Tamron SP AF60mm F/2.0 Macro. This APS-C macro is one stop faster than others in its class, and balances nicely when attached to the camera. Optically, it performed admirably. Courtesy of Tamron.

Any-and every-macro lens excites me with the challenge of portraying my subjects in intimate detail. So when I heard that Tamron introduced the SP AF60mm f/2.0 Di II LD 1:1 Macro, my heart truly started pounding. Normally, macro lenses in this focal length range start at f/2.8. So we’re talking about a macro lens that is a full stop faster.

Are you beginning to feel the adrenaline? Because this is an APS-C lens, that 60mm translates into a very respectable 96mm short telephoto on the Canon Rebel T1i that I used in my testing (soon to be available for Nikon and Sony). That short telephoto focal length gives me added breathing room between the lens and those tiny, often skittish critters I routinely confront.

Why We Need a Fast Macro Lens

Now, granted, most of us shoot our close-ups stopped-down. And it’s a given that depth of field is minimal when shooting at or near life-size. Still, depth of field does matter. We try to squeeze out every pixel of sharpness we can, especially when shooting handheld. The slightest hand tremor is enough to throw a subject out of focus.

You could add image stabilization to the lens and get around the worry over camera shake, at considerable added cost (provided it’s even available). And the benefit of this feature at or near life-size magnification is questionable. Besides, that addresses only one challenge. Outdoors, any breeze can make long arduous moments spent in fine-tuning focus on a delicate blossom a memory. Hence, you’ll often see me using a ring-flash attached to the front of the lens as a means of addressing practically any close-up challenge.

So where does a fast macro lens enter the picture? For one thing, not everyone likes to use flash or has a suitable flash in their camera bag. But there are even more important reasons. When shooting wide open (using selective focus), you surround the subject in a soft blur of color that many of us find pleasing. Or you want to throw distracting elements out of focus as much as possible and focus attention entirely on your subject-or one aspect of it. Combine that with exposing at a usable handheld shutter speed (preventing camera shake) when shooting under low light levels. And, last but not least, shooting wide open provides the added benefit of allowing shutter speeds that may be fast enough to prevent subject motion blur.

Of course, it’s all relative. You go with the flow, and tailor your approach, prioritizing depth of field and motion control-or both equally, as the situation and your artistic sensibilities demand. The fast macro lens gives you that added flexibility.

And even though this is a macro lens, we don’t have to limit ourselves to shooting close-ups. Effectively a short telephoto, it has utility as a portrait lens. As a relatively fast telephoto, it can be used for street shooting and landscapes under low lighting conditions. I spent considerable time exploring these options and found that this macro lens indeed has lots of utility.

Sketch Artist. I didn't want to disturb this sketch artist as he was working on a portrait; so I avoided flash and shot wide open for a 1/125 sec exposure under open shade. That was sufficient to prevent the artist's hand from blurring, while focusing attention on his work (ISO 100). Copyright ©2009 Jack Neubart. All rights reserved.

A Closer Look

As with other popular macro optics in this focal length, this lens focuses to life-size magnification (1:1 reproduction ratio) without add-on extension. The lens employs two LD (low dispersion) glass elements to correct for various aberrations. According to Tamron, they employed new BBAR (Broad-Band Anti-Reflection) multi-layer coatings for optimum performance.

Lens Construction. The lens features low dispersion glass elements and exclusive coating technology to enhance optical performance. Courtesy of Tamron.

Moreover, internal coatings on cemented surfaces of lens elements are designed to enhance sharpness, while yielding superior color reproduction. It all seemed to work. The lens captured brilliant colors. It exhibited minimal vignetting at f/2. Image quality was only marginally degraded when shooting wide open, but was optimized at f/2.8 (arguably even at f/2.5).

The lens is on a par with other 60mm macro lenses in terms of size and weight, surprising, considering its fast aperture. In fact, it was well-balanced with the Rebel T1i-just heavy enough to keep a slightly downward tilt when the camera hangs from around your neck. That downward torque may also explain why it was so easy to shoot handheld under low lighting situations, or with slightly less than the optimum shutter speed, calculated by 1/(1.6 sensor factor x 60mm focal length) = 1/100, rounded off.

Head Shot. The wildly colored wig caught my eye when I came upon this mannequin head in a display case on the street. With enough light to expose at ISO 100, I shot wide open to blur out the surroundings and the second head, which gave me a 1/160 sec shutter speed, easily enough to prevent camera shake. Copyright ©2009 Jack Neubart. All rights reserved.

GOOD ENOUGH TO EAT. I photographed this tart through the display window of a gourmet bakeshop by available light, holding the camera firmly against the glass for this f/5.6 exposure. ©2009 Jack Neubart. All rights reserved.

More surprising still for a lens of this speed is the relatively small filter diameter: 55mm; a drop larger than some, smaller than others. More to the point, attach a circular polarizer and you can take advantage of internal focusing. Of equal importance, since the lens does not extend beyond the edge of the barrel, that’s added assurance that you won’t frighten timid creatures. And it makes it easier to use a ring flash.

In My Experience

There are too many factors to consider (in camera and lens) to judge AF performance objectively, but on the whole I’d say it was nominal-no better or worse than with my normal macro lens. Where this macro does falter is in manual focusing.

While the lens does offer AF with MF override, as well as full-time MF, manual focusing proved jerky and uneven. While I routinely preset focus at the closest setting for life-size shooting, I switch to AF when I feel conditions are suitable at greater shooting distances-close, but not that close.

When AF doesn’t work, I switch to manual, as I did when photographing live frogs behind glass in an exhibit at the American Museum of Natural History, NYC. The problem was that I couldn’t easily and quickly arrive at the optimum focusing point because the lens fought me every step of the way. By the time I had fine-tuned focus using this lens’s manual focusing ring, the frog had moved out of position. So I kept trying, and eventually succeeded.

Frog Close-up by Available Light. The smaller species of frogs, such as this poison dart frog, are constantly darting about, but sometimes pause long enough for a few exposures. To prevent camera shake (the lens was leaning against the glass--but often not very steadily, at an angle), I chose to shoot wide open and maximize shutter speed, which was still quite slow under these low light conditions (ISO 800, 1/15 sec). Of course, you can't expect to get more than one eye in focus in a head-on shot--but it sure looks menacing. Copyright ©2009 Jack Neubart. All rights reserved.

Frog Close-up by Flash. I was even able to shoot some poison dart frogs at or near life-size, when they were close enough to the glass. A ring flash--held off camera to prevent backscatter from the glass and glaring reflections in the frog's skin--gave me the depth of field I needed while freezing movement. Copyright ©2009 Jack Neubart. All rights reserved.

I didn’t let that experience dissuade me from trying to capture some very tight close-ups of flowers in a garden. Here I opted for ring lighting to bring as much detail into focus as possible, and in some cases using this lighting to highlight the bloom while letting light falloff create a black backdrop. In an entirely different scenario, on the streets of New York City in late afternoon, I encountered numerous situations that proved ideal candidates for this lens. They ranged from sculptures to a carriage horse and a sketch artist, as well as various scenic views.

