Balko Photo

On September 23, 2008, Lensbaby, LLC launched an entire new system of selective focus lenses at the Photokina tradeshow in Cologne, Germany (Hall 5.2 C021).

Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Auto Focus Lens

	The first 180 degree circular fisheye lens designed specifically for APS-C size digital SLR cameras
	Fast F2.8 maximum aperture making it ideal for low light photography
	Minimum focusing distance of 13.5cm and a maximum magnification of 1:6
	SLD glass minimizes color aberration
	Equipped with HSM with full-time manual focus override
	Equisolid angle projection method is possible for art and scientific use

The Sigma 4.5mm F2.8 EX DC HSM, 180 degree circular fisheye lens is now available. When used in conjunction with digital SLRs with APS-C size image sensors, it produces a circular image within the frame. HSM ensures fast and quiet autofocusing and includes full-time manual focus. The minimum focusing distance of 13.5cm and maximum magnification of 1:6 also makes it particularly useful for close-up photography.

Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye for NIKON at Adorama

Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye for SIGMA at Adorama

Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Auto Focus Lens for CANON EOS

Leica is about to release an unexpected Leica S system- First with S2 DSLR packs a whopping 30mm x 45mm 37MP image sensor, which is 56 percent bigger than DSLR 35mm full frame sensor.

The prototype of the new S2 was previewed in London by Professional Photographers. They placed the size of the camera in between Canon’s EOS 5D and 1DS mark III.  Few details are available at this time, but Leica said S2 is twice as fast as Hasselblad H-series with better high ISO performance and there are 9 S-system new lenses to come.

• Large 30×45mm sensor containing 37-million pixels
• Small body similar to that of a professional 35mm DSLR
• Weatherproof seals
• Three-inch high-quality LCD screen
• Dual shutter system – focal plane or leaf
• Records files in open DNG format
• Range of nine new lenses, including a 120mm macro, tilt-and-shift 30mm, 70mm f/2.5 standard lens and 24mm ultrawide-angle

Holy Cow! A 4.5mm fisheye from Sigma!

* The first 180 degree circular fisheye lens designed specifically for APS-C size digital SLR cameras
* Fast F2.8 maximum aperture making it ideal for low light photography
* Minimum focusing distance of 13.5cm and a maximum magnification of 1:6
* SLD glass minimizes color aberration
* Equipped with HSM with full-time manual focus override
* Equisolid angle projection method is possible for art and scientific use

Press Release

The Sigma Corporation is pleased to announce the launch of the new 4.5mm F2.8 EX DC CIRCULAR
FISHEYE HSM lens.

This autofocus circular fisheye lens has an angle of view of 180 degrees in all directions. It is exclusively
designed for digital SLR cameras with the APS-C size image sensor. When used in conjunction with digital
SLRs with APS-C size image sensors, it produces circular image within the frame.

The F2.8 large aperture value produces a bright image in the viewfinder and allows photographers to take pictures in low light conditions, making it an ideal lens for Astrophotography and Aurora photography. Due to the quantifiable angle/area relationship it produces, this lens can be used for scientific and arts applications such as solid angle measurements of cloud distribution over the sky or vegetation distribution of the forest.

The minimum focusing distance of 13.5cm/5.3inch and maximum magnification of 1:6 make it particularly
useful for close-up photography. SLD ?Special Low Dispersion? glass provides effective compensation of
chromatic aberration. Sigma’s Super Multi-Layer Coating minimizes flare and ghosting. It is equipped with
an inner focusing system that creates high definition and good image quality over the whole frame. The HSM ?Hyper Sonic Motor? ensures fast and quiet autofocusing and allows full-time manual focus override by rotation of the focus ring.

