Review of Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

For the provided lens Tamron SP AF 70-200 F / 2,8 Di VC USD many thanks to the store Bomber, where can I find photo bags, photo backpacks, the lenses, including Tamron with an official guarantee of 5 years.

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009 lens

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009 lens


  1. Browse Navigation
  2. In short
  3. History
  4. Main Specifications
  5. Assembly
  6. Stabilizer
  7. Focusing
  8. Image quality
  9. Sample Photos
  10. Alternatives
  11. My experience
  12. Prices / where to buy
  13. Results
  14. User Comments
  15. Add your review or question on the lens

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009 in the review I will call in abbreviation - Tamron 70-200mm F / 2.8 VC. Here I review the version for Canon EOS cameras - A009 E (for cameras with mounts Canon EF и Canon EF-S).

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

In short

Tamron 70-200mm F / 2.8 VC is a good professional high-aperture telephoto lens, a very good alternative to original lenses Canon 70-200 / 2.8 L IS IINikon 70-200 / 2.8 G II VR и Sony 70-200 / 2.8 G SSM II.

The focal length with a range of 70-200 mm is very convenient for a huge number of photo tasks. Most often, such lenses are used for reportage and portrait photography. Overall, the image quality with the Tamron 70-200mm f / 2.8 VC is on par with the professional original lenses of the era.

I want to note right away that, in general, the Tamron 70-200mm F / 2.8 VC is better than its direct competitor from the legion of third-party manufacturers - Sigma 70-200 / 2.8 DG OS.

The price of the new Tamron 70-200mm f / 2.8 VC is about 1.3-1.5 times less than the new one Canon 70-200 / 2.8 L IS II.

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009


Tamron has a long history of high aperture telephoto zoom lenses. At the moment, she has the following models of high-aperture telephoto lenses of the 70 / 80-180 / 200 / 210mm F / 2.8 class:

  1. MODEL 30A: Tamron SP 80-200mm 1: 2.8 LD BBAR MC, manual lens, 1985-1992, Tamron Adaptall-2 interchangeable mount system
  2. MODEL 67D: Tamron SP AF LD 70-210mm 1: 2.8, 1992-2001, Nikon F, Canon EF
  3. MODEL A001: Tamron LD DI SP AF 70-200mm F/2.8 [IF] MACRO, 2008-2012, Nikon F, Canon EF, Sony A, Pentax K
  4. MODEL A009: Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive, 2012-2017, Nikon F, Canon EF, Sony A, Japan or China
  5. MODEL A025: Tamron SP 70-200mm F / 2.8 Di VC USD G2, 2017 - present, Nikon F, Canon EF, China or Vietnam
  6. MODEL A056: Tamron 70-180mm F / 2.8 DiIII VXD Model A056, April 2020 - our time, Sony FE

The names are given according to the markings on the lens barrel. Separately, it is worth highlighting Tamron 35-150mm F / 2-2.8 Di III VXD Model A058, which partially works in the same range (70-150 / 2.8).

Note that the Tamron A009 lens is available for three systems:

  • Canon - Model A009 E (such as in this review)
  • Sony - Model A009 p (the version is called Tamron USD DI SP 70-200mm F / 2.8 Ultrasonic Silent Drive A009 and does not have a built-in image stabilizer)
  • Nikon - Model A009N

Recently, third-party manufacturers have made fewer lenses for Pentax cameras.

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Main technical specifications of Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009 (E):

The name of the instance from the review (as it is written on the lens itself) Gold stripe 'USD Ø77 DI Tamron SP 70-200mm F / 2.8', not 'Ultrasonic Silent Drive VC A009' case, 'Made in Japan' serial number digits. Next to the switches are 'SP' in gold. Tamron SP 70-200mm F / 2.8 DI VC USD Model: A009E Filter size: Ø77mm, for Canon
Basic properties
  • A009 E - version for Canon EOS cameras, lens uses Canon EF mount.
  • SP (Super Performance) - high performance, Tamron professional lens range
  • DI (Digital Integrated) - lens designed for full format digital cameras
  • LD (Low Dispersion) - the use of low-dispersion elements in the optical scheme
  • XLD (eXbetween Low Dispersion) - the use of super low-dispersion elements in the optical scheme
  • USD (Ultrasonic Silent Drive) - ultrasonic quiet focusing motor
  • VC (Vvibration Compensation) - built-in image stabilizer, analogue of Canon IS
  • Advanced multilayer coating - improved multi-layer coating
  • IF (Iinternal Focusing) - internal focus
  • FTM (Full Time Manual Focusing) - constant manual focusing mode (has a number of features)
  • AF / MF - focus mode switch
  • RD (Rrounded Diaphragm) - rounded aperture
  • MR (Moisture Resistant) - splash protection with rubber lens mount seal
  • 1:2.8 - constant maximum aperture throughout the focal length range
  • Internal zoom
  • Detachable tripod foot
  • 5 year warranty (indicated on the box)
  • in the world photo lens received series of awards
  • Important: a lens from a third-party manufacturer, which imposes some restrictions on its practical use.
Front Filter Diameter 77 mm, thread under the filter plastic
Focal length 70-200 mm

