For provided lens
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016. The lens is shown in film slr camera.
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- In short
- History
- Main Specifications
- Assembly
- Lock 'LOCK'
- Stabilizer
- Focusing
- Image quality
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- My personal experience with the lens
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In this review, the Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016 lens will be abbreviated as 'Tamron 16-300 / 3.5-6.3'. Here I am reviewing the version for Nikon DX cameras - B016N.
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016
In short
The Tamron 16-300 / 3.5-6.3 is a versatile lens for cropped Nikon, Sony and Canon cameras. It is interesting with a large set of focal lengths, at the same time it is possible to use a 16 mm wide-angle range and a 300 mm tele range. This is the first lens with such a large zoom ratio. At the time of this review, the Tamron 16-300 / 3.5-6.3 has the highest zoom ratio of any DSLR lens. A near 20x zoom allows the Tamron 16-300 / 3.5-6.3 to be used as a 'one lens for everything'.
All in all, the Tamron 16-300 / 3.5-6.3 is the most mega-super-ultra-hyper zoom lens. But, as you know, the higher the zoom ratio, the more difficult it is to achieve good image quality. The lens itself is not very strong optically, but it is very easy to use, especially when there is good lighting.
Simultaneously with the announcement of the Tamron 16-300 / 3.5-6.3, a very similar lens was shown, but designed for full-frame cameras - Tamron PZD Di 28-300mm F / 3.5-6.3 Piezo Drive VC Model A010.
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016
History
Tamron has always been the first or one of the first to create and is creating ever new lenses with a record zoom ratio.
A short digression into Tamron's super-zoom line of SLR cameras with an APS-C sensor:
- Model A14 Tamron AF 18-200 mm 1: 3.5-6.3 (IF) Aspherical LD XR DiII Macro, February 2005. Country of origin Japan or China. The Pentax version has a metal mount; for Nikon / Canon / Sony / Minolta, the mount is plastic. In March 2008, an improved model appears for Nikon cameras Tamron model A14 NII with built-in focus motor, focus mode switch, 8 microprocessor pins and metal mount. Most likely lenses Sony AF DT 18-200mm F3.5-6.3 и minolta AF DT 18-200mm F3.5-6.3D use the same optical scheme and are copies of it.
- Model B018 Tamron AF 18-200 mm F / 3.5-6.3 Di II VCAugust 2015.
- Model A18 Tamron AF 18-250 mm F / 3.5-6.3 Di II LD Aspherical [IF] Macro, September 2006. Country of origin Japan or China. In December 2007 an improved model appears for Nikon cameras Tamron model A18 NII with built-in focus motor, focus mode switch and 8 microprocessor pins. Most likely lenses Sony AF DT 3.5-6.3 / 18-250 и SMC Pentax-DA 1: 3.5-6.3 18-250mm AL [IF] и Samsung 18-250 1:3.5-6.3 use the same optical scheme and are copies of it.
- Model B003 Tamron AF 18-270 mm 1: 3.5-6.3 Di II LD [IF] Aspherical VC MacroJuly 2008.
- Model B008 Tamron AF 18-270 mm F / 3.5-6.3 Di II VC PZD, December 2010. Most likely the lens SMC Pentax-DA 1: 3.5-6.3 18-270mm ED SDM use the same optical design.
- Model B008TS Tamron AF 18-270 mm F / 3.5-6.3 Di II VC PZDSeptember 2016.
- Model B016 Tamron AF 16-300 mm F / 3.5-6.3 Di II VC PZD Macro, February 2014.
- Model B028 Tamron 18-400 mm F / 3.5-6.3 Di II VC HLDJune 2017.
There is still PROMASTER DIGITAL XR EDO AF Aspherical LD (IF) 18-200 mm 1: 3.5-6.3 Macrowhich is a model Tamron model a14 under the brand Promaster.
Two lenses for mirrorless cameras stand separately:
- Model C001 Tamron Microphone 14-150 mm F / 3.5-5.8 Di III, black or silver, June 2014, for cameras with Micro 4/3 mount
- Model B011 Tamron 18-200 mm F / 3.5-6.3 Di III VC, black or silver, December 2011, for cameras with Sony E mount and Canon EOS M
- Model B061 Tamron 18-300 mm F / 3.5-6.3 Di III-A VC VXD (E+X) [Model B061], July 2021, for Sony E and FujiFilm X
Other companies, at the time of the creation of this review, did not have a lens with a set of focal lengths from 16 to 300 mm.
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016
Main characteristics of Tamron PZD Di II 16-300mm F / 3.5-6.3 B016 Piezo Drive VC (version B016N for Nikon cameras)
| Review Instance Name | Tamron PZD Ø 67mm Di II 16-300mm F / 3.5-6.3 B016 Piezo Drive VC is indicated on the lens, Tamron 16-300mm F / 3.5-6.3 DiII VC PZD MACRO Model: B016N for Nikon Built-In Motor D Compatible is indicated on the box |
| Basic properties |
|
| Front Filter Diameter | 67 mm |
| Focal length | 16-300 mm EGF for Nikon DX cameras is 24-450 mm (!) |
| Zoom ratio | 18.75 X (often rounded to 18.8) |
| Designed by | for cropped digital cameras of the Nikon DX line. Model B016 also exists for Canon and Sony cameras. |
| Number of aperture blades | 7 rounded petals that form a fairly even hole |
| Tags | window with focusing distance in meters and feet, focal lengths for 16, 35, 50, 70, 100, 200, 300 mm, hood attachment mark, bayonet mount mark |
| Diaphragm |
The lens does not have an aperture ring (G - lens type for Nikon cameras) |
| MDF | 0.39 m, maximum magnification ratio 1: 2.9 (at a value of 300 mm focal length) |
| The weight | 540 g |
| Optical design | 16 elements in 12 groups of which:
Additionally, special enlightenment of optics is used.
|
| Lens hood | Petal plastic hood HB016 supplied. The hood can be set to transport mode. |
| Manufacturer country | MADE IN CHINA (Made in China) |
| 3D view | See |
| Price | |
| Instructions | See |
| Period | Available since February 6, 2014. In June 2017, supplemented by a new version Model B028 Tamron 18-400 mm F / 3.5-6.3 Di II VC HLD |
Please note that the Tamron B016 lens is available for:
- Canon - Model B016 E (overview here)
- Sony / Minolta - Model B016S
- Nikon - Model B016N
For Pentax cameras, a lens is not produced, but it may happen that Pentax releases its own lens on the same optical circuit.
