In summary
A new, second-generation, fast wide-angle zoom lens for Sony and Nikon mirrorless that expands the zoom range in both directions, while retaining a compact design.
The Tamron 16-30mm f/2.8 Di III VXD G2 lens extends the zoom range of its previous equivalent without adding substantially to the length and weight. The resulting, broader field-of-view provides a wider range of options for photographers to capture architectural and landscape shots with dramatic perspective and depth.
At the other end of the zoom range, the 30mm focal length delivers a more natural angle-of-view for family, street and travel photography, where it retains the flexibility to adapt the photographer’s perspective to different outdoor and cramped indoor scenarios. It can also be used for dramatic tabletop and product photography and videography, thanks to its short (approx. 7-18 cm) working distance.
Having a constant f/2.8 maximum aperture throughout the zoom range makes it possible to shoot in low light levels and also offers plenty of scope for depth-of-field control. At wide apertures, this lens can produce soft, attractive bokeh in front of and behind the subject to enhance key subject features.
Full review
Released on 1 July, 2025, the new Tamron 16-30mm f/2.8 Di III VXD G2 lens completes a series of three, second-generation zoom lenses that together span a focal length range from an extreme. 16mm wide angle through to 180mm. The other lenses in this trio are the 28-75mm f/2.8 G2 (Model A063) and 70-180mm f/2.8 G2 (Model A065) lenses. All three lenses share the fast, f/2.8 maximum aperture and the 67mm filter diameter and when carried together, their total weight is just 1.8 kg. The Sony mount version of this lens we received for this review is the first to be released and is slightly smaller and lighter than the Nikon Z mount version, which won’t be available until late August. We reviewed it on a Sony α7 II camera body.
Angled view of the new Tamron 16-30mm f/2.8 Di III VXD G2 lens, Sony E-mount version. (Source: Tamron.)
The optical design of this lens contains 16 elements in 12 groups and includes one XLD (eXtraLow Dispersion), two LD (Low Dispersion), and three GM (Glass Moulded Aspherical) elements, which combine to minimise common aberrations. BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating reduces ghosting and flare in backlit situations, providing clear, sharp images.
The optical design of the 16-30mm f/2.8 Di III VXD G2 lens showing the positions of the various exotic elements. (Source: Tamron.)
Autofocusing is driven by Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism, which is designed to be fast and precise as well as very quiet. Taking advantage of the subject-detection functions in the latest Sony cameras, this system provides smooth performance for both stills and video shooting and is ideal for use when recording skateboarding, dance performances and other dynamic scenes.
Who’s it For?
Replacing Tamron’s 17-28mm f2.8 Di III RXD lens (which dates back to early 2019), the new 16-30mm f/2.8 Di III VXD G2 lens extends the zoom range of its previous equivalent without adding substantially to the length and weight. The resulting, broader field-of-view provides a wider range of options for photographers to capture architectural and landscape shots with dramatic perspective and depth.
At the other end of the zoom range, the 30mm focal length delivers a more natural angle-of-view for family, street and travel photography, where it retains the flexibility to adapt the photographer’s perspective to different outdoor and cramped indoor scenarios. It can also be used for dramatic tabletop and product photography and videography, thanks to its short (approx. 7-18 cm) working distance.
Having a constant f/2.8 maximum aperture throughout the zoom range makes it possible to shoot in low light levels and also offers plenty of scope for depth-of-field control. At wide apertures, this lens can produce soft, attractive bokeh in front of and behind the subject to enhance key subject features.
The Sony E-mount version provides support for the following functions in recent Sony cameras:
- Fast Hybrid AF, which combines the traditional Contrast Detection AF with Phase Detection AF and Eye AF
- Direct Manual Focus (DMF) over-ride, which lets users adjust focus after the camera’s autofocus system has locked onto a subject.
- AF Assist, which combines autofocus and manual focus and is especially useful for videographers.
- In-camera lens correction for shading, chromatic aberration and distortion.
- A new Astro Focus Lock (Astro FC-L) function automatically sets the lens focus to infinity and lets users disable the focusing ring to prevent unintentional focus deviation.
For Nikon camera owners, this new lens will compete directly with two existing Nikkor Z lenses, the 14-30mm f/4 S (RRP AU$2299) and 17-28mm f/2.8 (RRP AU$2,199), which are similar in size and weight. The 17-28mm f/2.8 is essentially the same as the Tamron lens but has been re-branded as a Nikkor lens.
