Review Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

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Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Browse Navigation

  1. In short
  2. History
  3. Main Specifications
  4. Assembly
  5. Focusing
  6. Image quality
  7. Sample photos with source
  8. My experience
  9. Alternatives (all over-widths for APS-C)
  10. Prices
  11. Results
  12. User Comments
  13. Add your review / comment or question on the lens

In this review, I will call the Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001) lens abbreviated Tamron 10-24 / 3.5-4.5. Please also note that this lens is available for different cameras with different mounts. In the review, I have an option for a Canon EF / EFS mount for Canon EOS SLR cameras. At the same time, this lens is for Nikon F, Sony A / Minolta A and Pentax K.

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

In short

Tamron 10-24 / 3.5-4.5 is an ultra wide angle lens for cropped DSLR cameras of various systems. Refers to Tamron SP professional lenses. An interesting enough model. In 2017, the lens was significantly improved and updated to versions with stabilizer VC HLD.

First of all, the Tamron 10-24 / 3.5-4.5 attracts 10mm focal length at the wide end and 24mm at the long end, so far this is a kind of record for such super-wide ends. Of the obvious shortcomings - a buzzing micromotor and some optical shortcomings.

In general, it is a replacement for the original old man Canon EF-S 10-22 / 3.5-4.5 USM.

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)


A line of professional over-widths Tamron SP DI II (for cropped SLR cameras, in order of appearance):

  1. Tamron SP DIII 11-18mm 1: 4.5-5.6 AF Aspherical LD ​​[IF] A13, Model A13development announcement 28 September 2004. Became available with Jun 2005. For Nikon F, Canon EF / EFS and Sony / Minolta A. Lenses are built on the same optical circuit Konica Minolta AF DT Zoom 11-18mm 1: 4.5 (22) -5.6 D, which was subsequently converted to Sony 4.5-5.6/11-18 DT (SAL1118). And also Tamron A13 can be found under the Promaster brand in the form of promaster Digital EDO AF Aspherical LD ​​(IF) 11-18mm 1: 4.5-5.6.
  2. Tamron SP DIII 10-24mm 1:3.5-4.5, Model B001announcement October 23 2008 (originally there was an option only for Nikon F), with 3 March 2009 for Canon EF, with 12 2009 June for Sony A and Pentax K. Produced in Japan, China and Vietnam.
  3. Tamron DIII 10-24mm F / 3.5-4.5 VC HLD, Model B023, announcement February 7 2017. Only for Nikon F and Canon EF / EFS.

Tamron was the first company back in 2008 to be able to make an over-wide with such a large range of focal lengths. Up to this point, super-widths of 10-24 mm did not exist. Later, in April 2009, Nikon caught up with her Nikon 10-24 / 3.5-4.5G. However, it is worth noting that already in November 2004, Canon had a very similar one, only 2 mm shorter, Canon 10-22 /3.5-4.5 USM.

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Main technical characteristics of Tamron SP 10-24mm 1: 3.5-4.5 DI II:

Review Instance Name On the lens barrel with a gold border 'Ø 77 DI II Tamron SP 10-24mm 1: 3.5-4.5'. On the case 'B001 + serial number + ASSEMBLED IN CHINA'. In the manual, the lens is called SP AF 10-24mm F / 3.5-4.5 Di II LD Ashperical [IF]
Basic properties
  • DIII (Ddigitally Iintegrated II) - the lens is designed for use on digital cameras with an APS-C sensor
  • SP (Super Performance) - high performance inherent to Tamron's professional lens range
  • AF / MF - simple focus mode switch
  • IF (Iinternal Focusing) - internal focus
  • Ashperical - aspherical elements in the optical scheme
  • LD (Low Dispersion) - special low dispersion elements in the optical scheme
  • Model Boo1E - lens model for quick identification ('E' is indicated on the box)
  • BBAR + Iinternal Sface Coating - special coating of optics
  • Bayonet hood included
  • Important: a lens from a third-party manufacturer, which imposes some restrictions on its practical use
Front Filter Diameter 77 mm, filter thread plastic
Focal length 10-24 mm EGF for Canon APS-C cameras is 16-38.4mm
Zoom ratio 2.4 x
Designed by for Canon EOS digital cameras with APS-C sensor (the lens mount of the lens itself is EF), there are modifications for other systems:

