Review Tamron Aspherical LD ​​XR DI II SP AF 17-50mm 1: 2.8 [IF] A16, Model A16 N II

The Tamron Aspherical LD ​​XR DI II SP AF 17-50mm 1: 2.8 [IF] A16 is an interesting crop lens with APS-C sensor size. This review shows the A16 N II model designed for Nikon DX cameras.

Tamron Aspherical LD ​​XR DI II SP AF 17-50mm 1: 2.8 [IF] A16, Model A16 N II

Tamron Aspherical LD ​​XR DI II SP AF 17-50mm 1: 2.8 [IF] A16, Model A16 N II

Please note that the Tamron A16 lens was also available for other systems:

  • Canon - Model A16E (good review here)
  • Pentax - Model A16P
  • Sony / Minolta - Model A16S
  • Nikon - Model A16N or A16N II

In total, the line of such Tamron lenses for Nikon cameras consists of four models:

  1. Tamron Aspherical LD ​​XR DI II SP AF 17-50mm 1: 2.8 [IF] - Model A16N, February 2006 (country of origin - Japan or Vietnam)
  2. Promaster DIGITAL XR EDO AF Ashperical LD ​​[IF] 17-50mm 1: 2.8, which is a model of the Tamron Model A16 N under the Promaster brand.
  3. Tamron Aspherical LD ​​XR DI II SP AF 17-50mm 1: 2.8 [IF] - Model A16NIIMarch 2008, the model is shown in this review.
  4. Tamron Di II SP 17-50mm F / 2.8 VC - Model B005NII, September 2009, review is located here.

Difference between Tamron A16 N II and Tamron A16 N

  • Tamron A16 N Model Older
  • The Tamron A16 N does not have a built-in focus motor and is similar to the 'AF' lens for Nikon cameras. The Tamron A16 N II has a built-in focus motor and is the counterpart to the 'AF-S' lens for Nikon cameras. The older Tamron A16 N model will not automatically focus on Nikon cameras without a built-in focus motor, an accurate and complete list of cameras without a focus motor can be viewed here... Be careful, both models are labeled 'Tamron AF', but this abbreviation does not refer to Nikon's designations and can be confusing.
  • The Tamron A16 N II has an AF / MF focus mode switch. The older version lacks such a switch.
  • The Tamron A16 N has a screwdriver slot on the bayonet side, which connects the camera focusing motor to the lens focusing mechanism. The Tamron A16 N II lacks this slot.
  • Tamron A16 N has 5 microprocessor contacts, Tamron A16 N II has 8 microprocessor contacts (interesting information on microprocessor contacts here).
  • Lenses come in different boxes. The Tamron A16 N II version has a clear indication of its model, it says 'Model: A16 N II, Built-In Motor for Nikon D'.

Please note that the Tamron A16 N II and Tamron A16 N models have the same name spelling on their case and only the generic 'A16' model is indicated throughout. Be careful when shopping. The easiest way to distinguish lenses from each other is the number of microprocessor contacts. Also, for Tamron A16 N II version, 'A16N II' is indicated on the box.

In short

Tamron Aspherical LD ​​XR DI II SP AF 17-50mm 1: 2.8 [IF] A16 (abbreviated as Tamron A16 N II) is high-speed universal zoom lens for Nikon DX cameras. Interesting big maximum constant aperture over the entire range of focal lengths and low price. The native analog of this lens is Nikon AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM DXwhich is about 3 times more expensive than the Tamron A16 N II.

Key Features Tamron Aspherical LD ​​XR DI II SP AF 17-50mm 1: 2.8 [IF] A16 (Nikon version of A16NII)

