Review of Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

According provided by Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN lens (version for Nikon cameras) is huge thanks to the store you can find a huge number of different used photographic equipment, including similar lenses for Nikon cameras.

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

In short

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN is a very compact and light telephoto lens with 3x zoom. Functionally very close to the original and inexpensive Nikon 80-200mm AF Nikkor 1: 4.5-5.6D. It can act as a super-budget version of the telephoto. Of the obvious strengths, I can distinguish only low cost and 9-blade aperture.

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

Main technical specifications of Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN:

The name of the instance from the review (as it is written on the lens itself) The inscriptions on the case: Tamron AF Tele-Macro 70-210mm 1: 4-5.6 Ø52 158DN 101024 JAPAN
Basic properties
  • lens designed for full-length SLR cameras with Nikon F mount
  • AF - support auto focus
  • Tele-Macro - telephoto lens with macro capabilities
  • multi-illuminated optics
  • the lens does not transmit the focusing distance to the camera, Nikon's analogue 'NON-D'
  • light weight, compact size
  • Important: a lens from a third-party manufacturer, which imposes some restrictions on its practical use.
Front Filter Diameter 52 mm
Focal length 70-210 mm, EGF for Nikon DX cameras is 105-315 mm
Zoom ratio 3 x
Designed by for Nikon film cameras
Number of aperture blades 9 petals
Labels focal lengths for 70, 85, 135, 210 mm. Two marks for aperture values ​​(long for 70 mm, short for 210 mm)
  • 70 mm - F / 4.0-F / 22
  • 85 mm - F / 4.0-F / 22
  • 135 mm - F / 4.5-F / 29
  • 210 mm - F / 5.6-F / 32
MDF (minimum focusing distance) 1.1 m, the maximum magnification ratio is reached by 210 mm and is 1: 4
The weight approximately 300 g
Optical design 13 elements in 9 groups. Pattern drawing not found.
Lens hood Bayonet Type Tamron 58FH
Manufacturer country China (Assembled in China)
Period approximately produced from 1991 to 1994
Price About 50 USD per second

Prices for modern Tamron telephoto lenses can look at this link.

Page about the lens on the official website here.

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN


Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN is assembled well, with a metal lens mount, but still the lens has a micro-play of the zoom ring, and in the hands of the lens it feels like something insecure.

The focus ring and zoom are rubberized. The aperture control ring is plastic, as is most of the lens body.

The retractable body frame (trunk) consists of one long section. The lens hood is mounted on this retractable part. The frame of the body (trunk) spontaneously not put forward and does not move, most likely, over time, this problem will nevertheless come. During a change in focal length, the front of the housing, together with the front lens, does not rotate.

When changing the focal length, the rear lens is movable and can act as an air pump.

Устройство aperture comprises 9 not rounded petals and forms a hole with a regular 9-gon.

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN


The auto focus speed is average, it is enough for comfortable shooting.

During focusing, the front lens and the frame for filters spin and drive forward. When changing the focal length, the front lens does not rotate.

The focus ring is narrow. The focus ring rotates 90 degrees. The stroke of the ring is smooth. The minimum focusing distance is 1.1 m. The maximum zoom ratio is achieved by 210 mm focal length and is 1: 4, which is quite good.

When used on a camera Nikon D90 (with unpretentious Multi-CAM 1000 focusing system) behaves well, rarely makes a mistake in focusing. On camera Nikon D90 I checked the presence of the back and focus front at different focusing distances and different values ​​of the focal length (infinity and MDF as well). Pictures taken using the Live View mode (which does not suffer from back / front focus) were used as a measure. Focusing accuracy using phase sensors completely coincided with the Live View mode.

It's important: auto focus with this lens is available only when using him on cameras with built-in motor focusing.

Exact list Nikon DSLR cameras with a built-in focus motor, on which this lens will focus automatically:

Exact list Nikon DSLR cameras without a built-in focus motor, on which this lens will not focus automatically:

Only auto focus and sound confirmation of focus will not work with these cameras, all other important functions, such as automatic exposure metering and automatic iris control, will work well.

