The arrival of this lens was one of the most eagerly awaited events in our workshop's history. When the Tamron 35-150mm f/2-2.8 was first revealed, I couldn't wait to evaluate it. For almost a year, it has been intermittently sold out at major stores. It doesn't shock me either. Everything about it—the focal length range, the shutter speed—seemed unbelievable. Is this the last portrait lens anyone will ever need?
In fact, freestar Tamron's 35-150mm f/2-2.8 is a remarkable achievement. There have been so many occasions where I've wished my 70-200mm f/2.8 had a wider focal length range, such as 50mm or 35mm, even if it meant giving up a little bit of telephoto reach. And now, finally, after more than a decade of hoping for it, here it is: the lens of my dreams!
Should we believe it, then? Is it because it's not a "good" optical formula that no one has ever attempted to create such a lens before? In reality, the Tamron 35-150mm f/2-2.8 provides stunning picture quality together with expert-level functionality, durability, and performance.
Let's get down to business and examine this report.
Specs for the Tamron 35-150mm f/2-2.8 Di III VXD Lens
Lens Comparison: Tamron 20-40mm vs. 35-150mm
Tamron 35-150mm f/2.8-4.0 (LEFT) | RIGHT: Lens, Tamron f/2.8 20-40mm
ANGLE OF VIEW AND FOCAL LENGTH: 35-150mm and 15° 26′ to 63°
Sony E Mount Optical Zoom Lens (full-frame mirrorless)
GENERAL SPECS: 9 rounded blades, f/2-2.8, f/16-22 APERTURE RANGE
VXD Stabilization with No Autofocus Calm, uncluttered concentration
Intuitively CENTERED: Linear-response electronic controls are readily available
21 elements in 15 groups, 3 aspherical glass moulds, 4 low dispersion elements; this is an optical construction.
Aluminum and plastic, fully weather-sealed mechanical construction
FOCUS DISTANCE AND MAGNIFICATION: 0.17x and 0.33 m (12.99 in. )
82mm filter threads with a plastic hood that locks
PROPORTIONS: 89 x 158 mm (3.5 x 6.22 in)
WT. : 1165 grammes (41.1 oz)
RETAIL VALUE: $1,899 (B&H / Adorama / Amazon)
Who Should Purchase the Tamron 35-150mm f/2-2.8?
At first glance, a lens with a focal length range of "35-150mm" can seem perfect for any kind of photography. You would be correct, but with two exceptions! First and foremost, at around $1,900, this lens is nearly as expensive as top-tier professional lenses. Second, it's about the same weight as a professional 70-200mm f/2.8 lens.
For this reason, the answer to the question "who should buy it?" will rely on a number of factors. That is to say, not only is this a very practical and helpful lens, but it is also a highly specialised and expert-level tool.
Tamron's 35–150mm f/2.8–4 ED OS HSM Art Portrait Lens
Lovely Winter of Oz Holiday Panto at the Laguna Playhouse
It's hard to argue that the Tamron 35-150mm f/2-2.8 isn't one of the "greatest" portrait lenses ever made. For nearly twenty years, I have worked as a portrait (and wedding) photographer, and during that time I have experimented with just about every style there is. I could have used a zoom lens like this for just about every task I've ever faced.
But, this lens cannot compete with the classic aesthetic of a 50mm f/1.2 or an 85mm f/1.4 (much less a 105mm f/1.4 or a 135mm f/1.8!). … If you want to get the most out of the background blur and smooth bokeh, do this.
It's understandable if you don't want to invest in a zoom lens because you're used to shooting with primes and already have the best 35mm, 50mm, and/or 85mm lenses money can buy. But, as a professional photographer who regularly takes pictures of both individuals and groups, I find the zoom range to be invaluable. This is an ideal dynamic range for creating portraits.
Tamron 35–150mm f/2.8–4 review for wedding photographers 33
Photographers that specialise in weddings should also give this lens a try, as its zoom range may prove ideal for their work. For example, if you have a 24-70mm f/2.8 and a 70-200mm f/2.8 but rarely use the wide-angle or telephoto ends of both lenses, you should look at the 35-150mm.
