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Nikon Z-kamera og optikk.
Beskrivelse av varen
Tokina 16-28mm 2.8 : 1900
Tamron 35mm 1.8 VC : 2900
Tokina Opera 50mm 1.4 : SOLGT
Nikon Z6 (1k eksp) - SOLGT
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Reviews:
Tamron 35 : Unikt objektiv med bildestabilisering og makro-muligheter! Sykt god nærgrense, nydelig bokeh og rask presis AF. Passer også Nikon Z6 Z8 Z9 Z7 osv via ftz adapter, både mark I og II.
It’s been a long time since we have seen a prime lens from Tamron outside of some very good macro lenses. While Sigma has been making a name for itself with its ART series primes (along with a few innovative zooms), third-party rival Tamron was accomplishing something similar with its pro quality stabilized zooms like the 24-70mm f/2.8 VC, 70-200mm f/2.8 VC, and, most recently, the superlative 15-30mm f/2.8 VC (which has rapidly become one of my favorite lenses, particularly since I got the Fotodiox WonderPana filter system for it). But it’s clear that Tamron was keeping an eye on Sigma’ success with the ART series and has been quietly working behind the scenes to create its own pro-grade prime lenses. This new line of primes has now been unveiled, and I’ve been spending some quality time with the Tamron SP 35mm f/1.8 and Tamron SP 45mm f/1.8 VC lenses over the past few weeks. The 35mm f/1.8 VC and the 45mm f/1.8 VC are only the first in a line of SP (Super Performance) prime lenses.
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I spent time with both lenses at the same time, and I must confess that I initially was keyed in more on the 45mm than the 35mm for the simple reason that I already have a 35mm lens that I’m very happy with (the Canon EF 35mm f/2 IS) but don’t currently have an autofocusing 50mm lens in my kit (I’ve got some old manual focus 50s that I’ve got a love affair with). I’ve been reviewing a lot of 50mm lenses in the past year or so and wanted to see how the Tamron stacked up. When I began to give fuller attention to the 35mm I found that in some ways it is the more competent/versatile of the two, and the lens reminded me of just how much I enjoy using the 35mm focal length as a general purpose/walk-around lens. For those of you trying to decide which focal length you prefer, here’s a visual comparison of what the difference between the 35mm and the 45mm Tamrons looks like.
Framing Comparison 2
Framing Comparison
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Here are the raw numbers: the Tamron SP 35mm is 479g and 3.2″/81mm long. The Canon EF 35mm f/2 IS is 335g and 2.46″/63mm long. The bigger end of the “under a thousand” autofocus 35mm club is the Sigma ART series. It comes in at 665g and is 3.7″/94mm long. The Tamron has ten elements in 9 groups, including 1 LD (Low Dispersion) element and 2 Aspherical elements. In short, the Tamron is a medium sized lens that is almost perfectly slotted between its two main competitors. But is that the sweet spot? Is the Tamron SP 35mm f/1.8 VC the new lens to beat?
Tamron Technologies
Soft Background
If you are reading both the 35mm and the 45mm reviews, you will find some overlap as they are released simultaneously and I had them both in hand at the same time. The reviews differentiate in a variety of areas to deal with unique qualities of each lens.
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One area where Tamron has been on the cutting edge is in the implementation of its image stabilization systems. Tamron’s VC (or Vibration Compensation) systems have consistently been among the industry’s best since their introduction, and they have been the first (and, so far, the only!) lens manufacturer to successfully implement one in a standard wide aperture zoom (the SP 24-70 f/2.8 VC) or wide angle/wide aperture zoom (the SP 15-30 f/2.8 VC). These new prime lenses will be the first with an aperture this wide to receive in lens stabilization. In a Canon system the EF 35mm f/2 IS (an excellent lens that I own) has been Canon’s widest aperture prime to receive image stabilization. Both these new Tamron primes will now become the title holder. The Sigma ART prime lenses have a “sexier” (and larger) f/1.4 aperture, and while Tamron’s VC will allow for lower minimum shutter speeds in some situations (with a static subject), I suspect that some photographers will at least initially view these lenses as being less “pro grade” because of not having an f/1.4 aperture. The actual design and build of these suggest that they are most certainly pro-grade lenses (more so than the ART series, at least in build), but many photographers like the look (or at least the cache) of an f/1.4 lens. Tamron will have to fight a bit of an uphill battle in the “perception war” with Sigma over this.
