For the provided lens Tamron SP 45mm F / 1.8 Di VC USD F013 many thanks to the store Bomber, where can I find photo bags, backpacks for cameras, the lenses, including Tamron with an official guarantee for 5 years.
Tamron SP 45mm F / 1.8 Di VC USD F013. The lens is shown on the camera. Canon EOS Digital Rebel XSi
Navigation
- Browse Navigation
- In short
- History
- Main Specifications
- Assembly
- Stabilizer
- Focusing
- Image quality
- Sample Photos
- Alternatives
- My experience
- Prices / where to buy
- Results
- User Comments
- Add your review or question on the lens
In this review, I will refer to the Tamron SP 45mm F / 1.8 Di VC USD lens (according to the inscription on its body) as Tamron 45 / 1.8 VC.
Tamron SP 45mm F / 1.8 Di VC USD F013. Tamron SP 45mm F / 1.8 Di VC USD F013. The lens is shown on the camera. Canon EOS Digital Rebel XSi
In short
The Tamron 45 / 1.8 VC is a very good lens, but for a couple of little things, it would be almost perfect. At the time of this writing (early 2017) there are no other alternatives for this lens (no fifty or 'about fifty dollars' with a similar focal length and built-in image stabilization). This is one of the best fifty / about fifty dollars I've ever used.
The key features of the lens are the built-in stabilizer and good image quality.
Tamron SP 45mm F / 1.8 Di VC USD F013. The lens is shown on the camera. Canon EOS Digital Rebel XSi
History
Tamron 45 / 1.8 VC and Tamron 35 / 1.8 VC were introduced 2 September 2015 years.
On February 22, 2016, two more lenses were added to the Tamron SP range of high-aperture fixes with stabilizer: Tamron 85 / 1.8 VC и Tamron 90 / 2.8 VC MACRO.
The Tamron 45 / 1.8 VC is the first 'about fifty kopecks' with a stabilizer. At the beginning of 2017, neither Canon, Nikon, or Sony have pleased users with such a lens. True, such systems as Pentax and Sony in some cameras already have a built-in stabilization system, which partially allows them not to fool their heads with integrating stabilizers into their lenses.
Tamron SP 45mm F / 1.8 Di VC USD F013. The lens is shown on the camera. Canon EOS Digital Rebel XSi
Main technical specifications of Tamron SP 45mm F / 1.8 Di VC USD F013:
| The name of the instance from the review (as it is written on the lens itself) | Tamron SP 45mm F / 1.8 Di VC USD DESINED IN JAPAN MADE IN JAPAN F013 Ø67mm. |
| Basic properties |
|
| Front Filter Diameter | 67 mm |
| Focal length | 45 mm
|
| Zoom ratio | 1 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 | A window with a scale with a focusing distance, a label for attaching a hood, a label for bayonet mount. |
| Diaphragm | F / 1.8 to F / 16 |
| MDF (minimum focusing distance) | 0.29 m, maximum magnification ratio is 1: 3.4 |
| The weight | 540 g (Canon version) |
| Optical design | 10 elements in 8 groups.
The scheme includes:
 Optical design Tamron SP 45mm F / 1.8 Di VC USD F013 The optical design is clickable. |
| Lens hood | Bayonet, Petal, Tamron HF012, Made in Japan |
| Manufacturer country | Japan (Made in JAPAN), most likely there are lenses that were / are manufactured in China and have the inscription 'Made in China' |
| Period | Presented September 2, 2015 |
| 3D view | See |
| Price |
By the way, for a long time, third-party manufacturers did not produce fast fixes for full-format cameras. The first standard third-party fix for full-format cameras was the lens Sigma 50mm 1: 1.4 DG HSM EX 2008 year. Now the market is increasingly saturated with fixes from third-party manufacturers with a wide range of focal lengths.
Tamron SP 45mm F / 1.8 Di VC USD F013
Assembly
To review me provided brand new lens.
Compared to older Tamron lenses, the Tamron 45 / 1.8 VC and Tamron 35 / 1.8 VC started using a completely new case design. Due to the achievement of excellent optical performance at F / 1.8 (complex optical design) and the built-in stabilizer, the lens turned out to be quite large. It is much larger (longer) than most other fifty dollars. Tamron 45 / 1.8 VC is the second largest after Sigma 50 / 1.4 ART (among autofocus fifty dollars).
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 Tamron 45 / 1.8 VC housing is made of aluminum alloy, despite the fact that most lenses are switched to plastic and other composite materials.
Stated that the lens has waterproof (moisture resistant) designwhich prevents moisture from entering the lens. Near the mount there is a rubber ring seal that protects the mount from dust and moisture, which undoubtedly pleases. The front lens has a special water-repellent fluoride coating / enlightenment that helps get rid of dirt quickly. I shot without problems for about 30 minutes at a temperature of -16°C.
There is a bayonet mount mark and a mark on the case for quick installation of the hood. The lens uses a plastic Tamron HF012 lens hood, which is fixed in special grooves located near the front lens of the lens. The hood can be installed in the opposite direction for transportation. In this position, access to the focus ring is lost.
The lens is designed (DESINED IN JAPAN) and assembled (MADE IN JAPAN) in Japan. At the same time, there are most likely Tamron 45 / 1.8 VC lenses, which are already being assembled in China. This results in a funny set of inscriptions: DESINED IN JAPAN (written in capital letters in a visible place) and MADE IN CHINA (written in small letters so that no one can see).
The lens diaphragm consists of nine rounded petals and forms an almost perfectly even hole at values from F / 1.8 to F / 4, if you close the aperture more strongly, the hole loses its correct shape a little (example on f / 5.6).
