Review Tamron Di II SP 17-50mm F / 2.8 VC

Tamron Di II SP 17-50mm F / 2.8 VC

Tamron Di II SP 17-50mm F / 2.8 VC

In short

The Tamron Di II SP 17-50mm F / 2.8 VC is a balanced fast universal zoom lens for cropped cameras. An alternative for more expensive Nikon DX AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM и Canon Zoom Lens EF-S 17-55mm 1: 2.8 IS USM.

Tamron Di II SP 17-50mm F / 2.8 VC is a significant upgrade to an older version Tamron 17-50mm F / 2.8 XR Di II LD Aspherical (IF). The main innovation is the availability of the image stabilizer Tamron VC.

Tamron Di II SP 17-50mm F / 2.8 VC is available only for Nikon (model B005 N II) and Canon (model B005 E) cameras.

In general, the Tamron Di II SP 17-50mm F / 2.8 VC is on par with a similar third-party lens - Sigma DC 17-50mm 1: 2.8 Zoom EX OS HSM,

The Tamron Di II SP 17-50mm F / 2.8 VC has been in my personal use for a long time as a 'workhorse' for crop cameras and left a good impression.

Tamron Di II SP 17-50mm F / 2.8 VC

Tamron Di II SP 17-50mm F / 2.8 VC

Key Features of Tamron Di II SP 17-50mm F / 2.8 VC:

Review Instance Name The lens barrel says 'Ø 72 Di II Tamron SP 17-50mm F / 2.8 B005 Made in Japan 110612'
Basic properties
  • SP (Super Performance) - high performance inherent to Tamron's professional lens range
  • N II - marking indicating the absence of a diaphragm control ring and the presence of a built-in focusing motor. Analog 'Nikon D‘,
  • DI II (Ddigitally Integrated) - the lens is designed for use on DSLR cameras with an APS-C sensor
  • Built-in focus motor, ordinary micro motor
  • VC (Vibration Compensation) - built-in image stabilizer with a separate switch (only in lens options for Nikon and Canon)
  • ALS (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
  • XLD (Eextra Low Dispersion) - special low-dispersion elements.
  • LD (Eextra Low Dispersion) - special low-dispersion elements.
  • IF (Internal Focus) - internal focusing
  • BBAR (Broad-Band Anti-Reflection) - deep anti-reflective multi-enlightenment
  • ZL (Zoom LOCK) - zoom ring lock
  • 1:2.8 - fast lens with a fixed maximum aperture over the entire range of focal lengths
  • Lack of aperture control ring, analog 'Nikon G'
  • The lens transmits the focusing distance to the camera, analog 'Nikon D'
  • 8 pins microprocessor
  • Important: a lens from a third-party manufacturer, which imposes some restrictions on its practical use
Front Filter Diameter 72 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
Labels 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 0.29 m, maximum magnification ratio 1: 4.8 (at a value of 50 mm focal length)
The weight 570 g
Optical design 19 elements in 14 groups of which:

  • 3 Aspherical Hybrid (Aspherical, pink)
  • 2 special low dispersion elements (LD / XLD, marked in green)
  • 2 elements with a high refractive index (XR, indicated in blue).

Optical design SP AF 17-50mm F / 2.8 XR Di II VC LD Aspherical [IF]

Clickable Image

Lens hood Supplied petal hood, AB003
Manufacturer country MADE IN JAPAN (but there are lenses made in China)
Price
Period From September 17, 2009 to the present day

Assembly

Tamron Di II SP 17-50mm F / 2.8 VC is made only in Japan. To the touch the lens is pleasant, strong, weighty. The retractable frame of the body ('trunk') consists of one section, which is strong enough, without any backlash. To the touch Tamron Di II SP 17-50mm F / 2.8 VC is much better than its previous model Tamron 17-50mm F / 2.8 XR Di II LD Aspherical (IF).

The lens has metal bayonet mount. The zoom and focus rings are rubberized. Changing the focal length runs smoothly. The zoom ring can rotate quite tight for the first time.

