Tamron 35-150mm F2-2.8 VXD Z-Mount Review | Still the "One Lens"?

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Hi, I'm Dustin Abbott
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You know, I hate when I get the, if you could only have one lens question for the simple
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reason that I'm a gear guy and I love having a variety of lenses and I love using gear
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However, if I had to answer that question, the answer would be this lens right here
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which is the Tamron 35 to 150 millimeter F2 to F2.8. This is DI3 VXD lens
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I reviewed this lens in late 2021 on Sony. I have been using it ever since and I reach for this lens more than any other lens in
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my kit for the simple reason that it has a very unique combination of focal range and
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then also aperture value that pretty much makes it what I consider to be the perfect
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event lens, at least the most perfect one that I've encountered to this point
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So it's my go-to lens when I want flexibility, when I want to get premium results
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Now more recently it has become available for Nikon Z mount and so as I'm starting to
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become familiar with Z mount and spending more time with my Z8 body, I've been very
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interested in seeing how some of these lenses survive that translation to a mount different
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from the one that they originally designed for. So my question is, is am I going to love this lens on Nikon as much as I have on Sony
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Well that's what we're going to explore in today's review. Let's dive in
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Now the first thing that I do want to point out between these two lenses is that the MSRP
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between the E mount version and the Z mount version is different by $100
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So it's $100 more expensive on Nikon Z mount and that's even comparing the original MSRP
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for the two lenses. The Sony came in at $1,899 originally. The Z mount version comes in at $1,999 or $2,000 US dollars
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I suspect I've seen kind of a consistent price premium for Z mount on these Tamron lenses
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and I suspect it really comes down probably to a licensing fee that Tamron is having to
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pay Nikon to have access to the Z mount protocols. I don't know that definitively but that is my working theory at this point
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Now as far as the overall construction, optics, all of those things, this is essentially the
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exact same lens. So obviously with a slightly different redesign to accommodate the larger mount protocols
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for Z mount which is considerably larger than what Sony's E mount is
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And so as a byproduct, you can see by taking a look at this shot that while there is quite
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a flare in for the E mount version, much less so on the Z mount to accommodate that wider
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diameter of the actual mount itself. Now it doesn't change the overall diameter of the lens
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The lens remains 89.2mm or 3.5 inches in diameter for the simple reason is that the mount area
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is just not the largest part of the lens. So as a byproduct, the largest portions of the lens remain the same
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The overall length is very, very slightly different, about 2mm different. It is 151mm in length or 6.2 inches here on Z mount
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And the weight to accommodate that just a little bit more lens has increased by about
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15 grams. On my scale, I weighed it at 1188 grams or 41 ounces
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In many cases when there is this port over to a new design, you don't actually see updated
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figures and that's true here. They give the exact same weight for E mount and then for the Z mount
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But when I put them both on a scale, I saw 15 grams different between the two and that
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makes sense. The Z mount is a little bit larger in its diameter in this place, a little bit more
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materials, and so that accounts for a very slight increase of overall weight
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It's not a small lens, but when you consider the fact that this has the potential of replacing
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multiple high-end premium lenses, I think that the size is justified. And frankly, I've used this lens for the three years since it's been released and I have
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never found it too onerous to take into the field, though obviously your mileage may vary
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As with the E mount version, we have three different custom function buttons here on
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the side, focus hold buttons, and those can be programmed either to a function from within
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camera or you can also do a little bit of work with them. A little bit further options can become available between that and then what is a custom switch
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three position custom switch here, which you can access through Tamron's lens utility software
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And that is accessed by connecting the lens to either a computer or an Android device
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through a USB-C port. And there you can access that software and you can do a variety of different things to
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customize the behavior of the lens. You can do firmware updates directly to the lens
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It's a very simple process. Actually did it on my review loaner of the 35-150 Z mount here and it had a firmware
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update available. You can program different functions for the actual custom buttons and the custom switch there
