Hearing Good Things About Tamron's 35-150mm f/2-2.8

 

“We travel, some of us forever, to seek other places, other lives, other souls.” 

– Anais Nin

Tamron has been a dabbling in optical manufacturing for 70 years and their technologies have improved through superb R&D, Acquisitions, and Strategic Partnerships. They've made lenses not just for cameras, but optics for binoculars, cell phones, telescopes, CCTV and surveillance cameras, and lenses for automobile applications (does that mean Tesla? Not sure.) You name it, they got glass for it.

But let's stick to photography. That's what I'm familiar with. Tamron is known for their affordable 3rd party lens options. Fifteen years ago, you could get a comparable alterative to some of your brand selections. If you bought a Canon Camera but bristled at expensive lens options, then you could find a quality Tamron equivalent to get the job done for half the cost, especially for crop-sensor cameras.

Then Tamron upped the ante and began competing for the full-frame market. I can tell you that when I switched to Nikon, their 24-70mm lens did not resolve well enough for their new high resolution D800e DSLR. I tried different copies of the lens and was not satisfied. I can't say what made me try the Tamron, but it was an instant improvement. It beat Nikon's own lens!

So when I heard about Tamron's new 35-150mm f/2-2.8 Di III VXD Lens, it definitely got me curious. An f/2 wide-angle zooming out to 150mm telephoto and only losing one stop? Really? Granted 35mm is on the cusp of being called wide angle. But 150mm is definitely telephoto. And Tamron is known for their odd focal length zooms. 

The reviews are great on this thing. I'd be anxious to try it! But even so, a few things hold me back on it being a definite buy for me:

1. I've been strictly prime for 4 years! I've been served well using a 24mm prime and a 55mm prime. All I'm truly missing is my 90mm macro.

2. I've hardly ever done telephoto work in all my years shooting. Most everything has been up close preferring to shoot normal to wide-angle, or macro.

3. The weight! This thing is every bit of 2 and a half pounds (1165g)! I don't know if I can swing that as a traveler who has to carry everything I own on my back or in a camera bag slung across my shoulder. It's not the heaviest lens I've ever owned. Canon EF 70-200mm f/2.8L IS II was 3 and a quarter pounds but I carried it in a Pelican hard case that had rollers and a handle which I put in the pack seat of my car! 

4. That hefty price! The lens is $1,900. It's not much for what you are asking it to do. That's about $600 more than I've paid for any Tamron lens I've owned, however. 

Why even consider it? I mean... DANG! My travel plans have become far different from what I imagined when I initially set out. When I set out, I imagined 18 months. That's it. It's been 52 months! And I'm not even done in Vietnam yet! And in that time, YES... I have run across a FEW situations when I wished I had some longer reach! Not often, but enough to where my imaginations took me to the Sony FE 24-105mm f/4 G OSS... or Tamron 28-200mm f/2.8-5.6.

I wish I could just put it behind me! But it seems like every dog gone week, there's another review about how surprisingly impressive the Tamron 35-150mm is. But I may as well dispense with any notion of this lens until I get back stateside. When will that be? I'm working on it! 

I Switched to Tamron for My Wide Perspectives

City Park in Hanoi, Vietnam  F/8, 1/50th, ISO 400

"Adventure may hurt you but monotony will kill you."

~ Unknown

I think that quote is one you can feel me on. Am I right? Who's going crazy in quarantine right now?

Okay, on with my story...

During my travel adventures, I can't take everything I own. I have to make choices on what I bring because in the end, it all has to be carried on my back. Weight is one of the largest considerations of my around the world travel.