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Lens Construction (groups) — 10
Lens Construction (elements) — 13 [3 aspheric elements - 1 Super UD element]
No. of Diaphragm Blades — 6
Minimum Aperture — 22-27 (1/3-stop increments 22-29)
Closest Focusing Distance — 0.24m [9.5"] at all focal lengths
Maximum Magnification — 0.17x at 22mm setting
Filter Diameter — 77mm (thin polarizer required for 10mm use)
Maximum Diameter x Length — 83.5mm x 89.8mm [3.3" x 3.5"]
Weight — 385g [13.5oz]

The Canon EF-S 10-22/3.5-4.5 USM is Canon’s widest lens for Digital SLRs. It is equivalent (on a 1.6x sensor) as a 16-35 zoom has on a full frame 35mm camera. The 10-22 works only on APS-C sized bodies; it will not work on full frame cameras such as the 5D.

Construction is excellent with a good and solid feel to it. Focus is very fast using Canon’s ring-type USM motor, which also allows full time manual focusing without having to switch from “autofocus” to “manual” mode. The lens does not change length when zoomed and the filter mount does not rotate, facilitating the use of a polarizer.

There is very little noticeable vignetting at any focal length or aperture, which for a superwide lens is excellent performance.

BUY now at Adorama //  SHOP B&H Video

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Features
Lens construction: 12 elements in 9 groups
Diagonal angle of view: 104° -57°
Focus adjustment: Inner focusing system with USM
Closest focusing distance: 28cm
Zoom system: Rotating type
Filter size: 77mm
Weight : 500g, 1.1 lbs

The Canon 17-40L is a high quality, moderately-priced ultra wide angle zoom lens. It is the lightest L lens currently made (1.1 lbs / 475g) and is the smallest L zoom lens currently produced (3.3″ x 3.8″ / 83.5mm x 96.8mm). Having that L designation means it is of the highest quality and offers weather-resistant construction, and can be used on full frame as well as cropped sensor cameras.

This lens focuses as close as 11 inches (0.28m), and offers both Canon’s full-time manual focus and a powerful ring-type USM for fast and silent AF. It has a constant f/4 maximum aperture, and offers the choice of screw-in 77mm filters or a holder in the rear of the lens for up to three gel filters.

It resists flare very well. Colors and contrast are very good, but expect some CA (chromatic aberration) in the full frame corners below 24mm. A 7-blade circular aperture delivers excellent OOF (out of focus) blur quality, AKA “bokeh.”
The focal length multiplier inherent with today’s crop of D-SLRs is pushing people to ultra wide angle lenses for normal wide angle use. The 17-40 is about as good as it gets for wide angle photography. Many people could settle for a prime lens for their wide angle needs, but I have not discovered any primes that are better in the 17mm or less focal length.

Although not as fast as the Canon 16-35L F2.8, the Canon 17-40 lens is generally regarded as a comparable lens in terms of image quality. The biggest difference between them being price, the Canon 17-40L lens is much less expensive at almost half the price.
BUY at Adorama // SHOP B&H Video

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At slightly over one pound, the build quality of the Sigma is actually good. The two inner lens tubes extend smoothly. The rubberized zoom ring operates well as does the focus ring. The front element does not rotate so using a polarizer is not a problem.

The Sigma uses a conventional AF micro-motor which works quite fast and the OS (Optical Stabilizer) works as advertised; it can give you an extra potential equivalent to about 3 f-stops. There’s only a single mode OS-switch (on/off) but the lens is able to detect panning which is different compared to Canon’s IS implementation.

Typical for extreme range zooms the Sigma exhibits a fairly heavy amount of barrel distortions at 18mm (~3.2%), but on the wide end, the problem is actually very well controlled with only slight to moderate pincushion distortions.

Bottom line is that this lens operates best stopped down and is not a low-light lens. But for $500 it shines in bright light, and as such, is a good buy. If looking for gorgeous bokeh and/or low-light performance, go for a 2.8. Otherwise…

BUY now at Adorama  // SHOP B&H Video

Note: I have this lens and cannot say enough good things about it. Not only is it compact and light weight, but it produces fantastic images!