  • Nikon F (B001NII)
  • Sony A / Minolta A (B001S)
  • Pentax K (B001P)
Number of aperture blades 7 rounded petals
Tags scale printed on the focus ring with the focusing distance in meters and feet, focal lengths for 10, 13, 15, 18, 20, 24 mm, mark of the bayonet mount and lens mount / mount
  • 10 mm: F / 3.5-F / 22
  • 13 mm: F / 3.5-F / 22
  • 15 mm: F / 4-F / 25
  • 18 mm: F / 4-F / 29
  • 20 mm: F / 4-F / 29
  • 24 mm: F / 4.5-F / 32
MDF 0.24 m, maximum magnification ratio 1: 5.1
The weight 406 grams declared

According to my measurements, 437 grams (version for Canon EF / EFS)

Optical design 12 elements in 9 groups:

  ASL (Hybrid aspherical elements) - 3 hybrid aspherical elements (combination of glass and plastic)

  LD (Low Dispersion) - 2 special low dispersion elements.

  Molded-Glass Aspherical - 1 glass molded aspherical element

Tamron SP 10-24mm 1: 3.5-4.5 DI IIThe image of the optical scheme is clickable to enlarge

Lens hood Bayonet type, plastic, with the ability to be installed in the transport mode, AB001N
Manufacturer country ASSEMBLED IN CHINA (Lens made in China). At the same time, there are lens options that were made in Japan and Vietnam.
Production period From October 23, 2008, in February 2017, replaced by Tamron SP DI II 10-24mm F / 3.5-4.5 VC HLD

There are quite a lot of super-widths with a maximum relative aperture of 1: 3.5-4.5, usually these are advanced models that are positioned higher than models with 1: 4 (4.5) -5.6.

Tamron's 3.5-10 / 24-3.5 maximum f / 4.5 aperture is only a third step lighter than the F / 4 of many other similar lenses with a constant apertureFor example, Tokina 12-24 / 4. At the same time, F / 3.5 is 2/3 steps darker than that of F / 2.8 on models Tokina 11-16 / 2.8, Tokina 11-20 / 2.8, PENTAX 11-18 / 2.8, FUJINON 8-16 / 2.8. The lightest of these can be considered Tokina 14-20 / 2.0. At the same time, it is important to realize that very often super-wide angles are used on very closed diaphragms, which is why the maximum relative aperture is not always as important as for standard or telephoto lenses.

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)


It's important: Tamron 10-24 / 3.5-4.5 lens produced in three countries. The country of origin depends on the year of manufacture and the mount. Initially, production was established in Japan (MADE IN JAPAN), later moved to China (there are two types of inscriptions: 'ASSEMBLED IN CHINA' and 'MADE IN CHINA') and to Vietnam (MADE IN VIETNAM, mainly variants under Pentax). Also, note that some lenses have 'B001' or 'AB001' on the gold ring, and some, like the review lens, are on the barrel next to the serial number. And also the color of the bayonet mount mark depends on which mount the lens was intended for: red for Canon, Sony, Pentax, white for Nikon. The first versions of the lens came with a blue 'SP' marker next to the focus mode selector, all subsequent ones with a gold one. The serial number can be written with paint, it can be engraved, or it can be pasted on a sticker in a special recess.

A variant of this review is made in China. The lens is pleasant and heavy to the touch, but it feels worse than, for example, Sigma 10-20 / 3.5. The lens has a considerable weight, which is a little more 400 grams. But on small cameras like Canon EOS 500D, the weight balance is practically not broken.

Despite the fact that this is a professional lens of the Tamron SP series, a copy with a serial number has peeled off on a copy from the review. A trifle, but unpleasant. Professional equipment should be free from any such flaws.