When I was preparing this review, I noticed that in official brochures, Tokina and Tamron lenses are almost always shown with a Nikon mount, and the specification always contains something like this 'specifications are for Nikon F version'.
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016
Assembly
The lens has metal bayonet. The insides of the lens, as far as can be judged from the view from the rear lens, are made of plastic. The zoom ring is rubberized, wide and pleasant to use. In the review, I visited a completely new lens in which the zoom ring rotates a little tight. The front lens does not rotate during focal length changes. The retractable body frame (trunk) consists of two plastic sections. The focusing ring is not rubberized, but pleasant to use.
It is stated that the lens is protected from splashes, however, in the instructions to it there is no data about it. Near the mount is rubber compressorprotecting the bayonet mount from dust and moisture.
The lens is made in China. Despite the huge zoom ratio, Tamron 16-300 / 3.5-6.3 has a fairly compact size and low weight. Overall, touch, lens assembled efficiently. I did not find any obvious flaws. In addition, in the box with the lens, I found a warranty card for 5 years.
Tamron 16-300 / 3.5-6.3 has a nice body design with a silver tungsten strip between the focus distance window and the focus ring.
There is a bayonet mount mark and a mark on the case for quick installation of the hood. The lens uses a plastic lens hood Tamron HB016 (Made In Philippines), 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 zoom ring is a little difficult. When you change the focal length, the lens hood moves with the front of the lens. Due to the huge spread in focal lengths, the lens hood is maximally effective at 16 mm of focal length and practically ineffective in the range of 200-300 mm.
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. In Tamron 16-300 / 3.5-6.3, the effect of a vacuum cleaner is very pronounced.
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016
Blocker 'LOCK' (ZL - ZOOM LOCK)
Frame (trunk) for Tamron 16-300 / 3.5-6.3 does not spontaneously change its size under its own weight. Perhaps such an unpleasant phenomenon can begin only with time. To avoid this, there is a focal length lock 'LOCK' (the so-called 'zoom lock') on the lens body, which tightly locks focal length at a value of 16 mm.
To fix the trunk of the lens, you must first set 16 mm focal length. In the fixed value, a red bar is visible near the button.
The switch is located in a not very convenient place - under the index finger of the right hand. Before shooting, 'removing the lens from the lock' is not very simple.
Who has already reached a critical time, when the trunk began to live its own life, write your feelings in the comments.
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016
Stabilizer
Tamron 16-300 / 3.5-6.3 can use the built-in image stabilizer. The stabilization function is unique to lenses for Canon and Nikon; for Sony cameras, the lens is available without a stabilizer.
There is a VC ON / OFF stabilizer operation switch on the lens. The stabilizer works almost silently.
The manufacturer does not indicate the effectiveness of the stabilizer. In practice, Tamron 16-300 / 3.5-6.3 holds 3-4 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 1/30 sec and 300 mm focal length (in Gallery there is even a portrait for 300 mm and 1/30 seconds). If you try, you can take a good picture even for 1/10 of a second and 300 mm of focal length. Generally, the stabilizer works well.
Nowhere is it indicated whether the stabilizer can track the movement of the lens during panoramic shooting. Unlike the original Nikon 18-300 / 3.5-5.6G VR Tamron 16-300 / 3.5-6.3 does not have a choice of Active / Normal stabilization modes or the like.
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016 with hood HB016
Focusing
To focus, the lens uses a special piezo ultrasonic focusing motor 'PZD' (PieZo Drive). Everywhere it is written that this technology uses silent focusing, in fact, there is no escape from focusing noise. During focusing, the focusing system may crackle and hum a little. During real work with the Tamron 16-300 / 3.5-6.3 lens, there is a special difference with micro-motors Nikon SMW I did not find. How the PZD motor works here.
Important: this lens will automatically focus on all Nikon DSLR cameras. Tamron 16-300 / 3.5-6.3 is an analog of the Nikon series lenses AF-S / AF-I, Nikon SWM. Tamron 16-300 / 3.5-6.3 has no focus problems in Live View.
When used on a camera Nikon D90 with unpretentious Multi-CAM 1000 focusing system the lens often refocused during operation in the range of 100-300 mm. In conditions with poor lighting, auto focus completely lost objects from the field of view, and the lens constantly fidgeted in search of focus. Also, sometimes focusing can freeze in one place. In the range of 200-300 mm, the lens from the review suffered from front-focus (it focused closer than the selected subject). My Nikon D90 just like a week ago I was on the focus adjustment in the official service. On the net, I found this kind of information about problems with the back and front focus.
Auto focus speed medium (closer to low). Focusing time from infinity to MDF and back is approximately equal to that of the lens Nikon 18-200 / 3.5-5.6GII. I noticed that the focusing motor focuses from infinity to MDF much faster than in the opposite direction. Focusing speed weakly depends on the selected focal length.
Focusing on Tamron 16-300 / 3.5-6.3 internal - when focusing, neither the front nor the rear lens rotates, and the lens itself does not change its size when focusing.
During auto focus, the focus ring remains stationary. In manual focus mode, the focus ring rotates approximately 135 degrees. When extreme positions are reached, the focus ring does not rest, but continues to slide, without affecting the focus. Manual focus is not particularly comfortable, but still better than in many budget lenses.
The lens has a window with a distance scale with marks in meters and feet. The scale is small, on it there are marks only for 7, 3, 1, 0.39 meters and a label of 'infinity'. Such a scale in itself is of little use and is present more for show (justification of this thought here).
The minimum focusing distance is only 39 cm (the distance from the camera’s matrix to the subject). With such an MDF, the maximum magnification ratio is 1: 2.9. Thus, the lens allows you to shoot amateur 'close'. Due to such a small focusing distance on the lens box, among its titles, you can find the prefix 'MACRO'.
