Là một ống kính siêu rộng góc có khẩu độ mở f2.8 với tiêu cự bắt đầu từ 15mm cung cấp độ phân giải cao ngay cả ở các khu vực ngoại vi của hình ảnh. Show
Bằng cách kết hợp các lớp thấu kính đặc biệt giúp giảm thiểu đáng kể sự biến dạng và hiện tượng quang sai, Tamron đã đạt được một mức độ phân giải cao trong suốt dãy tiêu cự giống như một ống kính tiêu cự cố định. Bộ Khay kính lọc chuyên dụng cho Tamron 15-30mm f2.8, FH150T1 từ Benro được tương thích hoàn toàn với ống kính để bạn có thể thác tác nhanh và chính xác nhất. CÔNG NGHỆ TRÁNG PHỦ- AX (Anti-reflection eXpand) ảnh giúp loại trừ các tia sáng có hại từ các khu vực ngoại vi, - eBand (Extended Bandwidth & Angular-Dependency), - BBAR (Broad-Band Anti-Reflection), - Ba loại lớp tráng phủ này có tác dụng làm giảm hiện tượng bóng ma và chống loé cho hình ảnh có chất lượng rõ ràng từ cạnh đến cạnh. Fluorine đã được cải tiến giúp chống mài mòn , bám nước, không bám dầu giúp dễ dàng lau sạch và ít dễ bị tác động bởi bụi bẩn, hơi ẩm và dấu vân tay quan trọng là giúp bảo vệ ống kính của bạn trong thời gian dài. MÔ TƠ LẤY NÉTHai bộ vi xử lý kép MPU Dual (Micro-Processing Unit), sử dụng thuật toán điều khiển AF nâng cao để gửi tín hiệu giúp cải thiện hiệu suất lấy nét chính xác tuyệt vời. Công nghệ độc quyền với mô tơ USD (Ultrasonic Silent Drive) cho sức kéo mạnh, đáp ứng nhanh, hoạt động im lặng. CÔNG NGHỆ CHỐNG RUNGTamron SP 15-30mm F/2.8 Di VC USD G2 được cải thiện và phát triển hệ thống chống rung VC mới, vượt qua các phiên bản cũ, đạt được 4,5 stops*, theo tiêu chuẩn CIPA. THIẾT KẾ KHÁNG BỤI, ẨMThiết kế vòng kháng ẩm được đặt tại ngàm gắn ống kính và các điểm quan trọng khác để ngăn chặn sự xâm nhập của hơi ẩm hoặc mưa nhẹ. Home Donate New Search Gallery Reviews How-To Books Links Workshops About Contact Tamron 15-30mm f/2.8Full-Frame VC Di USD (2015-2018) Tamron SP 15-30mm f/2.8 Di VC USD (takes no filters unless you buy a special adapter, 38.1 oz./1,079g, 0.9'/0.28m close focus, about $1,099) bigger. I got my Canon version at B&H, which I'd also get at Adorama or at Amazon. There is a Nikon version available at B&H, at Adorama and at Amazon. There's also a Sony version at B&H, at Adorama and at Amazon — but the Sony version has no image stabilization and does not work on . The Sony version only works on the old and Minolta Maxxum cameras from the 1980s. This all-content, junk-free websites biggest source of support is when you use those or any of when you get anything, regardless of the country in which you live. Tamron does not seal its boxes in any way, so never buy at retail or any other source not on since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, , store demo or used lens. Get yours only from the for the best prices, service, return policies and selection. Thanks for helping me help you! Ken. May 2018 Canon Sony Nikon Tamron Fuji LEICA Zeiss Hasselblad all reviews NEW: Tamron 15-30mm f/2.8 G2 for Canon and for Nikon F DSLR. 31 August 2018 Nikon 14-24mm f/2.8 G FX (check price) Nikon 14mm f/2.8 FX (check price) Nikon 17-35mm f/2.8 FX (check price) Nikon 16-35mm f/4 VR FX (check price) Canon 11-24mm f/4 L (check price) Canon 16-35mm f/2.8 L III (check price) Canon 16-35mm f/4 L IS (check price) Canon 14mm f/2.8 L II (check price) Sony 16-35mm f/2.8 GM (check price) Sony 12-24mm f/4 G (check price) Sample ImagesMore images also throughout this review. All the images in this review are from NORMAL JPGs; no RAW files, or FINE JPGs were used. Mercedes, 03 May 2018. Canon 5DS/R, Tamron 15-30mm at 15mm at f/4 hand-held at ⅛ second at Auto ISO 200, Perfectly Clear. bigger or full 50MP resolution or camera-original © 50MP file. Only the car in the front is in any sort of focus, this is normal. IntroductionThis Image-Stabilized Tamron 15-30mm f/2.8 is priced well below any f/2.8 zoom from Canon, Sony or Nikon, and it's also the only stabilized f/2.8 ultra wide on the planet. It's an excellent lens regardless of price; , , and everything perform at an excellent level. is extraordinary: I get perfectly sharp shots most of the time at a half second at 30mm, and at a full second hand held at 15mm! Feel free to read the rest of this review, but for all practical purposes this lens takes the same pictures as the other lenses and then adds optical stabilization on top of it, all for a fraction of the price of other f/2.8 lenses. The gotcha is that there are no lens profiles so you'll have no option