Tamron 10-24 / 3.5-4.5 Uses the Large Classic 'Professional' Filters diameter by 77 mm. The installation of filters with a thick rim affects vignetting. I tested Tamron 10-24 / 3.5-4.5 with a cheap Chinese CITIWIDE CPL 77mm polarizer (8 mm rim), which gave a strong additional 10 mm focal length vignette.

There is a bayonet mount mark and a mark on the case for quick installation of the hood. The lens uses a plastic hood, which is fixed in special grooves located near the front lens of the lens. The hood can be installed in upside down for transportation. In this position, access to the focus ring is lost. When you change the focal length, the lens hood moves with the front of the lens.

When changing the focal length, the rear lens moves in the middle of the lens barrel. The effect of the air pump is weak.

The retractable body frame ('trunk') consists of 1 metal section. The trunk is sturdy, without any backlash or spontaneous movement. When the focal length changes, the trunk moves in waves. The maximum extended trunk is observed at 24 mm focal length, minimum - at 14 mm. The movement of the trunk does not exceed 1.5 cm. But the rear lens moves strictly linearly when the focal length is changed - it deepens with increasing focal length into the lens body. From the side of the mount at a 24 mm focal length, internal trains and other lens assemblies are visible.

Tamron 10-24 / 3.5-4.5 rotates the focus ring and zoom do not match with direction from the original Canon 10-22 /3.5-4.5 USM.

The lens has metal bayonet mount. The zoom and focus rings are rubberized. Changing the focal length runs smoothly. The zoom ring rotates 90 degrees.

Number of petals aperture - 7 pieces. At the same time, they are slightly rounded and form a regular heptagon on strongly covered diaphragms.

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)


Tamron 10-24 / 3.5-4.5 in the options for Canon and Nikon for focusing uses ordinary micro motor focusing. In the variants for Sony and Pentax, the focusing motor is absent, and focusing is due to the built-in motor in the camera itself.

Built noisy focus motor... In Live View mode, if the focus direction is changed rapidly and quickly for precise micro-focus adjustment, the lens cangrowl'.

Auto Focus Speed average. It is believed that the focus speed is not important for the super-wide, and the presence of automatic focusing as such. But still fast and tenacious autofocus greatly simplifies the life of the photographer.

When used on a camera Canon EOS 500D with unpretentious focusing system with 9 focus points the lens behaves normally. With accuracy and tenacity of focusing, sometimes problems can arise, especially at 10 mm, but they are not common. On camera Canon EOS 500D I checked the presence of the back and focus front at different focusing distances (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. In Live View, the lens also works well.

The focus ring is rubberized and rotates approximately 90 degrees in manual focus mode. When extreme positions are reached, the ring abuts. The focus ring rotates smoothly and nicely, feels massive. Manual focus is quite convenient. Direction of rotation of the focus ring does not match with original Canon 10-22 / 3.5-4.5 USM.

There is a lens housing focus mode switch 'AF | MF '(auto focus / manual focus). It's important: In auto focus mode, the focus ring rotates and cannot be touched. For manual focus, the lens must be switched to MF mode.

Lens has internal focus, the front and rear lenses remain stationary during focusing. While changing the focal length, the front lens also does not rotate. It is possible to use various filters without any problems.

The lens has a scale of focusing distances in meters and feet. Infrared scales and labels for working in the infrared spectrum are not.

The minimum focusing distance is 24 cm, and the maximum magnification ratio is 1: 5.1, which is very good for such a lens.

Focus Features:

  1. Important: the quality of the Tamron 10-24 / 3.5-4.5 focusing in Live View mode can greatly depend on the camera used, as well as on the system used, under which the lens is made
  2. Tamron 10-24 / 3.5-4.5 has a very mild 'Focus Breathing' effect (changing the viewing angle during focusing).
  3. Focus Shift (focus shift, changing focus distance due to iris)
  4. Tamron 10-24 / 3.5-4.5 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 cannot just bring the focus ring to its extreme position. The focus ring can have a large overrun for infinity.
  5. Important: Tamron 10-24 / 3.5-4.5 is a third-party lens. It may happen that it will not work correctly with some cameras. Details on this issue are considered by me. here
  6. Teleconverter compatibility unknown
  7. Unknown compatibility with Canon EF to EOS M adapter
Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Image quality

The lens was designed at a time when the camera with the highest pixel density was Canon EOS 50D at 15 MP (summer 2008).

