Tamron SP AF 10-24mm f/3.5-4.5 Di II LD Lens Review

Manufacturer ID: B001C700Review Date: 2011/03/18

The biggest advantage the Tamron 10-24mm f/3.5-4.5 Di II Lens has over the other ultra-wide angle lenses is its price. The 10-24's USA price varies based on the amount of the rebate that, at review time, is typically available for it - but a $50-$100 price advantage over the next-most inexpensive lens, the Sigma 10-20mm f/4-5.6 EX DC Lens is not unusual.

I've been rather hard on the Tamron 10-24mm f/3.5-4.5 Di II Lens in the recent ultra-wide angle lens reviews I've been creating. This lens and I got off to a rough start. The first two copies I purchased had to be returned due to significant focus calibration problems. The first copy front-focused and the second copy front focused at 24mm. Fortunately, the third copy is focusing accurately most of the time.

The bigger reason for my negative tone for this lens is the poor wide open image quality it delivers. I include results for two copies of the Tamron 10-24 in the ISO 12233 chart tool. Both show very soft wide open results and results are still not impressive even at f/8 at 24mm. I'll discuss this aspect in more detail later in the review.

The Tamron 10-24mm f/3.5-4.5 Di II Lens sample picture above was taken with a Canon EOS 60D at 10mm, f/8. Notice the perspective distortion achieved by angling the camera upward from a close vantage point.

Getting the proper focal length or focal length range is a very important criterion when selecting a lens. And the first attraction to any ultra-wide zoom lens is in fact the ultra-wide focal length range, so let's review what this focal length range looks like. Being a Tamron "Di II" (Digital Camera) lens, the Tamron 10-24mm f/3.5-4.5 Di II Lens has a smaller-than-full-frame image circle designed to work only on APS-C/1.6x/1.5x FOVCF DSLRs. All of the ultra-wide angle lenses compared in this review are the same in regards to this smaller image circle. Thus, the focal lengths shown for all of the lenses below are similar to 1.6x longer focal lengths on a full frame SLR or DSLR. The Tamron's 10-24mm focal length range frames like a 16-38.4mm lens frames on a full frame DSLR.

All of the following sample images were shot from the same tripod-mounted camera position. These uncropped-but-greatly-reduced images were shot using the Standard Picture Style, AWB (Auto White Balance) and a manual exposure of 1/160 and f/11. Exposures were reduced by .67 EV and a small amount of saturation was added using DPP (Canon's Digital Photo Professional).

Tamron 10-24mm f/3.5-4.5 DI II Lens10mm | 13mm | 15mm | 18mm | 20mm | 24mm

Sigma 8-16mm f/4.5-5.6 DC HSM Lens  8mm | 10mm | 12mm | 14mm | 16mm

Sigma 10-20mm f/3.5 EX DC HSM Lens10mm | 12mm | 14mm | 16mm | 20mm

Sigma 10-20mm f/4-5.6 EX DC HSM Lens10mm | 12mm | 14mm | 16mm | 20mm

Tokina 11-16mm f/2.8 AT-X Pro DX Lens11mm | 12mm | 13mm | 14mm | 15mm | 16mm

For most people, the ultra-wide angle zoom lenses are so wide that they are not going to be the ideal general purpose lens. But they do make a great complement to a general purpose lens.

You likely have an APS-C general purpose lens with a 17 or 18mm wide end - or perhaps a full frame lens with a 24mm wide focal length. You can match (or closely match) one of the sample results above with your widest focal length to determine how the rest of the available focal lengths align with what you already have. When deciding which focal length range is best for you, consider the lens(es) you already have and how the ultra-wide angle zoom focal length range aligns with it. Also consider which focal length range you need in the lens that is mounted while using this lens (with no lens change required).

In terms of focal length ranges, the focal length numbers mostly tell the difference. 8mm is wider than 10mm and 24mm is longer than 20mm. The Tamron 10-24mm f/3.5-4.5 Di II Lens has the longest overall focal length range of this comparison group.