for automatic in-camera distortion correction, and on Canon only there will be no correction of lateral color fringes or corner falloff (Nikons correct lateral color and falloff with any lens, no profile needed). What you lose with this Tamron isn't so much picture quality as the potential for the camera you buy ten years from now not working with this lens, but if you're considering this lens today you're probably not worried about ten or twenty years from now. Even the reviews at Amazon love it. Just grab the genuine mechanical focus ring at any time for instant manual-focus override. GoodBadMissingFormatThis is a full frame lens, and I'm reviewing it as such. It works great on APS-C cameras, on which you may make the usual inferences. CompatibilityCautionNo camera maker authorizes Tamron to make lenses for their cameras, and no camera maker authorizes you to use this lens on their cameras. If it doesn't work, talk to Tamron, not to Nikon, Canon or Sony. While it seems very compatible, there is always the potential that something won't work on your camera, especially in the future as newer camera models come out. No worries, so long as you get yours from an you can return it for a full cash refund if you don't love it or it doesn't work on your camera today; there's no risk. The risk is if it doesn't work years from now on a newer camera. CanonThe Canon version should work flawlessly on every Canon DSLR and every Canon 35mm autofocus (EOS) camera made since about 1995. I tried it on my old original 5D (2005), Digital Rebel XTi (2006), EOS 3 (1998) and EOS 1V (2000) and everything is fine. Only on my very oldest EOS 620 and EOS 650 from 1987 wouldn't autofocus or work IS — but you still can focus manually and depth-of-field preview and exposure all work fine. Thus it seems fine on all Canon digital as well as any Canon 35mm camera sane people are likely to be using today. If you're shooting 35mm, do yourself a favor and be shooting the EOS 3 or EOS 1V; they sell for nearly nothing today. It should work on , but only if you use the EOS-M adapter. NikonThe Nikon version should work perfectly on all FX Nikons and all DX Nikons. It uses what should be an focus system (introduced by Nikon in 1998) and uses a traditional mechanical aperture actuator pin introduced by Nikon in 1959. It also should work great with most AF Nikon cameras, but won't work with any manual-focus cameras because it has no aperture ring. It will always shoot at f/22 on manual-focus cameras. See Nikon Lens Compatibility for details on your camera. Read down the "AF-S"and "G" columns. You'll get the least of what these two columns say, as "G" is actually a downgrade with modern Nikon lenses that removes the aperture ring and therefore compatibility with older 35mm cameras. SonyThere is no version for . The Sony version is for the old A-mount invented in 1986 for Minolta's 1980s 35mm SLRs and used by Sony for their old DSLRs. This is a DSLR lens, not a mirrorless lens, and not optimized for mirrorless sensors even if you used an adapter with the Canon version of this Tamron to work on Sony. You're really asking for trouble with a cross-brand adapter. A better idea is to use the Sony LA-EA3 or LA-EA4 adapters to adapt the Sony A-mount version to work with. That ought to work well, and the less expensive LA-EA3 should be all you need, but the 15-30mm's optics aren't optimized for mirrorless sensors, I'd pass on it. For Sony mirrorless I'd get the awesome new Sony 12-24mm f/4 G (check price) and never look back. Yes, it costs more than this lens, but should work so much better on Sony E than anything else adapted to it. The Sony 12-24 also goes wider, has superb optics and interfaces perfectly with Sony's E cameras. Tamron 15-30mm f/2.8. bigger. SpecificationsNameTamron calls this the Tamron SP 15-30mm f/2.8 Di VC USD (The Sony version isn't VC): SP: Special Performance; Tamron has called most of their lenses this since at least the 1970s. Di: Works on digital cameras - so? VC: Vibration control (Image Stabilization). USD: Ultrasonic Silent Drive autofocus motor. Optics18 elements in 13 groups. 3 LD Low Dispersion elements, which help reduce secondary axial chromatic aberration. Two molded glass and one Expanded Glass Molded aspherical elements. No high refractive-index elements. Fluorine front coating to resist dirt and smudges. Pumper zoom, but all the groups move inside the barrel so nothing seems to move externally except the front element. CoverageFull-frame. Also covers APS-C, but this is a silly lens to use on APS-C. DiaphragmTamron 15-30mm f/2.8. bigger. 