There is a bayonet mount mark and a mark on the case for quick installation of the hood. The lens uses a plastic hood, which is fixed in special grooves located near the front lens of the lens. The hood can be installed in the opposite direction for transportation. In this position, access to the focus ring at 17 mm focal length is lost. When you change the focal length, the lens hood moves with the front of the lens.

When changing the focal length, the rear lens moves in the middle of the lens body like a pump - it draws in and pushes out air. This behavior of the rear lens is called 'vacuum cleaner effect', which can increase the amount of dust that accumulates in the camera.

The number of diaphragm blades is 7 pieces. At the same time, they are slightly rounded and already form a heptagon on strongly covered diaphragms.

For Tamron Di II SP 17-50mm F / 2.8 VC, the direction of rotation of the zoom and focus rings coincides with the direction of the original Nikon DX AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM.

It is believed to be a lens from the Tamron SP professional line. Many professional lenses use the classic 77 mm filters, 72 and 82 mm - less often. The Tamron Di II SP 17-50mm F / 2.8 VC has 72mm filters.

Despite the good build of the Tamron Di II SP 17-50mm F / 2.8 VC, the overall reliability of the lens is very much inferior to the original metal super-lens Nikon 17-55 / 2.8G.

Repair masters claim that the internal implementation of the lens assemblies is not very good. Personally, I was faced with the fact that with a light blow, the section on which the focus and stabilizer switches are mounted broke completely. This section is made of very thin prastik.

Tamron Di II SP 17-50mm F / 2.8 VC

Tamron Di II SP 17-50mm F / 2.8 VC

Lock 'LOCK ′

Frame (trunk) at Tamron Di II SP 17-50mm F / 2.8 VC does not spontaneously change its size under its own weight (perhaps this can only begin with time). To prevent future inconveniences, a focal length switch 'LOCK' (the so-called 'lock') is present on the lens body, which tightly locks focal length at a value of 17 mm.

To fix the trunk of the lens, you must first set the 17 mm focal length. Near the button there is a drawn arrow that indicates in which direction the switch should be moved to lock the lens.

The switch is located in a convenient place - under the thumb of the left hand, so the lens can be quickly and comfortably 'removed from the lock' before starting shooting.

The effect of spontaneous changes in focal length (trunk creep) in this lens is quite noticeable.

Tamron Di II SP 17-50mm F / 2.8 VC

Tamron Di II SP 17-50mm F / 2.8 VC

Focusing

For focusing, the lens uses a micro motor that is noisy. Tamron Di II SP 17-50mm F / 2.8 VC will automatically focus on all Nikon DX cameras.

When used on a camera Nikon D40, D80, D200, Nikon D90 with unpretentious focusing systems the lens behaved well. I had no particular problems with focusing accuracy and tenacity. The lens clings well to the subjects being shot, rarely refocuses. The number of focusing misses is minimal.

Auto focus speed average, comfortable for the vast majority of photo tasks. Focusing speed is significantly lower than the original Nikon DX AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM. Let me remind you that Nikon 17-55 / 2.8G so far it is the fastest original lens in the Nikon DX series (it uses a large and powerful ring SWM motor).

The focusing speed of the Tamron Di II SP 17-50mm F / 2.8 VC is identical to the older version with the focusing motor (Tamron 17-50mm F / 2.8 XR Di II LD Aspherical (IF) A16 NII)

Focus on Tamron Di II SP 17-50mm F / 2.8 VC internal - when focusing, neither the front nor the rear lens rotates, and the lens itself does not change its size when focusing. Sorry, but during auto focus focus ring rotates and cannot be touched. In such Nikon lenses, the focus ring remains stationary during auto focus.

In manual focus mode, the focus ring rotates approximately 60 degrees. Manual focus is quite inconvenient. When extreme positions are reached, the focus ring abuts and cannot be rotated further.

With manual focus, if the focus ring is tightly clasped, the focus ring starts to jerk. To manually shift the focus ring, you have to make a considerable effort, after which the ring begins to move and flies over the desired value.

The minimum focusing distance is only 29 cm (the distance from the camera’s matrix to the subject). With such an MDF, the maximum magnification ratio is 1: 4.8.