Build and Ergonomics
Like most Tamron lenses, the 16-30mm f/2.8 G2 lens contains a high percentage of engineering-quality polycarbonate in its construction but retains a metal inner barrel and mounting plate. Leak-resistant seals have been installed throughout the lens barrel. Build quality is up to Tamron’s usual high standard.
The front element is approximately 30 mm in diameter and bulges forwards. It is covered by a protective lens that is flatter and almost 40 mm in diameter, which is fluorine coated to repel moisture and dust particles.
This is surrounded by a 12mm wide band of stepped and ribbed polycarbonate that ends in the vertical threading for the 67 mm filter. A bayonet mounting for the petal-shaped lens hood surrounds its outer edge.
The focusing ring is located roughly 11 mm behind the front rim of the lens. It’s 20 mm wide and entirely clad in a ribbed, rubber-like band. This ring turns through a full circle when the camera’s power is off but operates smoothly in manual focus mode.
Immediately behind the focusing ring is a fixed, 17 mm wide section of the outer barrel that has shallow indentation for easy identification and carries the focus set button – a new addition to this lens – and the white index mark for setting focal length with the zoom ring. The zoom ring is 21 mm wide and has ribbed, rubber-like cladding from about 5 mm behind its leading edge.
The leading edge of the ring is stamped with settings for the 16mm, 20mm, 324mm and 30mm focal lengths. The inner barrel neither extends no rotates during zooming so angle-critical filters can be used without issues.
The lens barrel continues for a further 12 mm. The name of the lens is stamped on this section of the barrel and a built-in USB-C port around the left side of the barrel in this band and compatibility with Tamron Lens Utility software makes it easy to customise lens functions and update its firmware from your smartphone or computer via a USB-C connection.
From this band, the lens barrel slopes inwards for approximately 10 mm to a 7 mm wide section of the barrel that ends in the chromed metal lens mount. Inside the mount are ten gold-plated contacts for passing signals between the lens and the camera body. The supplied petal-shaped lens hood is quite shallow, as you’d expect for a wide-angle lens, and can be reversed on the barrel for transport or storage.
Performance
The review lens delivered resolution just above expectations for the test camera’s 24-megapixel resolution with JPEG files in our Imatest tests and comfortably exceeded expectations with ARW.RAW files, which had been converted into 16-bit TIFF format with Adobe Camera Raw. This was true for aperture settings between f/3.2 and f/5.6 around the centre of the frame. The best results were obtained at f/4.5 with the 16mm focal length.
Resolution declined steeply close to the edges of the frame throughout the focal length range, with the lowest figures coming at the 30mm focal length. Diffraction had a noticeable impact from about f/9, as shown in the graph of the results from our JPEG tests below.
Because Sony cameras apply corrections for the main aberrations, chromatic aberration, vignetting and distortion by default, we switched them off in the camera and tried to base our test results on converted ARW.RAW files. However, the raw files from the α7 II contained ‘baked-in’ profiles for chromatic aberration that we were unable to disable, making it impossible to detect this aberration. This may be why we found no signs of coloured fringing in test shots.
We also disabled the in-camera corrections for distortion and vignetting, although we based our test results on converted ARW.RAW files, having disabled the automatic profile corrections applied by Adobe Camera Raw. We observed some vignetting at f/2.8, for the four focal lengths we investigated: 16mm, 20mm, 24mm and 30mm, although it was less than we had expected for such a wide-angle lens.
Corner darkening was greatest at 16mm and least at 30mm, which is to be expected and reduced gradually as the lens aperture was stopped down. Most visible vignetting was negligible by f/4 with the 16mm focal length and f/3.5 at 30mm.
Barrel distortion was obvious at 16mm but, surprisingly, barely noticeable at 20mm. Slight pincushion distortion could be seen at 24mm and became more obvious at 30mm. Switching on the in-camera corrections effectively eliminated both vignetting and distortions and most raw file converters will also correct them by default, so neither is a serious issue.
We found occasional flaring with a few coloured artefacts at the shortest focal lengths when the sun was inside the frame, but otherwise no veiling flare at any focal length. Sharp 18-pointed sunstars were possible at f/16 with all focal length settings, with one or two just noticeable flare artefacts at 16mm but none at the other focal lengths.
The minimum focus distances of 19 cm at 16mm and 30 cm at 30mm are only suitable for close-ups of larger flowers or similar-sized subjects. Across the zoom range, the wide angles of view covered by this lens provide scope for creative framing of close-ups.
