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
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 |
|
| 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 |
| 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 | 0.29 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:
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 |
![Optical design SP AF 17-50mm F / 2.8 XR Di II VC LD Aspherical [IF]](https://radojuva.com/wp-content/uploads/2018/02/tamron-17-50-vc-optical-scheme-big.jpg)
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
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
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
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
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
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
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
Comments on this post do not require registration. Anyone can leave a comment. Many different photographic equipment 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)
- 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)
- 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
- promaster DIGITAL XR EDO AF Ashperical LD [IF] 17-50 mm 1: 2.8 MACROprevious lens under the brand Promaster
- 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
- 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)
- 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):
- 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'.
- Sigma dc 18-50mm 1: 2.8 EX MACRO, since September 2006, for Sigma SA, Nikon F, Canon EFS, Pentax K, 4/3
- Sigma dc 18-50mm 1: 2.8 EX MACRO HSM, since June 2007, for Nikon DX cameras only (Nikon F mount)
- 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
- Sigma dc 18-35mm F1.8 A [ART, HSM], from April 2013, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
- 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):
- Sigma dc 17-70mm 1:2.8-4.5, February 2006, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
- Sigma dc 17-70mm 1:2.8-4.5 MACRO HSM, from July 2007, for Nikon DX cameras only (Nikon F mount)
- 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
- 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
- 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)
- Nikon DX VR AF-S Nikkor 16-80mm 1:2.8-4E ED N, Nikon F mount, from July 2015
- 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)
- 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)
- HD PENTAX-DA * 1: 2.8 16-50 mm ED PLMAW, from July 2021, Pentax KAF4 mount
- HD Pentax-DA 1: 2.8-4 20-40 mm ED Limited DC WR, Pentax KAF3 mount, black or silver body, from November 2013
- 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)
- 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)
- Sony DT 2.8/16-50 SSM, Sony A mount (Minolta A), since August 2011
- Sony E 2.8/16-55G (Sony SEL1655G), Sony E bayonet mount, from August 2019
Fujifilm(X)
- Fujinon Ashperical Lens Nano-GI XF 16-55mm 1: 2.8 R LM WR, Fujifilm X mount, since January 2015
- Fujinon Ashperical Lens Super EBC XF 18-55mm 1:2.8-4 RLM OIS, Fujifilm X mount, September 2012
Samsung (NX)
- 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:
- OLYMPUS ZUIKO Digital 11-22 mm 1:2.8-3.5, from February 2004
- OLYMPUS Digital 14-54 mm 1:2.8-3.5, from June 2003
- OLYMPUS Digital 14-54 mm 1:2.8-3.5 II, from November 2008
- OLYMPUS ZUIKO Digital 14-35 mm 1: 2 ED SWDsince January 2005
- Panasonic Lumix LEICA D VARIO-ELMARIT 1: 2.8-3.5 /14-50 ASPH. MEGA OIS, from July 2006
Mirrorless Micro 4/3:
- OLYMPUS M.ZUIKO DIGITAL 12-40 mm 1:2.8 PRO, since October 2013
- Panasonic Lumix Leica DG Vario-Summilux 10-25 mm f / 1.7 ASPH.since May 2019
- 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)
- Panasonic Lumix Leica DG Vario-ELMARIT 1: 2.8-4.0 /12-60 ASPH., since March 2017
- Yongnuo 12-35 F2.8-4 STM ASPH, since April 2023
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. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram
Focusing on the lens is completely internal. When focusing, absolutely nothing spins or leaves. In manual mode, the focus ring rotates about 45 degrees.
Is that for sure? and then in other reviews the opposite
It even has IF (internal focusing) in its name.
Thanks. buy here
http://www.mvideo.ru/products/obektiv-dlya-f-ta-nikon-tamron-af17-50-i-2-8-di-ii-xr-vc-ld-b005nii.html?utm_medium=cpc&utm_content=10003822&utm_campaign=ym_photo&utm_source=yandexmarket&reff=yan_tov_d143_c336_g1382_m492&utm_term=phot_lens_Tamron_AF175028DIIIXRVC
there is no IF description :( is this another lens?
"In fact, there are no higher aperture zoom lenses."
By the way, Sigma already has zoom lenses with aperture of 1,8. I would like to read reviews about them.
It seems to me or really that tamrons have a dull color and not bright almost always. Is there too little contrast? Can this be called a disadvantage? Just some argue that this is the closest to natural and real characteristics.
I took this lens on the D5100, now I use the D90 as a staffer.