I cannot say the Tamron 24mm 2.8 is better than the Sigma 20mm 1.4. But I can say that at a quarter of the weight, the difference becomes negligible. Don't misread me. I will not sacrifice quality. If there was a quality drop off that I felt affected my art, that would be a no-go. If the added benefit were not worth it, it would be a no-go.

f/2.8, 1/30th, ISO 1600... Art Model, Chaise ©2020 Terrell Neasley 

The Sigma 20mm f/1.4 is an excellent piece of glass. I'd put it up against anything in its class. But the thing is 2 pounds! Two pounds may not sound like a lot, but keep it in your camera bag strapped around your neck all day and then come talk to me again. I carried it and shot with it for almost a year and it served me well. I had no thoughts on switching until my friend Lucy told me about Tamron's new line-up... the 20mm, 24mm, and 35mm, all f/2.8 with macro capabilities. I got an opportunity to stop into Vegas on my way to Vietnam and see this for myself.

I came to Las Vegas to gear up, since I do not expect to be back stateside for a number of years. REI and B&C Camera was the only places I visited and that's when Lucy showed me what the Tamron could do. I held it and could barely feel anything in my hands. I shot with it and could find no fault. I tried to force some chromatic aberration and color fringing into it and could not. And then the price! I think it was $350... you gotta be kidding me! And it still had Auto Focus. You can't get a descent wide-angle Rokinon manual focus lens for that much.

Non-edited High Res, shot RAW and converted to JPG only. f/11, 1/50th, ISO 100 

I jumped on the deal and have not looked back. The only temptation I had to resist was getting the 24mm OR the 20mm. I went back and forth initially on which one to get and then Lucy suggested getting both. I so almost did it! But my sensible side told me the focal difference would not be significant enough to justify a 4mm differentiation. I decided on the 24mm since it was still a wide-angle, but it had less distortion (BTW, Photoshop recognizes the lens profile and  automatically corrects for this). I still get significant vignettes on the corners, particularly in low light (and it corrects for that, too!) at f/2.8. I sacrificed a 1.4 for a 2.8. That's two whole friggin' stops. But you know what? That true 1:2 macro capability is real. I'm under 5" on a minimum focusing distance and I can't get that on my Sony 90mm 1:1 macro, (which is in storage).

Center Square Cropped at 100%. Tack sharp

I can't say I've gotten to really test this thing out under ideal conditions. I got it and left Vegas like, the next day. And since arriving in Vietnam, well there's this thing happening all over the world that has limited my outdoors activities, but I've gotten a few shots with it. I don't have many shots at 100 ISO as most of the images I took were at night or during foggy days.

Lower Right Corner Cropped at 100%. Mild distortion and vignetting

It can be slow to Auto Focus on certain compositions, but even at night, I got it to lock every single time. When it does have to hunt in low contrast situations, I think it is noisy. The Sony 85mm 1.4 GM is the noisiest lens I've ever owned, but this Tamron is nothing like that. But be aware of it when doing video.

I was surprised as hell to see the front elements retracting inside the barrel when it auto focused. I strongly advise a UV filter on top of it just to ensure you keep dust out of it. Specs say it's moisture resistant and keeps out dust. Get a filter, anyway. It has a plasticy feel to it, which contributes to the light weight... but you can still tell it's durable. I've yet to test it on astro work since I have yet to even see any stars. I'll wrap it up to just say this thing suits me. It's just what I need. If speed becomes an issue, I may look at some other options, but right now, this thing works. Thanks, Lucy! Check out B&C Camera for your photography, video, and all you content creation accessory needs. I love those guys. They have free shipping on all their orders right now. Catch them for some deals!

Eleven Ways to Reduce Camera Shake

Art Model, Leslie ©2013 Terrell Neasley

"A lot of photographers think that if they buy a better camera they’ll be able to take better photographs. A better camera won’t do a thing for you if you don’t have anything in your head or in your heart." 