Tamron SP 45mm F / 1.8 Di VC USD F013
Stabilizer
Tamron 45 / 1.8 VC has Tamron built-in image stabilizer VC (Vvibration Compensation, equivalent to Canon IS). In official sources, I did not find an indication of the number of steps that the stabilizer can compensate for. In the field, the stabilizer withstood about 3 compensation levels excerpts (you can shoot still objects at shutter speeds 8 times longer than recommended)
I was able to take sharp pictures of stationary objects from hands to shutter speed 1/6 second The stabilizer works really well.
To control the operation of the stabilizer there is a VC / ON OFF switch. The best stabilization result is achieved 1 second after turning on the stabilizer.
The noise from the stabilizer is small.
The lens version for Sony cameras does not have a built-in stabilizer.
There is information on the network that the stabilizer does not work well when shooting video. At the time of writing the review, I did not check this nuance, I will be grateful to the readers for the feedback in the comments.
Tamron SP 45mm F / 1.8 Di VC USD F013
Focusing
Tamron 45 / 1.8 VC uses technology to focus USD (Ultrasonic Silent Drive) - ultrasonic quiet focusing motor (analogue of Canon USM). The lens uses a large and powerful ultrasonic focusing motor ring type. The difference between the ring ultrasonic and the reduced ultrasonic motor is shown and described. here.
Noise from the focus motor is almost inaudible, but still a small level of noise is present and will affect the sound quality when shooting video 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 poorly. In 'One Shot' focus mode, the camera often did not receive focus confirmation even when shooting stationary and high-contrast subjects and the shutter could not be released.
On camera Canon EOS Digital Rebel XSi I checked the presence of back and front focus at different focusing distances (infinity and MDF including). 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 showed significant back focus (focusing behind the subject) when focusing at distances greater than 3 meters. This was especially true when shooting in low light. Please note that this behavior of the lens can only be due to poor compatibility with my old model. Canon EOS Digital Rebel XSi. Other users note more stable focusing on other cameras.
Auto focus speed medium (closer to slow). Focusing time from infinity to MDF and vice versa is about 2-3 times longer than that of the super-cheap Canon Lens EF 50mm 1: 1.8 II.
- 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 45 / 1.8 VC lens to go through completely from infinity to MDF and vice versa does not depend on lighting (for example, when the lens has a protective front cover or in sunlight).
There is a 'AF / MF' (auto focus / manual focus) switch on the body to select the focus mode. Tamron 45 / 1.8 VC supports mode FTM (Full Time Mannual Focus) - continuous manual focus control, which allows manual focus in the 'AF' mode without switching to the 'MF' mode. This mode is almost completely duplicated by the original Canon FTM mode, except that Tamron 45 / 1.8 VC completely disables autofocus during manual correction.
During focusing, the front lens remains stationary, as the lens uses internal focus rear type with support for floating elements. During focusing, only the rear lens moves. Thus, it is possible to use any filters without problems, for example polarizing or gradient.
During auto focus, the focus ring remains stationary. In manual focus mode, the focus ring rotates approximately 180-210 degrees. When extreme positions are reached, the focus ring does not rest, but continues to slide, without affecting the focus. Manual focus is comfortable.
The minimum focusing distance is only 29 cm (distance from the sensor to the subject). The maximum magnification factor is quite good and is 1: 3.4 (much better than most fifty dollars, in which MDF is usually 40-50 cm).
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 2, 1, 0.6, 0.4, 0.35, 0.29 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).
Features:
- Tamron 45 / 1.8 VC does not have a hard stop (hard infinity mechanical stop) which allows you to accurately and quickly focus the lens at 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”.
- Important: Tamron 45 / 1.8 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.
- It's important... The lens has a pronounced effect 'Focus breathing'(changes in viewing angle during focusing). While focusing on MDF effective focal length significantly increases (while the lens focusing using the rear group of lenses).
- There is no depth of field scale and no mark for working in the infrared spectrum.
- Focus shift (shift-focus) was not noticed during operation and testing.
- During focusing on the MDF, the distance from the front lens to the subject is approximately 15 cm.
Please, who has experience with this lens on cameras with Dual Pixel or Hybrid CMOS AF technology, describe his work in the comments.
Tamron SP 45mm F / 1.8 Di VC USD F013
Image quality
It is stated that the lens was designed for digital SLR cameras with a high pixel density. The lens easily copes with 12 MP Canon EOS Digital Rebel XSi APS-C Kf = 1.6 already with F / 1.8 (pixel density as on Canon EOS 5D Mark IV).
Advantages
- good sharpness already with F / 1.8, excellent sharpness with F / 2.5 all the way to the diffraction threshold of the camera
- low chromatic aberration
- low distortion
- low vignetting for Canon APS-C Kf = 1.6
- good contrast, good color saturation and color reproduction
- good work in back and side light
- smooth circles of blur on covered diaphragms
Disadvantages
- poorly corrected friging (color of contrasting elements in the blur zone)
- dirty circles of blur, partially onion bokeh (dirt in the bokeh, example)
In general, the Tamron 45 / 1.8 VC creates a pleasant, neutral (some may mistakenly call it 'boring' or 'too correct') picture, typical of many 'powerful' modern fixes.
Rumor has it that the original patent was prepared for the 45 / 1.4 lens, but the restrictions on the introduction of a stabilizer lowered the maximum hole to 1: 1.8. Perhaps the lens is so sharp already with an open aperture due to the fact that in fact it is F / 1.4 limited by the frame of the stabilizer to F / 1.8.