Review Instance Name Tamron Aspherical LD ​​XR DI II SP AF 17-50mm 1: 2.8 [IF] A16 (box: Model: A16N II Filter Size: Ø 67mm for Nikon D compatible ”)
Basic properties
  • SP (Super Performance) - high performance inherent to Tamron's professional lens range
  • AF (Auto Focus) - support for auto focus. In this case, it is analogous to Nikon AF-I / AF-S
  • NII - marking indicating the absence of a diaphragm control ring and the presence of a built-in focus motor
  • aspherical - aspherical elements in the optical scheme (this lens uses 2 hybrid aspherical elements)
  • XR (Exbetween Refractive Index) - elements with a high refractive index with which you can make compact lenses
  • DIII (Ddigitally Integrated) - the lens is designed for use on DSLR cameras with an APS-C sensor
  • LD (Low Dispersion) - special low-dispersion elements.
  • [IF] (Iinternal Focus) - internal focusing
  • ISC (Iinternal Sface Coating) - special internal coating of optics
  • LOCK - zoom ring lock
  • Important: a lens from a third-party manufacturer, which imposes some restrictions on its practical use
Front Filter Diameter 67 mm
Focal length 17-50 mm EGF for Nikon DX cameras is 25.5-75 mm
Zoom ratio 2.94 X (often rounded to three)
Designed by for Nikon DX cropped digital cameras
Number of aperture blades 7 rounded petals that form a fairly even hole
Tags focusing distance in meters and feet, focal lengths for 17, 24, 35, 50 mm, hood attachment mark, bayonet mount mark
Diaphragm from f / 2.8 over the entire range of focal lengths to f / 32. The lens does not have an aperture ring (G - lens type for Nikon cameras)
MDF 0.27 m, maximum magnification ratio 1: 4.5 (at a value of 50 mm focal length)
The weight 440 g
Optical design 16 elements in 13 groups of which 2 are aspherical hybrid (Aspherical, marked in pink), 1 special low dispersion element (LD, marked in green) and 3 elements with a high refractive index (XR, marked in blue).Optical design Tamron 17-50 2.8 DI II A16NIIClickable Image
Lens hood Included petal hood
Manufacturer country Lens manufactured / manufactured in Japan, China and Vietnam
Price
Period From February 2006, in September 2009 replaced by Tamron Di II SP 17-50mm F / 2.8 VC

What need to know about Tamron A16NII:

  1. The lens is used constant maximum relative aperture F / 2.8 over the entire range of focal lengths. Actually, this is one of its strengths. The difference in aperture between F / 2.8 and F / 5.6, which are used in simple whale lenses, is 4 times (2 steps).
  2. Price. The price of the lens is approximately 3 times lower for the native analogue from Nikon.
  3. Very convenient range of focal lengths. EGF lens for Nikon DX cameras will be 25,4-75 mm which is a very popular focal length range.
  4. Built-in focus motor. The lens will work with any Nikon digital SLR camera.
  5. Included lens hood, which helps a little when shooting in side and backlight. The hood can be installed in the reverse position for transportation, in this position it’s a little inconvenient to zoom, and the focus ring is completely locked.
  6. The diameter of the front filter is 67 mm, which is a standard diameter and will allow you to easily find filters for the lens
  7. Strange lock buttonwhich locks the zoom at 17mm. Strange because the lens does not have the ability to independently lengthen its 'trunk' and this button is here just for the sake of a tick. Perhaps, over time, the button will come in handy.
  8. When focusing front element does not rotate or extend, you can use special light filters without any problems. This option in the lens name is called [IF] (Internal Focusing)

Of the disadvantages:

  1. To focus manually or adjust the focus, be sure to switch the focus mode switch to M on the lens.
  2. Auto focus is fast enough, but very noisy.
  3. Spread in quality. My copy was selected on the third attempt.
  4. Very poor build quality and lens design itself. At first, questions about assembly do not arise, but after prolonged use, the ring near the front lens begins to loosen and the focus ring loosens. Moreover, it seems that the focus ring is about to fall off. The image quality was not affected.
  5. When focusing manually, hard to focus due to the fact that the focus ring has a stroke of only 45 degrees. Even in Live View mode, getting into focus is very difficult.

Interesting moments:

  • The lens is marked SP (Super Performance - super performance), which hints at its professional lenses.
  • The lens has a large zoom ring.
  • The difference between 17 mm for the amron A16 N II) and 18 mm for the kit lens class 18-55 / 3.5-5.6 is very difficult to feel. So 17mm as a wide angle is not a good idea when choosing a lens.
  • I shoot with this lens almost always at three values, this is 2.8 - when needed aperture in poor lighting or a 50 mm portrait. F4.0 - when you need to slightly increase the depth of field without closing the aperture much and F9.0 when you need to get a sharp picture.
  • In the position of the zoom ring at 50 mm, the lens does not give a clear 50 mm, but gives a wider angle than a fifty-fifty (fixed lens with real 50 mm focal length). This complicates the photography of portraits by 50 mm a little.

Image quality

The lens has a good contrast, but in lateral light can catch glare and flare. Chromatic aberrations very noticeable at the edges and corners of the image, in the center of aberration are much better compensated. At 17 mm there is a tangible barrel-like distortion. Sharpness - here is a very interesting point, the copy from this review does not give normal sharpness on apertures from F / 2.8 to F / 5.6. Moreover, closing the aperture to F / 5.6, the sharpness changes very weakly. The lens is suffering very strong vignetted on the diaphragms aboutt f / 2.8 to f / 4.0. The lens does not distort color reproduction and has a simple 'bokeh'.