Note: at 300 mm of the focal length, while focusing on MDF, the distance from the front lens of the lens to the subject is only 9 cm. If you shoot 'macro objects' located on a horizontal surface, when focusing at the smallest possible distance, you can hook this lens hood the very surface.
It's important. The lens has a very pronounced 'Focus Breathing' effect (changing the viewing angle during focusing). When focusing on the MDF at 300 mm of the focal length, the effective focal length is approximately 100-150 mm. At Tamron 16-300 / 3.5-6.3 I observe one of the most powerful effects of 'Focus Breathing'.
When changing the focal length, focusing is lost. The lens is by no means parfocal.
Tamron 16-300 / 3.5-6.3 has focus mode switch 'AF / MF'. For manual focus, the lens does not have to be set to 'MF' mode. The lens uses full mode FTM (Full Time Manual Focusing) - the ability to continuously control focus manually while using the 'AF' mode. This is the first third-party lens I found with FTM mode completely similar Nikon M / A... As soon as you touch the focus ring, auto focus is disabled, no matter what focus settings have been set in the camera. Tamron has done its best. Tamron FTM / Nikon M / A modes are very useful during real work, for example, they can be used to implement the 'Focus Traps'.
The effect of F / 6.3 on focus:
The instructions for most Nikon cameras indicate the threshold for the maximum relative aperture of the lens with which correct auto focus will be available. Most Nikon cameras are designed for lenses only. no darker than f / 5.6. For example, camera Nikon D90 и D70using which test shots were taken, theoretically should not work correctly with this lens. But still, as my practice has shown, in conditions with good lighting there are no special problems with automatic focusing even on cameras that are not designed to work with lenses with F / 6.3. Tamron 16-300 / 3.5-6.3 goes beyond F / 5.6 at a focal length value of 125 mm (!), At this value the maximum relative aperture is already 1: 6.0.
You can find a list of Nikon cameras whose focus sensors can easily focus with lenses with a maximum aperture of F / 5.6-8.0 here. At the time of writing, there were only three Nikon DX cameras with this feature: D7100, D7200, D500. In Live View, the restriction on F / 6.3 may not work.
The same remark applies to cameras from other manufacturers.
Small relative aperture - one of the main reasons for frequent focus misses and 'jerking' the focus with this lens.
At the time I wrote this review, there was only one super zoom with a similar zoom ratio that uses F / 5.6 at its long end - this Nikon DX AF-S Nikkor 18-300mm 1: 3.5-5.6G ED SWM VR IF Aspherical. Unfortunately, Tamron only makes its super-zooms with F / 6.3 at the long end.
Important: Tamron 16-300 / 3.5-6.3 is a third party lens. It may happen that it will not work correctly with new Nikon cameras, which will be presented after the announcement of this lens. Details on this issue have been reviewed by me here.
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016 with covers and hood HB016 in transport mode (hood installed in the opposite direction)
Image quality
The optical scheme of the lens contains a huge number of special optical elements that make the lens light, compact and with a possibility of 19x zoom. I don’t know how, but Tamron managed to create this lens with good image quality. Most of all I was afraid of low sharpness at 300 mm focal length, but the fears were not so serious. Even at 300 mm, the lens shows tolerable sharpness at F / 6.3.
The main disadvantages of the image:
- strong distortion by 16 mm, small distortion over the entire range of focal lengths
- low sharpness at the edges and corners of the image at almost all focal lengths
- a large number of chromatic aberrations in the range of 200-300 mm
- strong vignetting at 16 mm and F / 3.5 and slightly smaller in the range of 200-300 mm
- lean bokeh
The main advantages of the created image:
- good contrast over the entire range of focal lengths
- good sharpness in the center of the frame on open apertures in the range of 16-200 mm, acceptable sharpness in the range of 200-300 mm
- good color rendering
- even circles in the blur zone due to rounded aperture blades
- good macro mode
Optimum image quality is achieved at F / 8-F / 11.
Unfortunately, focusing errors, especially the problem of front and back focus, greatly spoil the final image quality.
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016, front lens enlightenment
Sample Photos
Pictures are shown from the camera. Nikon D90.
Autumn portrait on Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016
Pictures in the gallery below are shown without processing. During shooting was used safety filter Marumi DHG Super Lens Protect 67mm Made in Japan.
You can download the source files at this link.
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016, view from the bayonet side. Enlightenment of the rear lens
Prices
Prices for the lens Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016 in popular online stores can look at this link.
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Alternatives
Below is a list of all hyper-zooms for SLR or mirrorless cameras with an APS-C sensor and a range of focal lengths greater than or equal to the classic 18-200 mm.
Tamron (different mounts):
- Model A14 Tamron 18-200/3.5-6.3 AF (IF) Aspherical LD XR DiII Macro, February 2005. Country of manufacture Japan or China. The version for Pentax cameras has a metal mount, for Nikon / Canon / Sony / Minolta the mount is plastic. In March 2008, an improved Tamron Model appears for Nikon cameras. A14 NII with built-in focus motor, focus mode switch, 8 microprocessor pins and metal mount.
- Model B018 Tamron 18-200/3.5-6.3 AF Di II VCAugust 2015.
- Model B011 Tamron 18-200 mm F/3.5-6.3 Di III VC, black or silver, December 2011, for mount mirrorless cameras Sony E и Canon EOS M
- Model A18 Tamron 18-250/3.5-6.3 AF Di II LD Aspherical [IF] Macro, September 2006. Country of origin Japan or China. In December 2007, an improved model appears for Nikon cameras Tamron model A18 NII with built-in focus motor, focus mode switch and 8 microprocessor pins.
- Model B003 Tamron 18-270/3.5-6.3 AF Di II LD [IF] Aspherical VC MacroJuly 2008.
- Model B008 Tamron 18-270/3.5-6.3 AF Di II VC PZD, December 2010. Country of origin China or Vietnam.
- Model B008TS Tamron 18-270/3.5-6.3 AF Di II VC PZDSeptember 2016.
