The bokeh might even be perceived by some as slightly busy. You can make it flare if you put effort into it. I would still feel fine to shoot wide open at f/2.8 if it meant I could keep my ISO at a lower level. From 65-70mm, contrast and sharpness suffers slightly, but stopping down to f/4 or f/5.6 remedies that very well for the pixel-peepers among you. The lens surprised me with great optical characteristics such as very good wide-open performance in many important areas like contrast, chromatic aberration, and flare control. Also, typically, only the very highest-end and most expensive (think $1,300+) f/2.8 full frame general zoom lenses have image stabilization built in.īefore receiving the lens, I was a little skeptical, thinking Tamron’s flex of squeezing such a wide zoom range together with f/2.8 might create image quality sacrifices. The 17-70mm equivalent in 35mm terms, for those who are curious, is 25-105mm, but most full frame lenses in this segment are limited to 24-70mm or 28-75mm for those with a f/2.8 aperture. Pleasing sunstars and good contrast are just a couple of the many things to like about the Tamron 17-70mm f/2.8 for Fuji X-Mount. Although my sample images are sunset landscape photos, this unit is without a doubt very well-suited to demanding situations with fast-paced action, or poorly lit environments, making things like weddings or indoor gym sports no problem thanks to its quick, accurate autofocus, relatively high-speed aperture of f/2.8 and extremely utilitarian zoom range. The new 17-70mm feels a little more solid, but its real advantages lie in its performance and features.įor literally any kind of shooting that can be done within its 4.1x zoom range, this lens excels, making it an awesome all-purpose, one-lens solution, but don't let that statement fool you. By contrast, Fujifilm’s own heavy but excellent 16-55mm f/2.8 R LM WR clocks in at $1,199 while lacking image stabilization and 14mm of the Tamron’s zoom range.įrom a design and build quality perspective, the Tamron 17-70mm is nearly the same as its sister lens for the system, the Tamron 18-300mm F3.5-6.3 Di III-A VC VXD, a superzoom with no true equivalent from Fuji that I have enjoyed using a great deal for well-lit daytime event coverage and reporting. What Tamron has given us with this lens is a fast, constant f/2.8 general zoom lens with a wider-than-usual 4.1x zoom range confident, snappy autofocus optical image stabilization very good image quality through nearly all of its range and well out to the corners and the very budget-conscious price of $799. But for those that can look past those “shortcomings,” the lens is actually a game-changer for us who love Fuji and don’t discriminate against third-party gear. The non-native design aesthetics, lack of aperture ring, and the simple fact it's a third-party lens will be enough to make a lot of the most obsessive Fuji X lovers turn up their nose. That lens, the Tamron 17-70mm f/2.8 Di III-A VC RXD, has the potential to be a polarizing (as in, divisive, not like a polarizing filter) piece of glass in the Fuji community.
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