Along with the SP 85mm f/1.8 Di VC USD, Tamron also released the SP 90mm f/2.8 Di VC USD Macro lens. Unlike the newly designed 85mm f/1.8, this one is an update to the existing 90mm f/2.8 Macro lens that has been manufactured for a number of years now.
Thanks to the CP+ Camera & Photo Imaging Show 2016 that is taking place in Japan this week, we have a slew of exciting announcements from different camera manufacturers. Tamron was the first to make a big announcement last night, presenting two brand new lenses designed for full-frame cameras. The first one is a significant release, because it is world’s first image stabilized 85mm f/1.8 lens for full-frame DSLRs, the Tamron SP 85mm f/1.8 Di VC USD. This is an important release, because Tamron is now upping its game like Sigma has done with its latest-generation lenses, allowing both lens firmware and AF fine tuning to be performed using an external USB dock.
At long last they’re all out, in stock and making every aspiring wildlife photographer on a budget scratch their head and wonder which one they should own? Of course I’m talking about the Tamron 150-600mm f/5-6.3 VC, the Sigma 150-600mm f/5-6.3 DG Contemporary and the Nikkor 200-500mm f/5.6E VR. These three budget super telephoto zoom lenses compete with each other directly at their price points, reach and heft; but the big question remains – how do they stack up optically? This was my quest when looking at the three lenses: I wanted to find out which of the three deserves the crown as the best budget-friendly super telephoto zoom. Let’s take a look at the lenses in more detail.
This is an in-depth review of the Tamron SP 15-30mm f/2.8 Di VC USD, world’s first f/2.8 image stabilized ultra-wide angle zoom lens for full frame cameras, the development of which was announced in September of 2014, with the lens officially released in January of 2015. It is a very unique lens not just because of its very useful focal length range with a constant aperture of f/2.8 throughout the zoom range, but because it features image stabilization – something you practically never find on ultra-wide angle lenses. For many years now, I have been shooting with the Nikkor 14-24mm f/2.8G lens, which is a monster of a lens when it comes to size, weight and performance – it truly is a legendary lens optically. But with its $2K price it is far from being an affordable choice, so Tamron decided to challenge the 14-24mm with the 15-30mm f/2.8 VC in a number of ways: longer focal length coverage extending to 30mm, built-in image stabilization and a more affordable price point of $1,200.
In advance of Nasim’s upcoming review of the Tamron 15-30mm f/2.8 VC wide angle zoom lens, this preview provides some initial impressions on shooting with this lens. As Photography Life readers know I always prefer to shoot hand-held so this article has some emphasis on using this lens in that manner.
I will be traveling out of country in April and before I leave, I have a few days to try to work on some reviews. Whether I will manage to produce a lot of content before my departure or not, I am planning to finish up the task upon my return. Lots of gear came out during the last year and having started my Sony mirrorless camera reviews, I intend to complete a few of those as well. Below is the list of gear that I currently have, which I am planning to review as soon as possible:
Landscape photographers often use fog to help them create wonderful, moody images. You’ve likely seen one of those arresting photographs of a single tree shrouded by fog standing silently in a field.
During a recent trip to the Myrtle Beach area of South Carolina I took the opportunity to try something new, and captured a number of images of brown pelicans. Although I’ve seen these birds a number of times in the past I never tried photographing them before, and as with any bird species there was a learning curve involved.
Back in September last year, Tamron announced the development of a rather interesting wide-angle lens. Not only does it feature a very useful focal length range for landscapes, architecture and documentary style photography, but also allows a fairly wide aperture of f/2.8 and image stabilization. The lens has now been officially released in three mounts – Nikon, Canon and Sony (Vibration Correction is omitted for Sony variant). At a fairly reasonable price of $1200, it ever so slightly undercuts the Nikkor 16-35mm f/4 VR lens (which also happens to be slower), significantly undercuts Canon’s 16-35mm f/2.8L II lens and matches the cost of the 16-35mm f/4L IS.
It always amazes me how I can live in an area for so long and be completely unaware of some fascinating image subjects. Thanks to Ray Miller, a local Photography Life reader, I had the chance to photograph a small group of Tundra Swans in their winter migration home on the Niagara River in Ontario.