The Tamron 10-24 / 3.5-4.5 is optically 'average'. With super-wide, you need to take into account that almost all lenses in the corners and edges of the image do not give the best image quality, and therefore you always need to make a discount at this point.


  • sufficient resolution in the center of the frame over the entire range of focal lengths on an open aperture. Significant improvement in sharpness when closing aperture
  • sharpness in the center of the frame by 10 mm and the open aperture is worse than on open and 24 mm
  • A serious problem is the angles of 10-12 mm of the focal length, which do not come back to normal even with strong aperture. It is possible to achieve really good sharpness in the corners only in the range of 15-24 mm
  • as the focal length increases, the edges of the image improve in terms of sharpness


  • there is barrel distortion over the entire range of focal lengths
  • maximum distortion is visible at 10 mm, minimum in the range of 18-24 mm
  • distortion decreases with increasing focal length
  • the nature of distortion is unified, easily corrected in the editor


  • the overall level of vignetting is at a level typical for such lenses
  • vignetting is most pronounced at 10 mm at F / 3.5
  • with increasing focal length, vignetting at an open aperture decreases
  • vignetting almost disappears at f / 5.6
  • vignetting is easily fixable in the editor



  • lens tolerates side and back light
  • aperture blades form a regular heptagon on virtually any hidden aperture value
  • on closed diaphragms you can get a pronounced effect of a 14-ray star (example)

The data on this lens is in most popular RAW converters (it is definitely in ACR, Lightroom), which makes it very easy to correct distortion and vignetting with one click.

But in modern cameras, this lens is not 'sewn up' and it will be impossible to obtain automatic correction of some optical defects of the lens. For example, on camera Canon EOS 500D with Tamron 10-24 / 3.5-4.5 installed periphery. lighting 'indicates that' Data for cor. not available '.

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Sample Photos Canon EOS 500D (APS-C 15 MP)

Examples are shown without treatment. Photos taken using RAW ('.CR2') file conversion with Canon original utility Digital Photo Pprofessional 4 (Canon DPP) without any changes. The control mode 'Standard' was used with the default settings '3/0/0/0'.

Original RAW photos (14-bit '.CR2') can be download from this link (40 files, 800 MB)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Examples on Canon EOS 500D, 60D, Alexey Trofimov

Examples of photographs on the Tamron 10-24 / 3.5-4.5 lens in the version for Canon EOS cameras with EF / EFS mount and camera Canon EOS 500D (15 MP, APS-C) and Canon EOS 60D (18 MP, APS-C) shared by a photographer Alexey Trofimov (instagram). You can find many more works by Alexey on his personal website.

My experience

I recently had a similar lens on review Sigma 10-20 / 3.5, about the same period as Tamron 10-24 / 3.5-4.5, which is much more technologically advanced than Tamron 10-24 / 3.5-4.5.

There is nothing more complicated than selecting a width / oversize. Typically, the selection of such lenses is approached more carefully than with any other lenses.

Tokina and Sigma have faster options, Tamron has a stabilizer option. The original options are sometimes too expensive. And every photographer has their own preferences. In one case, the task is in the maximum possible viewing angle, in the other case, in the maximum possible aperture ratio. Sometimes super-wide is generally taken as a wide-wagon (for example, for this it is well suited Tokina 12-28 / 4).

If you do not walk in circles, then Tamron 10-24 / 3.5-4.5 is not bad, and is quite suitable for use for its intended purpose.

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)


Below is a list of all ultra-wide angle lenses with auto focus support for cameras with an APS-C sensor (crop Kf = 1.5-1.6X) whose focal length is less than or equal to 14 mm.

