TAMRON - 16-300 mm F/3.5-6.3 Di II VC PZD Nikon F Cameras - Black - B016N

Product Information

Aspherical lens elements– The pros and cons of aspherical lenses is delightfully arguable among photographers. Still, the aspherical lens elements in the Tamron 16-300mm do seem to reduce some distortions. The Tamron focuses closer than most superzooms, down to 9cm (3.5 in) from the front of the lens. At 300mm focal length setting, it delivers a maximum magnification of 0.34x. Or to put that another way, it will fill the frame on APS-C format with a subject6cm (2.4 in) wide. This small rose wouldfit easily in the palm of your hand.

Levels of chromatic aberrations are an issue for this lens towards the edges of the frame, especially at 300mm. Here it exceeds two pixel widths, which is a level that may be clearly visible along high contrast areas towards the edges of the frame. When we convert the marked focal lengths into measurements we can relate to 35mm or full-frame systems, we are presented with the effects of a 25-465mm focal range. The significance of this is that most zooms of this type designed for APS-C cameras start at 18mm, or 28mm in full-frame language. That 2mm difference, which seems nothing when marked on a barrel, makes a whole focal-length step in the real world – we all understand the genuine difference switching from a 28mm to a 24mm lens can make. In this sense, then, it takes a tiny but important step beyond lenses such as Nikon’s AF-S DX 18-300mm, and offers something more in line with the kind of wideangles that bridge cameras offer. There's no such cure for 'focus breathing' - the reduction in focal length at closer focusing distances. All internal focusing lenses do it to some extent, as it delivers good close-up capability without the attendant increase in physical lens length, but Tamron has been unusually greedy here (details in the review). Focus breathing is not often a problem, but if you need maximum focal length at close range, with subjects like small garden birds perhaps, then it canbe. The Final Word APS-C - equivalent to 24.8 - 465mm on crop cameras (25.6 - 480mm on a Canon), available for Nikon, Canon and Sony lens mounts.

Overall conclusion

aperture blades with a cicular diaphragm (This circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture, f/3.5.)

Let’s talk about all those letters on the side of the lens that were mentioned earlier and go over their meanings. The “Di-II” designation simply means that the lens is intended for use with digital SLR cameras. The “VC” means that the lens is equipped with a vibration compensation (image stabilizer) feature and the “PZD” indicates the lens has Tamron’s proprietary Piezo Drive autofocus mechanism. Fit and Finish Nikon AF-S 80-400mm f/4.5-5.6G ED VR– Highlights include a fast ring-type ultrasonic autofocus, updated stabilizer, four extra-low dispersion elements, sealed mounting plate, and super ED element. It allows photographers to adjust focus in autofocus mode. This manual mode not only saves time but helps maintain mental focus while working.The absolutely huge zoom range offered by this lens, hasn't compromised the size, with it having similar dimension to many 4x or 5x zooms lenses and it weighs only 540g. The low weight and compact size make this lens an ideal candidate as a walkabout lens for those times you may wish to travel light. It feels right at home on the Nikon D7100 body used for testing, and will make a good companion for smaller, more compact DSLR camera bodies as well. High quality plastics with a matte finish have been used for much of the construction of the lens barrel, and it feels reasonably robust as a result. A rubber gasket, located around the metal lens bayonet, will help to prevent the ingress of dust and moisture into the camera body. Cheap glass often results in chromatic aberration, and that’s something you want to avoid. Silent wave motor Compared to the previous Tamron 18-270mm F/3.5-6.3 Di II VC PZD, the focal length range goes up, now spanning 16-300mm (24-450mm equivalent) with the extra width at the wide-angle end probably being the most useful. The 18.8x zoom ratio leads the class. As usual, the term 'macro' doesn't compare to a true macro lens, though the ability to frame a subject only 6cm (2.4 in) across is very handy. Basically, there's nothing much this lens can't have a pretty good go at, when traveling lightona typical day trip, and often beyond. From the start, I should mention that this relates to APS-C format cameras, or DSLR cameras which have smaller sensors than full frame cameras and have a crop factor around the 1.6x mark (in the case of the Canon 7dmkii). For me, the best walk around lens is definitely the Tamron 16–300mm. Why? Let me give you 3 reasons: versatility; design; and price. The Tamron 16-300mm's Versatility

While there have been a number of occasions when those edges have appeared during this test, with red and cyan too, those occasions were fewer than I had expected. Some fringing appears in the extremes of the frame when the wider focal lengths are used, but at the longest end of the zoom the fringes become wider and creep their destructive way towards the centre of the image. We know that it is the extremes of a zoom that are used the most, and in one that features such reach that length will be used a great deal. I suspect, then, that fringing will have an impact on a disproportionately high number of images shot with this model. One way to reduce the effects of these fringes is to tidy them into narrow bands by using a small aperture, but we have to be careful that we don’t sacrifice resolution for the sake of a purple edge. At wider focal lengths, sharpness is excellent in the center, and across the frame at around F5.6-8. As focal length is increased, sharpness reduces, taking more of a hit towards the edges where it's decidedly soft above 200mm. F8 is the overall optimum aperture and will always deliver decent sharpness in the centre, even at 300mm. Chromatic Aberration These six pictures that you've just seen demonstrate the versatility of the Tamron 16-300mm perfectly. Whether it's shooting landscapes or seascapes at 20mm or less or shooting fast moving action such as surfing zoomed to almost 300mm, the Tamron offers more options than almost any other lens. And in regards to quality, I can only judge by the fact that I've never had any editor turn away a photo I've taken with the Tamron and submitted for print or publication. The Tamron 16-300mm's Design 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. Tamron has possibly hit a home run with the image stabilization system on this lens. Referred to as Vibration Control by Tamron, the image stabilization on this lens is outstanding.The lens weighs 540g (lighter than the compact Nikon 18-300mm lens), and features a mostly plastic construction with a metal lens mount. There is a rubber ring on the lens mount to keep the lens weather sealed, and there are also rubber rings within the lens to stop water ingress. With the Tamron AF 16-300mm F/3.5-6.3 Di II VC PZD wide open, you can see some very noticeable light fall-off in the corners throughout the zoom range. Stopping down helps, although to completely get rid of this phenomenon, you will need to use an f-stop of f/8 or smaller. There's also some very obvious barrel distortion at the 16mm setting.