The lens has focus mode switch 'AF / MF'. For manual focus, the lens must be switched to 'M' mode, otherwise the focus motor may be damaged. Unfortunately, unlike many Nikon lenses of this type, Tamron Di II SP 17-50mm F / 2.8 VC does not support continuous manual focus mode.

Focus Features:

  • There is a strong effect of 'Focus Breathing' (changing the viewing angle during focusing). During focusing towards MDF, the viewing angle increases.
  • When changing the focal length, focusing is a bit confused.
  • Unknown compatibility with teleconverters.
  • Tamron Di II SP 17-50mm F / 2.8 VC does not have hard stop (hard infinity mechanical stop) which allows you to accurately and quickly focus the lens at infinity under any external conditions.
  • The lens has a focus distance scale with marks in meters and feet. The scale is plotted on the focus ring. The scale is very meager, on it there are marks for only 6 values ​​of the focusing distance (including 'infinity'). More advanced lenses usually use a scale in the form of a special window.
  • Focus shift (shift-focus) was not noticed.
  • Tamron Di II SP 17-50mm F / 2.8 VC has no focus problems in Live View (tested on Nikon D90 ), but focuses slowly.
  • The lens transmits the focus distance to the subject in the camera (analog Nikon D, Nikon G).
  • Tamron Di II SP 17-50mm F / 2.8 VC is a third-party lens. It may happen that it will not work correctly with some Nikon cameras. Details on this issue are considered by me. here.
Tamron Di II SP 17-50mm F / 2.8 VC

Tamron Di II SP 17-50mm F / 2.8 VC

Stabilizer

Tamron Di II SP 17-50mm F / 2.8 VC can use the built-in image stabilizer.

There is a VC ON / OFF stabilizer operation switch on the lens. The stabilizer works with noticeable noise.

The manufacturer does not indicate the effectiveness of the stabilizer. In practice, Tamron Di II SP 17-50mm F / 2.8 VC holds 2-3 stops on shutter speedwhich is quite good. I was able to take pictures of stationary objects from hand to hand without any problems shutter speed 1/15 sec and 50 mm focal length.

Nowhere is it indicated whether the stabilizer can track the movement of the lens during panoramic shooting. Unlike the original Nikon DX AF-S Nikkor 16-85mm 1: 3.5-5.6G ED VR SWM IF Aspherical Tamron Di II SP 17-50mm F / 2.8 VC has no choice of Active / Normal stabilization modes or the like

Important: during stabilizer activation (pressing the autofocus and / or metering activation button exposure) and during its deactivation (a few seconds after inactivity), the image in the viewfinder twitches noticeably. If you take a picture at this moment, you can get a blurry frame. To avoid this, you need to wait a bit after activating or deactivating the stabilizer.

Important: during shooting with the built-in flash with the stabilizer on, after each shutter release, the stabilizer turns off and on. Most likely this is due to the power consumption for charging the built-in flash. There is no such problem with an external flash.

Tamron Di II SP 17-50mm F / 2.8 VC

Tamron Di II SP 17-50mm F / 2.8 VC

Image quality

The lens is sharp in the center even at F2.8 and at all focal lengths, but still, it is far from fixed lenses. When you close the aperture to F3.5, contrast increases markedly. Closing to F5.6 sharply increases sharpness. The lens is very sharp on the F11-F16 aperture. Color reproduction is normal, the lens even boasts a nice nice bokeh at 50mm and F2.8. HA visible only 17 mm. If you really need it, then at 50 mm F2.8 you can shoot portraits, but even Nikon 50mm F1.8D a portrait will do better. A serious drawback of the image quality of the lens is distortion, which almost disappears by 50 mm. The lens also has a strong vignette of 17 mm (in the vicinity of the step at the edges of the frame) and a little smaller by 50 mm.

Tamron Di II SP 17-50mm F / 2.8 VC

Tamron Di II SP 17-50mm F / 2.8 VC

Sample Photos

The lens below is shown under real-world camera shooting conditions. Nikon D90:

You can take a look at a lot of photos from real shootings. here, here, here и here.

