Let’s face it, many people digital photographers don’t actually like swapping between lenses on our cameras, and I’m one among them. The ever-present threat of mud blowing into the digital camera and sticking to the picture sensor performs on my thoughts, particularly in inclement circumstances. If I’m off to shoot landscapes, cityscapes, or architectural interiors, it’s a ache to should hold switching between wide-angle and customary lenses.
The Tamron 17-50mm means I don’t should. Mounted on a full-frame Sony physique, it has a variety of viewing angles that covers the whole lot from 103.7 to 46.8 levels. In sensible phrases, that’s actually wide-angle protection on the brief finish and a wholly pure perspective on the different. The zoom vary additionally works rather well for vlogging, giving the chance to set the scene by together with the backdrop whereas presenting to digital camera, in addition to zooming in for a close-up.
Though the exterior size of the lens stays fastened, it has an extending inside barrel that nears the entrance of the outer barrel at each ends of the zoom vary, as proven right here. (Picture credit score: Matthew Richards)
Tamron 17-50mm F4 Di III VXD: Specs
Swipe to scroll horizontally
Mount choices
Sony E (FE)
Lens development
15 components in 13 teams
Angle of view
103.7-46.8 levels
Diaphragm blades
9
Minimal aperture
f/22
Minimal focus distance
0.19m (W) 0.3m (T)
Most magnification
0.22x (W) 0.26x (T)
Filter dimension
67mm
Dimensions
75x114mm
Weight
460g
Tamron 17-50mm F4 Di III VXD: Worth
The Tamron 17-50mm F4 Di III VXD has an inventory worth of $699 / £719, measures 75x114mm, and weighs 460g.
It’s not the primary wide-to-standard zoom of types that I’ve seen from Tamron. There’s additionally the Tamron 20-40mm F2.8 Di III VXD for Sony cameras which naturally has much less outright zoom vary however is an f/cease quicker and weighs in at a good smaller and lighter 74x87mm and 365g. That one comes with a $699 / £749 price ticket. Then there’s the own-brand Sony FE 24-50mm F2.8 G at a pricier $1,098 / £1,149, which has very important statistics of 75x92mm and 440g. The Sony lens doesn’t come anyplace shut in wide-angle potential however once more has a quicker f/2.8 aperture.
All in all, if you wish to maximize your wide-angle to plain zoom vary and may accept a continuing f/4 aperture, the Tamron 17-50mm seems good worth for cash.
Tamron 17-50mm F4 Di III VXD: Design & Dealing with
The Tamron 17-50mm F4 claims to be a ‘world first’ for Sony E-mount full-frame cameras, protecting ultra-wide-angle to plain focal lengths in a single handy lens. A part of that ‘comfort’ so far as I’m involved is that it’s compact and light-weight, measuring 75x114mm and weighing a mere 460g.
One other bonus is that the general bodily size stays fastened all through the zoom vary, though there’s an extending inside barrel that nears the entrance of the outer barrel at brief and lengthy zoom settings, being absolutely retracted at across the 30mm mark. And talking of marks, the zoom ring has markings for 17mm, 20mm, 24mm, 28mm, 35mm, and 50mm focal lengths. That covers a broad unfold however, as regular with lenses for mirrorless cameras, there’s no focus distance scale.
The sliding inside barrel is at its most recessed at a focal size of round 30mm. Autofocus is absolutely inside, so the entrance ingredient neither rotates nor extends throughout focusing. (Picture credit score: Matthew Richards)
Though the outer bodily size stays fastened all through the zoom vary, I can’t say the identical for the minimal focus distance. This stretches from 0.19m on the wide-angle finish to 0.3m on the longest zoom setting. Even so, these are fairly brief distances all through, giving a most copy magnification of a beneficiant 0.26x on the lengthy finish.
From a inventive viewpoint, I like that the brief minimal focus distance at wide-angle focal lengths lets me get in actually shut to things and exaggerate the angle between foreground and background components inside a scene. It additionally makes the lens significantly helpful for vlogging. For capturing video basically, the lens is designed to have minimal focus respiration and the fixed f/4 aperture all through the zoom vary is a bonus.