Flower: Life-Size. I set the lens to the nearest focusing point for life-size captures and stopped down all the way to f/22 to maximize depth of field, while using a ring flash attached to the lens. I fine-focused by moving to-and-fro with the camera. Copyright ©2009 Jack Neubart. All rights reserved.

Flower with Black Backdrop. I used a ring flash, shooting at f/22 for this life-size capture. I stopped-down, not so much for depth of field as to limit the reach of the light and create a stark backdrop. Copyright ©2009 Jack Neubart. All rights reserved.

Carriage Horse. With the built-in flash on the Rebel T1i at the ready, I prepared to photograph a carriage horse from a fairly close distance. Suddenly the horse turned towards me--so I quickly grabbed the shot. I was amazed at the clarity. The eyelashes look as sharp as cactus needles. Copyright ©2009 Jack Neubart. All rights reserved.

Scenic View. Scenic views don't come to mind when using a macro lens, but don't limit yourself. I--again--took advantage of this lens's large maximum aperture for this shot of New York's Central Park. Copyright ©2009 Jack Neubart. All rights reserved.

Sculpture, Central Park. When I saw this colorful and mystifying sculpture, I had to shoot it. Okay, in this instance, perhaps a wide-angle might have let me shoot from a closer distance (without standing in the street, in the way of traffic), but the short telephoto focal length kept perspective more natural. Interestingly, the f/2 exposure let me shoot at 1/100 sec (ISO 100), enough to suspend motion. Copyright ©2009 Jack Neubart. All rights reserved.

Final Analysis

Overall, I was very impressed-although the problems I encountered with manual focusing did put a crimp in my unbridled enthusiasm. In particular, I liked the way this 60mm Tamron macro softly blurred out backgrounds, while keeping the subject (plane) tack sharp. I have to add that I was really blown away by the lens’s overall optical performance.

Selective Focus. Shooting at f/2 lets you selectively focus on one slice in the image plane while creating a soft blur of surrounding color in this exotic plant. You wouldn't know this was situated in the heart of a busy New York City thoroughfare. Copyright ©2009 Jack Neubart. All rights reserved.

Girl & Horse. I had come upon some bronze-like, life-size plaster sculptures on the street when the light was waning. Knowing flash would throw back glaring reflections, I opted to shoot by available light. I took advantage of that wide aperture to shoot handheld, using exposures as slow as 1/50th second (ISO 800). Copyright ©2009 Jack Neubart. All rights reserved.

Now, the caveats. For a 60mm, non-OEM macro, this glass is not cheap. In fact, at $569 in the Canon mount, it’s pricier than a comparable EF-S 60mm Canon macro-by almost $200.

However, Nikon’s AF-S 60mm Micro-Nikkor is only a few dollars less, making this lens more competitive. And while this Tamron macro does offer a fast f/2 maximum aperture, it loses a stop at the deep end, extending to only f/22, in contrast to f/32 on those other lenses.

It’s a trade-off, but one that’s easy to accept, especially if you prefer shooting by available light. But, I keep coming back to image quality, and based on that alone, I’m sold.

Optical Performance. You can just barely detect some loss in image quality at f/2 in this image of a bank note. For all practical purposes, don't let that stop you from shooting wide open with this lens. (Unsharpened JPEG capture; ISO 100; camera on tripod). Copyright ©2009 Jack Neubart. All rights reserved.

For more information: Visit Tamron
Street price: B and H: $569 (Canon mount); Amazon (Canon mount): $569 Tamron AF 60mm f/2.0 SP DI II LD IF 1:1 Macro Lens for Canon Digital SLR Cameras
Technical Specifications: Tamron SP AF60mm F/2.0 Di II LD 1:1 Macro (model G005)
Lens Construction: 10 groups/14 elements
Angle of View: 26 ° 35′ (APS-C size equivalent)
Diaphragm Blade Number: 7
Minimum Focus Distance: 9.1 in. (0.23m)
Macro Reproduction Ratio (max.): 1:1
Filter Diameter: 55mm
Weight: 14.1oz. (400g) (Nikon mount)
Size (Diameter x Length): 2.9 x 3.15 in. (73 x 80mm)
Accessory Included: Lens hood
Mount: Canon, Nikon (with built-in AF motor) and Sony

Peter Burian tests five lenses with great light gathering ability: the Canon EF 70-200mm f/4L IS USM, Tamron AF 70-200mm f/2.8 Di LD (IF) Macro, Tokina AF 50-135mm f/2.8 AT-X Pro DX, Nikon 17-55mm f/2.8G ED-IF AF-S DX and the Sigma AF 30mm f/1.4 EX HSM DC

Because most digital SLR camera owners demand compact, lightweight lenses, the vast majority of zooms feature a small maximum aperture. A typical kit lens is designated as f/3.5-5.6 indicating that the maximum aperture is quite small at the short end and becomes very small at longer focal lengths. In practical terms, that translates to moderate light gathering ability. The larger the numeral the smaller the opening in the lens and the less light that will reach the camera’s digital sensor.

A wide aperture lens is ideal for fast shutter speeds in low light conditions when you cannot use flash or a tripod. Shooting at f/2.8 allowed me to get many sharp photos at 1/125 sec. during a stage performance, using ISO 1000. With a more typical (smaller) aperture, much higher ISO levels would have been required for the same shutter speed and the images would have been seriously degraded by digital noise. (Nikon 17-55mm at f/2.8.) (c) 2009 Peter K. Burian

On the other hand, some lenses feature a much wider maximum aperture such as f/2.8, an even wider f/1.8 or an incredibly wide f/1.4. These can transmit a great deal more light providing a variety of benefits discussed in a moment. For this Review, I decided to test four very popular models of this type (including a fixed focal length lens) and a one with a maximum aperture of f/4. While f/4 is not a particularly large aperture, it is constant with the Canon EF 70-200m f/4L IS USM lens and does not diminish in size as you zoom.

Wide Aperture Benefits

Most professional photographers and serious photo enthusiasts prefer wide aperture lenses for their greater light-transmitting ability. The amount of light reaching the film or digital sensor is not usually an issue on bright, sunny days. But in low light situations, the wider aperture allows for shooting at a faster shutter speed –such as 1/60 sec. versus 1/8 sec.– without the need to set a very high ISO level. That’s why lenses of this type are called “fast”. They can be valuable in producing sharper photos with less blurring from camera shake and/or subject motion.

While it’s possible to shoot at fast shutter speeds with any lens at a high ISO level, it’s great to do so at a lower ISO level where image quality is not degraded by digital noise. Check out the illustration below, for example, and you’ll appreciate the value of a faster lens at ISO 100. Granted, an image stabilizer can also provide sharper photos at fairly long shutter speeds, but when the subject is moving, a wide aperture lens is still very useful for preventing motion blur.

As these examples--made at apertures from very wide to moderately wide--confirm, the shutter speed is substantially faster at f/1.4 than at the more common apertures at any ISO, minimizing the risk of blurring caused by camera shake. (Sigma 30mm f/1.4; ISO 100.) (c) 2009 Peter K. Burian.