Personal impressions

The Tamron Di II SP 17-50mm F / 2.8 VC is a usable lens. But still Sigma DC 17-50mm 1: 2.8 Zoom EX OS HSM I like it more. There are several reasons: a quieter focusing motor of a different type, fewer problems with the focusing ring, and there is no jerking of the picture when the stabilizer is turned on. At the same time, for a long time I used Tamron Di II SP 17-50mm F / 2.8 VC for professional purposes and was completely satisfied with its optical performance and general capabilities.

Tamron Di II SP 17-50mm F / 2.8 VC

Tamron Di II SP 17-50mm F / 2.8 VC

Prices for the Tamron 17-50mm F / 2.8 XR Di II VC LD Aspherical (IF) lens in popular online stores can look at this linkor in the price block located below:

All Tamron 17-50 prices


In the comments, you can ask a question on the topic and they will answer you, as well as you can express your opinion or describe your experience. For the selection of photographic equipment, I recommend large catalogs, for example E-Catalog. Many little things for the photo can be found on AliExpress.


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), since July 2006. The optical design is similar to the lens 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 EX OS 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

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 bayonet mount, since February 2007. Optical design similar to 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 PLM AW, from July 2021, Pentax KAF4 mount
  3. HD Pentax-DA 1: 2.8-4 20-40 mm ED Limited DC WR, Pentax KAF3 bayonet mount, black or silver, from November 2013
  4. SMC Pentax 1: 2.8-4.5 5-15 mm ED AL [IF] [LENS 02], Pentax Q mount (with 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), 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 R LM 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 (4/3, Micro 4/3, Kf = 2X)

Mirrored 4/3:

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

Mirrorless Micro 4/3:

  1. OLYMPUS M.ZUIKO DIGITAL 12-40 mm 1: 2.8 PROsince 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, from June 2012, in March 2017 an improved version is released (outwardly no different)
  4. Panasonic Lumix Leica DG Vario-ELMARIT 1: 2.8-4.0 /12 60 ASPH.since March 2017

Tamron Di II SP 17-50mm F / 2.8 VC

Tamron Di II SP 17-50mm F / 2.8 VC and Sigma DC 18-50mm 1: 2.8 EX MACRO HSM

conclusions

Tamron Di II SP 17-50mm F / 2.8 VC - balanced versatile fast lens with convenient focal lengths for DX cameras and an image stabilizer. Suitable as a good staffer for DX cameras.

Material prepared Arkady Shapoval... Look for me on Youtube | Facebook | VK | Instagram | Twitter.

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Comments: 318, on the topic: Review of Tamron Di II SP 17-50mm F / 2.8 VC

  • Victor

    Thank you very much for the review of this glass, I took myself this and did not regret it. On Avito it cost me 11000 + shipping. True, a little with swollen gums. Great optics for the price. Thanks again!

  • Victor

    Thanks for the review. Recently I traded this lens for a fifty-fifty 1 / 8G, since half a half lay in a bag with a dead weight. As this tamron put on a carcass, instead of the regular 18-140, 18-140 began to lay dead weight.
    In general, the lens is like. But there are some complaints to him:
    1. Annoying backlash of the trunk. When shooting for it, it’s better not to take the lens, it sways a couple of millimeters. Although, it seems that it does not affect the focus.
    2. The lens does not like backlight. The window that got into the frame gives a decent illumination.
    3. Autofocus works clearly, but somehow is not stable. Just yesterday and the day before yesterday I shot a report with this glass (indoors), periodically tried to open the aperture, while the focus periodically went somewhere. That is, if you take pictures slowly, and it is possible to retake the failed frame, you can open up to 2.8, when shooting a report, maximum f / 4, better f / 5.6. At 5.6 with virtually no surprises (Hired on the D7000).
    And this is the question I was born with. Is this normal for this lens, or is there a problem with my copy personally? Does a similar sigma have similar problems? I suspect that Nikon 17-55 does not have these problems, but it costs 40t.r. in good condition, and this is somehow a bit too much.
    By the way, about the highlights. On my tamron, under the outer lens, dust is visible, although not much, maybe the flare due to this dust? Can I clean it? And about the backlash, is it possible to “defeat” it somehow?