- Model B016 Tamron 16-300/3.5-6.3 AF Di II VC PZD Macro, February 2014.
- Model B028 Tamron 18-400/3.5-6.3 Di II VC HLD, June 2017.
Promaster (various mounts):
- PROMASTER 18-200/3.5-6.3 DIGITAL XR EDO AF Aspherical LD (IF) Macrocopy Tamron model a14 under the Promaster brand. Japanese assembly
Sigma (different mounts):
- Sigma 18-200 mm/3.5-6.3 Zoom DC, February 2005.
- Sigma 18-200/3.5-6.3 Zoom DC (+ -HSM) OS (Optical Stabilizer)September 2006 velvet or smooth black body. The HSM motor is only available on Nikon camera lenses.
- Sigma 18-200/3.5-6.3 II Zoom DC HSM OS (Optical Stabilizer)October 2011.
- Sigma 18-200/3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer), January 2014.
- Sigma 18-250/3.5-6.3 Zoom DC HSM OS (Optical Stabilizer)January 2009
- Sigma 18-250/3.5-6.3 Zoom DC Macro HSM OS (Optical Stabilizer)June 2012.
- Sigma 18-300/3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer)September 2014.
Quantaray (different mounts):
- Quantaray 18-200/3.5-6.3 Dio Multi-Coated, copy of Sigma 18-200mm/3.5-6.3 Zoom DC (2005) branded as 'Quantaray'
- Quantaray 18-200/3.5-6.3 Dio OS (+-HSM) Multi-Coated, copy Sigma 18-200/3.5-6.3 Zoom DC (+-HSM) OS (2006) under the banner of 'Quantaray'.
Nikon (F):
- Nikon 18-200/3.5-5.6G DX VRNovember 2005.
- Nikon 18-200/3.5-5.6GII DX VRJuly 2009.
- Nikon 18-300/3.5-5.6G DX VR, June 2012.
- Nikon 18-300/3.5-6.3G DX VRApril 2014.
Sony ('A' or 'E'):
- Sony 18-200/ 3.5-6.3 AF DT, A mount, most likely uses an optical design Tamron model a14.
- minolta 18-200/3.5-6.3AF DT Dmount A is likely to use an optical circuit Tamron a14
- Sony 18-250/3.5-6.3 AF DT, A mount, since 2007, most likely uses Tamron Model A18 optical design.
- Sony 18-200/3.5-6.3 OSS, E-mount, May 2010
- Sony 18-200/3.5-6.3 OSS LE, E-mount, May 2012
- Sony 18-200/3.5-6.3 PZ OSS, E-mount, September 2012
Hasselblad (Sony E):
- Hasselblad E 3.5-6.3/18-200 OSS copy Sony 18-200/3.5-6.3 OSS, September 2012
Pentax (K):
- Pentax 18-250/3.5-6.3 AL SMC DA [IF], October 2007, most likely uses Tamron Model A18 optical design.
- Pentax 18-270/3.5-6.3 ED SMC DA SDM, September 2012, most likely uses an optical design Tamron model b008.
- Samsung 18-250/ 3.5-6.3, with a Pentax KAF2 mount, 2008, (most likely uses the Tamron Model A18 optical design.
Canon (EFS):
- Canon 18-200/3.5-5.6 IS Zoom Lens EF-S (Image Sbabilizer), August 2008.
Samsung (NX):
- Samsung 18-200/3.5-5.6 ED OIS i-Function, Samsung NX mount
Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016 and Nikon AF Nikkor 20mm 1: 2.8D
My experience
At first I was very pleased with the capabilities of the Tamron 16-300mm f / 3.5-6.3, it pleased me with many things, including the normal (not bad) image quality. However, after viewing the footage on a computer, my ardor for the lens dropped - frequent focusing errors in the tele-range changed my desire to buy such a lens for personal use.
Tamron 16-300mm F / 3.5-6.3 showed itself well for street shooting. It will be a great solution for holidays and outdoor recreation. About 15 years ago, many could not even dream about such a lens.
Compared to other lenses, the Tamron 16-300mm F / 3.5-6.3 not only increased the long end from 270 to 300 mm, but also took care of the wide angle. From third-party manufacturers Tamron 16-300mm F / 3.5-6.3 is the first such universal lens with the ability to use 16 mm focal length. Even among the original lenses, there are only two models, with the ability to set 16 mm: Nikon 16-85VR и Nikon 16-80VR.
Personally, I can forgive Tamron 16-300mm F / 3.5-6.3 for all its shortcomings, because he is a pioneer in his class. To overestimate such a set of focal lengths, and even for that kind of money, is very difficult.
Sizes of Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016 with a hood HB016 and Tokina AT-X 80-400mm 1: 4.5-5.6 (AT-X 840 AF-II) no hood
Results
The Tamron 16-300mm F / 3.5-6.3 Di II PZD VC Model B016 is a balanced versatile lens with a huge zoom ratio. Of the shortcomings, I want to highlight the weak aperture F / 6.0-F / 6.3 in the range of 125-300 mm, which plays a cruel joke with the focusing system of cameras with simple focusing systems. Of the advantages, I want to highlight a good build, the work of the stabilizer, small size and low weight, and most importantly - good image quality.
UPD: On June 24, 2017 a new model was presented - Tamron 18-400 mm F / 3.5-6.3 Di II VC HLD Model B028
Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram
The picture (surprisingly) does not draw badly.
Thanks for exhausting. information.
The drawing of this tamron is interesting (beautiful) But with the focus it is not surprising, such a range of overlapping and the carcass also affects nimbleness and accuracy. We must try with other carcasses of this monster.
If it is designed for cropped cameras, then the focal ones should be 16-300 mmm, and not 24-450 mm.
Again the same thing. Its real focal lengths are 16-300 mm, its EGF is 24-450 :). Everything is exactly the same and nothing else. For all lenses, its real (actual) focal length is indicated, which is a physical quantity. For the convenience of comparing viewing angles, an EGF (equivalent focal length) is used.