The color rendition is excellent, the contrast and color saturation are adjusted in the most primitive editors. Sharpness suits me perfectly, it has a place to be and is unobtrusive. On the "hole" up to 3,5 gives "soft", starting from 5,6 sharpness and contrast increase. The ideal is not attainable, you get used to the good quickly.
Definitely, this "zoom" is better than the whale analog. But the price is different ...
"Native" analogue to my teeth, so I get out of the situation through "Tamron".
If the hands grow correctly, then there will be not many regrets about this “device”.
By the way, it works better with D5100 in the “green zone” than with D90.
Arkady, please help. Which is better to take a lens- Tamron AF 17-50mm f / 2.8 XR Di-II VC LD (for Canon) or Tamron AF 28-75mm f / 2.8 XR Di LD. Carcass Canon 550D. We will shoot the unborn child, portraits, while traveling. In general, you need a universal lens for amateur shooting. Thanks in advance for your help
Yana, 17-50 is more versatile in focal lengths.
On the other hand, 28-75 are focal lengths, which are more convenient for shooting portraits on non-full-frame cameras. Try on both lenses in the store and make your choice :)
Hello! Manufacturing China or Japan?
About aperture zoom lenses, a little fix.
Mb already existed, but recently Sigma released 18-35 f / 1.8.
I had one - I broke it. Took 18-105 Nikonovsky immediately noticed the difference in favor of tamron, again I want to buy tamron.
Hello, please check again, I have a d5200, you write that autofocus will work “The lens will work on all Nikon DX cameras, even those that do not have a built-in focus motor.”, But the specifications say that there is no built-in motor and AF marking, without -S, i.e. autofocus and will not work. Look here http://market.yandex.ru/model.xml?modelid=6042282&hid=90613, maybe I'm confusing something, tell me, please.
Tamron comes in two versions - with and without a built-in motor. And the marking of lenses from third-party manufacturers does not correspond to the Nikon marking.
Arkady, I bought this lens, but the noise of the stabilizer is embarrassing. When turned on / off, it emits a click (rattling), as if the lens is moving. Is this a defect or features of the stub in this lens? The lens took a new one.
Thanks in advance for your reply.
Arkady, I beg you to tell me whether this lens is suitable for the Nikon D3200, since 24 megapixels can ruin the picture? There is another option 18-140, but the loss in the world. Thanks in advance
Yes, it does, nothing special 24 megapixels will not spoil.
During operation, the stabilizer has the right to emit sounds (clicking, rustling, knocking, squeaking). In addition, the movable lens floats in a magnetic field and when the power is removed (released the "release" button) it can fall on the guides with a distinct knocking and generally knock when the lens is shaken. This is not a defect.
Koristuvavsya cim slope is not so good: the picture is already zany zvychana, porvnyuchi to navigate with the kit 18-55vr, but the price ... Drove yogo, without saying it is cute, but not so sharp picture. And close up to 5,6 - now 2,8. Boke is also ill - I do not mind that, more then having bought a sigma 17-70 f2.8-4 Contemporary (ninovisha model sigmi 17-70) - the price for a used Todi Bula only Trokhi Vishcha for a used Tamron, if I want to light a mensha , the picture is nagato beautiful (yak at my sight - beautiful chimos) Tamron-mіtsno picks up, working a horse. Yaksho, without nagging, it's a good slog.
Arkady hello…. I have a Tamron AF 17-50mm f / 2.8 SP XR Di II LD Aspherical [IF] VC for Nikon, by the way bought at ABC in Dnepropetrovsk ... And so I noticed that the right side was washing (it seemed like that from the very beginning ..) and mainly at short focusing distances (when you shoot people, usually you get a short distance), but when shooting landscapes at medium and long focusing distances, I never noticed the soap on the right side ... Can you tell me why this is and can it be eliminated in the service ...? (Nikon D7000 camera)
Ask at the service.
The answer is simply SUPER ... Five plus ...
Unfortunately, I do not do remote diagnostics of lenses according to the verbal description using vanging :)
It is clear, I thought, maybe you have already encountered such phenomena ...
I constantly come across, and there is only one solution - a trip to the service center. Usually at the office. diagnostics service is free, they inform the price of repair and / or its possibility, after which you already decide what to do with the lens - either repair or get rid of at flea markets. The text for sale usually looks like this "a girl used the lens, all the documents, no problems, cheap, urgent :)".
Thank you for your advice ... I like the lens, if it is removed in the service, let it be with me ... I also have 18-140 and 18-200 and D7100 ... And I don't want to sell anything, if I don't use it, let it be for the collection , you never know, suddenly someday it will be needed…. I don’t like to shoot at open apertures, I like coding everything sharply (except, of course, portrait and macro), but it happens, of course, that it’s quite difficult with lighting, so Tamron will come in handy ...
