Tamron SP AF 10-24mm F3.5-4.5 Di II LD Specifications Review

Tamron was initially a little bit delayed to the celebration in marketing an ultra-wide zoom capability for APS-C/DX indicator DSLRs, with the company’s 11-18mm F4.5-5.6 showing in July 2005. This lens became the last in a quantity of produces that involved as well Sigma’s 10-20mm F4-5.6 DC, Tokina’s 12-24mm F4 DX and The cannon eos EF-S 10-22mm F3.5-4.5 USM (Nikon had thieved a april beginning on, with the 12-24mm F4 DX showing two years previously). With all of these competitive contacts providing more powerful requirements in one way or another (i.e. the broader zoom capability varies of the Sigma and Canon, or the quicker continuous highest possible apertures of the Tokina and Nikon) it’s perhaps wonder that Tamron has now become the first to present a second-generation lens in this classification, with this, the SP AF 10-24mm F3.5-4.5 Di II LD Aspherical (IF). Declared at Photokina 2008, the new optic clearly is intended to trump its competitors with a important increase to the specification; the zoom capability variety leaps to being the biggest in its category, and the highest possible aperture is improved by sixty-six per cent of a quit throughout the product variety.

Tamron SP AF 10-24mm
Tamron SP AF 10-24mm

Tamron has were able to provide this update in a lens only partially bigger and bulkier than its forerunner, and the visual style needed to accomplish such a task is appropriately amazing. The system functions 12 components in 9 categories, with many unique components to reduce aberrations; namely one high-precision, large-aperture glass-molded aspherical lens factor, three multiple aspherical components, two LD (Low Dispersion) cup components and one HID (High-refractive Index) cup factor. The style also guarantees enhanced side-line lighting (i.e. reduced vignetting), fighting a prevalent issue with ultra-wide position contacts, and enhanced coverings to reduce picture deterioration due to surface.

The 10-24mm goes into the market acutely cost to contend with identical contacts from Sigma and Tokina, and is therefore considerably less expensive than the extensive position zooms available from you producers themselves. This mixture of great requirements and relatively low cost will undoubtedly appear powerful to many prospective buyers; let’s see how its efficiency even comes close in real use.

Key Features

  • Ultra-wideangle 15-36mm comparative central duration range
  • F3.5-4.5 highest possible aperture
  • To be available for Canon, Nikon, Pentax and Sony models installs (Nikon contains built-in AF motor)
  • Designed for APS-C/DX structure DSLRs only

Tamron SP AF 10-24mm Body And Design

The 10-24mm follows Tamron’s current design idiom of performance without fripperies; the design is perhaps best described as ‘plain’. Develop is much as we’d anticipate at this level, with a steel install and nasty gun barrel exterior; however (and perhaps expenses to its short, stubby form) this lens seems overall more strong and better-finished than the 18-270mm F3.5-6.3 VC we analyzed lately. The gun barrel is taken over by the zoom capability band towards the back and the concentrate band at the top, with a traditional focus-mode selection change on the side of the lens next to the install. Size is very much the standard for this type of lens.