Tokina (for different mounts):

With moderate aperture:

  1. Tokina 124 AT-X PRO SD 12-24 mm F4 (IF) DX Aspherical, for Nikon F, Canon EFS
  2. promaster Digital af 12-24 XR EDO F4 Aspherical, previous lens under the 'ProMaster' brand
  3. Tokina 124 AT-X PRO SD 12-24 mm F4(IF)DX II aspherical, for Nikon F, Canon EFS
  4. Tokina 128 AT-X Pro SD 12-28 mm F4 (IF) DX Aspherical, for Nikon F, Canon EFS
  5. Tokina AT-X PRO SD 12-28 F4 (IF) DX V, Canon EFS only


  1. Tokina AT-X PRO SD 11-16 F2.8 (IF) DX ASPHERICAL, since 2007, for Nikon F, Canon EFS, Sony A
  2. Tokina AT-X PRO SD 11-16 F2.8(IF)DX II ASPHERICAL, since 2008, for Nikon F, Canon EFS, Sony A
  3. Tokina AT-X PRO SD 11-16 F2.8 (IF) DX V, for Nikon F, Canon EFS
  4. Tokina atx-i 11-16mm F2.8CF, since 2019, for Nikon F, Canon EFS, black/white
  5. Tokina atx-m 11-18mm F2.8E, since 2022, for Sony E, black/white
  6. Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL, from 2014, for Nikon F, Canon EFS
  7. Tokina atx-i 11-20mm F2.8CF, since 2020, for Nikon F, Canon EFS, black/white
  8. Tokina AT-X PRO SD 14-20mm F2 (IF) DX, from 2015, for Nikon F, Canon EFS


  1. Tokina 107 Fisheye 10-17 mm F3.5-4.5DX AT-X, for Nikon F, Canon EFS
  2. Tokina 107 Fisheye 10-17 mm F3.5-4.5 DX NH AT-X, for Nikon F, Canon EFS
  3. Tokina 107 Fisheye 10-17 F3.5-4.5 DX AT-X V NH, Canon EFS only

Tamron (for different mounts):

  1. Tamron SP 10-24 mm 1: 3.5-4.5 Di II B001, from October 2008, for Nikon F, Canon EFS, Pentax K, Sony A. Japan / China / Vietnam
  2. Tamron 10-24 mm F/3.5-4.5 Diii VC HLD-B023, from February 2017, for Nikon F and Canon EFS
  3. Tamron Aspherical LD ​​DI II SP AF 11-18 mm 1: 4.5-5.6 [IF] A13, since 2005, for Nikon F, Canon EFS, Sony A. Konica Minolta AF DT Zoom 11-18mm 1: 4.5 (22) -5.6 D and Sony 4.5-5.6 / 11-18 DT (SAL1118) lenses are built on the same optical scheme )
  4. Promaster Digital EDO AF Aspherical LD ​​(IF) 11-18 mm 1: 4.5-5.6, previous lens under the 'ProMaster' brand
  5. Tamron 11-20 mm F / 2.8 Di III-A RXD B060, from April 2021, only for Sony E

Sigma (for different mounts):

  1. Sigma 4.5 mm 1: 2.8 EX DC HSM CIRCULAR FISHEYE, since 2007 for Canon EFS, Sigma SA and Nikon F. Since 2008 for Pentax K and Sony / Minolta A
  2. Sigma 10 mm 1: 2.8 DC FISHEYE HSM, from 2007 for Canon EFS, Sigma SA and Nikon F. In 2008 a version for Pentax K and Sony / Minolta A was released
  3. Sigma 8-16 mm 1:4.5-5.6 DC HSM, since 2010, Canon EFS, Nikon F, Pentax K, Sigma SA, Sony/Minolta A
  4. Sigma 10-20 mm 1: 4-5.6 DC EX [+ -HSM, + -D], since 2005 for Canon EFS, Sigma SA, Nikon F, Pentax K and Sony / Minolta A. Since 2008 for 4/3 SLR system. 'D' prefix for select Nikon and Sony / Minolta A only. HSM motor only available for Canon EFS, Sigma SA, Nikon F and 4/3. The Pentax K and Sony / Minolta A versions have a different appearance (there is no focusing distance window). There are two sub-versions: with a matte finish and with a velvet finish on the body.
  5. Sigma 10-20 mm 1: 3.5 DC HSM EX, since 2009, for Canon EFS, Nikon F, Pentax K, Sigma SA, Sony / Minolta A
  6. SIGMA 10-18 mm 1:2.8 DC DN C, from 2023, for Sony E, FujiFilm X and Leica L