In addition to that aspect, there are three other benefits that are available with many “fast” lenses:

• Superior Quality: Because most wide aperture lenses are prosumer grade products, they usually feature very rugged construction, superior mechanisms and high-grade optical elements. Often, image quality is excellent at the commonly used f/stops, from about f/4 to f/11.

• More Effective Focusing: A wide aperture transmits a great deal of light, making manual focusing easier in dark locations, such as a theatre, a cathedral or a castle. Autofocusing is also quicker and more reliable in low light because a “fast” lens transmits more light to the camera’s AF sensor. This can make autofocus possible in situations where the camera would balk if you were using a more typical f/4-5.6 zoom.

• Shallow Depth of Field: Because very wide apertures (small f/numbers) provide less depth-of-field only the focused area will appear sharp in a photo. Especially at focal lengths of 135mm or longer–particularly in close focusing–it’s possible to render a cluttered background as a soft blur of color. A subject that’s sharply framed against a soft backdrop will immediately attract and hold the viewer’s attention. Be sure to focus very carefully however–on the most important subject element, such as an eye in a portrait–to ensure that it will be sharply rendered.

The Five Contenders

Moving on to specific products, let’s take a look at the four lenses with very wide maximum apertures and the fifth, an f/4 zoom with a built-in image stabilizer. That system can compensate for camera shake to prevent blurring caused by hand and body tremors; hence, there’s less need for an ultra wide aperture for faster shutter speeds.

Not all of the five lenses were available at the same time, but I tested each extensively both indoors and out. In order to take full advantage of their wide maximum apertures, I sought out events taking place in low light as well as others that allowed for shooting at mid-size apertures for optimal image quality. Some of these products are designated as multi-platform: suitable for 35mm film cameras and DSLRs regardless of the sensor size. The others were designed for use with the “smaller” sensors that are used in the vast majority of DSLR cameras.

Canon EF 70-200mm f/4L IS USM

Intended for those who find Canon’s f/2.8 model too large, heavy and expensive, the 70-200mm f/4L IS USM zoom Canon EF 70-200mm f/4 L IS USM Lens for Canon Digital SLR Cameras is more compact and hence more affordable (under $1200). The maximum aperture is a bit smaller however so you won’t get all of the advantages of a very “fast” zoom discussed in the introduction. Still, f/4 is wider than average in the telephoto zoom category and this lens is equipped with an image stabilizer (IS). By compensating for camera shake, that mechanism minimizes the need to use fast shutter speeds–and hence, high ISO levels–for blur-free photos.

A maximum aperture of f/4 is not very wide, at least when compared to f/2.8, but it does allow for a much smaller/lighter zoom lens. Also, the Image Stabilizer does reduce the need for a fast shutter speed re: blur from camera shake but provides no value in terms of "freezing" motion. (At f/4, 1/200 sec., ISO 1600, 70mm.) (c) 2009 Peter K. Burian

This multi-platform Canon lens is quite portable although the over-sized hood does make it seem large. The off-white metal barrel is very rugged, beautifully finished and water/dust resistant. The barrel never rotates or protrudes so constant balance is maintained. Rotate the wide rubberized zoom and focus rings and you’ll find very smooth operation with a lot of friction: not a loose, sloppy feel. Thanks to internal focusing and zooming the barrel never protrudes or rotates.

The USM designation indicates an Ultrasonic Motor for super fast, silent autofocus. The designers specified high grade optical components including a piece of (very expensive) fluorite glass and another Ultra Low Dispersion (UD) element. The combination is remarkably effective in correcting chromatic aberration. In practical terms, they force all wavelengths of light to focus on the film or digital sensor, ensuring optimal sharpness–and minimizing “purple fringing” around subject edges–even at f/4. (Full Specifications are available at Canon USA.)

Evaluation: Although Sigma, Tamron and Nikon also make some lenses with stabilizer systems, this was the only one of the five to include a camera shake compensating device. The Canon 70-200mm f/4 zoom provides two stabilizer modes: one is for use with static subjects and another for panning with a subject moving across your line of vision. Even at 200mm–a 320mm equivalent with most EOS cameras–I was able to get many sharp photos at 1/50 sec. No stabilizer can freeze motion however, so a higher ISO level is still required for fast shutter speeds with an f/4 lens versus an f/2.8 lens.

At the commonly used apertures, the Canon lens produced exceptional image quality. As a bonus, its Ultrasonic AF system provided a high success ratio of sharply focused shots in action photography; roughly 90% of my images from this event are sharply focused. (At f/7.1, 1/1000 sec., ISO 400, 121mm; Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

Autofocus was equally impressive: lightning fast, nearly silent and very reliable in tracking erratic motion during a triathlon. At every zoom setting and focused distance, my images are sharp across the entire frame. As you might expect from the L designation (for “luxury”) this zoom produced very high resolution of intricate detail even at f/4; the images look great as 12×18″ prints. There’s no obvious softness–or any darkening–even in the corners. Images made at f/5.6 to f/11 are even better, suitable for gallery-quality 15×22″ prints.

This was my favourite of the five tested because it’s a fine all-around performer in terms of autofocus, optical quality and the effectiveness of its stabilizer. If the price exceeds your budget, check out the Canon EF 70-200mm f/4L USM model Canon EF 70-200mm f/4L USM Telephoto Zoom Lens for Canon SLR Cameras without the IS designation. That older zoom does is not equipped with a stabilizer and it’s not as weather-resistant but provides almost the same level of performance for about $400 less. Those appreciate the significant benefit provided by a stabilizer system will want to save up in order to buy the newer IS-designated version.

Pro’s and Con’s: Several factors make this a very desirable lens: the stabilizer, ultrasonic AF, the pro caliber optical formula and the tough, weather-resistant construction. On the other hand, the Canon zoom is expensive for an f/4 model and the tripod mounting collar is an extra cost option. Opteka makes an affordable tripod mount, but I cannot vouch for the quality of that accessory.

The Canon version (A II W) is excellent of course, but it adds $150 to the price of the lens.

Tamron SP AF 70-200mm f/2.8 Di LD (IF) Macro

Replacing a larger, heavier 70-210mm f/2.8 Tamron model, this multi-platform Tamron Di zoom (Tamron AF 70-200mm f/2.8 Di LD IF Macro Lens for Canon Digital SLR Cameras) benefits from much closer focusing ability and a “clutch” that allows for quickly switching from AF to manual focus. Extensive use of multiple layers of chemical coatings plus an over-sized lens hood minimize flare from a highly reflective digital sensor and also from external light sources. Three large low dispersion (LD) elements correct optical aberrations which would otherwise degrade image quality especially at f/2.8 and at f/4.

The wide f/2.8 aperture was very useful for fast shutter speeds--such as 1/160 sec. to freeze motion--during a stage performance where flash and tripods were prohibited. For this shot I used ISO 800. With a "slower" lens, a much higher ISO level would have been required: ISO 1600 at f/4 or ISO 3200 at f/5.6. (At 70mm, f/2.8.) (c) 2009 Peter K. Burian

A high-grade product, this zoom features a very rugged barrel finished in matte black and a (removable) metal tripod mounting collar. It’s compatible with Tamron’s 1.4x and 2x teleconverter, accessories that can extend the focal length into super telephoto category. The extra wide rubberized focusing and zoom rings provide a solid, familiar feel, with plenty of friction. Because the lens barrel does not protrude during zooming or focusing, weight distribution always remains constant. That’s particularly important when this hefty lens is used on a tripod.

