller and slightly more expensive, and it gives you a much wider focal range at the expense of not being able to zoom as far as 300mm. 

If you are interested in purchasing the Tamron 70-300mm for Sony, you can grab it here.

So what do you think? Would you buy the Tamron 70-300mm, or would you opt for a different lens? Let me know in the comments below!

The post Tamron 70-300mm for Sony Review: A Compact, Well-Priced Telephoto Lens appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Tamron announces 17-70mm F2.8 for Sony APS-C cameras

03 Dec

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Tamron has introduced the 17-70mm F2.8 Di III-A VC RXD lens for Sony APS-C bodies. The lens has a 35mm-equivalent focal length of 25.5-105mm and uses the company’s ‘Vibration Compensation’ image stabilizer (no word on its performance).

The 17-70 F2.8 has a total of 16 elements, including one hybrid aspherical and two glass-molded aspherical elements. The focus unit is driving by a ‘Rapid eXtra-silent stepping drive’ (RXD) stepper motor.

The minimum focus distance is 19cm (7.5″) and the maximum magnification is 0.21x. The lens is 12cm (4.7″) long and weighs in at 524g (1.2lbs). It’s weather-sealed, and its front element has a fluorine coating to repel water and oil.

The 17-70mm F2.8 Di III-A VC RXD will be available in mid-January for $ 799.

Press release

Tamron Announces World’s First[1] 17-70mm F2.8 Wide Range 4.1x Standard Zoom Lens with VC For APS-C Mirrorless Cameras

17-70mm F/2.8 Di III-A[2] VC RXD (Model B070)

December 2, 2020, Commack, NY – Tamron announces the launch of the 17-70mm F/2.8 Di III-A VC RXD (Model B070), a high-speed standard zoom lens for Sony E-mount APS-C mirrorless cameras on January 14, 2021 at approximately $ 799. Due to the current global health crisis, the release date or product supply schedule could change.

The new 17-70mm F2.8 is Tamron’s first high-speed zoom lens for mirrorless cameras with APS-C size sensors. It features a maximum aperture of F2.8 across the entire 4.1x zoom ratio covering a focal length of 17-70mm (a full-frame equivalent of 25.5-105mm) ideal for everyday use, and superb optical performance. It is a small, lightweight lens that is also equipped with Tamron’s VC (Vibration Compensation) mechanism to minimize camera shake. This VC mechanism leverages AI technology when shooting video.

[1] Among interchangeable F2.8 standard zoom lenses for APS-C mirrorless cameras (As of November 2020: Tamron)

2 Di III-A: For APS-C format mirrorless interchangeable-lens cameras

The lens features Moisture-Resistant Construction, Fluorine Coating and a Ø67mm filter size – the same as the Tamron series of lenses for full-frame mirrorless cameras. Compatible with many of the features that Sony builds into its cameras, including Fast Hybrid AF and Eye AF, the lens is the ideal everyday zoom for a multitude of situations. It is a highly practical lens that enables photographers to attain high image quality while enjoying the benefits of the large F2.8 aperture.

PRODUCT HIGHLIGHTS

World’s first high-speed standard zoom lens for APS-C cameras with the focal length range of 17-70mm 4.1x zoom ratio

The Model B070 has a focal length range of 17-70mm, equivalent to 25.5-105mm on full-frame cameras. It is the first F2.8 high-speed zoom lens in the world for APS-C mirrorless cameras to achieve a 4.1x zoom ratio.

Outstanding optical performance

The optical construction of the new 17-70mm F2.8 features 16 elements in 12 groups. Two GM (Glass Molded Aspherical) lens elements and one hybrid aspherical lens element are precisely arranged to maintain high-resolution performance from edge to edge.

Upgraded VC effective in combination with Sony APS-C mirrorless cameras, leveraging AI for video shooting

The 17-70mm F2.8 features Tamron’s proprietary VC mechanism. Additional sophisticated algorithms optimized for this model and a dedicated, independently operating MPU all combine to superbly compensate for vibration. This feature is available when the lens is used with cameras with or without in-body image stabilization. When shooting video, by leveraging AI technology, image stabilization performance improves compared to conventional models.

Close focusing?MOD is just 7.5” at the wide-angle end

The 17-70mm F2.8 zoom focuses close, down to 7.5” MOD (Minimum Object Distance). This is far superior to the performance achieved by conventional high-speed zoom lenses for APS-C cameras. In addition, the 15.4” MOD at the 70mm telephoto end ensures good close-range shooting performance allowing photographers to enjoy compelling close-up shots.

A highly portable compact design

The 17-70mm F2.8 zoom measures a scant 4.7” in length and 74.6mm in maximum diameter and weighs only 18.5 oz. The lens also maintains the same small Ø67mm filter size of each lens in the Tamron mirrorless lens line-up. This is remarkable for a lens with built-in VC image stabilization. When used with Sony’s APS-C mirrorless cameras, this zoom is nicely balanced and provides a comfortable user experience.

The RXD (Rapid eXtra-silent stepping Drive) stepping motor unit is exceptionally quiet and perfect for video use

Moisture-Resistant Construction and Fluorine Coating provide extra protection

Compatible with many camera-specific features and functions, including Fast Hybrid AF and Eye AF

SPECIFICATIONS

Model

B070

Focal Length

17-70mm (for APS-C frame mirrorless format)
(25.5-105mm full-frame equivalent field-of-view)

Maximum Aperture

F2.8

Angle of View (diagonal)

79° 55′-23° 00′?(for APS-C frame mirrorless format)

Optical Construction

16 elements in 12 groups

Minimum Object Distance

7.5“ (WIDE), 15.4“ (TELE)

Maximum Magnification Ratio

1:4.8 (WIDE) / 1:5.2 (TELE)

Filter Size

Ø67mm

Maximum Diameter

Ø74.6mm

Length*

4.7“

Weight

18.5 oz

Aperture Blades

9 (circular diaphragm)**

Minimum Aperture

F22

Standard Accessories

Flower-shaped hood, Lens caps

Compatible Mounts

Sony E-mount

* Length is the distance from the front tip of the lens to the lens mount face.

** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

Specifications, appearance, functionality, etc. are subject to change without prior notice.

Articles: Digital Photography Review (dpreview.com)

 
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