All fast universal zoom lenses

Below is a list of all such aperture-type universal zoom autofocus lenses for SLR and mirrorless cameras with an APS-C sensor or less.

Tokina (DX, various mounts)

  1. Tokina AT-X PRO SD 16-50 F2.8 DX Internal Focus, model AT-X 165 PRO DX, for Canon (C/EF version) and Nikon (N/AIS version), from July 2006. Optical design is the same as Pentax SMC DA* 16-50mm f/2.8 ED AL (IF) SDM

Tamron (DI II, DI III-A, various mounts)

  1. Tamron Aspherical LD ​​XR DI II SP AF 17-50 mm 1: 2.8 [IF], model A16 N / E / P / S (under Nikon [N], Canon [E], Pentax [P], Sony / Minolta [S]), since February 2006. Produced in Japan, China and Vietnam
  2. promaster DIGITAL XR EDO AF Ashperical LD ​​[IF] 17-50 mm 1: 2.8 MACROprevious lens under the brand Promaster
  3. Tamron Aspherical LD ​​XR DI II SP AF 17-50 mm 1: 2.8 [IF], model A16 NII (only for Nikon cameras), since March 2008
  4. Tamron Di II SP 17-50 mm F / 2.8 VC B005, model B005 E / NII (for Canon [E] or Nikon [NII]), from September 2009, Japan or China)
  5. Tamron 17-70 mm F / 2.8 Di III-A VC RXD Model B070, Model B070, Sony E only, from December 2020

Sigma (DC, different mounts)

With constant maximum aperture (DC EX and DC ART series):

  1. Sigma DC ZOOM 18-50mm 1: 2.8 EX (+ -D), since July 2004, for Sigma SA, Nikon F, Canon EFS, Pentax K. The version for the '4/3' system has been available since February 2006 (not mass-produced). The version for Nikon in its name includes the prefix 'D'.
  2. Sigma dc 18-50mm 1: 2.8 EX MACRO, from September 2006, for Sigma SA, Nikon F, Canon EFS, Pentax K
  3. Sigma dc 18-50mm 1: 2.8 EX MACRO HSM, since June 2007, for Nikon DX cameras only (Nikon F mount)
  4. Sigma dc 17-50mm 1: 2.8 ZOOM EXOS HSM, from February 2010, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  5. Sigma dc 18-35mm F1.8 A [ART, HSM], from April 2013, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  6. SIGMA DC 18-50 mm 1: 2.8 DN C [Contemporary], since Oct 2021, for Sony E, Leica L

With variable maximum aperture (DC and DC Contemporary series):

  1. Sigma dc 17-70mm 1:2.8-4.5, February 2006, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  2. Sigma dc 17-70mm 1:2.8-4.5 MACRO HSM, from July 2007, for Nikon DX cameras only (Nikon F mount)
  3. Sigma dc 17-70mm 1:2.8-4 MACRO HSM OS, from December 2009, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  4. Sigma dc 17-70mm 1:2.8-4 C, [MACRO, OS, HSM, Contemporary], from September 2012, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  5. Sigma dc 18-50mm 1:2.8-4.5 HSM OS ZOOM, from March 2009, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A

Nikon (DX, F mount)

  1. Nikon DX VR AF-S Nikkor 16-80mm 1:2.8-4E ED N, Nikon F mount, from July 2015
  2. Nikon DX AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM, Nikon F mount, from July 2003

Pentax (DA, Q, K and Q mounts)

  1. Pentax SMC DA * 16-50 mm 1:2.8 ED AL (IF) SDM, Pentax KAF2 mount, since February 2007. Optical design is similar to the lens Tokina AT-X PRO SD 16-50 F2.8 DX Internal Focus (joint development of Tokina and Pentax)
  2. HD PENTAX-DA * 1: 2.8 16-50 mm ED PLMAW, from July 2021, Pentax KAF4 mount
  3. HD Pentax-DA 1: 2.8-4 20-40 mm ED Limited DC WR, Pentax KAF3 mount, black or silver body, from November 2013
  4. SMC Pentax 1: 2.8-4.5 5-15 mm ED AL [IF] [LENS 02], Pentax Q mount (crop factor Kf=5.53X or Kf=4.65X)

Canon (EFS, EF-S mount)

  1. Canon Zoom Lens EF-S 17-55mm 1: 2.8 IS USM (Image Sabilizer, Ulstrasonic, EFS), Canon EF-S mount, since May 2006

Sony (DT, A and E mounts)

  1. Sony DT 2.8/16-50 SSM, Sony A mount (Minolta A), since August 2011
  2. Sony E 2.8/16-55G, Sony E bayonet mount, from August 2019

Fujifilm(X)