Zoom ratio 2.86 X (often rounded to 3 X)
Designed by for digital full and cropped Canon cameras with bayonets EF or Ef-s. There are versions for Nikon and Sony
Number of aperture blades 9 rounded petals
Tags focal length values ​​for 70, 100, 135, 200. Scale with focusing distance, mark for attaching the hood, mark for the bayonet mount, marks for the tripod foot.
Diaphragm F / 2.8 to F / 32 over the entire range of focal lengths
MDF (minimum focusing distance) 1.3 m, the maximum magnification ratio is reached by 200 mm and is 1: 8
The weight 1470 g (with tripod foot)
Optical design 23 elements in 17 groups.

The scheme includes:

  • 4 low dispersion element Tamron LD (Low Dispersion) (shown in yellow on the optical diagram)
  • 1 super low dispersion element Tamron XLD (eXtra Low Dispersion) (shown in purple on the optical diagram)

Optical design Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive

The optical design is clickable.

Lens hood bayonet, flap, Tamron HA001, Made in Japan
Manufacturer country China (Made in China), at the same time there are lenses that were / are manufactured in Japan and bear the inscription 'Made in Japan' (look at this).
Period Introduced September 13, 2012. On sale November 22, 2012 for Nikon, March 28, 2013 for Canon, June 27, 2013 for Sony. 07 January 2017 added / replaced by model Tamron SP 70-200mm f / 2.8 Di VC USD G2 A025
3D view See
Instructions See

Old version Tamron a001 was lighter, even made for Pentax cameras, could shoot 'macro' at 1: 3.1 (versus the pathetic 1: 8 on the A009) and had a very wide focusing ring. We treat one thing, cripple the other.

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009


To review me provided brand new lens.

Build quality - at a high level. I didn't find any obvious flaws in the build quality. It is a weighty and pleasant lens to the touch. In the box with the lens goes 5 year warranty card.

The lens barrel is made of high quality plastic. If the body were made entirely of metal, like a super-durable lens like this Tokina AT-X 828AF PRO, then the weight of the Tamron 70-200mm f / 2.8 VC would increase proportionally. But even with a plastic body, the Tamron 70-200mm f / 2.8 VC weighs a lot - almost one and a half kilogram.

Tamron 70-200mm F / 2.8 VC uses metal bayonet mount and metal removable tripod foot. To completely remove the tripod foot, unscrew the clamp screw completely. The tripod ring can rotate freely around the lens. For precise and quick installation of strictly horizontal or vertical orientation of the tripod socket, there are 3 special marks in the form of white dots on the lens barrel.

The zoom ring is rubberized, wide and pleasant to use, it can be rotated even with one finger. In the comments, experienced owners of this lens indicated that over time, even when the ring is developed, the lens will not spontaneously change the focal length under the weight of its own lenses. During focal length changes, all outer parts of the lens remain stationary.

Zoom and focus rings compared to the original Canon 70-200 / 2.8 L IS IIare interchanged.

The focus ring is also rubberized. Important: note that the focus and zoom rings rotate in the opposite direction to those of original Canon lenses (such as Canon 70-200 / 2.8 L IS II). Tamron usually uses Nikon's direction of rotation of the rings.

Stated that the lens has waterproof (moisture resistant) designwhich prevents moisture from entering the lens. In the instruction manual for Tamron 70-200mm F / 2.8 VC about security there is no data. Near the mount there is a rubber ring seal that protects the mount from dust and moisture, which undoubtedly pleases.

This lens easily tolerated heavy snow, drizzling rain and shooting in the cold at -10 ° C.

The lens from the review was made in China, as evidenced by the inscription on its case 'Made in China'. At the same time, the same model was and / or is being produced in Japan and has the inscription 'Made in Japan' on its case. It was found that the Chinese and Japanese lenses have different focus ring travel. The Japanese have about 60 degrees, the Chinese about 135 degrees. In this case, the Chinese is better. Small differences in mechanics for the same model are common. During production, lenses usually change slightly (and sometimes very much) internally, although they will continue to look identical externally.

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 HA001 (MADE IN JAPAN), 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 lost and access to the focus ring is difficult.

Yes, you have correctly noted that this is exactly the option when the lens costs 1300 USD. made in China, and a hood for $ 10. made in Japan.