Tamron SP 45mm F / 1.8 Di VC USD F013
Sample Photos
Pictures from Canon EOS Digital Rebel XSi. The photos in the gallery below are shown without processing, on-camera JPEG. Everything was removed from the hands using a hood with the stabilizer turned on. Was used protective filter MARUMI made in Japan DHG Super Lens Protect 67mm. Part of the photographs was obtained using two cartridge flashes. Godox s45t и Nikon Speedlight SB-900.
Download source files in format JPEG can at this link (61 files in the '.JPG' format, 340 MB). Thanks to Eugenia, ntr.guru и jaya_gauranga for help with the review.
Tamron SP 45mm F / 1.8 Di VC USD F013
My experience
I would be glad if the Tamron 45 / 1.8 VC was a classic fifty dollars, without any 45 mm instead of 50 mm. Psychologically, fifty dollars is perceived as something tested and easy to use, and 45 mm constantly causes some kind of dissonance.
Due to confusion with focus, as is the case with my Canon EOS Digital Rebel XSi and to prevent lens failure on new Canon cameras, I would try instead of Tamron 45 / 1.8 VC to get used proven option Canon 50 / 1.2 L.
While working with the lens, I had some questions:
- where does such a horse price tag of 600-700 dollars come from?
- Why F / 1.8 instead of TOP F / 1.4?
- Where and why did the 5 mm focal length go? What is the point of such a manipulation, because whoever wants to be wider needs to look at Tamron 35 / 1.8 VC?
- why with all the power of the USD motor, the lens focuses several times slower than the native fifty dollars Canon 50 / 1.4, 50/1.8?
In any case, the Tamron 45 / 1.8 VC is very good overall. If it's not a pity for a third-party lens, the Tamron 45 / 1.8 VC is worthy for any photographer's camera bag.
All my Tamron lens reviews can be viewed here.
Tamron SP 45mm F / 1.8 Di VC USD F013. The front cover is made in Japan.
Alternatives
At about the price of the new Tamron 45 / 1.8 VC, you can buy a used one. option Canon 50 / 1.2 L, the latter is more than 1 step lighter than Tamron (to be precise, the hole differs 2.25 times). A little more expensive Sigma 50 / 1.4 ART. I want to note that there is no real alternative for Tamron 45 / 1.8 VC (there is no fifty dollars with a stabilizer).
You can find a list of all Canon’s autofocus fifty dollars in my article 'Confrontation systems Nikon / Canon. Part 3. Autofocus fifty dollars'. Separately, I want to note that on the open aperture Tamron 45 / 1.8 VC is better any Nikon original autofocus fifty dollars.
Box from Tamron SP 45mm F / 1.8 Di VC USD F013
Prices / where to buy
Prices for the Tamron SP 45mm F / 1.8 Di VC USD F013 lens in popular online stores can look at this link.
Comments on this post do not require registration. Anyone can leave a comment. Many different photographic equipment can be found on AliExpress.
Tamron SP 45mm F / 1.8 Di VC USD F013. The lens is shown next to the camera. Canon EOS Digital Rebel XSi BODY
Results
Tamron SP 45mm F / 1.8 Di VC USD F013 is the only lens of its kind at the time of writing this review (early 2017). Excellent image quality, good stabilizer, good build quality. Overall a decent lens. I recommend it as a replacement for the standard fifty kopeck piece. Perhaps this 'about fifty dollars' will also appeal to lovers of 35 mm and 40 mm fixes.
Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram
Tamron marketers switched to hard drugs ...
Sigma dumped them :)
Yes, let’s move :) In recent years, under this weight they have a lot of interesting lenses coming out
I'm talking about marketers. With engineers, everything is OK. Itself would take a new 35ku. But because of the price I will take canon)
if someone (Tamron, Sigma) would have released his camera (albeit very mediocre) with a removable bayonet mount. and it would be possible to work both with native lenses and with Tamrons for any mount with autofocus
Sigmas release their cameras and their optics under the Sigma SA mount, for example Sigma SD1 or SD15. Or is it referring to a Tamron / Sigma camera with a Nikon / Canon mount?
yes, the latter meant
so that you can change the "bayonet module" on the camera at will
Camera developers have no such experience (I'm talking about the bayonet module ...) I believe that these developments are patented by manufacturers. I wonder if Canon paid Nikon for the bayonet at the time? And Metz Mecablitz has experience about “modules” ...
The developers have the experience of interchangeable lens mount!
adaptal from tamron.
Google.
Yeah, well, the module did, say. Although this is technically not trivial. The question is in the work algorithms. They also need to be changed. So, along with the bayonet mount, ROM is also needed with another firmware. Yes, one must also take into account the fact that the communication algorithms with lenses are closed for NiKanons. Very difficult task. Yes, and for companies a big loss in sales of lenses, if there is a universal camera.
if the lenses are done, it means that they can implement the protocol from the side of the camera.
probably they really don’t do it because they will violate some kind of patent. or is it a conspiracy of marketers :)
They can implement it, the difficulty is that it is necessary to implement 2-3-10 work protocols simultaneously in one camera, providing the same result, because the lens works in conjunction with other camera systems. Autofocus algorithms are associated, for example, with metering. And on different systems these connections may differ. For example, Nikon's TTL flash with a Canon lens that does not transmit the distance to the subject.
It's easier to make Adaptal something than fooling around with a camera
Has already. FF from panasonic and to it an adapter for canon EF glass from sigma.
Thanks, Arkady. I own this lens, only for Nikon.
Very satisfied.