As usual, bokeh in wide-aperture shots is influenced by the selected lens aperture as well as the background lighting. With evenly-lit backgrounds, the f/2.8 maximum aperture produced some nice, softly-blurred backgrounds, although stopping down to f/3.5 caused brighter highlights to show discernible edges, as shown in the Samples section of this review.
Autofocusing performance with the α7 II camera was generally very good, thanks largely to the fast linear autofocus motor in the lens. We also found the lens had few issues focusing in tricky lighting conditions.
There wasn’t much evidence of focus breathing either, with the only breathing detected being around the 30mm focal length. This shouldn’t be an issue for most users since it is generally controlled by Sony’s Breathing Compensation automatic in-camera corrections, which are provided in the latest Sony cameras.
Smooth focus and exposure transitions between one subject and another make this lens a good candidate for videography. The lens is also compact and light enough to be used with gimbals and drones.
Conclusion
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SPECS
Picture angle:107 degrees two minutes to 71 degrees 35 minutes diagonal
Minimum aperture: f/16
Lens construction:16 elements in 12 groups (including 3 moulded glass aspherical, 2 low dispersion and one XLD elements) BBAR G2 (Broad-Band Anti-Reflection Generation 2) and fluorine coatings
Lens mounts: Nikon Z, Sony E
Diaphragm Blades: 9 (circular aperture)
Weather resistance: Moisture-resistant
Focus drive: VXD (Voice-coil eXtreme-torque Drive) linear motor mechanism
Stabilisation: No, relies on IBIS in camera
Minimum focus: 19 cm at 16mm, 30 cm at 30mm
Maximum magnification: 1:5.4 (16mm) / 1:7 (30mm)
Filter size: 67 mm
Dimensions (Diameter x L):101.8 x 74.8 mm (Sony E mount)
Weight: 440 grams (Sony E mount)
Standard Accessories: Front and rear caps, petal-shaped lens hood
Distributor: Blonde Robot
TESTS
Based on JPEG files recorded with the Sony α7 II camera.
Based on ARW.RAW files recorded simultaneously and converted into TIFF format with Adobe Camera Raw.
SAMPLES
Vignetting at 16mm f/2.8.
Vignetting at 20mm f/2.8.
Vignetting at 24mm f/2.8.
Vignetting at 30mm f/6.3.
Rectilinear distortion at 16mm.
Rectilinear distortion at 20mm.
Rectilinear distortion at 24mm.
Rectilinear distortion at 30mm.
16mm focal length, ISO 100, 1/400 second at f/16.
30mm focal length, ISO 100, 1/500 second at f/16.
16mm focal length, ISO 100, 1/200 second at f/9.
Crop from the above image showing the flare artefacts.
30mm focal length, ISO 100, 1/160 second at f/9.
Close-up at 16mm focal length, ISO 100, 1/8000 second at f/2.8.
Close-up at 30mm focal length, ISO 100, 1/8000 second at f/2.8.
Bokeh at f/3.5; 16mm focal length, ISO 100, 1/1000 second.
Bokeh in backlit close-up; 16mm focal length, ISO 100, 1/3200 second at f/2.8.
Bokeh in backlit close-up; 30mm focal length, ISO 100, 1/4000 second at f/2.8.
Sunstar at f/16 with 16mm focal length; ISO 100, 1/60 second.
Sunstar at f/16 with 20mm focal length; ISO 100, 1/60 second.
Sunstar at f/16 with 24mm focal length; ISO 100, 1/60 second.
Sunstar at f/16 with 30mm focal length; ISO 100, 1/60 second.
16mm focal length, ISO 100, 1/100 second at f/13.
Crop from the above image at 100% magnification showing no obvious coloured fringing.
16mm focal length, ISO 100, 1/20 second at f/8.
16mm focal length, ISO 100, 1/320 second at f/16. Note the flare artefacts near the top right corner.
16mm focal length, ISO 100, 1/125 second at f/13
30mm focal length, ISO 100, 1/160 second at f/9.
30mm focal length, ISO 100, 1/125 second at f/7.1.
16mm focal length, ISO 100, 1/100 second at f/8.
25mm focal length, ISO 100, 1/60 second at f/3.2.
30mm focal length, ISO 100, 1/80 second at f/4.5.
30mm focal length, ISO 100, 1/80 second at f/5.
16mm focal length, ISO 100, 1/160 second at f/8.
16mm focal length, ISO 100, 1/160 second at f/11.
Rating
RRP: AU$1799
- Build: 9.0
- Handling: 9.0
- Image quality: 9.0
- Autofocusing: 8.9
- Versatility: 8.8
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