In summary
The SP70-200mm f/2.8 Di VC USD G2 will suit photographers working across a broad range of genres although it’s most likely to appeal to those involved in portraiture, landscape photography, sports and wildlife shooting and photojournalism. This lens is too large and heavy for applications like street and photography and it doesn’t focus close enough to capture small subjects.
Its size and weight make it better suited for use on ‘full frame’ camera bodies, although it could be used with larger APS-C DSLRs. The fast maximum aperture and five-stop stabilisation will make it a good choice for photographers who shoot in low light levels. A new textured grip and Arca-Swiss style tripod interface make it easier to handle when swapping between hand-holding and tripod-mounted configurations and the lightweight magnesium tripod mount doesn’t take up much space in your camera bag.
The optional TAP-in Console provides a USB connection to a personal computer, enabling users to easily update the lens firmware. It can also be used to make fine adjustments to the AF and VC parameters.
Full review
Announced in early February 2017, the Tamron SP70-200mm f/2.8 Di VC USD G2 lens (Model A025) replaces a previous model, the SP70-200mm f/2.8 Di VC USD (Model A009), which we reviewed in December 2012. Although labelled ‘G2’, it’s actually a third-generation model that replaces an original without stabilisation and with a conventional AF micro-motor. We received a review lens with a Canon mount but this lens is also available for Nikon cameras (but not, so far, for Sony’s FE or A mounts).
The new Tamron SP 70-200mm f/2.8 Di VC USD G2 lens, shown without its lens hood but with the detachable tripod collar. (Source: Tamron.)
Like its predecessor, the new lens can be used with both full frame and APS-C cameras. For the latter, it covers a focal length range equivalent to 105- 300mm on a Nikon body or 112 to 320mm with Canon’s cropped sensor DSLRs.
The optical design of the SP 70-200mm f/2.8 Di VC USD G2 lens, showing the positions of the exotic glass elements. (Source: Tamron.)
The optical design is quite similar to the previous lens, with 23 elements in 17 groups and including one XLD (eXtra Low Dispersion) and five LD (Low Dispersion) glass elements, their positions shown in the diagram above. The new configuration is designed to eliminate chromatic aberrations, which frequently affect fast telephoto lenses.
The new lens features Tamron’s proprietary eBAND (Extended Bandwidth & Angular-Dependency) coating, which combines a nano-structured layer with an very low refractive index with conventional multiple-layer coatings to provide anti-reflection performance that minimises flare and ghosting.
The diagram above shows the positions of the dust- and moisture-proof seals in the new lens. (Source: Tamron.)
Improvements have also been made to the dust- and moisture-proof sealing, with special sealants at every joint and seam, as shown above. A new sealant material provides better resistance to the intrusion of any dirt, dust or water droplets than the original moisture-resistant construction. The front surface of the lens is coated with a protective fluorine compound that is water- and oil-repellent, making it easier to keep clean.
As before, the lens is supplied with front and end caps plus a deep-petal-shaped lens hood and a soft carrying pouch. The new lens is fully compatible with the Teleconverter 1.4x (Model TC-X14) and Teleconverter 2.0x (Model TC-X20) extension lenses, shown below.
The new Tamron 1.4x and 2.0x teleconverter lenses. (Source: Tamron.)
Who’s it For?
Like its predecessor, the SP70-200mm f/2.8 Di VC USD G2 will suit photographers working across a broad range of genres although it’s most likely to appeal to those involved in portraiture, landscape photography, sports and wildlife shooting and photojournalism. This lens is too large and heavy for applications like street and photography and it doesn’t focus close enough to capture small subjects.
Its size and weight make it better suited for use on ‘full frame’ camera bodies, although it could be used with larger APS-C DSLRs. The fast maximum aperture and five-stop stabilisation will make it a good choice for photographers who shoot in low light levels. A new textured grip and Arca-Swiss style tripod interface make it easier to handle when swapping between hand-holding and tripod-mounted configurations and the lightweight magnesium tripod mount doesn’t take up much space in your camera bag.
The optional TAP-in Console provides a USB connection to a personal computer, enabling users to easily update the lens firmware. It can also be used to make fine adjustments to the AF and VC parameters.