Lens made in Japan / China? What is the progress of the focus ring in degrees (approximately) and how with the focus speed, and what camera are you using? Thanks.
Japanese. 180 degrees. D750 Camera With speed, as you precisely noticed, not everything is so simple. On the street in good light, I did not experience any inconvenience, even when shooting moving children. I definitely won’t call it fast. Approximately at the Nikkor AF-S 50mm f / 1.8G level. But, if under poor lighting the speed drops (according to the sensations), then the focusing accuracy is excellent under any conditions.
Thank you.
I’m wondering what are the reasons for buying a 50k lens for a cropped camera.
If the question is for me, then I have a Nikon D750.
Well, he's generally full frame. Although a counter question - why not?
in this article, the lens on the canon, so on the machine I thought that they fastened on the Canon 750d
Arkady, good afternoon!
Is it planned to review Tamron 35 / 1.8 with a stub?
If yes, then please write in the review how it is compared to Sigma 35 / 1.4 art and the new Nikkor 35 / 1.8g under ff which (about the old dx version everything has long been clear). Thanks in advance! Great shots and generous customers!
If they do, I will definitely review it.
I would also like to see a review of Tamron 35 f / 1.8 and how it is compared to Nikon 35mm f / 1.8 ED and Sigma 35mm f / 1.4 Art.
Fluorine Coating is fluorinated.
A lens with branded Tamron yellow, for 700 bucks, are you serious?
Forgot about BBAR and eBAND, did not notice yellowness.
Fixed
Cool lens, from the announcement on it and 35 1.8 I look and think. Would be 1.4 and with a stub - I would not think - I would take it. And so doubts gnaw. The protection is pleasing, the construct seems to be nothing, judging by the reviews of friends, autofocus does not mimic much. But psychologically it is difficult to pay 40 thousand for a fix 1.8, for a zoom with 1.8, not a pity, for a fix with 1.4 too, but here it is a pity. Another would have added a macro, for example, - again, there would be an extra trump card. And so doubts torment .. By the way, as I understand it, judging by the appearance and the photo, dust and dirt stick to it like sigma art, especially on the focusing ring.
In general, a stub is a thing. Sitting on Nikon and Canon for a long time I envied the Pentax and Sony with their matrix stubs. And finally, having acquired a Sonya with a stub, I'm happy. I understand that there are objective reasons, but it would be great to see a matrix stub on some Nikon D7500 or Canon 800D :)
Maybe Canon will do, from Nikon most likely we will not wait.
He hesitated for a long time between the hero of the review and the Sigma 50 f / 1.4 ART. Won the first. Subjectively, of course, but I liked his picture more. Plus stub and dust and moisture protection. Well, focusing, although slower, but much more accurately, Sigma had a lot more misses. Maybe I just got a bad ART.
And which lens will be better and cutter will be the Nikon 50mm f / 1.8G or this Tamron 45mm f / 1.8?
a non-focusing under-politician who allows you to shoot at unnecessary 1/6 seconds if he still manages to focus and he generally gets on your camera. for 700 Baku.
Needless.
Unfocused is bad, kaneshno. 1/6 is attractive, I am more interested in 3 exposure levels than 2/3 aperture. The price is inadequate, incomprehensible, not needed. In general, the verdict is the same
What will you shoot at 1/6? Exposure close to useless
Clear business is not a sport)) When there is no tripod at hand and dark is very useful. For shooting statics, salutes, etc. very much.
Why not focusing? Dressed on Nikon D7000, D750, D810. Wound up at all :)
Put on.
Thank you :)
Because non-systemically smears
There are practically no misses. At least on the D750. Here is Nikon's “fifty kopeck piece” 1.8G, yes, he smeared it.
So you are a happy owner))) By focusing on it, many complain
I have heard complaints about focusing problems with Sigma's ART series fixes. This is the first time I hear from you, but I read a lot about it before going to the store. I have two friends with the same lens. None of them complained about focusing accuracy and stability.
Which camera did you use it on?
Like Arkady 450d. I also read the review, the person on 5D ii also has problems with focus. I did not try it on Nikon. Maybe this is a version for Canon mowing.
I have 35 and 50 1.4 ART - on the d800 there are no problems with focusing .. I took the first 4 years ago, the second year later.
Finally a normal lens in review! Tired of projection and other homemade products! Thank! The lens is really good, the price is really overpriced.
not nravitso - do not read !!!!!
Another super expensive lens with a bunch of glass inside and a flat, boring picture.
Glass is not for crop, it’s interesting to look at it on 5d3. But that the price is very high, yes. Here 35 / 1,8 looks more interesting, like 85 / 1,8
Well said. It looks very much like Nikon's g-shki. 35, 50, 85 - all 1.8g. Boring and dull.
Have you tried to use the magic of light and composition to make the picture lose its flatness? Why would this lens do 3D?)
Tamron simply cannot make a good fifty dollars, and this is the conclusion from the fact that their 17-50 zoom does not give 50mm, but gives about 45mm. Well, you get the idea ...
Sigma 17-50 f / 2.8 at 50 also produces 45mm.
Arkady, thank you very much for the review! Excellent information, I remembered, there was a time I was going to buy it, he even ordered it and he came to the store, but when he saw such a dirty boke before his arrival, he did not go to buy it, then he did not regret it for a long time ... and it turns out not in vain, apparently they have a problem with the purity of the boke. I went and got myself for 150 bucks Nikonovsky, an old Japanese 50 / 1,4 D, which I do not regret for a second! With an offset of -5, my lens hits wide open on target. My thoughts are that this Tamron will not work for an artistic portrait, especially if you do not indulge in photoshop later, but for a street it is very suitable, especially a good stabilizer!