When changing the focal length and during focusing the back lens remains motionless, which completely deprives the lens of the so-called 'vacuum cleaner effect', which can significantly increase the amount of dust that accumulates in the mirror shaft.

Tamron 70-200mm F / 2.8 VC uses a diaphragm device consisting of 9 rounded petals, funny that the original Canon 70-200 / 2.8 L IS II only 8 petals.

Strange, but the official sources indicate only that the lens uses the advanced coating of its optics and does not indicate its type. Tamron is renowned for its legendary enlightenment BBAR (Broad-Band Anti-Reflection - deep anti-reflective multi-enlightenment), which is used in a large number of lenses, for example, even in amateur Tamron 28-300 VC, or 'almost professional' Tamron 70-300SP VC.

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009


Tamron 70-200mm F / 2.8 VC has Tamron built-in image stabilizer VC (Vvibration Compensation, equivalent to Canon IS). Stated that the stabilizer can compensate 4 stops by shutter speed (by the standards of Tamron). In numerical terms, this means that you can shoot at shutter speeds 16 times slower than required by a lens without a stabilizer. For example, when shooting without the stabilizer of stationary objects, at a focal length of 200 mm, it is recommended to shoot at shutter speeds of 1/200 s or faster. With the gimbal on, you can theoretically shoot 1/13 s.

I was able to take sharp pictures of stationary objects on shutter speed 1/15 s and 200 mm of focal length and 1/6 s and 70 mm of focal length. The stabilizer works really well.

The maximum stabilization is achieved after 1 second of stabilization. The stabilizer works for another 2 seconds after releasing the focus and / or metering button exposure (usually the same button).

When working with the lens at 200 mm focal length JVI the difference is clearly visible when the stabilizer is on and off. When sighting with the stabilizer turned on, the picture 'freezes' and allows you to comfortably compose the frame, and the focusing system more tenaciously captures the subject.

The noise from the stabilizer is small. When the gimbal is turned on and off, the clattering noise is lower than many other gimbal telephoto cameras

While working with the lens, I found that on long shutter speeds (approximately longer than 2 seconds), the included stabilizer damages the image very much, making it blurry. As the instruction advises, you need to turn off the stabilizer during shooting at slow shutter speeds.

Unlike the original Canon 70-200 / 2.8 L IS II The Tamron 70-200mm F / 2.8 VC does not have a choice of Stabilizer Mode 1 / Stabilizer Mode 2 or similar.

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009


The lens uses technology to focus USD (Ultrasonic Silent Drive) - ultrasonic quiet focus motor (analog of Canon USM). By the way, Tamron USD motors are much faster than Tamron PZD (PieZo Drive) engines.

The Tamron 70-200mm f / 2.8 VC uses a large and powerful ultrasonic focusing motor ring typewhich looks like this. The difference between the ring ultrasonic and the reduced ultrasonic motor is shown and described. here.

Despite claims of quiet focus, there is noticeable noise from the focus motor, which will greatly interfere with those who will shoot video and record sound using the microphone built into the camera.

When used on a camera Canon EOS Digital Rebel XSi (with very simple 9-point focusing system) the lens performed very well. I had no problems with focusing accuracy and tenacity - the lens very rarely refocused again and kept the subjects in focus quite tenaciously. I am sure that on cameras with more advanced focusing systems everything will be even better.

On camera Canon EOS Digital Rebel XSi I checked the presence of back and front focus at different focusing distances and different focal length values ​​(infinity and MDF as well). As a measure, the images were taken using the Live View mode (which actually does not suffer from back / front focus). Focusing accuracy using a cross-type center phase focusing sensor was exactly the same as Live View.

Auto focus speed high (closer to very high)... The focusing time from infinity to MDF and back is approximately equal to the focusing time at the lens Canon 70-200 / 2.8 L IS II.

  • Focusing speed is almost independent of the selected focal length.
  • After the lens loses focus, refocusing is very fast.
  • The focusing speed depends heavily on the illumination, the selected focus mode in the camera menu and the focus logic of each individual camera.
  • The time it takes for the Tamron 70-200mm F / 2.8 VC lens to go through completely from infinity to MDF and back in low light (for example, when a protective front cover is attached to the lens) is significantly longer than the lens travel time in good light.

The body has an 'AF / MF' (auto focus / manual focus) switch to select the focus mode. Tamron 70-200mm F / 2.8 VC supports FTM (Full Time Mannual Focus) - continuous manual focus control, which allows manual focusing in 'AF' mode without switching to 'MF' mode. This mode almost completely copies the original Canon FTM mode, except that the Tamron 70-200mm F / 2.8 VC during manual override completely disables autofocus in AI Servo mode.

During focusing, the front and rear lenses remain stationary, as the lens uses internal focus 'IF'('Iinternal Focus' - 'Inner Focus'). Thus, it is possible to use any filters without problems, for example polarizing or gradient.