What about the Canon EF 18-55 and EF-S 18-55? In the first case, the focal lenses are 18-55, they are EGF on the full frame, but on the crop they turn into 29,16 - 89,1 mm, while the EF-S lens has both real and the same ef of 18-55 mm (on native crop). Helios 44-2 has a 58 mm focal length, at the zenith the same 58 mm, and at the crop 93,96 mm. Maybe I misunderstood something?
Everything is very simple - on cropped cameras, in order to find out the EGF, you must always multiply the focal length by the crop factor. For all lenses without exception.
Canon EF-S lenses show the actual physical focal length. Its EGF equals the focal length written on the lens body times 1.3 (APS-H) or 1.6 (APS-C).
In short, the viewing angle of a lens with a focal length of 18-55 mm on cameras under the Canon EF-S mount (on cropped cameras with Kf = 1.6X) will be equal to the viewing angle of a lens with a focal length of 29-88 mm when used on full-format cameras with Kf = 1.0.
I, too, used to think so mistakenly that full-frame lenses give 1,5 times more on cropped matrices than native DX lenses. It turned out to be exactly the same (in terms of the value indicated on the lenses). So the native lens from a full-frame camera at a value on the 50 mm lens showed on the crop camera exactly the same picture as the DX lens at the same value. Another thing is that if you compare a picture from a full-frame camera and a crop camera at the same focal values (indicated on the lens), only then this difference will be noticeable 1,5 times. But for a novice photographer with a DX camera, the main thing you need to know: a lens from a full-frame camera will give exactly the same picture as a DX lens at the same focal values, there will be no x1,5.
For those who have both a full-frame camera and a DX camera, this factor is, yes, important, because the picture on the same focal lengths will really be different, but for those who have only a DX camera, the picture will be the same at 50, and 100, and 300 ... mm, that from a lens made for a full frame, that from a native DX camera.
It would be interesting to see a comparative review of it with the Sigma 18-300mm Contemporary. I was wondering which one to take, so far neither one nor the other was holding ...
Maybe then already dear 18-300/3.5-5.6? If under the Nikon system of course. I would look at Tamron, 2 mm on SHU is felt very strongly.
I just have Canon, there is only 18-200mm native ... 2mm wide is, of course, an argument, but I'm more worried about the autofocus speed.
Strongly nimble wagons I have not seen. They put micro-motors in them or such micro-PZD motors that are not comparable to USM, which are in L-ka.
This lens can be forgiven of any sins with this range of RF.
I have been thinking about such a lens for a very, very long time, finally a review from Arkady. In general, everything is as expected. I myself know him very superficially, so I held it in my hands and read the articles. Now I want even more such a wonderful superzoom. And somewhere else I saw a test for dust and moisture protection from 7d - I spent half a minute under the shower - there were no problems. An excellent budget replacement for 28-300 foxes, only under crop and with the worst optical performance, but still quite decent.
I can't wait for 18-200 b018 .... until there is a review from Arkady, I won't buy)
For those who are going to buy this lens.
I used Sigma 5-18 mm f / 250-3.5 DC OS HSM for 6.3 months. I bought it after using Tamron AF 18-270 mm f / 3.5-6.3 Di II VC LD Asph several times. (IF) MACRO. The idea of carrying a single lens without a heavy bag seemed brilliant.
Then both I and my friend abandoned and forgot these lenses. First of all, because of the weak sharpness.
I understand that this is a fee for versatility, but why then wear a heavy DSLR in a backpack if the quality of the pictures is in the end comparable to the tiny super zoom?
But a couple of times I filmed children playing football and was very glad that I took this particular lens with me. On a small site, where the photographer has nowhere to go, this lens is better than any reporter's zoom! I managed to catch a lot of funny moments, because I didn't have to change the lens or grab a second camera. I also filmed a basketball game in the school hall. There is generally the only way out. Children often fought for the ball right under my feet, and then passed - and at the other end of the site the struggle began.
And when you dump these pictures in VK (you won’t print at all), sharpness is already the tenth thing, the main drive.
I now use this lens only for such cases. For travel, you still have to drag a backpack with interchangeable lenses.
“But why then shove a heavy DSLR in a backpack, if the quality of the pictures in the end is comparable to a tiny superzoom? ”+“ On a small site, where the photographer has nowhere to go too far, such a lens is better than any reporter's zoom! ”... So why is it better at the end with the same focal and shitty quality?
I use the Canon 5D Mark III and Canon 7D. They focus with these lenses faster than super zoom.
And you change the focal length by hand yourself - it's generally a split second. Superzum does this with a motor, slowly. I apologize for not being able to clearly express my assessment of this class of lenses.
I wanted to say this. Tamron’s brochures push only one such lens,
and leave the rest at home. This is mistake. I once filmed a beautiful sunset in the mountains. In Patagonia, there were white nights. I checked the pictures on the camera screen - beauty, and continued to shoot. And then, already looking at the photos on a large monitor, I discovered that all the photos are sorely lacking in sharpness. It was a shame. The same story was with the emperor penguin. They are rare guests on the peninsula, and when I cut off the edges of the pictures taken (to make the bird look larger), I found that the feathers were washed out. The second chance to shoot the emperor penguin may not happen very soon. After these disappointments, I am not taking him on the flight. But I use it at home.
There are superzoom without motors
Then there is no difference.
It would be interesting to see how this lens works on modern technology with a 24MP matrix. For the D90, of course it is enough. My native Nikon 18-300 3.5 / 5.6 works great with the D50, my wife even manages to shoot macro)))) But for the D5200 it is not enough, the image is “dirty” and out of focus.
As practice with Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS, at 24 megapixels with downsize for a gallery under 3 MP there will be the same pasta.
"There is no lens for Pentax cameras, but it may happen that Tamron will release its own lens with the same optical design."
Apparently, it was meant that Pentax would release such a lens under its own name.
