Обзор tamron sp af 70-200/2.8 sp di ld

Резкость в дальнем поле

В отличие, от более щадящей дистанции в ближнем и среднем поле, тест на бесконечности показывает полные возможности оптики (справедливости ради – в репортаже в помещении или портретной съёмке эти «показания» могут быть не слишком релевантны).
Все фотографии конвертировались из RAW в Capture One Pro без коррекции объектива (периферийной резкости, виньетирования, хроматических аберраций). EXIF и полноразмер по ссылкам.
На 70мм
На F2.8 резкость по центру хорошая, на F4 явно лучше микроконтраст, далее по центру без улушений. По краям F2.8 и F4 явно слабее и по резкости и по хроматическим аберрациям (это единственное фокусное где они более-менее заметны). На F5.6 резкость скраю улучшается, но уровня центра достигает только на F8.
На 85мм
Картина в целом повторяется, за исключением центра кадра, где резкость на высоком уровне уже на F2.8 и хроматики по краям, изначально меньшей, чем на 70мм.
На 135мм
Резкость по центру приемлемая с F2.8, , очень хорошая с F4 по краям – с F5.6, хроматические аберрации практически отсутствуют.
На 200мм
Резкость по центру приемлемая с F2.8, очень хорошая с F4, по краям – с F5.6, и ещё лучше на F8, хроматические аберрации практически отсутствуют.

В сравнении с Sony AF 2.8/85mm:
Зум резче на F2.8, что особенно заметно по центру кадра. Хроматические аберрации более заметны на зуме.

В сравнении с Minolta AF 135mm F2.8:
Зум лучше почтенного фикса как по резкости (как минимум до F5.6), так и по хроматике (на всех диафрагмах).
Резкость и рисунок в ближнем поле (дистанция 4м)В сравнении с Minolta AF 135mm F2.8:
Резкость по центру достигает пикового уровня (на Sony a900) у зума уже на F4 , и продолжает расти у фикса до F8. Хроматические аберрации у зума отсутствуют, у фикса видны на F2.8.
Размытие переднего плана у фикса более плавное, однако в размытии заднего плана видны слабые зелёные каёмки.

И для примера Sony AF 2.8/85mm
Размытие фона
Размытие фона у Tamron 70-200mm F/2.8 SP Di USD субъективно очень неплохое. Блики почти не имеют резких границ и, что типично скорее для портретных объективов – к углам они имеют «сплющенную» форму. При диафрагмировании форма бликов остаётся круглой (в центре) или эллиптической (по краям кадра). Типичное для телезумов более жесткое размытие передней зоны здесь почти не наблюдается. Цветные каемки по краям бликов встречаются, но редко. На фиксах типа Minolta AF 135mm F2.8 они ощутимо заметней – коррекция хроматических и сферо-хроматических и аберраций в объективе выполнена очень неплохо.
Выводы
Объектив вполне соответствует заявленным характеристикам и цене – профессионального защищённого быстрого телеобъектива. Отдельные нарекания касаются точности автофокуса (зависящей также от камеры) и резкости в дальнем поле на 200мм, при пейзажном применении это может быть не лучший выбор. Да и у фирмы для этого есть недавно получивший обновление 150-600мм. Как репортажный и портретный объектив Tamron 70-200mm F/2.8 SP Di USD показал себя вполне прилично и подойдёт и тем, кому слишком велика минимальная дистанция фокусировки старой-доброй «трубы» Minolta AF 80-200mm F2.8 G или слишком дорог Sony 2.8/70-200mm G SSM. Над первым у Tamron ещё есть преимущество поддержки телеконверторов, с которыми его протестировать, увы, не удалось, но фирма как раз в сентябре 2016 года обновила оба производимых ею 1.4X и 2X.

Usage

Tamron 70-200mm f/2.8 VC G2. bigger.

VC MODE/1

This selects what kind of Image Stabilization you’re getting.

Mode 1, the top position, is the usual setting. It stabilizes your photos, as well as your viewfinder image.

Mode 2 is for panning.

Mode 3 offers even better picture stabilization than Mode 1, but it may make the viewfinder image look shakier because it’s optimizing itself to stabilize the captured image instead of also stabilizing the pre-exposure viewfinder image.

Use Mode 1, unless you don’t mind a shakier viewfinder image and aren’t getting the results you want in Mode 1. Mode 2 is only for panning.