The downside is that wedding photographers frequently have to shoot in low light, sometimes even having to capture fast-paced activity in complete darkness. With the amount of glass that the Tamron 35-150mm's AF motors must move in order to achieve focus, the lens's autofocus performance might often feel sluggish.
If I were a wedding photographer, I would get this lens for taking portraits, but I would probably stick with my 70-200mm (or a Tamron 70-180mm) for shooting in low light.
Style and News Photography
Portraiture for magazines and advertisements is one type of photography where lighting and composition are carefully orchestrated. Perhaps, those photographers will find the lens's zoom range to be an attractive feature.
The 35mm wide end may be especially useful for subjects like a fashion runway, and I would even go so far as to call it "the ultimate lens" again, provided that there is sufficient lighting and the tempo of activity is slow enough for the autofocus to nail practically every snap.
Photos of Real Life, on Holiday, in the Street, etc.
Review of the Tamron 35-150mm f/2.8-4.0 lens, version 16
Tamron's 35mm f/2 prime lens on their 150mm telephoto
How about as a general purpose tool for everyday life? As compared to a standard compact/travel zoom or a tiny little f/1.8 prime, the Tamron 35-150mm may feel like a little of "overkill" due to its weight and size.
Review of the Tamron 35-150mm f/2.8-4.0
The Tamron 35-150mm f/2.8 at 120mm
Nonetheless, the lens's versatile focal length and fast aperture make it a great choice for practically any kind of photography, from serious portraiture to ordinary pictures. Having that particular focal length and range in a single device is simply plain handy. The importance of this cannot be overstated on my part.
Sports Photographers Capturing the Action
When photographing sporting events, the same rule applies. Does your preferred method of photography benefit from having both a wide-angle and a telephoto lens? If you're looking for a new lens, this one might be it.
The actual working distance between you and your subjects, as well as the types of photographs you are framing, will determine this. Still, a 70-200mm f/2.8 lens may serve you better. While deciding whether or not to purchase the Tamron 35-150mm, one must first consider how often they will "bumping into" either the 70mm or 200mm end of the focal range.
Concert & Theater Photos
Evaluation of the Tamron 35-150mm f/2.8 The 28th Annual Laguna Playhouse Gala | Tamron 35-150mm f/2-2.8 @ 35mm
Expert analysis of the tamron 35-150mm f/2.8 Scene 29 at the Laguna Playhouse, shot with a Tamron 35-150mm f/2-2.8 at 135mm
Theater and music concert photography are two subgenres that should be highlighted here. This lens may be especially well-suited to genres that include action on a stage. Throughout a ten year period, I documented children's theatre productions, and by sheer good fortune, I was able to shoot one such production for this review. I can state without a doubt that this is the lens I've been hoping for since the middle of the 2000s.
The same is true for portrait photography; you could literally photograph a complete job with just this lens. Or, for a comprehensive range of focal lengths, use the Tamron 20-40mm f/2.8 alongside it, as is common practise for wedding photographers.
Review of the Tamron 35–150mm f/2–8 lens for wildlife photography
Wildlife photography is one genre where I don't think the Tamron 35-150mm will inspire the same "greatest lens ever!" enthusiasm. While photographing wildlife, "reach" (focal length plus sensor size) is essential. The best option would be a 70–200mm f/2.8; but, even at that focal length, you still won't get very close to the wildlife. Use a super-telephoto zoom like the Tamron 150-500mm instead. If you're interested in the 35-150mm's widest end, though, I'd advise looking at the Tamron 50-400mm instead. Soon you'll be able to read our thoughts on that perspective.
You may also like: [Related:] Top 5 Telephoto Tamron Lenses for Mirrorless Cameras
Review of the Tamron 35-150mm f/2.8-4.0
But, as long as I was careful, I had a great time using this Tamron to take pictures of "local/domestic" wildlife.
