Tamron SP 24-70mm F/2.8 Di VC USD review
Specific image quality issues
As always, our studio tests are backed up by taking hundreds of photographs with the lens across a range of subjects, and examining them in detail. This allows us to confirm our studio observations, and identify any other issues which don't show up in the tests.
Many fast lenses have problems with flare when pointed at bright light sources - the sheer amount of glass makes suppression of internal reflections relatively difficult. With this in mind, the Tamron performs well when the sun is within the frame, giving barely any ghosting from internal reflections, or general loss of contrast from veiling flare. This is shown in the first example below.
This impressive resistance to flare persists when shooting into the light at the telephoto end of the zoom. In the second example, the sun just is outside the frame, above and to the left of the tree, and yet overall contrast is retained very well. Overall this is a pretty impressive performance.
|Canon EOS 6D, 24mm, F22||Canon EOS 6D, 70mm, F11|
The studio tests suggest the 24-70mm has relatively low lateral chromatic aberration, and this is confirmed in real-world use. As usual, CA is at its worst at wideangle, but even then it's barely worth worrying about. On Canon SLRs (which can't correct CA from third-party lenses in their JPEG processing) you'll see a little red/cyan fringing around high-contrast edges in the extreme corners of the frame; Nikon SLRs, in contrast, will compensate for this automatically. Any competent modern Raw converter will correct CA pretty easily too.
In the examples below we're looking at colour fringing in the corners of the frame at 24mm. Here we're comparing an out-of-camera JPEG from the Canon EOS 6D with the corresponding Raw file converted using Adobe Camera Raw, with CA correction enabled. There's a little fringing in the JPEG, which is removed completely from the corrected Raw conversion.
Lateral Chromatic Aberration - Canon EOS 6D, 24mm F8
|Camera JPEG||Raw converted in ACR with CA correction|
|Camera JPEG, 100% crop||100% crop: fringing removed|
The tests show that the 24-70mm F2.8 exhibits about 2 stops vignetting wide open at the each end of its range, but somewhat less in the middle, which is fairly typical for its class. At both 24mm and 70mm it gives quite abrupt vignetting in the extreme corners, which can be visually quite intrusive in some some situations. Naturally this can be corrected in post-processing using software such as Adobe Lightroom or DxO Optics Pro. But while most SLRs can correct vignetting when used with the manufacturer's own lenses, they won't with third party optics like the Tamron.
The rollover below shows images shot at F2.8 using the Canon EOS 6D, looking at RAW files converted in Adobe Camera Raw with and without vignetting correction enabled. At 24mm the uncorrected vignetting doesn't look too bad in isolation, although here it's accentuated when flicking back and forward with the corrected version. However at 70mm the vignetting is quite intrusive, and we suspect many users would prefer to tone it down a little in post-processing in this kind of shot. To be fair though, this isn't really any worse than the Canon EF 24-70mm f/2.8L II USM.
|Canon EOS 6D, 24mm F2.8, uncorrected||24mm F2.8, corrected|
|Canon EOS 6D, 70mm F2.8, uncorrected||70mm F2.8, corrected|
The Tamron shows fairly strong barrel distortion at wideangle, which can be a problem with certain types of shot. This distortion is notably higher than its Canon and Nikon counterparts, and while it's also pretty strong compared to the Sigma and Sony 24-70mm F2.8s, they both exhibit complex 'moustache' distortion. The rollover below shows an instance where the Tamron's barrel distortion has resulted in a decidedly odd-looking picture out-of-camera, and the corrected version looks much better.
Canon EOS 6D, 24mm
|Distortion uncorrected||Distortion corrected in ACR|
Background blur ('bokeh')
One genuinely desirable, but difficult to measure aspect of a lens's performance is the ability to deliver smoothly blurred out-of-focus regions when trying to isolate a subject from the background, generally when using a long focal length and/or a large aperture. The 24-70mm's fast maximum aperture means it can provide nicely-blurred backgrounds at the telephoto end.