Tamron SP AF 10-24mm Body and Design
Tamron SP AF 10-24mm Body and Design

Lens body elements

  • The lens comes in editions for Cannon, Nikon, Pentax and Sony models DSLRs. Our example was in Nikon F install.
  • The narrow line is 77mm. It does not move on autofocusing, which should please narrow customers. A observe of caution though; regular 8mm-thick polarisers will vignette considerably with the lens set to 10mm, so you’ll need to use a slim-mount one instead. Click here for an example of this vignetting (upper left one fourth of the structure, 10mm F8, standard-type Hoya polariser).
  • The large petal-type AB001 bayonet-mount bonnet is available as traditional, and suits favorably onto the top of the lens. It’s made of dense black nasty and features ribbed mouldings on the inside to reduce insights of wander light into the lens. White spots on the outside of the bonnet aid positioning for increasing. There’s a lot of area between the bonnet and narrow line to allow easy spinning of polarisers, but.
  • this also means that you might battle to fit the lens into a bag with the bonnet changed for storage space, as proven here. That bonnet is completely 10.7cm / 4.2″ in diameter; not exactly a paragon of space-efficiency.
  • The zoom capability band has a 37mm extensive ribbed rubberized hold, and the action is sleek and accurate. It moves 80 levels clockwise from extensive to, well, less wide; the ‘right’ way for Nikon owners, but reverse to Canon contacts. The lens is actually quickest around the 14mm establishing, and the top factor expands just 10mm on cruising to 24mm.
  • The 12mm extensive concentrate band moves 90 levels anticlockwise from infinity to 0.5m, again related Nikon contacts and reverse to Canons. A fundamental range range is noticeable in legs and metres. The concentrate band moves a little bit previous the infinity place, and moves during auto-focus.
  • The 12mm extensive concentrate band moves 90 levels anticlockwise from infinity to 0.5m, again related Nikon contacts and reverse to Canons. A fundamental range range is noticeable in legs and metres. The concentrate band moves a little bit previous the infinity place, and moves during auto-focus.

Tamron SP AF 10-24mm Images Quality

The 10-24mm gives usually excellent, if not excellent results; distortions is well managed and main sharpness is great once ceased down F5.6, especially at 10mm. However sharpness start is remarkably low, and sides are smooth at all configurations. Our analyze example also revealed minor decentering, which was most recognizable at the 24mm establishing with a rather smooth right-hand part to the structure.The 10-24mm gives usually excellent, if not excellent results; distortions is well managed and main sharpness is great once ceased down F5.6, especially at 10mm. However sharpness start is remarkably low, and sides are smooth at all configurations. Our analyze example also revealed minor decentering, which was most recognizable at the 24mm establishing with a rather smooth right-hand part to the structure.

Sharpness

Sharpness is usually inadequate start, and evaluation of the checkerboard plants reveals low comparison due to halation effects (quite possibly a consequence of the minor decentering described above). The lens enhances considerably on avoiding down; main sharpness is very great at 10mm, but decreases progressively at more time main lengths; however the excessive sides stay smooth at all configurations. As predicted for this kind of lens, best outcomes are acquired at F5.6-F11, with the the best possible aperture being F8.

Chromatic Aberration

Chromatic aberration is kept reasonably low; fringing is recognizable at all main measures, but at levels no more intense than those found on common conventional zooms. The CA information at 10mm is rather complicated with important re-correction towards the sides (resulting in fringing which changes progressively from red/cyan, through green/magenta, to blue/yellow); this may well cause problems for application modification. However at more time main measures the design changes to red/cyan fringing with a simple straight line information, and therefore simple correct in application.

Falloff

We consider falloff to start becoming a potential issue when the area illumination drops to more than 1 stop below the center. The 10-24mm reveals about 2 prevents start at wideangle (with a asymmetric pattern), but this decreases quickly on avoiding down, deciding at 1.3 prevents at F8 and more compact apertures. This will hardly ever get noticed in real-world use, and usually overwhelmed by natural illumination modifications across such an extensive area of perspective. At 13mm and more time, falloff is basically a non-issue at any aperture.Distortion Distortion is kept remarkably low throughout the product variety for such an extensive position lens; 1.1% gun barrel distortions at 10mm, improving to an optimum of 1.6% at 13mm then reducing again at more time main measures. In perspective, this is much lower than that usually seen at the extensive end of common conventional zooms.

FX (Full Frame) Coverage

Both the Nikon and Cannon install editions of this lens will install on full-frame DSLRs; on Nikon camcorders (D3, D3X, D700) DX plants method will be instantly chosen (and you will therefore capture at decreased resolution). The lens’s picture group obviously doesn’t fully cover the Negatives complete structure structure at wideangle, but as is common for this kind of lens, the vignetting progressively decreases on cruising in, and protection is basically complete at main measures of 15mm and more time. We’re not going to officially analyze a DX lens on full-frame, but opinions are that the lens would be quite useful in an urgent or for non-critical programs.