Tell me, what if there are no official service centers in the city? How much will it cost to diagnose and adjust the carcass / lens (in the city only authorized, who only in fact accept products for repair)? I am in the territory of Ukraine. Well, or at least an approximate order of this pleasure tell me.
Hello! I would like to thank you very much for all the reviews, I just fell in love with your site)))) I have a question for you as a professional. I have a D3100 camera. There is a 50 mm 1,4 lens. I am extremely happy with it, but the viewing angle is very small for me. That came to your review of Tamron. In general, it seems to be a very good lens, but wouldn’t it be to me, after 1,4 a little aperture of 2,8? There is an alternative to Sigma 20mm 1,8. What do you think will be better? I’m looking for a universal lens with a good viewing angle, and given the cropped camera, I want it to come out clean 30-35 mm, as if it were full-frame))) In general, I want something, without knowing what myself) Thank you.
Ekaterina, what will you shoot?
In principle, everything: I have a small child (and in my apartment 50 is very small on the crop), nature, architecture, etc.) So that you can go for a walk and it is convenient) For example, we went for a walk with my husband and daughter to the Opera to the theater, and in order to photograph them against the background of the building, I had to move decently a few meters back to capture most of the background))) This is very inconvenient, so I want something more wider. Thanks so much for responding.
take the tamron.
Thank you very much.
There is also such a Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM, I didn’t use either of these, so I don’t know, but Arkady praises both, and Sigma more.
In general, the Lynx always advises 35mm 1,8, I generally also, but since you want universal, then these tamron and sigma will suit you. There is really still a native Nikon 17-55mm f / 2.8G IF-ED AF-S DX Nikkor, but it is very expensive.
Thanks for the answer. In general, I originally wanted 35 mm 1,8 or 30 mm 1,4. But they dissuaded me, assuring me that this very small review would be due to the crop. I myself didn’t hold these lenses in my hands, so it’s even hard to compare ... I also considered the Sigma 18-35mm 1,8 option. But his price is more than 2 times higher and he himself is not small enough.
For the second week now I've been sitting reading about these lenses)))) Such a mess is in my head, I want to buy and enjoy life) Otherwise, my husband will just beat me))))
35 nikon is very good for a child, even in an apartment, but for architecture and city wide moments tamronchik will do better. although he has a drawing that is flat and dull, but he has a wide angle.
well, or sigma, yes. She has her own flaws, but the drawing is still a little nicer than a tamron.
Thanks for the answer. I also have a whale 18-55. Is it worth looking at the Sigma 17-50 just because of the architecture and urban moments? Because initially I was 35 and looked. It is not expensive and very good reviews for it, only with it I had a problem with Sigma 30 mm 1.4. Or is Sigma not a competitor here? I have a good friend, a photographer, so I asked him, but he doesn’t answer me very willingly .. He only says that I should walk with my Kitovsky and see which fix is convenient for me, hence the dance .. and at the expense of Nikon 35 more to think if it would be an option for me ... After reading all the comments and a bunch of articles about lenses, I decided to ask a question here .. Thank you for your time. You are very helpful in choosing.
ЦЦ .. on points.
For architecture and shooting on sunny days, the whale will more than come down, more for normal shooting of "something not portrait" - as a rule, you need to clamp the aperture to some sane values from 5,6 to 11 (if the presence of a tripod or the sun allows), and such apertures 18-55 becomes very sharp, even landscape painters say they love it - a good wide angle and sharpness on closed apertures at a penny price. in fact, tamron - will have the same effect on the covered ones.
....
sigma 1,4 ... that's the point. he's kind of cool. he type is fast. but it's still sigma. all sigma disease - numerous mistakes from a quarter to a half of the images occur. Taking into account its price - I do not see any point for a “novice amateur with a baby d3100”.
IMHO - set 18-55 as an "architect and just like that" and 35 mm as a "staff and portrait" - this is more than enough for studying on the d3100.
Moreover, the image with 35 mm on the crop is practically 1 in 1 old film photos taken by the then tshatny fifty dollars, i.e. when teaching on old jobs, you will not have to “rebuild the vision of the frame”.