Use ultra-wide angle focal lengths to emphasize a foreground subject in relation to a mostly-in-focus background. Landscape and architecture (indoor and outdoor) photographers are two groups with a need for such angles of view. If photographing people is your goal, keep your distance when using this lens - unless perspective distortion is also your goal.

Know that built-in flash coverage on most DSLRs will not be wide enough to cover much of the focal length range of this lens. Plan on an alternative method of flash lighting/diffusion if planning to use flash with this lens.

Like most of the lenses in this class, the Tamron 10-24mm f/3.5-4.5 Di II Lens has a relatively narrow max aperture, and the max aperture changes over the focal length range. This means that wide open aperture exposure values will change as the lens is zoomed to longer focal lengths.

Here is a table that compares the max aperture for these lenses.

Model	f/2.8	f/3.2	f/3.5	f/4.0	f/4.5	f/5.0	f/5.6
Canon EF-S 10-22mm f/3.5-4.5 USM Lens			10mm	13mm	18mm
Sigma 8-16mm f/4.5-5.6 DC HSM Lens					8mm	8mm	13mm
Sigma 10-20mm f/3.5 EX DC HSM Lens			10mm
Sigma 10-20mm f/4-5.6 EX DC HSM Lens				10mm	11mm	12mm	16mm
Tamron 10-24mm f/3.5-4.5 DI II Lens			10mm	14mm	21mm
Tokina 11-16mm f/2.8 AT-X Pro DX Lens	11mm

The two fixed max aperture lenses in this group, the Sigma 10-22 f/3.5 and the Tokina 11-16 f/2.8, hold the aperture advantage. The Tamron 10-24's max apertures are 1/3 stop wider than the Canon 10-22's max apertures at 4 focal lengths, giving this lens a slight advantage over the other variable max aperture lenses in this group.

While Tamron 10-24mm f/3.5-4.5 Di II Lens may have comparably favorable max aperture settings available, you may not want to use them. The image quality the Tamron 10-24 delivers at these wide open apertures is poor - images are very soft across the frame. Stopping down to f/5.6 makes a big difference in the quality of the image. At f/5.6, only the corners are soft at 10mm. The center of the frame remains sharp at f/5.6 through 24mm, but the corners and mid-frame areas grow softer with the focal length increase until only the very center of the frame is sharp at 24mm. Slight additional improvement is seen at f/8, but 24mm results remain unexciting.

Usual for this type of lens is a moderate amount of barrel distortion at the wide end of the focal length range. Unusual for this type of lens is that a slight amount of barrel distortion remains at the long end of the focal length range. Far more typical is for pincushion distortion to be present from the mid through long segment of the focal length range.

CA (Chromatic Aberration) is noticeable through the entire focal length range - primarily in the corners and stronger at the wide end.

With a wide open aperture, the Tamron 10-24mm f/3.5-4.5 Di II Lens has about 2 stops of peripheral shading at 10mm with between 1 and 1.2 stops of shading over the balance of the focal length range. Wide open, the Tamron 10-24 compares well against the other lenses in this class in this regard. Surprising is how little vignetting is reduced when a stopped down aperture is used.

A bright light, such as the sun, in the frame at 10mm is going to result in strong flare effects in your image. The amount of flare effects seen diminishes to nearly none at 24mm.

Bokeh (background blur quality) is not easy to discern in a lens this wide - and is not real important for the uses I have for a lens such as this one. In the 10-24mm range, OOF details generally remain tiny, but this 7-aperture-blade lens does not produce especially nice blur quality.

Unless you are using manual focus, focus accuracy is very important to final image quality. I have encountered focus accuracy problems with many 3rd party lenses and, as I said at the beginning of this review, I had to return my first two Tamron 10-24mm f/3.5-4.5 Di II Lenses. The third lens focuses accurately most of the time.

The Tamron 10-24mm f/3.5-4.5 Di II Lens internally focuses slowly and audibly. The focus ring turns during AF and FTM (Full Time Manual) focusing is not available. The filter rings do not rotate with focusing.