Nikon DX (for Nikon F mount):

  1. Nikon DX AF Fisheye Nikkor 10.5 mm 1: 2.8G ED
  2. Nikon DX VR AF-P Nikkor 10-20 mm 1: 4.5-5.6G
  3. Nikon DX AF-S Nikkor 10-24 mm 1: 3.5-4.5G ED SWM IF Aspherical
  4. Nikon DX AF-S Nikkor 12-24 mm 1: 4G ED SWM IF Aspherical
  5. Nikon Nikkor ZDX 12-28mm 1:3.5-5.6PZ VR

Canon EF-S / EF-M

EF-S (Mirror APS-C)

  1. Canon Zoome Lens EF-S 10-18 mm 1: 4.5-5.6 IS STM
  2. Canon Zoom Lens EF-S 10-22 mm 1: 3.5-4.5 USM

EF-M (Mirrorless APS-C)

  1. Canon Zoom Lens EF-M 11-22 mm 1: 4-5.6 IS STM [2013]

RF-S (mirrorless APS-C)

  1. CANON LENS RF-S 10-18mm F4.5-6.3 IS STM [2023]

Pentax DA (+ Samsung / Schneider-Kreuznach, for Pentax K mount):

  1. SMC Pentax-DA 1: 2.8 (22) 14 mm ED [IF] (Pentax 14)
  2. SMC Pentax-DA FISH-EYE 1: 3.5-4.5 10-17 mm ED [IF] (Pentax 10-17) (FISHEYE, most likely optically identical Tokina Model 107)
  3. HD Pentax-DA FISH-EYE 1: 3.5-4.5 10-17 mm (FISHEYE, most likely optically similar to Tokina 107 NH)
  4. HD PENTAX-DA * 1: 2.8 11-18 mm ED DC AW
  5. SMC Pentax-DA 1: 4 12-24 mm ED AL [IF] (Pentax 12-24) (most likely optically identical Tokina Model 124)
  6. Samsung Zoom Lens Fisheye D-Xenon 10-17 mm 1: 3.5-4.5 AL, copy Pentax 10-17optical scheme from Tokina Model 107
  7. Samsung Zoom Lens D-Xenon 1: 4 12-24 mm ED ALcopy Pentax 12-24optical scheme from Tokina Model 124
  8. Schneider-Kreuznach D-Xenogon 1: 3.5-4.5 10-17 mm ED AL, copy Pentax 10-17optical scheme from Tokina Model 107
  9. Schneider-Kreuznach D-Xenon 1: 4 12-24 mm ED AL, copy Pentax 12-24optical scheme from Tokina Model 124

Sony / Minolta (A or E):

E-mount (E):

  1. Sony E 4 /10-18 OSS (2012)
  2. Sony E 4 /10-20G PZ (2022)
  3. Sony E 1.8 /11 (2022)

A-mount (A):

  1. Sony 4.5-5.6 /11-18 DT (SAL1118) (most likely optically identical Tamron model a13)
  2. Konica Minolta AF DT Zoom 11-18 mm 1: 4.5 (22) -5.6 D (most likely optically identical Tamron model a13)

Samsung NX

  1. Samsung Lens 1: 3.5 10 mm Fisheye
  2. Samsung Lens 1: 4-5.6 12-24 mm ED I-FUNCTION

Fujifilm x


Zeiss (E / X)

  1. ZEISS Distagon Touit 2.8 /12 T* (Sony E-mount, Fujifilm X-mount)


  1. Viltrox AF 13mm 1: 1.4 STM ASPH ED IF C (2021, Sony E-mount, Fujifilm X-mount, Nikon Z-mount)

Leica CL/TL/T/L

  1. Leica SUPER-VARIO-ELMAR-T 1: 3.5-4.5 /11-23 ASPH. (2014)
  2. Leica SUPER-VARIO-ELMAR-TL 1: 3.5-4.5 /11-23 ASPH. (2014)

