Sp 24-70mm F/28 Di Vc Usd G2 Review

Tamron 24-70mm f/2.8 Di VC USD G2 Lens Review

Tamron was first. Many of united states of america had long-wanted a 24-70mm lens with both an f/ii.8 discontinuity and paradigm stabilization, but until the Tamron 24-70mm f/ii.eight Di VC USD Lens was introduced in 2012, nosotros had to choose i or the other. Since that lens was introduced, other manufacturers take slowly been providing us their own versions of this awesome combination. Following Nikon, the latest-prior version of this lens model was the Sigma 24-70mm f/ii.8 DG OS HSM Fine art Lens, which, with Sigma's reputation for the Art series lenses, speedily became a highly-anticipated model. Sigma announced that lens and roughly merely 5 weeks later, Tamron appear their 2nd version, bringing the "G2" treatment to this highly desired lens model.

How does the Tamron 24-70mm f/2.8 Di VC G2 Lens perform? That's what I wanted to know and hither is what I learned.

Focal Length Range

Although a specific focal length range is seldom a distinguisher between brands and models, focal length range remains a primary lens selection attribute. Focal length is particularly important in that it drives focus distance choices, which in turn determine perspective for the desired composition.

The 24-70mm focal length range, considered "normal" and roofing angles of view ranging from wide angle through short telephoto, is an platonic choice for a full general purpose lens. Practically all kits can make apply of a lens roofing this range and the uses for the lens are essentially countless.

A 24-70mm lens is an essential office of many mural and cityscape photography kits. At the 24mm end, this lens provides a very broad angle of view, able to simply accept in a vast scene and/or to evidence a strong perspective, creating a sense of presence in an prototype. At the same time, 24mm is not then wide that composition becomes overly challenging.

Using the 70mm end of the focal length range, smaller portions of a scene tin can be isolated. Distant mountains volition appear larger in proportion to closer elements and closer details can exist focused on.

A 24-70mm lens is practically a requirement in a wedding photographer's kit and an f/2.viii version of this lens oft becomes the most-used option in such a kit. At 24mm, environmental portraits that include the venue can be captured and by 70mm, people can be framed tight enough for head and shoulder portraits while retaining pleasing perspective (including normal-sized noses). This lens will work well for photographing a wide variety of events, from parents capturing informal birthday parties at home to photojournalists covering formal galas at big venues.

Architecture photographers are typically looking for linear-distortion-free lenses to go along their buildings and walls straight and though prime lenses are often utilized for this purpose, zoom lenses nearly always have almost-distortion-costless focal lengths platonic for such work. Selecting the lowest baloney focal length (in the low 30s) takes care of the distortion problem (and removal during post processing is always an option at other focal lengths).

Sports photographers able to get close to their subjects (such as basketball shot from over or under the net) or wanting to capture a wider/environmental view of their events capeesh this focal length range. This focal length range especially complements a seventy-200mm lens for sports uses.

Manner, portraiture, weddings, parties, events, documentary, lifestyle, travel, sports, architecture, land/city/nightscapes, around-the-firm needs, general studio applications including product photography and much more than. I'thou only getting the listing of uses for this lens started and the range of video uses for this lens is as broad as for stills.

Framing narrower on ASP-C (1.6x) cameras (total frame 36-105mm equivalent angle of view), the 24-70mm lens' uses shift away from wide angle landscapes/cityscapes/nightscapes and environmental portraits toward portraiture including more tightly-framed portraits. Near of the uses for this lens on an APS-C camera remain the aforementioned otherwise.

Here is an example of what this focal length range looks similar:

For a variety of other examples, visit the many other 24-70mm lens reviews on the site.

I seldom leave dwelling house without having this focal length range covered and such a lens is quite often mounted for around-the-home photography.

Max Aperture

With a few exceptions, f/2.eight is the widest discontinuity bachelor in a zoom lens and majority of those exceptions cover just the smaller APS-C image circle. And, as of review time, none of the wider-than f/2.viii full frame options attain across 35mm. So, the f/ii.eight aperture made bachelor over the entire 24-70mm focal length range is, for the near function, the all-time-available. This is a brilliant lens, significantly brighter than the lenses included in camera kits, significantly increasing its versatility past comparison.

A big advantage of a broad aperture is the amount of low-cal transmitted to the imaging sensor, allowing for lower ISO settings and allowing for shutter speeds capable of stopping both photographic camera and subject move blur in low calorie-free. I typically recommend f/two.eight as the minimum aperture opening for indoor sports such as basketball game. Besides, lenses with an opening wider than a specific aperture (usually f/ii.8) enable the higher precision AF capabilities (most oftentimes the eye AF point) in some cameras and present a brighter viewfinder paradigm than narrower discontinuity alternatives.

A disadvantage of a wide aperture is the increased physical size of the lens elements that are accompanied with a larger size, heavier weight and a higher cost.

Some other large wide discontinuity reward is the shallow depth of field available at the widest aperture, enabling distracting background details to be rendered out of focus if desired, isolating the bailiwick through the apply of shallow depth of field. The example above was created at this lens' minimum focus altitude, 70mm and f/ii.8, illustrating the maximum amount of background blur this lens is capable of.