~ Arnold Newman

How many times have you had to throw away a shot because of instability or camera shake. I just picked up the Tamron 24-70 f/2.8 with Vibration Control. Tamron is the only lens manufacturer that makes a stabilized 24-70mm f/2.8 lens (surprisingly) and its significantly cheaper than both Canon's or Nikon's. As for this post, I'm not getting into who's got the better lens. This one is on methods to reduce camera shake and options to stabilizing your camera. I'm having to assume you understand terms such as stops, f/stop, aperture, and so forth. You may have to Google some of them if you aren't familiar with the terms of ask me in the comment section. So here we go. Eleven methods to reduce camera shake:

1. Fast Glass - Usually we're talking a lens with a maximum aperture of f/2.8 or wider, such as an f/2, f/1.4, etc. Remember, the smaller the number, the wider the aperture. A wider aperture lets in more light, which allows for a faster shutter speed.

2. IS, VR, VC - Image Stabilization (Canon), Vibration Reduction (Nikon), Vibration Control (Tamron). These are additional features that some lenses have that allow more steadiness, especially when you are hand-holding the camera. Most of the lenses with this capability will claim 3 or 4 addition stops of control using an internal mechanism that compensates for lens movement and shake.

Art Model, Leslie ©2013 Terrell Neasley

3. High Shutter Speeds - This may sound obvious, but nonetheless its the main thing that allows you to get a sharp image when photographing a moving object. Movement has to do with time and the shutter controls time. A shutter speed of 1/60th or faster will usually allow you to hand-hold your camera to shoot a slow moving subject. If you are trying to freeze the action of a passing car, you'll need to be at 1/250 or better. Try freezing the action of a baseball as it comes off a bat and you better be at 1/500th or better.

4. High ISO - ISO regulates the sensitivity of the sensor to light. High ISOs means you are increasing the sensor's sensitivity to light so it takes less light to get the same shot. This is going to depend on the quality of your camera. If you have a Canon 40D, you'll max out at ISO 1600 before the image starts to look grainy. However, if you're shooting a Canon 5D Mark III, you can go upwards of ISO 12,800 with ease. That's a 3-stop improvement. Shoot the lowest ISO you can get away with, as a general rule, but make sure you get the shot.

5. Use a Tripod - This is the easiest way to stabilize your camera. You simply take it out of your hands and put it on a tripod. Just don't go cheap. I'll talk bad about you if you spend $2000 on a camera and put it on $60 sticks. Expect to fork over $200 on a good set of legs and decent ball head, but there are definitely deals to be found. I personally like carbon fiber tripods and use this Manfrotto as my main tripod.

Art Model, Leslie ©2013 Terrell Neasley

6. Flash - Shutter speeds get slow because there is not enough light coming hitting the sensor. Flash fixes this by flooding the scene with light thereby allowing a faster shutter speed. You can have flash guns (speedlights), or mono-lights on light stands. Your camera will usually sync up to 1/250th of a second with flash, but if you need to go faster, the latest flashes will have some sort of high-speed sync feature built in. I use Nikon SB-700's and Paul C. Buff Einsteins.

"I never have taken a picture I’ve intended. They’re always better or worse."

~ Diane Arbus

7. Rear Curtain Sync Flash - Wait...what?? Its called rear-curtain sync which is another feature on many flash guns. You're basically telling the flash to fire just as the rear-curtain (or second curtain) of the shutter begins to close. In the normal mode, flashes fire as soon as the shutter opens. The problem is that on longer exposures, that freezes the image initially, but since the shutter doesn't close right away, movement is still being captured on top of that frozen image. With rear-curtain sync, the flash fires right before the shutter closes, so the frozen part of the image is on top of the movement.

Art Model, Leslie ©2013 Terrell Neasley

8. Cable Release - Or Remote Shutter. This keeps you from having to touch the camera at all. When you REALLY need a steady shot, even hitting the shutter release button can cause camera shake and make you miss that clean shot.

9. Mirror Lock-up - Okay so you have a cable release. If you're doing some night time photography with pin-point stars in the skyline, you can still get camera shake simply via the camera's normal operating mechanisms, specifically the mirror raising and lowering. Mirror lock-up makes you have to hit the shutter button, (or cable release button) twice. One to raise the mirror and lock it in the open position, and then again to actually open the shutter and take the picture. The mirror comes down again after the shutter closes and the operating cycle ends. This is a menu function on most digital cameras.