VC / ON (OFF)

This activates or deactivates Image Stabilization.

Always leave it on (VC/ON), except if you are on a sturdy tripod (OFF).

AF (MF)

This selects auto (AF) or manual focus (MF).

Always leave it at AF, at which setting you can move the focus ring at any time for instant override.

Only set it to MF if you want to lock it in manual focus.

FULL / ∞-3m

This is a focus limiter that, in the ∞-3m setting, doesn’t let the lens focus any closer than 3 meters (10 feet).

Leave this at FULL, unless the lens is racking all the way in and out hunting for the subject, which you know is at least 3m/10′ away. I doubt you’ll ever need this, unless you’re shooting distant things through an obstruction.

Автофокус Tamron AF 70-200/2.8

Скорость фокусировки неплохая для мотора из детской игрушки. Считаю скорость фокусировки недостаточной для съемки лютой динамики, однако, если свыкнуться с мыслью, что фотик любит покрутить потрохами этого не быстрого объектива в самый ответственный момент, в принципе, привыкаешь. Следящий автофокус с Tamron AF 70-200/2.8, если честно, работает отстойно. На открытой и дальнем конце брака примерно 20%, сказывается тонкая Глубина резкости и шевеленка при съемке с рук.

На 6D фокусировка в разы точнее, чем на 60D. На 60D в принципе с любым объективом, кроме китового много брака. Но это руки, все руки тренировать необходимо. На 60ке вообще с Tamron SP AF 70-200/2.8 наблюдались интересные осбенности работы — частенько подтверждение фокусировки есть, а фокуса нет. В динамике на кропе творится полный «ад и израиль». Частые промахи, плюс медленный фокус. Я 60ку поэтому и продал. Наверное, у нового владельца все хорошо. Очень раздражают прогоны дистанции фокусировки от и до, на совершенно ровном месте. Вообще такое поведение обычно характерно для сцен со сложным освещением, но здесь все проявляется без каких-либо предпосылок.

Sample Images

All these images are from BASIC JPGs; no RAW files, NORMAL or FINE JPGs were used.

Boulevards, 13 April 2018, Friday. Nikon D850, Tamron 70-200mm f/2.8 G2 at 120mm at f/5.6 at 1/250 at Auto ISO 64, Perfectly Clear. bigger or full-resolution or camera-original file.

Sofie, 18 April 2018, Wednesday. Cropped from horizontal Nikon D850 file, Tamron 70-200mm f/2.8 G2 at 125mm at f/8 at 1/250 at Auto ISO 64, as shot. bigger or camera-original file.

Zoey, 18 April 2018, Wednesday. Cropped from horizontal Nikon D850 file, Tamron 70-200mm f/2.8 G2 at 200mm at f/8 at 1/250 at Auto ISO 64, as shot. bigger or camera-original file.

В использовании

Корпус выполнен из металла и пластика и на ощупь очень солиден, в комплекте идёт длинная пластиковая лепестковая бленда, крепление её не вызывает нареканий. Ближе всего к байонету расопложена съёмная «лапа» крепления к штативу, она надежно затягивается винтом, а в свободном положении может быть повернута на любой угол вокруг оптической оси (для кадра вертикальной ориентации или переноски за неё как за ручку). К сожалению, никто и производителей так и не догадался делать основание штативного крепления в стандарте Arca-Swiss – для крепления всё ещё нужно привинчивать к ней съёмную площадку (в проушины которой я сразу продел ремень для переноски – всё таки объектив тяжелее камеры). Объектив имеет центр тяжести смещённый вперёд и даже с увесистой Sony a900 вся конструкция стабильно стоит «лапой» на столе. Центровка же на шаровой голове штатива не вызывает проблем.
Дальше на объективе есть только один переключатель слева сверху (если смотреть от камеры) режима фокусировки (AF/MF). В версиях для байонетов Canon EF и Nikon F здесь же расположен выключатель оптического стабилизатора. Дальше на корпусе окошко шкалы фокусировки.
Такой набор органов управления минималистичен и после других объективов этого класса ожидаешь кнопки фиксации и ограничитель дистанции фокусировки.
Кольца зуммирования и фокусировки расположены непривычно: фокуса по середине – именно на него попадает ладонь при хвате и зума, которое гораздо шире и имеет немного другое рифление резинки – ближе к оправе (она имеет привычную резьбу диаметра 77мм и не вращается). Оба кольца, особенно зуммирования, ходят очень легко для такого массивного объектива. Ход кольца фокуса (и самой фокусировочной группы линз) – небольшой, соответственно в плюсе скорость, в минусе – точность. 
Направления движения кольца зума такое-же как у объективов Sony — по часовой от короткого конца к длинному. А у кольца фокуса наоборот, против привычного для Sony/Minolta направления — по часовой к бесконечности. 
Точка фокусировки смещается при зуммировании. Не сильно, но более чем заметно, по этому параметру объектив будет не лучшим выбором для видеосъёмки. По крайней мере с этой особенность, типичной, для обычных зум-объективов придётся мириться.