When I bought Nikon 18-300mm f / 3.5-5.6G, I thought that’s all, I caught my photo luck by the tail. Before that, it was 18-55 in a set with 5100. Almost a kilogram of glass compared to whale plastic, where I just didn’t carry it, everyone was waiting for some kind of miracle, but it didn’t happen and didn’t happen, then he noticed that it was up to 50 on the focal mm there is no difference with 18-55, but 18-55 is much easier and more convenient, and there was also a Helios 81n, the pictures from him were most liked if it was possible to catch the exposure and sharpness. Photos from helios were very different from 18-300, and whatever I did, I could not achieve the same sharpness. I must say that on focal lengths from 200 to 300 mm, 18-300 is just tears, if you shoot large objects close to nothing, then nothing is possible, but it is impossible to use it as a telephoto at long distances, a wild soap. By the way, if you find fault, then on small objects with mdf to 300mm, too, soap and soap. In general, from 55mm to 200, he behaves like a normal dark zoom and does not save his super lenses with all sorts of nishtyaks. For a year I persuaded myself that I simply couldn’t take pictures, that despite all the photo courses I had to go, I had to train more, and then I bought Nikkor 50mm 1: 1.8G, and then 35 1,8 and I realized that 18-300 should be sold.
It took half a year to sell, no one wanted to take this monster at its price, I had to throw it off to the detriment of myself. But when I sold it, I breathed a sigh of relief and bought a Nikkor 105mm 1: 2.8G ED VR Micro and then I saw what real sharpness was. No one else and nothing will force me to buy something from the category 18-200 18-300. And changing the camera to 7100, in general I got real pleasure from macro shooting. In short, people, do not buy this drone super-duper-mega-ultrasound, except that you will be presented with it for free. 18-140 takes it in sharpness at a time, and in two it takes 55-300. These megazums do not have any artistic drawing, sheer mediocrity at all focal. Of course you can shoot, and you can persuade yourself that you have to pay for universality, well, pay the price, but I don’t want and I won’t.
PS This does not apply to the review, Arkady, as always, is at his best.
Yarkiy doesn't look like himself. It’s direct not the text, but Yaroslavna’s crying about the lost frames.
Rather, a Jew cry for the lost $ 400.
Bright, sorry that is off topic, I just almost decided to take 7100, but the question is whether they can shoot a tolerable video. I would like to hear your opinion. And I also have a question about versions 55-200. In the first version, 2 units of glass and nine petals. In the third version there is no one glass unit, poor optical design, seven petals and parking. The used first version costs the same stock as the new third version. How much worse image quality in the third version compared to the first? Does it make sense to look for the first version?
I don’t know what to say, I’m not a video operator, although I shot a video. Here it is necessary to separate what kind of video you are going to shoot, I see two areas of reporting (it’s also home) and production. In the reportage, you just need to shoot some kind of event, there are no problems, you can shoot at 7100, you will get a picture according to the selected lens and here again there are two options, manual or autofocus, everything is clear with manual, we always turn our hands around the screen, with Autofocus on the one hand is simpler, it induces itself, but the picture becomes twitchy due to the peculiarities of the focusing system, first the flight, then a shortage, and then there is enough focus. It is relatively fast, but very loud, and all the clicks and buzzes are recorded by the microphone along with the speech and it is terrible. There are tons of sound decisions, but that's a separate topic. In short, reporting or home video is much easier to shoot on something more adapted to unpretentious shooting, such as a smartphone.
It’s another matter to stage the video, it’s very easy to get a picture of excellent quality if there are good glasses and the possibilities are limited only by the presence of different devices such as spotlights tripods, etc. and your own imagination.
But today there are Nikon cameras that shoot video better, these are 3300, 3400, 5300, 5500. The five thousandth series is generally imprisoned for video due to the rotary screen.
It is conventionally considered that video is better to shoot on kenon because of the ability to change the aperture value directly during shooting, in Nikon this function is implemented in professional models starting from 800. But again, it does not matter if you use production light.
This is in brief about the video :))
About the lenses you are interested in, I have no information.
Thank you very much for your reply!
I'm not real.
So patron. What kind of miracles do not happen nowadays ..)
Here is restless, it is said - he wanted to sell.
Gold words :)
Well said.
At one time, I was lucky to buy immediately after 18-55 55-300 and 40 micro, though before that I had taken the Z990 superzoom soap box from Kodak. Well, even though my daughter is playing with him now, one can say it was not in vain that he threw money.
Everything is clear and on the topic. True in every syllable!. Caught the same feeling!
So who dirty all the shops !!!
"There is no lens for Pentax cameras, but it may happen that Tamron will release its own lens with the same optical design." It seems to me that there is a typo here, most likely you meant "Pentax will release its own lens on the same optical scheme."
Interesting glass
Fixed
Nikon has no optics! No! Unfortunately for myself, I watch the sunset of the Nikon photosystem. But in the end, Sonya, Lake and Fuji will remain.
Poor Canon.
Canon too…. I've been at the presentation of Sony Master lenses. Have you noticed that the Zeiss inscription was getting smaller every year? So these Master Hell Lana without the participation of Zeiss. And the Toshiba plant for the production of matrices (by the way, very sensible for d5, d500 id7200) Sony bought out together with the research base.
,, created ,, it says
You write something wrong. This is just a rebranding. It is a common practice when a company buys a promoted brand and the first 10 years they write the names of both companies on the product. The appearance is made in the style of the purchased brand, then the name of the main company remains and the appearance changes.
... “Zeiss” has recently been cooperating very closely with “Tamron”, most likely due to the versatility of the stabilizer and autofocus, and the technological capabilities of “Tamron” are not worse than “Zeiss”. So, very interesting lenses will appear in the near future. By the way, if there is no inscription “Zeiss”, it does not mean that they did not “do it” and vice versa, the presence of the magic inscription “Zeiss” does not guarantee originality (this is the modern economic reality of production).
Looks like you're watching this alone.