Taking Pictures of Beautiful Scenery
Evaluation of the Tamron 35–150mm f/2–8 Lens Tamron 35-150mm f/2-2.8 @ 150mm 25
Evaluation of the Tamron 35-150mm f/2.8 A total of 26 Tamron 35-150mm f/2.8-4.0 lenses, set at 35mm
This is a field where the outcome might go either way. To begin with, the focal length range of 35-150mm is a good zoom that many landscape photographers undoubtedly use frequently, especially when coupled with the ubiquitous 16-35mm ultra-wide focal length, or something highly portable like the Tamron 20-40mm f/2.8 or 17-28mm.
But, the Tamron 35-150mm is only a good choice if landscapes are only one of your photographic interests; if you also shoot portraits and the like, it's more versatile range would be put to better use elsewhere. When it comes to landscape photography at mid to long ranges, I much like the Tamron 50-400mm.
Images of the Night Sky and Other Night Scenes
Because of its wide range of aperture, the Tamron 35-150mm f/2-2.8 might be an intriguing addition to the lenses of any photographer interested in shooting the night sky. Perhaps you use a telescope for deep-sky astrophotography or an ultra-wide lens for astro-landscape photography. Or, you might use that lens more frequently and save this one for more specific circumstances.
All You Need to Know About the Tamron 35-150mm f/2-2.8 Zoom Lens
I'll keep this brief: this lens has many strong points and almost no weak ones. This lens has professional-grade optics, a sturdy construction, and a reasonable price tag for what it can do.
Negatives are hard to come by. For those who insist on hand-holding it, keep in mind that your right wrist will not thank you if you don't use your left hand to support the lens, just like you would with a 70-200mm. The autofocus isn't quite as quick or consistent as that of a 70-200mm f/2.8, but it's not a deal breaker by any means.
Now that we've established that, let's dive deeper. Or you could just look at the nice example photographs we have here.
Indicators of Image Quality
Evaluation of the Tamron 35-150mm f/2.8 With a crop factor of 100%, the focal length of the lens is equivalent to 14mm on the Tamron 35-150mm.
Sharpness
Evaluation of the Tamron 35-150mm f/2.8 Tamron AF-S DX OD 35-150mm F/2.8 VC OSD @ 50mm, f/2.2, ISO 100
Sharpness Sample of the Tamron 35–150mm Lens
The image was cropped to 100% and sharpened with a fine radius at 24 megapixels.
Images are pin-sharp at every focal length, even at f/2.8, thanks to the camera's unusually wide zoom range and fast aperture. With the aperture wide open, sharpness isn't perfect in the corners, but this isn't a problem for portrait or event photography.
Review of the Bokeh-Inducing Tamron 35–150mm f/2–2.8 Lens 30
To "kill" a background with smooth, creamy bokeh is a big draw for portrait photographers, therefore fast primes (those with an aperture of f/2.8 or faster) are a popular choice. The Tamron 35-150mm f/2-2.8 provides beautiful background defocus across the entirety of its zoom range. The short depth of field at 35mm (f/2) is not only practical, but aesthetically pleasing as well.
Even if you only use primes, I think all portrait shooters should give this lens a go. (Especially if they are big fans of zooms!)
Contrast and colour
Evaluation of the Tamron 35–150mm f/2–8 Lens 21
Even with the raw settings applied, the photographs are clear, crisp, and well saturated. Except for the effects of vignetting, which we'll discuss later, there is no discernible colour shift.
Contrast Enhancement, Vignetting, and Warping
These two components of image quality are now heavily handled by software; hence, you won't notice either artefact very often if you leave the profile correction settings on your Sony camera body at their factory defaults (which is "auto").
Tamron 35-150mm F/2.8 ED Distortion at Wide Angle
To emphasise the vignetting caused by the colour shift in the preceding animation, the saturation was cranked up to +50.
But, if you labour under particularly harsh conditions, you might see some skewed colour vignetting. Only when severely manipulating photographs with huge areas of neutral, smooth tone will you run into this issue. It's either snowing or cloudy, and that's about it. Nonetheless, this is a widespread issue with today's mirrorless lenses.