Автофокус
Автофокус на камерах Sony a900 и Sony A7r (с переходником LA-EA4) бесшумный и очень быстрый (но медленней фирменных Sony 2.8/70-200mm SSM II и Minolta AF 80-200mm F2.8, по ощущениями примерно равняется Sony/Minolta 2.8/70-200mm SSM первого выпуск) и скорее ограничивается возможностями системы фокусировки, нежели конструкцией объектива или бесшумного мотора. Безусловно, это объектив достоин датчика A77-II, A68 или новой A99-II.
Точность фокусировки в покадровом режиме в целом очень хорошая, за исключением (на обоих камерах) положения 200мм при расположении объекта в 20 метрах и дальше часто наблюдался недолёт фокуса, небольшой, но вполне заметный даже на прикрытой диафрагме.
Качество изображения
Как и положено объективу профессионального уровня, практически не наблюдается проблем с засветкой, Tamron 70-200mm F/2.8 SP Di USD хорошо держит контровый свет. В отличие от объективов разработки 1980х—2000-х эта модель практически лишена хроматических аберраций. Это не полный апохромат, но проблем ни с фиолетовыми краями бликов, ни с зелёными ветвями против светлого неба здесь нет. Дисторсия, особенно на длинном конце зума заметна, это типичная для телевиков «подушка». Если не говорить про съёмку на видео архитектурных объектов, это не представляет трудности в современной цифровой фотографии. Однако, в отличие от «родных» объективов – камера сама исправить дисторсию не может.

Sharpness Test

Perhaps the most important test everyone wants to see when comparing a group of lenses like this is the sharpness test. Which one of these lenses is the sharpest? Now if you have ever tried to conduct your own sharpness test you very well know that there are a million variables that can skew your results. Some of those include getting a bad copy of a lens, camera shake inadvertently being introduced into the test, VR being left on, was in-camera micro adjustments made for every lens, what f-stop was used, which focal length was used, and on and on the list can go. Although my college days were spent in biology and chemistry labs, I’m the first person to tell you that if you want the most scientific test with MTF charts and multiple focal length comparisons using those goofy ass charts everyone buys then please wait for the more technical reviewers to release their comparisons. As a wedding and portrait photographer, the main thing I was interested in was how sharp are these three lenses wide open at f/2.8 and zoomed it at 200mm? I’ve found that this focal length is the hardest to nail tack sharp images at and in most journalistic style situations I’m going to be shooting wide open.

Because so many people are going to be curious about this test, I’ve decided to release the actual Photoshop file I created so that you too can download it, zoom around, and come up with your own conclusions. As mentioned in the video and as seen in the previous test, the Nikon FL lens did produce a slightly more zoomed in image at 200mm than the other lenses. In order to compare all four images easily, I aligned everything in Photoshop which did have to stretch three of the images in order to line them up accurately to the image shot with the Nikkor FL lens. This probably does give a slight disadvantage to the other lenses but since the three other lenses produced photographs that were so similar in field of view, the alignment affect is pretty negligible at least among those three images.

The first conclusion I can definitively say is that the Nikon FL lens is clearly the sharpest overall. From corner to corner, this lens shows the most detail out of the group.

The second takeaway is that the Nikon VR II lens is very inconsistent from edge to edge. In the center of the frame, this lens is perhaps the second most sharp but if you look at the Ditto or the Diamond Compressor you can clearly see that both the Tamron lenses are much sharper. This could be because the VR II lens is the oldest lens of the group and the other lenses are almost brand new. We do send in our lenses to be serviced about once a year but it is hard to say exactly why the Nikkor VR II lens is so soft in this test. Even though the VR II lens might be a little more sharp than either of the Tamron lenses in the center of the frame, I am going to rank this lens last because of how soft it is around the edges.

