Tamron 28-300mm F4-7.1 VC VXD Review | The Full Frame Megazoom!

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Hi, I'm Dustin Abbott
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Tamron has long been a company that has invested in the development of super zoom slash all-in-one
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type lenses. In fact, my own first Tamron was the 18 to 270 millimeter PZD lens back in 2010 that
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I was using for a Canon T1i. So going back a few years at this point
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Now Tamron has already had a very successful super zoom on the Sony full frame FE platform
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in the form of the 28 to 200 millimeter F 2.8 to 5.6 RXD lens
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I've owned that lens pretty much since its introduction and have found it to be extremely useful
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I know that I've covered it in several different ways for different travel scenarios and so
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I find it to be very useful. However, their new lens which is the Tamron 28 to 300 millimeter F4 to 7.1 DI3 VC VXD
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Don't worry, I'll explain what all that means in a moment. It adds a bigger zoom range, 10.7 times zoom now, faster autofocus, lens stabilization
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and more features while only costing $100 more, $899 US dollars. So on paper that sounds like a home run, but as we're going to see there are a few sacrifices
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that were made there that are worth highlighting and so we'll try to hit objectively both the
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highs and the lows in today's review. Now I promised I'd break down what all of those letters mean and so DI3 is Tamron's
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designation for mirrorless. Frankly, I think they could drop that at this point since basically all development
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is for mirrorless and so they could really just shorten that down by eliminating that
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Food for thought, Tamron. VC stands for vibration compensation which is Tamron's name for their lens based image
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stabilization system. Great to see that added here. Also we've got VXD which stands for voice coil extreme torque drive which is a high
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powered linear motor, the autofocus system here. Now this lens, very fortunately, is not really all that much bigger than what is the 28-200mm
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You can see in these comparison photos it's a little bit larger in diameter, a little
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bit longer, and a little bit heavier. This new lens is 77mm in diameter, that's 3 inches
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It is 126mm in length or 5 inches and it weighs in at 610 grams or 1.3 pounds
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So really not all that big a lens for as big a zoom range as we have here and the fact
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that it covers the full frame image circle. It's only 11mm longer than the 28-200mm and only weighs 34 grams more
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So I doubt that's going to be enough to be a make or break issue for anyone when it comes
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to carrying it around. They've also been able to retain the 67mm front filter thread that has been on most
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all with just a few exceptions of Tamron's mirrorless designs to this point
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So that is obviously extremely welcome. Now how did they manage to achieve that while adding on an additional 100mm of range, image
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stabilization and more features? Well what gave here is the aperture. And so to give you an idea of this aperture, it does start at f4 on the wide end at 28mm
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but it only holds f4 for count it 3mm and by 32mm it is already at f4.5
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It will hold that through 43mm. At 44mm it is maximum aperture at f5 which it will hold till 53mm and by 54mm you are
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already at f5.6 which is of course the maximum aperture or the slowest maximum aperture available
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on the 28-200mm. But again it doesn't even hold that particularly long
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It will only stay at f5.6 till 77mm whereas at 78mm it becomes f6.3 which it holds for
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quite a while up till 169mm and then from 170-300mm maximum aperture is just f7.1
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And so obviously we have lost 2 thirds of total light relative to the 28-200mm but more
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noticeably for example the 28-200 it started at f2.8 so full stop brighter, faster on the
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wide end and it held that till 49mm and at 50mm it became f3.5 which it held up till 99mm
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So really it is not even till 100mm that you get to the fastest maximum aperture that is
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available here. From 100-149mm this was f4.5 and then at 150mm it became f5.6 from 150-200mm
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So if you understand how all of that works what it means is that very consistently this
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lens is considerably brighter, typically a full stop brighter throughout the zoom range
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and it is only until you get to basically the very end of the zoom range to where it
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is anything less than a stop and at some points greater than a stop of light gathering
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So a pretty significant difference there. So if you want to know what gave to allow them to keep the size down that is what gave
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right there. Let's talk about some of the other things. This new lens has Tamron's updated design language and when you have it side by side
