Today we’re talking about this
new lens from Tamron– This is the 35-150mm f/2-2.8. As usual, disclosure wise, This video
is not sponsored by Tamron. They don’t get any say
in this video. They didn’t give me any money
to make this video, But this video does have
a sponsor, though, And that Storyblocks. Also have you guys heard
of Dustin Abbott? He is another YouTuber that
makes videos like this. In fact, he already made a
video on this lens And I happened to watch it. And that guy’s making great,
in-depth videos. So if you haven’t checked
out his channel Or if you haven’t checked it out
in a while, go check him out. Especially with this lens
as a good starting point Because I’m not going to cover
everything that he already Covered because I want to
encourage you to go check out His video because
they’re great, He focused a bit more on The photographic
side of things. I think that’s what
he tends to do. So I’m gonna try to fill in
some of those gaps with video, And I can also, you know,
validate some of The tests that I’ve done
that he did as well. But seriously, great creator.
Go check out his videos. Okay, a quick overview of the
build quality, it’s, it’s good, It feels solid and rugged. It’s really, well,
weather sealed. And this is unlike those
other Tamrons, The– the zooms that have
a four 20-75, That kind of thing.
This feels dense and heavy. Kinda reminds me of like a
Sigma lens like, you know, The big, heavy Sigma lenses.
The zoom direction, though, Is the opposite of the Sigma
lenses, has an external zoom, By the way, I was asked
about that on Twitter, But it goes sort of clockwise
to zoom just like The Sony native lenses,
unlike the Sigma lens, Which is the opposite. So if you have Sony and Tamron, You won’t be backwards
all the time Where Lindsey over
here on the zoom is using A Sigma 24-70 and it
zooms the opposite way. And in a minute I’m going to
switch lenses with her to use This lens. And I think you
might find that it might screw Her up because the zooms go
the opposite way. Anyway, it’s a small difference, But I noticed it as a
as a video shooter, It’s 1,165 grams, So about two and a half pounds, Which puts it a little bit
heavier than the new 70-200 from Sony
F2.8 MK.II, But lighter than their
original 70-200 F2.8. And the front filter
thread is 82mm. Now regarding the variable
aperture at 35mm, It’s an f/2. But then as you
zoom through to 85 mm, It stops down to F2.8 with
separate stops in between There and then it stays at
f/2.8 all the way up to 150. But when it comes to the
minimum aperture at 150, You can stop all the
way down f/22. But then at about 95 mm, You can only stop down to
f/20, at 70 mm about F/18. And then by the time you
hit about 45 mm, It’s an f/16 until 35 mm. Now about the zoom ring, Which has a lock which I like
and the focus ring Are well dampened.
They’re nice to turn
And they’re very smooth,
and the focus ring, As you can see from
these two pieces of tape That I have on here
has quite a long throw. If you look at one and
then look at where The other one is, it’s about
180 degrees around the lens, Which you don’t normally
get that long Of a throw on sort of a
hybrid photo lens. And it’s pretty linear I found too. It might
be perfectly linear. It’s hard cause I don’t
really have A perfectly scientific
test for this. But what it is, I focused
on something close, Put a piece of tape on
it and then focused On something quite far and
put another piece of tape on it. And then I went fast
and slow and tried A whole bunch of different
ways to mess it up with A nonlinear focus.
If you go fast and slow, It has acceleration that will
throw off your focus. But this one, every time
I landed on a piece of tape, No matter how I moved it, it
was in focus at the two points. So I think the focus
is really linear And it doesn’t have hard stops.
So consider that. But despite that, it was easy
to repeat focus and I found The manual focusing experience
excellent on this lens. I also found it quite
decently parfocal, Which I was surprised by
considering, you know, The focal range and the
maximum aperture. But whether I focused at
35mm then zoomed all The way to 150 or focused
on 150 pulled out to 85, It seemed to maintain
focus on even The smallest details
doing that. So I think at least my copy of
the lens seems to be pretty, Pretty well parfocal,
which is great. Now, in Dustin’s video,
he covered
The photo autofocus
quite extensively. Again, go watch his video and I agree that in my experience,
anyway, for a single shot, It focused pretty
much instantly. It’s using Tamron’s best linear
autofocus motor And it performs well. Dustin surmised that maybe it’s
not the best lens for, You know, high action sports, And you should probably use
a dedicated lens for that. Maybe like Sony’s new 70-200. But the versatility here can
probably get the job done, And it’s a viable choice. I would say on the video
side of things that I have confirmed similar
results to what Dustin found, But in photo, which is that
it does the job most of The time in most scenarios, And especially in that sort of
middling range where if you Have a subject that’s not
super close, you know, It’ll track them really well. The only time I found that it
sort of fell apart is when I ran at the camera
really quick and I got right in that close
focusing range. It took an extra second for it To focus where something
like the 70-200 from Sony, The new one didn’t
really suffer like that. So again, only the extreme
situations does this fall short. But in most I would say normal
pulls and normal operation. It does the job really well.