  1. Fujinon Ashperical Lens Nano-GI XF 16-55mm 1: 2.8 R LM WR, Fujifilm X mount, since January 2015
  2. Fujinon Ashperical Lens Super EBC XF 18-55mm 1:2.8-4 RLM OIS, Fujifilm X mount, September 2012

Samsung (NX)

  1. Samsung lens 1: 2-2.8 S 16-50 mm ED OIS i-Function, Samsung NX mount, since January 2014

Olympus/Panasonic/Leica/Yongnuo (4/3, Micro 4/3, Kf=2X)

Mirrored 4/3:

  1. OLYMPUS ZUIKO Digital 11-22 mm 1:2.8-3.5, from February 2004
  2. OLYMPUS Digital 14-54 mm 1:2.8-3.5, from June 2003
  3. OLYMPUS Digital 14-54 mm 1:2.8-3.5 II, from November 2008
  4. OLYMPUS ZUIKO Digital 14-35 mm 1: 2 ED SWDsince January 2005
  5. Panasonic Lumix LEICA D VARIO-ELMARIT 1: 2.8-3.5 /14-50 ASPH. MEGA OIS, from July 2006

Mirrorless Micro 4/3:

  1. OLYMPUS M.ZUIKO DIGITAL 12-40 mm 1:2.8 PRO, since October 2013
  2. Panasonic Lumix Leica DG Vario-Summilux 10-25 mm f / 1.7 ASPH.since May 2019
  3. LUMIX G VARIO 1: 2.8 /12-35 ASPH. POWER OIS, since June 2012, in March 2017 an improved sub-version is released (outwardly they do not differ in any way)
  4. Panasonic Lumix Leica DG Vario-ELMARIT 1: 2.8-4.0 /12-60 ASPH., since March 2017
  5. Yongnuo 12-35 F2.8-4 STM ASPH, since April 2023

This is what the version of Tamron A16P for Pentax cameras looks like:

Sample Photos

Photos from the campaign (the size is reduced to 2048 pixels on the long side, the photos are clickable)

More examples of photos (the size is reduced to 2048 pixels on the long side, the photos are clickable):

RAW source files ('.NEF', Nikon D80) can download from this link (15 photos, 130 Mb).

Another gallery with Tamron 17-50 F2.8 I have here.

Lens price

Prices for the Tamron 17-50mm F / 2.8 XR Di II LD Aspherical (IF) lens in popular online stores can look at this link.

Comments on this post do not require registration. Anyone can leave a comment. Many different photographic equipment can be found on AliExpress.

Results

Tamron Aspherical LD ​​XR DI II SP AF 17-50mm 1: 2.8 [IF] A16, model A16 N II is an unusual lens, it is difficult to choose a copy with normal sharpness. The lens assembly is far from professional. The lens attracts a large aperture over the entire range of focal lengths, nice color reproduction and low price.

Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram

Add a comment:

 

 

Comments: 251, on the topic: Review of the Tamron Aspherical LD ​​XR DI II SP AF 17-50mm 1: 2.8 [IF] A16, model A16 N II

  • sugar

    Hello !!!!! advise that it is better to buy a Tamron 17-50 without a stub or sigma 17-70 2.8-4.5 ?????

    • Pastor

      If you mean the new sigma 17-70, then it is very good. But if the old one (there were two versions before this, with a stub and without), then it is very mediocre. The bug there is buggy (it eats up the battery even when it is off), the sharpness is average and so-so constructive. Tamron 17-50 2.8 the construct is also not professional, but it is quite sharp at 2.8, it has a nice drawing, it is not buggy and does not hobble. In general, if the sigma is old, then I am for a 17-50 tamron, if the new one (they started to be released recently, it is different in texture and has the letter C on its side), then sigma will be preferable.
      True, it is worth mentioning here, it all depends on the goals. Portraits at 50 2.8 will be better than at 70 4.5 - the blur is more beautiful, and the distortions at 50mm crop are quite acceptable. Well, for sports and shooting in motion, a stabilizer is useless - you need aperture, here again tamron is a priority. But if you shoot static objects, landscapes or walk around the city in the evening, then the sigma stabilizer will give more opportunities than the slightly higher aperture of the tamron.

      • sugar

        I'm going to shoot portraits ... for children, family photographs ... ... there is also a fifty-ruble 1.8 !!!!!! and sigma there is an old version ... ... ..so it's better then I'll probably take a tamron !!!! what do you think is the right decision ????