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You can change the capabilities of the manual focus ring, all of those things
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You can change the purpose of the manual focus ring or that ring itself can be a control
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ring that could also become an aperture ring like you can do on other Nikon lenses
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So a lot of versatility there. There's also an AF-MF switch there
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I will note that that USB-C port, it is weather sealed and that lends itself to the overall
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other kind of professional grade weather sealing on the lens itself. There's 11 other seal points and so gasket at the lens mount, internal seal points, then
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a fluorine coating on the front element to help it to be thoroughly weather sealed
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Now I will note that compared to some other Tamron zooms, the location of the zoom versus
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the manual focus ring is different between the two. And so you have the zoom ring that is closest to the camera or to the camera itself, the
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mount, and then the manual focus ring or function ring is located towards the front
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of the lens. If you're using a couple of different Tamron zooms, it can be a little bit frustrating
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because you're reaching to two different places. Also somewhat surprising is that typically the zoom ring is the wider of the two on most
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lens designs that I'm familiar with and the manual focus ring is the narrower of the two
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That's opposite here. So until you get accustomed to that, your muscle memory may take you to the other direction
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Now I will note that in the actual zooming out to 150mm, the lens does extend about 45mm
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an additional length during that zoom process. You might have noticed that there is no tripod collar or tripod foot here
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It's pretty clear from the actual design that Tamron is not designing it for that function
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I will say I've owned this Sony lens for years at this point and while it is obviously a
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heavier lens, though not exceptionally so, I find as you can see here even on my little
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tabletop tripod, it really does balance fine. As long as you have a decent level of tripod, you probably can get by without it
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I have to this point and I haven't really missed it all that often
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Now we also do have an included lens hood here. It does have a locking mechanism and so that helps it to stay locked in place
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Nothing super special here, but you can feel that the quality of the materials is nice on it
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The actual lens itself also is a mixture of some aluminum alloys, some engineered plastics
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to make it both functional and sturdy at the same time. It's a nice looking lens and I will note that when I was doing my product photos between
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my heavily used version over the last several years compared to this much newer, loner version
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that I have here of Z-mount, they look basically identical. The finish on this has held up really well
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I've had zero issues with mine during heavy use of ownership at this point
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Now the lens in terms of some of the other aspects like minimum focus distance, it's
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the exact same. We have the same capabilities where you can focus closer on the wide end than you can
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on the telephoto end. You can focus down to 33 centimeters at 35 millimeter focal length and then on the telephoto
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end at 150 millimeters, you can get as close as 85 centimeters
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Now your highest magnification very slightly is on the wide end, 0.18 times
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On the telephoto end, it's 0.17 times. For a modern high-end zoom, those are not super impressive figures
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At the same time, it is perfectly useful and you don't see a whole lot of difference in
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magnification, so I very slightly favor the results at 150 millimeters for the simple
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reason that you can blur out the background more strongly, and so I do prefer that myself
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The aperture iris itself is made of nine rounded blades and pretty typical, fair, nothing exceptional
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in that regard. The other thing that is missing in the design is that there is no built-in lens stabilization
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so what Tamron calls their VC. There is no VR, vibration reduction, in the lens itself, so your mileage is going to vary
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I was shooting on the Z8 body, which has very good in-body image stabilization, so
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I didn't really miss it. Everything was just fine for that. Obviously, if you're shooting on a camera body that does not have a stabilization, you're
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going to miss that more severely, so you might want to make your decision on the lens accordingly
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Overall, however, this is a professional-grade zoom with a professional-grade build and feature set
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It handles really, really nicely in the field. I found it to be a joy to use in general, and that was true either on Sony or on Nikon
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So let's talk autofocus. Autofocus comes from Tamron's premium focus system, which is their VXD, which stands for
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voice coil extreme torque drive. It is a high-powered linear motor. It is quiet
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It is fast in operation, as you can see here. If it not as instant as the very, very best lenses often equipped with multiple linear