The third conclusion I can make from this test is that the Tamron SP lens seems to be ever so slightly more sharp than the newer G2 lens. You can really see this in the corners and pretty much on every small piece of text. Overall though, I think both of these lenses are extremely sharp all things considered.

Winner: Nikkor VR ED FL

Особенности работы

Цвет Tamron SP AF 70-200/2.8

Tamron SP AF 70-200/2.8 очень любит солнечную погоду. При смене освещения, при съемке в тени деревьев, или в присутствии каких-либо отражений, падающих на лица — кожа приобретает оттенок, трудно выводимый при постобработке материала. Причем, зачастую присутствует обширная гамма паразитных оттенков — пурпурный, зеленоватый и фиолетовый. Нужна привычка, чтобы с ходу определять, будет ли кадр испорчен, или все-таки, можно будет «покрутить» а не сбрасывать хорошее фото в монохром. Ну и иногда, все же, хочется оригинал по фокусному от Canon. Тот же 70-200 f4.

Макро

Макроувеличение у Tamron SP AF 70-200/2.8 небольшое. Шмеля с расстояния 2 метров можно получить на треть кадра. Для более крупного макро можно использовать макрокольца. С ними я снимал росу на траве. Когда-то было интересно.

Specifications

Name

Tamron calls this the Tamron SP 70-200mm f/2.8 Di VC USD G2:

    SP: Special Performance; Tamron has called most of their lenses this since at least the 1970s.

    Di: Works on digital cameras — so?

    VC: Vibration control (Image Stabilization).

    USD: Ultrasonic Silent Drive autofocus motor.

    G2: Tamron’s second 70-200/2.8 VC.

Also has:

    ∅77: 77mm filter thread.

Optics

23 elements in 17 groups.

5 LD Low Dispersion elements, which help reduce secondary axial chromatic aberration.

1 XLD Extra-Low Dispersion elements, which help reduce secondary axial chromatic aberration.

No aspherical elements.

No high refractive-index elements.

Fluorine coating to resist dirt and smudges.

Internal zoom; nothing moves externally as zoomed.

Nikon: FX and DX (digital cameras only).

Canon: Full-Frame, and APS-C.

Tamron 70-200mm f/2.8 VC G2. bigger.

9 rounded blades.

Stops down to f/22.

Focal Length

70~200mm.

When used on a Nikon DX camera, it sees the same angles of view as a 105~300mm lens sees when used on an FX or .

When used on a Canon APS-C camera, it sees the same angle of view as a 112~320mm lens sees when used on a full-frame or

See also Crop Factor.

APS-C

22.3º ～ 8º diagonal.

Internal focus.

No external movement as focused, so no air or dust is sucked in.

Tamron HA025 hood for 70-200mm. bigger.

Size

3.5″ maximum diameter × 7.5″ extension from flange.

88 mm maximum diameter × 191.3 mm extension from flange.

Canon

3.5″ maximum diameter × 7.6″ extension from flange.

88 mm maximum diameter × 198.3 mm extension from flange.

Weight

52.095 oz. (1,476.9g) actual measured weight, Nikon.

52.4 oz. (1,485 g) specified for Nikon.

52.9 oz. (1,500 g) specified for Canon.

Quality

Made in China («Designed in Japan»). bigger.

MADE IN CHINA.

Tamron shamefully hides MADE IN CHINA in little dark-gray letters while deceptively putting DESIGNED IN JAPAN in big white letters.

Canon: AFA025C-700.

Nikon: AFA025N-700.

$1,299, April 2018.

Tamron 70-200mm f/2.8 VC G2. bigger.

Conclusion

As I mentioned in the video review, it’s pretty frustrating to get to the end of a review and not have a definitive answer on what is the best overall lens. On one hand, the Nikkor VR ED FL lens is clearly the sharpest lens of the bunch and it also has the greatest magnification of all the lenses. However, this lens costs over twice as much as the Tamron SP lens which performed very admirably in most of the tests. In my opinion Nikon is getting a little crazy with their lens prices (don’t believe me, check out the Nikkor 19mm PC versus the Canon 17mm Tilt) and the truth of the matter is the competition is getting much, much better. With some of the ultra-wide-angle lenses and primes, Nikon actually isn’t the top dog anymore.

