Tamron 28-75mm f/2.8 di iii rxd

Внешний вид Tamron 28-75 F/2.8 Di-III VXD G2

Tamron 28-75 F/2.8 Di-III VXD G2 получил новый дизайн, он стал современнее, получил более обтекаемые формы. Тактильно ощущения также изменились. Материл вставок на кольцах фокуса и зума стал качественнее и получил более осязаемые рёбра. Теперь даже при работе в перчатках никаких проблем с захватом не будет.

Слева первая версия, справа — вторая. Илья Кайгородов / Photar.ru

Размеры и вес остались практически неизменными. Вес сократился на 10 грамм и составляет 540 грамм. Длина в сложенном состоянии уменьшилась на 0,2 мм, при этом на максимальном фокусном расстоянии длина новинки уменьшилась приблизительно на 7 мм. В диаметре новинка прибавила 2,8 мм и теперь составляет 75,8 мм. При всех габаритных изменениях диаметр фильтра остался прежним – 67 мм и это порадовало. К слову, практически все объективы Tamron для байонета Sony E имеют резьбу под светофильтр 67 мм, таким образом, фотограф значительно экономит средства на дорогостоящих фильтрах.

Sony A7r IV A + 28-75/2.8 G2. Параметры: 1/100, f/2.8, ISO100, 58mm

Бленда в комплекте осталась прежней формы, крышка передней линзы неизменна, а вот крышка байонета стала тоньше.

Илья Кайгородов / Photar.ru

На корпусе появилась программируемая кнопка, на которую можно назначить функции в меню фотоаппарата, всё как на фирменных линзах Sony. Но более того, функциональность не ограничена камерой.

При помощи специальной утилиты TAMRON Lens Utility, например, можно задать точки фокуса a/b или при зажатии изменять функцию кольца фокус/диафрагма. И также можно изменить функционал электронного кольца фокуса – задать направление, линейное/нелинейное движение или вообще переназначить функцию на управление диафрагмой.

Для изменения функций через программу TAMRON Lens Utility на корпусе предусмотрен разъём Type-C. Через этот порт также можно обновлять прошивку. К слову, объектив имеет защиту от пыли и влаги, в том числе и USB разъём, и пусть вас не смущает, что на нём нет специальной резиновой заглушки.

Илья Кайгородов / Photar.ru

Bokeh, Color Rendition, Flare Resistance, CA, and more…

Beyond resolution there is the component of optical performance that I like to call “rendering”. A lens can be very sharp without delivering great images, while there are some less-than-pin-sharp lenses that actually deliver beautiful images (think Canon 50mm f/1.2L or the Voigtländer 20mm f/3.5). How do real images out the Tamron 28-75 RXD actually look?

Pretty good, actually.

I found that the images had nice color and contrast on a global level. The bokeh is unique and has character, but as this is a pretty subjective measure, you’ll have to decide whether you like it or not. It has a unique outlining effect with some circular highlights that almost looks like it was penciled in. I prefer this to the “onion-bokeh” of the first Tamron 24-70mm f/2.8 VC, but it won’t be for everyone.

There is a bit more geometric distortion of bokeh circles near the edge of the frame when compared to the G Master, and I think that, in general, the GM lens grabbed less hard edges than the 28-75 RXD. At the same time, however, the reality is that identical images shot with both lenses looked more similar than different. Take a look at the images below – first from the Sony, then from the Tamron. Spot the differences?

One area the Tamron actually bests the GM in a minor way is in its handling of chromatic aberrations. The GM shows a very faint amount of fringing in a few situations, while the Tamron is nearly completely neutral. This helps boost contrast and is part of the reason why the Tamron images have nice punch to them.

As noted previously, the Tamron renders a little warmer than the GM lens. I prefer color accuracy, myself, though there will be moments where the Tamron’s color will look slightly richer. The a73 has a more neutral color science than the a7R3, so I found this less pronounced when used on it.

On the a7R3, I slightly preferred the skin tones from the G Master lens, though once again it would be hard to detect this without having both images side by side.

Neither lens gets a perfect score for flare resistance. Both exhibited some minor ghosting artifacts both wide and open and stopped down, though both lenses did a good job of retaining contrast other than at the epicenter of the sun’s actions. I did feel like the rays of the sunbursts from the GM lens were a little better defined, though both have a similar number of blades. Sequence below is GM wide open then stopped down to f/11, then Tamron wide open and then stopped down to f/11.