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with the older lens, the older lens really looks quite plain and there are some ergonomic
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issues that are present on the older style lens that are just so much better
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The feel of the manual focus ring, the sculpting that allows things to fall to hand more easily
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everything is just upgraded. The finish looks more modern and sleek and there's just more style to the lens in general
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So I do appreciate that design language. As noted there are some new features
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We now have a focus hold slash focus set slash custom button here and you can assign a value
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to that in two ways. As is typical with focus hold buttons you can assign the value from within the camera
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but you can also assign the value here through Tamron's own lens utility software
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What I do like about that is that it allows you to have a custom value for this specific
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lens, maybe some feature that you want specifically for this lens that you don't necessarily need
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in general. For example, there is no AF-MF switch. So I've played around with the idea of having the ability to quickly switch between autofocus
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and manual focus right there with that button. Not something that I want with every lens
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Obviously other lenses might have an AF-MF switch but this is a way to work around that
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Now you can access that through an included weather sealed USB-C port here on the side
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and Tamron's lens utility software is a free download. You can get it either for computer but then also for Android
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And so you're going to connect via USB-C. It allows you to control various things
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Obviously the behavior of that custom button. You can also program different functionality for the control ring, which, or focus ring
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which is useful there. And you can update firmware right through that
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All of that obviously is very appreciated. We do have a zoom lock on the side though
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Overall the damping of the zoom ring seems pretty good but you can lock it
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They'll only lock it at the fully retracted position. Very nicely we have a thorough weather sealing here
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And if you look at the diagram and count up, there are a total of 12 different seal points
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throughout the lens plus a fluorine coating on the front element. So that's a professional grade of weather sealing
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So that is very, very appreciated. I also noted that both the zoom and the manual focus rings, they have a nice feel particularly
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when it comes to the manual focus ring. It is an obvious improvement. I mean a very noticeable improvement from the 28-200mm
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You can see that the lens does extend considerably about 77mm by my measurement when you fully
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zoom it out to 300mm. Now included here we do have Tamron's VC or vibration compensation
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I find it telling that with this and a few other recent lenses there is no included SEPA
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rating for the stabilization system which tells me it's there but it's maybe not doing
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a lot. And I don't know exactly how these systems cooperate with these third-party lenses
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What I can tell you is that you can't turn off, if your camera has in-body image stabilization
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you can't turn either it or the VC off. It is all or nothing
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So those systems, when on, will always work in harmony. To what degree, I don't know
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But what I can tell you is that I don't find image stabilization as effective as the
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best systems out there. So I had a few situations where maybe at shooting at 180th of a second that I noticed a little
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bit of lens shake and I was kind of surprised by that. When I did a more formal test trying to handhold it at 180th of a second and 300mm, I had almost
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no success rate. So I bumped it up to 115th of a second and at 115th of a second I was able to get maybe
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one in five shots that were reasonably stable as you can see here
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So overall, VC is there and obviously that's going to make a difference if you happen to
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have a camera that doesn't have stabilization but it's not anywhere near the top notch
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of what you can get out there. There are two different minimum focus distances here
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So you can focus as closely as just 19cm on the 28mm end
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By the way, that gets you close enough you're going to want to take off the lens hood because you're going to be shading your subject otherwise it makes you get really, really close to the subject
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But you can get a very high magnification if you're in a situation where you can get that close, 0.36x magnification
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On the telephoto end, you can't get nearly as close, 95cm, but that long focal length