The raised AF/M switch is easy to reach with the left thumb. Force required to rotate the adequately-sized manual focus ring ranges from light at infinity to moderately-firm at the closer distances. While not the smoothest ring, it has no play or wobble in it. The Tamron 10-24 focus ring turns in the opposite direction of Canon's focus rings. Focus distances are well marked and printed on the focus ring. Focus breathing (image changes size when focusing) is not an issue with this lens.

In the short distance focusing category, the Tamron 10-24mm f/3.5-4.5 Di II Lens turns in best-in-class performance.

Model	MFD		MM
Canon EF-S 10-22mm f/3.5-4.5 USM Lens	9.4"	(240mm)	0.17x
Sigma 8-16mm f/4.5-5.6 DC HSM Lens	9.4"	(239mm)	0.13x
Sigma 10-20mm f/3.5 EX DC HSM Lens	9.4"	(240mm)	0.15x
Sigma 10-20mm f/4-5.6 EX DC HSM Lens	9.4"	(240mm)	0.15x
Tamron 10-24mm f/3.5-4.5 DI II Lens	9.4"	(240mm)	0.20x
Tokina 11-16mm f/2.8 AT-X Pro DX Lens	11.8"	(300mm)	0.09x

A .20x MM (Maximum Magnification) value will not cause this lens to be confused with a macro lens, but the value is easily high enough to produce a dramatic perspective at 10mm.

Review Lens:  MFD | ∞    MFD | ∞    w/ Hood:  MFD | ∞    MFD | ∞    Rotated        Compare >

The rear-positioned (where I like it), strongly-ribbed zoom ring is adequately sized and has a nice amount of rotation. This is not the smoothest zoom ring available, but it is not bad - and has no play or wobble. Zoom ring rotation is in the opposite direction of Canon lenses (the same as Nikon lenses). The Tamron 10-24mm f/3.5-4.5 Di II Lens does change size slightly when zooming, reaching full extension 20mm and full retraction at 14mm.

The overall shape of this lens is smooth with ribs raised slightly higher on the focus ring than on the zoom ring. The objective end of the lens has a wider diameter than the rest of the lens.

The petal-shaped lens hood is included. Tamron's center-and-side-pinch front lens caps are very nice, but the install-in-one-position-only rear caps are not my favorite.

The Tamron 10-24mm f/3.5-4.5 Di II Lens, like the others in its class, is nicely sized for use. Compare the size and shape of the Tamron 10-24mm f/3.5-4.5 Di II Lens with some other lenses in its class below. Lenses arranged from short to tall in retracted position, are the:

Sigma 10-20mm f/4-5.6 EX DC HSM Lens
Tamron 10-24mm f/3.5-4.5 DI II Lens
Canon EF-S 10-22mm f/3.5-4.5 USM Lens
Tokina 11-16mm f/2.8 AT-X Pro DX Lens
Sigma 10-20mm f/3.5 EX DC HSM Lens
Sigma 8-16mm f/4.5-5.6 DC HSM Lens

The physical size differences between these lenses are not significant. The same lenses are shown below fully extended with their hoods in place.

Again, the physical size differences between these lenses are not significant - and all of these lenses have a very nice-to-use size.

Model	Weight		Dimensions w/o Hood		Filter	Year
Canon EF-S 10-22mm f/3.5-4.5 USM Lens	13.6 oz	(385g)	3.3 x 3.5"	(84.0 x 90.0mm)	77mm	2004
Sigma 8-16mm f/4.5-5.6 DC HSM Lens	19.6 oz	(555g)	3.0 x 4.2"	(75.0 x 105.7mm)	na	2010
Sigma 10-20mm f/3.5 EX DC HSM Lens	18.4 oz	(520g)	3.4 x 3.5"	(87.3 x 88.2mm)	82mm	2010
Sigma 10-20mm f/4-5.6 EX DC HSM Lens	16.6 oz	(470g)	3.3 x 3.2"	(83.3 x 81.0mm)	77mm	2008
Tamron 10-24mm f/3.5-4.5 DI II Lens	14.3 oz	(406g)	3.3 x 3.4"	(83.2 x 86.5mm)	77mm	2010
Tokina 11-16mm f/2.8 AT-X Pro DX Lens	19.8 oz	(560g)	3.3 x 3.5"	(84.0 x 89.2mm)	77mm

The Tamron 10-24mm f/3.5-4.5 Di II Lens has a plastic feel to it, but the overall build quality appears to be good. A weight of 14.3 oz (406g) places this lens near the bottom of the class.