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motors, it is just like one step behind that. So very, very quick in operation
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I've had to use this lens because it's a go-to lens. I've reached for it during this kind of graduation season and also event season
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I've reached for it for many hundreds of shots in very difficult lighting conditions
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One of the graduations that I went to document, their theme was under the sea, so they had
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the lights turned off. Obviously, they were not thinking photography when they did that
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I spent the whole night at a minimum of ISO 12,800, but in extremely dim conditions and
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often with a moving subject, autofocus was just very snappy and very, very accurate even
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in those very difficult conditions. And so I got good results despite that
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Likewise, some other events, another graduation, lighting was a little bit better, but I was
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still shooting at a distance and often at ISO 12,800. Again, focus results were nailed
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Other less severe, either church or camp type events, I shot at those and autofocus was
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just perfect over a very wide variety of lighting situations. I will also note here that we do have an advantage relative to Sony in that Nikon doesn't impose
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any kind of burst rate speed limitations. So I can get the full 30 frames per second on my Z mount body, whereas on my Sony Alpha
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One, instead of getting 30 frames per second, I can only get 15 frames per second
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So a little bit more advantageous even for shooting sports and the focus motor seems
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fast enough to keep up with all of that. And so very, very excellent autofocus results for stills
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I also note on the video side of things that I have no complaints there either
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As you can see here, my focus pulls were smooth and confident
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There's no pulsing, settling, needing to lock down. They're just going from one to another with good confidence
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Kudos on Nikon for continuing to improve their autofocus systems to where that also allows
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that to happen. In my hand test, whereas there was a few situations where I felt like focus lingered a little
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too long on either my face or my hand, the transitions were good
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When it's locked on my face, it was nice and confident. And so no real concerns there
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In other situations, I found video AF to be stable, including shooting fireworks where
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there's radically different lighting conditions from millisecond to millisecond. And I felt like autofocus was nice and stable even during all of that
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And so I give high praise to the autofocus system. This is a great match for a body like my Z8 and it just allows it to be such an incredibly
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versatile combination in a wide variety of shooting and lighting conditions. So again, it survived that transition
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Even though the focus system wasn't originally designed for Z-mount, for Sony instead, obviously
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they've and however they've adopted those Z-mount focus algorithms, they've done an
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exceptional job and autofocus is top notch. So as far as the image quality, I'll give you a quick summation and then we'll do a
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detailed breakdown. Even though I've reviewed this on higher resolution points on Sony, I'm interested in seeing how
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it holds up here on the 45 megapixels of my Z8. And so we'll dive into that in detail after my conclusion
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Same optical design as what we have in the E-mount version. That's 21 elements in 15 groups with some exotic elements, as you can see here
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As I look at the MTF charts that are presented by Tamron and those show at 35mm, 85mm, and
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150mm, you can see that there's very, very good center and mid-frame results all across those
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And corner performance is still decent, it's still good, but it's not as exceptionally
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high as what we see in the center or mid-frame with, you know, a little, that's a little
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bit less true in the middle of the zoom range. What I found in terms of my detailed test is that I saw basically the same things that
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I saw on Sony with one exception that I've come to expect in this translation of lenses
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originally designed for Sony that I then test on Z-mount. I suspect that has something to do with the larger diameter of the lens mount, but there
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is more vignette that is present here than there was on Sony
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And so what that means is that, you know, whereas typically there's about a stop difference
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like on the wide end, for example, instead of a needing to use a plus, say 45 in correction
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I was closer to like a plus 68 right under a plus 70 to correct for it and even a little
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bit higher and a little bit more of a spread from at the telephoto end than what I saw previously
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Now, the distortion angle is the same. There's very little distortion on the wide end
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I used a minus two to correct just a tiny bit of pincushion distortion
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It does increase the pincushion distortion increases as you zoom out towards the telephoto
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end at a maximum at 150 millimeters. I needed to correct a minus nine to eliminate that