        • Pastor

          I would choose tamron. There are more complaints about sigma. Yes, and the class of the lens is different - one thing is constant aperture throughout the entire focal length and another - variable. But personally, I did not shoot sigma, I tried only sigma 17-50 2.8 and a very old sigma 17-70 (which is without a stabilizer, and you, as I understand it, have the first version with a stub). And I use Tamron for a long time. Therefore, I can be biased. True, I wrote to you not just my thoughts, but information I got from other glass users. In general, consult with someone else, suddenly I'm not objective enough. But based on my knowledge of these glasses, Tamron 17-50 2.8 is much preferable.

          • sugar

            That's what bothers me about sigma ... it's not a constant aperture !!!! Oh, and I forgot to mark that both copies are used !!!!

            • Pastor

              I also bought a used Tamron. Make sure that the lens does not dangle too much when extended 50 mm (slight dangling is possible). Do not be surprised that it extends with effort (for example, 18-55 changes the focal point softer and smoother). Look that there are no scratches (I mean on the glasses, although small scratches do not spoil the image in any way). It would also be nice to take a picture of a homogeneous surface (a brick wall) and see if the sharpness is the same on the right and left (sometimes the lenses in the lenses move out and wash one part of the frame). Well, check the focus on the back-front. Personally, I buy several lenses a month and rarely do a full check. By and large, 99,9% of lenses will produce the image that they should according to specifications and reviews. I have never had such a case that sellers did not report a jammed lens when selling. I clarify several times that the lens is problem-free, and more often than not it works. So the most important thing is to just take your camera with you, click on the new glass at different apertures and focal lengths and see what happens. On modern cameras, it is quite possible to make out the jambs of the lens, if everything seems normal, most likely it is.

              • sugar

                Wow ... you !!! Thanks a lot for the recommendations !!! I asked the owner twice on the phone about the problems and in the correspondence 2 times ... ..I will go after him on the weekend I will change 18-55 with my surcharge !!!!

                Can you give any other recommendations for verification ????

              • Pastor

                In general, everything that I do, I described above, so there is nothing special to add. Well, take a look so that the seller does not forget to give the hood :) And so, click for five minutes, and you yourself will understand if everything is ok.

              • sugar

                And what is the best way to check for back and front focus ?? can give tips, recommendations

  • sugar

    And what is the best way to check for back and front focus ?? can give tips, recommendations

  • Jury

    Good evening everyone, if there is software nikon inspection and adjustment program for D800, dump on soap yuriy19730@ukr.net, you are welcome

  • Diaz

    Good day, dear Arkady and dear experts, one question on this subject: so when shooting through the viewfinder, autofocus is super there are no complaints about it, but if you just switch to live view and video, autofocus generally does not refuse to produce autofocus, focuses jerkyly and with continuous autofocus, the video is generally not very good because it cannot focus, is it just me or does it have the same problem for others?

    • BB

      Have you read the instructions for the device?
      And how does focusing work?
      Read the relevant articles on this site, and everything will become clear. And if you have any questions - ask from the section "question-answer".
      And your question is not related to sabzh.

    • Arkady Shapoval

      Depending on the camera model, Live View may not work with third-party lenses at all.

  • Diaz

    Greetings, it’s just that I tested on two d3100 and on d5100 on three cameras, autofocus through phase sensors works flawlessly, but only during live view an interesting phenomenon occurs, with the same camera settings in terms of focusing my native 18-105 coped with a bang, that is, when shooting a video as expected, everything works

  • Diaz

    If it works out, I’ll try to upload a video about how the lens focuses precisely on the Tamron 17-50 f 2.8

  • Diaz

    I express my respect to you Arkady, I am pleased to read your reviews to every semicolon, and about the lens: my camera is currently Nikon d510 with this tamron 17-50 2.8 and when focusing in live view, it goes as if in jerks step by step with mdf ad infinitum and backward, it goes on, but there is no treasured stop with a focusing signal, and when shooting a video with continuous autofocus, this tamron tries to buzz, but cannot catch sharpness, I wanted to ask you: at the time of the test and review of this lens as your specimen I worked in live mode twist ?? Or is it just a jamb of my copy? Thank you in advance

  • Diaz

    I apologize for not completing one toe, my amateur Nikon d5100 camera

    • Arkady Shapoval

      when I wrote a review, I did not have a camera with Live View. But I think that this is due to the fact that the lens is not native.

  • Diaz

    Thanks a lot. I’ll shoot with manual focus, I’m an ordinary amateur and just recently decided to completely switch to Nikon, and before that I shot on my boots: 350-450-500 and 30d, and from Nikonov they were only temporary: D40 and D70, at first I bought D3100, but only because of an uncomfortable grip, I sold it and bought a d5100, this one even fits my little finger))

  • Valery

    Good afternoon, offer: Tamron AF 17-50mm. f / 2.8 Aspherical LD ​​XR Di II SP (Nikon), it’s a screwdriver, tell me, well, who knows what about him.
    Thanks in advance.