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Lens Construction — 20 Elements in 14 Groups
Angle of View — 30.3 - 6.2 degrees
Number of Diaphragm Blades — 9 Blades
Minimum Aperture — F32
Minimum Focusing Distance — 180cm / 70.9 in.
Maximum Magnification — 1:5
Filter Size Diameter — 77mm
Dimensions Diameter — 95mm / 3.7 in. X Length 192mm / 7.6 in.
Weight — 1750g / 61.9 oz (3.875 pounds)

Comes With:

• Front & Rear Lens Caps
• Lens Hood [LH840-01]
• Soft Case with Strap
• Tripod Collar
• 1-Year Manufacturer Warranty

This lens is a direct competitor to the Canon EF 100-400mm f/4.5-5.6 USM L IS and the Nikon AF 80-400mm f/4.5-5.6 ED VR, though a biut less expensive in price. Available only in Canon and Nikon mounts, it is a full frame lens perfectly usable on both film as well as digital SLRs, but can deliver amazing FOVs on a cropped body ( 350D - equivalent to 128-640mm ).

The build quality of this lens is very good and the zoom ring gives slightly better control than Canon’s push-pull design. Since it does extend quite a bit, there is still the issue of the lens sucking in air and the consequences of that - dust, the main complaint on Canon’s 100-400L

The AF motor is noisy and slow as opposed to the Canon EF 100-400L USM IS. There is a ring lock at 80mm. It is also compatible with both Sigma AF EX converters (losing AF ability), but considering the slow maximum aperture, it may not be such a good idea!

There is very little vignetting on APS-C type DSLRs. Distortions are very well controlled with this lens, and the lens exhibited a very decent resolution performance in the lab.

At 80mm the quality is already very good at wide-open aperture increasing to excellent results at medium aperture settings. There’s a gradual decrease in performance towards the long end of the zoom range but the performance penalty isn’t overly pronounced. At 400mm the lens is still capable to deliver a good to very good resolution at f/5.6.

Overall, it gets a “fair to middlin” verdict from Photozone.

Mr. Morio Ono, President of Tamron Co., Ltd., has announced the successful development of the AF28-300mm F/3.5-6.3 XR Di VC LD Aspherical (IF) MACRO zoom lens, a high power zoom lens designed for SLR cameras with full-size format(Model A20), now equipped with a Vibration Compensation (VC) mechanism.

The AF28-300mm F/3.5-6.3 XR Di VC is the ultimate high power zoom lens that covers everything from wide-angle to telephoto and macro. Tamron has incorporated a Vibration Compensator, an anti-shake mechanism developed by Tamron, into the highly versatile zoom lens.

The new AF28-300mm F/3.5-6.3 XR Di VC LD Aspherical (IF) MACRO zoom lens offers the convenience, comfort and versatility of a high power zoom lens and the capability to reduce hand-shake blur on SLR cameras using either APS-C size or full size format imagers. When the AF28-300mm F/3.5-6.3 XR Di VC is used with a full size format SLR camera, it covers the tremendous focal length range from 28mm in wide angle to 300mm ultra telephoto. When mounted on a DSLR with an APS-C sized imager, the lens covers a 43mm wide angle to 465mm equivalent ultra telephoto* (full size format equivalent, in a diagonal angle of view of 5°20′).

Release dates: For Canon - August 29th / For Nikon - by the end of 2007-order at Adorama

MAIN FEATURES

1. VC (Vibration Compensation) Mechanism Reduces Hand-shake
The proprietary VC (Vibration Compensation) mechanism developed by Tamron features a triaxial configuration using three pairs of driving coils and slide balls around the compensator group of the lens’ optical system. Since the compensator lenses are supported with rolling friction of the balls, the response performance is enhanced and the construction is simple, which results in the compactness of the lens. The lens incorporate a highly accurate gyro sensor for detecting hand-shake, which, combined with a 32-bit RISC CPU, offers comfortable anti-vibration effects.