The focus ring remains fixed during autofocus. In manual focus mode, the focus ring rotates approximately 135 degrees (approximately 60 degrees for lenses labeled 'Made in Japan'). When the extreme positions are reached, the focusing ring does not rest on, but continues to slide, without affecting the focusing. Manual aiming is quite comfortable.

The minimum focusing distance is 1.3 meters. Unfortunately, the Tamron A009 has the poorest magnification ratio of just 1: 8 compared to its autofocus predecessors. previous version Tamron a001 had the 'Macro' prefix in its name, hinting at the possibility of macro photography, and its magnification ratio was much better at 1: 3.1.

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 30, 10, 5, 3, 2, 1.3 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).


  1. Tamron 70-200mm F / 2.8 VC, compared to other lenses, focuses very long in Live View mode (on cameras without Dual Pixel or Hybrid CMOS AF) Please, who has experience with this lens on cameras with Dual Pixel or Hybrid CMOS AF technology, describe his work in the comments.
  2. Tamron 70-200mm F / 2.8 VC does not have a hard stop (hard infinity mechanical stop) which allows you to accurately and quickly focus the lens to infinity under any external temperature conditions. For accurate aiming at infinity, you can’t just bring the focus ring to the extreme position marked “infinity”.
  3. When changing the focal length, focusing is lost. The lens is not parafocal.
  4. Important: Tamron 70-200mm F / 2.8 VC is a third-party lens. It may happen that it will not work correctly with new Canon cameras, which will be presented after the announcement of this lens.
  5. It's important... The lens has a pronounced effect 'Focus breathing'(changes in viewing angle during focusing). When focusing on MDF at 200 mm focal length, effective focal length noticeably reduced. At 70 mm, the effect is less pronounced.
  6. There is no depth of field scale and no mark for working in the infrared spectrum.
  7. Focus shift (shift-focus) was not noticed during operation and testing.
  8. There is no focus distance limiter. For example, Canon 70-200 / 2.8 L IS II this limiter also has a '2.5m-∞' limiter, the focusing time from infinity to 2.5m (MDF limiter) is a fraction of a second.
  9. One of the implicit advantages of telephoto lenses with a maximum aperture of 1: 2.8 is that they can be used with teleconverters without any problems. So, Tamron 70-200mm F / 2.8 VC is compatible with teleconverters Tamron SP AF TELE-Converter 1.4 X / 2 X (and possibly others). When using a teleconverter with 2 X, the lens turns into a '140-400 / 5.6', which allows automatic focusing on all Canon digital SLR cameras. But when using teleconverters with darker televisions, automatic focusing on many cameras with a simple focusing system can cause serious difficulties.
Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Image quality

With the image quality, this lens is doing well.

The main advantages of the created image:

  • good contrast over the entire range of focal lengths
  • good sharpness at open apertures in the range of 70-135 mm, sharpness drops slightly in the range of 135-200 mm
  • good color rendering
  • even circles in the blur zone due to rounded petals aperture.
  • pleasant, unobtrusive bokeh
  • moderate chromatic aberration, distortion and vignetting

The main disadvantages of the image:

  • weak macro mode
  • tangible amount of artifacts while working in backlight

Unfortunately I was not able to drive the lens on a full-frame camera, but on crop cameras with an APS-C sensor, the lens behaves very well.

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Sample Photos

Pictures from Canon EOS Digital Rebel XSi... Photos in the gallery below are shown without processing, converting the original RAW files ('.CR2') with the original Canon Digital Photo Professional utility without making additional adjustments. Everything was shot hand-held without using a hood. Some of the photos were taken using a very good HOYA polarizing filter. Hd nano CIR-PL 77mm Made in Japan (official filter page) heremy brief review hereYou can buy here).

You can download the source RAW files at this link.

My experience

I'm an absolute fan of this class of lenses. If I had my way, I would shoot everything with one single 70-200 / 2.8. It is generally accepted that such a lens is included in the “holy list” of lenses of any professional photographer (in the so-called “holy trinity” of high-aperture zooms: zoom-wide, zoom-wagon and zoom-telephoto).

What's really about the Tamron 70-200mm f / 2.8 VC? This is really good lens, approximately one and a half times cheaper than the original Canon 70-200 / 2.8 L IS II... Perhaps in some small things and in rare difficult shooting conditions, the Tamron 70-200mm F / 2.8 VC will be worse than the original, but personally I would boldly use this lens and would not worry that it is 'not the original'.

Usually a 70-200 / 2.8 class lens is very, very important in the bag of many photographers - the choice is always very difficult. If the question of finances was not at all, then I would have bought the original one anyway Canon 70-200 / 2.8 L IS II and forget about everything else until the release of the 'Canon 70-200 / 2.8 L IS III'or' Sigma 70-200 / 2.8 ART'.