The 77mm filter size is a very common one. If considering the use of a circular polarizer filter, be aware that very uneven results are likely when used at 10mm on this lens.

For many more comparisons, review the complete Tamron 10-24mm f/3.5-4.5 Di II Lens Specifications using the site's Lens Spec tool.

Here is one more look at these lenses on a Canon EOS 60D with a Canon BG-E9 Battery Grip.

Tokina 11-16mm f/2.8 AT-X Pro DX Lens No Hood  |  Hood 

Canon EF-S 10-22mm f/3.5-4.5 USM Lens No Hood  |  Hood 

Sigma 8-16mm f/4.5-5.6 DC HSM Lens No Hood  |  Hood 

Sigma 10-20mm f/3.5 EX DC HSM Lens No Hood  |  Hood 

Sigma 10-20mm f/4-5.6 EX DC HSM Lens No Hood  |  Hood 

Tamron 10-24mm f/3.5-4.5 DI II Lens No Hood  |  Hood 

I created an image quality comparison that I have included in the other ultra-wide lens reviews and will again include it here in the Tamron 10-24mm f/3.5-4.5 Di II Lens review. I have divided the comparison into two sets of results - one for wide focal lengths and one for long. These images were captured under a clear sky with a Canon EOS Rebel T2i. RAW image format was used along with the Standard Picture Style. Sharpness was set down to "1" (very low).

Shown are 100% crops from a position very close to the lower left corner of the frame (the ISO 12233 image quality comparison tool uses crops from the center and the right side of the frame). The corner of the frame is typically where image quality is at its worst. The camera was positioned such that this scene remained in the same area of the frame for each lens/focal length change. Identical focal lengths are not always being compared - use discernment when comparing images with differently-enlarged details. Note that the effects of diffraction become noticeable at f/11 and especially f/16 in these Rebel T2i examples.

I am comparing a lot of lenses in this review, but I'm going to include an additional set of Tamron 10-24mm f/3.5-4.5 Di II Lens-specific mouseover bars above the first comparison (the balance of the links require a mouse-click).

Tamron 10-24mm f/3.5-4.5 DI II Lens10mmf/3.5 | f/4.0 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Tamron 10-24mm f/3.5-4.5 DI II Lens24mmf/4.5 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Sigma 8-16mm f/4.5-5.6 DC HSM Lens  8mmf/4.5 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Canon EF-S 10-22mm f/3.5-4.5 USM Lens10mmf/3.5 | f/4.0 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Sigma 10-20mm f/3.5 EX DC HSM Lens10mmf/3.5 | f/4.0 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Sigma 10-20mm f/4-5.6 EX DC HSM Lens10mmf/4.0 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Tamron 10-24mm f/3.5-4.5 DI II Lens10mmf/3.5 | f/4.0 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Tokina 11-16mm f/2.8 AT-X Pro DX Lens11mmf/2.8 | f/4.0 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Sigma 8-16mm f/4.5-5.6 DC HSM Lens12mmf/5.0 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Sigma 8-16mm f/4.5-5.6 DC HSM Lens16mmf/5.6 | f/8.0 | f/11.0 | f/16.0

Tokina 11-16mm f/2.8 AT-X Pro DX Lens16mmf/2.8 | f/4.0 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Sigma 10-20mm f/3.5 EX DC HSM Lens20mmf/3.5 | f/4.0 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Sigma 10-20mm f/4-5.6 EX DC HSM Lens20mmf/5.6 | f/8.0 | f/11.0 | f/16.0

Canon EF-S 10-22mm f/3.5-4.5 USM Lens22mmf/4.5 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Tamron 10-24mm f/3.5-4.5 DI II Lens24mmf/4.5 | f/5.6 | f/8.0 | f/11.0 | f/16.0