2. Outstanding Design Realizing High Zoom Power, VC Mechanism and Compactness
The AF28-300mm F/3.5-6.5 XR Di VC integrates optical technologies that Tamron has accumulated as the pioneer and leader of high power zoom lenses in order to realize the desired compactness even while incorporating the VC mechanism. The optical system uses a number of lens elements made from special optical glass materials including XR (high refraction index) glass elements, GM (glass-molded aspherical lens) elements, hybrid aspherical elements, LD (low dispersion) glass elements to compensate for on-axis and lateral chromatic aberrations and AD (anomalous dispersion) glass element. The lens offers high contrast, high resolution performance and flatness of the image field as a one-does-it-all zoom lens designed to match the characteristics of DSLR cameras.

3. Revolutionary MFD of 0.49m (19.3″) throughout the Zoom Range Provides 1:3 Macro Magnification Ratio
The AF28-300mm F/3.5-6.3 XR Di VC LD MACRO boasts an MFD (minimum focusing distance) of 0.49m (19.3″) over the entire zoom range, a top-class closing focusing capability among high power zoom lenses for full-size format SLR cameras, which provides the remarkable maximum macro magnification ratio of 1:3 at the 300mm telephoto end.

4. Internal Surface Coatings Minimize Ghosting and Flare
Through the use of “Internal Surface Coatings” (i.e., multiple-layer coatings on cemented surfaces of plural elements) and multiple-layer coatings to prevent reflections from lens surfaces, ghosting and flare due to reflections that occur when light enters through the front element as well as reflections caused by the imager itself in the mirror box are reduced to the absolute minimum.

5. Ultra-high Zoom Power, yet Lightweight and Compact Design Thanks to New Mechanical Devices
Tamron has reviewed the roles that respective barrel parts play in order to achieve the high power, compactness and light weight. As a result, dimensional increases are confined to a mere 17.8mm (0.7″) in overall length and about 5mm(0.2″) in diameter, when compared with the existing AF28-300mm (Model A061), despite the incorporation of the VC mechanism.

6. Zoom Lock Mechanism for Enhanced Portability
The zoom lock prevents unwanted barrel extension when carrying the lens/camera combination over the shoulder.

7. Flower-shaped Lens Hood
A flower-shaped lens hood is included as a standard accessory. The special hood provides optimum shading of superfluous light rays that enter from the rectangular frame outside the image field.

* values given are for Nikon AF-D cameras.
* The cosmetic design and specs are subject to change without notice.

UPDATE ON DELAYS

Please be informed that we are now ready to re-launch AF28-300mm F/3.5-6.3 XR Di VC for Canon of which the release has been postponed as announced on August 24th.

For Canon (IN JAPAN) — October 26, 2007
For Nikon — early spring of 2008
[Tamron]

pre-order at Adorama

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LAKE SUCCESS, N.Y., October 15, 2007 – Canon U.S.A., Inc., a leader in digital imaging, today announced the development of two all-new telephoto lenses for use with its EOS SLR cameras: the EF200mm f/2L IS USM and the EF800mm f/5.6L IS USM. The Company will exhibit prototypes of the new lenses at PhotoPlus Expo (booth #318), taking place at the Jacob K. Javits Convention Center in New York City, October 18 to 20.

The new Canon EF200mm f/2L IS USM and EF800mm f/5.6L IS USM, both of which are L (luxury)-series lenses incorporating a high-performance Image Stabilizer, feature optical systems utilizing special optical materials such as fluorite to correct chromatic aberrations, making possible high-resolution, high-contrast shooting performance.

The Canon EF200mm f/2L IS USM, targeting users who seek a brighter lens for portraiture and indoor sports photography, realizes a large aperture of f/2. The EF800mm f/5.6L IS USM, expected to deliver telephoto performance surpassing the current top-of-the-line EF600mm f/4L IS USM super telephoto lens, is being developed in response to requests from users working in the fields of sports and news photography who are looking for a high-performance lens that offers a longer focal length.