All in all, there are no major missteps optically for the Tamron, though not everyone will be fans of the unique bokeh style. You can see many more images in the Image Gallery here.

Conclusion

The Tamron 28-75mm f/2.8 Di III RXD represents a very important lens both for Tamron and for Sony. Tamron has needed to venture into the mirrorless market, where it has only had one APS-C option for years. Positive reception of this lens will help position them to have strong sales of future lenses. But in many ways this lens is equally important for Sony, even though it will invariably cut into some G Master sales. The lack of lenses like this (competent and yet affordable) have really held a lot of people back from making the switch from Canon or Nikon, and the 28-75 RXD will undoubtedly be a “system seller”. The 28-75 RXD is a “win-win” for both companies, and I found the Tamron to be that “everyday useful” kind of lens that I haven’t had in a Sony lens. I’m personally tempted by one myself. If you are looking for a quality general purpose lens that has some unique magnification options, good image quality, and fast, quiet AF, you may have just found your new lens…particularly if you don’t want to break the bank to acquire it.

28-75 RXD Resolution

It is important to remember that these lenses don’t have identical focal lengths. 24mm is much wider than 28mm, and is arguably more useful than the Tamron’s additional 5mm on the long end. Tamron elected to tackle a slightly easier focal range to engineer for, but it was probably a wise decision as it allows the lens to be a little more competitive where the lenses overlap. The 24mm of the G Master is considerably wider than the 28mm of the Tamron, as you can see in these comparisons:

Comparing the two lenses at 28mm, we find that the Tamron is arguably more contrasty and, at the least, just as sharp in the center of the frame. But whereas the Sony shows a more gradual resolution falloff towards the edges of the frame, the Tamron falls off more quickly. There is improvement from the Tamron when stopped down, but it never reaches the levels of the G Master along the edges of the frame as the G Master sharpens up significantly at apertures like f/5.6. Expect it to the be the better landscape option.

A few other observations is that while both lenses show pronounced barrel distortion at their widest focal lengths, the G Master has the advantage at 28mm. The Tamron’s distortion pattern is fairly linear, however, and I didn’t see any major issues in correcting for it. JPEGs will receive automatic correction in camera. The G Master also shows a little better light transmission and delivers a brighter image at equivalent apertures (by about 1/3rd stops). I also find the color from the GM slightly more accurate, with the Tamron delivering a slightly warmer image. It’s minor, but you can see the difference in these comparisons.

At 35mm the gap closes a bit. The same general observations are true, but the Tamron is closer in the edges of the frame and is arguably sharper in the center. Distortion is more minimal on both lenses, though the GM is still the winner for light transmission. Stopped down the advantage shifts in the GM’s direction. It has more “in the tank” when stopped down compared to the Tamron.

At 50mm the wide open center advantage favors the Tamron with both of them delivering a roughly similar edge performance. They both show a mild pincushion distortion pattern now. As expected, the GM shows the stronger performance when stopped down to f/5.6 and beyond.

AT 70/75mm there is just the slightest bit of pincushion distortion for both lenses. The two lenses are about equal in the center in sharpness and contrast and the GM has the slightest edge on the edges. Stopped down performance favors the GM, but only slightly. The Tamron is very close here.

No, the Tamron doesn’t go to 24mm, but over the overlapping focal range it is surprisingly competitive, particularly at wide apertures. When stopped down, the GM becomes the better landscape lens, through the advantage is less pronounced from 50mm on. There are two ways of looking at this. If you want the best, that’s going to be the GM. Better light transmission, more consistent resolution across the frame, and better performance when stopped down. But if you are on a budget or looking at this from a price-to-performance ratio, you have likely concluded that the GM lens is certainly not $1400 better. The 28-75 RXD is certainly capable of producing nicely detailed images in a wide variety of scenarios, and for portrait work the resolution difference is minimal at best.

But there’s more to it than resolution…

Тесты Tamron 28-75 F/2.8 Di-III VXD G2

Cons:

Bokeh can be a little quirky
Pronounced barrel distortion at 28mm
Some users have experienced video focus issues

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