MS 06450 Sunstars & Flare
When shooting a portrait against a warm, hazy background light, flare is a stunning aesthetic choice. Despite this, the "flare dots" are essentially insignificant. The lens's fully rounded aperture blades across the aperture range mean that it's best suited for portraiture and other non-distracting subjects, so you won't get very pinpoint sunstars using it.
Aberrations of colour, coma, and astigmatism
To be fair, few photographers are concerned with such fine points of image quality. In a nutshell, this lens exhibits chromatic aberration and other effects, most noticeably in the periphery. However, when the camera's in-camera profile is activated and the Adobe Lightroom correction tools are used, they are easily managed.
Inside the bonnet, when the autocorrect is turned off, a different picture emerges. Perhaps deep-sky astrophotography is something you're considering. There is a lot of aberration at the borders of the image, as is the case with many modern mirrorless lenses that rely heavily on lens correction profiles. Sadly, this is another thing that the vast majority of photographers will never witness.
Close-Up and Macro Photography
Evaluation of the Tamron 35-150mm f/2.8 Twenty Tamron f/2.8 35-150mm lenses at 150mm
Evaluation of the Tamron 35-150mm f/2.8 19 Cropped at 100 percent, 24 megapixels, with fine-radius sharpening
Even though it's not specifically designed for macro photography, this lens can go very near. The following examples show that even if you only want to dabble in close-up photography sometimes, you can get some decent shots. The sharpness is slightly compromised at f/2.8 when focusing at 150mm and the minimum focus distance, but it is restored by f/5.6.
Quality of Construction
tamron review 06 f2 2.8 35 150mm
Alright, enough about the picture, on to the lens's physical characteristics! The Tamron 35-150mm f/2-2.8 is unmistakably a professional-grade lens in terms of its design and functionality. To be honest, I was taken aback when Tamron decided to drop the "SP" designation from their high-end DSLR lenses.
Later, I'll go into detail about the features and adjustments you can make, but for now, just know that this lens is constructed to the highest industry standards and will stand up to the most rigorous use. I like that it combines metal with plastic, as both are present in the design. Some of the previous "pro" lenses were made of all metal and were more prone to dents and dings, which may cause a zoom ring or focus ring to actually grind to a halt. These newer types of lenses appear to absorb and dissipate excessive abuse much better.
This Tamron is completely sealed from the elements, so it should serve you well for many years in the pitch.
Compactness and usability
Review of the Tamron 35–150mm f/2–8 Lens, Version 09
In case you were wondering, I did indeed call this lens "3-4 lenses in one."
That's exactly what you'll receive! Such a large and substantial lens! If you want a zoom that can compete with several primes, you'll have to settle for one that is slightly larger than those primes.
So, keep in mind that the Tamron 35-150mm f/2-2.8 is only somewhat heavier than you'd anticipate. It weighs more than Sony's and Canon's mirrorless 70-200mm f/2.8 lenses and almost as much as Nikon's comparatively big 70-200mm f/2.8 lens.
I shouldn't be surprised by this, so I won't. My only advice is to use it as though it were a 70-200mm f/2.8. If you ever need to give your hands and wrists a break, you can always pull out your 35mm f/1.8 or 50mm f/1.8 prime.
Autofocus Effectiveness
The only real drawback of the Tamron 35-150 is its autofocus. As for autofocus, it does its job well, although it's not quite as fast or reliable as a top-tier 70-200mm f/2.8 lens.
That is to say, under the vast majority of shooting conditions, your photographs will be consistently accurate and sharp. The number of out-of-focus shots increases, though, when working in poor light or capturing fast action. Because of how obvious it is, I always recommend that photographers double-check their focus before releasing a critical shot. alternatively, take some shots when things are happening quickly or there isn't much light.
Options and Features
Review of the Tamron 35-150mm f/2.8-4.0
When it comes to professional features, the Tamron 35-150mm f/2-2.8 is hard to beat. Unlike most other Tamron E-mount lenses, this one includes an AF/MF toggle. There's also a mode switch that lets you adjust the behaviour of the two lens-specific buttons. (Often only found in the most expensive professional flagship lenses!) A zoom lock button is also included.