Image Stabilization

Having a wide discontinuity is a great reward for any lens, increasing its usefulness in depression calorie-free, but VC (Vibration Bounty) significantly increases its versatility, improves its usability and, in many situations, profoundly improves the paradigm quality it delivers.

As already discussed, the prior version of this lens (nosotros'll phone call it the G1) also had VC. Featuring dual MPUs (micro-processing units), the G2 is now able to dedicate one MPU solely to vibration bounty, providing a more-consistently powerful bounty effect. The G2 is rated for an incredible 5-stops (CIPA) of assist, theoretically making the new lens handholdable in ane/2 as much light as its predecessor.

In do, under platonic conditions, using an ultra-high resolution Catechism EOS 5Ds R (higher resolution ways a camera must exist steadier to avoid mistiness), most of my 24mm images were sharp at ane/four 2d exposures. The keeper rate was however over 50% at .three seconds with blurred results becoming far more probable at longer exposures.

At 70mm, essentially all images were sharp at one/6 second exposures with a noticeable driblet-off in sharpness charge per unit seen at i/iv second. At exposures longer than 1/4 second, almost images were more blurred than I observe adequate for nearly uses. Curiously, nearly all of my .iv second test results were sharp forth with some .5 2d images. Either I was really on my game during that set, or there is a sweet spot in the organization.

Photographing exterior, maybe in the wind or with unstable footing? Wait to demand faster exposures than those I am reporting. Simply, also await a similar amount of assistance from VC as it is however similarly and significantly compensating for shake.

While VC is great for reducing camera shake in images, information technology is as well very helpful for critically framing a scene. Having the viewfinder view stabilized permits the shutter release to exist timed with the platonic composition.

In this system, the paradigm in viewfinder remains very stable when VC starts. A lite sound is heard when VC is activated and again when it is deactivated, but information technology is hard to hear the low-cal whirring and clicking when VC is active unless one's ear is immediately side by side to the lens. Drifting of the field of study framing while VC is active is not a problem and I do non notice myself fighting against VC while recomposing or following a subject.

Handheld video recording is nicely assisted by VC. VC as well provides a nevertheless subject area to the camera's AF system, permitting it to do its job better.

With the optional accessory Tamron TAP-in Console (more almost this afterwards), you tin can customize the configuration of VC. Options include Standard (default, balanced), Viewfinder image-stabilization priority (stabilization of viewfinder prototype is prioritized) or Capturing image-stabilization (stabilization of captured photograph is prioritized).

Prototype Quality

Before moving into the prototype quality analysis for this lens, allow's stop in at Tamron's marketing department to set our expectations especially high:

"The apply of new specialized, high quality drinking glass materials that offer greater optical transmittance are used in the new model A032 to ensure superior color reproduction and even greater sharpness. The A032 lens comprises 17 drinking glass elements in 12 groups, including: 2 XR (Extra Refractive Index) glass elements to counteract optical aberrations; three LD (Low Dispersion) elements to minimize axial chromatic aberrations that can occur with telephoto [lenses], as well as transverse chromatic aberrations that can be an issue with wide-angle; three GM (glass-molded aspherical) elements; and ane hybrid aspherical lens chemical element that effectively neutralizes spherical aberrations and distortions to create superior image quality. Cheers to a combination of these special glass materials, the A032 achieves previously unseen levels of accurate colour reproduction and depictive operation."

Also: "The new A032 features Tamron's original eBAND (Extended Bandwidth & Angular-Dependency) Coating, a engineering that combines an extremely-depression-refractive-index nano-structured layer with conventional multiple-layer coating techniques to provide superior anti-reflection performance. The optimal awarding of this eBAND Coating in combination with Tamron's BBAR (Broad-Band Anti-Reflection) Coating successfully and substantially curbs the ghosting and flare that tin occur when photographing backlit subjects."

Surely you are pumped at present. But, nosotros need to go along perspectives grounded with the agreement that the 24-70 G2 uses the same optical design as the G1.

In add-on, the MTF charts for the two lenses appear identical.

Putting the Tamron 24-70mm f/2.8 VC G2 Lens to the test ... the wide-open up aperture center-of-the-frame results at f/2.8 are very sharp at 24mm and 35mm. By 50mm, a slight degradation is seen and at 70mm, centre-of-the-frame results are somewhat soft at f/2.8. In the wider half of the range, stopping down to f/4 makes piffling difference in center-of-the-frame sharpness and really, none is needed. In the longer one-half of the range, specially at 70mm, stopping downward to f/4 brings a very significant improvement in image sharpness. This lens is very abrupt in the centre and mid-portions of the image circle at f/4 with little comeback seen at f/five.vi aside from the mid-frame areas showing slight farther improvement at 70mm.

Taking the testing outdoors, we next look at a pair of center-of-the-frame 100% resolution crops examples. These images were captured using an ultra-high resolution Canon EOS 5Ds R with RAW files candy in DPP (Digital Photo Professional) using the Standard Picture Style and sharpness set to only "one" (0-10 scale).