Oh, thank you so much for such a complete description! Honestly, now there is a picture of all this. You understood exactly what I wrote)))) I'm not a pro, I shoot for myself))) In most cases I need it, precisely for shooting on walks and forever "with an awl in the bottom" of a running child. And holding a whale and a 50mm 1.4 in my hands, I realized a huge difference in aperture ratio. At 50, I didn't even use a flash, only in rooms with poor lighting .... And I was afraid from 2.8 after 1.4, so a lot of questions immediately arose))) And I don't see any reason to buy a very expensive lens ... If I earned money on this, then I would have already changed the camera) And so far I'm just learning. Thanks again for such a detailed answer.
People take Tamron in the event that they make it the main and only one, and shoot mainly reportage, where speed is more important than artistry, for all the same "light zoom".
I had a chance of 1,5 years (it seems) to go with a bunch of d3100 + 35 mm (well, and also Jupiter 37 for individual portraits) and I was quite happy with it (and it looks good, and the kit is crooked in my hand), although when shooting in a home studio 35 mm is still narrow, alas.
Arkady! Guys! I have a question, I got confused after reading all your thoughts, please help! I am an amateur, I don’t make money on photos and how many mistakenly believed that having bought a DSLR I would automatically have “beautiful pictures”. I was wrong. I started reading thematic books and articles, trying to photograph. With my D5200 with a whale lens 18-105 I photograph a family, a child, family walks (in the city, on vacation), guests? of course buildings and landscapes, well, where without them when you are on vacation in another country. Already 2 years.
I immediately realized that the apartment lacked aperture ratio, but with a built-in flash both on a soap dish and red eyes. I bought an external flash, I was glad to madness! I noticed that on the street at dusk or at night, even during the day, if you go into the shade in the park, nothing good happens because of the bullied iso.
And in general on my whale strange photos turn out, not sharp not saturated. Other lenses give a more fun picture. I’m shooting in Jpeg, I can’t shoot in RAW with subsequent processing, this is the same photo for the home archive, and not for sale. I also do not like that for home shooting I have to have an external flash ready. On the street the same situation, although I know, do not correct, in some cases, a flash on the street and at home is really needed.
I tried a little 50mm from a friend on the d5100 and redid it for the sake of pampering Helios 44 from the zenith.
50 mm does not fit in the apartment is impossible with him. Helios especially for the street, without autofocus, and you can only shoot slowly. That's how I found out what aperture is)
I looked at my photos, almost all were shot on a focal 18 mm. He shot portraits at 80, 105 mm. The rest of the focal are very rare and apparently random. The budget for the new lens is naturally limited.
1. Will I be able to 35mm 1.8. use nikor in my daily photography (apartment, walks), the main quality of the photo, and 35mm makes my kit. Some people don't like his bokeh ...
2. This tamron is like everything I need and focal from 17 and aperture. But how much will I gain in aperture 2.8 and as a photo compared to a whale? Will it turn out that I will change the awl for soap? And giving 20t.r. I will continue to take pictures comparable in sharpness and color to a whale lens. And portraits, blur the background by 50 mm?
3. A philosophical question that crept into my head quite recently. For my needs, can I even buy a modern digital camera with interchangeable optics and score on a mirror? It is easier on a walk (I only see this "plus", I can't think of it anymore), but won't I get into a situation with it, in which I will understand that I need a new lens))
If you read this, and even more so there is advice for me that you can voice without hesitating what to do, then I am grateful to you!
The difference in aperture ratio between 18mm F / 3.5 and 17mm F / 2.8 is 2/3 stops (1.56 times, to be precise), because you won’t win anything special. But 50mm F / 2.8 will already give something. 35 1.8 it will sometimes be inconvenient, but still better than 18-105 in sharpness and other troubles. I would give advice to squeeze everything out of 18-105, in particular, they are not afraid of high ISOs on the d5200 and use the auto-ISO function. About philosophy: it's been a million years since I sold my 18-105, but I made the best shot of it in my life (which I personally like).
Thanks. It is clear that both straight arms and a vision of beauty are needed. But according to the examples of photos in the net without processing, on kit 18-105, the photos are really worse than on other lenses. I'll probably take 35 mm. 18-105, of course, in this case I leave (and who will buy it from me ...).
35 mm is a good lens for children, but the angle may be lacking indoors. But in the secondary market it can be found in 5-8 thousand in all.
2. Do not be afraid to lift the ISO up to 5200 on d1600 - quite, and maybe even higher.
Tamron is more of a reporting rather than an artistic objective, with a fairly flat design. It is unlikely that it will suit you.