The zoom ring has markings for 17mm, 20mm, 24mm, 28mm, 35mm and 50mm focal lengths. (Picture credit score: Matthew Richards)
In relation to glass, the lens has 15 components organized in 13 teams and boasts 3 LD (Low Dispersion) components, a GM (Glass Molded Aspherical) ingredient and a pair of hybrid aspherical components. The combo goals to maximise sharpness and readability whereas minimizing colour fringing and different aberrations.
There’s a customizable perform button, nominally for AF-hold, which falls naturally beneath the thumb in panorama orientation capturing. (Picture credit score: Matthew Richards)
Autofocus is courtesy of Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear stepping motor design. Once more, that is ideally suited to each stills and video seize, being fast and snappy for stills and enabling easy and just about silent autofocus transitions when capturing video. A customizable perform button can be featured, defaulting to autofocus-hold.
The lens is equipped with an excellent high quality, environment friendly petal-shaped hood, which has the standard bayonet-fit mounting and may be reversed for handy stowage. (Picture credit score: Matthew Richards)
Whereas the lens is undeniably light-weight (in a great way) it feels stable and well-built. The development options a number of weather-seals and there’s a fluorine coating on the entrance ingredient to repel moisture and greasy fingermarks. The lens comes full with a petal-shaped, bayonet-fit lens hood which, as regular, is reversible for compact stowage. The pinch-clip lens cap is straightforward to suit and take away even with the hood in its forward-facing orientation.
For personalization and making use of firmware updates, the lens is suitable with the free Tamron Lens Utility for PC and Mac, and has a USB C port close to the rear, fitted to the barrel simply in entrance of the metallic mounting plate. (Picture credit score: Matthew Richards)
Tamron 17-50mm F4 Di III VXD: Efficiency
I discovered the Tamron 17-50mm very easy to dwell with. I actually loved the way in which that the zoom vary made the lens very adept for something and the whole lot from panorama and architectural pictures to pictures requiring a normal area of view. Autofocus is persistently correct, whereas sharpness and readability are very pleasing all through the zoom vary, though sharpness in the direction of the acute edges and corners of the body might be slightly higher.
At very wide-angle zoom settings with medium apertures, sharpness stays good out to the acute corners of the body, however edge-sharpness at broad apertures drops off on the longest focal size.
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 20mm (1/320 sec, f/8, ISO 200) (Picture credit score: Matthew Richards)
Naturally, the f/4 aperture ranking isn’t precisely ‘quick’ however the 0.3m minimal focus distance on the lengthy finish of the zoom vary offers loads of scope for close-ups, with a good depth of area. Sharpness stays superb within the central area of the body, even at shut capturing distances, an additional upside being that bokeh is delicate and easy. That’s one thing I’ve often discovered with Tamron lenses.
A reasonably tight depth of area is offered for close-up capturing and, typical of Tamron lenses, bokeh is sweet and easy.
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 50mm (1/200 sec, f/5.6, ISO 200) (Picture credit score: Matthew Richards)
Many present and up to date lenses designed for mirrorless cameras, particularly wide-angle lenses, rely closely on computerized in-camera correction for distortion. This Tamron is not any exception, with excessive barrel distortion on the shortest zoom setting however, with correction utilized, distortions all through the zoom vary turn into just about a non-issue.
On the brief finish of the zoom vary, the lens is typical of many mirrorless designs in relying closely on computerized in-camera correction for distortion.
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 17mm (1/500 sec, f/8, ISO 200) (Picture credit score: Matthew Richards)
Tamron 17-50mm F4 Di III VXD: Pattern Pictures
The next gallery of pictures was taken all through the zoom vary of the lens, mounted on a Sony A7 II physique. The situation is the Bishop’s Palace & Backyard within the Somerset metropolis of Wells within the UK. For lab exams, we used the lens with a Sony A7R III digital camera physique.