    Dust under the lens https://photos.app.goo.gl/ue911VxugNPYMTXr2

    • Arkady Shapoval

      There should not be a backlash of the trunk in the VC model, it is in the previous model the trunk was hanging. I now have this VC tamron paired with the d90, there are no problems with focus in any shooting conditions, but, of course, it does not work out as fast and perfectly as 17-55. Dust under the lens, especially the front, does not play a big role.

      • Victor

        And, nevertheless, there is a backlash. Perhaps it was dropped ...
        But I figured out about the flare. As it turned out, it was not a reel, the filter was to blame. More precisely, fatty stains on it, which, it is not clear where they came from, but I did not check before reporting. Perhaps these stains and focus prevented.

      • Rustam

        Arkady good evening .. such a question .. is it true that this tamron is yellow?

  • Oleksandr

    Tobto sigma yaka nova koshtoє 7500 UAH more beautifully for tamron yaky zara koshtoє 10000-12000 UAH, am I right?

    • Arkady Shapoval

      Yes, that's right. But the prices are not so simple, for the same BHphoto Sigma / Tamron + - they cost the same. In our markets, prices jump from and to.

  • Alexey

    I don’t know, I bought this lens, apparently to sell. Beck and front focus do not allow him to work with the word at all. I have a Nikon D7000 camera, there is a fine-tuning of autofocus, but the fact is that the correction at the long end is different from the correction at the near end, respectively, there is no sense from fine tuning. Maybe, of course, mine only has a problem. I also have his vignetting quite noticeable around the edges, in the lightroom, of course, it is removed with one click, but it’s still unpleasant, so it’s on crop cameras, what the hell?

    • Alexander

      I also have such a Tamron and I used it on the D7000, I bought it in Dnepropetrovsk ... I chose from three copies in the store, and only one had the best sharp picture, but it had a front + 8 ... So far I was using it, it seemed to be fine ... Then I went to Moscow, to the service, set it up, now without amendment, it seems like all focal points are normal ... Although sometimes (and maybe it seems) it is sometimes on the left, then on the right a little blurry ... Then I bought Sigma 17-50, checked it in the store, it seemed to be fine, then slowly he began to notice that somehow it was not quite ... I went to Moscow, to the service, after setting up, focusing began to work normally ... I use it on the D7000, bought it for the D7100, and Sigma 17-105 is not very friendly with it ... It seems like a trifle, but very annoying ... And a few words about how Nikon makes photographic equipment ... I bought a new D7000 from 18-105, after a while I bought a new D7100, then 18-200-GII, a little later 18-140 ... All of the above had to be taken to Moscow after a while for alignment ... And cameras and lenses ... And dessert t - recently bought 35 - 1,8 ... Immediately from the store I went to the Nikon service ... They were very surprised, they asked if I checked it, but I didn't even get it out of the box ... The girl put it on the carcass, a poster clicked in front of me on the wall and says that autofocus works fine for him ... I tell her that I don't know anything, take and check while there is a guarantee, I bought a bunch of everything from you and I had to carry it all to you, but from Belgorod it's not that close ... They were once again surprised that I took such a bunch of their equipment to them and said that their lenses and cameras were tuned exactly and it couldn't be like that ... Although they took this whole bunch of them for adjustment at different times ... Now there's also strawberry - Recently I discovered, by chance, that wireless control of external flashes does not work on my D7100, multiple flash does not work and the built-in flash sometimes blows to full in auto mode, that is, it overexposes the frames ... Negotiations with the Nikon service did not lead to anything, the guarantee is already over .. They resisted and talk about the same thing, but these defects were from the very beginning, that is, this is a factory defect ... It turns out, when buying a Nikon, you need to stand in the store for half a day at the counter and check everything that is possible and everything that is not allowed, that then you would not have their service centers ... So why then need such joy ...? Canon's crop cameras are no good, Nikon has better picture quality ... So what can you buy now ...?