You will find a lot of useful information on the types of cameras and lenses Nikon here.

Focus Features:

  1. Tamron AF 70-210 / 4-5.6 158D does not have a focus mode switch. To translate the lens into manual focus on cameras with motor For focusing, use the focus mode switching lever located near the camera mount. For cameras without motor Only manual focus mode will always be available for focusing.
  2. During focusing, the focus ring rotates and must not be touched.
  3. Focus speed may vary slightly from the camera used. This issue has been considered. here.
  4. During focusing, the lens and camera are quite noisy.
  5. There is the effect of 'Focus Breathing' (changes in viewing angle during focusing).
  6. Tamron AF 70-210 / 4-5.6 158D is a third-party lens. It may happen that it will not work correctly with some Nikon cameras. Details on this issue are considered by me. here.
  7. When changing the focal length, focusing is lost.
  8. Tamron AF 70-210 / 4-5.6 158D does not transmit the focus distance to the subject in the camera and is a type lens Nikon NON-D. You can get confused, because the lens name has the letter 'D' (158D) This may adversely affect measurement accuracy. exposure with some cameras and some flashes at certain settings. But by and large, the difference can not always be noticed.
  9. There is no focus distance limiter, for example, Nikon AF Nikkor 75-300mm 1: 4.5-5.6 limiter is.
  10. Tamron AF 70-210 / 4-5.6 158D has no focus problems in Live View (tested on Nikon D90).
  11. Unknown compatibility with teleconverters.
  12. Tamron AF 70-210 / 4-5.6 158D does not have hard stop (hard infinity mechanical stop) which allows you to accurately and quickly focus the lens at infinity under any external conditions.
  13. The direction of rotation of the focus ring does not match the original Nikon AF Nikkor 70-210mm 1: 4-5.6.
  14. The lens has a manual aperture ring. To be able to control the value aperture from camera or for automatic installation aperture on modern central control valves, you need to turn the control ring to the value F / 22. If this is not done, then on a number of cameras, the display will display an error - 'fEE' (ring is not installed aperture) Some cameras having diaphragm rheostatallow you to control the aperture using the ring aperturebut only in metering modes exposure 'M' and 'A'. You can read more about this issue in the section on Non-G Lenses. Ring aperture rotates with clicks, the values ​​F / 4, 5.6, 8, 11, 16, 22 (full stops) are plotted on it; set an intermediate value between pairs of numbers using the ring aperture impossible. Intermediate values ​​can only be set using the camera menu.
Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

Sample Photos

Camera shots Nikon D90. The photos in the gallery below are shown without processing, the conversion of the source RAW files by the original Nikon ViewNX-i utility without making additional adjustments.

Thank you for the set in the studio Msalena555. Two photos in processing here и here.

Please note that in EXIF Photos at 70 mm focal length shows a value of 72 mm. This is most likely due to the programming method of the microprocessor of the lens.

Original '.NEF' (RAW) photos from the camera Nikon D90 can download from this link (386 Mb).

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

My experience

After trying many lenses, taking many thousands of frames, I find myself thinking more and more that it’s more convenient for me to use, for example, the same Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN instead of, for example, the legendary manual Jupiter-37A. At the same time, during a real shooting, I bet that the number of successful shots from the plastic-lousy bottom lens Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN will be, in the vast majority of cases, higher than with ' legendary 'manual.

With Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN simple. This is really a simple, lightweight and compact old telephoto for full-frame cameras with the smallest set of available functions. In fact, there are even more meager lenses, for example - Quantaray AF LD 55-200mm 1: 4-5.6 Macro, which is additionally devoid of the aperture control ring, rubberized focus ring and metal mount, and is designed for cropped cameras.

From super-cheap televisions, you can still look at Quantaray 70-300mm 1: 4-5.6 D LDO MACRO. Still, 300 mm of focal length is a little more interesting than 200-210.