Picture 1 of 17
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 26mm (1/400 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 23mm (1/400 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 27mm (1/320 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 49mm (1/640 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 33mm (1/400 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 33mm (1/250 sec, f/4, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 17mm (1/500 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 28mm (1/400 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 35mm (1/400 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 17mm (1/250 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 17mm (1/400 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 17mm (1/500 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 50mm (1/400 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 50mm (1/640 sec, f/4, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 39mm (1/320 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 37mm (1/80 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
EXIF: Sony A7 II + Tamron 17-50mm F4 Di III VXD at 34mm (1/60 sec, f/8, ISO 200)(Picture credit score: Matthew Richards)
Tamron 17-50mm F4 Di III VXD: Lab Outcomes
We run a variety of lab exams beneath managed circumstances, utilizing the Imatest Grasp testing suite. Photographs of check charts are taken throughout the vary of apertures and zooms (the place out there), then analyzed for sharpness, distortion and chromatic aberrations.
We use Imatest SFR (spatial frequency response) charts and evaluation software program to plot lens decision on the middle of the picture body, corners and mid-point distances, throughout the vary of aperture settings and, with zoom lenses, at 4 totally different focal lengths. The exams additionally measure distortion and colour fringing (chromatic aberration).
Sharpness:
(Picture credit score: Future)
(Picture credit score: Future)
Middle-sharpness is spectacular all through the complete zoom vary, though it pays to slim the aperture a bit within the 35-50mm sector. Stopping down a bit additionally improves edge-sharpness, which comes on robust within the 17-35mm part of the zoom vary, however there’s room for enchancment on the longest 50mm setting.
Fringing:
(Picture credit score: Future)
Shade fringing may be very negligible even on the excessive edges and corners of the body within the 17-35mm sector of the zoom vary. It may well turn into barely noticeable on the lengthy finish when utilizing broad apertures however stays effectively inside the remit of computerized in-camera correction.
Distortion:
(Picture credit score: Future)
Barrel distortion is excessive at 17mm and nonetheless very noticeable at 24mm. There’s solely minor barrel distortion at 35mm and a contact of pincushion at 50mm. Like many current lenses for mirrorless cameras, the Tamron depends closely on computerized in-camera correction, which works very effectively.
Tamron 17-50mm F4 Di III VXD: Verdict
For walkabout capturing, avenue images and for landscapes, cityscapes and structure, I discover that I typically don’t want something longer than a 50mm focal size, however I typically need better wide-angle protection than a ‘customary’ 24-70mm zoom lens can ship. The Tamron 17-50mm is a superb various to plain fare, actually stretching the envelope when it comes to expansive viewing angles, whereas nonetheless giving me a normal perspective on the lengthy finish, as and once I need it. With good dealing with and construct high quality, quick and persistently correct autofocus, together with spectacular picture high quality, this Tamron lens was an instantaneous hit for me, and it’s superb worth on the worth.
Swipe to scroll horizontally
Options
The lens has a powerful characteristic set however the lack of optical stabilization isn’t best for early A7 cameras.
★★★★
Design
There’s no aperture management ring however the design is refreshingly compact and light-weight.
★★★★★
Efficiency
It’s superb general however edge-sharpness might be slightly higher and uncorrected barrel distortion is excessive.
★★★★
Worth
In the end, the flexibility of the lens for each stills and video makes it nice worth for cash.
★★★★★
(Picture credit score: Matthew Richards)
Must you purchase the Tamron 17-50mm F4 Di III VXD?
✅ Purchase this…
You like ultra-wide-angle to plain focal lengths and need a single lens that covers all of the bases.
You need a lens that’s best for each stills and video, with a zoom vary that’s significantly appropriate for basic capturing situations in addition to vlogging.
🚫 Do not buy this…
You’d desire a extra typical ‘customary’ zoom vary that doesn’t cowl ultra-wide focal lengths however extends to brief telephoto attain.
You’d somewhat have a quicker f/2.8 fixed aperture design, extra best for gaining a tighter depth of area and enabling faster shutter speeds.