“These new lenses demonstrate that Canon is continuing to respond actively and flexibly to the wide-ranging needs of professional and advanced amateur users, with the aim of contributing to the expansion of photographic possibilities for SLR cameras,” said Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A. “Canon’s EOS System is the premier brand of Digital SLR cameras, and we take great pride in offering the world’s largest selection of interchangeable autofocus lenses.”

As these new lenses are currently under development, pricing and availability information is not yet available.
[source: press release]

-Construction 6 groups / 7 elements / 8 aperture blades
-Angle of view 46°
-F stop range 1.4-22
-Closest Focusing Distance 0.45m / 1.5 ft.
-Maximum Magnification 1:6.66
-Filter Size 58mm
-Dimensions (Length x Diameter) 2.9″ x 2.0″ / 73.8 x 50.5mm
-Weight 10.2 oz. / 290g

Introduced in June 1993, this lens was the mid-range between the EF 50mm f/1.0 USM L and the cheap EF 50mm f/1.8. On an APS-C sensors, the FOV (field-of-view) resembles a 80mm full-frame equivalent.

features a micro-USM AF drive including full-time manual (FTM) override in one-shot AF mode. This is, I think, a quite unique combination. FTM is usually possible with a ring-type USM drives only. The AF operation is quite fast and silent but a little worse than ring-type USM lenses (such as e.g. the 85mm f/1.8 USM). Manual focusing feels pretty smooth and the broad, rubberized control ring adds to the positive impression here. The overall build quality is very decent with a metal mount and an outer barrel made of good quality plastics.

The EF 50mm f/1.4 USM showed an almost flawless performance during the lab- and field-tests both in terms of optical and mechanical quality. Of course, there is slight vignetting at full open, Stop down to eliminate the problem (from f/2.8 & up it’s a non-issue).

see 50mm 1.8 / 1.4 comparisons

BUY at Adorama

Construction    5 groups / 6 elements
Angle of view    46°
F stop range    1.8-22
Closest Focusing Distance    0.45m / 1.5 ft.
Maximum Magnification    1:6.66
Filter Size    52mm
Dimensions (Length x Diameter)    2.7″ x 1.6″ / 68.2 x 41.0mm
Weight    4.6 oz. / 130g

The Canon EF 50mm f/1.8 II Lens delivers very sharp images as inexpensively as Canon lenses get - but at the price of nice bokeh.

Build quality of the 50 f/1.8 is insexpensive (ok, cheap) with its plastic construction, even the lens mount! The glass is good though and this lightweight construction makes it a perfect lens to take everywhere.

Autofocus is driven by a micro motor and performs well in good light, albeit noisily. Don’t try to sneak up on something with this one

The Canon EF 50mm f/1.8 II Lens’ strongest quality is its sharpness. Sharpness performance wide open (f/1.8) is decent, but the Canon 50 f/1.8 is very sharp at f/2.8 and beyond. And it is fast with its max aperture of 1.8. The bokeh problem comes in because of its five non-rounded aperture blades.

But for $75 new, it is a bargain.   BUY at Adorama

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With that little”L” in the designation, you know it is pricey, but here is what you get:

• –Latest Ultrasonic Motor (USM) for fast and near silent auto focus
• –Full-time manual focus override
• –Super Spectra coatings and optimised lens element shaping to suppress flare and ghosting
• –Environmental seals providing dust and moisture resistance
• –Circular aperture diaphragm for beautifully even background bokeh and ‘removal’ of distracting backgrounds
• –Distance information passed back to the new E-TTL II flash algorithm of all current model digital EOS cameras
• –Minimum focus distance 45cm
• –Lens hood and pouch included in the box.

Ideal for low light shooting - great for indoors using available light – a typical requirement of photojournalists and wedding photographers not wishing to disturb or influence a scene with flash. With fast auto focus, the capacity for glorious bokeh, it is a perfect lens for portraiture or even flowers in the wild.