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still produces a very useful 0.26x magnification. So basically all throughout the zoom range you do have a nice level of magnification
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some variation obviously in the focus distance and how you achieve that
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So definitely worth looking at, you're going to get a flatter plane of focus on towards
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the telephoto end as opposed to the wide end. So as noted previously, the price is $899, that's $100 more than the 28-200mm which seems
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like a pretty good value and upgrade. And more notably, it definitely undercuts the Sony 24-240mm lens by about $200
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And I would say performance wise in basically every metric, this is a superior lens to that one
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So if you're comparing those two lenses, this is definitely the stronger value
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Now autofocus is an area of very significant improvement here. One of the issues that a lot of super zoom lenses have, and certainly some of Tamron
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super zoom lenses have had in the past, is that while autofocus speed isn't bad on the
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wide end, you move to the telephoto end and it very obviously slows down
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That's no longer the case now that we have this VXD focus motor
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It has a lot of power and so it's able to drive those elements and in the focus group
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whether you are at wide or telephoto focal lengths. And you can see here that autofocus is nice and snappy whether indoors or outdoors
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And indoors I was shooting at a wider focal range. Outside I used it at 300mm so I apologize for it being kind of jumpy
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That's the nature of trying to move between one subject to another at 300mm
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But as you can see it moves very, very nice and fast there
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I also found that there was good stickiness for the eye and I was able to even acquire
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and track birds in flight reasonably well. I got some decent other BIF shots
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That's bees in flight shots where I was able to nab very small, very fast moving bees
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And so that is always impressive to me. One of the obvious things we've already discussed here is this is quite a slow lens in terms
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of its maximum aperture. So that means you are going to be in a lot of situations where the focus system is going
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to get less light. So the fact that the focus system is awesome is very, very useful
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And so for example I took this, I wanted to try out taking this lens as an only lens when
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I went to an event recently and even shooting indoors I was having to shoot at ISO 6400
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and 12800 because of how little light gathering we've got here. But autofocus was not the issue at all
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I was able to instantly snap on autofocus at various speakers or musicians or subjects
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and zero problems there. So great autofocus for stills. Also great autofocus for video
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You can see my video focus pools that they're quick and they're confident
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There's relatively low focus breathing and of course the fact that we have a small maximum
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aperture means that there's less obvious focus changes as well. And so more depth of field that you're working with and so that helps to mitigate focus breathing
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as well. I also found that my hand test worked well with good movement from hand to the eye and
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vice versa. No lack of confidence in all of that. In just regular shots I found that video AF was just fine
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In fact even when I was zooming in and out I noticed that there was no warping as you
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went along there and a very little obvious refocusing that's taking place
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So it's not parfocal but the autofocus system is quick enough to where you can do that without
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any kind of really obvious jumps or judders that pull you out of the shot
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And so overall focus here is really really impressive. So how about image quality
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Obviously a super zoom lens is a whole series of compromises where the engineers try to
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deal with the various issues that come with different focal lengths. And so Tamron's engineers have had to try to work to mitigate those typical weaknesses
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and I think in many cases they've done fairly well here. I'll give you an overview of the optical performance and if you want a deeper dive into the performance
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stay tuned till the end of the video and we'll do that together. This is an optical design of 20 elements in 13 groups
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That's three aspherical elements, one low dispersion and one extra low dispersion element
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in that design. The MTF looks pretty decent for the most part
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On the wide end it shows very good center and mid-frame performance but right after
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mid-frame it kind of falls off a cliff and shows much weaker corners
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At 300mm we have a very sharp center but what we quickly see is a reduced contrast as you