  • Andrei

    Arkady, help me decide on the choice of lens)
    For about a year I have been engaged in small commercial photography and portfolio formation (Love story, holidays). I use a nikon d7000 camera with a 50 mm f / 1.8g lens and kit 18-55vr and a Yongnuo yn-565 flash. I use the D3000 as a backup camera. I really want to exchange 18-55 for something more serious. It does not suit the appearance, aperture at the long end, sharpness at the edges of the frame to F / 8. The budget is still limited, so the following options emerge:
    1. Tamron 17-50 f / 2.8, it is possible to choose from 5 copies.
    2. Nikon 18-140vr
    3. Nikon 18-105vr (there was one, changed to 18-55)
    4. Nikon 24-85g f / 3.5-4.5 (with a stretch)
    5. Sigma 17-50 f / 2.8 (with a stretch)
    All lenses are new
    Can you advise another option, I will be extremely grateful

    • Pastor

      Until Arkady answered, let me reflect.
      1. Tamron - a very mediocre quality lens in terms of assembly. I have one for Canon and it is very suitable for amateur rare use, but for more professional use its reliability may not be enough. In addition, it is very noisy and does not focus very quickly and the focusing ring moves (you can accidentally damage the lens by holding the ring). At 2.8 it's pretty sharp in the center, but the edges aren't always good. The appearance is also not very presentable, but this is already a subjective assessment.
      2. 18-140vr, although a new lens, has no big advantages in comparison with the cheaper 18-105vr, losing in a number of tests both in sharpness and in the presence of aberrations.
      3. 18-105vr You have already tried. What didn’t like, why did you change it? By and large, it is not very different from 18-55vr, ​​being an almost perfect whale lens for a DSLR. The sharpness is quite sufficient in the center, even on open apertures, on covered generally very much even for its price.
      4. 24-85 is good for a full frame, the crop will lack a wide angle. I would not take this lens, because it does not differ in any special picture (in comparison, for example, with 24-120vr). In fact, this is a whale for a full frame, which is more expensive only because it can allow a full-frame sensor
      5. Why sigma 17-50 2.8os with a stretch, I do not understand. This is in my opinion the best standard lens for crop in terms of price and quality. Unlike the unstoppable tamron (the stable one is even worse than the unstoppable), it is sharper, sharp throughout the frame with the open. In addition, it has a silent motor, a solid 77 cm front lens, and quick autofocus. Plus a stab, with compensation of 3-4 stops. This lens is very pleasing to me, in addition, it is very durable and quite reliable. Native 17-55 2,8 does not have a stub, it is only slightly better in optical properties, but it costs twice, or even three times more, than sigma.
      In the end, I see no better option than sigma 17-50 2.8 os. Unlike the same Tamron, it can be used with less caution - even a year of operation does not affect it in any way - the build quality is higher.

      • Andrei

        Thanks for the detailed answer. If we compare the sigma with the native 18-105, is there a gain (except for aperture ratio) in speed, autofocus accuracy, sharpness, color reproduction?

        • Pastor

          There is some debate regarding the accuracy of autofocus. A number of users (a small part) complain about misses in poor lighting conditions. But most of them are completely satisfied with the result. Personally, I had a sigma on Nikon, it did not smear on any camera and hit right on target (for example, I smeared 50 1.8d from time to time, Tamron 17-50 2.8 is lost with a lack of light, and sigma lacks focus even at dusk). The autofocus speed, in my opinion, is noticeably higher than that of the 18-105vr, moreover, it is silent. Sharpness at similar apertures in sigma is much higher (it is understandable - the spread of jarecys [less, and the aperture ratio is higher), even at open it is very sharp, it can compete with more expensive native zooms. There are no jambs with color rendition, even a tamron, subjectively, warms up the picture more, but all this is easily corrected in the editors. Of course, I would not note a particularly pleasant color rendering, like Canon 135 2.0l or Nikon 80-200 2.8, or Nikon 28-70 2.8, but it has no obvious jambs. Compared to 18-105, the picture is brighter, livelier, more contrast. However, I repeat, with color rendering it is much easier to work in editors and adjust the necessary colors.
          Well, for your purposes, for reporting, the aperture will never be superfluous. Stab stable, but fast movements can be frozen only with aperture and ISO.
          P.S. I now have a d7000 and was the owner of a d3000, and in your case I would put a portrait portrait of 50 1.8 g on a d3000. He, in my opinion, has a much nicer skinton, thanks to a different matrix. But the reporting d7000 would equip a sigma of 17-50 2.8os. And there would be a great kit :)

    • Lynx

      tamron - if you choose a successful one, it will be sharp.
      But tamrons are flimsy, especially from the hands - you can easily run into the killed in the trash.
      Plus - good aperture, and sometimes sharpness. minus - fiercely flat pattern.
      sigma is generally a tasty option, but sigma loves to fail with focus and eat batteries.
      ……
      Strange as it may seem, 16-85 Nikonovsky is very suitable for reporting, but the price is too high.
      as an option, for rooms, by the way, you can take a token 124, or 128.