Here are some comparison thoughts:

The Sigma 8-16mm f/4.5-5.6 DC HSM Lens shifts the focal length range to the wide end. The Tamron has a wider aperture than the Sigma 8-16, but the Tamron's wide open image quality is far worse. Stopped down to match the Sigma 8-16's aperture, the Tamron puts forth a much better showing, but still lags behind the Sigma 8-16's image quality at the long end of the 8-16's range - especially in the corners. Sigma's HSM AF is nicer than Tamron's AF. The Tamron has noticeably more CA, slightly more flare, is a bit lighter and accepts front filters. The Tamron is easily the least expensive lens in this comparison.

The Canon EF-S 10-22mm f/3.5-4.5 USM Lens is a sharper lens and has a better AF system. The Tamron has less vignetting at wide open apertures though the two lenses are similar in this regard when stopped down. Again, the Tamron is easily the least expensive lens in this comparison.

The Sigma's 10-20mm f/3.5 EX DC HSM Lens I purchased performs worse on the left side of the frame than on the right - even after being sent to Sigma Service. So, the Tamron 10-24mm f/3.5-4.5 Di II Lens competes reasonably well in the above comparison - but I think that the Sigma is a better lens. The Sigma turns in, overall, better image quality. Except at 10mm, the Tamron has less vignetting at wide open apertures. Stopped down, the two are similar, but the Sigma has the edge at 10mm. The Sigma also has the edge in the flare comparison at 10mm. The Tamron's 10mm barrel distortion is easier to correct than the Sigma's 10mm wave-type barrel distortion. Sigma's HSM AF is nicer than the Tamron's AF. To the Tamron's advantage are lower cost, slightly lighter weight and an extra 4mm of focal length on the long end.

The Sigma 10-20mm f/4-5.6 EX DC HSM Lens is the second least expensive lens in this group. Wide open, the Sigma produces a much sharper image. However, the Tamron has a generally-wider max aperture. This comparison is closer at f/5.6, but I still give the Sigma my vote. The Sigma has more vignetting. Sigma's HSM AF is nicer than the Tamron's AF. To the Tamron's advantage are lower cost, slightly lighter weight and an extra 4mm of focal length on the long end.

The Tokina 11-16mm f/2.8 AT-X Pro DX Lens has a significant max aperture advantage over all of the other lenses in this test group, making it a better choice for stopping action in low light. The Tokina is a sharper lens and shows less vignetting, but tends to show flare more easily. The Tokina does not extend. The Tamron has a longer focal length range, is lighter and again, less expensive.

The Tamron 10-24mm f/3.5-4.5 Di II Lens is available in Canon (reviewed), Nikon, Pentax and Sony/Minolta mounts. My standard disclaimer: There are some potential issues with third party lenses. Since Tamron reverse engineers (vs. licenses) manufacturer AF routines, there is always the possibility that a DSLR body might not support a (likely older) third party lens. Sometimes a lens can be made compatible by the manufacturer, sometimes not. There is also the risk of a problem that results in the lens and body manufacturers directing blame at each other. Tamron USA's 6-year warranty is far superior to Canon's standard 1 year warranty (Tamron's international warranty is also 1 year).

Picking the best ultra-wide angle lens for your needs is not easy. I've liked the Canon EF-S 10-22mm f/3.5-4.5 USM Lens since it became available - it remains one of the best choices. TheSigma 8-16mm f/4.5-5.6 DC HSM Lens is also a good option - I especially like its extremely wide angles of view. The Tokina 11-16mm f/2.8 AT-X Pro DX Lens' f/2.8 aperture is very nice. And the two Sigma 10-20mm lenses are more fine options from this review list.

My experience with the Tamron 10-24mm f/3.5-4.5 Di II Lens leads me to recommend one of these other just-listed options for your ultra-wide angle lens unless your budget is your primary concern. And if you decide that the Tamron 10-24mm f/3.5-4.5 Di II Lens is what you can afford, you will likely be happy with what you get for your money. Shoot stopped down and avoid the longest focal lengths. If you don't have an ultra-wide angle lens for your APS-C DSLR, definitely get one.