10. Intentionally Underexpose - This is very interesting and goes against most rules. Its often frowned upon to say, "I'll fix it in post". But essentially, that's exactly what you want to do here. If you're sitting on a shutter speed of 1/30 and you need at least 1/125th of a shutter to stop the action, you're talking about a 2-stop difference. I'll take that. By manually going to 1/125th, you are cutting the light and underexposing the image, but the action is frozen. Okay, if you're shooting RAW...no problem. You can increase that exposure those two stops again in Adobe Camera RAW or Lightroom. The important thing is to get the shot, so if it takes fixing it in post, then so be it!

Art Model, Leslie ©2013 Terrell Neasley

11. Photoshop CC Camera Shake Reduction Feature - And finally, speaking of fixing it in post...this is exactly that. The latest version of Photoshop, Photoshop CC (Creative Cloud) has a feature that does an excellent job on camera shake compensating. Whatever algorithm this thing runs to make a determination on how the image should look is phenomenal. It doesn't perform near as well with an image that is simply out of focus, though. So if you're manually focusing or if the camera auto-focuses on a point other than the spot you intended, its not going to fix that so well. But if you have good focus, but simply can't be still, its got your back. So movement issues...yes. Focus issues...not so much.

Getting into Photo, Part 2...The Lens

So now onto the glass.

Glass is a tad bit tricky, so this post is a little longer. I'm writing this with the understanding that you want to be a good and better photographer. If you're just shooting every now and then trying to get the kids as they grow up and don't require the better quality, there's no need to read any further. I also write this only touching on the basics of aperture understanding. It would greatly benefit you to research further on this. You can visit the links at the end of this post for starters. In addition, you can always go to B&C Camera where there are professionals who can answer your questions and help you decide on a lens. If you go to Best Buy or Costco then you are on your own. You've been warned.

Brie...Shot with a wide-angle lens, distorting perspective especially on the edges

First... Quite buying cheap glass! That 18-55mm kit lens? Get it off your camera and use it for target practice, especially you Canon shooters. You want to talk about a "starter" lens? Cool. You don't need to spend $2,000 on your first lens. But you do still need to get respectable glass. Notice I said glass. Not plastic lenses, but glass. If you call yourself a pro and I see this in your camera bag, I'm going to talk bad things about you behind your back. Most of the name brand low-end lenses use a plastic barrel and lens. On top of that, they are slow as hell. You ever buy that extra lens, the 55-200mm zoom lens thinking you got a great deal? And then you shoot with it, but can't freeze the action because the camera doesn't take a really quick picture? That's because this lens is slow, but its popular because people don't know any better. The speed of the lens is a factor of how much light it lets in. This is measured by the diameter of the opening, or the aperture as its commonly referred to. Sometimes aperture and the term f/stop are used interchangeably. The maximum aperture of the lens this lens is considered small...too small to let in a lot of light for a quick exposure. More time is required to get enough light in through the smaller opening which means the shutter must stay open longer. So if your subject is being still...great. For moving subjects...not so much. Most zoom lenses have a variable maximum aperture that get's even smaller, and thereby slower the more you zoom out.

Considerations

Shot with a 85mm at f/1.2. Notice how shallow the DofF is?
Basically, from the tip of her nose to her temple.

In buying a lens, FIRST think about what you are type of photography you are going to shoot. What interests you and what will you spend the majority of your time shooting? This will be the first determining factor in your lens choice. Landscape? Portrait? Sports? Flowers? All these require different lens characteristics. Wide-angle for landscape, Normal lenses for portraits. Fast zoom glass for sports...or really quick kids. And you'll need a macro lens for close-up shots of flowers. But lets say you want to still be a little versatile, despite those specific preferences. A normal lens should then be the first choice with a typical range of 24-70mm, which is the workhorse for most photogs. Or you could go a little longer like the 24-105mm Canon or the 24-120mm Nikon. The 24-70 is usually fast glass at f/2.8. The other mentioned lenses have a maximum aperture of f/4 (slower, but still decent). You can do a lot with these lenses.