And now to demonstrate this, As well as some other features
I’m excited to share with You, I’m going to throw it on
camera number two, Which I have an idea in mind, Actually use this as the
second angle zoom lens. I think it might be perfect
for a job like that. Right now on that camera,
as I mentioned.
We’re using a 24-70, This is it at 24mm
and then all The way zoomed in at
70mm looks like this. So you can get an idea of how
tight we can get, But now we’re going
to switch it. See what that focal
length looks like. See how the autofocus
performs and talk A bit about focus breathing. Okay, so the Tamron
is on there now. This is 35mm, though,
so we’re tighter Than we were at 24,
but we can reach further. So I think we can actually
back the camera up. Let’s do that now.
This is it at 35mm. And then I guess you just want
to slowly pull it into 150. So I don’t really have
anything here to show you, Here’s my teleprompter remote, So we can get probably much
tighter than we could. Are you still going?
Oh, that’s pretty good. Look at that. Pull it all the
way back out rapidly. Crash. Woo. Okay. So yeah, That’s pretty versatile
for that angle. And when it comes to noise, Lindsey’s now a little further
away with her noisy Ninja V Recorder, so we get
a little further from The shot too, so that’s good. Okay, now something I wanted to
talk about was focus breathing, Which I think is excellent
on this lens. Okay, so we switched the lens
over to manual focus now And keep an eye on this.
C stand here as we– Lindsey If you can pull focus all the
way to one extreme looking For breathing here and then
come all the way back to The other extreme. Now we do the same thing,
but 150mm And we’re going to look
at this light here,
So rack focus all the
way to one extent. And then all the way back
to the other. Perfect. So as you can see, I think the
focus breathing control On this lens is excellent, I feel like in Dustin’s video, He actually undersold it
a little bit, he said. You know that it was good,
but not great. Maybe there’s a little bit
sample variance, I don’t think. I hope not. But my version is
excellent when it comes To focus breathing.
That’s all I can say. I was really pleased with it,
especially compared To the G Masters that
I’ve been reviewing lately. Okay, now let’s do a couple
autofocus tests on the fly Because I think this
is going to be A really good practical usage
case scenario for this lens, This you know, sort of off
to the side zoom lens thing. I think it’s great for that. So first of all, I think we’re
doing eye tracking right now. And is it
tracking me okay? And then now let’s do
some touch tracking For rack focuses, so
I’ll put this here. So if you can tap on that
and then tap on The drill behind me. And then I’ll say now, I guess so that the viewers
know when we’re doing it, So tap on this now.
And tap on the drill now. And then tap on this now.
And the drill now. So those look–
and then cancel tracking. And it’s back to my eye, right. So as you can see, they’re fast,
they’re smooth. You can adjust that, obviously,
if you want to. I have it on the default, I think four five– 4/5
setting on the a1. But they’re consistent
and they’re fast. Only time you’re going to come
into an issue like this,
Is if you get really, really
close to the lens. And speaking of that
close focusing, I would say that’s one of the
major weaknesses If you want to call it
that of this lens, It’s not what
the lens is for, But it doesn’t do that,
which is that it doesn’t have A very great reproduction ratio
in terms of like macro Close focusing.
What is interesting, though, Is that it’s very consistent
throughout the zoom range, Which I appreciate because
that’s a convenient feature. But on the wide end, I think it’s a 1-5.7
and on the tele end Like a 1-5.9.
So very similar. But that’s not going to get you
anywhere near any kind of Macro reproduction,
which for me, Even though at 35mm like, If you think of it as like
a fast 35mm 35 f/2, That’s great.
But if I buy a fast 35mm, Like the 35 1.4 G Master, You can get really close And get these really
interesting, Smooth out of focus, you know, Tiny world detail shots that
you can’t really do with this Lens, it’s not really
built for that. So if that’s something
you like to do then The need to augment it
with another lens Or if that’s all you like to do,
this isn’t the lens for you. So it is a weakness. Just be aware of that, That whether you’re at
35 or 150, You’re not going to get
anything too macro-y. But what is cool about it
is that as you zoom, You can kind of zoom
and get closer And your magnification
stays about
The same, the only thing that
changes is how physically close The lens will focus, so it
creates actually really smooth, Interesting, you know, I’m used
to having A lens in my hand
when I talk about the stuff. It’s weird
having it over here. Anyway, you get the idea
not too macro, But consistent in the
reproduction ratio. And speaking of not always being
able to get the shot you want, What a perfect time
to tell you about The sponsor of today’s
video Storyblocks. Like I said, sometimes you
don’t have the shot you need And there’s no way you’re going
to be able to go out And get it before you
run out of time, Run out of money or run out
of patience by completely Derailing your creative
momentum. And that’s where Storyblocks
comes in. They’ve got subscriptions
for every budget That give you access to a vast
royalty free library, With unlimited downloads
allowing you to use The footage worry free
for both personal And commercial projects.