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

All Original Similar Nikon FX Telephoto Lenses

Below is a list of all Nikon Nikkor telephoto lenses without high aperture and with auto focus support:

  1. Nikon AF Nikkor 70-210mm 1: 4, 1986-1987
  2. Nikon AF Nikkor 70-210mm 1:4-5.6, 1987-1993
  3. Nikon AF Nikkor 75-300mm 1:4.5-5.6, 1989-1998
  4. Nikon AF Nikkor 80-200mm 1:4.5-5.6D, 1991-1999
  5. Nikon AF Nikkor 70-210mm 1:4-5.6D, 1993-2000
  6. Nikon AF Micro Nikkor 70-180mm 1: 4.5-5.6D ED, 1997-2005
  7. Nikon AF Nikkor 75-240mm 1:4.5-5.6D, +1999
  8. Nikon AF Nikkor 70-300mm 1:4-5.6D ED, 1998-2006
  9. Nikon AF Nikkor 70-300mm 1:4-5.6G, from 2000 to 2014, black or silver
  10. Nikon AF-S Nikkor 70-300mm 1:4.5-5.6G ED VR IF SWM, from 2006 to 2017
  11. Nikon AF-S Nikkor 70-200mm 1: 4G ED SWM VR IF N Nano Crystal Coat, from 2012 to the present day
  12. Nikon AF-P Nikkor 70-300mm 1:4.5-5.6E VR ED, from 2017 to the present day

The names of the lenses are indicated according to their spelling on the case.

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

All original Nikon DX telephoto lenses

  1. Nikon DX AF-S Nikkor 55-200mm 1:4-5.6G ED SWMarel 2005
  2. Nikon DX AF-S Nikkor 55-200mm 1:4-5.6G ED VR IF SWMMarch 2007
  3. Nikon DX AF-S Nikkor 55-200mm 1:4-5.6GII ED VR IIJanuary 2015
  4. Nikon DX AF-S Nikkor 55-300mm 1:4.5-5.6G ED VR SWM HRIAugust 2010
  5. Nikon DX AF-P Nikkor 70-300mm 1:4.5-6.3G EDAugust 2016
  6. Nikon DX AF-P Nikkor 70-300mm 1:4.5-6.3G ED VRAugust 2016

A list of absolutely all lenses of the Nikon DX series, as well as a lot of useful information on lenses and cameras Nikon will find here.

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

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



  1. light weight, compact dimensions, small diameter of the front filter, bayonet type hood
  2. low cost in the secondary market
  3. not slow focusing (comfortable for work)
  4. good maximum magnification ratio for macro shooting, which is 1: 4
  5. metal mount, rubberized focus and zoom rings
  6. 9 petals aperture, the lens creates fairly smooth blur discs
  7. normal sharpness in the center of the frame on covered apertures
  8. weak vignetting on cropped cameras (in this case, Nikon DX)
  9. acceptable distortion
  10. lack of focus-shift during iris
  11. smooth and proportional aperture drop from 70 to 210 mm focal length

The main disadvantages

  1. during focusing, the front lens and the thread under the filters rotate
  2. absence inboard motor focusing, which limits its use with amateur cameras of the Nikon DX series
  3. unpleasant noise during auto focus
  4. rotation of the focus ring during autofocus and, as a result, lack of the function of constant manual focus control
  5. small focus ring travel
  6. lack of a switch for focus modes (the mode must be changed using the lever near the camera mount)
  7. while zooming and / or focusing, the trunk moves forward
  8. focusing falters while changing the focal length
  9. the lens does not transmit the focusing distance to the camera (degrades metering exposure, especially with TTL flash)
  10. no focus distance scale, depth of field and tags for working in the infrared spectrum
  11. on some cameras in EXIF a value of 72 mm is recorded instead of a 70 mm focal length (programming specifics of the lens microprocessor)
  12. the direction of rotation of the focus ring does not match the original similar lens Nikon AF Nikkor 70-210mm 1: 4-5.6
  13. rear lens movement while changing the focal length, small effect of a vacuum cleaner / air pump
  14. 'Focus Breathing' effect (changing the viewing angle during focusing)
  15. lack of a protective O-ring near the mount and the absence of any dust and moisture protection
  16. outdated model not optimized for use with modern digital cameras
  17. insufficient image quality:
    • low resolution on open apertures
    • strong chromatic aberration
    • very poor resistance to backlight
    • low contrast
    • mediocre color when used on the CZK
  18. there may be incompatibility with some cameras and / or teleconverters (no exact data)
  19. lack of data about the lens in modern cameras, which makes it difficult to automatically correct some types of distortion (distortion, vignetting etc.)