I approached the purchase of this lens spontaneously, Nikon D750 Camera, I wanted to buy a shirik from Tamron 15-30, but realized that only 15 are needed for the width, the rest is not .. And I bought a second version of Shirik Samyang14mm and this Tamron is 45. Both are happy! Tamron may slow down slightly in the dark, but the sharpness is good even in the open! There was no such thing on my family! I have not found lubricant yet! Did not have! With hands - excellent! The picture is very good, it's ok for portraits, I shoot in RAWe so I don't see any yellowness. Recently I tried it for panorama shooting, also a wave! Yes, it's a little expensive, but I bought it from a friend for 26 thousand rubles in a complete set, I rent for two months and without problems. I'm happy as an elephant! I recommend buying, especially on the secondary housing from a friend! Well, this is a joke!
I'll add a couple of drops to the buzzing: flat - where is the lens for the output sphere sold? Tell me, I'll buy it! Gray bokeh - what isn't black or white? Each lens has its own picture, I really like the Gelius 40-2 and I have it, so now I shouldn't buy the 80 1.4 from Nikon, because my favorite Gelius bokeh is not there! And, I forgot about someone's thoughts about an artistic portrait, so why is it needed, artistic, if without Photoshop? Is this something like an artistic reportage? ... When you haven’t used any tool, never tell other people's speculations and fairy tales! ... Thank you Arkady for the review! I heard from him what I wanted, your arguments only reinforced my choice!
It’s just that some people have a stereotype that Tamron, in principle, cannot produce a normal lens :). They say, they say, a flat and boring picture and an inadequate price tag. But what about the price tag on the Sigma 50mm f / 1.4 ART and its also boring and flat picture (as well as without dust and moisture protection, without a stub and, indeed, with very unstable focusing, albeit faster)? Or just charm Tamron simply because he is Tamron without even shooting it? Meanwhile, Tamron has released a lot of interesting lenses in recent years: SP 70-200 f / 2.8 Di VC USD, SP 24-70 f / 2.8 Di VC USD, SP 15-30 f / 2.8 Di VC USD, 35/45/85 f / 1.8 ...
I’ll tell you a terrible secret: the picture is flat on all lenses! because the image focuses on the plane of the matrix, you look at it on a flat screen or a flat paper photograph.
The "volume" of the image in most cases is the result of composition, lighting, shooting mode and the skill of the photographer.
I understand that perfectly. I forgot to put the word "flat" in quotes :)
I can offer you aplanat - it has a spherical field)))
But what about the fish eye?
1. “Picture” it is flat on the canvases of artists, while some of those who tried to depict something passed into the category of “smears”, and someone fell into the category of “artists” creating whole directions in painting. I would like to note that some filters of your favorite Photoshop actually copy the findings of these same artists. Actually in the visual arts there are a number of well-known techniques (they are widely known, since they are told about them to children in a secondary school in fine arts), for example, these are the laws of building perspective, some architects, even in ancient times, deliberately distorted the proportions of buildings and / or their individual parts so that their "picture" um "looked good" perceived by imperfect human vision. There are also laws of color combination, many photographers working even in black and white, knowing about their existence :) skillfully transformed the picture using filters for its better perception. In other words, everyone's brain is something deeply material - a gray matter, but nevertheless its earthiness does not prevent some from getting off the ground and flying to the stars, and someone remains in the dust.
2. I’ll tell you a great secret, art photography existed in the era before photoshop, and before it there was fine art, and there is a paradoxical situation when people equipped with significant baggage of knowledge of previous generations, as well as technical means, cannot even come closer in terms of the power of art exposure to the masters of the Stone Age left us their cave paintings. The fact is that during a person’s life, as a rule, he goes through a certain number of stages in psychological and social life, such as childhood characterized by rapid development, puberty accompanied by the choice of a partner for creating a family, raising children, grandchildren, and the path to death. Since puberty is almost always associated with rivalry, attempts to show themselves, it is quite clear that representatives of this particular group are the most vociferous, excuse me. But this does not mean at all that this period of life is the most interesting and important and representatives of other ages are terribly jealous of them :) In the context of our conversation, this only means that they are largely influenced by public opinion i.e. advertising. It is easy to convince them that there are universal correct parameters and that you do not need to have your own eyes. It should be noted that an early transition from childhood during this period suggests that one only has to regret and sympathize with him, and most likely the police did not look after their parents, the delay signals that apparently the childhood did not completely end and, perhaps , it’s never ending :) So even though this one, somewhere and in some way in the middle period, is the center of influence of bad sellers and just deceivers, this does not mean at all that the photo of one or one of its representatives (natural and completely normal provoking feelings inherently in nature) is the standard of portraiture. It is clear that bright / unusual colors really emphasize the context in this case, it is also clear that the same methods spread to other psychological groups are pleasing to the eyes of young people and adolescents, and it is equally clear that anxious parents / relatives monitor the general situation in this age group, etc. etc., but not at all why our matured comrades think :) In this connection, you must still be aware that it is quite possible that other social-age groups may even have a portrait with some other intentions and context. For example, I absolutely do not need to look into each fatty duct on my face to understand that in the photo my wife or daughter, besides me, apparently the same thoughts were visited, for example, by Monet or Cezana there. The fact that details are not visible in their paintings does not mean that they bought the wrong lens or they have problems with their eyes or they can’t use Photoshop, these people use artistic techniques to transmit what they see, rather than advise on problems skin.