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009


Below is a list of all fast class 70-200 / 2.8 lenses with built-in image stabilizer:

Canon (Canon EF / EF-S / RF)

  1. Canon Zoom Lens EF 70-200mm 1: 2.8 L IS USM
  2. Canon Zoom Lens EF 70-200mm 1: 2.8 L IS II USM
  3. Canon Zoom Lens EF 70-200mm 1: 2.8 L IS III USM
  4. Canon Lens RF 70-200mm F2.8 L IS USM

Nikon (Nikon F, Z)

  1. Nikon ED AF-S VR-Nikkor 70-200mm 1: 2.8G Vibration Reduction SWM IF (black or silver version)
  2. Nikon AF-S Nikkor 70-200mm 1: 2.8GII ED N VR Nano Crystal Coat SWM IF
  3. Nikon AF-S Nikkor 70-200mm 1: 2.8E FL ED N VR Nano Crystal Coat SWM IF + its modification 'Nikon 100th Anniversary Edition'
  4. Nikon Nikkor Z 70-200mm 1: 2.8 VR S

Sony (Sony E)

  1. Sony FE 2.8 / 70-200 GM OSS
  2. Sony FE 2.8 / 70-200 G GM OSS II 2021

Sigma (for different mounts)

  1. Sigma 70-200mm 1: 2.8 APO DG HSM EX OS (Optical Stabilizer) (for Canon EF / EF-S, Nikon F, Sony / Minolta A, Sigma SA, Pentax K, no longer available for Pentax)
  2. Sigma 70-200mm 1: 2.8 DG OS HSM S | Sport (for Canon EF / EF-S, Nikon F, Sigma SA)

Tamron (for different mounts)

  1. Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009 (for Canon EF / EF-S, Nikon F and Sony / Minolta A)
  2. Tamron SP 70-200mm f / 2.8 Di VC USD G2 A025 (for Canon EF / EF-S, Nikon F)
  3. Tamron 70-180mm F / 2.8 Di III VXD Model A056 (Sony FE only)


  1. Panasonic LUMIX S PRO 1: 2.8 / 70-200mm OIS (Leica L, Fall 2019)

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Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009


Prices for the Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009 lens in popular online stores can look at this link.

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009


Tamron 70-200mm F / 2.8 VC turned out balanced lens. The build quality, focusing, stabilization, as well as image quality are at a high level here, while the lens is significantly cheaper than the original models. I bravely recommend Tamron 70-200mm F / 2.8 VC to purchase and use as directed.

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

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Comments: 119, on the topic: Review of Tamron USD DI SP 70-200mm F / 2.8 VC Ultrasonic Silent Drive A009

  • Peter Sh.

    The light was horrible there. Spotlights with different lamps and two colors - magnet and green. Nightmare!

    So, I don’t know, frankly, I have enough sharpness there or not.

    Svetlana, if you shoot in nature, after dawn, then the light should be enough, of course. Of course, you need a fast telephoto zoom, no doubt. Best of all is the Nikon 70-200 2.8 VR. The first version does not cost much more than this Tamron, and is suitable for a non-motorized camera. I would buy D3300 or D7100 to it in your place. Optimum, D600 / D610. Anyway, we focus on one point, we do not care how many there are.

    • Svetlana

      Yes, shooting is always in the morning. In addition to the light, I would like a beautiful picture of course) The first version 70-200 2.8 costs 56 from the hands, the second 000, I just watched it myself, but Tamron or Nikkor 65-80 200D up to 2.8, the first version is also expensive for me specifically now, and after a week I would like to shoot with new optics, I have a lot of portraits at any distance, but it’s very difficult to shoot at them, there’s not enough zoom.

      Your shots really liked the picture and quality, thank you for the example!

      • Peter Sh.

        Svetlana, thank you very much))

        If the telezoom is for sports only, VR is not much needed. You will shoot at shutter speeds greater than 1/320, right?
        If you look at Tamron, you need the latest model (G2), others will have many misses in a bad light. But this is when 2 thousand shots a day in a crazy rhythm, and it is extremely important that the focus.
        Maybe in your case Tamron will do.

  • Peter Sh.

    Yes, there is a downside - 50%. I do them all this way, no one needs more than 6 megapixels. Only posters 2 by 3 meters are printed, but this rarely happens.

  • Peter Sh.

    I wanted to say 24 megapixels is needed only when large posters print.
    I looked downsides in the pictures above was somewhere around 25-30%.