The degree of blur isn't all that matters, of course, but also its aesthetic quality (which is what the word 'bokeh' refers to). This changes with focal length, aperture, focus distance and background distance, so isn't possible to pin down in simple terms. But after shooting hundreds of real world shots with the lens, we'd say the Tamron generally acquits itself well, delivering attractively-blurred backgrounds most of the time. A couple of examples at different focus distances are shown below.
|EOS 650D, 70mm F2.8, close-up||EOS 6D, 70mm F2.8|
|Background detail||Background detail|
In the first close-up shot, the Tamron does particularly well - the background is beautifully blurred, and the transition from the in-focus rose bud to the out-of-focus leaves smooth and attractive. These qualities tend to persist on stopping down, too. In the second example the distant background is a bit more 'busy', but it's far from unpleasant if you view the image as a whole.
|Smile by Olymguy|
from Ultra Asian Indian Female Faces
|Space Shuttle Cockpit- by vbuhay|
from Aircraft Control Stick
Tamron has announced the longest all-in-one zoom lens currently available, the 18-400mm F3.5-6.3 Di II VC HLD. Designed for Canon and Nikon crop-sensor cameras, the lens will be available in July.
When you're ready to step-up to full-frame from an entry-level or midrange camera, the choices can be overwhelming. Find out which models came out on top in our $1200-2000 enthusiast ILC roundup.
Just a guy wearing a VR headset, smashing invisible Goombas in Central Park.
NASA's Mars Reconnaissance Orbiter captured this gorgeous aerial photo of the Martian landscape. And if you look really close, you can actually see the Mars Curiosity rover in the very middle.
The city of Laguna Beach, California has provided some clarification around the kinds of photography permits it offers.
Later this year, a VR180 camera will be Joining Yi's Halo and 360 VR cameras, which will offer stereo 3D capture, yet be as easy to use and compact as a 2D camera.
Caltech researchers have developed an 'optical phased array' chip that uses time delays instead of a lens to focus the incoming light.
Pricing and shipping have finally been revealed for two highly anticipated lenses from Sigma, announced in February.
These macro photos of clouds of paint billowing through clear water might look like high-quality CGI, but they're real photographs. And photographer Alberto Seveso told us how they were made.
Facebook is testing a feature that prevents people from saving, sharing, or even taking a screenshot of your profile picture.
We've reshot the Sony a9 in our studio. The short story: it's sharper! The long story... well you can read it all here.
The collection will be officially launched during the Europeana Transcribathon Campus Berlin 2017 crowdsourcing event which will be held on 22 and 23 June at the Berlin State Library.
Light gives us some insight into the preparations for the launch of the pre-order shipments of its much anticipated L16 multi-lens camera.
OnePlus co-founder Carl Pei has confirmed in a tweet that the second lens on the back of the OnePlus 5 uses a 1.6x optical zoom and that digital zoom is used to reach the claimed 2x zoom factor.
Fujifilm recently unveiled the second in its series of affordable cine lenses, the MK50-135mm T2.9. We got our hands on it for a couple days and took it for a spin.
Leica's first attempt at an M-series digital rangefinder was rough around the edges, but set a pattern for all of the cameras that came after it. In this week's Throwback Thursday article, Barney remembers the M8.
No stranger to extreme situations, legendary climber and filmmaker Jimmy Chin talks to Outside Magazine about his career, and the challenge of filming Alex Honnold's rope-free solo climb of El Capitain.
A company backed by Android co-founder Andy Rubin is attempting to make video conferencing less terrible.
Rangefinder magazine asked five professional portrait and wedding photographers about posting on Instagram; no surprise, they got five different answers.
This captivating stop motion film was created by stripping away one layer of wood at a time. It's hard to look away.
It will enable users to simulate the presence of the sun, moon and Milky Way and see how they interact with an area's topography.
Since its introduction in November last year Instagram's live streaming feature has been used by millions, but videos could not be archived for watching at a later stage. A new update has now added the capability.
CopyTrack's study also found that the second most-stolen image is a woman wearing painted jeans. That's apparently a thing.
Forget expensive lenses with fancy coatings and special lens elements – photographer Robin de Puy took these portraits using just a water drop for a lens.
Adobe reports a record quarterly revenue of $1.77 billion for the second quarter fiscal year 2017 ended June 2, 2017.
Zeiss says its new lens is particularly suited for portrait photography but also a good all-rounder and can be used in video applications.
We present to you the top photos from the Kennel Club's 2017 Dog Photographer of the Year photo contest – take a look at 10 of the award-winning puppers.
In case you were looking for any more inspiration to go fly one.
Following a couple of successful Kickstarter campaigns, Videre 35mm's creator has re-tooled the camera with sturdier components and a simpler user assembly process.
The two hour long video covers everything an aspiring drone pilot needs to know.