      • Alexander

        “Canon's crop cameras are no good, Nikon has better picture quality ...” Namesake, you are deeply mistaken about the fact that Canon crop cameras are no good. I have been using Canon EOS 600D since 2013, this is the same indestructible Kalashnikov assault rifle, and the quality of the picture depends on the lens. And how did you define Nikon quality versus Canon? Did they wear the same lens on the carcasses? I doubt it, I really doubt it. And what I dislike most about Nikon cameras is the green they give out. Canon has no problems with color reproduction.

        • Valery A.

          Everything is correct, but not green, but blue. And not with Nikon, but with Sonya (they spank matrices for Nikon, which means Nikon, and maybe they say their Panasonic slaps). How lucky you are that at least kenon is impeccable.

          • Denis

            Nikon has a bunch of matrix manufacturers, but eternal color problems
            Canon also has third-party matrix manufacturers, but there are no problems with color
            it seems this is a conspiracy of manufacturers

            • kotofei

              Said "A" - say "B". Who makes matrices for canon?

              • Ivan

                Almost all matrices are made by Sony.

            • Ivan

              The matrix by itself does not determine the quality of the final image. Far more important is the processing of data using electronics, processors, and internal camera software.

              • Oleg

                Xenon has matrices of its own production, if only because they do not have back-illuminated matrices and their matrices are usually slightly inferior to Sonev's ones in dd

              • Oleg

                Xenon sorry

              • Oleg

                In general, the dictionary on the phone is mocking. Canon

            • Victor

              "Eternal problems with color", come on, tell tales.

        • ba3lur

          ... at the expense of the fact that Canon turns yellow and Nikon turns green already an anecdote with a beard ... I had no problems on 5 nikons even in auto ISO mode, and if in special modes even more so ... I am silent about color correction in the editor

          • Victor

            This anectode has its roots in D1, which was really green. But starting with subsequent models, everything is already ok.

            In the canon, many models really slightly sketch out yellowness, the problem-free here are perhaps bricks in this regard, without reservations.

            • Dmitry Kostin

              D800 / D800E / D300 / D300s / D750 - in terms of the built-in color profile, they seem to live somewhere in a parallel universe.

              • Victor

                And what does “green” and “built-in profile 800-300-750” have to do with it? They have an excellent auto-bb, and the built-in profile is built-in, so that everyone can finish it for themselves or use the built-in converter tools. If you don't have enough experience, you have to look for the holy grail, many people are doing this on the photo in “choosing the best camera for photographing people”, instead of increasing elementary skills.

              • Dmitry Kostin

                Their auto BB is not great, I would argue on this topic, especially since I had a D750. Did you have all the cameras listed by me or is this knowledge from the Internet?
                “If you don’t have enough experience, you have to look for the holy grail, in the photo in“ choosing the best camera for photographing people ”many are doing this, instead of increasing elementary skills.”
                I get it, let's simulate the situation.
                First option:
                Look, you have virtually the D750 in your hands. You are now standing in Sokolniki Pavilion No. 2, where a poisonous green rubber floor (in which the lanterns from above are gleaming), the lanterns themselves are luminescent - one is grayish-yellow, the other is yellowish-green, the third is almost yellow, the fourth is almost orange, and the fifth is white. There is no gray card with you. You went through all the presets, everything does NOT work normally. Those. the selected temperature in the camera preset does not coincide with the one hanging over you, but all due to the fact that the general color temperature of the hanging lamps above you has mixed. Let me remind you - the floor is poisonous green. I predict that you could pick up 1-2 temperature presets (+/- average for the hospital), and then you try to climb into the fine tuning of the BB, smother the green, but then when you smother the green, the accent on magenta and purple-violet will come out shades. And the last nail is the screen in the D750 LIES and incorrectly displays both the exposure and the color temperature, i.e. You can't believe him (you can do D4, but you don't have it with you). There are no flashes with you either. Tell me please, what are your further steps for setting up a blindly camera, which is in the green as soon as it sees this (or some shades of yellow) color when you can say that the rear screen is inoperative? Color profile -STD. RAW - naturally NEF 14bit.
                It is necessary to achieve an adequate color for human skin, and that the cars in which all the colored lights are displayed on top were without color spots, and the color corresponded to the real one.
                And the second option - let's say (but it is not) the rear screen of the D750 displays colors correctly, but you are not able to overcome the BB at all. It is necessary to achieve an adequate color for human skin, and that the cars in which all the colored lights are displayed on top were without color spots, and the color corresponded to the real one. Let me remind you that there is no gray card. There is nothing pure white or gray anywhere nearby.

