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Modern telephoto lenses come with autofocus features that pulse with stepping motors. They are a huge step up from ultrasonic motors as they are quiet and allow for smooth focus transmissions. Focal length In the DSLR sector, Tamron faces superzoom rivals in every camp, and some of the designs are notably similar. Alphabetically, the Canon EF-S 18-200mm 3.5-5.6 IS looks a little behind the curve these days, though it's a proven good performer. Nikon has a history of occasional cooperation with Tamron and matches the long-end reach with its Nikkor 18-300mm F3.5-6.3G AF-S DX ED VR. The Pentax SMC DA 18-270mm F3.5-6.3 ED SDM bears more than a passing resemblance to the superseded Tamron 18-270mm. Not to be outdone, Sigma joins the up-to-300mm superzoom club with its revamped 18-300mm F3.5-6.3 DC Macro OS HSM C, and Sony has the DT 18-250mm F3.5-6.3. Angle of view
A fear of dust on imaging sensors was another massive plus point for bridge cameras, as they never had to expose their innards to the elements. Also, people generally liked the convenience, while swallowing the disadvantages of the bridge camera’s inevitably smaller sensor. Tamron has done a good job with the optical redesign, increasing focal length at both ends of the scale, and delivering better sharpness than the preceding Tamron 18-270mm F3.5-6.3 Di II VC PZD, even if there's not a great deal in it. Like all superzooms, the Tamron 16-300mm F3.5-6.3 Di II VC PZD Macro is sharpest at shorter focal lengths, and less so at longer settings. Sharpness Tamron’s Vibration Compensation System does not disappoint when it comes to image stabilization. It makes a massive difference in image quality, even at 300mm and below the standard hand-holding threshold. It sets a baseline that accounts for individual variables and establishes acceptable limits of sharpness. Autofocus Tamron includes tips for taking better shots along with the paperwork that comes with the lens. Not many manufacturers go the extra mile to educate users on how to get the most from their lenses. Closest focus distance is 39cm, which is very close for a lens that covers up to 300mm and focusing is performed internally. The 67mm filter thread does not rotate, which should make this lens ideal for use with graduated filters and polarisers. A petal shaped hood is supplied with the lens, which attaches to the front via a bayonet fitting.
Final Thoughts
A: Yes, it uses Tamron’s Visual Compensation stabilization system that enables it to take good shots at slower shutter speeds. Deeper finger grips on the lens cap– I know, this is an extremely small and neurotic detail. In any case, it seems that Tamron has improved their lens caps with more pinchable clips making them easier to attach and remove from the lens. This feature also reduces the chance of fumbling a cap removal. Dave, you say I'm making a "pointless observation" because the lens will only be for casual snapshots. Thanks. But in your desire to put me down, I think you've missed what I'm really getting at, the context. Falloff of illumination towards the corners of the frame is well controlled for a lens of this type. At 16mm the corners are 1.62 stops darker than the image centre and at 300mm the corners are 1.27 stops darker. Visually uniform illumination is achieved with the lens stopped down to f/8 or beyond throughout the zoom range.
I will begin with the worst – chromatic aberration. Coloured fringing is one of the more difficult optical problems to correct after the event – and beforehand too, it seems – yet it is one of the more obvious to the eye and therefore one of the most objectionable. There are some aberrations I can live with, but I find purple and green glowing edges around high-contrast areas very difficult to accept.While the focal length is somewhat correct at the wide range, it is not even close to 300mm at the maximum telephoto setting. I was comparing it to several lenses, including Canon EF 100-300mm, Canon EF-S 55-250mm, and older manual Tamron SP 60-300mm. The maximum zoom setting (300mm) in reality corresponds to 250mm at best. Chromatic aberration is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software. The lens is supplied with lens caps and a petal-shaped lens hood - there's no bag included. The filter size is 67mm. Focal Range
As the lens weighs less than the Nikon D7100, just a little more than the Nikon D5300, less than a Canon EOS 700D, and less than the Sony Alpha A77 II, you can see why a compact all-in-one zoom would make an ideal lens for those who like to travel light, but still take their DSLR with them. Previously to get this range you would need to look at carrying an all-in-one zoom lens plus a wide-angle lens as well, or a combination of two zoom lenses. Read our full Tamron 16-300mm review here.The Tamron 16-300mm comes with many mechanical improvements that can benefit all-round photographers. The focusing ring is better positioned and supports a full-time manual override. Its autofocus is a step up, while its VC stabilization is quite useful.
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