When it comes to Tamron, I think they have an absolute winner with their new 70-200mm Di VC G2 lens. Not only is it designed really well but it’s also extremely sharp, does really well with fast focusing, and has some of the best image stabilization found in any lens period. If you are on a budget and spending the extra $300 is just outside of your reach, the Tamron SP 70-200mm is still an incredible value and would be an excellent lens for those just getting their first f/2.8 telephoto.

As for the lens I actually own, I do not really see any reason to buy the older Nikkor 70-200mm f/2.8 VR II lens because it clearly sits right in the middle. On one hand, you know you aren’t buying the absolute sharpest lens Nikon makes, but on the other hand you are paying a significant $800 premium for the Nikon name when both of the Tamron lenses are equally as sharp if not even better.

So with all that being said, to answer the question in the title of this article:

Which Telephoto Lens is Best For the Money:  Tamron 70 — 200 G2

Which Telephoto Lens Is The Best Regardless of Cost:  Nikkor 70 — 200 VR FL

Full-Frame VC G2 (2017-)

Tamron 70-200mm f/2.8 VC G2 (77mm filters, 52.1 oz./1,477g, 3.1’/0.95m close focus, about $1,299) bigger. I got my Nikon version at B&H. I’d also get the Nikon version at Adorama or at Amazon. There is a Canon version at B&H, which I’d also get at Adorama or at Amazon.

This ad-free websites biggest source of support is when you use those or any of when you get anything, regardless of the country in which you live. Tamron does not seal its boxes in any way, so never buy at retail or any other source not on since you’ll have no way of knowing if you’re missing accessories, getting a defective, damaged, returned, , store demo or used lens. Get yours only from the for the best prices, service, return policies and selection. Thanks for helping me help you! Ken.

April 2018   Sony      Zeiss   Nikon   Canon   Fuji   LEICA   All Reviews

Nikon 70-200mm f/2.8 FL VR FX (check price)

Nikon 80-200mm f/2.8D FX (check price)

Canon 70-200mm f/2.8 L IS II (check price)

Canon 100-400mm L IS II (check price)

Compatibility

Caution

No camera maker authorizes Tamron to make lenses for their cameras, and no camera maker authorizes you to use this lens on their cameras. If it doesn’t work, talk to Tamron, not to Nikon or Canon.

While it seems very compatible, there is always the potential that something won’t work on your camera, especially in the future as newer camera models come out.

No worries, so long as you get yours from an you can return it for a full cash refund if you don’t love it or it doesn’t work when you get your lens.

Canon

It should work flawlessly on every Canon DSLR and every Canon 35mm autofocus (EOS) camera ever made since 1987.

It should work on , but only if you use the EOS-M adapter.

Nikon

It should work perfectly on all FX Nikons, and should work well on DX Nikon models introduced since about 2007.

I tried it on my D3 that I bought back in 2007, and everything works great, as well as on my 2018 D850.

This Tamron 70-200 has a new  which won’t work on camera models introduced before about 2007.

It won’t work properly on older DSLRs or any ; they won’t be able to work with the electronic diaphragm and will only shoot wide-open. If you don’t mind shooting wide-open, go ahead and shoot it on older cameras if you like. Even on a 1959 Nikon F you can focus and zoom manually and shoot wide open.

It’s useless on my 2006 Nikon D40, which simply shows an Error.

I tried it on my 1990s Nikon F5, and it autofocuses and stabilizes just fine, but it only shoots at f/2.8.

On my 2005 D2HS autofocus and VR work fine, but it only shoots at f/2.8 regardless of how you set the camera, so often you’ll get overexposure unless you shoot in A or M mode and set f/2.8.

Autofocus, VR and the diaphragm don’t work on my 1980s Nikon F4. I’d have to focus manually, lose VR and have to shoot at f/2.8.

YES: As of January 2018,  should work only on the:

D5, D4, D4s, D3, D3s, D3P, D3x, Df, 

D850, D810, D800/e, D750, D700, D610, D600, 

D500, D300, D300s, 

D7000, D7100, D7200, D7500, 

D5600, D5500, D5300, D5200, D5100, D5000, 

D3400, D3300, D3200, D3100,

Nikon 1 J1, J2, J3, J4 with FT-1, Nikon 1 V1, V2, V3 with FT-1, and Nikon 1 S1, S2 with FT-1.

NO: lenses will not work on the 

D1 or D2 series,

D100, D200, D90, D80, D70 series, 

D60, D50, D40 series, or the D3000, and will not work on any . The diaphragm will stay wide-open, which may or may not be a problem for you. In the case of tele lenses this isn’t much of a problem because we usually shoot long lenses wide-open, in which case these lenses are compatible with everything.