Get the full and actual review here http://www.the-digital-picture.com/Reviews/Tamron-10-24mm-f-3.5-4.5-DI-II-Lens-Review.aspx

Tamron AF 18-270mm f/3.5-6.3 Di II VC LD Aspherical (IF) MACRO

Well I pick up this amazing lens a couple of days ago, but haven't had much time to play with it yet, but I am prett impressed with the little that I have.. I really like the fact I can take a couple of lenses out of my pack bag. And so far I am really impressed with the quality of the image at 270mm freehand, they are all very sharp.. Ill post more as I play more

My Next Lens the Tamron 18-270 Di II VC LD Aspherical Lens

http://www.dpreview.com/lensreviews/tamron_18-270_3p5-6p3_vc_n15/

  1. Introduction 2. Design and Operation 3. Test results 4. Conclusion & samples ---------------- > Buy this product < Back to lens reviews index  

Tamron AF 18-270mm f/3.5-6.3 Di II VC LD Aspherical (IF) MACRO review December 2008 | Andy Westlake The latest design to emerge from the stable of superzoom experts Tamron, the AF 18-270mm f/3.5-6.3 Di II VC LD Aspherical (IF) MACRO was announced in July 2008. The length of the zoom range is almost as remarkable as that of the lens's name itself, with the 15x ratio covering everything from a 28mm equivalent wideangle to a 420mm equivalent telephoto. This is unprecedented in terms of SLR optics, and is clearly aimed at users upgrading from superzoom digicams who require a similar focal length range without the inconvenience of changing lenses. It also makes a compelling option as an all-in-one travel/'walkabout' solution. A minimum focus distance of just 0.5m throughout the zoom range, and the incorporation of optical image stabilization (or 'Vibration Compensation' as Tamron call it) enhance the lens's flexibility still further. It is available only in mounts for Canon and Nikon DSLRs; presumably Pentax and Sony owners will continue to be served by Tamron's existing 18-250mm F3.5-6.3, with image stabilization provided by the camera body. Making a lens with such an extraordinary range is always gong to require some pretty clever engineering, and Tamron's design team have clearly been burning the midnight oil on this one. The optical formula features no fewer than 18 elements in 13 groups, including three aspherical elements and two Low Dispersion (LD) glass elements for the control of aberrations. A 'double-trombone' mechanical design allows the lens to almost double in length between 18mm and 270mm, whilst keeping the overall size and weight very similar to competing 18-200mm lenses. The 18-270mm F3.5-6.3 VC will compete head-to-head in the 'stabilized superzoom' market with theCanon EF-S 18-200mm F3.5-5.6 IS, Nikon 18-200mm f/3.5-5.6G IF-ED AF-S VR DX, and Sigma 18-200mm F3.5-6.3 DC OS, but offering the benefit of substantially extended telephoto range. Tamron hails it as 'The Ultimate All-In-One Zoom: Longest, Steadiest Lens On Earth', and while it seems likely that this phrase may have lost something in translation, it does give a good impression the lens's appeal. But can such a general-purpose optic actually be any good? Headline features 27-405mm equivalent focal length range; F3.5-6.3 maximum aperture Vibration Compensation (VC) optical image stabilisation (up to 4 stops) Available for Canon EF mount and Nikon F mount (APS-C/DX format DSLRs only) Angle of view The pictures below illustrate the (frankly extraordinary) focal length range from wide to telephoto (on Nikon DX format, 1.5x). 18mm (27mm equivalent) 270mm (405mm equivalent) Tamron AF 18-270mm f/3.5-6.3 Di II VC LD Aspherical (IF) MACRO specifications Street price • US: $599 • UK: £450 Date introduced July 2008 Maximum format size APS-C/DX Focal length 18-270mm 35mm equivalent focal length  • 27-405mm (1.5x DX) • 29-432mm (1.6x APS-C) Diagonal Angle of view (APS-C) 74º - 6º Maximum aperture F3.5-6.3 Minimum aperture F22-40 Lens Construction • 18 elements/13 groups • 2 LD glass elements • 3 aspherical elements Number of diaphragm blades 7, rounded Minimum focus 0.49m Maximum magnification 0.29x AF motor type Micro Motor Focus method Internal Image stabilization • Yes, up to 4 stops Filter thread • 72mm • Does not rotate on focus Supplied accessories* • Front and rear caps • Lens Hood AB0003 Weight 560 g (19.8 oz) Dimensions 80 mm diameter x 101 mm length (3.1 x 3.9 in) Lens Mount Canon EF, Nikon F * Supplied accessories may differ in each country or area Foreword / notes If you're new to digital photography you may wish to read some of our Digital Photography Glossary before diving into this article (it may help you understand some of the terms used). Conclusion / recommendation / ratings are based on the opinion of the author, we recommend that you read the entire review before making any decision. Images which can be viewed at a larger size have a small magnifying glass icon in the bottom right corner of them, click to display a larger image in a new window. To navigate this article simply use the next / previous page buttons or jump to a specific page by using the drop-down list in the navigation bar at the top of the page. You can support this site by ordering through the affiliate links shown at the bottom of each page (where available). This article is protected by Copyright and may not be reproduced in part or as a whole in any electronic or printed medium without prior permission from the author. Dpreview use calibrated monitors at the PC normal gamma 2.2, this means that on our monitors we can make out the difference between all of the grayscale blocks below. We recommend to make the most of this review you should be able to see the difference (at least) between X,Y and Z and ideally also A, B and C.