What’s New?
The table below compares key features of the old and new lenses.
|
|
SP 70-200mm f/2.8 Di VC USD (Model A009) |
SP AF70-200mm f/2.8 Di VC USD G2 (Model A025) |
|
Announced |
September 2012 |
February 2017 |
|
Lens construction |
23 elements in 17 groups (incl. 1 XLD and 4 LD elements) |
23 elements in 17 groups (incl. 1 XLD and 5 LD elements) |
|
Diaphragm blades |
9 (rounded aperture) |
|
|
Stabilisation |
Yes (~4 stops) |
Yes (5 stops) |
|
Closest focus |
1.3 metres |
95 cm |
|
Max. Magnification |
0.13x |
0.16x |
|
Minimum aperture |
f/32 |
f/22 |
|
Focus drive |
Ultrasonic Silent Drive |
Ring-type USM |
|
Internal focusing |
Yes |
|
|
AF distance limiter |
No |
Yes |
|
Filter size |
77 mm |
|
|
Max. diameter |
85.8 mm |
88.0 mm |
|
Overall length |
196.7 mm |
193.8 mm |
|
Weight |
1470 grams |
1500 grams |
|
Compatible mounts |
Canon, Nikon, Sony |
Canon, Nikon |
The ring-type USD (Ultrasonic Silent Drive) motor that controls autofocusing now includes two advanced, high-performance microcomputers. An optimised algorithm has improved both the focusing speed and accuracy compared with SP 70-200mm (Model A009). Full-time Manual Focus override is now supported.
Improvements to the focus cam and zoom cam inside the lens barrel have reduced the Minimum Object Distance (MOD) to 95 cm compared with nearly 1.3 metres with the previous model. Users can focus closer and achieve a larger magnification of 0.16x.
Tamron has tweaked its original VC (Vibration Compensation) system to provide improved performance. While it still uses a moving coil mechanism, reinforcement of the drive system power and control mechanism have enables a one-stop increase in stabilisation performance.
The lens now three VC modes:
– VC Mode 1 is the standard mode that strikes a balance between the stability of the viewfinder image and the stabilisation effects.
– VC Mode 2 is used exclusively for panning.
– VC Mode 3 prioritises the stabilisation of captured images over the stabilisation of the viewfinder image.
Photographers can choose between the different VC modes according to their shooting conditions and gain greater flexibility for hand-held shooting. VC Mode 1 can be customised via the optional TAP-in Console.
Although we’ve reviewed the model with the Canon mount (which has had an electromagnetic diaphragm system for many years), this feature has only just been provided on the version of this lens with a Nikon mount, where it’s supported by all DSLRs released in the last few years. It allows more precise diaphragm and aperture control because the diaphragm blades are driven and controlled by a motor through electronic pulse signals.
Design, Build and Ergonomics
Superficially, the new lens looks a lot like its predecessor, right down to the removable tripod mount. However, the new lens features a metal-based barrel for improved handling and ease-of-use, although like its predecessor, this is a large and relatively heavy lens.
Build quality is up to Tamron’s high standard for its SP lenses and the exterior surfaces are nicely finished. The mounting plate is very solid and fits firmly to the camera body. We found no slack in either the lens mount or the moving components on the barrel.
The focusing and zoom rings moved positively and smoothly. Both focusing and zooming are carried out by moving internal elements, so the lens doesn’t extend and the 77mm filter ring doesn’t rotate with either action.
The front element is approximately 70 mm in diameter and located immediately behind the filter thread at the front of the lens barrel. On its exterior surface is the bayonet mounting for the petal-shaped lens hood.
Roughly 15 mm behind it is the zoom ring, which is 36 mm wide and mostly covered by a deeply-ridged rubber grip band. Focal length indicators for 70mm, 100mm, 135mm and 200mm positions are stamped on the trailing edge of the zoom ring and line up against a white line on the main lens barrel. Click stops are provided at each end of the zoom range, which is covered by rotating the zoom ring through roughly 30 degrees.
The lens barrel dips inwards and then out again in a 14 mm section of the barrel before you come to the focusing ring. It’s approximately 20 mm wide and almost completely covered by a finely-ridged rubber grip band.