    Arkady, I apologize for the wild flood))

  • Oleg

    One person, yes, but the girl’s partner, standing nearby, is no longer in the zone of sharpness, but if you need to remove a couple in motion and they will not be on the same line, only one partner will fall into the field of sharpness.
    Speaking of horses, they are large, long, if you shoot not strictly horizontally, then the horse in the open can be in the zone of sharpness only partially.
    But in any case, of course, it is better to have a faster lens, because it expands the possibilities, and in terms of quality it is usually better.

    • Peter Sh.

      In this case, the partner will be sharp except with an aperture of f / 22. But he is not needed here too sharp - the whole emphasis is on the girl.

      Yes, in such difficult conditions there will always be some kind of compromise. You need to understand that not sharp enough pictures are better than none at all.

      But most importantly, I assure you, the viewer will never be outraged that one of the partners is not so sharp. There is not just one single photograph, there are many of them. On some the partner will be sharp, on others the partner, on the third - both.

      Even in studio shooting, they do not strive for perfect sharpness, what can we say about the report.

      You understand, the viewer does not see that half of the dancer’s body comes out of the DOF.
      The viewer does not see the noisy grain in the picture, littered horizon, haze from backlight and nuts in the bokeh.
      The viewer sees the composition and colors, this is the most important thing!

      Here are the international competitions in the USA.
      On the floor there are Russian and Ukrainian juniors. In the background, American youths are nervously smoking. The faces of Americans reflect a sudden encounter with reality - they thought they could dance very cool! And then some snotty trifle, so easily shows them aerobatics))

      Who will be looking here, are there enough sharp partners in the pair? And if suddenly not sharp?

      f / 2.8, 200mm

      • Oleg

        I agree, but as you know, everything is learned in comparison. For example, if you give ice cream to someone and it tastes good enough, you will like it, but if you give several different types, then the first may not become as attractive as in the absence of an alternative. On the other hand, there is no comrade in taste and color, one will seem attractive to someone, to someone else.
        There are many options for variety: you can raise the ISO, if the camera allows without sacrificing quality, you can reduce the focal length (the sharpness zone in this case will become larger), and then crop, again, if the resolution of the matrix and the quality allow, and then compare. Maybe it will be better, or maybe otherwise.
        In any case, as already mentioned, of course, a fast lens is better than a dark one, both in fact and, as a rule, in quality. It is better to have 2.8 and shoot at 5.6 than shoot at 5.6 because 2.8 is not.

        • Peter Sh.

          In such extremely difficult conditions, shooting always goes to the limit of the capabilities of technology and optics. Optimum settings are always selected in the shutter speed / ISO / aperture sequence. There are no alternatives.

          A variety is just composition, color and contrast. And then it all depends on the photographer.

          It is clear that we are talking about aperture prof. lenses. There are no questions, nothing will come of it with others.

      • BB

        Yeah, the dialogue is about this: why is the girl soapy? No, we will not take this photo. And here the partner is blurry, we don’t take this one either. Etc.
        And yes, the photo was taken at 70-300G in disgusting lighting conditions (this is about professional lenses ...)

        • V_frolov

          In my opinion, this is not about depth of field, but about long exposure - 1/160 s. This is the grease from the fast movement of dancers.
          I shot acrobatic rock'n'roll (that's still a drive!) In disgusting conditions, but I did not set the shutter speed longer than 1/250 - and even then, I had to do it even shorter, 1/400 or 1/500.
          I had to raise ISO up to 12800 - fortunately on the D750 it is of tolerable quality.
          Shot on a regular 24-120 f / 4 (tested the technique).
          Now I choose a fast telephoto: Nikon 70-200 2.8 VRII or Tamron 70-200 2.8 G2.
          The second one is one and a half times cheaper, but I'm wondering if there are any pitfalls (slow / inaccurate autofocus in poor lighting conditions, low micro-contrast and sharpness, faded colors ...) so that you don't get thrown out money.
          Can someone test and compare both of these lenses and tell me about the case?

          • BB

            This is a slow waltz, there is no particular speed (ED-class, I don't remember exactly). Hands, legs - yes, they blur (in Latin, Kwick and Viennese), but the body and head - no (linear velocities are much less, and no one canceled the "wiring"). I shot rock and roll, I have an idea. In modern dances, you can shoot from 1/200 -1/250. Everything is fine there, no one expects that everything there will be mega-clear to the fingertips. If you really want super-sharp photos, without lubrication - welcome to the studio))

      • BB

        Not ideal, the focus on the partner, the partner falls out of the flu a little, but they take it.
        150mm, f / 5, slightly cropped, without processing (on-camera jpeg)

        • Oleg

          If the quality allows, you can shoot in such a situation in full growth, and then do the framing. There will be less focal length, which in this situation will give a wider depth of sharp space, plus 70-300 with a smaller focal length, you can use a more open aperture than a long focal length, if necessary.