Perhaps someday then you decide for yourself to buy something like a token 12-24 or Nikon's amazing 10,5mm fisheye
Thank you, I spent half a day in nete reading reviews and looking at other people's photos. Apparently I will take 35 mm. and new))
1. You yourself write that the most running FR is 18 mm, then why look towards 35 mm?
2. The quality of the picture from Tamron 17-50 is noticeably higher than the 18-105, Tamron, the one with the stub is already quite sharp at 2,8, so you will definitely win in detail + aperture. I compared lenses on D5100 - 18-105 mine and took Tamron from a friend. I like tamron as a staff.
3. I'm afraid the story may happen again))
I don't know how on the D5200, but on the D5100 and D7100 ISO 2000 is quite working, so you can safely set 1600. And don't be afraid of RAW. Although I have been doing photography for a long time, I have recently mastered Lightroom - This program allows you to process large volumes of photos quite quickly, it is not difficult to master, so I recommend it. RAW in modern cameras is rubber, you can pull 2-3 stops from underexposure and 1-2 stops of overexposure absolutely without loss, you can even more - but with losses.
18 running because it is at the beginning. And at 35 I look for the sake of the picture. Here I will have 35 and it will be the most popular. As for Tamron, I doubt very much now, because neither of these ends at 50mm already ends. So it turns out that 35 is the middle and two times cheaper. But I heard you, take note of your opinion, thank you.
And in what mode are you shooting? If on the machine, then sorry you do not control the process and the camera thinks for you, but it doesn’t read your thoughts, and if in the semiautomatic device with aperture or shutter priority, are you sure that you are doing everything right? The 5200 is a great camera, and the 18-105 is not a very bad (for a whale) lens. Read the instructions, maybe you forget to change the modes in Picture Control, if at all, because these settings are important for Jpeg.
If you do not understand how to achieve the desired picture from 18-105, then 35 1,8 will not help you much.
I mainly shoot at aperture priority. I don’t know about the correctness, it seems to fit the theory. With focus, of course I sin, I use almost always multi-point and that’s why a lot of photons are out of focus (but in many cases it’s impossible to use another one when you just need to quickly take a shot). And you notice this naturally only at home on the computer. As for understanding about the picture 18-105, it's not for nothing that it is standard and cheap zoom. Yes, and many say that photos on another lens surpass it. So I want to try another glass. And so, I agree, I have very little practice.
Try to start by focusing on one point, so you get more sharp shots on those objects that interest you. Metering also use spot, so the subject will be normally lit. When, under such conditions, the pictures begin to be obtained, try changing the parameters and experimenting. And yes, try not to use high ISOs at first, otherwise you will grieve over not clear pictures. ISO should be raised wisely, mainly when shooting in RAW, so that you can fix it in the editor.
Yes, I try to experiment and take several frames with different camera settings. Thanks.
Good day!
Please help with advice. You need a lens for indoor portraits (including portraits and “full-length” portraits). Nikon D7000 camera. At the moment I mainly use Nikkor 35 / 1.8 G for these purposes. Everything would be fine, but the corner width is not always enough, well, it is cramped in some rooms. There is an alternative in the form of the whale Nikkor 18-105 / 3.5-5.6. The question is - is there any point in purchasing a bright zoom and, if so, what kind? Of the options: described in the review by Tamron and Sigma 17-50 / 2.8. I will not master the “native” Nikkor 17-55 / 2.8 in terms of finance, as well as the Sigma 18-35 / 1.8. Thanks in advance
you will have to split this task into two focal ones ... a range from 12 to 28 mm - for height and “general”, and something like 50-105 for front and waist.
If the task of “strong bokeh” is not set (for example, for studio shooting it is not important, and there is shooting at diaphragms of the order of 5,6-11, and the light is guaranteed by flashes), then 18-105 will come down for the first time.
If you need a “type of wedding photos”, then, alas, you will have to look aside or Tokin / Nikonov / Sigma 24 (28) -70 (80) / 2,8 or 17-50 / 2,8.
The problem of tamrons is a very flat and boring picture, the problem of sigma is glitches with focusing and often “golden” skin tones, the problem of tokin is often not too harsh on the open (although this is normal for portters). If 24 mm is enough - then IMHO - Tokin tastes better.
....
I would look at a 35-12 / 24 tokina for full-length / waist portraits and shootings indoors (if a very suitable 2,8 mm is not enough).
And for the classic ones - by 85 mm.
Thank you very much!!!
Regarding 2 focal lengths - yes, I realized and resigned myself to the fact that there is no universal lens: (for the second case I have a 50-150 / 2.8 sigma and when the size of the room allows me to put it. 50 but I discourage myself with the fact that this is not a priority, in the presence of 1.4.
