35mm F/28 Di Iii Osd M 12 Review

Tamron 35mm f/2.8 Di 3 OSD M1:ii Lens Review

Tamron has been turning heads with their recently-introduced Di III mirrorless camera lenses, introducing one attractively-priced, impressive-performing lens after some other. The introduction relevant to this review is that of the Tamron 35mm f/2.eight Di Iii OSD M1:two Lens, introduced simultaneously with two other very similarly-specced modest broad bending primes in 20mm and 24mm focal lengths. This lens meets the expectations set by its predecessors, providing excellent image quality from a compact, lightweight package that has a very low toll.

Focal Length

The number of 35mm prime lenses currently available in the marketplace reflects the popularity of this focal length. This moderately wide bending of view invites a subject altitude (perspective) that creates a natural perspective and makes the viewer feel present in the prototype and accommodates a broad range of subjects, including people. A prime lens requires sneaker zoom more than frequently than a zoom lens and the 35mm focal length nicely accommodates this.

The 35mm angle of view is great for general-purpose apply, making information technology an ideal choice to but leave on the photographic camera for whatsoever needs arise. I often press any lens I'thou reviewing at the fourth dimension into the around-the-house, walk-around, general-purpose lens role and 35mm normally works very well for this. It is wide plenty to capture the big scene simply not then wide that people and other subjects are readily distorted by the close perspective invited by ultra-broad angles.

For like reasons, the 35mm focal length has long been a first-selection for photojournalists. Hymeneals photographers, who piece of work in some of the darkest venues to be found, also frequently use 35mm lenses. Portrait photographers like the 35mm focal length for full to mid-trunk portraits and for grouping portraits.

The 35mm angle of view is inviting for street photography. Mural photographers have plenty of uses for the 35mm focal length.

Sports photographers able to get close to their subjects (such as basketball shot from over or under the net) or wanting to capture a wider/ecology view of their events appreciate this focal length. The angle of view invited by 35mm tin make action figures big in the frame.

Parents love 35mm lenses for capturing their indoor events and nearly pets will permit you go close plenty to capture a nice perspective with such a lens. 35mm is popular with videographers, peculiarly for creating documentaries. Many medium and large products are ideally captured at 35mm. The full list of 35mm uses is huge and express only by our imaginations.

To visualize where 35mm fits among other mutual focal lengths, I'll borrow a focal length range example from some other review.

On an ASP-C/1.5x sensor format body, the 35mm focal length provides an angle of view similar to a 52.5mm lens on a full frame sensor format body. This angle of view is essentially the same as 50mm and useful for all applications this extremely popular "normal" focal length is used for. Those uses coincide with nearly uses of the 35mm focal length with slightly tighter framing or slightly longer perspective for the same framing being the departure.

Max Aperture

An f/two.eight max aperture is relatively broad and few zoom lenses covering this focal length range accept wider apertures. While there are a huge number of 35mm prime lenses, equally of review time, there are none with a narrower max discontinuity. And then, this lens opens very wide relative to zoom lenses and not very wide relative to prime lenses, part of the formula required for the ultra-light weight and tiny size.

Many first-time APS-C DSLR camera buyers cull the optional kit lens when purchasing their camera. While the APS-C kit lenses are typically value-priced (at least when purchased in a kit) and they piece of work OK, they are generally defective in some areas to achieve the low price. One characteristic they e'er lack is a wide aperture with f/4.v existence the typical max aperture at the 35mm focal length we are talking nigh in this review. Gaining a wider discontinuity is a great reason for acquiring a plus-one lens.

With a i 1/3 terminate wider max discontinuity advantage, this 35mm f/2.viii lens can stop activity in less than i half equally much light and it permits handholding in similarly-lower lite levels. In addition to allowing more low-cal to achieve the sensor, permitting faster shutter speeds and/or lower ISO settings, increasing the aperture opening permits a stronger, ameliorate subject-isolating background blur at this focal length.

The following aperture comparison instance takes a closer look at the background blur aspect.

When viewed at total size, the differences announced stronger. Compare the widest 35mm aperture currently available in your kit with f/ii.viii.