As expected, the 24mm and 35mm examples look very impressive even at f/2.eight and the 50mm and 70mm look improve at f/4. What yous might also find in the 50mm and 70mm examples is that this lens has some focus shift rearward at narrower apertures.

Here is an example showing this issue at 70mm:

At the longer focal lengths, the desired plane of focus remains similar in sharpness at narrower apertures as it does at f/2.viii (though positive is that it does not get out of focus), but the foreground does not show sharpness improvement until covered by the depth of field increase at f/eight.

Corner performance, especially on a lens of this class, by and large trails center-of-the-frame performance. At f/2.eight, the Tamron 24-70 VC G2's corners are somewhat soft at 24mm and they are rather soft over the mid and longer focal lengths. Corners are much improved at f/4 and the most improvement is seen over the range where it is needed most. At f/five.half-dozen, corners expect very nice over the entire focal length range and improvements at f/8 are hard to find exterior of the extreme corners which do evidence some final sharpening taking place at f/viii.

For a look at the worst-case scenarios, here are farthermost upper-left corner crops from the 50 MP EOS 5Ds R. These examples were manually-focused in the corner of the frame.

Overall, landscape photographers, perhaps the group that about-values corner image sharpness, will be very pleased with the results this lens produces at f/viii (though this 35mm example isn't amazing), an aperture by and large desired for depth of field purposes. When using the f/2.8 aperture, information technology is probable that photographers detect themselves non caring then much almost the corner performance (non always, but less oftentimes). And so, this lens will likely exist establish adequate for the needs of virtually in this respect.

Notation that we tested two copies of this lens. The results from both (from 3 cameras) are available in the site's image quality tool. Upon reviewing the results from the outset lens (included as sample 2), I opted to bring another lens in for testing. The second re-create did perform modestly meliorate, showing better symmetry at some focal lengths.

Full frame lenses always prove peripheral shading when used at their widest apertures on full frame cameras and this 1 is no different. The amount of shading ranges modestly by focal length with the strongest shading nowadays at 24mm. Expect corners to be darkened by just over 2.five stops at 24mm f/2.eight and by almost two stops over the residual of the focal length range. These amounts are not unusual, simply they are by and large noticeable. Almost 1 finish of shading is removed at f/four and at f/v.6 and narrower apertures, remaining vignetting ranges from 1.5 stops at 24mm down to .5 stops at 70mm

Peripheral shading is unlikely to exist noticed in images captured with this lens on APS-C sensor format cameras regardless of the aperture and focal length used.

The effect of different colors of the spectrum being magnified differently is referred to equally lateral (or transverse) CA (Chromatic Aberration). Lateral CA shows every bit color fringing forth lines of strong contrast running tangential (meridional, right angles to radii) with the mid and especially the periphery of the epitome circle showing the greatest corporeality as this is where the greatest difference in the magnification of wavelengths exists.

Lateral (or transverse) CA (Chromatic Aberration) is an imperfection I readily notice. This shows as unlike colors of the spectrum being magnified differently with the mid and especially the periphery of the prototype circle showing colour fringing along lines of strong contrast running tangential (meridional, correct angles to radii), where the greatest difference in the magnification of wavelengths exists. While lateral CA is normally hands corrected with software by radially shifting the colors to coincide, it is of course better to not take it in the first place. And, since Tamron does not industry cameras, it is extremely unlikely that camera manufacturers volition load the required lens contour in their cameras. That means lateral CA correction is non bachelor for JPG format epitome capture and that this CA volition be recorded in videos.

Rare is a zoom lens that has no lateral CA, so allow's expect at a worst-case instance (100% crops from extreme corners of ultra-high resolution 5Ds R frames). The top left corner is shown.

There should exist only black and white colors in these images and the additional colors are showing lateral CA. And then, a moderate corporeality of lateral CA is present at 24mm and 35mm, a lessor amount shows at 50mm with the colors reversing and showing stronger once more by 70mm.

A relatively mutual lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the various wavelengths of light, or more simply, dissimilar colors of light are focused to dissimilar depths. Spherical aberration along with spherochromatism, or a change in the amount of spherical abnormality with respect to colour (looks quite similar to axial chromatic aberration, but is hazier) are other common lens aberrations to look for. Centric CA remains at least somewhat persistent when stopping down with the colour misalignment effect increasing with defocusing while the spherical aberration colour halo shows lilliputian size modify equally the lens is defocused and stopping down 1 to 2 stops mostly removes this aberration.

In the real world, lens defects do not exist in isolation with spherical aberration and spherochromatism generally found, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-actualization paradigm quality at the widest apertures.

The bracelets in the above samples are silver in color, and so color variations should not exist and while there are some color differences between the foreground and background seen hither, including some slight purple fringing, the problems are relatively small.

Even with the sun in the corner of the frame and a narrow aperture in employ, this lens produces only very minor flare effects.

