Looking at the specs and measurements, the Tamron 17-35mm f/2.8-4 Di OSD Lens vs. Canon EF 16-35mm f/4L IS USM Lens comparison shows the Tamron lens to be a bit shorter and lighter (16.2 vs. 21.7 oz / 459 vs. 615g). The Canon lens' Ring USM AF system is faster and, at least on some Canon bodies, more accurate.
Nikon AF-S DX NIKKOR 35mm f/1.8G Lens with Auto Focus for Nikon DSLR Cameras, 2183, Black. $176.95 $ 176. 95. 35 . Click to play video. Honest Review of Sigma 17
The fast, ultra-wide-angle AF-S Zoom-NIKKOR 14â24mm f/2.8G ED is optimized for edge-to-edge sharpness on both FX- and DX-format Nikon D-SLR cameras. It combines the latest Nikon lens technologies, innovations in optical design and the rich heritage of NIKKOR glass to deliver truly superlative performance in any situation.
Product description. An standard zoom for Nikon's APS-C DX format DSLRs, the 17-55mm F2.8 covers an equivalent focal length range of 25-82mm, and offers a constant maximum aperture of F2.8. Its ring-type SWM focus motor means that AF is fast and silent. Designed for use on Nikon's early professional DSLRs, the dust and moisture-sealed 17-55mm
AF-S Zoom-Nikkor 17-35mm f/2.8D IF-ED is an ultra-wideangle zoom lens that offers a range of professional-level features for overall superior performance. In addition to boasting the shortest closest-focusing distance in its class 0.28m (0.9 ft.) throughout the entire zoom range the lens also features a fastconstant maximum aperture of f/2.8 at
Nikon D810, Nikon 70-200mm f/2.8 FL at close-focus distance at 200mm at f/2.8 at 1/2,000 at Auto ISO 100. bigger or full-resolution file to explore on your computer. Its macro ability is unmatched by any other Nikon f/2.8 tele zoom, with a super-close 1:4.76 maximum reproduction ratio. Botts' Dots, 21 November 2016.
OlcsĂł Nikon AF-S 17-35mm f/2.8D IF-ED Zoom (JAA770DA) fĂ©nykĂ©pezĆ objektĂv leĂrĂĄsok, vĂ©lemĂ© AF S 17 35 mm f 2 8 D IF ED Zoom JAA 770 DA
iIaTBZ. Strona gĆĂłwna Testy obiektywy AF-S Zoom-Nikkor 17-35mm f/ IF-ED nie jest nowy ale w chwili gdy Nikon poszerza swojÄ
ofertÄ aparatĂłw z peĆnoklatkowÄ
matrycÄ
, ten przeĆŒywa swojÄ
druga mĆodoĆÄ. Jest to nastÄpca innego szerokokÄ
tnego zoomu, ktĂłry przez wiele lat stanowiĆ jedyny tego typu obiektyw z bagnetem Nikon i wyznaczaĆ nowÄ
jakoĆÄ w tym segmencie optyki. Czasy jego ĆwietnoĆci to okres, w ktĂłrym fotografia analogowa krĂłlowaĆa niepodzielnie. RozwĂłj technologii cyfrowych oraz pojawianie siÄ wielu nowych rozwiÄ
zaĆ w zakresie optyki zmusiĆa Nikona do prac nad nowym obiektywem. Zaprezentowany w 1999 roku AF-S Zoom-Nikkor 17-35mm f/ IF-ED, to jedna z pereĆ jaka znajduje siÄ obecnie w ofercie producenta. Wraz z pojawieniem siÄ aparatu Nikon D3, na rynek trafiĆ AF-S NIKKOR 14-24mm f/ ED nieznacznie przyÄmiĆ blask AF-S Zoom-Nikkor 17-35mm f/ IF-ED. Mimo to prezentowany w tym teĆcie obiektyw jest jedna z najciekawszych propozycji marki Nikon. Zapraszamy do lektury testu. Budowa mechaniczna i optyczna - czÄĆÄ I BiorÄ
c pod uwagÄ parametry techniczne, AF-S Zoom-Nikkor 17-35mm f/ IF-ED na tle oferty innych producentĂłw, prezentuje siÄ bardzo dobrze. PoniĆŒsze zestawienie pokazuje, ĆŒe wĆrĂłd wszystkich dostÄpnych aktualnie obiektywĂłw tego typu pod wzglÄdem wagi, wielkoĆci oraz skomplikowania optyki wyrĂłĆŒnia siÄ Sony Vario-Sonnar T* 16 ? 35 mm ZA. Propozycje Sigmy oraz Tamrona to konstrukcje o zdecydowanie niĆŒszej jakoĆci mechanicznej. Nikon, Sony oraz Canon to obiektywy, ktĂłrych korpusy sÄ
metalowe, autofocus napÄdzajÄ
wbudowane silniki ultradĆșwiÄkowe, a w przypadku EF 16-35mm f/ II USM dochodzÄ
jeszcze uszczelnienia. Wydaje siÄ wiÄc, ĆŒe Sigma 17-35mm f/ EX DG ASPHERICAL HSM oraz Tamron SP AF17-35 mm f/ Di LD Aspherical (IF) znacznie odbiegajÄ
od czoĆĂłwki (rĂłwnieĆŒ cenÄ
). DostÄp do peĆnej treĆci serwisu jest bezpĆatny - wymagane jest jednak zalogowanie
Japanese lens manufacturer Tamron has been in the photographic optics industry since 1950, making them one of the oldest Japanese third-party lens manufacturers. Back in 1992, they were the first to produce an ultra-wide range AF 28-200mm zoom lens, and also had a line of professional lenses, including the SP AF 300mm f/ available for Canon, Minolta and Nikon mounts. Tamron still makes unique lenses, including the 17-70mm Di III-A VC RXD now available for Fujifilm X Mount. This is the first mid-range zoom lens with a fast f/ constant aperture for the APS-C format. Fujifilmâs red label R WR only has a zoom range, while the 5x zoom range XF16-80mmF4 R OIS WR only has a maximum aperture of f/4. I had a chance to review the Tamron and compare it against Fujifilmâs own mid-range zoom lenses. Letâs start with the