This is the maximum background mistiness this lens can produce:

Wide-bending lenses cannot blur the background like telephoto lenses and with many 35mm options having a 2-terminate-wider aperture available, this lens cannot blur the groundwork equally well equally another 35mm prime number lens options. With an extremely short minimum focusing distance assisting, this lens is able to produce a strong mistiness relative to its available max aperture.

Image Stabilization

This lens is not optically stabilized, merely with the Sony E-mountain, Sony generally takes care of that omission with Steady Shot or IBIS (In-Body Epitome Stabilization). On a traditional DSLR with an optical viewfinder, IBIS results in an unstabilized view, meaning that stabilization was not helpful for composition or for providing a still subject to the photographic camera's AF system. With EVFs beingness prevalent in Sony'south lineup, the viewfinder image is existence read from the imaging sensor and that is stabilized. Therefore, the viewfinder prototype is very nicely stabilized and sensor-based AF takes advantage of the stabilized view for improved accuracy.

Paradigm Quality

For its 35mm prime lens class, this lens has a narrow max aperture. It is not unusual for lenses to not be precipitous at their widest aperture and if that were the case with this lens, it would be quite nighttime at its typically-expected optimal max aperture. For this lens series, that fear realized would be an exception and fear not — this lens turns in excellent wide-open image quality.

At f/2.8, this lens produces great resolution and contrast across the full frame image circumvolve. Stop down to f/4 and prototype sharpness becomes especially impressive. From a resolution and contrast perspective, there is little reason to finish down to f/5.6.

In addition to our standard lab tests, I like to share some real-world examples and adjacent we look at a series of center-of-the-frame 100% resolution crop examples. These images were captured using a Sony a7R 3. The images were processed in Capture One using the Natural Clarity method with the sharpening amount set to only "30" on a 0-thousand scale. Annotation that images from most cameras require some level of sharpening but too-high sharpness settings are destructive to prototype details and hide the deficiencies of a lens.

The wide-open up aperture samples are simply every bit we want them to be — very sharp. Stopping downwardly produces petty comeback.

In some lens designs, the aeroplane of sharp focus can move forwards or backward as a narrower aperture is selected. This is called focus shift (residual spherical aberration or RSA), it is seldom (never?) desired. The overall increased depth of field produced past this lens at narrowing aperture shifts toward the background simply the foreground even so continues to gain stronger focus and the focused-on subject field remains in focus every bit illustrated above.

Side by side we'll look at a comparing showing 100% extreme-top-left-corner crops captured and processed identically to the to a higher place middle-of-the-frame images. These images were manually focused as shut to the corner of the frame as the a7R Three allows.

The differences seen at narrower apertures are primarily due to vignetting immigration. The broad-open f/two.8 results are excellent.

Does corner sharpness matter? Sometimes information technology does, sometimes information technology doesn't. Landscape photography is 1 of the photographic disciplines that has frequent scenarios requiring sharp corners. However, those scenarios usually require apertures narrower than f/4. When shooting at the widest apertures, depth of field is often shallow and the plane of abrupt focus less-frequently includes a corner, making corner sharpness less important. I always prefer my lenses to exist razor sharp in the corners in instance that characteristic is needed and this lens performs great in this regard.

When used on a camera that utilizes a lens' entire image circumvolve, peripheral shading can be expected at the widest aperture settings. The nearly-three stops of shading showing in this lens' corners is going to be noticeable in nigh images. Stopping down 1 stop to f/four reduces shading by 1 stop to 2 stops. By f/viii, 1.2 stops of corner shading remain and stopping down further yields no farther improvements in this regard.

APS-C format cameras using lenses projecting a total-frame-sized image circle avoid most vignetting problems. In this case, the over ane stop of shading showing at f/2.8 might exist visible in images with a solid colour (such every bit a blue sky) showing in the corners.

I stop of shading is the amount frequently used as the visibility number, though bailiwick details provide a widely-varying amount of vignetting discernibility. Vignetting can be corrected during post processing with increased noise in the brightened areas being the punishment or it tin exist embraced, using the effect to draw the viewer'south middle to the center of the frame. Study the pattern showing in our vignetting test tool to determine if your subject (subject's face up) volition exist darkened or if it will be emphasized by the darker periphery.

The result of dissimilar colors of the spectrum being magnified differently is referred to as lateral (or transverse) CA (Chromatic Abnormality). Lateral CA shows as color fringing forth lines of stiff dissimilarity running tangential (meridional, right angles to radii) with the mid and particularly the periphery of the image circle showing the greatest amount equally this is where the greatest difference in the magnification of wavelengths typically exists.

