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The following opinions have been automatically translated with Microsoft Translator. | Fujifilm XF 55-200mm f/3.5-4.8 R LM OIS Pros: Super sharpness, weight and compactness, stabilization, construction, brightness, second-hand price, made in Japan. Cons: Autofocus sometimes unreliable, barrel extension at rest. Opinion: I have been using this telephoto lens for a year, bought used in excellent condition at the right price (well under 400) attracted by the general characteristics and preferred to the 70-300 for reportage use. I have also tried to use it for professional work for its size and low weight, focal lengths, brightness and discretion in use instead of a classic 70-200 f2.8 that I also own. When the shot is in focus, it is razor-sharp and correct even at full aperture, especially at short and medium distances. The stabilization is effective and at 1/125 you can go quietly, with attention you can even go down. Comparing images taken at an event with this lens paired with a 24-megapixel sensor with a Canon 70-200 2.8 IS II paired with a Canon 7D MKII, and the sharpness is comparable, at a fraction of the price and weight of the old king of professional telephoto lenses. Bokeh and rendering are obviously different and you can see that the Fuji is not a top-class lens, but only an expert eye can tell the difference. In this regard, let's say that the transition between the plane of fire and the out of focus is not great, but is only noticeable in certain situations. Unfortunately with my old X-Trans III bodies the focus in addition to not being snappy sometimes makes mistakes especially on long focal lengths and this can be a problem if used in dynamic contexts, since the error is not always evident in the viewfinder and you only find out by zooming, perhaps at home that the shot is to be thrown away. The only other annoying flaw in my sample is the zoom that extends at rest. Overall a good example offers excellent flexibility and image quality with only 600 grams in the bag, it can certainly give spectacular and very detailed photos in many contexts. It doesn't work miracles for its price range but it is not easy to find a similar solution in other brands and for carefree use it is certainly, to date, a best-buy in Fuji. sent on November 23, 2025 |
 | Tamron 24-70mm f/2.8 Di VC USD G2 Pros: Sharpness, autofocus (nikon), stabilization, construction, price. Cons: ASSISTANCE, backlight rendering, swinging switches, weight. Opinion: I write my opinion out of time after six years of use and tens of thousands of shots. I came to this lens in 2018 for professional needs on a Nikon system after switching to the 36 megapixel sensor and experiencing serious AF and micro-blur difficulties with non-stabilized lenses (I used G 1.8 fixeds) in dynamic contexts such as events. What can I say... once engaged I turned. This makes like 24, 28, 35, 50 fixed with good f2.8 apertures and from f4 there is nothing to say, pixel-sharp. At 70mm there is a slight failure in sharpness and contrast as it is obvious, you have to close an extra stop to match with the other focal lengths, but it remains perfectly usable and it is a behavior that in the portrait can also be desirable. The stabilization works very well and is essential to get the most out of the most pixelated bodies at all focal lengths, in addition to the clear advantage in low-light and slow shutter speeds. The blur is always great for a zoom from 24 to 70, perhaps thanks to the slow 82. The colors on Nikon are a bit greenish but it compensates, it suffers A LOT from backlighting, if the direct sun gets inside, the photo is often to be thrown away, you just need to know it. The construction is very good, in several years of fairly heavy use it has never given up anything (see below), the finish is still very beautiful and the tropicalization has done its job on several occasions. On the downside of the body, the exposed AF and VR switches that you can turn off by keeping the camera on your side, you have to be careful enough to avoid nasty surprises that are easy to imagine. Given its size and granite weight, I use it exclusively for "professional" outings. Sunday outings, trekking and travel are not really his area, also because he "likes" larger bodies for optimal balance. On my 3 FF reflex cameras the autofocus is a certainty, never calibrated in 6 years and it goes better than all the other lenses I have tried in many years. If I have to shoot an unrepeatable moment, I use him. What else can I say? Surely it will be a lucky copy but mine is doing so well that it has definitively killed every type of monkey in this focal range for years, practically it is keeping me in Reflex well beyond the maximum time, since to find similar performance and consistency I think I should go to Z8 and 24-70S. The downside, quite disappointing, is for me the assistance of the house. I requested a simple spare part for a "road accident", the filter ring on which the lens hood is grafted that has broken following a side impact on the lens hood. The mechanics have not made a crease, the construction is well done because the lens hood "discharges" the shocks on the fragile ring saving the internal movements, BUT the spare part is not available: they supplied it only after shipment in official assistance in Germany with general control and a lot of money. I had to solve with the attack so treat these Tamrons well. sent on October 06, 2024 |
 | Sigma APO 70-200mm f/2.8 EX DG HSM Pros: PRICE, very solid construction, aberration handling, bokeh, close-range rendering. Cons: Weight, infinite AF calibration (my sample), firmware compatibility. Opinion: There are many versions, I had two, the first "APO" with aperture ring and the more modern EX II Macro and with MAF close to one meter that I still use with satisfaction for several years. An honest lens, capable of churning out professional images if the photographer knows what he is doing. My sample is very good at close and medium range, at infinity the AF is unreliable, so I consider it a 70-200 for reportage and portraiture and for this reason I use it. On Full-Frame at 24 Mpx it is optically fine and is easily usable even at TA with an understandable drop in engraving on longer focal lengths where the image at full aperture loses contrast as well as detail (spherical aberration?) but remains absolutely usable especially at close range. Closing to F4 the sharpness and microcontrast improve significantly, the lens also supports demanding resolutions and APS-C crops around 24 megapixels. The rendering of the image is classic, not sharp but the detail comes to be very high. The bokeh is good, without crying out for a miracle: it has no major defects, just a bit of outline on the light points, the aberrations are well controlled. It weighs a lot like all the 70-200 2.8 and even a little more for the granite construction (in metal), it is not stabilized so pay attention to safety times. In the mirroless era (and F4 canvases at € 2000 list) you have to consider the quality/price ratio, to have a significantly higher optical performance than TA you have to go to the top brands or the most recent versions of the best generalist manufacturers. The autofocus is quite performing, it is definitely a lens to recommend to those who want an old-school 70-200 f2.8 at the price of a dark plasticetto in 2024. Regarding a use in the video field, it is not parfocal and has a lot of focus-breathing especially on long focal lengths. sent on June 01, 2024 |
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