The L-series, as photogs know, represent the top of Canon’s lens line and offer weather resistance with seals and gaskets and a lens mount O-ring prevent the ingress of dust and moisture. The large aspherical lens element with precise variable curvature is incorporated into the 8 lens, 6 group construction. The aspheric element ensures high sharpness and contrast throughout the focus and aperture range.

In addition to optimized lens shapings to reduce reflections and the use of anti-reflective material inside the lens barrel, the EF 50mm f/1.2L USM employs Canon’s patented Super Spectra lens element coatings. These suppress flare and ghosting – more prone to occur with digital cameras due to reflection off the image sensor. By increasing light absorption, coatings reduce reflections off lens element surfaces to deliver crisp, undistorted images with natural color balance.

The EF 50mm f/1.2L USM transmits distance information to the E-TTL II flash system of all current model digital EOS cameras, improving flash exposure metering when used in conjunction with Canon’s range of EX Speedlite flash units.

The EF 50mm f/1.2L USM comes with a cylindrical lens hood and lens pouch.
In keeping with Canon’s Kyosei philosophy of living in harmony with the environment, the lens features only lead-free glass.

BUY at Adorama

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Angle of view (horizontal, vertical, diagonal) - 16º, 24º, 28º 30′
Lens construction (elements/groups) - 8/7
No. of diaphragm blades - 8
Minimum aperture - 16
Closest focussing distance (m) - 0.95
Maximum magnification (x) - 0.11
Distance information - Yes
Image stabilizer - No
AF actuator - Ring USM²
Filter diameter (mm) - 72
Max. diameter x length (mm) - 91.5 x 84.0
Weight (g) - 1025
Magnification with Extension Tube EF12 II - 0.25-.015
Magnification with Extension Tube EF25 II - 0.42-0.33
Lens hood - ES-79 II
Soft case - LP1219
TeleExtenders EF1.4x II and EF2x II - Not compatible

The f/1.2 aperture is the widest in Canon’s current range and makes it possible to shoot in low light without a flash or slow shutter speeds. The USM holds the lens with precision and accuracy, the instant it arrives at the correct focus and without overshoot, and features full-time electronic manual focus override*. Super-fine control over depth of field afforded by the lens’ large aperture allows sports photographers to deliberately ‘blur out’ crowds, hoardings and other distracting backgrounds.

The L-series is Canon’s flagship professional lens range, designed and built to meet the needs of the most demanding professional photographers. The superb optics of the EF 85mm f/1.2 II USM and other L-series lenses represent the pinnacle of optical performance, enabling focal length/speed/quality combinations not readily attainable using traditional optical technologies.

Portrait photography: The combination of an almost circular aperture diaphragm for attractive bokeh (evenly graduated blurring of out-of-focus areas) and the extremely narrow depth of field at its widest aperture combine to make this an ideal portraiture and studio lens. With the lens’ aperture at f/1.2, photographers can create dramatic effects such as keeping a model’s eye sharp while blurring the eye lash ends. [dpreview]

BUY at Adorama

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Focal length: 10 to 17mm
Maximum aperture: f/3.5-4.5
Minimum aperture: f/22
Optical construction: 10 elements in 8 groups
SD: one element
Coatings: multi-layer
Angle of view: 180° to 100°
Minimum focus distance: 5.5 in (14 cm)
Reproduction ratio: 1:2.56
Zooming system: rotary type
Number of diaphragm blades: 6
Filter size: N/A
Maximum outer diameter: 2.75 in (70 mm)
Dimensions: 2.75 in. (70 mm) X L 2.79 in (71.1 mm)

It has the same optics as the Pentax 10-17mm, but packaged differently to fit Nikon and Canon.

FYI: It does not work with film cameras or full-frame or 1.3x Canon cameras.

It is more of a zoom fisheye lens, not to be confused with a rectilinear wide angle lens. Fisheyes bend straight lines deliberately. It is a wonderful effect if sparingly used. It is also possible to convert “fishy” images to rectilinear with software. It provides a 180 degree field of view and an entire view or vista can be captured, in one shot.