With the right lens contour and software, lateral CA is oftentimes easily correctable (often in the camera) by radially shifting the colors to coincide though information technology is ever better to non have the problem in the first place. Any colour misalignment nowadays can easily be seen in the site's prototype quality tool, simply let's also look at a worst-case example, a 100% crop from the extreme top left corner of a Sony a7R Iii frame showing diagonal black and white lines.

In that location should be only blackness and white colors in these images with the additional colors showing the presence of lateral CA. With only one focal length to be designed for, prime number lenses ofttimes bear witness low amounts of lateral CA and while not absolutely perfect, this i is showing a very low amount of color separation in the corners.

A relatively common lens aberration is centric (longitudinal, bokeh) CA, which causes not-coinciding focal planes of the diverse wavelengths of calorie-free, or more simply, unlike colors of light are focused to different depths. Spherical abnormality forth with spherochromatism, or a change in the amount of spherical aberration with respect to colour (looks quite similar to axial chromatic aberration but is hazier) are other common lens aberrations to look for. Axial CA remains at to the lowest degree somewhat persistent when stopping downward with the color misalignment event increasing with defocusing while the spherical aberration colour halo shows little size modify as the lens is defocused and stopping down ane to two stops generally removes this aberration.

In the real world, lens defects do non exist in isolation with spherical aberration and spherochromatism generally establish, at least to some degree, forth with axial CA. These combine to create a less sharp, hazy-appearing paradigm quality at the widest apertures.

In the examples below, await at the fringing colors in the out of focus specular highlights created past the neutrally-colored subjects. Any color difference is existence introduced past the lens.

This lens is creating some modest color at its widest apertures. By f/five.6, about of the color variances are gone.

Flare and ghosting are caused past bright lite reflecting off of the surfaces of lens elements, resulting in reduced dissimilarity and sometimes-interesting artifacts. The shape, intensity, and position of the flare in an image is variable and depends on the position and nature of the light source (or sources) besides every bit on the selected discontinuity, shape of the aperture blades and quality of the lens elements and their coatings. A very low lens element count (9 elements in 8 groups) along with Tamron's BBAR (Broad-Band Anti-Reflection) Blanket helps control flare and our standard flare testing that uses the sun in the corner of the frame produces a negligible corporeality of flare effects from this lens, even at f/16.

In that location are two lens aberrations that are particularly evident when shooting images of stars, mainly because bright points of light confronting a dark groundwork make them easier to see. Coma occurs when low-cal rays from a point of light spread out from that point, instead of being refocused as a point on the sensor. Coma is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light which can be oriented either away from the center of the frame (external coma), or toward the center of the frame (internal coma). Coma clears as the aperture is narrowed. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the heart of the image) or meridional (tangential, perpendicular to sagittal). Think that lateral CA is some other aberration apparent in the corners.

The paradigm below is a 100% crop taken from the extreme height-left corner of an a7R III frame.

This lens stretches the corner stars a modest amount, creating triangular shapes from the circles.

The Tamron 35mm f/ii.eight Di Iii OSD M 1:ii Lens shows a slight amount of barrel distortion. The corporeality is not strong, but straight lines placed near to and parallel with the edges of the frame may evidence slight curving without correction implemented.

The corporeality of mistiness a lens can produce is like shooting fish in a barrel to show (and was shown earlier in the review). Assessing the quality of the mistiness is a much harder challenge due in part to the space number of variables present in all available scenes. I'll share some f/eleven (for interaction with the 7-blade aperture blade) examples:

The offset two results show 100% crops while the third sample is a full image reduced in size. These results are reasonable with defocused highlights remaining rather round.

With the exception of a small number of specialty lenses, the broad aperture bokeh in the corner of the frame does non produce round defocused highlights with these effects taking on a cat's eye shape due to a form of mechanical vignetting. If yous look through a tube at an bending, similar to the light reaching the corner of the frame, the shape is non round and that is the shape seen here.

As the aperture narrows, the entrance pupil size is reduced and the mechanical vignetting absolves with the shapes becoming round.