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move off center and as a byproduct while the corners are a little bit more consistent contrast
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is going to be a bit lower across some of that range
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When I tested for distortion on the wide end I got the expected barrel distortion but it
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wasn't terrible. It was a plus 10 to correct but it was a fairly linear correction which is really surprising
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as some of these superzooms have really strong mustache pattern, very strong barrel distortion
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so that's actually a pretty good performance there. Maybe the benefit of only going as wide as 28mm as opposed to 24mm
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There is some reasonably heavy vignette, a plus 62 but again that's not particularly
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bad just around or slightly over 2 stops so not terrible there
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That will quickly turn to a pincushion style distortion as you zoom throughout the zoom
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range and so up towards 300mm I saw a minus 8 in pincushion distortion correction, very
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linear not an issue and the vignette itself reduced down to a plus 44 and so not bad on
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that front. I also found that there is very little fringing on wider focal lengths
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300mm a little bit more obvious longitudinal chromatic aberration fringing before and after
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the plane of focus but not really all that bad and so nothing severe, nothing that showed
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up a lot in real world images. I did also see particularly on the wider end I saw a bit of lateral chromatic aberrations
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near the edge of the frame but again not super pronounced so probably not a big issue there
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So as far as some of these areas where these lenses will often fall apart it passes those
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with if not flying colors it passes them fairly well here. What I found when testing sharpness on a 61MP a7R Mark V is that the center and mid-frame
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performance at 28mm is good as expected, corners are very weak and don't really get much better
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as you stop the lens down. Diffraction is, because this is a variable aperture lens it means not just variable aperture
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on the maximum aperture but also the minimum aperture going from F22 at 28mm to as small
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as F40 at 300mm but what you're going to find pretty consistently is that at F11 diffraction
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starts to become obvious and it will increase after that point. So I would say use F11 as kind of your minimum aperture unless you absolutely have to go
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beyond that. I found that sharpness was better at 50mm, much better corner performance, it stayed
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progressively good throughout there, at 100mm it got a little bit softer and that would
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continue to be the case from 100mm to 300mm that it was just contrast wasn't quite as
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good however there was a little bit more improvement when you stopped the lens down relative to
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the wide end. And what is different is that after 28mm the corners definitely get better, they're never
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fantastic but more consistent with the rest of it. I did find that the real world contrast, like images when viewed broad look fine, when you
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go into a full magnification it looks a little bit softer, contrast is just not fantastic
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and that's what we come to expect from the MTF chart. The bokeh quality is really going to depend on how much the background is blurred out
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so if you're using longer focal lengths and you're fairly close the background will be
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strongly blurred out and it looks good as you can see in some of these images here
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But what you'll also find is that at wider focal lengths or in situations where the background
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is more obvious there's some pretty obvious outline and I think the best way to illustrate
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that is in this video clip here where I was purposely defocusing with the waves and you
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can just see that there is a fair bit of outlining there, a little bit of harshness sometimes
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in the bokeh and so really it depends, the quality of the bokeh really depends on how
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you're using the lens and what situations you put it in. But I didn't expect it to be fantastic because none of these lenses like this are fantastic
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in that regard, it's just one of the things it has to give when you're making a super
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zoom type lens. Color however looks good, images as a whole I would say look fine, there's definitely
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I've seen much worse examples of super zooms than this particular one
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I also found that flare resistance wasn't bad and I saw a few minor ghosting artifacts
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but again for this type of lens, not bad at all. So my conclusion is that there's a lot of good here
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It has great build in weather sealing, autofocus is fantastic, there's no like killer optical
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flaws and I would say that the optics are slightly better than average for a super zoom