Evaluation: The advanced optical formula provided images with snappy contrast as well as remarkably high sharpness across the entire frame. Optimal performance was provided in the 70mm to 140mm range at f/8 but I never hesitated to shoot at f/2.8 at any focal length for fast shutter speeds. By f/4, edge sharpness–and edge brightness–were excellent; the photos are suitable for making 14×21″ prints of stunning quality. Even images made at f/2.8 allowed me to make very good 12×18″ prints. That’s a fine achievement for a relatively affordable ($800) lens, qualifying this Tamron model as a “best value” in its category.

The Tamron zoom produced very high image quality at f/8 at all apertures and focal lengths. Autofocus (with an EOS 40D) was quite fast and reliable with action subjects; roughly 70% of my photos from this event were sharply focused. (At 200mm, f/8, ISO 400; Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

This lens can provide an impressive 0.32x magnification in close focusing at 200mm. In images of colorful blossoms, sharpness was excellent, particularly in the f/5.6 to f/16 range. While an ultrasonic motor might make autofocus even faster, I was able to get many sharp photos during a marathon and a horse jumping event. Autofocus failed occasionally but the overall performance was fine. In low light, AF remained reliable because the wide aperture transmitted a lot of light to the autofocus sensor.

The close focusing ability of the Tamron zoom was useful for frame filling images of moderately large nature subjects. Image quality was very good at f/11 and f/16, apertures that I often used for adequate depth of field. (At 200mm, f/11, ISO 400.) (c) 2009 Peter K. Burian

The f/2.8 aperture and solid construction do make this lens somewhat large and heavy at 41 oz. (Full specifications are provided at Tamron; the model for Nikon includes a built-in focus motor.)

Many families would prefer the more portable 19.5 oz. Tamron 18-270mm f/3.5-6.3 Di II VC LD Aspherical IF Macro model (about $630) Tamron AF 18-270mm f/3.5-6.3 Di II VC LD Aspherical IF Macro Zoom Lens for Canon DSLR Cameras–with built-in image stabilizer–in spite of its much smaller maximum apertures. Although not intended for everyone, Tamron’s 70-200mm f/2.8 zoom will certainly satisfy demanding photographers. Considering its level of performance–and the surprisingly affordable price–it offers excellent value. Used with serious shooting techniques, the lens will pay dividends in terms of professional caliber images.

Pro’s and Con’s: This rugged Tamron lens offers excellent value for an f/2.8 tele zoom and it provides higher magnification than average in close focusing. On the other hand, it’s larger/heavier than the EF 70-200mm f/4 zoom, but that’s relevant only to owners of Canon SLR’s. (Only one other current telezoom of a major brand features a constant maximum aperture of f/4, the huge Sigma APO 100-300mm f/4 EX DG HSM lens Sigma 100-300mm f/4 EX DG IF HSM APO Fast Aperture Telephoto Zoom Lens for Canon SLR Cameras.) While autofocus would be faster if the Tamron lens included an ultrasonic motor, AF performance is fine as is, except for serious sports photographers.

Tokina AF 50-135mm f/2.8 AT-X Pro DX

Designed strictly for DSLR cameras with the typical “small” sensors, this 50-135mm zoom ($530) does not provide as much “reach” as the 70-200mm models but it does include some shorter focal lengths. It’s quite compact and not very heavy but still meets pro standards in terms of all-metal construction and the quality of the focus/zooming mechanisms. A “clutch” allows for quickly shifting between AF and manual focus by moving the focus ring about one centimeter. The metal tripod mounting collar is not removable so its weight is reflected in the specifications for the lens.

While a longer 70-200mm zoom is more useful for some purposes, the 50-135mm Tokina lens provided an 80-216mm equivalent on an EOS digital SLR; that's plenty for many types of subjects. The wide f/2.8 aperture allowed me to shoot at ISO 1000 even when I needed to use a shutter speed of 1/250 sec. in low light; my letter size prints are excellent. (At 62mm, f/2.8.) (c) 2009 Peter K. Burian

This f/2.8 Tokina zoom is equipped with three Super Low Dispersion (SD) glass elements to correct for chromatic aberrations and to focus all colors of light accurately at the sensor plane. Note too, that Tokina employs a new type of coating on the front element; this makes it very easy to remove fingerprints and water droplets. Extensive use of multi-layer chemical coatings plus an over-sized lens hood combine to minimize flare for snappy contrast even in strong side-lighting. (Check the full Specs at THK Photo Products, Inc.. This lens is available in EOS and Nikon mount.)

This is another lens with internal focusing and zooming; the front element does not rotate and the barrel never protrudes. This design–and the very wide maximum aperture–helps to accelerate autofocus. While it’s not equipped with an ultrasonic AF motor, I found that autofocus was quite quick and reliable. This 80-216mm equivalent zoom is too short for most action photography but it is compatible with the Kenko Pro 1.4x and 2x teleconverter; those accessories would make it more versatile.

Evaluation: The mechanical and optical materials are really first-rate so there’s no need to use specific apertures or focal lengths for optimal image quality. This level of consistency is a sign of a very well designed lens. While there is a bit of shading (darkening at the corners), that’s noticeable only at f/2.8 and f/3.5. Clarity, sharpness and resolution of fine detail are all very good, particularly from f/4 to f/11. My best images made for richly-detailed 12×18″ prints that look great even under close scrutiny.

The Tokina zoom produced very fine image quality at f/4 to f/11 at any focal length, so the resulting images made for excellent prints in sizes up to 12x18". While this lens is not equipped with a focus motor, that's a problem only for owners of certain Nikon DSLRs. (At 62mm, f/10, 1/200 sec., ISO 400; flash.) (c) 2009 Peter K. Burian

The manufacturer of Tokina lenses (the Tokina, Hoya, Kenko consortium) is not as prolific as Sigma and Tamron in introducing many new products each year. The 50-135mm f/2.8 zoom, for instance, was released in November 2006 and the model for Nikon does not include the motor required for autofocus with the D40, D40x, D60, D5000 and future affordable Nikon DSLRs. (Some of the newer Tokina lenses are equipped with the focus motor so they provide AF with any DSLR.) In all other aspects the Tokina brand definitely deserves your consideration. Like every AT-X zoom I have tested since 1999 the 50-135mm lens should certainly satisfy many serious shooters.

Pro’s and Con’s: This lens’ strong points include an all metal barrel, three high-grade SD elements and a high degree of consistency at all apertures/focal lengths. Drawbacks include the lack of ultrasonic AF and the AF motor necessary with some Nikon cameras; note too, that the tripod mounting collar is not removable as it is with the longer zooms, so it always adds slightly to the weight of the lens. Still, the Tokina 50-135mm f/2.8 zoom is relatively compact/lightweight, especially when compared to a 70-200mm lens.