Coma is by and large recognized by abrupt contrast towards the center of an image and long, soft contrast transition toward the image periphery. Coma becomes quite visible mid-frame and in the corners of images captured at wide apertures and significantly resolves when the lens is stopped down. Astigmatism is another lens image quality attribute that is apparent in the corners and the pin-point stars in the night sky are a subject that makes these aberrations, along with some others, hands recognizable to me. The images beneath are 100% crops taken from near the corners of 5Ds R images. The all-time-performing of the acme ii corners (in that location are slight differences) were selected with the beginning two taken from the top left and the 2d two from the top correct.

Relatively speaking, the results at 24mm are groovy and the results at 35mm are not good (reflecting the outdoor corner sharpness case shared earlier). The 50mm and 70mm results autumn closer to the 24mm results.

This lens has barrel baloney at the wide end that transitions into negligible distortion and on into pincushion distortion at the long cease and that statement also describes all of the other 24-70mm lenses every bit well. The amount of distortion is moderate at 24mm. By 35mm, very slight pincushion distortion is setting in and this baloney slowly strengthens until condign modest at 70mm.

Geometric baloney makes framing a scene with direct horizontal lines, such as the bounding main, challenging every bit there are no lines parallel to the edges of the viewfinder or viewfinder gridlines. Cameras with electronic levels have a big advantage in overcoming this issue. Almost modernistic lenses have lens correction profiles bachelor for the pop image processing software titles and distortion can exist hands removed using these, but baloney correction is subversive at the pixel level and this technique is seldom every bit good as using a distortion-complimentary lens in the start place.

Bokeh, or the quality of the background mistiness, is a lens attribute photographers are often concerned about. It is also i of the hardest to evaluate, in part because the blurred appearance can vary greatly from background to groundwork. Hither are some (mostly) f/8 examples of out-of-focus specular highlights (mostly) to look at:

I included an f/2.eight example here to primarily evidence the roundness of a wide-open aperture. Stopped down, the aperture blades (9 of them) have much more of an effect on the results, though the effects remain reasonably round in this example. These results are all showing background blur (vs. foreground) except at 50mm where I included both. Foreground and groundwork blur does not always announced the same with the background blur commonly being my slight preference. In this case, the foreground blur at the longer focal lengths includes a very interesting beaded issue merely inside the perimeter. The vivid border with a darker ring just inside is typical and the smoothness of the blur is OK, showing some mottled-ness. The final 70mm example shows a tree turned into a smooth blur.

A 9-bract aperture stopped downward significantly creates 18-bespeak stars from point light sources and the effect created by this lens appears squeamish. Hither is an example:

Does the Tamron 24-70mm f/2.viii VC G2 Lens perform better optically than its predecessor, as marketing would have us believe? Probably non. Performance similar to the prior lens is more likely what y'all will find reality to be. All the same, that operation is decent and competitive. I'll provide more-detailed comparisons afterwards in the review, but this lens model will surely be the selected general purpose option for some.

Focusing

Equally indicated by the "USD" acronym in its proper name, the 24-70mm f/2.8 VC Lens, along with many of its recently introduced siblings, uses Tamron's very nice Ultrasonic Drive for autofocusing. This implementation of USD is quiet in operation, with but a light "shhhh" heard in quiet environments. The focus speed is decent and fine-tuning adjustments made after the initial near-in-focus state has been achieved are exceptional, at least when the subject field has a decent amount of contrast.

That focusing is internal and that FTM (Full Fourth dimension Manual) focusing is provided are both positive features of this lens.

Focus accurateness is of course quite important and this lens is as well a decent performer in this regard, delivering roughly ninety-95% of images in-focus when using the centre AF bespeak. Peripheral AF point performance did non fare as well, with this lens exhibiting noticeable front-focusing from both EOS 5Ds R models information technology was tested with. I look to be able to determine if this result is isolated to this specific lens or if this is a common attribute of this lens model (if you ain this lens, test it and let u.s. know what you find). I will notation that it is not unusual for third party lenses to show better AF accuracy using the middle AF point.

I was asked about the AF testing performed, and then I'll share that answer with you here: AF testing was very deliberate. A pair of EOS 5Ds R bodies were used for the testing. The cameras were tripod-mounted and a variety of subjects were used, all having an unmistakably large apartment surface with noticeable contrast for the camera to lock focus on (fabric is one example). Mirror lockup and the self timer were used to insure that camera motion was non a cistron. The test image count for this lens was approaching 800, each epitome taken with the lens initially defocused simply enough for re-focusing to be required. Lighting atmospheric condition ranged from straight sunlight to tungsten low-cal indoors at night. I know, at this point AF testing is sounding really exciting and you are all raising your hands to volunteer to help me with the next examination!

Of interest to some is that subjects change size a noticeable amount during focus altitude adjustment. Photographers using focus stacking techniques, videographers pulling focus and anyone very-critically framing a scene volition want to exist enlightened of this common issue.

Focus altitude settings are displayed inside a small window and available at a glance. Typical for a lens in this course is that DOF marks are not provided.