The material was prepared by Arkady Shapoval. Take a look to the Radozhiva group on Facebook.

Add a comment:

Comments: 24, on the topic: Review of Tamron AF Tele-Macro 70-210mm 1: 4-5.6 158DN

  • Victor

    I don’t even know why such lenses are needed? So, play around ... It’s better to buy at least Nikon AF Nikkor 70-210mm 1: 4 and not to bathe. Although it all depends on the tasks - this one will also work for something.
    Thanks for the review.

  • Valentine

    After such excellent studio shots, this Tamron has a bright future - it will now be sold in a matter of hours and at an expensive price. Thanks for the competent review. Photos on top.

    • Artem

      Yeah. The hole 10-11 is the most for review. Still use the preliminary lift of the mirror to include.

      • anonym

        There are also open examples in the examples. Or on closed to shoot for review is worthless? As for me, a good review and sensible conclusions.

      • Valentine

        Well, yes, that’s it. If I took it, I wouldn’t really count on the open one, but I would just aim taking into account the covering of the diaphragm up to 8-11. It is not necessary to wait for miracles from a simple and cheap glass, but on the covered one, contrast and color rendition were just interesting to me.

      • Carl Zeiss

        Artyom, are you a fan of big holes? And what do you think are the optimal “holes” for the review?

  • Igor

    Simple and functional. Yes, plastic, yes, not very contrasting on the street, but counter-knocking down, and somewhere chromate. You look at him and expect nothing good. But it turns out that he can in competent hands! If such a range is not a vital necessity, but from time to time - why not. I liked it, thanks for the review.

  • anonym

    Bad review. A bunch of errors in the text. It can be seen that the text is corrected from another review. Enumeration of characteristics and no more.
    But how macro does it behave?

    • boris

      add, and better cut your. it’s a matter of finding a lens, surfing the Internet in search of schemes and characteristics, negotiating with a model, renting a studio, taking pictures in the studio and on the street, preparing text with photos and putting it on the net ... and then someone sitting on the couch spits out “bad” overview"

    • Arkady Shapoval

      Indicate inaccuracies, I will fix it.
      Macro 1: 4, MDF 1.1m cat face shot on MDF.

  • anonym

    The author coolly kicked Jupiter -37. It’s clear to Konya that it’s easier to remove AF. This static (Yu-37) he would have removed easily. But what about point 17 of the main drawbacks of this Tamron?

    • Arkady Shapoval

      Of course, it is impossible to compare Jupiter-37 and this lens. I undertook only to say that personally (my experience section) I would prefer to work with Tamron than with the Yu-37, I have my own experience, goals and vision, many other photographers and amateurs have their own goals and my own vision in choosing the lens.

      With paragraph 17, so be it: a technically bad lens does not cope well only with “technical” photography. For art photos, for everyday photos and other other several other areas, the technical component is less important.