Apparently the title of “old-timer of a cozy blozhik” weaned off many useful skills, and one of them was “critical thinking”. According to the analytical resource Nikkei Asian Review and the author of Masamichi Hoshi, Nikkei staff writer, in 2014 alone Nikon lost 2,5% of the photographic equipment market. Today Canon controls 43,3% of the photographic equipment market. Sony is already 19%. The growth in sales of Alpha7 systems in Germany amounted to 400%, in the USA 600%. By the spring, Sony is releasing a full array system with a full line of optics. In Asia, the main “emphasis” is on mirrorless systems such as Sony 6300. In Asia (Vietnamese online stores), sales of medium format Fuji have started at a price of 8500 USD per carcass with a lens. At the same time, the cost of the carcass D5 7000, taking into account the fact that the inscription SONY is proudly glowing in red neon at the factory producing the matrix. I remember the interview with Hiroshi Tanaka, Vice President of Fujifilm, when after the release of many beloved Fuji 5Pro, they were waiting for the release of the next share, he said: “Stop! Nikon's philosophy is not our way. " Go to their website and count the number of optics with a hole 1.2.
Nikon has no ideas. He gives out developments 20-30 years ago as a gift from God. Where is his system “1”? Correctly. In j0pe.
Most likely, you will be left alone in your blog. Have a good day.
And what is Nikon's philosophy?
My friend, 25 years ago, formulated it this way. Kenon - aunt to take pictures, Nikon - wildlife. In principle, nothing has changed.
the number of aunts has increased, the wildlife has decreased, that's all the math ...
I’m a fool with a canon on a safari. What should I do???
How about canon? It is very dangerous! You can gobble up together with your Mr. .. Canon. All wild animals are accustomed to Nikon!
A friend of mine 12 years ago went on a safari trip to Kenya. As he returned, he lives in a tent in the yard, responds to a knock on the rail for lunch and photographs exclusively cats.
It is bad that in Africa they ate all the cats (((
... no one has ideas ...
hole “1” is not an indicator at all. The most popular product of the same notorious “Zeiss” is “2.8” and “4”, and these are the most optically “cool” glasses. While modern matrices do not allow the use of high-aperture optics, the smaller the sensor and the smaller the focal distance, the less expedient the use of “light glass”. So on mirrorless cameras "3 \ 4" we probably never see high-aperture optics (hello Fuji and Olympic). Hopefully, in the near future, medium-format mirrorless cameras with bright optics will be developed, this will be "weight", where the focal 65 is "wide".
Why are short-range lenses inconsistent with a short working distance?
Yes, and does it really need a large aperture? For normal flu, it’s still up to 2,8 at half speed and up to 4 at a hundred.
From Leika, only horns and legs remained. Pure piece goods for those who are willing to pay for the brand. In general, for half a century, Japanese firms completely supplanted German
Not certainly in that way. Hiroshi Tanaka, already mentioned by me as Vice President of Fujifilm, says that today in the world 1,6 trillion pictures are taken per year using smartphones, digital cameras and other devices. In 2000, at the peak of their popularity, only 100 billion were made. Today Sony gets 20 !!! bucks from every iPhone sold for a lens block. Leika signed a good contract with Huawei imprisoned in the Asian and US markets for the supply of its lens units. I think that she will come up.
but what do you all want from a cheap super-zoom also from a third-party manufacturer. here native super-zooms then the picture quality and speed and accuracy of autofocus do not shine
May I have some examples? Reading some comrades, a stingy male tear rolls down my cheek.
Well this is necessary, such bad luck! They were not lucky with megazums. And I was lucky and I wish many years of health to the Japanese, who calculated the Nikkor 18-200 optical design (the shop had pens and his head didn’t hurt). Because he can do that.
maybe so, it was filmed in April 2014
and maybe even the matinee "bomb" with a bang!
and here so
or something like that ...
and maybe the regatta "Black Sea Cup" in the rain and 4 points storm
I felt very bad. The sea took the hood and the polarik Hoya ... And my Nikkor 18-200 stubbornly gave a picture
I suggest you drop your pictures to me in the mail, I will sign them and add them to the 18-200 review.
Just think how much salt and water I would stuff into a carcass if I constantly changed optics ??? This Nikkor “recaptured” each of the 890 = and dollars given away upon purchase. And this Nikkor earned on the new Nikon D7200. Good luck and health to everyone! (Everything was filmed on Nikon D90 (by the way, an awesome device, if anything, knock here https://www.facebook.com/piktoOdessa...))
ARKADY THANKS and creative success !!!
Arkady, thanks for the offer. At home I will look at the EXIF file, sign the data and send it to you. Good luck.
Well, if that’s it, here are 2 more photos, also Nikkor 18-200
this is such a storm tuning Nikon D90 and Nikkor 18-200 on the 2nd day of the storm
Just a photo. "Phantom of the Opera". Nikkor 18-200 + Nikon D7200.
He can and so can ...
The only way and no other way
Yarkiya
23.10.2016 in 17: 22
+100500
4 points storm is not a storm.
A wise quote from a frequenter of various presentations - “Nikon has no ideas. He gives out developments 20-30 years ago, as a gift from God. ”Please list these developments.
Old Kenny 18-200 BP2 included in his list of 13 best Nikon lenses :)
Lens for the amateur.
Arkady! I read a lot of your reviews. I choose between Sigma AF 17-70mm f / 2.8-4.0 DC MACRO OS HSM new Contemporary Nikon F and the lens described above. You tested both! Please tell me what is better to buy for a vacation?
According to https://www.dxomark.com/ Sigma tears Tamron 16-300mm “like Ace a rag”, but these are dry numbers !!!
Tell me: do these numbers in real life affect the quality of the picture and, perhaps, are there bonuses from the aperture ratio of 2,8 - 4,0 if "artistic blurring of the background" is not required (if I understand correctly, the bonus is 1-2 stop by shutter speed-iso ????) or on a trip it will be wider-longer, that is, 16-300 ... or take a 35 to Tamron and put it in the evening ... .. her weight is 200g ... .. will tighten….
Definitely optically better than Sigma C, and Tamron definitely has more shooting options. I would stop at Sigma, in the appendage to it I took any 55-200 or 70-300, depending on the means and the desire to carry extra pounds.
Thank you!
Sigma AF 17-70mm f / 2.8-4.0 DC MACRO OS HSM Contemporary, a copy from the review of Arcadia will soon be on sale :)
I saw this Sigma 17-70 and this Tamron in real life. Definitely I am for this Tamron if you choose between them. Sigma is not a fact that it’s more sharply caught in the store than it is for sure.