Nikon 17-55mm f/2.8G ED-IF AF-S DX

A “standard” zoom with a wide maximum aperture, this lens Nikon 17-55mm f/2.8G ED-IF AF-S DX Nikkor Zoom Lens was designed to attract professional photographers who often shoot in low light. Built to withstand extensive use under difficult conditions, the rugged all-metal barrel includes three Extra-low Dispersion (ED) glass elements plus three aspherical to correct all types of optical aberrations and distortion. An over-sized lens hood plus extensive multilayer coating provide very effective protection against flare.

Fit and finish are first-class in all respects. The wide, rubberized focus and zoom rings provide buttery-smooth operation with lots of friction. The internal barrel does protrude slightly at the 17mm zoom setting but does not rotate during focusing. Rubber seals provide protection against moisture, extreme humidity and dust. Internal focusing plus an ultrasonic Silent Wave Motor (SWM) enable unusually fast autofocus; manual override is possible in AF mode. Particularly when used with a high-end DSLR (with a superior AF system), this wide aperture lens provides instant focusing even in low light.

Even at the maximum aperture required for fast shutter speeds in low light, the Nikon zoom provides unusually high sharpness/resolution in the central 2/3 of the image area. In fact, at wide apertures, this is one of the best "standard" zoom lenses that I have ever tested. (At 26mm, f/2.8, 1/180 sec., ISO 1600.) (c) 2009 Peter K. Burian

Evaluation: As you might expect from a lens used by numerous photojournalists and other professionals, this one can provide superlative image quality. Particularly in the 28-55mm range, sharpness is very high in the central two-thirds of the image area even at f/2.8. In the f/4 to f/11 range, edge sharpness and brightness are excellent as well; the images would be perfect for making 16×24″ outputs for publication or for wall decor. Even at the shorter focal lengths, the Nikon lens provides fine performance; images made at 17mm to 27mm at f/4 to f/11 produced very good 13×19″ inkjet prints.

Stopping down to the f/4 to f/11 range allowed the Nikon lens to provide impressive quality across the entire frame at short focal lengths, and even better in the 28-55mm range. (At 17mm, f/f/10, 1/20 sec. Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

This Nikon zoom is large/heavy but well-balanced when used with a hefty camera like the D300. Unless you need a pro-calibre f/2.8 zoom, you might be just as happy with Nikon’s AF-S DX 16-85mm f/3.5-5.6 ED VR II. That lens costs about half as much and is smaller/lighter, more versatile and includes an image stabilizer; it’s also capable of providing very fine image quality. On the other hand, an aperture of f/2.8 is valuable in low light, for faster shutter speeds that will more effectively “freeze” a moving subject without the need for a higher ISO level.

Pros and Cons: Aside from the size/weight this Nikon zoom is just about perfect in terms of construction, optical technology and autofocus. Considering the upscale price (about $1400) however, I would also have appreciated a Vibration Reduction stabilizer. Optical performance could be even better at short focal lengths, I suppose, but that’s probably nitpicking.

Sigma AF 30mm f/1.4 EX HSM DC

One of the relatively few f/1.4 lenses designed exclusively for DSLRs with “small” sensors, this 30mm model Sigma 30mm f/1.4 EX DC HSM Lens for Canon Digital SLR Cameras features a huge maximum aperture; it’s two stops wider than f/2.8. That’s interesting but consider the practical value: when using the same ISO level, this lens allows for shooting at a shutter speed that’s four times faster. Compare this Sigma lens to one with a maximum aperture of f/5.6 and the f/1.4 lens allows you to shoot at a shutter speed that’s sixteen times faster. That’s great for low light photography when a tripod or flash is prohibited or impractical.

As with any f/1.4 lens, depth of field is extremely shallow at f/1.4 in close focusing so only the focused plane is really sharp. That's due to an optical characteristic and is not a performance issue. Granted, the Sigma lens does provide better results at smaller apertures, but f/1.4 can be very useful in low light photography. (At f/1.4.) (c) 2009 Peter K. Burian

Photographers who use film camera often own a wide aperture 50mm lens and this 30mm lens is roughly equivalent to that because of the smaller DSLR sensors. Optical aberrations can seriously degrade image quality at f/1.4 to f/2 so this lens includes two pieces of Special Low Dispersion glass plus two Aspherical elements. In order to maximize autofocus speed, Sigma installed their Hyper Sonic Motor for very fast, silent autofocus with Canon, Nikon or Sigma DSLRs. Because the huge aperture transmits a great deal of light to the camera, autofocus is reliable even in dark locations.

Note: A nearly identical model is available in Sony/Maxxum and Pentax mounts but does not include the Hypersonic AF motor so autofocus is not as fast or as quiet. (The full Specs are available at Sigma)

Although this lens with metal barrel is larger/heavier than you would expect, it’s still very portable when compared to most zooms. The wide, rubberized focus ring has a smooth action and the front element does not rotate. Manual focus override is possible in AF mode, convenient for quickly making minor changes when necessary. Because of the unusually wide lens aperture, the viewfinder provides a particularly bright view of a subject even in low light and autofocus remains quite fast.

Evaluation: In order to maximize the lens’ primary feature, I often worked at f/1.4 to f/2 while taking photos at various indoor events. At these f/stops, image quality is highly acceptable but not perfect. Sharpness in the central 60% of the frame is very good but there’s some obvious softness at the edges. Darkening at the corners is noticeable in photos of light-toned subjects but it’s not really visible with more typical scenes. After some work in Photoshop, my best shots made for very nice 8×10″ glossies.

At the most commonly used apertures, the Sigma lens produced excellent image quality; in fact, it's better than many zoom lenses in this respect. (At f/9, 1/50 sec., ISO 100; Hoya digitally optimized Circular Polarizer.) (c) 2009 Peter K. Burian

Switching to f/4 provides more even brightness and sharpness across the frame. Optimum quality is available at f/8, suitable for making very good 13×19″ glossies. While some of the Sigma EX-series zooms provide even better results — and greater versatility in focal lengths — none feature an aperture wider than f/2.8. And that’s what makes an f/1.4 lens preferable as a problem solving tool. If you often shoot in dark locations where flash and a tripod are not practical, this compact Sigma lens deserves a spot in your camera bag.

Pro’s and Con’s: This is a fine lens particularly at the most commonly-used apertures and autofocus is very fast in the models equipped with the HSM motor. While edge sharpness/brightness could be better at very wide apertures, the Sigma f/1.4 model offers good value for the price (under $450), considering it’s high-grade construction and optical elements.

The Bottom Line

Not everyone needs a large, heavy and pricey “fast” lens because many zooms–and some DLSR bodies–incorporate an image stabilizer. That system reduces the need for fast shutter speeds to prevent blurring from camera shake. Granted, the faster shutter speed provided by a wide aperture is valuable in a lens that will be used for action photography. In any event, I’ll summarize my findings briefly, as follows.

The Tokina 50-135mm f/2.8 zoom is too short for that purpose unless used with teleconverters and those are not inexpensive. Still, this would be a fine choice for anyone who appreciates the focal length range available with this rugged, reasonably affordable and compact f/2.8 lens.

