What you won't get from this lens is jaw-dropping sun stars or bokeh. Chromatic aberration is also well-controlled.Īt 70mm, the lens offers impressive close focus distances. And lens coatings effectively control most instances of ghosting and flares, even when shooting into direct sunlight. And while it is true that lens-based IS is more effective at telephoto lengths than sensor IS, I've found the lens plenty stable with IBIS-equipped Sony cameras even at 180mm.īut most importantly, this Tamron is optically impressive where it most counts: you'll get sharp images at all focal lengths, even wide open. This is in part because there's no in-lens image stabilization, but also because it offers 20mm less reach than competitors. It's also quite lightweight and compact, especially compared to other F2.8 full-frame zooms. Like spending time with an old friend, it's fun, reliable and doesn't impose Like Tamron's 28-75mm F2.8, it's weather-sealed, too: you'll find gaskets around the lens mount, as well as internally. Right off the bat I found the lens snappy to focus and very nicely-built. Moving back and forth within my modest outdoor space, I set out to shoot an entire sample gallery filled with sunsets, flowers and puppy dogs – the kinds of things that make me happy. I quickly 'clicked' with the lens when I got it home. There's no in-lens image stabilization, but the Tamron still feels plenty stable thanks to Sony's sensor-based IS. And I was eager to photographic something, anything! Trapped in my apartment, I'd been getting my fix of feeling connected to the rest of the world by gazing off my balcony at the city around me. Many months of rainy Seattle weather were just finally giving way to long beautiful days of sunshine and perfect temperatures. It was May 2020, several weeks into the initial Covid-19 lockdown, when the recently announced Tamron 70-180mm F2.8 landed in our office and I eagerly collected it (masked up, of course). Up until recently, Sony shooters were in a tough spot when trying to choose a fast aperture zoom Up until recently, Sony shooters were in a tough spot when trying to choose a fast aperture zoom: go with the Sony FE 70-200 F4 ($1400), or smash the bank and grab the FE 70-200mm F2.8 ($2400) – the former is not quite as good as it should be (in my opinion), and the latter is quite pricey. What follows is the nitty gritty of why I chose the Tamron 70-180mm F2.8 (and also why it may be the right lens for you!). Fortunately, lenses like this one make my job much less stressful. Which is why I take seriously any gear buying advice I give. Let's be honest: most photographers out there are budget-minded, including myself.

And Tamron seems to be on a roll lately when it comes to conjuring up good glass with the budget-focused photographer in mind.īelvedere was my muse during the early days of Covid.

And this time around I'm choosing Tamron's 70-180mm F2.8 ($1200) for very similar reasons: It's a well-priced, quality lens that answers the needs of customers. Two years ago I chose Tamron's 28-75mm F2.8 lenses for Sony E-mount ($800) as my gear of the year. Tamron seems to be on a roll lately when it comes to conjuring up good glass with the budget-minded photographer in mind I've been writing about photography and camera gear for about ten years and in that time I've had the privilege of shooting with all sorts drool-worthy, piggy bank/ground-breaking cameras and lenses: the kind of gear I dreamed of one day owning as a kid.īut these days, what gets me most excited is not the gear with the highest price tag, most impressive specs or prettiest bokeh, but that which makes photography more accessible to the masses.

Pixam 5k orlando