Flare

Control of surface is an important function of a superwide lens; with such an extensive opinion of the globe, shiny mild resources will find themselves in the structure regularly. Overall the 10-24mm does as good as in this respect, maintaining comparison well in side- and back-lit circumstances, even in the intense, low winter sun. At its largest configurations, the lens gives a trademark red arc-shaped surface design when shiny mild resources are placed either in or just outside the frame; this progressively decreases in size and strength on avoiding down. The lens also offers rather well with highly backlit circumstances at the long end of the zoom capability variety (and therefore with the sun impinging straight on the front element); the example below drops some comparison on the right side part, and there is one small surface spot recognizable, but overall it’s a great outcome.

Tamron SP AF 10-24mm Flare
Tamron SP AF 10-24mm Flare

Chromatic aberration

As we’d anticipate from a wideangle zoom capability, the 10-24mm is impacted with its reasonable proportion of chromatic aberration, although no more than the average DSLR kit lens. The examples and plants below give a perception of what to expect; at 16mm (around the point where CA is strongest) there’s some pretty apparent red/cyan fringing. At the largest establishing of 10mm, the fringing is changes in color across the frame; the chosen plants reveals a rather unexpected change from green/magenta to blue/yellow fringing in the excessive sides. The plants at the end display how successfully Nikon’s in-camera CA modification on the D300 (also present on the D90) eliminates this fringing; this also gives a perception of how well application modification in post-processing is likely to work.

Corner Softness

Our studio room assessments expose a certain tendency for smooth sides, and the examples below demonstrate how this looks in practice. The 100% plants come from the three areas defined in red on the the thumbnail picture.
At 10mm, main sharpness is remarkably great, and details carries on to hold up well out to the location of the second plants proven below (approximately 55% along the picture diagonal). Beyond this sharpness progressively drops towards the excessive sides, which are very smooth indeed. The tale at 24mm is a little bit different; here the center is not quite as excellent as at 10mm, and sharpness progressively decreases across the structure, with the sides again incredibly smooth. (Our evaluation example also revealed some asymmetry at 24mm, with the top right area most severe impacted, displaying excessive smooth and blurry as proven below).

Softness extensive open

The second clear issue recognized in our graph assessments is smooth start. This ends up to be a case of incredibly low local comparison due to halation, with information still being documented. The plants below display this clearly, with two pictures taken a few moments apart with the lens start at F3.8, then ceased down to F8. The 100% plants from the center of the structure looks somewhat ‘hazy’ at F3.8, and the loss of comparison on the end of the link pathways (on the left part of the crop) is very apparent. The 10-24mm is therefore best taken ceased down to at least F5.6 whenever possible; however as it’s the kind of lens you’ll probably be capturing at F8 anyway, this isn’t really a serious condition in actual use. Affected pictures can also be ‘rescued’ to a certain degree by the application of an extensive distance unsharp mask; amount = 10, distance = 50, limit = 0 or similar. (It’s also quite possible that this is to a certain degree a sample-specific issue, causing from the decentering seen in our studio room assessments.)

Tamron SP AF 10-24mm Images Quality
Tamron SP AF 10-24mm Images Quality

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Tamron SP AF 10-24mm Specifications

Street price • US: $475
• UK: £360
Date introduced September 2008
Maximum format size APS-C/DX
Focal length 10-24mm
35mm equivalent focal length • 15-36mm (1.5x DX)
• 16-38mm (1.6x APS-C)
Diagonal Angle of view (APS-C) 109º – 60º
Maximum aperture F3.5-4.5
Minimum aperture F22-29
Lens Construction • 12 elements/9 groups
• 2 LD glass elements
• 1 HID glass element
• 4 aspherical elements
Number of diaphragm blades 7, rounded
Minimum focus 0.24m
Maximum magnification 0.20x
AF motor type Micro Motor
Focus method Internal
Image stabilization None
Filter thread • 77mm
• Does not rotate on focus
Supplied accessories* • Front and rear caps
• Lens Hood AB001
Weight 406 g (14.3 oz)
Dimensions 83 mm diameter x 84 mm length
(3.3 x 3.3 in)
Lens Mount Canon EF, Nikon F, Pentax K, Sony Alpha