          • Dmitry Kostin

            Have you had D800 / D800E / D300 / D300s?

        • ba3lur

          ... picture with Nikon D5300 + 18-70mm

        • ba3lur

          ... wrong .. of course I meant auto BB and not ISO

          • Dmitry Kostin

            And that won't help much.
            It's one thing to adjust the temperature of the BB to the studio, it's another to walk along the street with a camera, and the third is a pavilion with fluorescent lamps of different color temperatures and, for example, a grassy-green rubber floor covering.
            Example: Moscow, Sokolniki Park. Pavilion No. 2.
            Anyone who wants to check how the AutoBB of their camera works correctly - wellkam. You can also capture a gray card, but there are lamps of different color temperatures.
            It is enough to shoot with AutoBB and manually iterate over all the presets of the luminescent system, wired into the camera. Naturally, shooting in NEF. On the D750 and on the D4, the photos differ in color. D4 is more correct. And they do the best ... Fuji (both new on X-Trans and old on S-CCD).
            At night you can walk with Nikons calmly - AvtoBB is correct. The most interesting thing is that you fill in the color profile with amateur settings and some of the problems disappear.
            I don't know, only on Nikon cameras you have to pay such close attention to AutoBB and color temperature. Yes, I shoot with NEF. But, on Canon, Fuji and Sigma, I rarely think about it at all. The exception is the Byzantine Fuji S3Pro, built on the basis of the Nikon F / N 80 film. Although it forgives more mistakes. The more I shoot with Canon, the more I notice that I feel comfortable with it and I have no complaints about color and shades, but more often than usual I need to monitor the exposure meter and exposure.

    • US6IBD

      To determine the back / front focus, I downloaded the lens_test.pdf file from the profotovideo.ru website and, in accordance with the instructions, shot this printout at an angle of 45 degrees. Also noticed that my Tokina 28-70 / 2,8 required different compensation on short and long focus. I preferred to snap to 70 mm (compensation +20), because 28 is a purely landscape option and is never used outdoors.
      After a while, I found a description of another technique, which I could have thought of myself, but fell for the authority of pseudo-professionals ...
      Place any small text parallel to the focal plane (perpendicular to the shooting axis). After that, shoot with compensation: -10, 0, +10, each time manually "knocking down" the focus. See the result on the computer.
      As it turned out, the lens is ideal for all focal lengths and all "cheats", incl. and returned to 0 on other glasses.
      Choose the right technique and maybe the problem will be a pseudo-problem.

  • Oleksandr

    Good day!
    In my instance, the back focus on the focal lengths is greater than 30 mm.
    Having tested the front line, the result is 0.
    Let's see if there is a problem in the "active", you need to regulate the AF in tushts.
    in Live View focus more precisely. In small dzherels, write in the live view of norms, then the AF module is required koriguvati, and in the ones - navpaki (demand koriguvati sklo).

  • Novel

    Arkady, what to choose? 28-75 on ff (5Dm2) or this on a crop (7D)?

    • Arkady Shapoval

      5d mark 2

      • Novel

        I'm talking about a bunch of lens and camera ..

  • Boris

    Arkady, good afternoon! Your opinion, if you compare it with the Pentacon Prakticar 28 mm f / 2.8 MC (exactly 28) at the corresponding focal length, which is preferable?

    • Arkady Shapoval

      You can not compare. On the crop, Tamron will be no worse.