Well, a victim at a concrete wall looks bad on any lens ... Here Monet will easily argue with any sharpness of the picture, if there is no idea. In general, not everyone likes the same Monet. As well as soap-art lenses.
😄😄😄coolly written
The price for 1.8 is inadequate. a 45 mm stub seems also dubious. here is a design by japan cute.
Arkady, did you test the lens in the same place where you tested the Nikon D600? It's just that the Oscars were remembered in the rays of the sunset.
Regarding the question about 45mm, it’s kind of like, this is an analogue of the focal length of the human eye when using a 35 mm film. And of course, this figure cannot be precisely determined.
This is almost the diagonal of the sensor FF matrix (43,2 mm)
but it seems to me that this is not difficult even at home (if the viewfinder does not have any factors of 0.95), then it’s enough to look and twist the zoom with both eyes. as soon as the pictures are equal, this is the focal length
the focal length of the so-called macular spot (sort of like that), and if we take into account peripheral vision, then about 17 mm will be. Human vision is a complex thing, you can't say it for sure. I would say that this is a more "standard" lens than 50 (ie, not wide and not tele), because its focal length is closer to the matrix diagonal. Suffice it to recall SMC FA 43 Limited and all the talk about "underdollar" subside)))
obviously, you're talking about the angle of view, not about the focal length. the way a person perceives the perspective suggests that the focal length is closer to 50mm
Yes you are right. I put it wrong. It's about EGF at 35mm frame. True, the focal point in a person is also not 50 mm, but closer to 43 mm, this also applies to perspective distortions.
I also don't see any reason to buy another half-man from Tamron for a lot of money. You are right - fifty kopecks 1,2 are much more convenient and faster.
where does such a horse price tag of 600-700 dollars come from?
- Premium segment. In Tamron, they thought "why are we worse than Sigma?" There will always be a buyer who will buy a thing for $ 700, instead of the same thing for $ 350, precisely because “more expensive, richer”, design, that's all.
IMHO, contrary to Nikon's 50 1.8, this "lukhuri" craft has little chance for such a cost. If Nikon released this, they would buy many times more. In modern cameras, low-noise matrices are enough not to use a stub. What else? Drawing - it is not, yes, it is different than at 1.8G, but no better and no worse.
Where and why did the 5 mm focal length go? What is the point of such manipulation, because whoever wants to be wider needs to look at Tamron 35 / 1.8 VC?
- And fixes in 40, 55 and 58mm never bother you? :)
40 and 55 mm fixes - darkness is dark, they have long been accustomed to them. 58mm is one of the most common focal lengths due to the number of 58/58 different helios produced. The old 2 are also enough (takumara, etc.), 55 mm - the newer focal length. But 40 is a rare, very rare focal for a fix, in the mind it has not yet left a clear imprint of how it relates to it.
A 43 (Pentax) does not apply here?
Focal length is a technical parameter of a lens that does not affect its “artistic” value. Moreover, zoom lenses are characterized by any digital focal value. The high cost of the last "tamrons" is most likely associated with corporate joint production with "Carl Zeiss", and the production capacity of "Tamron" for the needs of "Zeiss". Most likely these are “Zeiss” with a stabilizer, where from the “Germans” only the name and the glass, and the constructive and the scheme and production from “Tamron”.
Tamron has released a special device for self-customizing lenses - TAP-in Console, which allows you to adjust the front / back focus at different distances to the object with one focal length (on zooms there are three distances for several zoom positions). Allows you to configure the properties of the stabilizer, allows you to independently update the firmware of the lens electronics, allows you to configure other parameters of controls (not applicable to this model). Nikon does not provide anything like this. Sigma has a similar device for their new lenses. Therefore, the same 50 / 1,8G has an advantage only in the price and processing of strong chromaticity by the built-in camera tools.
Plus, Nikons are not waterproof, and no matter what the matrix of the carcass is, on the same carcass, when using a stabilizer, you can squeeze more out of a lens with a stabilizer.
“To be precise, the hole is 2.25 times different” (1.8 versus 1.2)
Probably not interested in that between f1.4 and f1.2 1/3 steps? What is between 1.6/1.4 also between 1 and 3? What is between 1.8/1.6 and 1? And what is the sum of 3 step = area 1 times larger?
1/3 eV = 2 ^ (1/6) = 1.122
f1.8 = 1.78, f1.2 = 1.26, 1.78 / 1.26 = 1.41 ~ 2 ^ 0.5
A very important note that the difference in aperture is not linear, but quadratic. Take two apertures F / 1.8 and F / 1.2, it would seem that the difference in geometric aperture is 1.8 / 1.2 = 1.5 times, but this is not true. The aperture is affected by the area of the circle formed by the diaphragm, and not its diameter. The number F is associated only with the diameter. To calculate the difference in area you need to take the squares of the diameters. Therefore, it turns out that the difference in aperture ratio between F / 1.8 and F / 1.2 is (1.8 * 1.8) / (1.2 * 1.2) = 2.25 times.
Here is such a trick. How to remember this? There are two ways out, either divide the squares of the numbers F, or first divide the numbers F, and then square the result. Why am I tired of calculations - but because often amateur photographers have no idea how many times one lens is 'lighter' or 'darker' than another. Of course, these calculations are true for F-stops, for T-stops you need to consider the light transmittance of these lenses, but I'm sure that the difference in T-stops will be approximately the same.