While not-cinema lenses are more often than not not parfocal and this aspect tin be private lens-specific, the review lens appears very shut to parfocal. Focus at 70mm and subjects remain in focus during a full extent zoom. Yous should test this aspect in your own lens before trusting this feature for production work, but ... this is one of the best-performing lenses I've used in this regard.

The manual focus band is very smooth with a dainty amount of dampening. The 110° of focus band rotation is ideal for precision work at 24mm with adjustments happening slightly fast at 70mm. Annoying is that 1 tested copy of this lens (out of five compared between myself and another individual) had an issue with the framing shifting somewhat left or right when the rotation direction was reversed. The focus ring beingness positioned to the rear of the zoom band is non my favorite design, though the narrow ring with tactilely-obvious rubber ribbing is easy to find and distinguish, yet small-scale enough to not get in the way a big amount.

With a 15.0" (381mm) minimum focus distance (MFD), this lens generates a 0.20x maximum magnification (MM). While that is a decent and very-useful spec overall, it lands this lens at the bottom of the list inside its class, the same as with its predecessor.

Model	MFD		MM
Canon EF 24-70mm f/ii.8L II USM Lens	xv.0"	(380mm)	0.21x
Nikon 24-70mm f/two.8E AF-S VR Lens	15.0"	(380mm)	0.28x
Nikon 24-70mm f/2.8G AF-South Lens	fourteen.4"	(366mm)	0.27x
Sigma 24-70mm f/2.8 DG OS HSM Fine art Lens	fourteen.6"	(370mm)	0.21x
Sony FE 24-70mm f/two.8 GM Lens	fifteen.0"	(380mm)	0.24x
Tamron 24-70mm f/2.viii Di VC USD G2 Lens	15.0"	(381mm)	0.20x
Tamron 24-70mm f/ii.8 Di VC USD Lens	fifteen.0"	(380mm)	0.20x
Tokina 24-70mm f/2.viii AT-10 Pro FX Lens	15.0"	(380mm)	0.21x

At minimum focus distance, an about-6.five" (165mm) discipline fills the width of a full frame viewfinder. The mums in the following maximum magnification example paradigm are each about 1.iii" (33mm) in diameter.

To reduce the MFD and thereby increment the MM, mount an extension tube backside this lens. Infinity and long altitude focusing are sacrificed with an ET in apply, but the minimum focus distance is very significantly shortened, increasing the maximum magnification significantly.

This lens is not compatible with Tamron's teleconverters.

Build Quality & Features

This is the third Tamron "G2" lens I've reviewed – the Tamron 150-600mm f/5-half-dozen.three Di VC USD G2 Lens was the first and the Tamron 70-200mm f/2.8 Di VC USD G2 Lens followed. The modernized design these lenses share is much-welcomed. From the streamlined shape to the multiple shades of matte black finish and modern font used for the markings, these lenses await not bad and feel at least every bit squeamish in paw.

Shown below is Tamron'due south original 24-70mm f/ii.viii VC lens to the left of the G2 version.

If you lot accept away the styling differences, the two lenses announced quite similar.

Consistent with the other G2 lenses is the metal construction, including the barrel exterior.

As normal for lenses of this class, the Tamron 24-70 G2 extends with focal length change. More than specifically, this lens extends by 1.22" (30.9mm) at the 70mm mark. Even at full extension, the 24-70 VC G2 lens is solid with no play. A lock switch is provided to agree the lens at the fully retracted position, though gravity-induced extension was not an event with the (new) lenses I used.

Normal for the G2 lenses introduced to date is that the zoom rings rotate in the Nikon-standard direction, opposite of the Catechism standard. Canon shooters will need to acclimatize to this directional change as it is not natural for usa to turn the other way. Tamron seems more confused about the direction the G2 focus rings should rotate with the 24-lxx and 70-200 rotating in the Nikon direction and the 150-600 rotating the opposite management, similar to Canon lenses. The directional differences can be seen in this visual comparison.

When using a zoom lens such every bit this handheld, I generally adopt to take my hand positioned and then that focal length adjustments can exist quickly fabricated. To have my fingertips on this zoom ring requires the focus ring to exist in my palm and that means any movement by the left hand after focusing, such as during recomposition, can negatively impact the focus setting. The other issue with the zoom ring position on this lens is that the balance point is just rear of where the palm is naturally positioned for zoom adjustments, meaning that the camera is slightly back-heavy and the correct hand needs to pick upwardly some of the balance role. Hold under the zoom ring and the camera is further unbalanced So, this pattern is not optimal for handheld apply, merely it is non a huge deal either. When shooting from a tripod or monopod, the ring locations are a non-upshot.

On the positive side, the zoom band is very nicely sized, is covered by sharply-ribbed rubber, is quite shine and zooms at an platonic charge per unit.

The pair of switches are nicely-positioned (and unremarkably-and so) with a skillful, positive feel.

This is a weather-sealed lens with gasketing illustrated above and the rear mount gasket shown below.

The front chemical element is fluorine-coated to avoid clay adherence and to make cleaning very easy.