specifications. Tamron 17-70mm F/ Di III-A VC RXD equivalent range 16 elements in 12 groups, including 3 aspherical and 2 LD elements rounded nine-blade diaphragm f/ with no aperture ring on lens 525g with 67mm filter thread x mm ( mm with zoom extended) minimum focus distance of 19mm at 17mm, 39mm at 70mm RXD (Rapid eXtra-silent stepping Drive) = stepping motor autofocus VC (Vibration Compensation) image stabilization moisture-resistant construction along with a fluorine-coated front element to protect against fingerprints and smudging $799 USD list price For those who are not familiar with how Tamron names its lenses, letâs start with the acronyms and abbreviations. âDiâ is a âDigitally Integratedâ III lens designed specifically for compact mirrorless interchangeable-lens cameras. There is no explanation for the âAâ except it only appears on their latest APS-C lenses. âVCâ is âVibration Compensationâ or Optical Image Stabilization, and âRXDâ is âRapid eXtra-silent stepping Driveâ or their autofocus system. The build quality of the Tamron is somewhere in-between Fujifilmâs XC and XF lenses. It uses mostly plastic on the exterior of the lens (except for the mount), but it doesnât feel overly light or cheap like the XC lenses. However, when compared against the XF16-80mmF4 R OIS WR, the Tamron feels cheaper. The metal focus and aperture ring on the Fujifilm make it feel more premium, as does the heft for its compact size in comparison to the Tamron. However, the lens hood, lens cap and rear cap are made of similar thickness and weight as Fujifilmâs. Continuing on with the build quality, the lens is considered moisture-resistant, but thereâs no mention of extreme heat, cold, or dust resistance. There is a rubber seal along the edge of the metal lens mount, so Iâm confident the lens can handle rain and humidity, but they are not willing to advertise the lens as weather-sealed. The front element has a fluorine coating, protecting it against fingerprints and smudging. The RXD autofocus system is as quiet and quick as Fujifilmâs stepping motor in the XF16-80mm lens, but the optical image stabilization isnât as good. Although itâs not rated, my guess is Tamronâs VC stabilization is around 3-4 stops, versus 6 stops on Fujifilmâs XF16-80mm. The position of the zoom ring and focus ring on the Tamron is the opposite from Fujifilm, with the larger zoom ring at the very front of the lens and the narrower focus ring along the mid-back. I kept accidentally grabbing the focus ring instead of the zoom ring, although Iâm sure itâs something you get used to. Finally, the missing aperture ring is probably the biggest con for most classic Fujifilm photographers. My shooting experience with the Tamron 17-70mm f/ was excellent. Although the âBeer Canâ shape of the Tamron lens (reminds me of the new XF18-120mmF4 LM PZ WR) isnât great as a compact street lens, itâs light enough to carry around all day without much discomfort. I do prefer the size and weight of the XF16-80mm, as it collapses to a compact size at 16mm, and is slightly shorter even at 80mm in comparison to the Tamron. However, in comparison to the the Tamron 17-70mm f/ is more manageable as an all-day carry lens. Because the lens sticks out even at 17mm, this was a difficult lens to use discretely for street photography. I think this lens is more suited for travel, event, and videography. Although I have yet to test this lens for video, having the constant f/ aperture, quick and quiet focus, quick access to the focus ring, and very little focus breathing, would be a great option for videographers. This lens is not a parfocal design, so beware of the speed of your zooming, as the autofocus can easily lose focus of your subject. The image quality on the 17-70mm is excellent from f/ to f/16. I did critical lens tests between the Tamron 17-70mm, R WR, and XF16-80mmF4 R OIS WR. Optically it is the most balanced in comparison with the other Fujifilm lenses. Edge-to-edge sharpness is consistent even at f/ with optimal sharpness at f/ The XF16-80mm is sharp in the middle starting at f/4, but is not sharp along the edges until f/8. The is consistently sharp at all focal lengths and all apertures, with the strongest performance at f/ In terms of distortion, the Tamron exhibited noticeable barrel distortion at 17mm and pin-cushioning at 70mm, while both Fujifilm lenses handled distortion very well. Both the Tamron 17-70mm and XF16-80mm at similar issues with chromatic aberration, but was minimal and only under harsh lighting situations. This can easily be corrected in post-processing. Finally, the Tamron has amazing starbursts when stopped down, starting at f/ The