In the first case, I even looked towards the “shirikov” (11-20 / 2.8 tokin sunk into the soul, but the price bites).
From 18-105 there are 2 reasons why he does not suit me. The first is variable aperture. It is very annoying that when zooming the aperture changes, you need to remember this and change the shutter speed and / or ISO. The second reason appeared when I began to master the constant light. There was no such problem with pulsed light. As you say, I shot with a covered aperture and had no problems, using the aperture solely as an artistic medium. But with constant light, this does not always work. Often you have to open the diaphragm so as not to lift the ISO. Therefore, you have to look for a budget for something lighter. Tokina 12-24 was considered, but if I am not mistaken, it is F4.0. About 85 mm - I really want to try helios 40-2N 85 / 1.5. But this is already a manual, and if there is a 50-150 sigma, this will probably happen in the next life :)) (although stories about “twisted” bokeh do not give rest).
On tamron 17-50 - problems with autofocus misses are scary. Honestly, I hoped that sigma was doing better with this
If there is a 50-150 sigma, generally hammer on everything and take yourself just a good shirik.
F / 4 at wide widths does not constitute any great problem - short focal lengths, you can have a longer exposure, and the first version "under a screwdriver" for tokina should be quite suitable for itself.
Well, or look at 11-16 / 2,8, but at its price?
....
oh, well, twisted. In 90% of cases, this is not necessary nafig - only when there are many lights or leaves. Take a few months off with which helios, you will be sick afterwards from these curling leaves.
Yes ... I somehow did not think that with focal lengths of 11-24, you can safely shoot at 1/30. Return beckoning to the original - get shirik and don't know grief. I almost persuaded myself to squeeze and scrape up on Tokin, but then 2 options turned up: the first one to buy a used Tamron 1-17 / 50 VC for half the price and the second one to buy a new Sigma 2,8-2 in an internet store in my city / 17 at a tasty (-50%) price. So I rushed about
Tamron is sad. at a wide angle - twice dull.
sigma .. don't know. They say it is good, but their professional illness is eternal refocusing.
And "generalists" at a wide angle - not very.
if you purchase this lens, then most likely you will not need a nickel 35mm?)
It may be needed, but in rare cases.
I recently got myself a used one for 9000 rubles. An excellent lens - sharp in the open, comfortable phased array, stabilizer. My site http://alexpetrovfoto.ru
There is Tamron, for a portrait has not yet adapted ...
Hello, tell me, please, how best to check this lens when buying? what to pay attention in the first place?
Thank you!
Good day. I want to immediately warn that my opinion on this glass is very negative. The version without a stub is noticeably rarer than this lens, in addition there is a very sharp and well-assembled sigma 17-50 2.8os. I would prefer one of these two lenses to the one you chose. Opinion has developed not only on the basis of their own use of glass, but also on the basis of prolonged communication and reading forums, reviews, reviews.
If you are aware that the lens is not a fountain and found it cheap, then here's what to watch:
1) Appearance of the case. Make sure that there are no strong scratches, cracks, chips on the case. The lens could be dropped and then its quality will be greatly shaken. Well, for yourself, evaluate the frequency of change of this lens on the traces of dressing-removing on the lens mount. If used often, then there will be noticeable scratches on the contacts and the piece of iron.
2) The appearance of the lenses. Make sure that there is not a lot of dust inside the lens, let alone fungus or something else. Some dust under the front lens is normal. Pay attention to the front lens - it is undesirable to have chips and scratches on it, but in fact they do not affect the picture much. More important than glass on the side of the mount (attaching the lens to the carcass). Make sure there are no chips, scratches or other nonsense on the back lens.
3) Further check in work. Autofocus (its accuracy and adequacy). Check on different focal and different apertures (unfortunately, I recently had the experience of buying a lens that focused only on focal lengths from 18 to 55, and from 55 to 135 on distant objects it did not cling at all). So drive at least a couple of minutes in different modes.
4) Look at the work of the stabilizer. Note that with stub enabled, sharp shots should be obtained at slower shutter speeds. Sometimes a broken stub, on the contrary, lathers the picture - it shouldn't be that way.
5) Well, ideally, take a laptop with you, or after the first meeting with the seller go home and see the photo. So that the sharpness is the same on different sides of the frame, so that there are no frank jambs, so that the autofocus hits the target (sometimes this is not clear on the camera screen).