The aperture of the lens is the opening in the barrel that lets in light. The smaller the number...the larger the opening. Think of it as a fraction just without the numerator (top number of the fraction). 1/2 is bigger than 1/4, ergo... 2 is bigger than 4. Any lens with a f-stop smaller than f/2.8 is considered slow and like wise f/2.8 and larger is considered fast glass. You want fast glass to learn on because you have more flexibility to experiment. A f/4 lens can do in a pinch at times, but you lose the depth of field option. Any slower lens than that, have your tripods ready.

*Wikipedia example. As you can see the openings get smaller as you go right. Each next aperture is half the size of the preceding one. F/2.8 lets in double the light as f/4, but only half the light as f/2. (Sizes are not to scale)

Another thing that is a factor in lenses is Depth of Field. Ever see those shots with the real creamy/blurred background, (referred to as Bokeh) but the subject is tack sharp? And then you wonder why your shots NEVER turn out like that. Chances are its because you have cheap lenses which are slow. Why does that matter? Because Depth of Field is a factor of the aperture setting. The wider the opening, the narrower the depth of field. So larger (hence, faster) apertures will give that effect the wider you open up. Focus on your subject and everything behind goes blurry. The effect is magnified the more open you go beyond 2.8. If you have a lens that opens up to f/1.4, it gets REALLY creamy. Remember...fraction. F/1.4 is opens 2 full stops wider at 4 times the amount of light and thus faster than f/2.8. Conversely, the smaller the aperture, then the longer the depth of field...out to infinity where everything is in focus, including all the foreground and all the background. Depth of Field is extremely important when you shoot portraits.

Close-up shot with at 100mm f/2.8 with a Macro lens. Also narrow depth of field.

Primes vs. Zooms. As you probably already realize, zoom lenses start from one point and then "zoom" out to a longer end and you can take a picture at every point within that range. Prime lenses don't have any zoom other than manual. Manual, meaning your feet! You move in or back, manually. These lenses have only one focal length which is the stated focal length on the lens. That's measured in millimeters. 50mm is considered normal, as in what the eye sees. Its often referred to as a STANDARD lens. So basically, your ability to see is derived from the two 50mm eyes you have in your head. Prime lenses are most often considered to be sharper than zooms and that's just because there is less glass and mechanics that light has to travel through to reach the image sensor in the camera. The 50mm with the maximum aperture of 1.8 is the ONLY cheap glass that you can buy and hear nothing from me. These lenses are under $150 and are considered by many to be the best lenses for the value...emphasis on VALUE.  However, the 50mm 1.4 is not much more expensive so you may as well get it instead.

Katherine with extended DofF at f/8.
All of background is still in focus.

Make sure the lens you buy is sturdy, solid, and has a metal mount. The back of the lens where it attaches to the camera should be all metal...not plastic. Say it with me..."NO PLASTIC MOUNTS!" ... Good. Now the next few lines are just suggestions and my professional opinion. Please make up your own minds and do your own research. If I'm not getting a high-end lens, I'm getting a Tamron. Other popular 3rd party lens manufacturers include, Tokina, and Sigma. I tend to stick with Tamrons if I'm not getting my main manufacturer high-end lens. They simply do the best, IMHO, at providing the better quality at the lower price and better guarantee (6-year warranty). Most of the newer Tamrons have the metal mounts. They have much better build quality than the low end Canons, and are on par with Nikon's low ends. They use mostly glass and have more f/2.8 options on the low end than either major manufacturer. For $500, you can get at least 6 lenses that are 2.8 glass or better. You'll spend more than twice that on 2.8 glass for either Canon or Nikon, (other than the aforementioned 50mm). And if money is no object and you just want the best quality, think Zeiss...all metal. I mean, everything on this lens is metal except for the high-precision ground, special coated glass lenses. These are manual focus lenses.