This won’t work with any of the Pronea cameras either— but who cares?

See for more. Honestly half of Nikon’s current catalog of lenses won’t work on half their new cameras today, so I don’t know that this lens will have any more problems than any other Nikon lens. Just be sure to buy only from an so you’ll have the option of a 100% cash refund return if it just doesn’t work on your camera. Nikon isn’t Canon that takes one sentence to say «Compatible with everything since 1987;» Nikon is a patchwork of shame today when it comes to compatibility.

Sony

There is no Sony version. I have no idea how well using an adapter with the Canon version of this Tamron will work on Sony; you’re really asking for trouble.

For Sony, get any of the newest Sony 70-200mm f/2.8 GM OSS, Sony 70-200mm f/4 G OSS or Sony FE 70-300mm G FE OSS lenses instead.

This is a DSLR lens, not a mirrorless lens.

Диафрагма и ГРИП

Зато размытие фона при съемке портретов — шикарнее некуда. Особенно, на открытой и на дальнем конце. Даже не смотря на то, что ты не слышишь ничего, что говорит тебе модель, — ты увлечен процессом. И модели хорошо, и тебе неплохо. Пусть стоит в конце квартала и думает всякую дичь о тебе.

Размытие фона у Tamron SP AF 70-200/2.8 — в кашку. Ну совсем. Особенности работы с телевиком заключаются в том, что на длинном конце ГРИП очень тонка. и чтобы при съемке каких-нибудь объектов не испортить кадр, необходимо постоянно контролировать расстояние до объекта и диафрагму. Например, на 200мм при расстоянии 10 метров до объекта, когда объектом является автомобиль, он не попадет полностью в зону резкости (полнокадровая камера).

Introduction

B&H Photo — Video — Pro Audio I buy only from . I can’t vouch for below.

This Image-Stabilized Tamron 70-200mm f/2.8 is half the price of Canon or Nikon and works great. Feel free to read the rest of this review, but for all practical purposes this lens takes the same pictures as the Canon or Nikon lenses, with the gotcha that there are no lens profiles so you’ll have no option for automatic in-camera distortion correction, and on Canon only there will be no correction of lateral color fringes or corner falloff (Nikons correct lateral color and falloff with any lens, no profile needed).

Look at my ; they’re super-sharp. If an extra thousand dollars in your pocket matters to you, by all means consider this lens instead of the Canon or Nikon lens. What you lose isn’t so much picture quality as the potential for the camera you buy ten years from now not working with this lens, but if you’re considering this lens today you’re probably not worried about ten or twenty years from now. Even the reviews at Amazon love it.

Just grab the genuine mechanical focus ring at any time for instant manual-focus override.

This is a very nice lens, complete with internal zooming. Nothing moves externally as you zoom and you can flick the genuine mechanical focus ring at any time for instant manual-focus override.

Good

● Sharp.

● Half the price of Canon or Nikon’s similar lenses.

● Same optical performance as Canon’s or Nikon’s 70-200/2.8s.

● Fast and nearly silent autofocus.

● Great stabilization.

Missing

● No lens profiles for in-camera corrections. Nikons can correct any lens for lateral chromatic aberrations and falloff without a profile, but Canon can’t correct these without a profile. No camera can correct this lens’ distortion without a profile — and neither Canon nor Nikon are going to offer profiles for a Tamron lens.

Getting a Legal USA Version

This section applies in the USA only.

In the USA, be sure the serial number on your lens (in tiny black-on-black numbers on the bottom of the zoom ring) matches the serial number on the top of the box and on the warranty papers inside the box, and be sure your box has this six-year USA hologram sticker:

Tamron USA hologram sticker. bigger.

If not, you got ripped off with a gray market version from another country. This is why I never buy anyplace other than from my . You just can’t take the chance of buying elsewhere, especially at any retail store, because non-USA versions have no warranty in the USA, and you won’t even be able to get firmware or service for it — even if you’re willing to pay out-of-pocket for it when you need it!

If a gray market version saves you $400 it may be worth it, but for $200 or less I wouldn’t risk having no warranty or support.

Always be sure to check your box while you can still return it, or just don’t buy from unapproved sources or at retail so you’ll be able to have your camera serviced and get free updated firmware as needed.