With a 7-blade count aperture, point calorie-free sources captured with a narrow aperture setting and showing a sunstar effect will have 14 points. Wide aperture lenses tend to accept an reward in this regard and this lens is capable of producing decent quality stars. This is an f/16-captured example.

Some double-flaring is present fifty-fifty at f/22.

The Tamron 35mm f/two.8 Di Three OSD Lens design, featuring a low element count that includes a unmarried aspherical element and a depression dispersion (LD) lens element, appears uncomplicated.

Overall, this lens' defects are minimal and it will be this lens' impressive sharpness that most photographers will find beinging their favorite aspect of this lens.

Focusing

The "OSD" acronym in the model name indicates that this lens' AF is powered by Tamron's "Optimized Silent Drive" stepping motor.

Testing on the Sony a7R 4, this lens focuses relatively quickly and quietly in AF-C continuous focus mode, simply switch to AF-S unmarried shot focus mode and focusing becomes somewhat irksome ("smooth" e'er sounds better) with hunting being common earlier the camera locks focus. Yet, the focus speed is adequate for most uses for this lens. Short focus distance changes happen faster than long ones equally usual. Remember about the scenarios you see and how this fact plays into them.

Particularly in AF-S mode, look to hear some light clicking and, primarily with long focus altitude adjustments, light buzzing during AF.

Note that this lens is not the best depression-light-autofocus performer.

While this lens does not modify overall size during focusing, it is a front-focusing model and the front element extends a significant amount inside the lens barrel as illustrated to a higher place.

AF accuracy is always paramount and this lens performs well in this regard.

Normal is for the scene to alter size in the frame (sometimes significantly) equally focus is pulled from 1 extent to the other, referred to as focus animate, a change in focal length resulting from a change in focus distance. Focus breathing negatively impacts photographers intending to use focus stacking techniques, videographers pulling focus, and anyone very-critically framing while adjusting focus. While this lens shows a very significant corporeality of focus animate, go along in listen that it also focuses very closely, providing a very high maximum magnification.

FTM (Total Fourth dimension Manual) focusing is supported via Sony's DMF (Straight Transmission Focus) AF mode. This lens does not have an AF/MF switch, meaning that a camera setting change is required to switch modes.

The plastic-ribbed focus ring is reasonably large and easily tactilely distinguishable from the balance of the lens barrel. This band is very polish and has a dainty amount of resistance. This is a variable response MF ring. Plough it quickly and nearly 360° (long for the fast speed) of rotation will complete the full extent focus adjustment. When turned slowly, about 6.5 full rotations (a crazy two,340°) are required to make a full range focus altitude aligning, allowing very precise manual focusing even at close distances. Annoying is the lag and distance adjustment leap encountered when changing ring directions, making manual focusing more than challenging than it should be.

Tamron does not provide focus altitude information on the lens, such as in a window, merely this data is available in the Sony viewfinder and rear LCD.

With a v.9" (149mm) minimum focus altitude, this lens has an impressive tie-for-best-in-course 0.50x maximum magnification spec.

Model	MFD		MM
Catechism EF 35mm f/i.4L II USM Lens	11.0"	(280mm)	0.21x
Catechism RF 35mm F1.8 IS STM Macro Lens	half dozen.7"	(170mm)	0.50x
Canon EF 35mm f/2 IS USM Lens	ix.4"	(240mm)	0.24x
Nikon 35mm f/i.4G AF-S Lens	xi.8"	(300mm)	0.20x
Nikon Z 35mm f/1.8 S Lens	9.viii"	(250mm)	0.19x
Nikon 35mm f/1.8G AF-S Lens	9.8"	(250mm)	0.16x
Sigma 35mm f/one.4 DG HSM Art Lens	xi.8"	(300mm)	0.19x
Sony FE 35mm f/1.4 ZA Lens	11.8"	(300mm)	0.18x
Sony FE 35mm f/1.8 Lens	8.7"	(220mm)	0.24x
Sony Iron 35mm f/two.eight ZA Lens	13.8"	(350mm)	0.12x
Tamron 35mm f/i.iv Di USD Lens	xi.8"	(300mm)	0.20x
Tamron 35mm f/1.viii Di VC USD Lens	seven.ix"	(200mm)	0.40x
Tamron 35mm f/two.8 Di III OSD Lens	5.nine"	(149mm)	0.50x
Zeiss 35mm f/1.4 Milvus Lens	xi.8"	(300mm)	0.22x
Zeiss 35mm f/two Milvus Lens	eleven.8"	(300mm)	0.19x

A subject area measuring approximately 2.6 ten 1.7" (66 10 44mm) will fill a full frame viewfinder at the minimum focus altitude. The yellow national park postage stamp in the image below measures 1.57" (398mm) in width.