Tamron’s way of equaling the balance (while undercutting it’s competition in size) is through the inclusion of VC. This is a feature that many photographers will perceive as very valuable, and is a matter of priority for those that shoot video. Tamron’s experience in implementing VC pays off here, as the VC performance here is very good. It is completely unobtrusive, with almost no hints of its operation beyond the steady viewfinder and the nicely stabilized images. High resolution sensors really punish camera shake, so having good stabilization makes a huge difference. The VC is almost silent and does no unseemly jumping when activated. Handholding 1/10th second images is a piece of cake, and slower shutter speeds are possible with good technique and a static subject. This image is .3 second and perfectly sharp:
Low Shutter
Low Shutter-2
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I have to confess that I find IS/VC must surrender to the law of diminishing returns with wider focal lengths. Telephoto lenses realize huge gains with image stabilization, and its not unusual to be able to handhold 1/10th second shutter speeds with a telephoto. One would think that they would then be handholding 2 and 3 second exposures with a wider lens like this. But I can’t, myself. Not with my Canon, and not with this Tamron. It does make a difference, and handholding .3 or even .5 second shots isn’t a problem, but I rarely can handhold a 1 second exposure. It’s as if the shutter activation itself causes too much movement for these systems to overcome. The greater value here is that you will have a steady viewfinder and be able to handhold very low shutter speeds…and maybe you will do better than I in exploring in the limits of the what the VC on this lens can do. Nonetheless this is a well implemented stabilizer, and it does make a difference.
Sony mounts do not come with VC. I understand the reasons for this, but it does often feel that Sony users get shortchanged with third party stabilized lenses. Sony users are familiar with this pain, however, so this is nothing new.
Tamron SP 35mm f/1.8 Di VC USD
Another area that Tamron has been developing some valuable expertise is in the development of moisture resistance/weather sealing. They have included this feature on a broader range of lenses than anyone else, and, while there are differing opinions on the value of moisture resistance, it is also a strongly desired feature by many photographers. Photographers with pro grade camera bodies (with weather sealing) want the liberty to match lenses that also have weather sealing so that they can shoot in a broader range of weather conditions. This is one area where Tamron definitely distinguishes itself, as the Sigma ART series 35mm f/1.4 lacks this option. Tamron has gone to a whole new level (for them) with the weather sealing on these lenses, with actual seals at the appropriate places (even the focus ring), a rear gasket, and expensive fluorine coating on the front element. They back up this weather sealing with an industry leading six year warranty (in North America), which suggests they are serious about the build quality of these lenses. And these lenses are beautifully built, with a premium feel that is a real joy to handle and use.
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Here’s a video breakdown of the size and build quality of these new lenses:
This lens, along with its 45mm sibling, are among the nicest lenses that I’ve reviewed recently. The build quality is really high grade and is punching WAY above this lens’ price point. This is manifest in a number of ways, including a body that is primarily made of metal (including metal filter threads!!), a metal mount (obviously), and a quality feel to the switches. There is a rubber gasket around the lens mount, and Tamron has also included expensive fluorine coatings on the front elements that further help the moisture resistance and makes lenses both easier to clean and more resistant to scratching. The build here exceeded my expectations, and it is also an area where it really creates some distance between the Canon 35mm f/2 IS. It lacks weather sealing but is also has a more consumer grade build.
Product Shots
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New Product
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Tamron SP 35mm f/1.8 Di VC USD
The new build design is really quite beautiful. It’s simple and clean, and faintly reminiscent of Sigma’s ART series, although the materials here are actually higher grade. I do find the texture variety on the Sigma ART series a little more appealing, but I do really like this new, clean design. The black is broken up by white lettering (etched rather than printed) here and there along with an “SP” (Super Performance) badge and a light metallic ring near the lens mount that Tamron euphemistically calls “Luminous Gold”. This deviation from the black on black is probably the design aspect that most distinguishes the lens from the ART series, however, and will help Tamron with branding. Several surfaces have a slightly rubberized/soft touch feel that has a tactile pleasing quality. It makes me wonder if Tamron will adopt this new design for future high end zooms, or if this “look” will be reserved for the SP primes.
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Sist endret: 30.5.2024, 18:27 ・ FINN-kode: 353386575