Samyang (E / X)

  1. Samyang AF 12/2E + Samyang AF 12/2X (2021, Sony E-mount, Fujifilm X-mount)

Yongnuo (E/X/Z)

Yongnuo 11mm 1:1.8 DA DSM WL S/X/Z (2023, Sony E-mount, Fujifilm X-mount, Nikon Z-mount)

Do you know more similar lenses? Or do you have experience with any of them? Then be sure to share your thoughts in the comments.

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)


Prices for Tamron 10-24 / 3.5-4.5 can be found at E-Katalog on this link.


Tamron 10-24 / 3.5-4.5 is an inexpensive and functional ultra-wide lens for flip-up DSLRs. At one time was replaced by a model Tamron 10-24 / 3.5-4.5 VC.

10 main advantages

  1. Tamron SP Series Professional Lens
  2. a large range of focal lengths (in 2020 there are no such lenses with a higher zoom ratio)
  3. focus type internal
  4. good build quality: metal bayonet mount, rubberized focus and zoom rings, bayonet type hood with the ability to install the reverse side
  5. many special optical elements in the optical scheme (aspherical and low dispersion)
  6. the ability to use 10 mm of focal length (for example, Tokina, Pentax and Sony A do not have similar lenses with 10 mm)
  7. good maximum magnification ratio of 1: 5.1
  8. the presence of a lens profile in most popular RAW converters (certainly there is in ACR, Lightroom)
  9. low cost in the secondary market
  10. good sharpness in the center of the frame, slight vignetting, good glare resistance

10 main disadvantages

  1. the direction of rotation of the focus ring and zoom does not coincide with the original similar lenses
  2. lack of an integrated image stabilizer (for example, it has Tamron 10-24 / 3.5-4.5 VC)
  3. buzzing micro focus motor, average focus speed (e.g. Canon EF-S 10-22 / 3.5-4.5 2004 release is already USM-motor)
  4. there is no mode of constant manual control of the focus ring (original lenses have FTM mode)
  5. not the highest aperture (e.g. Tokina 11-20 / 2.8 aperture higher)
  6. 77 mm large filter diameter (e.g. Canon 11-22 / 4-5.6 diameter only 55 mm)
  7. there is no all-weather protection, there is not even a rubber O-shaped lens mount seal (for example, a lens PENTAX 11-18 / 2.8 AW has a very high level of protection)
  8. there may be incompatibility with some cameras and / or teleconverters (no exact data), lack of data about the lens in modern cameras, which makes it difficult to automatically correct some types of distortion (distortion, vignetting etc.)
  9. very low resolution at 10 mm at the corners of the frame on open and covered apertures
  10. a strong level of chromatic aberration in the corners and edges of the image by 10 mm

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Comments: 27, on the topic: Review of Tamron SP 10-24mm 1: 3.5-4.5 DI II (Model B001)

  • B. R. P.

    Thanks for your review. Super-wide-shirik is always interesting. It looks like there is a mistake in the paragraph about sharpness: “It is impossible to achieve really good sharpness in the corners only in the range of 18-24 mm” - instead of impossible, apparently it means possible. Thanks also to Alexei Trofimov for the beautiful photos.

    • Arkady Shapoval


  • Michael

    Of the light over-widths, probably the most optimal: Nikon DX VR AF-P Nikkor 10-20mm 1: 4.5-5.6G
    It’s a pity there is no AF / MF switch and mechanical link focus ring

    • Arkady Shapoval

      Yes, native 10-20 is a very good option. The only thing for cameras that AF-P does not understand is not particularly suitable.

  • a lion

    As for compatibility, I can say that even the FTZ adapter “eats” the version for Nikon. Even turns on the crop mode automatically. True, at z6, for reasons I don't understand, the sharpness zone narrows even more. At the edges, soap-soap is 3.5. But nevertheless, I was pleasantly surprised - either by the specialists who wrote the Tamron firmware, or by the FTZ designers.

