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

Product Information

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. There is no denying that any lens capable of shooting in a wide range of conditions will always be in high demand and verypopular. So called “all-in-one lenses” are most definitely a great way to be flexible in more situations without lugging around a lot of gear.

The 16-300mm lens by Tamron is one of the latest additions to this category. Vendors market it as the go-to option for zooming in tight for close-ups and taking wide-angle photos. In this Tamron 16-300mm review, we’ll look at some of the things to consider when buying the 16-300mm lens. The question is, does it live up to the claims? Let’s find out. Tamron 16-300mm– Our Opinion Chromatic aberration (CA) is never far away, and most prominent at shortest and longest focal lengths. It's very noticeable here around the rear wheel. 16mm, 1/200 sec, f/8, ISO 100, on Canon 7D.

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. The other issue is that Tamron assumes that the main subject is almost always at longer settings. Vignetting is not an issue, though, and the distortions and chromatic aberrations can be fixed post-processing. The sharpness at 16mm and maximum aperture are outstanding, and peak sharpness is attainable at f/1.8. However, it reduces considerably towards 70mm, and some clarity at the edges of the frame is noticeable. Chromatic aberrations are an issue at 300mm and highly visible along the edge of the frame. While its macro performance tends to reduce at 300mm, this lens holds up nicely considering its wide zoom range. 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.

Stabilization ensures consistent, sharp images in handheld photography while eliminating the need for faster shutter speeds. Autofocus This is a common feature in telephoto lenses, particularly those with a slow aperture. It helps minimize camera movement and shake while in motion. Manufacturers use different names for this feature; Image Stabilization (Canon), Vibration Reduction (Nikon), Optical Stabilizer (Sigma) and Vibration Compensation (Tamron). Superzooms are not the best choice for bokeh fans, with modest maximum aperturesusually creating quitedeep depth-of-field.But with the Tamron's longer focal length, the narrower field-of-view gives good subject isolation, greatly enhancing the bokeh effect at 300mm, particularly at closer shooting distances. Not only have Tamron delivered a lens that offers a uniquely huge zoom range, but they've managed to make one that performs well, is well specified, and is good value too.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 A generous helping of chromatic aberration is to be expected with a superzoom. There's strong magenta/green towards the edges at wide-angle, reducing to low levels through 50-100mm, before returning with a vengeance from 200-300mm. Canon DSLRs won't correct for it in JPEGs (Nikon DSLRs will try to) but it can be neutralized very effectively in your average Raw conversion software, provided you don't mind putting in a little time on a computer. Vignetting 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. But there's a fairly long list of downsides too, with image quality at longer focal lengths being perhaps at the top. Sharpness is very high at the wide end when stopped down a little, right across the frame, and that's great for landscapes. At F8, high edge-to-edge sharpness is available up to 100mm or so, but then there's a notable downturn with the edges in particular taking a hit. From 200-300mm, edge sharpness is never very good, not helped by the plentiful levels of chromatic aberration present, but to be fair it stays crisp in the centre. It looks as if Tamron has prioritized central sharpness, on the basis that this is most likely where the main subject will be at longer settings - and as a very rough generalization, that's probably true.

As is usual with these mega-zooms, we are faced with the long-end focal lengths that are not always practical to use, as the maximum working aperture when we set the lens to 300mm is f/6.3. Requiring a shutter speed of 1/300sec to keep away from the effects of camera shake, we often need to increase our ISO to levels uncomfortable for the subject matter. However, in this model the application of Vibration Compensation is of great assistance, and often during this test it made the difference between a sharp and clear image, and one that would have been neither. Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro review – Image quality 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. Broadly speaking, there are two extremes of photographer in this world – the happy snapper and the pixel-peeper. The pixel-peeper is serious about technical quality and is prepared to sacrifice convenience to achieve what he believes is perfection. The happy snapper enjoys taking pictures and isn’t too worried about the finer points of quality, but wants to be able to enjoy his hobby. Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro vs Nikon AF-S DX 18-300mm f3.5-5.6G ED VR vs Nikon AF-S DX 18-300mm f3.5-6.3G ED VR: Nikon options just have the edge That makes it a good choice for photographers who want to shoot a range of subjects, from architecture to sports, without having to continually switch lenses. The downside of such superzoom lenses, however, is that they can only offer a “slow” variable maximum aperture to ensure they are both affordable and relatively lightweight.So if you’re looking for a lens that you can take anywhere with you and will be suitable for almost any conditions you encounter then I can’t go past the Tamron 16–300 mm. If you’re going to shoot on the fly, you want to ensure you get a camera that provides image stabilization. Without it, the shutter speed drops below the focal length, and the resulting image is blurry. Tamron doesn’t go into a lot of detail on the subject of exactly how moisture-resistant the lens is, but there is a rubber skirt around the mount that should seal at least the join with the camera. Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro review – In use Zooming to 70mm, results in a drop in sharpness to very good levels in the centre of the frame at maximum aperture, but clarity towards the edges of the frame is improved, reaching good levels. As is the case at 16mm, f/8 provides the best performance across the frame; with excellent sharpens in the centre and very good clarity towards the edges. While there are certainly advantages to using an APS-C sensor, there will also be costs in having a zoom with such a range. Unfortunately, the laws of optics dictate that some of those costs will be higher in a lens designed for APS-C sensors than they are for those designed for the thumbnail-sized sensors of the original bridge models. Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro review – Build and handling