To pick out a nitpick, I'll say that I admire how Tamron arranged the lens's zoom and focus rings in the "typical," old-school fashion. After using 70-200mm and 24-70mm lenses professionally for more than a decade, the zoom ring on the Tamron 35-150mm feels most comfortable in my hand where it is located.
I'm hoping Tamron will continue to produce high-end lenses like this one. (Don't get me wrong, the Tamron 70-180mm f/2.8 will remain be my go-to for weddings that last 14 hours or more due to its portability.)
Value
This Tamron zoom is significantly more expensive than any other Tamron lens with a fast aperture, coming in at $1,899. For instance, you can purchase a Tamron 70-180mm f/2.8 for $1,199, which is a savings of $700. Nonetheless, I believe that the 35-150mm is worth its price, and I assume you already know why: it is three or four lenses in one.
To purchase the Tamron 28-75 2.8 G2 with the 70-180 2.8 would cost $2100. That choice is up to you; the benefits are still there even at a wider magnification level. Nevertheless, you could spend roughly the same on a bag full of primes, and the range still might not be complete if you're not careful about which primes you choose.
You could say that this is the most reasonable option available. If you want to save money, you'll have to give up either focal range or aperture.
Evaluation of the Tamron 35-150mm f/2-2.8 compared to similar lenses
Evaluation of the Tamron 35-150mm f/2.8 03 Tamron 35-150mm f/2-2.8 Lens (Left) | Nikon 70-200mm f/2.8G Lens (Right) The lens is a Tamron 50-400mm f/4.5-6.3.
To put it mildly, this will be the shortest "against the competition" section of any lens review ever published on SLR Lounge. The Tamron 35-150mm f/2-2.8 is an unparalleled lens. It has a remarkable focus range, making it ideal for a wide variety of photography.
Prime lenses with focal lengths of 35 mm, 50 mm, 85 mm, and 135 mm would not cover the same ground as this zoom lens. To match its range, you would need to invest in two f/2.8 zooms, which would cost you more money overall and mean giving up the f/2 aperture at the wide end.
To say the Tamron 35-150mm f/2.8 Di III VXD is unrivalled would not be an exaggeration. There is no way around using a wide variety of perspectives and lenses if you want to compete with or surpass it. If their aesthetic is very clear and straightforward, portrait photographers may prefer (or "make do") with only a couple of primes that weigh less and cost less. The 35-150mm is a versatile lens that can be useful for many photographers.
Overall Assessment and Final Thoughts on the Tamron 35-150mm f/2-2.8
In this review, we take a look at the tamron 35–150mm f/2–2.8.
Just one more thing before I end this review: In all of our years of reviewing lenses, this is one of the few that has proven elusive. Since its initial pre-order release, the lens has seen consistent demand, and it's easy to see why. It's a surefire hit!
It’s almost great, but not quite, however we can’t really criticise it for its enormous weight considering it counts as 3-4 lenses in one. We do wish the autofocus was just a touch more swift and consistent, but that’s mainly a problem in weak light or with faster action.
All in all, if you picture absolutely any form of portrait, you should check out this lens. Seriously, do you photograph family groups? Maternity portraits? Newborn portraits? Boudoir? Engagements? High school graduations? Weddings? High-end fashion, editorial, or commercial portraiture? You should all rent this lens at least once to try it out.
Check Pricing & Availability
The Tamron 35-150mm f/2-2.8 Di III VXD is currently priced at $1,899, and can be found at the following links:
(B&H | Adorama | Amazon)
8.6 Score \sPros
Beautiful image quality
Professional build quality
Professional features & customizations
Excellent value; worth multiple lenses
Cons
Very large size, weighs more than Sony 70-200 2.8 II \sAutofocus slightly more sluggish and less reliable than Sony 70-200 2.8 II \sImage Quality 9 \sBuild Quality 9 \sAutofocus Performance8 \sErgonomics & Portability 7 \sFeatures & Customizations 9 \sValue 10 \sFinal Verdict
Simply put, Tamron has created one of the best portrait lenses imaginable. Its focal lengths and aperture range set it apart from every other lens on the market.