Immediately behind the focusing ring and inset into the lens barrel is a distance scale with markings in feet and metres, which moves in concert with the focusing ring. There are soft stops at each end of the focusing range, which is covered by a rotation of about 180 degrees.
Four sliders are situated on the left hand side of the lens barrel just behind the distance scale. The top one is the focus limiter switch, which selects between the Full and 3 m to infinity settings. Below it lies the AF/MF switch, followed by another switch that turns the VC stabilisation on and off. The bottom slider has three positions and is used to select the VC modes. The lens supports full-time manual focus over-ride, which means users can fine tune focus without having to switch out of AF mode.
The barrel narrows slightly behind the adjustment sliders and proceeds without any controls for about 15 mm, ending in an indented strip that houses the 26 mm wide removable tripod collar. The collar itself has a large, knurled knob for tightening and releasing its grip. It’s used when the camera’s orientation is changed between horizontal and vertical.
The foot of the tripod mount is an Arca-Swiss compatible plate. The lens is supplied with an Allen-key like ‘locking wrench’ and two locking screws for securely attaching the mount to a compatible tripod and detaching it when the shoot is over. These are packed in a transparent plastic envelope in the bag that holds the lens pouch.
The barrel extends another 10 mm before ending in the characteristic metal band that indicates an SP lens. It’s about 8 mm wide and slightly indented. Immediately behind it the lens steps inwards to the mounting plate.
The supplied, petal-shaped lens hood is about 90 mm deep and made from hard, matte black plastic. Its interior surface is finely ribbed to suppress reflections. It can be reversed over the lens for transport and storage.
Performance
Our Imatest tests show changes to resolution performance, with a general improvement in the ability to resolve detail across the board, particularly at wider aperture settings. Significant improvements have also been made to edge sharpness.
The highest resolution was achieved with the 100mm focal length at f/3.5, although this focal length settings remained the highest throughout its aperture range. Resolution at f/22 (the minimum aperture) was significantly higher and differences between near centre and edge resolution were much less than we found with the previous lens, possibly due to better diffraction control. The graph below shows the result of our tests conducted with the lens on the EOS 5D Mark II body.
We obtained marginally better results in our lateral chromatic aberrations tests to those from the previous lens. We found only faint traces of coloured fringing along high-contrast edges in shots taken in bright sunlight when the images were enlarged to 100% magnification.
Lateral chromatic aberration remained in the ‘low’ band for most focal length and aperture settings, dipping into the ‘negligible band with a few aperture settings at 70mm and 100mm focal lengths. In the graph below showing the results of our tests, the red line marks the boundary between ‘negligible’ and ‘low’ CA, while the green line separates ‘low’ and ‘moderate CA.
Autofocusing performance was variable and depended on having the right the camera setting for the subject and a subject with adequate contrast at the correct distance from the camera. When these coincided, focusing was both fast and accurate. When they didn’t, hunting became quite common, particularly with close-ups.
To test vignetting and distortion we had to disable the corrections in our EOS 5D II camera and use raw files for assessments. When photographs were taken with the camera’s peripheral illumination correction function disabled, vignetting could be seen at f/2.8 for all focal lengths when the lens was used on the EOS 5D Mark II body. We noticed a gradual increase in corner darkening with increasing focal length, with the 200mm focal length showing obvious darkening. Vignetting at all focal lengths was largely resolved by f/4.
Rectilinear distortion was mostly low across the zoom range, although barrel distortion was obvious at 70mm. It resolved into slight pincushion distortion at 200mm and virtually no distortion in between. Both instances would be easily corrected with in-camera settings or with editing software. For most photographers, this problem wouldn’t be an issue with subjects for which this lens would typically be used.
Bokeh at wide apertures was quite smooth and generally attractive, although there was a tendency to produce ‘hard’, and at times outlined, specular highlights. An example is shown below.
200mm focal length, ISO 200, 1/1000 second at f/5. The ‘hard’ highlights are circled in red.
The generous lens hood made it difficult to force this lens to flare unless the sun intruded into the image frame. Backlit shots were rarely flare-affected.