Due to the relatively large lens elements required by their designs, none of the lenses in the 24-70 f/2.8 course would be considered lite by most. At the same time, none are terribly heavy and they are quite usable handheld for long periods of time. The 24-70 VC G2 finds itself mid-listing in terms of weight.

Model	Weight		Dimensions w/o Hood		Filter	Yr
Canon EF 24-70mm f/two.8L 2 USM Lens	28.4 oz	(805g)	3.5 x iv.iv"	(88.5 ten 113mm)	82mm	2012
Canon EF 24-70mm f/4L IS USM Lens	21.2 oz	(600g)	3.three 10 3.7"	(83.4 ten 93mm)	77mm	2012
Canon EF 24-105mm f/4L IS Two USM Lens	28.1 oz	(795g)	three.3 x 4.6"	(83.5 10 118mm)	77mm	2016
Nikon 24-70mm f/ii.8E AF-S VR Lens	37.viii oz	(1070g)	three.5 10 6.1"	(88.0 x 154.5mm)	82mm	2015
Nikon 24-70mm f/2.8G AF-S Lens	31.8 oz	(900g)	3.3 10 five.2"	(83.8 x 132.1mm)	77mm	2007
Nikon 24-120mm f/4G AF-S VR Lens	23.7 oz	(670g)	3.3 10 iv.1"	(84 ten 103mm)	77mm	2010
Sigma 24-70mm f/ii.eight DG Bone HSM Art Lens	36.0 oz	(1020g)	three.5 10 four.two"	(88.0 x 107.6mm)	82mm	2017
Sigma 24-105mm f/4.0 DG Os HSM Fine art Lens	31.2 oz	(885g)	3.5 10 4.3"	(88.6 x 109.4mm)	82mm	2013
Sony Iron 24-70mm f/2.8 GM Lens	31.3 oz	(886g)	3.iv 10 5.4"	(87.6 x 136mm)	82mm	2016
Tamron 24-70mm f/ii.8 Di VC USD G2 Lens	31.9 oz	(904g)	3.five x four.4"	(88.4 x 111.8mm)	82mm	2017
Tamron 24-70mm f/2.8 Di VC USD Lens	29.1 oz	(825g)	three.five x 4.3"	(88.ii 10 108.5mm)	82mm	2012
Tokina 24-70mm f/2.8 AT-X Pro FX Lens	35.ii oz	(998g)	3.five 10 4.two"	(89.vi x 107.5mm)	82mm	2015

For many more than comparisons, review the complete Tamron 24-70mm f/2.eight VC G2 Lens Specifications using the site's Lens Spec tool.

From a size perspective, nearly would consider this class of lens to be "mid-sized" and the 24-70 VC G2 also falls into the middle of this grade in this regard.

Above, from left to right, positioned by increasing credible size, are the following lenses:

Sigma 24-70mm f/2.8 DG OS HSM Art Lens
Tokina 24-70mm f/2.8 AT-X Pro FX Lens
Tamron 24-70mm f/2.8 Di VC USD G2 Lens
Canon EF 24-70mm f/2.8L Ii USM Lens
Nikon 24-70mm f/2.8G AF-S Lens
Sony FE 24-70mm f/2.8 GM Lens
Nikon 24-70mm f/ii.8E AF-S VR Lens

The same lenses are shown below fully extended with their hoods in place.

Use the site'southward product epitome comparing tool to visually compare the Tamron 24-70mm f/2.viii VC G2 Lens to other lenses.

As I mentioned in the Sigma 24-70mm f/2.viii Art review, it seems that the lens design guidebook for this era states that if information technology is a 24-70mm f/2.viii lens, it must have 82mm filter threads. That is what the above chart would lead the states to believe at to the lowest degree. Ten years ago, many of us were thinking that the 82mm filter size on the then-introduced Canon EF 16-35mm f/ii.8 L Two USM Lens was huge and that adding this filter size to kits was a nuisance. Since then, at to the lowest degree two dozen additional 82mm-threaded lenses take been introduced and this size, though notwithstanding rather large, is common and many kits are already aligned with this standard.

Take note that using a standard thickness circular polarizer filter will slightly increase light falloff in frame corners. A slim model such as the B+W XS-Pro is recommended for this lens. UV/clear lens protection filters tend to be slimmer than CP filters and I don't run across the standard ring thickness causing any mechanical vignetting.

Great is that Tamron includes a lens hood with all of their lenses. This hood is small-scale in size, though it provides a expert amount of protection to the lens from both touch on and flare-inducing calorie-free (at least at the wide end of the range). The hood is of potent molded plastic construction with only a slight amount of flex (which is good for absorbing bear on). The interior of the hood is mold-ribbed to avoid reflections. With a push button-push button design, this hood installs and removes very easily while remaining securely locked in place otherwise.

Tamron includes a drawstring lens pouch in the box. The bottom of the pouch is nicely padded, though the remainder of the case should be considered primarily useful for dust and scratch protection (vs. affect protection).