According to your answer, I still do not understand whether the thought has conveyed to you or not. The difference between f1.8 and f1.2 is exactly one stop (the aperture is exactly 2 times different). Because the calculation (1.8 / 1.2) ^ 2 is wrong. 1.8 and 1.2 are values from the normal range of apertures recommended by manufacturers for naming lenses. Exact mathematical values f1.8 = 2/2 ^ (1/6) = 2 ^ (5/6) = 1.7819 ...
f1.2 = 2 ^ 0.5 / 2 ^ (1/6) = 2 ^ (1/3) = 1.2599 ...
f1.8 / f1.2 = 2 ^ (5/6) / 2 ^ (1/3) = 2 ^ 0.5 exactly, that is, there is a difference of one step. We are only talking about nominal geometric apertures. The real geometric aperture of a particular lens model is known only to the manufacturer (it is also written in optical patents). A real physical aperture (T-ransmission) takes into account the opacity of the glass. But that's another story
Sorry, T-ransition
And how do you know that in this lens the exact values are 1.7819? and in the other 1.2599?
I have been so belewderid in the past but now it all makes sense!
what is this phrase, what is the word belewderid ???
For me, a 50mm stub is not needed. Recently I had to shoot like this: in one hand a softbox 50 * 50 + SB910 + radio synchronizer, in the other d800 + 50 1.4 ART in a vertical position. Aperture = 2, shutter speed 1/2000. AF - single-frame tracking. I thought nothing would work as a result, the camera was shaking in my hand in my opinion :) But, surprisingly, everything is in focus. But in Nikkor 85 AF-S 1.8G, the stabilizer suggests itself due to its low weight.
Arkady, thank you so much for the review! He became the decisive factor in the decision to buy this lens. Purchased exclusively for studio shooting with light from a window, or from low-power lamps. For wedding photography, when the size of the backpack determines a lot, this is just ideal. Indeed, tamron is better by 1.8 than any poltos from Nikon! Used on D600 and D610. AF is impeccable in accuracy, albeit unhurried. Stab is very effective, not inferior to nikon BP3. Demanded an amendment -5.
Dear Arkady, this lens is produced only in Japan, and a special inscription respecting this is made precisely so that the buyer pays attention to this and does not confuse exactly with those products that are designed in Japan or in other countries, but are produced in China. I was told this at the Tamron representative office in China ... This is a very good lens, in fact it is the best even in the world in its class, and with stabilization and generally it has no equal. But we must always remember that Sony and Pentax systems are ahead of all in this area - they do not need stabilization in lenses.
The diameter of the front filter is 45 mm in “Main technical characteristics ...” misprint. After in “Sample photos” 67 mm is correct - MARUMI made in Japan DHG Super Lens Protect 67mm.
fixed
Who tried it on 6d mark2? How does it focus?
Yesterday I checked this lens and the first photos confirmed my doubts - it surpasses everything else 50 and about 50 mm in all respects, and especially in terms of the resulting image. At 1,8, most of the other lenses will probably look just like defective, and you don't have to drive into your head where the lens is assembled - in Japan or on Mars. By the way, Tamron is assembled in a completely metal case and is almost head and shoulders above any similar Nikon, including the optically flawless 58 / 1.4. Lean a little against something and you can shoot with shutter speeds up to 1-2 seconds! The smoothness of the transitions on the contrasting borders exactly matches those on the lenses (!!!) from Leica !!! Speaking firsthand, I often use three new lenses from Leica. By the way, in terms of colors, this Tamron seems to me even better than a Leica lens (but this is not customary to say, it is considered a lack of knowledge or bad form! We should always be delighted with Leica, even if we are dealing with outright garbage in the form of an M240 camera! But the lenses are really excellent, even the 16-21 zoom [any other company would do it, it would be ridiculed by all reviewers because of the tiny zoom, but in the case of Leica, this is again prohibited!]). As a result, even the photos posted here show the superiority of this lens over all similar ones, and in the aggregate of properties - literally over all! The price is just ridiculous for such a lens, therefore, I am starting to save money (don’t scold me, as some people can do it here!) For openly sharing my thoughts ...
The pictures from this 45 were not impressed. Although I have 35 of the same Tamron series, there are other requirements for 35mm, and I would like more artistry from “almost fifty dollars”. Although, for example, it differs from the “dead” 50mm ART for the better in the “liveliness” of the picture.
According to the subjective perception of the picture, 50 1.4G * is nicer than 45, IMHO, the product of Tamron is closer to 50 1.8G.
“Optically flawless 58 / 1.4” - optically flawless are the 50mm Milvus and 55mm Otus, to which you can add the Sigma 50mm ART (not from the drawing, but from its MTF results).
58 / 1.4 is perhaps the most useless waste of money in the Nikon line of optics, tentatively 10% better than 50 1.4G and four times more expensive.
* 50 1.4G I do not praise (“plasticity” of portraits, non-outstanding bokeh, mediocre sharpness at f1.4-2.0, variation in quality of specimens), I use it in the example as a “yardstick” in the “price-quality” ratio.
This is not a portrait lens - there is no need for him to have an "artistic" lens.
Big time? Then explain it to Arkady, for some reason he was shooting people for them. Well, and a few million more people.
I’m nothing. And people are only being photographed nowadays? Very interesting ... For the advocates of "artistry" they have long come up with manual buckets and soap 1.4d. Why do you need something new?