    • Vyacheslav

      As a replacement for a whale, about 1,5 years ago I bought a Sigma AF 18-50 f / 2.8-4.5 HSM OS DX, which is still very satisfied.

  • Dmitry K

    definitely not tamron, I do not advise. Hellish soap for 2.8 and 4. Focus with d300s smears. Here is an example at 2.8 - although the size is small, you can still see that the hair and eyebrows are merged and the skin is plastic. But retouching is not needed)))))) I would look for a 16-85

    • Andrei

      The lens is needed more for reporting and wide angle. For portraits, a fix of 50 mm is enough for me

    • Andrei

      Thanks for the tip 16-85. I did not consider it because of the high cost of the new. Is the picture from it much better than 18-105 and 18-140 to overpay?

      • Dmitry K

        not much better, but there is at least one advantage - no soap on the long end. I don't know about 18-140 - I didn't. 18-105 and 18-55 of the same berry field, only the stage of soap at 18-55 comes to 50mm, and at 18-105 by 75 85mm. In short, 18-105 sold in vain))) it has the best price / quality ratio in this set. 16-85 a bit sharper, a little wider, a bit better assembled. Everything is sensitive, but it is obviously more expensive, because only boos have a price tag for its quality. If you find a thousand for 17, that's good. And so with reportage glasses on the crop, despondency - Arkady has an article about crop cameras and their problems, one of them is the lack of normal "working" glasses. Look at Sigma - my friends started to shoot weddings with her - I didn't use it myself

        • Andrei

          In short, an ambush in Belarus from 16-85 (((I did not find a single used copy for sale. Most likely, I will take a cheap 18-105, and I will look towards FF.

          • Lynx

            yeah, FF and normal glass to it is any cheaper than used 16-85! )))

            • Andrei

              I just understand that sooner or later I’ll switch to FF anyway. The price difference of 16-85 and 18-105 is more than 2 times, I see no reason to overpay for a slightly wider angle and a little better quality.

    • Vyacheslav

      Everything is normal in this photo with eyebrows and hair, the main drawback of this photo is a very small DOF, even the face is not completely in focus.

    • yra

      I have been using such a Tamron since 2009. Japanese. Very sharp Prada a few years later the front lens began to hang out and began to soap. It turned out to be very simple to eliminate.
      It was necessary to tighten the three screws that are under the plastic rim.
      they are from a permanent hood installation

  • Dmitry K

    here everything is in order with sharpness. And the head is also not all in flu, but the difference, as they say, is obvious.

    • Dmitry K

      this is me to Vyacheslav

      • Vyacheslav

        I think you bother, the first is not much worse, the second is not much better.

    • BB

      Well, you have compared - a staged studio photo with good light, and a portrait that looks like it was shot “on the fly” at high iso, possibly also with a focus miss.

      • Dmitry K

        yyy, studio, yyy. The photo was taken on the same sofa with a reflector made of food foil wound on a chair. The background was a sheet. Shot on 70-300 vr.
        And then yes, on the fly. I have no other photos from this tamron. I shot it for exactly 3 days - then I sold it in horror

        • Andrei

          Did you shoot this portrait on 16-85?

        • BB

          this is the details))
          The photo is staged, the light, too, and not a fluorescent lamp (most likely), as in the first photo :)

          • Dmitry K

            Well, of course, not quite an honest comparison. Just if you look ONLY at sharpness, then the tamron did not suit me. In general, this tamron led me to the idea that native glass is better. I like this whole picking game. I’m not picking apples from a basket on the market. Many people say that there are excellent sigma, but there are those who have all the bugs pipets. Taking nikkor I am sure that will work.

    • BB

      Maybe you come across a bad copy - it happens to them, you need to choose carefully.

      Here is a 100% Tamron 17-50 crop, in-chamber Jpeg with D90, FR 50mm, F2.8. There is no problem with focus and sharpness.