When a lens not marketed specifically as a macro lens provides this much magnification, I am naturally suspect of the image quality it will provide at minimum focus distance simply was pleased with this lens' results. At this altitude, image centers are a bit soft at f/2.8 merely very precipitous by f/4. Corners are soft at f/2.8 and become increasingly sharp as the discontinuity narrows, but farthermost full frame corners never get completely sharp. Lateral CA is more apparent at minimum focus distance but Capture One Limited for Sony nicely corrects this issue.

1 more than minimum focus distance penalization is focus shift as illustrated beneath (captured with the Sony a7R IV).

As the aperture narrows and depth of field increases, the aeroplane of precipitous focus moves rearward, peradventure rendering the subject out of focus. Focusing at the aperture desired eliminates any issues in this regard.

Need a shorter minimum focus altitude and greater magnification? An extension tube mounted behind this lens should provide a very meaning decrease and increase respectively. Extension tubes are hollow lens barrels that shift a lens farther from the camera, which permits shorter focusing distances at the expense of long-distance focusing. Electronic connections in extension tubes permit the lens and camera to communicate and otherwise function equally normal. Sony and Tamron do not publish extension tube specs nor do they industry these items, merely third-party Sony-mount extension tubes are available. Note that at minimum focus altitude, in that location is but about 2.vii" (69mm) of working space in front of the sans-hood lens to interlope upon and likely only very short extension tubes would be usable with this lens with subject area lighting becoming challenging.

This lens is not compatible with Tamron or Sony teleconverters.

Build Quality & Features

For and so many years, I wondered why low cost items were required to look ugly. We're in practiced times and this inexpensive lens certainly qualifies as low cost yet it looks very prissy. Tamron's electric current lens designs, featuring a matte black finish and white press in a modern font, are visually very attractive. In add-on, their lenses are physically comfortable to employ and take a quality feel.

The outside lens barrel features a quality plastic construction. This switchless lens does non provide much for additional conversation virtually the exterior. Tamron wants you to know that this lens was "Designed in Japan" simply in fine impress admits that it was "Made in Vietnam".

This lens has moisture resistance incorporated into its design, including a mount gasket seal.

"The front surface of the lens element is coated with a protective fluorine compound that is water- and oil-repellant. The lens surface is easier to wipe make clean and is less vulnerable to the damaging effects of dirt, dust, moisture and fingerprints." [Tamron]

Tamron indicates that this lens "... is compatible with many of the advanced features that are specific to mirrorless cameras." These features include hybrid AF, Center AF, Direct Manual Focus (DMF), in-camera lens correction (shading, chromatic aberration, distortion), and photographic camera-initiated lens firmware updates.

This is a very small, extremely light lens. It is a joy to carry for fifty-fifty a very long fourth dimension.