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In both cases, however, the distortion pattern is largely linear, so it cleans up even manually
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very easily. And while the vignette is heavier, again, it's fully within the range of being correctable
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through either camera profile or through software profile at the end. Magnification is very strong
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Even on the 45 megapixels here, I found that, yes, it's a little bit softer in the corners
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but still, if you're only looking at 100% magnification, these results are shown closer
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at than 200%. But at more normal magnification levels, there's enough detail there
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The images look fine all across the frame, even at F2. And of course, the advantage of a lens like this is that in low light conditions, you
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can shoot at F2 and get really, really crisp looking results. So I strongly appreciate that
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As you stop it down, as you typically would expect, you get a little bit more contrast
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in detail and it's a little bit stronger throughout the rest of the frame
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I found that this lens is quite consistent across the zoom range
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There are points towards the center of the zoom range where it is maybe its strongest
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at least as far as corner performance, but it's good all the way from 35 to 150 millimeters
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This is not one of these lenses where the engineer kind of compromised so much at a
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particular focal length that you basically can't use it. This lens is excellent throughout the zoom range
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And I find that real world shots have tons of detail, great contrast
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They look really, really good. Now one, again, minor difference that I noted here is that on Nikon bodies, Nikon bodies
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tend to be a little bit more precise in the way that they report effective aperture compared
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to Sony bodies. Sony bodies use larger steps, whereas on the Nikon bodies, I see more incremental steps
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And so, for example, you don't actually hit the full F2.8. It's a variable aperture, obviously, F2 on the wide end, F2.8 on the telephoto end
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But because it's showing things more incrementally, I noticed that we didn't hit the smallest
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maximum aperture of F2.8 actually until 135 millimeters. There's this zone before there where I actually saw, for example, F2.7
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And so, I mean, you will see steps like that, you know, going from F2 to F2.2 and, you know
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so on and so forth moving ahead. And so, because it shows it a little bit more precisely, you do see a wider variability
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of different maximum aperture values. But pretty impressive that in a lens like this, you're really not hitting the smallest
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available maximum aperture until 135 millimeters, which shows that across the majority of this
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zoom range, it is brighter than equivalent F2.8 zooms. And so, that was impressive to me
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Now, again, because it's variable aperture, it means that not only does that apply to
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maximum aperture, but also to minimum aperture. And so, at 35 millimeters, minimum aperture is F16
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At 150 millimeters, minimum aperture is F22. What you'll find, regardless of that final value, is that diffraction on a higher resolution
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body like this, diffraction is going to set in at F11. And so, anything beyond that, you're going to get that law of diminishing returns, ever
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softer images. And as you can see here, there's a pretty noticeable difference between F11 and F22
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on the telephoto end. The bokeh quality is mostly good here. I would say that for a zoom lens like this, I feel like most images look pretty great
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The bokeh is often very soft and creamy, not like, I would say, utterly magical like
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the very best lenses that I have seen, but still very, very good
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I also noted that there was a couple of situations with a busier background where I saw a little
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bit more outlining than what I would like, but in general, very good
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Another thing that I noticed on the 35 millimeter end is even at F2, I got really round specular
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highlights across the frame. I shot purposely out of focus with some fireworks to get that effect, and I thought it was pretty
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cool how circular everything stayed in that point. I also noted that there in my original review of the E-mount version, that in certain lighting
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situations you can run into some flare issues. It's more pronounced on the telephoto end with very bright lights in the frame
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I didn't actually in my, either in my real world shots over the last number of years
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or in my review time here, the Z-mount version, I didn't really see a lot of present issues
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I think the truth of the matter is that it's not difficult to avoid these flare issues
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And I don't know if the coatings are a little bit better than what they were originally
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but the reality is, is that in certain situations you will see more flare artifacts than what
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I would like, but those situations tend to be very, very rare
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And so I don't think it's going to be much of a serious problem. And so my conclusion of the optics is the optics are pretty fantastic
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In fact, in general, there are very few optical compromises here for a lens that really merges