  • Andrei

    In Belarus, we have a manufacturer's warranty for tamron for 24 months (as well as for nikon), for sigma - 12 months (((

    • Pastor

      The warranty doesn't always help. A lens jamb is often referred to as misuse. They filmed at minus 1 degree, and the instructions say up to 0, for example (so in a friend's camera, I think something like that is possible with a lens). Or they may say that the physical impact took place - and you will not prove that he was lying on your pillow and put on the camera twice. So I wouldn't hope for a guarantee. Tamron has reliable glasses, but 17-50 2.8 is not one of them. Sigma 17-50 2.8os, on the other hand, is a very reliable tool that is used not only by amateurs, but also by novice reporters and weddings.

  • Makareno

    And which tamron is better to take for a wedding Tamron SP AF 28-75 mm F / 2.8 XR Di LD Aspherical (IF) for Nikon or Tamron SP AF 17-50mm F / 2.8 XR di2 and please explain your advice

    • Andrei

      If you are shooting crop, the choice depends on your shooting style and whether you have other lenses. As one lens 17-50 is more versatile - both wide angle and medium-sized portraits

  • Ildar

    What is better to take, this tamron or Sony DT 18-250mm f / 3.5-6.3?

  • Jaas

    There was such a lens. out of 10 shots to front-back focus, 7 misses, moreover, very specific. A colleague on Nikon 7000 could not programmatically make corrections, since he washed from time to time that in +, that in -. gave it to the SC. Conclusion: the lens is in perfect order, these "misses" are a feature of the construct. in the end I merged ... A similar Sigma is many times better and more problem-free.

  • Konstantin

    There the link does not open. add separately.
    https://www.drive2.ru/b/2589451

  • tadgikov.net

    The Tamron rear caps for Nikon stink because you must stop what you're doing and align them carefully to the dot on the lens before you twist them on. Forget it! Is getting a plastic lens with these problems worth saving money over buying the genuine quality product from Nikon or Canon?

  • Vadim

    Two bushy d7000s with low mileage were bought in Tokyo a year ago, and a pair of 17-50 tamrons without stubs was attached to them. It turned out that the tamrons were NOT used, the seller didn’t give them a test, he opened the box and pick it up. They opened it, made sure that it was not a kaleidoscope. Somewhat confused the inscription made in Vietnam. Both glasses were absolutely identical and adequate, still pleasing to me and my son. They justify their price by 100%. I can qualitatively compare only with Nikkor 60 / 2.8 macro, it is sharper. But the instinct of another sharpening.

    • Vadim

      Later, with some regret, I changed the Nikkor 70-300 with a stub for sigma 50-150 / 2.8 and I got a pretty decent set of glasses for the amateur, practically, for all occasions. Well-balanced in terms of price-quality-versatility. He was aiming at the token 50-135 / 2.8, but the sigma turned up, which he never regretted.

  • Vyacheslav

    Tell me, what is this place in the photographs from the campaign, where there are ruins?

  • Sergei

    A good replacement for cropkit. But I did not quite understand from the article what are the problems when shooting portraits with an enlarged 50 / end? Can't think of

  • Ali

    Great lens. Long chose, a lot of marriage. Somewhere I went through about five or seven and turned up with excellent sharpness. He worked faithfully for almost three years and died after falling with a camera (D 300S) from a tripod on stones in the Gulf of Riga. And in winter and summer and in snow and rain in any weather, I never failed. The bokeh is very good, I would even say beautiful. The picture is three-dimensional (who speaks flat, their hands are flat), juicy. 2.8 really working with the presence of sharpness. Focuses quickly. Flimsy construction, but not critical. Passed the test in frosts under thirty, in the rain and sleet. There is vignetting but can be easily corrected in software with one click. Today, there is no alternative for this money.

  • Ali

    Nikon D5000

  • Igor

    "Image quality

    The lens has good contrast, but in side light it can catch glare and flare. Chromatic aberrations are very noticeable at the edges and corners of the image, in the center the aberrations are compensated much better. At 17mm, there is a noticeable barrel distortion. Sharpness is a very interesting point, the sample from this review does not give normal sharpness at apertures from F / 2.8 to F / 5.6. Moreover, closing the aperture to F / 5.6, the sharpness changes very little. The lens suffers from very strong vignetting at apertures from f / 2.8 to f / 4.0. The lens does not distort colors and has a simple 'bokeh'. ”

    Typo: “contrasty”.
    Success in photography!

Add a comment

Copyright © Radojuva.com. Blog author - Photographer in Kiev Arkady Shapoval. 2009-2023

English-version of this article https://radojuva.com/en/2011/11/tamron-17-50mm-f2-8-xr-di-ii-ld-aspherical-if/comment-page-5/

Versión en español de este artículo https://radojuva.com/es/2011/11/tamron-17-50mm-f2-8-xr-di-ii-ld-aspherical-if/comment-page-5/