Tamron TAP-in Console

The Tamron 24-70mm f/2.8 VC G2 Lens is compatible with the Tamron TAP-in Console. The TAP-in Panel is basically a USB dock in the course of a robust lens mountain cap with electrical contacts and a USB port that enables the lens to exist connected to a computer.

Once the lens is fastened to the dock and the dock fastened to the estimator, the TAP-in Utility checks for a firmware update to itself and the software app then communicates with the lens and checks for whatsoever available lens firmware updates. If an update is available, a dialog box is presented, providing the choice to update the lens. In that location have been a number of Tamron lens firmware updates released recently, addressing compatibility and other issues. Having the TAP-in Panel makes those updates very fast and easy, especially compared to the alternative of shipping a lens to a service eye.

Inside the TAP-in Utility app, most will find the commencement tab, Focus Adjustment, to be the most important. Autofocus adjustments tin exist fabricated at 4 focal lengths with 3 focus distance adjustments available at each focal length for a full of 12 adjustments available (I made up the adjustment numbers in the example shown above). That is plenty adjustability to dial in the calibration of the nigh hard camera and lens combinations – and plenty to bulldoze perfectionists (nearly) crazy. A focus Limiter tab is provided; however, this lens does non offering the ability to customize the autofocus distance range (the full range is e'er enabled). The last tab, Miscellaneous, provides control over full time manual focus override and the VC mode.

Price and Value

The purchase of the Tamron 24-70mm f/2.8 VC G2 Lens could be justified by various attributes, simply price is going to be one of the bigger reasons the Tamron is selected. With skilful operation at one of the lowest price points in its class, this lens represents a good value.

The Tamron 24-70mm f/2.eight VC G2 Lens is available in Catechism (reviewed) and Nikon mounts. My standard disclaimer: There are potential bug with third-political party lenses. Since Tamron reverse engineers (vs. licenses) manufacturer electronics and algorithms, at that place is always the possibility that a DSLR body might not support a (likely older) third-party lens. Usually a lens can be made uniform by the manufacturer via a firmware update, but this cannot be guaranteed. Compatibility with the Tamron USB Tap-In Panel is risk reducing as Tamron can make console-uniform lens firmware updates available for download. Tamron USA'southward express 6-year warranty is grade-leading.

The ii lenses utilized for this review were online/retail sourced.

Alternatives to the Tamron 24-70mm f/ii.eight VC G2 Lens

Having simply reviewed the Sigma 24-70mm f/two.8 Bone Fine art Lens, much of this review feels like a do-over and the comparison lenses are identical. But, the lens existence compared is not the same, so I'll revisit the rather-long list. Note that these lenses are very like in operation and specs, then the comparisons may seem express for this reason.

A large pct of those considering purchase of the 24-70mm VC G2 Lens include photographers who currently ain the Canon EF 24-70mm f/2.8L 2 USM Lens (or who are alternatively considering the purchase of it). In the Catechism vs. Tamron comparison at f/ii.8, we see these two performing similarly in the center at the wider focal lengths. The Canon has a minor border in the corners at these focal lengths. By 50mm, the Canon's performance becomes notably ameliorate and even includes the eye of the frame. The difference in the corners is non as strong at 70mm, but the Catechism is all the same noticeably sharper in the centre.

Of course, if y'all cannot use a tripod and cannot concord the lens stable enough for sharp images, the Tamron's VC will quickly flip the Canon advantages. The differences are reduced at f/4, but interestingly, the Tamron is the improve performer in the mid-range focal lengths at this aperture.

The Canon has less barrel distortion at 24mm. These two lenses are like in size with the Tamron weighing 3.5 oz (99g) more than. The Canon'south rear-positioned zoom ring is a much meliorate design, but for sure you will like the Tamron'due south roughly-30%-lower price tag better.

Perhaps the most-direct competitor to the Tamron 24-70mm Fine art Lens is the Sigma 24-70mm f/two.viii DG Bone HSM Art Lens. In comparison at f/ii.8, the Tamron is sharper in the center of the frame than the Sigma, except at 70mm, with the Sigma having the edge in the mid-range periphery. Differences are significantly minimized at f/four.

The Tamron has slightly stronger barrel distortion at 24mm. The Tamron is iv.1 oz (115g) lighter and the Tamron is slightly shorter. The Tamron's VC (Vibration Control) is rated 1 end higher than the Sigma's OS (5 stops vs. 4) and the Tamron has a modestly lower price tag at review fourth dimension.

Some other third-party lens currently bachelor is the Tokina 24-70mm f/2.8 AT-X Pro FX Lens. At f/2.8, the two lenses perform rather similarly with the Tokina being notably sharper in the middle-of-the-frame at 70mm. At f/4, as expected, the differences are minimized with the Tokina still being slightly sharper in the center at 70mm and the Tamron taking some of the mid-range periphery contests.

The Tokina has slightly less butt distortion and weighs slightly less. The Tamron has a considerably more-modern overall blueprint, though the Tokina has the rear-positioned zoom ring I prefer. The Tamron includes VC and the Tokina has a lower toll.