      By the way, I consider it a serious misconception that such a static Yu-37 would have removed easily. The amount of effort put into obtaining the same amount of successful focusing frames would be much, much larger, not to mention the time taken to maneuver the aperture and zoom with your feet. If you chew, then in 2 hours in any studio, on average, it takes 500 frames. 99% of these frames are with the correct focus, even when using such a Tamron. It will be very difficult to repeat 500 frames per manual in 2 hours with such a low rejection rate. Also, there is not always time to adjust the light or the power of the studio light (the model crouched and the exposure was already completely different), in such cases it is much faster and easier to “play” the aperture - close it or open it by simply turning the control dial on the camera and know its exact values F. This will allow you not to change the power of monoblocks (critical for cheap and medium-sized studios, where synchronizers do not have power control). Often, "put the light on" and forget about the exposure does not work. With a manual, such a trick with quick adjustment of the aperture will not work, add “dancing with a tambourine” here to preset the aperture on the Yu-37 (focusing on the open, shooting on the covered). Just diaphragm manipulation will cause you to lose hundreds of frames. This business concerns not only Yu-37, but also manuals as a whole. Whoever thinks that it’s very easy to shoot “static” in the studio with the help of the JVI in the studio is in many ways mistaken. I wrote about this more than once, especially after my very difficult torment with Zeiss 85 / 1.4 in the same studio. Models are not mannequins, they are constantly on the move, and the photographer is constantly on the move, as a result, the focus ring is in motion. Add time constraints in the same studio. Ultimately, the success of the frame depends little on the “epic” lens, but very much depends on luck and skills, the photographer’s work with the model, etc. In short, come back to this articlewhere the equipment is in 5-6th place.

      Tamron has another strong advantage - the presence of zoom. Zoom provides a set of photos with different perspectives, if you reduce the philosophy, it gives more variety in photos, which leads to the fact that it is easier to choose good pictures from the collected material. If you can still shoot at full height by 70mm, then at 135mm you can shoot a person at full height - the task is not simple and poorly feasible in the realities of small studios.

      • Rodion

        And why is the JVI for leisurely shooting in the studio?)

        • Arkady Shapoval

          1. By and large, there is already a misconception that shooting in a limited period of time is “leisurely”. If you shoot at your pleasure on the manual, the output of the final material is too small. You can, of course, fend off in return that the important thing is not quantity, but quality. But in the photo, as practice has shown, without the proper number of samples, samples and again samples, it is very difficult to achieve the desired result right away. I can ask a counter and possibly quite sharp question - how often do you have to shoot in the studio for a manual? While you are dancing with a tambourine around the manual with the CZK, you miss many, many moments. The model will never repeat what she just depicted, and will never forgive a photo marriage in 2018 due to a focus error.
          2. Regarding JVI and Live View. If you do not go far into the forest, and take D90 from this review and Jupiter-37A with the usual KP / AN shank, then a lot of difficulties. The main one is the inconvenience of working with the camera. The TV in Live View shakes from any sigh, the picture on the display twitches. To achieve good sharpness, no worse than this Tamron, you should increase the selected image area. To do this, click the corresponding buttons once or several times. If you still need to check sharpness not in the central region of the frame, but, say, in the upper or lower - you should use the joystick to shift this cropping area. It takes both nerves and time, and most importantly - changes the style of shooting. The rest is even more fun: shooting in the studio in the vast majority of situations is done in M ​​mode, for example, ISO 100/200, 1 / 125-1 / 200, F to taste. With these exposure settings in Live View, you can get the hell knows what. Especially if there is little pilot light. And, of course, this is just the tip of the iceberg.
          In theory, everything is beautiful, in practice, everything is complicated.

          • Valentine

            It was Yu37 with the D90. I completely agree with the described difficulties. A good lens, but it adds a lot of extra work. You think too much about taking a technically suitable photo (to prevent movement, get into the exposure, focus exactly, etc.) and there is simply no corny time for normal frame construction and some kind of variety in shooting time. Not enough, no matter how slow shooting and no matter how patient the model may be. Therefore, yes, even if the Yu37 is optically and structurally better than this Tamron (and outlives 100 such ones), you can get a larger percentage of suitable and interesting frames even from this Tamron.

