Tamron SP AF 90mm F/2.8 Di Macro 1:1 Lens for Nikon

Product Information

From Sony mirrorless cameras, there’s the FE 90mm f2.8 Macro with optical stabilization for around 999 EUR which performed very well in Gordon’s tests with the A7r Mark II. As is obvious below, these macro lenses become much more similar in size when extended 100% at their maximum magnification of 1:1 or 1.0x. The Tamron 90mm f/2.8 VC is just a slight step down from them in features. It maintains image stabilization, but it loses autofocus compatibility and focus shift shooting with the Nikon Z cameras. Of these six, the Tamron, Irix, Laowa, and Sigma are all exceptionally sharp. The Nikon is a slight step down, and the Tokina is a further step down. However, considering how extreme these crops are, none of them look bad to me. The next two lenses, the Nikon and Tokina, are a step down. Both are comparable in sharpness to one another, but the Tokina has substantially more vignetting and chromatic aberration. I still wouldn’t hesitate to use either.

Even the tied images don’t look identical. For example, the Nikon image looks a bit fuzzy and has some color fringing, while the Irix image is more smeared – but I can’t decide which is better or worse between them.Macro lenses are often famous for their high-quality optics, but that doesn’t mean they’re all perfect. Which of these macro lenses are the sharpest and softest? Let’s go through them here.

Bokeh is hard to compare with the other two macro lenses I've been mentioning because they are slightly different focal lengths. I asked the lady if there is Tamron authorized service agents in Chicao, The lady said”no, there is only one in California, they will charge you three times more”.

Build Quality and Handling

Since DOF (Depth of Field) is very shallow at close distances, you will likely find yourself using this lens stopped down significantly.

Overall, Canon's USM AF is much nicer, but the Tamron performs better than the Sigma 105 in this regard. Next, let’s take a closer look at the out-of-focus specular highlights when stopped down, since narrower apertures are so common in macro photography. Here are some crops at f/11: Tamron 90mm f/2.8 VC at f/11 Laowa 100mm f/2.8 at f/11 Tokina 100mm f/2.8 at f/11 Nikon F 105mm f/2.8 VR at f/11 Sigma 105mm f/2.8 OS at f/11 Irix 150mm f/2.8 at f/11 At f/2.5 there is about 0.9 stop of light fall-off, which improves to 0.5 stop at f/4 and from f/5.6 and smaller apertures becomes negligible. Very good indeed. Flare Resistance

Since lens flare is what the hood is designed to help prevent (in addition to preventing damage), I'll go there next. All these lenses focus to directly to 1:1, meaning that the image on the sensor is the same size as the subject. This lens is a pleasure to use, that I can say for a fact. I don’t shoot a lot of macro work, but this lens could easily do double-duty on a full frame camera for both macro and portraiture. With a crop sensor camera like mine, 144mm isn’t practical for portrait work so it’s a little more specialized. Since then, the macro lens has become highly valued by professional and amateur photographers alike for its wide-range of use in situations that were once considered unimaginable, as it gained popularity in portrait photography. It even adopted the tagline, “the portrait macro lens”, which came to be widely propagated with time. While there are some macro lenses which break this mold, the majority of macro lenses on the market represent focal lengths that are characterized as having a perfect balance of telephoto properties to create flattering portraits. The most common macro focal length is in the 100mm neighborhood which many headshot photographers characterize as being the perfect headshot focal length. Macro Lenses Focus Close