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particularly considering the fact that I have a long history of using these type of lenses
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but not so much at such a high resolution level. I mean 61 megapixels, the fact that this lens doesn't embarrass itself, I think that that
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is good but at the same time you have to be realistic. It's not going to perform like a 70-200mm type zoom lens and it's not as good optically
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as the 28-200mm lens. One of the reasons why I've loved this lens is that while, no it doesn't have the build
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or the features like this lens and the autofocus is not quite as good, the optics are just
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man, they're fantastic for that kind of lens and so this is not quite at that level but
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I would say buy this lens if you want the improved features and reach and you just want
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to have as much versatility as possible. Purchase the older 28-200mm if you need a little bit brighter lens that has a little
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bit better image quality. End of the day, once again however, we are spoiled for choice on Sony and even from Tamron
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we've got two really good travel zoom options for you to consider for
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Now if you want more information, check out either my text review that's linked down below
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there's also both linkage to an image gallery as well as buying links or you can stay tuned
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with me right now and we'll jump in deeper and break down how that performs optically
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So let's start by taking a couple of looks at the zoom range here and what you're able
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to accomplish. So here at 28mm, this is at a 16-9 crop obviously for video purposes and then here we have 300mm
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so you're talking about this little section here that gets magnified to that
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Obviously there's going to be a lot of useful applications for that. I thought this perspective was cool, this is shooting from inside a golf cart and so
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here's the framing at 28mm and here's what you're able to achieve of that exact same
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scene at 300mm. So obviously a very radical difference in the amount of magnification you're able to
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achieve over that 10.7x zoom ratio. Now super zooms often have a serious issue with distortion and vignette, particularly
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distortion on the wide end and in this case we do have some noticeable barrel distortion
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but it's certainly within the range of a lot of prime lenses in and around this focal length
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so nothing extreme there. I used a plus 10 to correct for it and you can see that not only was I able to correct
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I was actually able to correct in a fairly linear fashion. There's no big mustache pattern which has definitely been a weakness
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I remember in particular owning that 18-270mm PZD zoom which I've mentioned previously and
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the mustache pattern distortion was terrible on it. Very noticeable. In this case it is a very linear correction that you can see here and the vignette is
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significant but again not extreme. Plus 62 to correct for it and it's a nice easy correction
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Now surprisingly quickly, probably by 40mm it's inverting towards pin cushion style distortion
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and you can see here that as we're approaching 300mm I left it at 273mm because I was able
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to frame the chart more easily. I had my large chart here rather than the small one
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The byproduct of that is that you can see that pin cushion squeeze there in the center
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but as you can see here on the right side, again just a manual correction and if you
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look at the grid it is nice and linear, corrected easily and vignette is actually lower here
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So I used a minus 8 to correct for the distortion and a plus 44 to correct for the vignette
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Again nothing major there so this is actually a really strong performance for this type
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of lens. So obviously with this big of a zoom ratio you're going to see some variation in aspects
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like longitudinal chromatic aberration as we're looking at here. So here we're looking at 97mm and you can see here that it's actually a pretty strong performance
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Very little fringing before, a very tiny bit afterward. You can see however the contrast looks good and strong
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By the time we jump to 300mm however you can see that there's definitely more fringing
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apparent there. It's not severe in any way but it certainly is present
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Now if we take a look at lateral chromatic aberrations, those tend to show up most often
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on the wide end. So I'm taking a look at 28mm here, stop down to f8 and lateral chromatic aberrations don't
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go away as you stop down and so it's actually a more accurate way of looking at it
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You can see that there is a tiny bit of fringing that's present but it's nothing severe and