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the meat of the focal ranges of a 24 to 70 and a 70 to 200 millimeter lens
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While having a faster maximum aperture and a lens that is not terribly large, this really
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continues to be a very, very impressive optical instrument. And obviously there's been a lot of lenses that have been released since the late part
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of 2021, but this lens still stands up as being one of the most exceptional ones out
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there when you consider all of the merits that it has. I was also very pleased, kind of the main thing that I expected could be different on
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Z mount would be autofocus. If anything, I was just as, if not more pleased with autofocus on Nikon, as I have been with
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years on E mount. And I would say that the biggest advantage here of course, is that there is no burst limits
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It opens up if you're looking for a very, really flexible lens for shooting, maybe short
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court side, volleyball, or tennis, things like that, where you need to go from wide
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to a reasonable amount of telephoto. I think that this could be a very useful lens for shooting sports because you keep that
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bright maximum aperture throughout it. And so it's a pretty incredible lens
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So yes, it is expensive. Here on Nikon, it's going to retail for about 2000 US dollars
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So I did note as I looked across some of the various markets around the world, that
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the price does vary a fair bit. And so some markets seem to be getting a better deal relative to the US price, which is not
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always the case, but seems to be the case here. But if you're looking for a lens that can do everything and do it well, I think it's
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worth saving the money and buying this lens. It really is a very special lens and I have found it to be a great pairing for a Z8 type body
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I'm Dustin Abbott. And if you want more information, you can either check out my text review that is linked below
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There are buying links and linkage to an image gallery there as well. And if you want a deeper dive into the optical performance, because you're considering it
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for your Nikon body, stay tuned right now and we'll dive into that together
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So let's start by taking a look at vignette and distortion here
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You can see that distortion is very minimal at 35 millimeter end, just a plus two to correct
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Again, you can see that there's a little bit more vignette than what typically will get
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corrected by the profile that's set for E-mount version, because there is about a stop more
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of vignette for the E-mount version itself. You can definitely see that on the 150 millimeter end, you can see that the distortion amount
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has increased in the pin cushion distortion. Here I used a plus nine to correct
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And if we talk, take a look here, we find that I had to dial in a plus 80 to correct
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for the vignette, which is definitely a full stop more than what I had to do on Sony
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I actually only had to do a plus 48. So it's a pretty significant difference
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So as you can see, it corrects fine all within the tolerances of corrections
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Now in my real world shots, I didn't see any kind of issue with longitudinal chromatic aberrations
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You can see here, here's our point of focus. And as we look at these very bright transition areas that could be affected by some fringing
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you just really don't see much of anything very well controlled. Likewise, when it comes to lateral chromatic aberrations near the edge of the frame, you
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can see that they are nicely corrected. No issue there in these transitions from black to white, it is pretty neutral
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Now taking a look at the wide end, we can see starting at 35 millimeters
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Now this test is on the 45 megapixels of the Nikon Z8 shown at 200%
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Obviously I've already tested this at higher resolution levels on Sony. So I don't expect to see anything but good results
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And obviously that's what we're going to see here. So under the frame looks great. Mid-frame looks great, even at 200%
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As we scroll down here, you can see that not much difference between this side and this side
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So holding up well. As we get towards the corners, corners are not exceptionally good, but they're certainly
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not bad either. There's still lots of detail and good contrast into the corners
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Now as we stop on down, we can see that by F4, you're starting to get more detail into
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the corner. Switching to F5.6, you can see now that the corners are looking really quite crisp at
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35 millimeters F5.6. A quick tour around the image. You can see here that this corner also looks good
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Upper corner looking very good. And then finally our upper right corner also look very good, showing to a good centering performance
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Now as mentioned in our overview, the minimum aperture is going to vary just like the maximum aperture
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So we go from, in this case, a minimum aperture of F16 on the 35 millimeter end to at 150
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millimeters, it'll be a minimum aperture of F22. You can see, however, that there is definitely some softening of the image
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If we look here in the center of the frame, F11 is still looking nice and crisp