          • BB

            I set the aperture to f / 5 anyway. Shoot in full height - then the background will be clearer, which is bad. And no one will be engaged in cropping. This can be done either if you are filming “for yourself”, or if you are filming a concert to order, and the photo can be given after a while. At competitions 90-95% of the photo is sold immediately, “as is”. Sometimes they even stupidly do not have time to sort them: “here we were dancing 10 minutes ago, can I see a photo?” Yes, your photos are not even merged into the laptop yet ...

            • Oleg

              I don’t say that it’s better, but only that there is such an option, and then to whom it is convenient and to whom it is more necessary to emphasize.

      • Linar

        Peter, on your tamron near the focusing ring there is a backlash, that is, up and down along the lens? Or is it only peculiar to my specimen ...

  • anonym

    “The gimbal is said to be able to compensate for 4 stops in shutter speed (by Tamron's standards). In numerical terms, this means that you can shoot at shutter speeds up to 16 times slower ”
    The shutter speed 200 is shorter than the shutter speed 100 twice - this is one stop, 100 is shorter than 50, 2 times - the second stop, 50 is 2 times than 25 and the fourth stop is 25 we divide in half. 16 times this is something you wrote - transcendent

    • Michael

      200/16 = 12.5 that's right)

    • Arkady Shapoval

      Yes, instead of, for example, 1/160 s, you can theoretically remove a stationary object for 1/10 of a second (1/10 is divided by 1/160 and we get 16 times).
      4 steps (4 f-stop) is 2 ^ 4 = 16 (two to the fourth degree).

  • Ksenia

    Hello! I want to describe my situation, I am engaged in amateur photography, I was advised to buy a Tamron af 70-200mm f / 2.8 (if) macro lens, which I connected via an adapter to a sony a7 ii, and I want to say that it is very difficult for the camera to focus, so I started using a manual zoom ... Do you think I was mistaken with the lens for such a carcass, or all is not lost, and you can take pictures?

  • anonym

    What for to take a lens that no one in the world uses on crop and test it on crop?
    There was no opportunity to take on ff then it was not necessary to write an article but to wait for the necessary opportunity. And so, this is something from the category, today we will test this all-wheel drive SUV and we will ride it around the city, because we don’t have the opportunity to go through impenetrable fields and forests and see its possibilities in all its glory.

    • Novel

      Oh digging? 80-400, 100-400 are used on a full frame, 50-200, 55-200, on a crop they are used, and 70-200 are suddenly not used. This is a matter of preference and convenience. If you need something fast and not heavy, then why not. And what is it that we will see in full frame with this glass, which we will not see on the crop?

  • Oleg

    I have been actively using the lens for a year now, with 2,8 I almost never “leave”, since the sharpness is just wonderful! The staff works well and excellently, given the weight of the lens, and even with the D7100 it’s just a lifesaver ”!!! Often you have to shoot children's portraits while lying in the grass ... this is where the weight of the equipment really feels and without a stub it would be just sadness! It focuses quite quickly, colors and bokeh make you fall in love with this glass from the first minutes of working with it! Detailing at the edges of the frame is good, but he definitely does not like backlight. The picture is juicy, colorful and the post-editors practically do not need improvements, but this is already a matter of taste. Before that I used 70-300, but this is a completely different glass, it is not even correct to compare. But the rumors that this lens proved to be bad in crop - these are only rumors and they are generated by those who cannot afford to work with good professional high-aperture optics ... it’s such a toad ...

    • ks

      Good afternoon.
      Tell me, when comparing tamrons 70-300 and 70-200 2.8 you did not have a feeling of disappointment? Feelings that you bought it in vain?

    • Linar

      Is there a backlash on your tamron at the focus ring, that is, up and down along the lens? Or is it peculiar only to my specimen ...

  • Paul

    People, ah nid help!
    I bought Tamron 70-200 G2 Nikon and generally ceased to understand everything in focal lengths ..
    This is such a joke from Tamron, or how to explain the fact that Nikon's MK-1 80-200 at 200mm has a much smaller viewing angle than Tamron's, or in other words - Tamron's 200mm feels like about 160mm of Nikon's. As an example, I give 2 photos taken from ONE point at a distance of about 3 meters from the subject.

    • Paul

      I did not understand how to upload photos here

    • Michael

      We read carefully)):
      5. It is important. The lens has a pronounced 'Focus Breathing' effect (changing the viewing angle during focusing). While focusing on the MDF at 200 mm of the focal length, the effective focal length decreases noticeably. At 70 mm, the effect is less pronounced.

      • Paul

        Ahhh, that's right
        I took pictures at long distances - the focal points are almost the same (Nikon's angle is a little smaller anyway). And by the way, it looks like Nikonovsky's trick "breathes" the other way around than Tamron's, ie. with MDF, his angle becomes even smaller.

