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TAMRON - 16-300 mm F/3.5-6.3 Di II VC PZD Nikon F Cameras - Black - B016N

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Levels of chromatic aberrations are an issue for this lens towards the edges of the frame, especially at 300mm. Here it exceeds two pixel widths, which is a level that may be clearly visible along high contrast areas towards the edges of the frame. Resistance to flare is high, with good control of veiling glare, colored flare spots and ghosting, when shooting into very bright light. Though far from immune, the Tamron compared well in side by side tests against some of Canon's L-grade zooms. Testament to the efficiency of Tamron's BBAR multi-coating and good attention to internal baffling. Focus Breathing Canon EF 70-300mm f/4-5.6L IS USM– This might be good if you want a lens on a tight budget. Some of its features include two low-ultra dispersion elements, four-stop image stabilizer, fast and accurate autofocus, and comprehensive weather seals. The contrast and sharpness are perfect throughout the zoom range. Images: Coloured fringing in distant subjects extends well into the frame at f/6.3. At f/11 fringing still exists, but it is less obvious in the centre of the frame A: The Tamron 16-300mm comes in three fits; Nikon, Canon, and Sony. The Sony version doesn’t have VC stabilization since all Sony cameras have built-in image stabilization.

The Tamron focuses closer than most superzooms, down to 9cm (3.5 in) from the front of the lens. At 300mm focal length setting, it delivers a maximum magnification of 0.34x. Or to put that another way, it will fill the frame on APS-C format with a subject6cm (2.4 in) wide. This small rose wouldfit easily in the palm of your hand. There is no denying that any lens capable of shooting in a wide range of conditions will always be in high demand and verypopular. So called “all-in-one lenses” are most definitely a great way to be flexible in more situations without lugging around a lot of gear. Like most lenses nowadays, this one is made from high-grade plastic. The 16-300mm can also hold up in rainy condition as it comes with a sealing gasket. Image stabilization The sharpness at 16mm and maximum aperture are outstanding, and peak sharpness is attainable at f/1.8. However, it reduces considerably towards 70mm, and some clarity at the edges of the frame is noticeable. Chromatic aberrations are an issue at 300mm and highly visible along the edge of the frame. While its macro performance tends to reduce at 300mm, this lens holds up nicely considering its wide zoom range. But there's a fairly long list of downsides too, with image quality at longer focal lengths being perhaps at the top. Sharpness is very high at the wide end when stopped down a little, right across the frame, and that's great for landscapes. At F8, high edge-to-edge sharpness is available up to 100mm or so, but then there's a notable downturn with the edges in particular taking a hit. From 200-300mm, edge sharpness is never very good, not helped by the plentiful levels of chromatic aberration present, but to be fair it stays crisp in the centre. It looks as if Tamron has prioritized central sharpness, on the basis that this is most likely where the main subject will be at longer settings - and as a very rough generalization, that's probably true.

Tamron 16-300mm f/3.5-6.3 Di II VC PZD MACRO Specifications

Tamron doesn’t go into a lot of detail on the subject of exactly how moisture-resistant the lens is, but there is a rubber skirt around the mount that should seal at least the join with the camera. Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro review – In use When looking through the viewfinder while engaging and disengaging the VC, you can truly see an immediate and substantial smoothing out of camera shake. Though definitely not a replacement for a good tripod and steady hands, the VC made a noticeable difference in the sharpness of images taken at slower shutter speeds in low light. Small Details This lens gives the equivalent of 24.8mm wide-angle zooming to 465mm, on Nikon and Sony APS-C crop cameras, and 25.6mm to 480mm on a Canon camera, in 35mm terms. Previously the most optical zoom you could get in an APS-C super-zoom DSLR lens started at 18mm (27/28mm equivalent Nikon/Canon) and zoomed to either 200mm (Canon) 250mm (Sigma), 270mm (Tamron), or 300mm (Nikon). Chromatic aberration is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software. The overall build quality and finish are impressive. Its zoom and focusing rings have a great feel.

As is often the case with super zoom lenses, distortion is at both ends of the range, although it isn't too intrusive with this lens. At 16mm 5.4% barrel distortion is present, which is a reasonably high level and at 300mm 0.87% pincushion distortion is present, which is much less noticeable. The distortion pattern is uniform across the frame, so any distortion should be relatively easy to correct in image editing software afterwards if required. The version of this Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro lens I had to test was fitted for Canon EF-S, so I chose to mount it on an EOS 70D – being perhaps at the upper end of the kind of camera with which we might expect this lens to be used. Extended or contracted, the lens makes a fine mate for the body. The two balance well, and while somewhat heavy for all-day carrying, it is no worse than most enthusiasts are prepared to lumber themselves with. A: It uses the patented Piezo Drive ultrasonic-drive autofocus motor, which is swift, accurate, and quiet. Stabilization ensures consistent, sharp images in handheld photography while eliminating the need for faster shutter speeds. Autofocus So if you’re looking for a lens that you can take anywhere with you and will be suitable for almost any conditions you encounter then I can’t go past the Tamron 16–300 mm.

Comments

The focal range of the Tamron AF 16-300mm F/3.5-6.3 Di II VC PZD is extremely broad. It's possible to encompass a large amount of photographic styles when using a lens such as this. Flare resistance is good, comparing well in side by side tests with premium grade zooms. There's minimal spreading of the bright zone, the branches have not been completely bleached out, and there's only one blue/greenflare spot in this example (at lower right). Canon 7D, 17mm, 1/800 sec, f/8, ISO 100. Bokeh is creamy and color reproduction quite impressive. The inclusion of three aspherical lens elements helps keep aberration and vignetting at bay. There is discernible softening around the edges at wider apertures. Design The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges. Averaging them out gives the red weighted column. Plenty of distortion present, with strong +3.2% barreling at 16mm, transitioning through neutral at 18-20mm, then on to almost equally strong pincushion distortion at longer focal lengths, easing off slightly to around -2% at 200-300mm. This is very noticeable in critical subjects like architecture, but easily corrected in software. Specific optical characteristics Macro

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