has decent starbursts as well, but not as clear as the Tamron. However, the handled internal flare much better than the Tamron. My guess is Fujifilmâs superior lens coatings. As mentioned earlier, Tamronâs RXD focus system was quiet and quick, on par with the XF16-80mm lens. The older design of the was slightly slower and noisier than the other two lenses. The 19cm minimum focus distance on the Tamron is insanely close, compared to the 30cm on the XF16-55mm and 35cm on the XF16-80mm. In addition, itâs 19cm to the mount, so the subject is actually a few centimetres from the front of the lens! If you need macro-style wide-angle pictures, the Tamron is a great lens. In fact, I would recommend the 17-70mm as a great studio lens as well. I have been using the XF16-80mm as my studio, product photography, and YouTube talking head and overhead lens for the past two years. The Tamron 17-70mm can easily replace the XF16-80mm for my current needs. Since the Tamron does not have an aperture ring, I had to re-configure both my X-T4 and X-Pro3 to use the front dial to control the aperture. By default, if you attach the Tamron to your Fujifilm body the camera automatically goes into Program mode. To force the camera into aperture priority mode with the front dial as the aperture control go to Set-Up Menu > button/Dial Setting > Aperture Setting > Manual. Another issue is the VC or OIS on the Tamron. Since thereâs no switch on the lens to turn it on or off, itâs hard to tell what the camera is doing. In the X-T4, since it also has IBIS, thereâs no way to activate just the OIS or just IBIS. The only way to test the OIS on the Tamron was to attach it to the X-Pro3 and turn on stabilization. As previously mentioned, the stabilization is decent for stills, around 3-4 stops, compared to 6 stops on the XF16-80mm. Finally, I wish the focus ring was reconfigurable as an aperture ring. The position of the focus ring is perfect for aperture control. X-T4 + Tamron 17-70mm f/ @ 17mm. 1/1900th sec f/ @ ISO 400 X-T4 + Tamron 17-70mm f/ @ 27mm. 1/1000th sec f/ @ ISO 160 X-T4 + Tamron 17-70mm f/ @ 34mm. 1/2500th sec f/4 @ ISO 400 X-T4 + Tamron 17-70mm f/ @ 42mm. 1/500th sec f/8 @ ISO 400. X-T4 + Tamron 17-70mm f/ @ 70mm. 1/60th sec f/8 @ ISO 400 My final thoughts on the Tamron 17-70mm f/ lens is that itâs a great bargain for Fujifilm X Mount shooters. At $799 USD, itâs the same price as the XF16-80mmF4. You get very similar autofocus performance, has much closer minimum focus, and is one stop brighter and sharper across the field with the Tamron. However, build quality on the Fujifilm is higher, has a metal focus and aperture ring, more compact design, true weather-sealing, less optical distortion, and the confidence of knowing the lens will always be compatible with all previous and future bodies and firmware updates. Itâs hard to compare the Tamron to the R WR lens. For professional use, I would still recommend the R WR lens for its rugged build quality and WR design. Optically the is better than the Tamron but not by much. As for the 17-70mm f/ you get more range, OIS, and closer minimum focus distance. Moreover, for professionals, reliability and build quality should be a priority over specs or features. X-T4 + Tamron 17-70mm f/ @ 32mm. sec f/16 @ ISO 800 on a tripod In conclusion, who is this lens for? If you really need the f/ constant aperture and built-in image stabilization, there is no other option within Fujifilmâs ecosystem. This lens would be ideal as a one-lens-kit for travel, event or hybrid video-stills work. For myself, the Tamron would be a perfect replacement for the XF16-80mmF4 R OIS WR as I only use it indoors for product photography and video work. In addition, having that extra stop of speed plus the amazing starbursts when stopped down, I could use the Tamron for my low-light night photography work, which is something I didnât do with the XF16-80mmF4. The 17-70mm f/ was released last year for Sony E-mount, and Tamron finally decided to release it in X Mount this June. There is also the Tamron 18-300mm f/ Di III-A VC VXD available for X Mount for $699 USD. There is one more lens Iâm looking forward to, the Tamron 11-20mm f/ Di III-A RXD, currently only available for Sony E-mount, but my guess is that it will eventually be released in Fujifilm X Mount. Having more third-party lens options for the X Mount is great for all of us and Iâm thrilled Tamron has given us the 17-70mm f/ as a great mid-range zoom option for Fujifilm X Mount users. Thanks for reading and happy shooting! X-T4 + Tamron 17-70mm f/ @ 17mm. sec f/8 @ ISO 1600 on a tripod. About the Author Latest Posts
nikon af s 17 35 mm f 2.8