Nikon currently has 2 direct Tamron 24-70 f/two.8 Art Lens competitors. These are the Nikon 24-70mm f/2.8G AF-S Lens and Nikon 24-70mm f/2.8E AF-S VR Lens.

In the Nikon VR vs. Tamron Fine art lens comparison at f/2.viii at the wider focal lengths, I see the Nikon performing better in the periphery and the Tamron turning in slightly better center performance. The two are more than equal toward the longer end. At f/4, both lenses are performing well, though I would give the edge to the Tamron if I have to choose.

Noticeable is that the Nikon VR has more lateral CA overall, peculiarly in the mid focal lengths, though the Tamron has more at the long stop. The Nikon has slightly stronger geometric distortion, showing more butt distortion at 24mm and stronger pincushion baloney from 35-70mm. The Nikon is significantly longer than the Tamron and weighs 5.9 oz (165.7g) more. The Tamron provides 110° of focus ring rotation compared to the Nikon'south 65°. The Nikon has the maximum magnification advantage with a 0.28x spec vs. the Tamron'due south 0.20x. That 2 of the Tamron G2 lenses could be purchased for a couple of dollars more than a single Nikon VR, the highest-priced lens being compared hither, leaves a mark on this comparison.

We have non tested the non-VR Nikon lens on the Nikon D810 yet, but nosotros exercise accept results from the D3X which are available to nicely compare against Canon 1Ds 3 results. In this comparison, I'd give the Nikon the edge at f/2.eight throughout the focal length range, though information technology has more lateral CA with 70mm being an exception in that regard. At f/iv, the winner of the comparing is primarily a coin flip with the Tamron having the lateral CA advantage.

The Nikon has less peripheral shading, most-noticeably at the ends of the focal length range, and the Tamron shows fewer flare furnishings at the wide end. While these two lenses take unlike geometric distortion profiles, it is challenging to declare either a winner overall. The Tamron provides 110° of focus ring rotation compared to the Nikon'due south 72°. Again, the Nikon'due south 0.27x maximum magnification spec is considerably advantaged over Tamron's 0.20x. The Nikon is noticeably longer, though the two lenses are similar in weight. The Nikon uses 77mm filters vs. the Tamron's 82mm size. The not-VR Nikon option is more-attractively priced than the VR analogue, but it is still considerably more expensive than the Tamron.

Sony-based systems can make utilize of the Tamron 24-70mm f/2.8 Bone Art Lens via a Catechism EF to Sony E Mount Adapter. The native-mount Sony Iron 24-70mm f/2.8 GM Lens will exist the direct competition for these kits. In the Tamron vs. Sony comparison at f/2.8, the Sony shows itself to be the modestly sharper lens at almost focal lengths and information technology also shows less lateral CA at 70mm. Advantages for either lens are slim at f/4.

The Tamron shows fewer flare furnishings. The Sony has less baloney at 24mm, but more over most of the balance of the range. The Tamron is notably shorter with the two being nearly equal in weight. The Sony lens has a modestly higher 0.24x maximum magnification spec vs. the Tamron's 0.20x. The Sony option, without the need for an adapter, would be expected to perform better from AF and frame rate perspectives. The Sony is the considerably-more-expensive option, simply the price of the adapter takes a noticeable bite out of that difference.

If you don't need the f/2.8 aperture, there are a number of f/iv lenses that cover or exceed the 24-70mm focal length range and all are worth because. All else being equal, a narrower max aperture means smaller size, lighter weight and lower toll. In full general, look an f/2.8 lens in this focal length range to be sharper than an f/four lens at f/four. All predictions are off the table at f/five.6.

Here are some options to consider:

Canon EF 24-70mm f/4L IS USM Lens
Catechism EF 24-105mm f/4L IS Two USM Lens
Nikon 24-120mm f/4G AF-Southward VR Lens
Sigma 24-105mm f/4.0 DG OS HSM Fine art Lens

A primary downside to consider when selecting an f/4 lens is that twice as much lite is required to stop camera and subject action.

Summary

When I reviewed this lens' predecessor, I stated that it was currently the only full frame-compatible lens available in the 24-70mm focal length range with both an f/2.8 max aperture and Vibration Command. While that statement no longer holds truthful, this combination remains very attractive.

And although this lens is non inexpensive, information technology is priced less than well-nigh of its competition and it represents a good value. I'd like the zoom ring to be positioned behind the focus ring and for better peripheral AF signal accurateness, just with a highly-useful focal length range, depression low-cal action stopping capabilities, extreme low low-cal manus-holding capabilities, very practiced overall prototype quality and a nice build quality, the Tamron 24-70mm f/2.8 VC G2 Lens is a practiced option for the potentially-almost-used lens in the kit.

Bringing you this site is my full-time task (typically 60-80 hours per week). Thus, I depend solely on the commissions received from you using the links on this site to make whatsoever purchase. I am grateful for your support! - Bryan

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Source: https://www.the-digital-picture.com/Reviews/Tamron-24-70mm-f-2.8-Di-VC-USD-G2-Lens.aspx

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