        Thank you!

        • Arkady Shapoval

          In 80-200 MK1, the focusing is not internal, which means that when focusing towards the MDF, the angle of view increases. Tamron 70-200 has internal focusing, and therefore, when focusing towards MDF, the angle increases. That is why there is such a big discrepancy (they “breathe” in different directions). When focusing at infinity, the viewing angles should be + - equal.

          • Paul

            Arkady, thanks for the answer!
            For MK-I, the front lens rotates, yes. Perhaps you meant that the focal length of it increases with MDF, and the angle decreases. This is exactly what I am observing from him. Therefore, such a difference in the photo. And when focusing on houses located at a distance of about 500 meters, the angles almost coincide (Nikon’s slightly narrower, literally almost not noticeable)

  • kolodiazniy

    In the HISTORY paragraph, the 5th link is broken.

    • Arkady Shapoval


      • kolodiazniy

        A 3rd paragraph instead
        Tamron LD DI SP AF 70-200mm F / 2.8 [IF] MACRO A001 (70-200mm 1: 2.8)
        should be called
        Tamron SP AF70-200mm F / 2.8 DI LD [IF] MACRO (model A001).
        This not only eliminates the unnecessary tautology of focal lengths,
        but also corresponds to the name on the box and the official website
        where is he primarily SP (Super Performance Series),
        then AF (autofocus with a screwdriver, similar to Nikon’s AF),
        then Di (Digitally Integrated Desing - for both full frame and crop),
        and only at the end are all the other buns.

  • kolodiazniy

    Tell me:
    Tamron lenses are officially sold in Ukraine,
    or is it all a matter of fact?

    • Arkady Shapoval

      There are official, there are gray

      • kolodiazniy

        Why, then, is there no Tamron official site in the UA zone?

        • Arkady Shapoval

          I don’t know this, but there is an official representative of Tamron in Ukraine represented by ProFoto.

          • kolodiazniy

            I know this company, but I can’t get to their site either:
            the domain seems to be busy, but hosting is disabled for non-payment.
            The feed stream on their facebook profile is extremely discrete.
            Really got the desk?

            • Arkady Shapoval

              wow, apparently - yes.

  • Oleg

    Good afternoon, this question is suitable for landscape photography, nikon 7200

    • Andrii

      It depends on what you mean by asking the question.

    • Victor


  • Ivan Viktorovich

    Hello, please tell me what is better to take, this Tamron for Nikon or Nikon ED AF Nikkor 80-200mm 1: 2.8D (MKII)
    Thank you in advance)

    • Michael

      This tamron)

  • Alena

    Hello! Help me to understand. There is an opportunity to buy Tamron 70-200 2.8. In all the characteristics it is listed as for a full frame, and the seller insists that it will be on a crop (for me a crop), it will simply be 100-300 focal. This is true? Thanks in advance.

    • Andrei

      And then the name of the lens can not be read at all? Basic specifications, eg.

    • Human


    • Arkady Shapoval

      All 70-200 / 2,8 are designed for full frame and all can be cropped.

  • Anton

    Friends, advise that it is preferable to choose a used Nikkor AF-S 70-200mm 2.8G VRII (hand-held) or a new Tamron 70-200mm 2.8 G2 A025 (with a guarantee from the store). The price is about the same. Nikkor AF-S 70-200mm was said to be of little use, bought 4 years ago ...

  • Sergei

    at the end, it mentions the Tamron SP AF 2x teleconverter and maintaining autofocus functionality on Canon cameras. But what about Nikon? On overseas forums, there is a whisper that this particular model on Nikons does not autofocus with any 2x converter ((A001 yes, A025 yes too - but it’s A009N in flight ... Does anyone have a confirmed experience?

    • Sergei

      I will answer myself: there is a stub, AF is in flight (camera D7500). the phase crawls back and forth, and cannot be confirmed in any way. contrast (Live view) - usually works, but does it uncertainly, and you can forget about shooting moving objects in general

  • Igor.

    Good day to all!
    Advice required. There is a carcass Nikon D800E. There is a desire to buy a 70-200mm F2.8 lens for it. I settled on two options:
    1. Nikkor 70-200mm f/2.8G IF VR (VR first version)
    2. Tamron 70-200mm f/2.8 VC A009N
    Approximately 40% portraits (mostly outdoors) and 60% landscapes and architectural details.
    Which of the two selected is the most preferable? (Assuming that the price of the used version is the same for both.)
    Thanks in advance to all who answer.

    • Arkady Shapoval

      Tamron will be better

      • Igor

        Arkady, thank you very much!

      • Eugene

        I read on official sites that this Tamron model is not supported on the FTZ adapter, there will only be manual focusing. About Nikkor, it seems, incompatibility was not announced ...

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