The Tamron and Canon 70-200mm models are fine performers with the latter holding an edge in terms of portability, AF speed/reliability, some aspects of image quality and its built-in stabilizer. But the Tamron zoom’s f/2.8 aperture is more attractive for low light photography and for those who often use a teleconverter.

The Nikon 17-55mm zoom and the Sigma 30mm lens are not directly comparable to any of the others and they’re not “mass market” products. But if you often shoot indoors without flash or a tripod, the Sigma model might be worth considering. While image quality is best at smaller apertures, the ability to shoot at f/1.4 can be a valuable problem-solver in some situations. As suggested earlier, a more affordable Nikon zoom with Vibration Reduction stabilizer might be more appealing to many shooters than the expensive f/2.8 model that I tested. The pro grade zoom certainly has merits of course and it would be a fine choice for those who need tank-like construction and often photograph moving subjects in low light.

Since the vast majority of digital SLR cameras employ a relatively small sensor, there’s a definite need for very short lenses for an expansive angle of view. Hence, Tamron’s highly-rated 11-18mm f/4.5-5.6 Di II zoom has been a best seller among serious photo enthusiasts who appreciate ultra wide angle images. In my tests, that zoom produced beautiful results, but the new 10-24mm model is even better in some respects.

Tamron SP AF 10-24mm

Like its predecessor, this f/3.5-4.5 lens is extensively optimized for digital capture but it boasts some noteworthy benefits, as well. The focal length range has been expanded for greater versatility but the size/weight remained moderate. While the greatest benefit is at the long end, the ability to shoot at 10mm vs. 11mm provides an obvious increase in angle of view: from 103 º to 108 º (diagonal). The maximum apertures are slightly wider too, making the newer lens preferable in dark conditions. The additional light transmission provides a faster shutter speed at any ISO and also makes manual focusing easier, thanks to the brighter viewing screen.

While an 18-55mm (or similar) kit lens can certainly provide a true wide angle image (with a 75 degree angle of view) the Tamron 10-24mm zoom holds the potential for a more expansive image with an ultra wide (108 degree) field of view. This aspect can be a definite advantage in both technical and creative photography. (At 10mm; f/13; super multi-coated slim Circular polarizer.) © 2009 Peter K. Burian

The Tamron designers specified an even more impressive optical formula to minimize aberrations and distortion. This 10-24mm lens includes a high-precision, large-aperture glass-molded aspherical element, three hybrid aspherical elements, two pieces of Low Dispersion glass plus a High-refractive Index glass element. This combination should minimize distortion and optical aberrations while optimizing resolution and colour rendition. This design also controls light fall-off (darkening) at the edges, while extensive use of multi-layer coatings (as with all Di and Di-II lenses) minimizes flare. All of that paid off as I discovered while making numerous images of architecture, events and nature subjects with a Nikon D5000 camera.

Physical Characteristics

This short lens, with a metal mount, is relatively compact and lightweight for an ultra wide but feels very solid. Even when it’s zoomed to a full 24mm, there’s minimal extension; the internal barrel protrudes by only an extra 0.4 inches, so weight balance is maintained. The very wide zoom ring is rubberized and its action is silky smooth and precise. As with most variable-aperture zooms, there’s no depth of field scale but the focused distance is marked in feet and meters. The focus ring rotates 90 degrees from infinity to 9.4 inches, but requires only a 10 degree shift to switch from infinity to 3 feet, a more common focusing requirement.

Battle of Longwoods (1814) Re-enactment 2009, Thames Valley, ON. Very versatile in terms of its focal length range, the 10-24mm lens is an ideal choice for anyone who owns a D SLR with the typical APS-C size sensor. (At 10mm--and at 24mm below; f/13; Nikon D5000; super multi-coated slim Circular polarizer.) © 2009 Peter K. Burian

At 24mm below; f/13; Nikon D5000; super multi-coated slim Circular polarizer.) © 2009 Peter K. Burian

When used with a Nikon, Sony or Pentax DSLR with the typical 23.6×15.8mm sensor, the new lens provides 15-36mm equivalent focal lengths. On an EOS camera with the 22.2×14.8 mm sensor, it’s a 16-38.4mm equivalent. That should certainly satisfy most photographers who appreciate an extremely wide angle of view. Do note that a conventional polarizer will cause vignetting (darkening of the corners) at the shortest focal lengths. As with any ultra wide lens, it’s best to use a slim-mount filter, preferably one of very high quality, also fully optimized for digital capture.

The Tamron ultra wide zoom has a very short minimum focus distance and it's worth moving in unusually close to some subjects. This technique can exclude extraneous elements while providing interesting effects. (At 18mm; f/20 for extensive depth of field.) © 2009 Peter K. Burian

This 10-24mm lens features Tamron’s micro-motor for autofocus with the Canon and Nikon mount DSLRs. This ensures that AF is available with all of the cameras, including Nikon bodies without their own focus motors: the D40/D40X, D60 and D5000. (The models for DSLRs of other brands do not require an AF motor since all of the cameras are equipped with their own motors.) The focus ring does rotate but the lens barrel is adequately long for a comfortable grip without impeding the ring’s movement. Autofocus is fast/responsive for a lens of this type and the motor produces a gentle hum that is certainly not distracting.

Optical Evaluation

As you would expect from the exotic glass used in this Tamron 10-24mm lens, performance was excellent in many aspects. Outdoors on sunny days, the multi-layer coatings and the lens hood prevented flare except in extremely bright side lighting. All ultra-wide zooms produce some light falloff at the edges of the frame, but that’s well controlled here, not problematic by f/5.6-6.3. At the most commonly used apertures of f/8 to f/16, the slight fall-off in edge brightness is rarely noticeable even in wide angle shots that include the sky.

The "optical sweet spots" for this lens, f8 and f/11 are ideal apertures for the best possible image quality. They also provide adequate depth of field for most scenes, often a desirable characteristic in ultra wide photos. (At 10mm; f/11; Nikon D5000 with Active D-Lighting; super multi-coated slim Circular polarizer.) © 2009 Peter K. Burian

Linear distortion is surprisingly low for a lens with such extremely short focal lengths. In fact, I have experienced more barrel distortion (bowing outward of lines near the edge of the frame) with some 18-55mm zooms. While any lens can produce photos with “distorted perspective” when it’s tilted upward to include an entire building, that effect is caused by shooting technique. If you want lines to be accurately rendered, hold the camera so the back is perfectly parallel to the subject’s plane.

Church of Our Lady Immaculate, Guelph, ON. Like all lenses, the 10-24mm Di-II zoom produces "distorted perspective" when tilted upward or downward. This effect -- either "unnatural" or "dramatic", depending on your personal opinion -- is caused by shooting technique and not by any optical flaw. In fact, this Tamron ultra wide zoom is very well corrected for linear distortion such as "barrelling".(At 10mm; f/3.5) © 2009 Peter K. Burian

Images made at the very widest apertures exhibited some softness, particularly at the edges of the frame. This effect was most obvious at 19mm to 24mm; at these focal lengths, it’s definitely worth stopping down to f/8. If you must shoot at wide aperture, you’ll want to make some modifications using Unsharp Mask or Smart Sharpen in software; the images respond well to these filters. Frankly, with a short lens such as this, the most frequently-used apertures are f/8 to f/16. At these f/stops image quality is superb across the entire frame, especially in the 10-18mm range. My technically best JPEGs made 13×19″ prints that look stunning when matted and framed.