The front element of the AT-X 107 DX has a newly formulated WP or “Water Proof” optical coating on the glass. This new coating makes marks such as spots left by water or finger-prints much easier to clean than standard multi-coating. The rear optical group of the lens contains 1 SD (Super-Low Dispersion) glass element to reduce the number of elements (pieces of glass) in the optical design in order to make the lens more compact, light-weight and faster focusing.

Tokina is part of Hoya Optics, the worlds’ largest maker of superior optical glass, so the association is a good sign.

If the fishiness is not your cup of tea, then consider Tokina’s 12-24mm f/4 AT-X AF Pro DX. or the better built Canon 10-22mm.

BUY at Adorama
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* “Di (Digitally Integrated design)-II” is the designation Tamron puts on lenses designed for exclusive use with digital (APS-C size) SLR cameras, featuring optical systems optimized to meet the performance characteristics of digital cameras.

* “Di-II” lenses cannot be used with digital SLR cameras using image sensors that are larger than that of an APS-C size imager, or with 35mm film SLR cameras.

Some casual shooting and print examinations show this to be a fine performer. Even a critical user will not be dissatisfied with the Tamron’s day-to-day performance, especially when stopped down at least 1 stop from wide open – as is the case with most lenses.

If you’re looking for an ultra-wide zoom for your 1.5x or 1.6x lens factor DSLR then I can recommend the Tamron SP 11-18 f/4.5-5.6 Di II LD to you. The price is attractive and the lens is capable of producing high quality images. If you are the owner of a Canon D30, D60 or 10D, and therefore unable to use the Canon 10-22mm lens without performing warranty destroying surgery, the new Tamron provides an attraction option. [luminous-landscape]

Tamron SP AF11-18mm F/4.5-5.6 Di-II LD Aspherical (IF) is a Tamron “Di (II)” lens. Di (II) lenses are designed with digital SLRs in mind and Tamron say that they have higher resolution, better control of flare and ghosting, less light fall-off and lower chromatic aberration than earlier designs.

Solidly constructed with a low reflectivity black finish and rubberized zoom and focus controls … Focus speed is pretty good. … The zoom cannot be locked, but I saw no “creep” at any focal length … the Tamron 11-18 is pretty good wide open at f5.6 (much better than the Canon) and even slightly better at f8. [bob atkins]

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These rebates run until December 31, 2007

$10.00 — SP AF17-50 F/2.8 Di II LD Aspherical (IF) for Canon, Sony/Maxxum, Nikon-D
$10.00 — AF17-35 F/2.8-4 Di LD Aspherical for Canon, Sony/Maxxum, Nikon-D, Pentax/Samsung
$30.00 — SP AF24-135 F/3.5-5.6 AD Aspherical for Canon, Sony/Maxxum, Nikon-D, Pentax/Samsung
$10.00 — SP AF28-75 F/2.8 Di LD Aspherical (IF) for Canon, Sony/Maxxum, Nikon-D, Pentax/Samsung
$30.00 — SP AF200-500 F/5-6.3 Di LD (IF) for Canon, Sony/Maxxum, Nikon-D
$50.00 — AF11-18 Di II for Canon,Sony/Maxxum, Nikon-D.
$90.00 — SP AF90 Di 1:1 Macro for Canon, Sony/Maxxum, Nikon-D, Pentax/Samsung.
$100.00 — SP AF14 F/2.8 Aspherical (IF) for Canon, Sony/Maxxum, Nikon-D, Pentax/Samsung
$500.00 — SP AF300 F/2.8 LD (IF) for Canon, Sony/Maxxum, Nikon-D

Rebate Form: http://www.tamron.com/lenses/rebates.asp

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Most of us love wide angle shooting and the wider, the better. On crop cameras, we lose on the wide end because the 12-24 becomes equivalent to 18-36mm (1.5 crop)

This Sigma is the only one that can be used on a FF (full frame) camera, such as the Canon 5D. The others in the field, Sigma’s 12-24mm f/4.5-5.6 EX ASP HSM, Nikon’s 12-24mm f/4G DX, Canon’s 10-22mm f/3.5-4.5, and Tamron’s 11-18mm f/4.5-5.6 cannot be used on FF and serve the other dSLRs.