  • Oleg

    All Soviet optics has one excellent property, after treating it for a couple of months, as a rule, you lay it on a distant shelf and remember it very rarely. If you turn on the magnifier on the jupa in the Live View mode, then the shaking will be crazy and it’s just impossible to focus on sharpness, unlike heliks and industries where Live View really helps. It is on Jupiter-37a that I have the biggest exit of marriage, I can’t shoot with him for example. Yes, and 135mm for placement on the crop will be a little narrow. By the way, the price of this model is super-budget

    • Valentine

      Yes, but there is, for example, a cheap old Pentax K100D which has a 6 megapixel CCD matrix (like on the D40 / D70, etc.) and which has an image stabilizer in the camera. And who knows how to measure exposure with any manual optics. And which retains focus confirmation. In total, we have a CCD with its colors, which many are delighted with, a stabilizer for any manual, metering and confirmation of focus, excellent coverage of the JVI with 11 points. I saw this recently for 3,5 thousand rubles. in a good condition. I didn’t need it, I'm not a fan of CCD and for manuals I like BZK, but who loves CCD and manuals is such a Pentax find.

      • Oleg

        For lovers of manual things, that’s it. By the way, I was printing photos from a 6MP A3 soap dish, a completely normal result was obtained

  • Oleg

    If you shoot in the studio, the so-called “drawing” of the lens and the nature of the bokeh does not matter, most importantly, good autofocus, contrast ... - these are the parameters. Naturally, the autofocus lens, zoom, has good advantages over manual fixation, it will also have advantages in sequential shooting. But in certain situations, when there is no rush, there is no need for a big shot, there is time to view the resulting image, the lens with a “picture” and bokeh will gain an advantage over a more nimble, but, as they say, boring colleague.
    If a beginner who has little money for equipment decided to start shooting something, went out to shoot or even in a studio, he would be more comfortable with Tamron from the review than with Jupiter, and even if his camera does not support exposure metering.

    It’s good when you don’t need to choose, but you can have different lenses, for different cases. For example, Helios 81H seemed to me more interesting than the Nikkor 50 1.8D, but it is incomparably more convenient to use Nikkor in most situations.

    I bought Jupiter 37-A on a very inexpensive occasion, not as a replacement for something, but just as an addition, I’ll try and see how it will be possible to compare it with the simple Sigma 70-300 on its 135 mm. If Jupiter does not give something interesting in comparison with the capabilities of Sigma by 135 mm, I’ll sell or give it to someone I know, but if something interesting happens, I will take it as an extra. That’s the absence of a problem in a similar situation (inexpensive dark zoom or Soviet manual zoom).

  • Peter Sh.

    Elena is good, damn it!

    As for the subject, such a small, light and cheap lens has much more possibilities for use than it might seem.

  • Dmitriy

    I bought myself a plastic Nikkor 2000-70 300: 1-G for 4 rubles. Lightweight and easy to use, but hard chromatite, 300 mm slip. lots of. Now I bought for 6500 Sigma 70-300 DG OS (stabilized). I think among cheap lenses there is still nothing better than Sigma. Again, there are fewer misses with focus with a focal length of more than 200. For crop, you can buy Nikon DX AF-S Nikkor 7-8mm 55: 300-1G ED VR SWM HRI for 4.5-5.6 thousand.

  • dragon yes not snape

    Arkady, and if you compare with the native Nikor 55 BP200 DX? Which of the two would you prefer for filming in the studio? The photos are wonderful. The cat is especially good!

    • Arkady Shapoval

      I would prefer 55-200, it has less problems with color, and with 55 it will be more convenient than with 70 mm.

  • SashOK

    Finally, at least from one tested lens, cool photos;)
    And then all some sort of moronic twigs, flowers ...

    And the lens itself is a simple, budget option, I have the same in this series Tamron AF 35-90 mm 1: 4-5,6 Tele-Macro

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