They’re also focused On enriching their catalog
with diverse And inclusive content to
provide useful assets to Creators of varying needs
and audiences. And this is all easily accessed
using their intuitive interface, With filters for 4K video at
multiple frame rates, Along with backgrounds and
after effects templates. If you’ve never browsed
Storyblocks before, I think you’ll be truly
impressed by just How exhaustive their library is, And I encourage you to learn
more about them By using the link in the
description below. Now, regarding image quality,
this is something That Dustin really covered well.
If you want to analyze
The corner sharpness of
different apertures And focal lengths, he’s got
you completely covered. What I can say, though, is that
I agree with his assessment. Both the wide end and the
telephoto end are very sharp, With only a minor dip in
the middle focal range. To be honest, this is one area Where I was expecting the lens
to falter. I figured it was too broad
of a focal range And too wide of apertures to
keep consistent sharpness. But I was wrong.
It does exceptionally well, And that sharpness is bolstered
by excellent Chromatic aberration
performance. I also wasn’t expecting to see
almost no longitudinal Fringing, but I’m happy to
report that it’s tremendously Well controlled in this lens. Bokeh, when analyzed closely
isn’t the best I’ve seen, Definitely not G Master quality. There’s some onion ringing, And the fact that this is only A nine bladed diaphragm shows
you can see some of The polygonal edging where
the blades meet, But it’s also not terrible Or worth complaining
about too much. And in practical situations,
it swirls together nicely, In my opinion.
The same is true for flare. This lens doesn’t have The best flare control compared
to super premium Lenses, but the way the
flare does wash across The scene is actually
pretty pleasant. There’s the odd ghosting
artifact that I’d suggest Putting the included hood
on to help eliminate, But the contrast reduction is
smooth and has artistic merit. I wasn’t afraid of shooting
into the sun on this lens, And the rest of the time
the edges are sharp,
The contrast is good,
and the colours are rich. No complaints. Overall, This is a surprisingly
impressive lens. I was never a huge fan of
those other Tamron zooms For Sony E. While
they offered a decent value, I found they had major
shortcomings And they felt cheaply made. This lens is the
exact opposite. Sure, it’s large and heavy,
but what do you expect? What’s more important is that
it covers a massive, Useful zoom range with
terrific control over Important factors like
focus breathing, Chromatic aberration and
manual focusing. And the image quality
is way better And much more pleasing than
it has any right to be Considering its versatility. Honestly, this might be one of The best hybrid lenses
I’ve ever used. There’s the odd
ghosting artifact, Why’d you double take it? There’s the odd ghosting
artifact that– Now you delayed again. There’s the odd ghosting
artifact that I suggest put– There’s the odd
ghosting artifact That I suggest putting–
I didn’t get the line the right. You did right, that’s good.
You did a good job.
Get a Taste of EDM With Streamin Music Group (SMG)
Streamin Music Group (SMG) is an independent record label founded by Keshav Bhardwaj, who is popularly known as Klipr. The official launch of SMG in India was in 2018, and since then, the label has been a sensation in the country. The main operational base is in Delhi, and the objective is to reach audiences from all around the world.
Calm Amidst the Storm
Herman sent me a screenshot of a message he had received from a friend of his. He wanted to know if it was true.
Can a Woman Become More Powerful?
Can a Woman be more powerful and stand out in her own feminine energy and take a stand? As a woman, avoiding conflict to stay in peace is like: the nurturing mother of a child a partner of passion a flower of sweetness.
Away With the Irish Fairies
Quick Guide and short history about Irish Fairies, their origins and the superstitions about their intentions. In Ireland many folks still believe there are fairies, good nurtured and some mischievous FAIRIES. If you have ever traveled at night on the winding Irish back roads in the countryside of Ireland, you would know it is a kind of eerie darkness that puts fear in your very heart.
What Are The Greatest Changes In Shopping In Your Lifetime
What are the greatest changes in shopping in your lifetime? So asked my 9 year old grandson.