Hello Arkady! Yesterday I saw a review of this lens in the blog of a friend, Sonyveda. I looked at the photos with and without magnification. By 12 at night, I decided to run to the store to take a queue, they would sort it out, there was not enough for everyone. Well closer to 2m I remembered about your blog, let me take a look. Well, thanks Arkady, I looked at your photos and went to sleep peacefully. Please look at his album, his photos are somehow too good with the same zoom. Writes, filmed on Sony 77 - 2 I don’t know if there are links to other people's blogs, sorry.
http://www.alphatraveller.org/gallery/index.php?/category/90
Of course, for pictures 594 × 594 (the basic version) and 1,120 × 1,120 (the original version of that site), the sharpness will be beyond the eyes. Moreover, the photos were cut it is not clear what and how they shopped. This Tamron will not give out anything beyond natural.
Tamron has recently released a new ultrasound - 18-400! In a new design as well as the new 24-70 / 2.8 VC G2. Among the ultrazoom now there is no better quality than this 16-300. The rest either do not have a penny rubber band so that it does not suck the dust (canon and nikon forgot to do it!), Or focusing is terribly slow. That's when Tamron will make 5,6 on the long end - it is not known, maybe those big brothers strongly advise him not to do this, and they themselves seem to have already started to set 6,3 on their ultrazoom, in any case Nikon has already done this and is trying to forget his own 18-300 / 3.5-5.6 (the best ultrazoom among them, but, of course, with the worst AF speed so that people hate it!), And Canon 18-200 is essentially 18-135 (from strength 150), I used it and after 135 millimeters, there is practically no approximation. Ultrazoom from Sigma are normal (18-200 C is generally the sharpest among all ultrazoom), but they also "forgot" to insert the sealing gum, and focusing in 18-200 often smears, and in 18-300, of course, very low speed. So this lens - 16-300 - won't be hit on the market anytime soon. In China, the price is about $ 400. If in the new 18-400 focusing is really fast (like the company boasts that they have implanted some new focusing motor in it, even its abbreviation is new), then 18-400 will become a new hero on the market, although 18-400 is already a hero from -for lack of competitors, like this 16-300! Thanks for the review Arkady!
24-70 not yet officially submitted
In China, the new 24-70 VC seems to be on sale for $ 1872, the popular Tamron online dealer Yidi has already sold 820 units, and it still has 181 units in stock (apparently it received 1001 units in total, the latter as an exhibition sample). so as it is always the first lenses are sold in China, and so are the cameras. The old one already costs less than $ 700, and on the secondary market in the new state - about $ 580. By the way, 890 pieces of the new 70-200 and 438 pieces of the 18-400 were sold there ...
Good day! The question is not related to the article. Where did you align your camera? My D90 has back focus. Justified in Kiev, the problem was partially solved, it became better, but not completely corrected. Very annoying when shooting portraits on a wide aperture.
Good day. After reading your review of Fuji S5 Pro, looking at sample photos and finding an excellent offer on Ebay, I decided to add this legendary carcass to my collection. So: wouldn't it be a very stupid idea to put this lens on it? Or is it a dilution of Henessy with cola? In general, what optics NOT from the “kidney-by-barrel” price category can make a good company for the “soaking”?
Good afternoon. The S5 pro itself is not a very sharp camera, then it is considered that it needs the sharpest lenses for it. But, in fact, c5 is valued for color and dd, and sharpness is already that.
In general, c5 pro loves fixes.
Fixes are good, but still it is not very convenient to carry a whole backpack of fixes to cover all the necessary RFs, plus with frequent lens changes the problem of dust on the matrix is very annoying. With a superzoom (or at least an "advanced staff" like the 16-85, which can hang on the carcass most of the time) it's not so scary.
Here in the overview you will find a list of all the super-hyper-zoom for crop. I would single out Tamron 16-300, 18-400, Sigma 18-300, Nikon 18-300 (two models). If all sorts of "drawings" and other "artistic" things are not important, but convenience is important, then you can take any of them.
Which of the converters can be used with this lens without losing the functions of both the camera (Nikon d5300) and the lens?
no, this lens is not designed to work with converters.
And I like him! And on the d5200 almost 90% of the pictures were taken with the 16-300 and on the d500 the same picture. Nikon 80-200 f.2,8; Tamron 17-50 f2,8 ride in a backpack on my back, Nikon 50mm f1,8 and Nikon 85mm f1,4D are used on special occasions. But the “king of ultrasound,” as one of the bloggers called him, is always ready. As a pioneer.
I shot in the rain (in St. Petersburg it is a constant weather phenomenon) - and the cameras and the lens passed the test. Fortunately, we do not observe dust storms.
The lens allows you to shove the Peter and Paul Fortress into the frame with all its spiers and reach the Grebes family on the lake, to see how the bee collects honey with its proboscis. With him, you have time to monitor the situation on the basketball court.
Maybe I’m not a perfectionist, or rather it’s exactly like that, but the instant readiness to shoot “from here to the horizon”, and most importantly to get acceptable pictures, is the main advantage of this glass. Aberrations and distortions can be corrected, but if there is no picture, it is incorrigible.
I probably have the philosophy of a reporter, but a shot with flaws is better than a missing shot. Later, when there is a frame, you can start bringing it to perfection - with another glass, light, composition, but the frame is already there, the situation is fixed.
What did not like .. low aperture. I tried to shoot ballet on d5200. With the torment and bullying ISO to 2500-3200, something suitable for social networks turned out, even received a few thanks from the ballet dancers. I have not tested a bunch with d500 yet (quarantine), and I bought 80-200 f2,8 specifically for this.
The other day I tried its performance with z50 and z6 through an FTZ adapter - it works. Focuses, aperture is set. Mirrorless cameras are not mine, maybe a friend will write about the work of this bundle.
My conclusion is that this glass is worth trying. And for beginners, it will definitely help to find out an interesting focal range, and it is likely that it will be the only lens for a long time ... I did not go to the photo store for half a year after purchasing it.
Picture, sorry, from Instagram. The original did not fit properly.