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so that's actually a metric that's being controlled quite well. So here's the test chart
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This is a 61MP a7R Mark V. We're going to look at these results at 200% magnification
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So certainly a very high bar and so your real world results are going to be a little bit
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better than this but we'll look at that as well. Center of the frame, you know what, that's pretty fantastic looking
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Very good sharpness and contrast. Nothing to complain about there if we look down at the Ansel Adams stamps even though
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these are small and so it's having to resolve a lot of fine details
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We can see that the contrast and the detail looks good on those
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Likewise as we move to the mid-frame, mid-frame is looking quite good as well
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We can see good contrast, good detail in here. However, you can see that if you look at the left side of the bill here and as we move
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towards the corner here on the right, pretty dramatic difference between this and this
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and that becomes all the worse as you get towards the corner. In fact, even if you look at the lines here, you know, they're getting softer towards the
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edge of the frame but over in this area, contrast looks pretty good
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As you get towards the edge here, you can see it's just kind of falling apart and the
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detail here is just fairly mushy. There's not that, you know, if we pop back here for a moment, you can see the difference
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here and then as we get to here, the ability to resolve those fine details is just radically different
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So does that improve if you stop it down? Well, here's F5.6 and while yes, the image looks a little less muddy, it's a little bit
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brighter, contrast has improved a little bit, we just don't really have a resolution here
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in the corner and if we jump on here to F8, you can see it's still really not all that
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much better. We'll go as far as F16. Very very mild improvement there but you know, just not a lot going on
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If we jump back to the center of the frame, obviously by F11, diffraction is starting
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to soften the center a bit and so make it a little tiny bit better in the corner but
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you can see you're losing a bit in the center of the frame. So I'll give you a more practical maybe result
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This is just a JPEG image and this is out of my Alpha 1
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So a little bit lower resolution, 50 megapixels in the center of the frame, you can see just
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how sharp and crisp that detail is. Looks great, right? So as you start to pan towards the corner, however, you can see that same kind of softening
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that we see and that, you know what, you can probably live with that if we pan up here
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towards the edge. Things are getting a little bit mushy but it's not like it's falling apart altogether
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I would say in general, you can live with that. Here's another shot. This is stopped down a bit to F6.3
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So obviously in the center of the frame, it's looking good and you know, depth of field
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is going to affect it some. I would say here, I mean, there's nothing wrong with that and so if you're stopping
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it down a bit, you can see it gets a little bit softer but I think it's within the tolerance
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range of what people can live with. So I'll take a look at diffraction here and then we'll skip it for the rest of the zoom range
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So you can see here at F11, we've already noted that it's already a little bit softer
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than it is at larger apertures but if you go on beyond that to F22, you can see that
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there is a fairly severe softening effect that's going to take place due to diffraction
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Now the good news as we move throughout the zoom range, so here at 51mm, so 50mm being
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the next marked position, I believe, on the lens barrel. You can see that the center of the frame, it's pretty much awash
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In fact, 28mm is probably very slightly more contrasty and sharp but you can see mid-frame
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favors 50mm. More importantly, in the corners, you can see it's pretty significantly improved to
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where now that's looking fairly good and just for the sake of kind of panning around, you
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can see that we've got a pretty consistent performance here and so the centering is good
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on the lens. I had no issue with that with a pretty consistent performance across the frame
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So by 100mm, our maximum aperture is now just F6.3. We can see the center of the frame is, it looks fine, not as good however as what we've
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seen previously. You can see there's just a little bit more of a jittery quality there in that stamp
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Mid-frame is looking good but not great but what we're going to see is a more consistent
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performance at the corners and the corners by comparatively look pretty good compared