Just like that. In fact, I personally took Nikon 50 1.4g yesterday. Came without a carcass, like the seller. I twisted 10 seconds in my hands, chatted about 10 minutes with the seller about different lenses and his addictions in photography, and dispersed. In the evening I checked and phoned the seller with gratitude for the good glass. By the way, when I bought a non-working canon 18-135, I only found out about it in the evening (I bought it in the morning), I phoned the seller and he without any problems took the carcass with glass the next day. Everything was polite and friendly, he even apologized for such a jamb, said that he had not used it for a long time, and his wife had removed it before. So, usually 95% of sellers are adequate people and in which case they will refund your money by taking the lens.
Thank you so much for such a detailed answer. And, yes, I was going to buy it in the store) Now I’m very thoughtful) I’m quite a beginner photographer, I’m just learning, so there’s very little experience. I have a simple Canon 1100, I was looking for a more or less universal lens to replace my whale. This was very attracted by the aperture and of course the price. Maybe you will advise something more suitable for me, preferably in the same price range?
I would be very grateful for any advice.
my email the address sen-ya@mail.ruif it will be more convenient for you
This lens will be an excellent option for replacing whale glass - Sigma AF 17-50mm f / 2.8 EX DC OS HSM Canon EF-S, while its price does not differ much from tamron. It is made much stronger, autofocus is quieter and at the same time faster, moreover, the sharpness is noticeably better and the stabilizer also works a little better. In general, sigma overtakes this tamron from all sides. I advise you not to rush into the purchase, but to read and listen to what other people have to say. But my experience and the experience of those people with whom I talked on the Internet on this topic tells me that sigma 17-50 2.8 wasps is one of the best staff for crop (including for 1100d). Moreover, according to many colleagues, this lens is at least twice as expensive as the native Canon 17-55 2.8is lens.
what about the drawing? I have neither one nor the other, but I like the tamron pattern, unlike the Sigma one :)
Well, this is a subjective matter. As for me, the drawing at the standard zoom is usually not so-so. The only zoom of this kind that has some kind of special pattern for me is Canon 24-70 2.8, the first one, but again this is subjectivism and only my opinion. For the sake of drawing, it's better to buy at least the same 50 1.8 - and that will be more interesting than zooms :)
Sorry for the curiosity, but what kind of figure are you talking about?)
Thank you very much, now I have something to think about) it does not fit a little in my budget allocated for the purchase. I'll think about a used option.
"Drawing" - a characteristic set of optical parameters inherent in a lens due to its optical layout, design, luminosity. it is he who forms the “artistry” of the picture and the peculiarities of its perception.
this includes - CA, bokeh, lens resolution in the center and at the edges, color rendering, contrast (general and micro), distortion.
As a rule, 99% of dark zooms and zooms cheaper than $ 1500 have little distinguishing picture, the differences are mainly in resolution and contrast, i.e. we can say that they have a "reportage" drawing, which is often called "dry".
You can take second-hand, I personally take almost always only second-hand glass. Checking such as I described does not hurt, but in fact it is enough to glance around the glass and take several pictures at different settings - all this will immediately detect possible jambs and push you to the right decision.
You shouldn't bother too much about the picture - it's a subjective assessment. Someone thinks that the best picture is what the old 500-ruble Helios 44 does, but for someone everything that is simpler than the 800-thousandth Leica Noctylux 50 0,95 has no picture. Someone thinks that zooms do not have a picture in principle, while someone shoots gorgeous portraits only with zooms. In general, this is a subjective indicator, which makes sense to operate after trying a couple of dozen lenses and at the same time expressing only your own view of glass. In general, do not bother :)
Hello) Thank you so much for your help. Uniquely stopped at Sigma. Yesterday I plowed through the Internet, found a couple of used options, but, unfortunately, not in my city. Therefore, I am very, very worried, but I have to take a chance, because the difference in price between the new is significant. I carefully studied all your recommendations, now I’ll try to negotiate with the seller about the possibility of a return, if that.
they, by the way, are not very many used ones, compared to Tamrons. I hope Sigma is so good that the owners do not want to part with it)
Yes, sigma is sold less often and the difference with the price of a new one is less than the difference for tamrons. It's all about the quality of the assembly - tamrons crumble faster, the trunk begins to dangle, and so on. Plastic is simply cheaper, or it may not be collected so accurately. But I have not seen killed sigma, and there are a lot of tamrons. As for the purchase by shipment, I can say one thing - no prepayments. Personally, I usually use Russian post and cash on delivery, that is, payment upon receipt. Well, for peace of mind, you can ask the seller to take more photos or shoot a video about the operation of the lens.
By the way, at what price did you find sigma? The price of 14-16 thousand is good, 18 can be given for an excellent copy, more expensive is not very interesting.