While a zoom of this type is often used at f/8 to f/16, it's occasionally necessary to shoot at a wide aperture for a fast shutter speed in low light or with a moving subject. Photos made at the longer focal lengths may then appear slightly "soft" but they respond well to sharpening filters in Photoshop or other software. (At 24mm; f/6.3.) © 2009 Peter K. Burian

The Bottom Line

Any DSLR owner who is frustrated by the inability to make ultra wide photos would definitely appreciate the 10-24mm Di-II zoom. It’s very useful for including large groups of people in a single shot but also for more creative images: dynamic wide angle perspectives with a powerful near/far relationship and extensive depth of field. My advice is to move in as close as possible to the primary subject. Avoid recording numerous elements which would compete for viewer attention; try to create photos with a clear message.

Although some photo enthusiasts consider an ultra wide angle zoom only for landscapes or architecture, it's useful for a broader variety of applications. For the best results, move in close to the primary subjects and try composing in a manner that will exclude most of the unrelated elements in the area. (At 10mm; f/16; super multi-coated slim Circular polarizer.) © 2009 Peter K. Burian

Practice, search for suitable subject matter and try unusual viewpoints to exercise your creativity. Whether for unique photographs or for problem-solving in tight quarters, this Tamron ultra wide angle zoom will surely prove to be a suitable investment.

SPECIFICATIONS: Tamron SP AF 10-24mm f/3.5-4.5 Di-II LD Aspherical [IF] Zoom

Construction: 12 elements in 9 groups
Angle of View: (Diagonal)108 °44′ to 60 °20′
Minimum Focus Distance: 9.4″; 0.24m
Maximum magnification: 0.196x (1:5.1) at 24mm
Filter Size: 77mm
Size/Weight: 3.1inx3.9″ (83.2mm x 86.5mm); 14.3 oz. (406g)
Accessory: Flower shaped (corner-cut) lens hood
Mounts: Canon and Nikon with micro motor; autofocus works with all DSLRs; Pentax and Sony mounts to be available soon
Compatibility: Small sensor DSLRs of relevant brands; Sony and Nikon full-frame DSLRs but in-camera cropping will reduce image size/resolution
Average “Street Price”: Under $900; see Tamron AF 10-24mm f/3.5-4.5 SP Di II LD Aspherical (IF) Lens for Nikon AF with Built-in Motor Digital SLR Cameras

Get information and user reviews for this lens from Amazon: Tamron AF 180mm f/3.5 Di SP A/M FEC LD (IF) 1:1 Macro Lens for Konica Minolta and Sony Digital SLR Cameras

Photo Zone

The Tamron AF 180mm f/3.5 SP Di LD [IF] macro offers a near-flawless performance. Optically it doesn’t leave anything to be desired – the resolution is very good to excellent from f/3.5 all the way down to f/16 and vignetting, CAs and distortions are non-issues in field conditions. The bokeh (out-of-focus blur), a primary aspect in macro photography, is very smooth and buttery. The build quality of the Tamron is very good but there is one bug – the lens has no focus limiter and the rather slow AF combined with AF hunting can be a frequent and rather tiresome experience. Thanks to a focus clutch mechanism you can switch between AF and MF as easy as pushing/pulling the focus ring so if necessary you should give the AF a better hint by manual pre-focusing. Other than that it is a really impressive lens. READ FULL REVIEW

Other Tamron 180mm f/3.5 SP Di LD [IF] Macro AF Reviews

Photo Zone (Canon Mount Tested)

The Tamron AF 180mm f/3.5 SP Di LD [IF] macro offers a near-flawless performance. Optically it doesn’t leave anything to be desired – the resolution is very good to excellent from f/3.5 all the way down to f/16 and vignetting, CAs and distortions are usually non-issues in field conditions. The bokeh (out-of-focus blur), a primary aspect in macro photography, is very smooth and buttery. The build quality of the Tamron is very good but there is one bug – the lens has no focus limiter and the rather slow AF combined with AF hunting can be a frequent and rather tiresome experience. Thanks to a focus clutch mechanism you can switch between AF and MF as easy as pushing/pulling the focus ring so if necessary you should give the AF a better hint by manual pre-focusing. Other than that it is a really impressive lens. READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.  Get information and user reviews for this lens from Amazon: Tamron AF 17-35mm f/2.8-4.0 Di LD SP Aspherical (IF) Ultra Wide Angle Zoom Lens for Nikon Digital SLR Cameras

Photo Zone

The Tamron AF 17-35mm f/2.8-4 Di LD Aspherical IF SP proved to be a very decent standard zoom lens within the tested APS-C DSLR scope. The resolution figures are excellent in the center of the image and good to very good at the borders. Distortions are very pronounced at 17mm but very moderate otherwise. Typical for full frame lenses vignetting is very well controlled. CAs are a little on the high side specifically at 24mm. The build quality is generally pretty good but the direct competition does a little better job in this respect. When shopping for a new lens the Tamron AF 17-50mm f/2.8 SP may be a tad better and more versatile in terms of focal length range but without full format capabilities. If you prefer to have a lens living in both camps the AF 17-35mm f/2.8-4 Di SP may be still worth a deeper look. READ FULL REVIEW

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SLR Gear

The Tamron 17-35mm f/2.8-4 SP is a really excellent lens at a very affordable price. It suffers from soft corners wide open at maximum wide angle (somewhat less so at longer focal lengths), but closing the aperture just one f-stop dramatically improves sharpness, making it a very f/4-5.6 wide zoom. Close down one stop more, and sharpness is excellent by any standard. The Tamron 17-35mm f/2.8-4 SP represents an excellent bargain for sub-frame shooters. Wide open it’ll be a little soft in the corners, but just one stop down, it turns into a real jewel of a lens at a very affordable price. We don’t recommend it for full-frame usage. READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Photo Zone

When used with care the Tamron 500mm f/8 SP mirror lens can be able to produce decent results but don’t expect this to be easy – most of my real life sample images were blurred (caused by shake). A (max.) aperture of f/8 is very slow for a 500mm lens (750mm equivalent on APS-C) to start with and effectively this is a f/11 (or to be precise: T/11) lens due to the light loss caused by the secondary mirror. For reasonably sharp results you either need a very sturdy tripod or extremely fast shutter speeds (1/750sec or faster). When used “hand-held” you will need to choose very high ISO settings even in bright light conditions which can’t be desirable in terms of image quality and a tripod would destroy the weight advantage of a mirror lens in field conditions. The rather poor bokeh may be a funny effect in the beginning but once the initial coolness is gone it is just odd and often disturbing. Unless you want to have a lens for “emergency” use you should probably better consider conventional tele lenses. “¦ READ FULL REVIEW

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If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Tamron AF 28-75mm f/2.8 SP XR ZL Di LD Aspherical (IF) with Built-In AF Motor for Nikon Digital SLR Cameras