  1. Introduction 2. Design and Operation 3. Test results 4. Conclusion & samples ---------------- > Buy this product < Back to lens reviews index  

Design Tamron appears to have a philosophy of making its designs functional rather than pretty, and the 18-270mm is correspondingly unlikely to win any awards for its build and styling. The feel of the materials and the overall fit and finish isn't quite as refined as its rivals, but having said that the underlying build quality is broadly similar. The mount is metal, and the barrel is constructed of lightweight plastics with a metal sub-structure. The barrel is dominated by the broad zoom ring, with the focus ring towards the front. Two switches on the side control the autofocus and vibration correction mechanisms; these are noticeably larger and easier to operate than their counterparts on the Canon and Nikon 18-200mm lenses. There's also a switch to lock the zoom at 18mm, conventionally-placed on the top of the lens barrel. This is worthwhile on such a lens with its heavy front elements, which can cause the lens to extend under its own weight when the camera is carried over the shoulder. On the camera The lens feels ideally balanced on larger DSLRs such as the D300, but can feel a little front-heavy on smaller bodies such as the D40/D60 range (although still perfectly usable). Controls are well-placed; the zoom ring falls naturally to hand, and the manual focus ring is readily operable by the forefinger when required. The AF and VC switches are also well-placed within easy reach on the side of the lens barrel, and the zoom lock perfectly accessible. Overall, that decidedly utilitarian design approach pays dividends in terms of ease-of-use. One note of caution though; on smaller SLR bodies such as the D60, the lens will block the built-in flash at focal lengths wider than 24mm, resulting in a shadow in the lower center of the image. Autofocus The 18-270mm VC uses a small micro-motor for autofocus, and this is the weakest point of the design. It feels rather sluggish when compared to either Nikon or Canon's 18-200mm lenses, although to be fair the motor is at least reasonably quiet (although not silent like the Nikon's AF-S motor). On the bodies used for testing (Nikon D300 and D90) AF performance was relatively slow and sometimes extremely indecisive, especially at telephoto, presumably hindered by that slow maximum aperture (most autofocus systems are only specified to work reliably with lenses that are F5.6 or brighter). On the D90, the lens was also occasionally unable to confirm focus with subjects which we'd normally not expect to be a problem, instead dithering for a few seconds before giving up and sometimes giving a clearly misfocused image. However this wasn't a particularly frequent problem; also it was normally easy enough to spot in the viewfinder when the lens was struggling, and either switch to manual focus or take a couple of 'safety shots'. As always, it must be noted that focus speed and accuracy is dependent upon a number of variables, including the camera body used, subject contrast, and light levels. Zoom creep Zoom creep is the tendency for a lens to extend or under its own weight when pointed downwards (or collapse when pointed upwards), and is a fairly common characteristic of superzooms. It can be a problem when carrying the camera over your shoulder with the lens hanging downwards, as having the zoom continually extend to its maximum length is not just irritating, but also makes the lens more vulnerable to being knocked and damaged. The 18-270mm suffers from zoom creep more than most, and if you habitually carry the camera with the lens pointing downwards you'll find it setting itself to 270mm on a regular basis. With our test sample this happened pretty well any time the lens was set to a focal longer of 35mm or longer; conversely at 200mm or shorter and with the camera pointed