Model	Weight oz(1000)		Dimensions w/o Hood "(mm)		Filter	Twelvemonth
Catechism EF 35mm f/one.4L 2 USM Lens	26.8	(760)	three.2 x 4.two	(80.4 x 105.5)	72	2015
Canon RF 35mm F1.8 IS STM Macro Lens	10.8	(305)	ii.9 10 two.5	(74.four x 62.8)	52	2018
Catechism EF 35mm f/2 IS USM Lens	11.eight	(335)	three.1 x 2.v	(77.9 x 62.6)	67	2012
Nikon 35mm f/1.4G AF-S Lens	21.ii	(600)	3.3 x three.five	(83.0 ten 89.v)	67	2010
Nikon Z 35mm f/ane.viii S Lens	13.1	(370)	2.9 x 3.four	(73.0 x 86.0)	62	2018
Nikon 35mm f/1.8G AF-Due south Lens	x.8	(305)	2.8 x 2.8	(72.0 x 71.5)	58	2014
Sigma 35mm f/1.iv DG HSM Art Lens	23.5	(665)	3.0 x iii.7	(77.0 ten 94.0)	67	2012
Sony Iron 35mm f/1.iv ZA Lens	22.2	(630)	iii.1 ten 4.4	(78.v ten 112.0)	72	2015
Sony FE 35mm f/1.8 Lens	ix.nine	(281)	two.six 10 ii.nine	(65.6 x 73.0)	55	2019
Sony FE 35mm f/ii.8 ZA Lens	4.two	(120)	ii.four x 1.4	(61.five ten 36.5)	49	2014
Tamron 35mm f/ane.4 Di USD Lens	28.viii	(815)	three.2 x 4.1	(fourscore.nine x 104.8)	72	2019
Tamron 35mm f/1.viii Di VC USD Lens	16.9	(479)	iii.ii x 3.2	(80.4 10 81.three)	67	2015
Tamron 35mm f/two.8 Di III OSD Lens	seven.four	(210)	2.ix x 2.five	(73.0 x 63.5)	67	2019
Zeiss 35mm f/1.4 Milvus Lens	41.3	(1170)	iii.iii x 4.9	(84.8 ten 124.eight)	72	2017
Zeiss 35mm f/two Milvus Lens	24.8	(702)	iii.0 x three.3	(77.0 10 83.0)	58	2015

For many more comparisons, review the consummate Tamron 35mm f/2.8 Di Iii OSD Lens Specifications using the site'due south lens specifications tool.

Here is a visual comparison of this lens abreast Sony's 3 review-time-current Fe 35mm prime lenses:

Positioned above from left to right are the following lenses:

Sony FE 35mm f/2.8 ZA Lens
Sony FE 35mm f/1.eight Lens
Sony Fe 35mm f/1.4 ZA Lens
Tamron 35mm f/1.viii Di VC USD Lens

The same lenses are shown below with their hoods in identify.

Use the site's product image comparison tool to visually compare the Tamron 35mm f/2.8 Di Three OSD Lens to other lenses.

This lens has 67mm filter threads. 67mm filters are medium in size, modest in cost, and common in popularity. Key is that many of Tamron'due south recently introduced Di 3 lenses use the 67mm filter size, permitting one set of furnishings filters to be shared past all lenses in a Di III kit without the need for step-up filter adapter rings, a huge convenience.

Nosotros are seeing only very slight increment in peripheral shading when using a standard thickness circular polarizer filter but a slim model such as the Breakthrough Photography X4 is suggested.

Did you lot run into the hood on this lens? You can count on Tamron to include a lens hood but this i is unusual. Instead of extending forward, the bayonet-mount Tamron HF053 hood wraps around the end of the lens and provides a but-the-right-size physical frame for the captured portion of the prototype circle. This and the Sony FE 35mm f/two.8 existence simultaneously reviewed are the commencement lenses I've used with this hood blueprint and I'k finding reasons to like it. This is a very short design that invites leaving the hood in identify (vs. storing reversed on the lens — this hood does not mount reversed) and especially for a close-focusing lens, provides more working distance. With 67mm filter threads on the front, this hood holds the cap and enables like shooting fish in a barrel filter installation, adjustment, and removal without removing the hood, leaving niggling reason to ever remove the hood.

Tamron does not include a case with this lens. Consider a pocket-sized Lowepro Lens Case for single-lens storage, transport, and comport.

Lens caps are a very-frequently-used accessory and Tamron's take long been great.

Toll, Value, Wrap Up

Tamron'due south name has been synonymous with adept value and this lens is that. The nicely-designed Tamron 35mm f/2.8 Di Three OSD Lens provides dandy epitome quality for a bargain-grade cost.

What does "Di III" hateful? Tamron's Di III lenses are designed for use on mirrorless interchangeable lens cameras. At review time, the Tamron 35mm f/two.8 Di 3 OSD Lens specifically is compatible with all Sony Eastward-mount cameras, including both full frame and APS-C sensor format models.

"This product is adult, manufactured and sold based on the specifications of Due east-mountain which was disclosed past Sony Corporation under the license understanding with Sony Corporation." [Tamron] Tamron provides a 6-year limited warranty.

The reviewed Tamron 35mm f/2.viii Di III OSD Lens was online-retail sourced.