Overall, it is a well built lens. It is a constant f/4 throughout its zoom range and uses 77mm filters. In Canon mount, there is no separate AF/MF switch. It is sharp at 24mm, even wide open, and even in the corners. It improves slightly by stopping down to f/5.6. Zooming out to 12mm, the center remains sharp, but the corners soften. Surprisingly, at 18mm the corners are softer than at 12mm. The usual solution is stopping down. - in this case to f/5.6, or even better, f/8 if at 12mm, will make for very sharp pictures. There is also a bit of CA, but not much. [photo.net]

BUY at Adorama

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Tamron ’s 18-250mm is in the middle here with Canon’s 17-85 on the left and Canon’s 70-300 on the right.

The main selling point here is the 13.9x, wide range zoom (28-400mm lens in 35mm format). It’s a dream lens for the person who loves wide and telephoto all in one (like me!). Small and light (3.3″ long x 2.9″ diameter / 15 ounces), this is a great lens for travel or a whole day out.

It is also termed a “macro” and while not a true macro lens, it can focus down to 45cm at all focal length settings and gives a 1:3.5 magnification ratio.

This is not a Canon L lens, so we have to make some concessions to have such a wide range at such a low price as well.

On Vignetting: on a Canon 20D there is some vignetting at 18mm / f3.5, but this is greatly improved at f5.6. (so just stop down). At 50mm focal length, f4.5 there is barely any vignetting and at 5.6 it is gone. Wide open at 250mm (f6.3), vignetting increases a little, but again - stopping down to f8 improves it a lot.

On Distortion: Like most wide zooms, there is some visible distortion at 18mm, but this disappears at 28mm. Basically, unless your image contains a lot of parallel straight lines, it will not be noticeable.

On Image Quality: stopping down is the key with this lens. Center sharpness at 18mm is good throughout, but the edges are best at f8. At 50mm, the lens compares to Canon’s 17-85 IS USM. That’s pretty good. Moving on to 135mm, center sharpness is still good, but quality drops sharply by the time you get to the corners. Here the heavier and more expensive Canon EF 70-300/4-5.6 IS USM does a lot better. At 250mm, the differences between the Tamron and Canon 70-300 are less noticeable, but the Canon still is better. Of course, you need two Canon lenses (costing #1000+) to cover the range of this one Tamron.

“We tend not to expect much from “vacation” zooms, so were pleasantly surprised by the Tamron 18-250mm f/3.5-6.3 Di II LD Aspherical IF Macro AF. It maintained good center sharpness across its entire focal length range, softness in the corners was average to better than average, and things flattened out nicely when we stopped it down just a bit. Other optical characteristics are in line with the rest of the field, and its build quality was quite good for its price range. All in all, a very nice lens, a great lens to bring, if you’re bringing only one!” [SLR Gear]

In PopPhoto tests, SQF data came in at Excellent for all focal lengths. In DxO Analyzer 2.0 tests, there was Visible barrel distortion at 18mm (0.72%) and Slight pincushion distortion at 35mm, 100mm, and 250mm (0.18%, 0.22%, and 0.16%, respectively). These numbers, though, are also noticeably better than the older 18-200mm.

Conclusion: it is always difficult to stick such a wide optical range into a small and lightweight physical package. Something has to give as shown by vignetting (not such a big problem) to Image Quality (a bigger problem). If you are not planning on printing out poster-sized prints, then this may be a great lens for you.

Costing $500, the Tamron 18-250mm F/3.5-6.3 isn’t cheap, but it does include a lens hood and a standard 6-year warranty. BUY at Adorama.

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