For a portrait it is better, who argues? Just a 50mm full-time staffer and should not meet the requirements for portraiture. Okay, knotted
Dear 1 still does not understand that the so-called. The “artistry” of a lens is essentially optical defects. The 58mm from Nikon is optically flawless, and in terms of bokeh it still has to find equal. Therefore, it is very expensive, and this is not a whim of the manufacturer. Maybe he is not aware that the Milvus line from Zeiss (which is not Zeiss at all a long time ago and is produced by Sony at the Kyoser or Kosin factories) is completely designed and manufactured, guess who, correctly, by Tamron. I also have an eye for Zeiss lenses and even Leica lenses. Even without knowing that it was Tamron who designed the Milvus line for Zeiss, after the very first shots shot on it, I told my friend in China that he was surprisingly similar to Zeiss, and only then I dug up information about the Milvus line. In the production of lenses, it's all about the type of glass, and only in expensive or honest ones like this lens, manufacturers use really high quality glasses. And Tamron, by the way, is one of the foremost lens designers in the world, and for a long time, so there is nothing surprising. And the best part is that since August 2018, Tamron has set a new price for Chinese users - $ 300 for this, in fact, a masterpiece! I also carefully looked through the reviews on the Internet, what famous observers think about him, including Ken Wedller himself, who cannot be denied objectivity, and even knowledge. It turned out that all, literally all, observers put this Tamron in the top category, especially in terms of the so-called. "Artistry". By the way, in terms of design, it also has almost no equal - it is not only dustproof, but does not suck in dust at all, so its front lens does not move at all when focusing. Compared to it, the Nikon 50 / 1.4 is simply g-but in all respects - from physical to the so-called. “Artistic”, even in terms of focusing speed, it cannot surpass this Tamron, which, of course, has an average focusing speed, which is justified due to the desire for its stability. And this Tamron has no problems with stability at all, at least on my D3s camera ...
Amendment, Tamron holds patents for Batis, not Millvus. They say Zeiss himself doesn’t produce lenses at all, and for Sony they are designed by Sony herself. From Zeiss there is one name.
He designs something like Zeiss (they still have a photo department), but does not produce it. But where they put their hand to the lens - covered in darkness
Zeiss somewhere confirmed that Sony herself designs and manufactures ZA lenses. For example, you can see the patent for SAL-2470Z (Sony Alpha Carl Zeiss Vario-Sonnar T * 2.8 / 24-70mm ZA SSM).
Of course, Zeiss somehow participated there. In general, yes, everything is covered in darkness.
”The“ artistry ”of a lens is essentially optical defects. The 58mm from Nikon is optically flawless, and in terms of bokeh, it still has to find equal. ”
- You contradict yourself: is 58 1.4G optically flawless, or defective? :)
As for me - so defective. That “cotton wool” that I see in the bokeh of this lens, even if it is rounded, but even if at least three times with the “sombrero” effect, IMHO, is not worth your money. Moreover, this lens has mediocre sharpness (I thought that my 85 1.4D in the center of the frame was the record holder for “soap”, but no, there was a modern successor. Only 85 1.4D was the “king of bokeh”, and remains them on the Nikon system, and the 58G is a marketing bullshit with a cotton picture (with 85 1.4G I see the same story with the background, but at least it's sharp).
“Maybe he doesn't know that Zeiss's Milvus line (which is not Zeiss at all and is produced by Sony at the Kyoser or Kosin factories) is completely designed and built, guess who, right, by Tamron.”
- Nope, I don't know. I don't even know why my Zeiss Apo Sonnar 2/135
should be designed by Tamron when it, but in a different building, after 2015 is called Milvus. All with the same, ancient, as the litter of a mammoth, optical scheme, patented in 1929, according to the Wiki.
And by the way, the meaning of the word "apochromat" in Tamron, apparently, was not heard. Zeiss 135mm with APO constructed, oga, and all their chromite is hellish. Further, as far as I know, Sonnar is not alone in the Milvus series with a new body and old filling, I just do not remember which second lens, perhaps 85 1.4.
“In comparison with him Nikon 50 / 1.4 - just g-but in all respects - from physical to the so-called. "Artistic", even in terms of focusing speed, it cannot surpass this Tamron, which, of course, has an average focusing speed, which is justified due to the desire for its stability. "
I will quote myself:
* I don’t praise 50 1.4G (the “plasticity” of portraits, the outstanding bokeh, the mediocre sharpness at f1.4-2.0, the variation in the quality of copies), I use in the example as a “measure” in the ratio of price-quality.
“I don't even know why my Zeiss Apo Sonnar 2/135
should be designed by Tamron, when he is, but in a different building, after 2015 is called Milvus. All with the same optical design as ancient as the dung of a mammoth, patented in 1929, according to the Wiki. " 11 lenses in 8 groups - somehow not very Sonnar ...
“I also carefully looked through the reviews on the Internet, what famous observers think about him, including Ken Wedller himself, who cannot be denied objectivity and knowledge. It turned out that all, literally all, observers put this Tamron in the top category, especially in terms of the so-called. "Artistry". "
When the Sigma 50mm 1.4 ART came out, “renowned reviewers” made this lens an “icon” of technical excellence. Only a few years have passed, and all photo flea markets are littered with this icon. People ate their fill, took pictures of newspapers with brick walls.
As for me, that the sigmo-poltos is dead in the picture (no matter how extreme sharpness it may have), that this Tamron, although a little less than Sigma.
These are modern optics, sharp and flat. Your "well-known reviewers" get nice MTF numbers and money from the "novelty" manufacturers. And everyone is happy with each other.
PS I also forgot to launch a small pebble in the garden of 58 1.4G:
go to foreign forums, for example, go to Fred Miranda and read how people get into focus problems (shift focus) on this lens (usually ends with a reverse exchange for money) and complain about the terrible soap from this "masterpiece".
However, some get used to it, because the amount debited from the bank card and the golden letter N are serious arguments against the results from the lens :)