Now this one is tricky. The background is blurry even though the aperture is f/5.6. How is this possible?  Because the focal length is in the telephoto range at 135mm! Telephoto lenses "compress" the perspective allowing shorter DofF even at smaller apertures.

One last consideration is the camera's sensor type. Is it an FX (full frame) or a DX (APS-C cropped sensor)? When you buy a lens for a full frame camera, the focal length is exactly what it says on the lens. If you buy for a DX camera, you have to factor in the camera's multiplier. For Canon, that multiplier is 1.6. For Nikon its 1.5. This means that if the lens says is a 100mm lens, its actually a 160mm lens on a Canon. This is because its thats the Full frame equivalency. A Canon full frame sensor is 1.6 times as large as the DX sensor (see the links below). Some DX lenses won't fit on FX cameras. Canon's won't. Nikon's DX lenses actually do. Tamron lenses also fit on either lens, but be ABSOLUTELY CERTAIN you get the right mount lens when you buy any third part lens. Tamron makes lenses for Canon or Nikon mounts. But if you buy a Tamon with a Nikon mount...it won't fit on a Canon camera. So just make sure that the box says, "FOR CANON" if you have a Canon camera, or "FOR NIKON" if you have a Nikon camera. Make sure the sales person knows which camera you have.

Vibration Control...Image Stabilization...Vibration Reduction...whatever the particular manufacturer calls it, all it means is there is some type of element built into the lens to help reduce camera shake when hand held. So a lens that is considered slow, but has VC may be okay because you can still hand hold it, in some cases this compensation can mean 2 or 3 f/stops slower. I like stabilized lenses and get them over the non-stabilized version when possible, because some lenses will come in two versions: a stabilized version and non-stabilized one. Tamron, as a point of fact, makes the world's only 24-70mm stabilized lens and costs a whole grand less than Canon's.

So start out with the faster glass. You learn better on them because you have more options with speed and depth of field.

If you have a DX camera, here are my top 4 lenses to buy in this order:

1. Either :Tamron 17-50mm f/2.8 with VC (normal lens) Canon Mount / Nikon Mount 
Or
Tamron 28-75mm f/2.8 designed for full frame but works on DX very well Canon Mount/ Nikon Mount
(I give the option of the focal range to you. Either one will do. Edge goes to the 28-75mm. Remember the multiplier. The 17-50mm is actually a 25-75mm on a DX camera. The 28-75mm lens is actually a 42-112mm lens on a DX camera. At f/2.8 you'll appreciate the extra reach!)
2. Tamron 10-24 (wide angle) Canon Mount / Nikon Mount (with multiplier, its like a 16-35mm lens)
3. Canon or Nikon 50mm 1.4 (for portraiture. Looks like a 75mm on DX camera)
4. Tamron 70-200mm 2.8 with VC Canon Mount / Nikon Mount (looks like a 105-300mm on DX cameras)

If you have a full frame:
1. Tamron 24-70mm 2.8 Canon Mount / Nikon Mount
2. Canon 16-35mm 2.8/ Nikon 16-35 f/4
3. Canon or Nikon 70-200mm 2.8 with VC
4. Canon or Nikon 50mm 1.4

For other interesting lens, look up Tilt-Shift, Fisheye, Teleconverters, Circular Polarizers, Neutral Density Filters, and the fun LensBabies!

Here is some further reading to help you understand:
Canon Full Line-up of Lenses / Nikon Full Line-up of Lenses
A Tedious Explanation of the f/stop The Long Answer!
Understanding Camera Lenses Cambridge in Color Tutorial
What is a DX Lens? Ken Rockwell covering Nikon DX Lenses
Understanding the Magnification Factor Luminous Landscape
Understanding Depth of Field Cambridge in Color
Understanding Sensor Sizes (DX vs FX, etc)

Next post, I'm going to touch on Light!