Get yours from the and you won’t have a problem, but if you take the risk of getting yours elsewhere, be sure to check everything while you still can return it.

Vibration Compensation/Reduction

Image stabilization is extremely important when using a long lens at slower shutter speeds. This is a feature I really think every photographer should make a priority when buying a professional-level telephoto. If you find yourself in a low light situation like shooting a wedding in a church or outside at dusk or if you are trying to take photos from a moving boat or unstable platform of some kind, VR is going to be an invaluable tool in creating the sharpest images possible.

I wanted to make this test as visual as possible so instead of shooting photos at a slow shutter, I opted to put the camera in live view and film video. Stabilization is even more important with video because it is much more difficult to capture usable video footage handheld than it is to snap a sharp photograph with a slow shutter. The results of this test are pretty obvious as you can clearly see that the Tamron vibration compensation appears more organic and natural. Nikon’s vibration reduction, while extremely useful for still photos, seems to move in a more robotic and mechanical way. The image jumps around unpredictably and overall is less pleasing to the eye. If you are only concerned with taking still photographs this probably isn’t as big of a deal as it would be for video work but you also might wind up with a composition slightly different than what you saw when you pressed the shutter. When we compared Tamron’s 24-70mm f/2.8 VC lens years ago, we noticed then that Tamron’s VC was superior to both Nikon and Sigma’s in camera stabilization.

Winner: Tamron G2 with the SP looking almost identical

Autofocus Tracking Test

If you shoot sports, weddings, or any event where your subject is going to be moving quickly, you know how important accurate and fast autofocusing can be. Speedy autofocus is accomplished in part by the camera itself and also in part from the lens. All of these lenses have the newest electronic focusing mechanisms which are leagues better than the old mechanical drive shafts you would find in lenses like the Nikon 80-200mm. I wasn’t sure if there would be enough of a difference in each of these lenses to definitively say one was better than the other but it was worth testing.

For this test I used a single Nikon D750 set to AF-C or Continuous-Servo mode and set the autofocus points to Group. This group setting is a newer autofocus option only available in Nikon’s newest cameras but I have found that it is my favorite AF mode because it acts like a single point while giving you the ability to track your subject with multiple autofocus sensors. Finally, the camera was also set to Continuous Shooting Low which allows me to fire off about five frames per second. In order to average out any inconsistencies, I had Leo the dog run towards the camera three separate times per lens. I then simply counted each image that was in focus against the total number of images shot.

The most accurate camera/lens combination was with the Nikon VR II which had 81 percent of the images in focus. The Nikon FL lens came in second with 75 percent of the images in focus. For the two Tamron lenses, the G2 had 67 percent of the images in focus and the SP was right at 48 percent in focus. Overall it was interesting to see that the older Nikkor lens beat their newest lens but honestly these numbers are all pretty close. All of these lenses would be able to have about 7-8 images in focus out of 10 except the Tamron SP which was correctly locking onto about 5 images out of 10.

Winner: Nikkor VR II

Compared

NEW: Best 70-200mm f/2.8 Lenses Compared.

This Tamron is half the price, and optically just as good as the lenses from Canon and Nikon.

What you lose for paying only half as much is that this Tamron is built only to good consumer levels, while the Nikon 70-200mm f/2.8 FL VR FX and Canon 70-200mm f/2.8 L IS II are built to extraordinary professional standards with mostly metal barrels and metal filter threads. Nikon and Canon’s 70-200/2.8s are built to withstand a lifetime of full-time professional environmental and physical abuse, while this Tamron is designed for normal people who take care of their equipment.

Every non-camera-brand product has the potential to be, or become, incompatible with your camera. While it probably will be perfect with your camera today (and if it’s not and you get yours from an you can send it back for a 100% cash refund), there’s no telling if it will be compatible with whatever camera you might buy 10 years from now. I’m still using my Canon and Nikon 80-200mm f/2.8 lenses that I bought back in the 1980s and 1990s with my newest digital cameras, but no one can be sure if this Tamron lens will work with cameras 10 years from now. While off-brand makers all smile and try to reassure you today that they’ll be around in the future to update lenses, experience has shown that these makers just walk away when it comes to trying to update 10 year old lenses.

Let’s be serious: The Nikon 70-200mm f/2.8 FL VR FX costs $2,800 as I write this. That’s $1,500 more than this lens. You could buy this Tamron today, and if in ten years it stops working, buy another brand-new version from Tamron and still be way ahead.