And another question, pliz - I monitor the prices in the internet for new lenses and I see a difference of several thousand. Tell me, does this lens (Sigma AF 17-50mm f / 2.8 EX DC OS HSM (Canon) have some modifications that can affect the price? Well, like, for example, Tamron - with and without a stub. Maybe here Are there any differences, or is there only one model and the difference in price, are these just features of the store's pricing policy?
I wonder for whom I did this block in the review
Prices vary depending on the pricing policy of each individual store.
With a stabilizer and aperture of 2.8 17-50, sigma still has only one lens. If the letters OS are, then there is a stabilizer. Prices vary depending on the greed of the store, the availability of a guarantee and a number of nuances.
I saw everything, do not swear) I carefully read the entire review, and realized for myself that the OS marking would not let me mix them up. But I asked just in case, suddenly there are still some hidden pitfalls, maybe I was surprised by the price run in the shops.
Thank you very much!
Tamrons, according to a review, strongly "float" quality, depending on the specific specimen, complain about front / back focus and looseness. Therefore - how lucky. In the store, taking a new one with a guarantee is more likely to choose a good one.
For example, I was lucky. I took it a couple of years ago, was in perfect condition, sharp as diarrhea, nothing hangs. The disadvantages are already described above - it makes noise when focusing, the stub is also heard.
By the way, if you take a new one in the store (which in my opinion is a sin for such a mediocre glass), then they should generally exchange it for another within 2 weeks or return the money without question.
Used this one on Nikon D-90, over time I noticed small halos around objects that reflect light. And even in bright sunlight, he took the picture in blue-violet tones. Apparently - this is my copy was like that. The sharpness and vividness of the picture is excellent. I bought a new one.
Definitely need to check when buying
The only zoom with a working 2.8…. there were both sigma 24-70 and nikkor 35-70 and tamron 28-75 and tamron 17-50 without vc /// minus focal really not 50 but 45
I agree, oddly enough. here they write below that even 18-105 is inferior, but this is not so. I had it, sharp at 2.8 like a razor by I * tsam =)
again, the guys do not recommend in vain - https://buynbest.ru/luchshii-universalnyi-zum-obektiv-canon/
Think about the Sigma 18-35 1.8, aperture, sharpness, quality - everything with it. it's like 24-70 on FF, you get the same blur.
Sigmu 18-35 in the trash guys wrong
Interesting opinion, sorry not supported by facts.
Do you have a docking station? You won the problem with autofocus? or only in theory?
I had this sigma with the docking station on the canon, there I set it up with a grief in half for 1 camera (I set it to 600d), and now I have it for Nikon without a station, because it makes no sense if there are several cameras. Therefore, I use it on those cameras where autofocus hits the target, and on others I either close the hole, or shoot with a live view, or a manual.
OK, thanks. I do not like stupid ads, like Artyom :)
They compared him with his native 18-105, the tamron is even inferior to him in quality. We concluded that for a commercial shooting this thing is unsuitable in all respects except for the range of focal lengths
It is not suitable for reporting due to its relatively slow autofocus. The rest is completely good. 18-105 he doesn’t suit the soles of the picture. And in terms of sharpness, it makes no sense to compare them. Tamron resolves many pixel matrices without any problems.
Tell me, this lens is suitable for shooting animals (dogs, horses) in motion and portraits.
Nikon D5200 Camera
If such a lens does not fit, then what advise?
This is a great lens, but wouldn't recommend it for its autofocus speed. Look towards sigma 17-50 or darkish 16-85. But this is if this range suits you. Perhaps you will even be more relevant to something with a long focus, such as 70-300 VR. The Sigma 50-200 has a fairly budgetary option, but it is not a "razor", but not a soap either. I liked the presence of 50 mm in it. Good stub and fast focusing. When shooting a series of refocusing errors are rare (1-2 out of 10 when the speed of objects is about 150 km / h towards the lens).
Thanks for the advice. Of the long ones I took a look at Sigma AF 50-150 mm F 2.8 EX DC OS HSM
But unfortunately it is not on sale, if only to take it.
I have not tried this. But the reviews are good. I saw a sale without a stabilizer in the range of 8-9 thousand. You need to understand that it is only under the crop and will be poorly liquid when sold
Arkady, thank you for your blog and - especially - for your OBJECTIVE professionalism!)
Tell me, is Tamron 17-50 the same for Canon crop as good? For what maximum goals can it serve in conjunction with the Canon 50D?
Thanks in advance.
Hello! Do I need to turn off autofocus on the lens to use a “screwdriver” on the camera?
Understood. There are no screwdrivers in it :)