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F22, excuse me, F16 here, not bad, but definitely softer due to the effects of diffraction
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Because I've previously tested the optics in detail, I'm just going to do a midpoint
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in the zoom and then the telephoto end. So here at the midpoint, we can see that the center performance looks very good at F2.5
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which is maximum aperture now. F2.8 shows a little bit of stop down on the right
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We can see that there's not a huge amount of difference. Both look really good
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Midframe results looking very good as well. And into the corners, corners also looking good here
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Nothing really to complain about, a nice consistent performance here. As before, if you stop on down to F5.6, you get pretty much razor sharp results all across
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the frame. We can see how great it looks here. And then right down into the corners, you can see excellent detail and contrast there
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into the corners of the image. So finally at 150 millimeters, F2.8 and then F4 on the right, we can see that the center
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performance looks really quite good, good detail and contrast that are there and better
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still if you stop down to F4. The midframe result looks good, looks really good by F4
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The corner performance, again, it looks good, but is definitely brighter by F4 as we get
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some of that natural vignette lift and just a little bit better looking results
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You can see that wide open, it's good. Stop down a bit
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It's great. So let's bring that into the real world. Here's 35 millimeter F2.8
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And so we can see here that if we punch in, you can see that the detail is just excellent
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all across this. If you look right off to the edge where you're seeing the textures, look down at this thumb
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down here, great detail there. That's all throughout the frame, nothing to complain about there
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This is 70 millimeters F2.5. So wide open here in the middle of the zoom range and we can see, again, looking at a
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pixel level, detail is just fantastic. Nothing to complain about there. And we can see once again that as we go down right towards the edge of the frame, you're
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still seeing detail in the textures in a real world shot. This is an indoor shot shot obviously at higher ISO 3200 F2.7, which is maximum aperture here
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You can see that even though, you know, there's obviously the effects of a little bit higher
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ISO in this kind of very real world application from a distance, you can see just how good
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a job the lens is doing. Detail really looks great there and obviously able to catch that moment well
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And finally at 150 millimeters F2.8, again, real world shot, you know, caught on the fly
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You can see the detail and the focus are excellent. Textures look good
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And here at 150 millimeters, once again, the detail, look at the mic here
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You can see the detail right off to the edge of the frame look very, very good
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Here's 128 millimeters F2.8, again, another kind of real world portrait shot
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You can see that the detail there is really, really exceptional. Looks great
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And the bokeh is looking very nice as well. So on the note of bokeh, here's a minimum focus distance at 35 millimeters
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You can see here the level of magnification. You can also see that the contrast in detail is really, really good
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And that in fact is probably the primary reason to choose 35 millimeters over 150 millimeters
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Here's 150 millimeters and you can see toggling back and forth. The difference in magnification is not exceptional, but what is definitely different is the amount
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of detail and contrast. Again, if I toggle back and forth, you can see that you're going to get better results
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at 35 millimeters. However, at 150 millimeters, it's a different kind of compression to the background
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So I still kind of favor that result. Here in a real world shot at 150 millimeters, you can see that the overall look of the image
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is really, really great. And yes, the detail and contrast is not quite as great as what it would be at 35 millimeters
28:58
but it's hard to argue with the overall result and the look of the image, which is really
29:03
really fantastic. And a few other examples. Here you can see, I mean, I think that the contrast really kind of pops there and the
29:10
look of the image is just fantastic. Then finally, taking a look at flare resistance, flare resistance on the wider end as here
29:18
is really quite good. As you can see, the B-bar coatings are doing their job
29:22
I see this little tiny ghosting artifact. I have discovered a bit more flare artifacts if shooting at the longer end of the telephoto
29:30
range, but that's in those rare occasions. For example, if the sun is really low and black backlighting your subject, or if you
29:36
want to put lights behind your subject, you might get a little bit of flare, but I also
29:40
didn't find that it's a deal-breaking situation. So overall, this is a really consistent and very consistently good optical performance
29:49
So we've made it to the end, obviously, as you can see from my test, this is an impressive
29:53
optical instrument, and I hope that these further tests have allowed you to draw maybe
29:58
a more definite conclusion as to whether or not this is a lens for you
30:02
As always, thanks for watching. Have a great day and let the light in

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Tamron 35-150mm F2-2.8 VXD Z-Mount Review | Still the "One Lens"?

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