  • Boris

    I mean the image, without taking into account the charms of AF and VC

  • Erlan

    Also bought such a new one. And I'm thrilled. The picture is super, bright colors, excellent sharpness for zoom, and most importantly, the stabilizer is beyond praise! Noise, etc. I do not how much. I use the lens with Nikon 3300, as if it were imprisoned for it!

  • Demon

    Autofocus is slow, the darker the shooting conditions, the slower. It’s hard to shoot reports in dynamics

  • Igor

    I use this Tamron Di II SP 17-50mm F / 2.8 VC lens for 5 months, I bought it for $ 200, I decided to choose a middle ground, but I see no luck, the production in China is written on the body. I like color reproduction although it’s 540g heavy. , focuses as if quickly but 30% of the photo with back focus and it’s difficult to predict whether or not the photo will turn out even with the 1/250 shutter, even when the shutter button is released, the focus confirmation lights up in the camera, although I shoot under normal conditions from a distance of 2-3 meters of motionless people, children , auto)) on aperture 4.8, the photo is sharper and more focused. Before that there were Nikon lenses of 50mm 1,8, etc. there wasn’t such a camera Nikon D7100. I’ve been in different focus modes. I plan to sell) I could attach a photo but nowhere)

  • Eugene

    Great lens. Acquired via OLX Secure Shipping. Today I received it - the state of the new (only the back cover is not native, but from Nikon). I tried it - and was just shocked - it's just super! Everything is sharp, colorful. It seems that I just won't take it off the carcass anymore. The trunk does not move under the weight. The zoom ring is rotated with a slight gentle force. The focus ring rotates smoothly without effort. The photo was taken on the way home from the post office.
    DSC-8257

  • Ksenia

    And in photographic examples, when shooting a baptism, did you use a flash there? or is it all photos taken with this lens without flash?

    • Michael

      Not at all, there is with and without flash

  • Erlan

    Arkady, I wanted to ask you about the 50-100 sigma lens. F1,8. Is it possible to consider buying, then to supplement the focal length for this tamron? Judging by the reviews, the Sigma 50-100 is a worthwhile lens but obviously more expensive.

    • Arkady Shapoval

      Yes. 50-100 standing, you can do so

  • Dmitriy

    Hi, Arkady, I’ve been using this lens for about five years, I agree about the quality, I chose from three, one had a strong back focus, and the second had a smaller front. Only one instance showed an accurate hit. Now I want to change it to Nikon 16-80 2,8-4. Is the game worth the candle?
    Tamron has a good drawing. The only thing is that the work of the stub is annoying, when reporting a lot of marriage it is because of the stabilizer lubricant. With a leisurely shoot for your money, it is perfect.

    • B. R. P.

      If you do not turn off the stub at 16-80 when shooting dynamics, then the game is not worth the candle.

  • Eugene

    Hello! Does anyone have experience using this lens with Pentax cameras? Please share feedback and impressions. I consider it bu on my Pentax kr, similar to Sigma is problematic to find, at least on the OLX.

  • Alexander

    Why are you writing that Tamron Di II SP 17-50mm F / 2.8 VC is only available for Nikon (model B005 N II) and Canon (model B005 E)? But is it not suitable for the Canon EOS 600D?

    • Arkady Shapoval

      It is written in black and white that NII for Nikon and E for Canon. Just look for the version for Canon. Great for 600D

  • Dmitriy

    Hello, how does it compare to the Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM? What do you think is the best of this pair, or is there a third option in this price range?

  • Andrii

    When it comes to the problem of the interconnection of the induced sleeper and the stabilizer, if it stops (I’ll just look around in the text) - I’m right mind, for a comfortable robot to go to a whole tamron just one time to buy a new sleeper?

  • Nadezhda

    Tell me, I choose between Tamron Di II SP 17-50mm F / 2.8 VC and Sigma AF 17-50mm f / 2.8 EX DC OS HSM Nikon F, which one do you recommend? (there are Tokina 12-24 and Nikkor 35 and 85), but I want something fast at the universal, so as not to constantly flip the lenses. Old screwless camera 5200

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