    • Arkady Shapoval

      Thanks for the info. Most likely Tamron under Nikon uses the old versions of firmware and communication with the camera, since the time of 2009, when there were no special problems, because ftz understands it well. Maybe just lucky.

  • BB

    It would be interesting to look at the degree of vignetting on the FF in different FR

  • Ruslan

    The only clarification is a strong growl, a signal of a motor malfunction. Yes, it is still working, but repairs are already needed.

    • Arkady Shapoval

      thanks for the info

  • Jankowsky

    I took one for Nikon from a friend for three days to drive (clean, whole, not broken) - I was horrified. Even on the D800 in crop mode it produced a terrifying bouquet of aberrations - this is really one of the worst lenses that have ever passed through my hands.

  • DM

    There is one under Nikon. In general, the lens is normal. The only focus errors are 10mm. I got used to being sharpened by 24mm and then zoomed in to 10mm. So there is no marriage. I am using Nikon D3200. At full frame, you can use it with 15 mm., The vignette is not visible, it appears at 14 mm. But still I decided to take Tokina 17-35 for the full frame, it will be better. So what about me for Crop Tamron, for the full frame of Tokin.

  • Anatoly

    Owners of cameras with cropped arrays cannot make full use of wide-angle lenses designed for full-frame, of which most are on the market. A full-frame lens does not give the desired viewing angle on the crop, since this angle is greatly cropped due to the smaller size of the matrix. Therefore, the crop uses wide-angle lenses specifically designed for this format of sensors.

    • Alexey

      nonsense, dear))

    • BB

      what is it for?

      but the widths developed for the crop can be used on the FF ...

      • Onotole

        By the way, can anyone explain this phenomenon?
        Why not make a shirik for the crop, so that it can not be used for a full frame, but of a smaller size and weight?

        • Ivan Shikhalev

          What does it mean not to do? The Canon 10-18mm is just that - small, lightweight and won't fit on the FF.

          • Onotole

            Not a single EF-S lens mounts on the FF, but I'm not talking about the limitations of a particular bayonet mount, but about the excessive coverage of the frame area, which is often enough for the FF.
            My opinion is that this is due to the relatively large working length, but this is a bare baseless guess.

            • Arkady Shapoval

              Some Pentax DA lenses (for crop) were converted from full-frame, as a result, for some, they are officially confirmed and recommended for use on full-frame cameras. As a result, a lot of confusion, but still a pleasant trifle.

            • Alexey

              the flange of all kenons is the same - 44 millimeters.

        • Michael

          Not sure, but I think the question is in the desire to make a flat field of sharpness

        • Alexey

          Sigma 18-35 1.8 only for crop, in full frame to get such angles with such aperture for sane money just does not work.

  • Oleg

    All kenon ef-s lenses cannot be used at full frame; they simply won’t go there. Well, kenon 10-18 for example is small and compact. The size also depends on the aperture and the spread of focal

    • Alexey

      You can put everything, but not everything has a meaning.

  • Michael

    This one will be specific. There is a similar one with a screwdriver - the main thing is not to confuse them)

  • Dmitriy

    Great lens. Bought 7 years ago. In the city, you can use it as a regular one on a crop, since 28 mm. it is already too narrow in the buildings. I drowned this lens in a mountain river. When drying, I simply set it to maximum focal length and in the sun in the car on a hot autumn day. Dried out in a day. Thanks to the wide front lens, it has an advantage over fast lenses with a front lens of 52-67 mm. in several steps (this is easy to check on the camera's automation, just changing lenses and see what exposure pair the camera will automatically set). Yes, 10 mm. can be used on full-frame cameras (it is important to remove the automatic setting for DX). In general, for an amateur, it’s not a pity to break or lose the most.

  • R'RёS,R ° F "RёR№

    Zen are good! Guys, what will it produce on the Canon EOS-1D Mark II with its CMOS APS-H 28,7 × 19,1 mm (Kf = 1,26)

    • Arkady Shapoval

      dark corners approximately 10-15mm

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