Alternatives to the Tamron 35mm f/two.viii Di 3 OSD Lens

There is an abundance of 35mm prime lenses bachelor for comparison, but I'll get-go with the Sony lens with the same max discontinuity, the Sony FE 35mm f/two.8 ZA Lens.

In the image quality comparison shows these two lenses competing very closely. If I was forced to pick a winner, I'd take the Tamron lens by a slim margin at f/2.viii and the Tamron lens' corners are slightly improve at f/4 and f/five.vi. The Tamron lens has slightly less peripheral shading. The Tamron lens has slight barrel distortion that is slightly stronger than the Sony lens' slight pincushion baloney. I prefer the Sony lens' sunstars slightly amend and the Tamron lens' bokeh slightly better.

While the Tamron lens is quite small and calorie-free, the Tamron 35mm f/2.8 Di III OSD Yard 1:ii Lens vs. Sony Fe 35mm f/2.eight ZA Lens comparison shows the Sony lens being the considerably smaller and lighter of the two. The Tamron lens has 67mm filter threads (matching other lenses in its series) while the Sony lens has 49mm (and forty.5mm) threads. The Sony lens has a low 0.12x maximum magnification while the Tamron lens has a very high 0.50x spec. While both lenses are reported to have conditions sealing, just the Tamron lens has a gasket around the mount. The Tamron lens' price being less than half that of the Sony lens will be a major differentiating factor for many.

Another review-time-hot Sony 35mm lens is the Fe 35mm f/1.8. In the image quality comparison at f/2.8, the Sony lens has the advantage, especially in the center of the frame. Past f/four, the Tamron lens is performing at to the lowest degree as well every bit the Sony lens and even slightly better in the periphery. At f/4 and narrower apertures, the Tamron lens has less peripheral shading in the corners. The Tamron lens has slightly less geometric distortion, having barrel vs. the Sony's pincushion blazon.

Looking at the specs and measurements, the Tamron 35mm f/2.8 Di III OSD M 1:two Lens vs. Sony FE 35mm f/i.8 Lens comparing shows the 2 lenses similar in overall size with the Sony lens being longer and narrower. The Tamron lens weighs slightly less and has a considerably smaller hood. The Sony lens has 9 aperture blades vs. 7. The Sony lens has an AF/MF switch and AF hold button. The Tamron lens has 67mm filter threads, larger only more common than the Sony lens' 55mm threads. The Sony lens' f/one.eight aperture is 1 one/3-finish-wider than the Tamron lens'. The Sony lens has a stiff maximum magnification spec of 0.24x just the Tamron essentially surpasses that mark with a 0.50x spec. At review time, the Tamron lens is priced most 0.50x as much as the Sony lens.

Use the site's various comparing tools to create your own comparisons.

Summary

The Tamron 35mm f/ii.8 Di Iii OSD Lens is a great little lens. At 7.iv oz (210g), you will barely know it is on your lens or in your handbag and its price is similarly light. If you lot were thinking that lite weight, modest size, and low price meant poor prototype quality, y'all would be mistaken. This lens is sharp regardless of those attributes.

What is missing? This lens does not have my favorite AF arrangement and that is its most obvious shortcoming. Related is that the manual focus distance adjustment jumps when changing focus ring direction makes manual focusing more than challenging than it should be. F/2.8 isn't so wide for a 35mm prime lens, only that max discontinuity opening is function of the small, light, and inexpensive formula. Like the rest of the Tamron Di 3 lenses I've reviewed, this one's lite weight does non exude rugged build quality confidence, but this lens seems nicely built with tight tolerances and it looks neat. A very long warranty indicates that Tamron expects the lens to hold up for a long time.

The Tamron 35mm f/2.8 Di III OSD Lens is a deal.

Bringing you this site is my full-time job (typically sixty-lxxx hours per calendar week). Thus, I depend solely on the commissions received from you lot using the links on this site to make any purchase. I am grateful for your support! - Bryan

My Recommended Tamron 35mm f/2.8 Di 3 OSD Lens Retailers

Rent the Tamron 35mm f/ii.8 Di Three OSD Lens

The Tip Jar

Bryan Recommends Buying It Hither

quadethertat1976.blogspot.com

Source: https://www.the-digital-picture.com/Reviews/Tamron-35mm-f-2.8-Di-III-OSD-Lens.aspx

Share this post