upwards, the lens tended to collapse towards 18mm. Now if you're prepared to reset the lens to 18mm between shots then the problem essentially goes away (ironically the lens tends not to creep at all at this focal length, making the zoom lock switch near-redundant). Also if you prefer to carry the camera in your hand with the lens horizontal rather than vertical, creep effectively becomes a non-issue too. However zoom creep can also be a problem when pointing the camera either upwards or downwards when shooting, as it means that the lens can attempt to zoom under its own weight; this isn't much of a problem when shooting hand-held (simply keep hold of the zoom ring), but can become a genuine problem when shooting at slow shutter speeds with the camera on a tripod, at which point holding the zoom ring is not an option. To be fair this is not a typical scenario with this lens (the whole point of a stabilized superzoom is to travel light, which likely means leaving the tripod behind), but it could be a concern to some users. Dependence of apparent focal length on focus distance This lens's angle of view widens dramatically on focusing from infinity to 0.45m, especially at the telephoto end. This is a common trait with superzooms (the Canon and Nikon 18-200s behave in just the same way), but it does mean that at a focus distance of 2m, that 270mm telephoto ends up looking more like 180mm. In context, it is worth bearing in mind that long telephotos generally tend to used more for distant subjects, in which case the lens naturally behaves as a 'true' 270mm. Lens body elements The lens comes in versions for Canon and Nikon DSLRs. Our sample was the Nikon F model, and featured an unusual, slightly bronzed mount. The filter thread is 72mm. It does not rotate on autofocusing, which should please filter users. The AB003 bayonet-mount hood is provided as standard, and fits positively onto the front of the lens. It's reasonably solidly made (if slightly flexible), and features ribbed mouldings on the inside to minimize reflections of stray light into the lens. White dots on the outside of the hood aid alignment for mounting, and it reverses neatly for storage. The zoom ring has a 34mm wide ribbed rubber grip, and rotates a mere 80 degrees clockwise from wide to telephoto (the 'right' way for Nikon owners, but opposite to Canon lenses). The action is distinctly uneven, with a pronounced increase in stiffness around 70mm when zooming from wide to tele (although not in the opposite direction). The front element extends fully 89mm on zooming, with a little lateral play at 270mm. The 11mm wide focus ring rotates just 60 degrees anticlockwise from infinity to 0.5m, again matching Nikon lenses and opposite to Canons. A basic distance scale is marked in feet and meters. The focus ring travels slightly past the infinity position, and rotates during autofocus. The feel of the focus ring is smooth but rather loose; coupled with the short travel, this makes the lens far from well suited to precise manual focus. Two large, well-placed switches on the side of the lens barrel control the focus and VR systems. The top one switches focusing between auto and manual modes; and the lower one turns vibration correction on and off. Both are easily reached with the right thumb. Tamron have included a switch which locks the zoom at the wideangle position to prevent 'zoom creep'. It's a fairly basic design, which simply slides into a slot in the lens barrel to lock. Reported aperture vs focal length Here we show the maximum and minimum apertures reported by the camera at the marked focal lengths. Focal length 18mm 35mm 50mm 70mm 100mm 200mm 270mm Max aperture F3.5 F4.2 F4.5 F5.3 F5.6 F6.3 F6.3 Min aperture F22 F29 F29 F36 F36 F40 F40 The 18-270mm is about a third of a stop darker than the Canon and Nikon 18-200mm lenses from around 100mm onwards - not a significant difference in real world use.