| sent on December 31, 2019
Pros: Sharpness - Out-of-Focus Yield - Unique Range of Focals
Cons: Distortion
Opinion: I've been waiting for someone to do this for a long time. To be exact I thought of a 50–150 f3.5, but when I saw the Tamron 35–150 f2,8/4 I immediately decided that I had to try it. The idea is to have a single lens to make a figure and portrait in the studio being able to adjust on distances, not always "Olympic", studies accessible to an amateur. This is assuming the use of studio flashes that remove any doubts about brightness. The optics came to me in July, I decide only now to write the review a little for reasons of time, a little because I used it very little having photographed a lot in ambient light where the classic pair of fixtures is definitely preferable. What immediately strikes the diameter of the barrel, the filters are 77, but the diameter of the zoomed dial is as much as 8 cm. On this dial nothing to say, the mono-cam zoom system flows well, without games or hitches. More critically, the focus ring, evidently by-wire, after a bit of initial play appears very de-multiplied, probably the latter is a value, because the only use that can be hypothesized is that of the unique focus and fixed having the machine on the stand. The optical yield follows the manufacturer's statement. The optics are optimized for medium and long focals as opposed to zooms from wide angles to canvases. The images are always sharp and well contrasted even at full opening, except perhaps at 35 mm where you notice a certain drop. The vignette is low and the rendering of the blur surprises you by zooming. The only visible defect is the presence of a certain distortion. As in many newly designed zooms, the distortion, initially in barrel, soon passes through zero to still short focals (in this case about 40 mm), and then becomes a bearing. Given the specific use of this lens this means always dealing with a bit of bearing distortion that, in the presence of straight elements (even blurred in the background), should always be corrected. Unfortunately, none of the software I use for raw development has the specific filter (DxO, do we think about it?), so you have to get along. From the previous review I read that Camera Raw owns the filter, who uses this software leaves the distortion correction always on. I was saying about the specific use. This is a lens for specialized use, it is the opposite of an all-rounder. If you are looking for an all-rounder buy a 24 – 105, you will find yourself better. If you work in the studio with flashes you may never get it off the machine! Alternatively, Tamron suggests the pair 17-35 and 35–150 as a "minimalist" travel kit. In fact, covering the range from 17 to 150 mm with only two optics is fascinating. Keep in mind, however, that having the "cut" at 35 mm means changing optics all the time. In the case of "dirty" or excited contexts it is definitely not ideal. However, on this subject, I promise an update. Update 7:03.20: The filter for DxO has arrived! |
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