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to the rest of the image. If you want to pump things up, typically throughout the rest of the zoom range, stopping
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down to F8 does make a difference. Here in the middle of the frame, you can see the contrast and detail are as improved
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That's going to also be true as we look at the kind of mid-frame zone and even into the
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corners, the corners do sharpen up quite nicely there at F8. We've got a similar kind of story around 200mm
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Again, maximum aperture is F7.1 but if you stop down to F8, which really isn't costing
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you much in terms of light gathering, you can see that it does make a definite improvement
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in terms of the results that you can get. And so definitely more contrast, a little bit better detail and ironically, you know
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considering that 20mm, the corners were weak. If anything, probably the place that stands out as being the strongest throughout the
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rest of the zoom range, just kind of in an average, is actually the corner performance
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So if we can compare 200mm to the crucial 300mm, are we losing more
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And I think that the short answer to that is no. If you look closely, for example, here on the anchor area, you can actually see it's
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a little bit sharper on the 300mm and likewise, if we look at this lettering right here, again
29:42
it's just a little bit better on the 300mm zone. And then the mid-frame, mid-frame is pretty much a wash and there's not really much difference
29:51
between the two looking down into the corners and we can see that the corner performance
29:56
is also fairly similar, framing a little bit tighter because of trying to fit in the space
30:01
that I had to test. But you can see that our detail looks pretty comparable on those
30:06
And so if anything, I would say if we're taking it as an aggregate, I would say that 300mm
30:11
is perhaps ever so slightly better than what 200mm is. Again, I look at this 50mm here and it's just a little bit better resolved, a little bit
30:19
more contrast than it was at 300mm, or excuse me, at 200mm
30:23
And once again, if you stop down just that little bit to f8, you can see the improvement that is there
30:28
Just the details look a little bit crisper and contrast being a little bit better
30:33
Popping over here to the left side, you can see it's not super impressive, but just a
30:38
little bit more detail and contrast in the hair there. And then looking at this zone, you know, not radically different up into the left corner
30:47
Again, just a very mild improvement. So let's revisit looking up close
30:52
And so here at 20mm, you can get very close and you can see the contrast and detail is
30:58
good, but what is not good is the flat plane of focus
31:02
Just having to get so close that you don't get a flat plane of focus out of it
31:06
But I mean, there's a lot of information that's being shown there, right down into some of
31:12
the, you know, kind of fibers that are there in the paper of the bill
31:16
So that looks good there. Then at 300mm, we can see that we do get a flatter plane of focus
31:22
You can see a little bit of that pincushion squeeze, but what you can also see is that
31:27
our detail over here is looking good. And then as we're looking in the center of the frame, you're going to notice that the
31:33
contrast isn't as good at 300mm, but, you know, detail really is pretty decent here
31:39
up close. So to give you a real world example here, so here at 28mm, you're able to get a high
31:44
level of magnification, pretty nice amount of detail there on whatever kind of fly is
31:50
on that. As I went back to 300mm, you can see that the magnification level isn't quite as high
31:57
and contrast isn't quite as good. However, if I pan back and forth here for a moment, you can see that the background
32:04
is just a little bit busier and definitely softer due to compression at 300mm
32:10
And so in many situations here, shooting again at 300mm or slightly less, I like the amount
32:16
of compression and detail that I get at 300mm. I like the working distance better, the ability to strongly blur out the background
32:23
This is kind of best case scenario for the bokeh quality where it's so blurred out that
32:27
there really aren't any hard edges. This shot here looks good. This is at 300mm f7.1 and it kind of shows off the real world detail that if you, again
32:37
if I pop back for a moment, image looks great. If I pop into 100% magnification, you can see the contrast isn't wowing, but it's again
32:46
it's not terrible at all. Here's a shot at more like 50mm range and so you can see that the detail and contrast
32:54
is good, not great, but pretty good. This is handheld, you know, to be fair, but you can see that it's a little bit busier
32:59
in terms of the edging in the background, just not quite as pleasing
33:03
Here at 28mm, the detail looks good as you can see, but you can also see that the background
33:10
is a little bit busy, just a lot of hard edges there
33:14
So finally, let's take a look at a few real world shots, how it's going to affect you
33:19
when it comes to the flare resistance. And so in this shot, I got low, I put very intense sun in the frame to backlight this
33:27
fern here. You can see there's a little bit of a ghosting pattern that's taking place
33:31
It's, you know, it's not pretty, but it's also not terrible. In this situation, just allowing the sun to peek through in between the slats, very small
33:39
ghosting artifact, nothing significant there. And finally, if we return to this image, you know, low sun, evening sun, that is quite intense
33:47
You can see a few little ghosting artifacts here, but again, nothing that's major or overly destructive
33:54
So really not a bad result for this type of lens. So hopefully the deep dive into the optics has equipped you with enough information to
34:00
make an informed decision as to whether Tamron's new 28-300mm VXD is the lens for you
34:06
As always, thanks for watching. Have a great day and let the light in
34:17
Transcribed by https://otter.ai

Tamron 28-300mm F4-7.1 VC VXD Review | The Full Frame Megazoom!

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Tamron 28-300mm F4-7.1 VC VXD Review | The Full Frame Megazoom!

dustinabbott.net