Photo Zone

The Tamron AF 28-75mm f/2.8 SP XR (forgive me for using a shorter variant of the name …) proved to be a very good lens in the lab. The resolution figures are among the highest tested among the standard zoom lenses – the center resolution is generally excellent and the borders follow closely on very good to excellent levels. The distortions are very low as is the amount of vignetting and even CAs are very well under control. Nonetheless it should be mentioned that this is the 2nd tested sample of this lens and both showed centering defects – this is worrisome. The build quality of the lens is decent but nothing to rave about. If you can live with the rather odd zoom range within the APS-C scope the lens is worth a deeper look – assuming you can get a good sample. “¦ READ FULL REVIEW

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SLR Gear

For the money, this lens has excellent optical qualities that rival at least one major (and much more expensive) lens in its category (the Canon 24-70mm f/2.8). The real question may be the longevity and fitness of the lens. Being made of mostly plastic, it will be a delight to carry for long stretches, but who knows how it might fair from a bit of knocking around. If you’re a pro, you may already know you need a pro lens that can take it; if you’re not as worried about where you may take it, then you may find yourself very pleasantly surprised by the performance of this lens, and pleased by the extra cash in your pocket. “¦ READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Tamron 18-250mm F/3.5-6.3 AF Di-II LD Aspherical (IF) Macro Lens for Canon Digital SLR Cameras

Photo Zone

Early user comments already suggested that new Tamron AF 18-250mm f/3.5-6.3 Di II LD Aspherical [IF] macro does not only offer a longer range but also a higher quality over the old Tamron AF 18-200mm XR and the lab results confirm these impressions. The results may not touch the sky but the new AF 18-250mm delivers a very solid performance for most of the range. Unsurprisingly the weak spot is at 250mm @ f/6.3 – stopping down to f/8 is a good idea here. Nonetheless the resolution characteristic is fairly amazing regarding the extreme zoom range. Typical for such lenses the Tamron exhibits a quite extreme level of barrel distortions at 18mm but at longer focal lengths to the problem isn’t overly significant. Vignetting is a problem at 18mm f/3.5 and in critical situations you should generally stop down a bit. … As to be expected for a zoom lens in this price league (<450€/US$) the lens body is mostly made of plastic but the build quality is fairly decent. The AF speed is quite slow on the D200 whereas the AF accuracy is generally fine here. All-in-all the Tamron is a decent all-round/travel zoom lens. Just make sure that you can live with its rather slow max. aperture at the long end which requires quite a bit of light or high ISO settings for stable hand-held photography. “¦ READ FULL REVIEW

Other Tamron 18-250mm f/3.5-6.3 Di II LD Aspherical [IF] macro AF Reviews

Photo Zone (Canon Mount Tested)

Early user comments already suggested that new Tamron AF 18-250mm f/3.5-6.3 Di II LD Aspherical [IF] macro does not only offer a longer range but also a higher quality over the old Tamron AF 18-200mm XR and the lab results confirm these impressions. The results may not touch the sky but the new AF 18-250mm delivers a very solid performance for most of the range. Unsurprisingly the weak spot is at 250mm @ f/6.3 – stopping down to f/8 is a good idea here. Nonetheless the resolution characteristic is fairly amazing regarding the extreme zoom range. Typical for such lenses the Tamron exhibits a quite extreme level of barrel distortions at 18mm but at longer focal lengths to the problem isn’t overly significant. In critical situations you need to take care about vignetting at 18mm @ f/3.5 (~1.2EV) and less so at 250mm @ f/6.3 (~0.7EV). Lateral CAs (color shadows at the image borders) are on a medium level except at 250mm where the problem can get more disturbing. … All-in-all the Tamron is a decent allround/travel zoom lens. Just be a bit careful regarding its rather slow max. aperture at the long end. Unless you’ve a DSLR with built-in image stabilizer (Sony, Pentax) you’ll often find yourself choosing ISO 400 although this isn’t really a problem with the low-noise Canon DSLRs so far. “¦ READ FULL REVIEW

SLR Gear

We tend not to expect much from “vacation” zooms, so were pleasantly surprised by the Tamron 18-250mm f/3.5-6.3 Di II LD Aspherical IF Macro AF. It maintained good center sharpness across its entire focal length range, softness in the corners was average to better than average, and things flattened out nicely when we stopped it down just a bit. Other optical characteristics are in line with the rest of the field, and its build quality was quite good for its price range. All in all, a very nice lens, a great lens to bring, if you’re bringing only one! “¦ READ FULL REVIEW

Photo Review

An affordable lens with good performance for photographers seeking a one-lens-for-all-purposes solution. With a zoom ratio of 13.9x, Tamron’s new AF18-250mm F/3.5-6.3 Di-II LD Aspherical (IF) Macro lens provides a good single-lens option for DSLR photographers whose cameras have APS-C sized imagers. Weighing less than half a kilogram with the supplied lens hood attached it covers focal lengths equivalent to 27-375mm when fitted on a Nikon, Pentax or Sony DSLR camera or 28.8-400mm on a Canon DSLR. “¦ READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Tamron AF 70-300mm f/4.0-5.6 Di LD Macro Zoom Lens for Canon Digital SLR Cameras

SLR Gear

While there are a few standout bargains to be found, the lens world is much like the rest of life: There’s no free lunch, you tend to get what you pay for. It’s thus no surprise that lenses as inexpensive as the Tamron 70-300mm f/4-5.6 don’t perform as well a those costing three or four times as much. Within its price bracket though, this Tamron competes quite strongly against the camera makers’ own offerings, delivering as good or better image quality, a long zoom range, decent build quality, all at an exceptional price. If you need a long zoom on a tight budget, the Tamron 70-300mm f/4-5.6 Di LD Macro 1:2 AF is worth a close look. “¦ READ FULL REVIEW

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Get information and user reviews for this lens from Amazon: Tamron AF 28-300mm f/3.5-6.3 XR Di LD VC (Vibration Compensation) Aspherical (IF) Macro Zoom Lens for Nikon Digital SLR Cameras

SLR Gear

This Tamron 28-300mm f/3.5-6.3 could be a good choice if you do a lot of shooting from 35-70mm, with only occasional excursions out to the 300mm limit, and/or if you tend to print many of your shots at 5×7 inches or below. Since this describes the shooting and usage patterns of a lot of casual photographers, the Tamron 28-300mm could indeed be a good choice for vacation use when you don’t expect to need a lot of wide angle capability. READ FULL REVIEW

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Photo Review

A stabilised zoom lens with an extended focal length range that will suit many photographers who want just one lens for their DSLR. Usable with both DSLR cameras and 35mm AF-SLR film cameras, Tamron’s new AF28-300mm F/3.5-6.3 XR Di lens is designed for use with DSLR cameras that lack sensor-shift image stabilisation (Canon and Nikon). It provides an angle of view equivalent to approximately 43-465mm on cameras with ‘APS-C’ sized imagers. Relatively compact and lightweight for its class, it will attract travellers and photographers who want a single, extended-range lens with a wide coverage. “¦ READ FULL REVIEW