- Tamron 28-75mm 1:2.8
- Canon EF 50mm 1:2.5 Compact-Macro
- Canon EF 28mm 1:2.8
- Tamron 17-50mm 1:2.8
- Canon EF 24mm 1:2.8
- Konica Hexar AF
- Sigma 12-24mm 4.5-5.6 EX DG HSM
- Minolta MC W.Rokkor - NL 21mm 1:2.8
- Canon BG-ED3 Battery Grip
- Canon 10D
- Sigma EF-500 DG Super EO ETTL
- Minolta Dimage Scan Elite II
- Sears 55mm 1:1.4
- Minolta X-370
- Canon EF 28-90mm 1:4-5.6 III
- Canon 400D (Rebel XTi)
Tamron 17-50mm 1:2.8
Date:
3/8/2010 My introduction to Tamron's upper end lenses was the 28-75mm 1:2.8. That lens did not disappoint. But as my photography evolved so did my desire for wider angles. I eventually traded, although not straight across, for Tamron's APS-C image circle 17-50mm 1:2.8 and haven't looked back since.
The publication of this review has been repeatedly delayed due to my satisfaction with this lens. Each time this review comes back to the top of the todo list I find another excuse to use this lens instead of writing about it. I think that might be the greatest compliment I can give. But lets look a little closer at the details.
My basic 'Serious Photography' kit consists of a Canon 40D body and this Tamron 17-50mm. (The included image shows the lens naked. It usually wears a Hoya SMC 67mm filter and Tamron DA09 hood.) The basic kit is often extended with a Canon 430EX II flash and Canon Off-Camera Shoe Cord. My photography doesn't justify a full frame body or Canon L series lenses. For my investment level, this kit seems to deliver the most bang for the buck.
The Tamron's main contribution to the kit is speed and image quality.
After spending some time with slow consumer zooms I realized how important having an extra stop of speed is. Sure, the camera's ISO setting can be bumped to partially offset a slow lens. But a consistent 1:2.8 aperture pays in two ways that high ISO potential does not. Focus accuracy is enhanced if the camera can see through the faster 1:2.8 lens. Finding focus on the first attempt can mean the difference between catching an expression and missing the shot altogether. And on the occasions that a bit of background bokeh is desired, this faster zoom offers just a bit more out of focus background potential than the slower kit zooms.
The 17-50mm delivers great image quality for its price point. It is reasonably sharp and contrasty wide open. It looks great when stopped down one stop. Flare is noticeable in only the most difficult situations. My experience has not shown distortion to be an issue.
Life, and camera gear selection, is made up of compromises however. While I've painted only a rosy picture so far the lens does have some negative aspects that should be discussed.
This lens is well built. But not as well built as Canon's best lenses. The focus ring is not 'Full Time Manual' style. So the ring turns during auto-focus and obstructing that ring obstructs the focus motor. While I didn't test to verify, I believe that forcing the focus ring could stress the internal focus mechanism. The other compromise, most likely chosen to attain a constant 1:2.8 maximum aperture, is the short 3x focal range. Superzoom users undoubtably appreciate their long zoom ranges. The Tamron 17-50mm often keeps my feet moving when I am engaged in event photography.
The work done for Camerology.com exposes me to a decent selection of gear. I've owned this lens longer than I've been writing reviews for this site. And the Tamron SP AF17-50mm F/2.8 XR Di II LD Aspherical (IF) is still in my kit. That choice, while certainly subjective, says a lot about this lens.
Image Gallery
Stuck in the Fence or Just Horsing Around?
ISO 800, f5.6, 1/125th, Custom White Balance.
Decent, but not great, higher ISO performance allows 400D users (and their subjects) to play a little longer into dusk.