Conclusion
At launch, the SP70-200mm f/2.8 Di VC USD G2 has a significantly higher price tag than its predecessor, which cost more than the unstabilised lens that preceded it. Whether that’s justified will depend on the value you place upon the improvements in the latest model. There’s not much difference in the size and weight of both lenses and both are large and heavy.
If you shop around, you should be able to save at least AU$100 on the local RRP of AU$2199; maybe even more. The previous model (A009) and the one before that (A001) are still available, with the former selling for around AU$1700 in most local online stores and the latter at approximately AU$1100.
You won’t save anything by buying off-shore because, even though the listed prices may be slightly lower than the local resellers’ prices, by the time you’ve added 10% GST and a shipping cost of between roughly AU$50 and AU$110 (depending on the service you choose), you’ll be paying much the same as the average local price. and you’ll have to wait for between three and seven days for delivery. You also miss out on local consumer protection.
SPECS
Picture angle: 34 degrees 21 minutes to 12 degrees 21 minutes with ‘full frame’ DSLRs; 22 degrees, 33 minutes to 7 degrees 59 minutes with APS-C DSLRs
Minimum aperture: f/22
Lens construction: 23 elements in 17 groups (including one XLD and five LD elements)
Lens mounts: Canon, Nikon
Diaphragm Blades: 9 (circular aperture)
Focus drive: Ring-type USD (Ultrasonic Silent Drive)
Stabilisation: Yes, 5 Stops (CIPA Standards Compliant) using VC MODE 3
Minimum focus: 95 cm
Maximum magnification ratio: 1:6.1
Filter size: 77 mm
Dimensions (Diameter x L): 88.0 x 193.8 mm
Weight: 1,500 grams
Standard Accessories: Lens front and end caps, lens hood, carrying pouch
Distributor: Blonde Robot, http://www.blonde-robot.com.au/, (03) 9023 9777
TESTS
Based on JPEG files taken with the Canon EOS 5D II camera.
SAMPLES
The files used to evaluate vignetting and distortion were CR2.RAW files, with no corrections applied.
Vignetting at f/2.8 at 70mm.
Vignetting at f/2.8 at 100mm.
Vignetting at f/2.8 at 135mm.
Vignetting at f/2.8 at 200mm.
Rectilinear distortion at 70mm.
Rectilinear distortion at 100mm.
Rectilinear distortion at 135mm.
Rectilinear distortion at 200mm.
70mm focal length, ISO 200, 1/1250 second at f/8.
100mm focal length, ISO 200, 1/1250 second at f/8.
135mm focal length, ISO 200, 1/1000 second at f/8.
200mm focal length, ISO 200, 1/1000 second at f/8.
200mm focal length, ISO 200, 1/320 second at f/8.
Crop from the centre of the above image, at 100% magnification.
Crop from the edge of the above image, at 100% magnification.
Close-up at 70mm; ISO 200, 1/8000 second at f/2.8.
Close-up at 100mm; ISO 200, 1/8000 second at f/2.8.
Close-up at 135mm; ISO 200, 1/8000 second at f/2.8.
Close-up at 200mm; ISO 200, 1/8000 second at f/2.8.
Bokeh at 70mm; ISO 200, 1/2000 second at f/2.8.
Flare;135mm focal length, ISO 200, 1/640 second at f/5.
Backlit close-up; 200mm focal length, ISO 200, 1/500 second at f/4.
70mm focal length, ISO 200, 1/40 second at f/8.
135mm focal length, ISO 200, 1/25 second at f/8.
200mm focal length, ISO 400, 1/1000 second at f/5.6.
200mm focal length, ISO 400, 1/13 second at f/6.3.
200mm focal length, ISO 640, 1/320 second at f/3.5.
135mm focal length, ISO 200, 1/1250 second at f/5.6.
200mm focal length, ISO 200, 1/200 second at f/5.6.
83mm focal length, ISO 200, 1/800 second at f/9.
185mm focal length, ISO 200, 1/1000 second at f/4.5.
70mm focal length, ISO 200, 1/500 second at f/7.1.
Rating
RRP: AU$2199;US$1299
- Build: 9.0
- Handling: 8.6
- Image quality: 8.9
- Versatility: 8.5