9 rounded blades. Tamron claims it stays nearly circular even at f/5.6. Stops down to f/22. Focal Length15～30mm. When used on a Nikon DX camera, it sees the same angles of view as a 23～45mm lens sees when used on an FX or . When used on a Canon APS-C camera, it sees the same angle of view as a 24～48mm lens sees when used on a full-frame or See also Crop Factor. Angles of ViewFull Frame110.5º ～ 71.5º diagonal. APS-C88.9º ～ 49.9º diagonal. AutofocusInternal focus. No external movement as focused, so no air or dust is sucked in. Focus ScaleYes. Infinity Focus StopNo. Depth of Field ScaleNo. Reproduction Ratio ScaleNo. Infrared Focus IndicesNo. Close Focus0.9 feet (0.28 meters). Maximum Reproduction Ratio1:5 (0.20 ×). Image StabilizerYes. FiltersNone. Front CapTamron 15-30mm f/2.8. bigger. Felt-linked big plastic cap. CaseNot included. SizeNikon3.87" maximum diameter × 5.6" extension from flange. 98.4 mm maximum diameter × 142.5 mm extension from flange. Canon3.87" maximum diameter × 5.7" extension from flange. 98.4 mm maximum diameter × 145 mm extension from flange. Weight38.055 oz. (1,078.85g) actual measured weight, Canon. 38.8 oz. (1,100 g) specified for Nikon or Canon. QualityMade in Japan. bigger. Made in Japan. AnnouncedTeaser "development announcement," September 2014. Released30 January 2015 (Nikon and Canon); 24 December 2015 (Sony). Tamron's Model NumbersCanon: AFA012C-700. Nikon: AFA012N-700. Sony A-mount: AFA012S-700. Price, USA$1,099, May 2018. $1,199, April 2018. Getting a Legal USA VersionThis section applies in the USA only. In the USA, be sure the serial number on your lens (in tiny black-on-black numbers on the bottom between A012 and MADE IN JAPAN) matches the serial number on the top of the box and on the warranty papers inside the box, and be sure your box has this six-year USA hologram sticker: Tamron USA hologram sticker. bigger. If not, you got ripped off with a gray market version from another country. This is why I never buy anyplace other than from my . You just can't take the chance of buying elsewhere, especially at any retail store, because non-USA versions have no warranty in the USA, and you won't even be able to get firmware or service for it — even if you're willing to pay out-of-pocket for it when you need it! If a gray market version saves you $400 it may be worth it, but for $200 or less I wouldn't risk having no warranty or support. Always be sure to check your box while you can still return it, or just don't buy from unapproved sources or at retail so you'll be able to have your camera serviced and get free updated firmware as needed. Get yours from the and you won't have a problem, but if you take the risk of getting yours elsewhere, be sure to check everything while you still can return it. UnboxingThe box is a common micro-corrugated box: Tamron 15-30mm f/2.8. bigger. The box is completely unsealed. There is no way to know if anyone else has been fiddling with your lens, swapping parts and accessories, or even if it's a used lens. This is why it's critical only to buy from an , since they ship from automated warehouses where no shifty salesmen or customers ever get to touch your new camera before it ships. While new $5 CDs, DVDs, Blu-Rays and bottles of milk and drinking water are sealed and quite obvious if anyone's opened them, paradoxically Tamron doesn't bother sealing anything, so your only insurance is to buy only from a . Open the top flap and you should see the bare serial number slip carefully tucked into a slot in the left flap. If it's just sitting on top of the other paperwork, that suggests someone's been in there before. Tamron 15-30mm f/2.8. bigger. Inside the box are the instructions in a plastic bag and two molded clear plastic sections that hold the lens. The lens is wrapped in bubble-wrap with TAMRON printed on it. Tamron 15-30mm f/2.8. bigger. Take your new lens out of the bubble wrap and you'll see that it has protective plastic covering the clear distance window, there are sheets of protective soft white paper at the rear cap, and a silica gel pack thrown in. The interesting part is that Tamron uses two pieces of blue tape on each side of the lens to keep the zoom ring set to 30mm in shipping: New, Unused Tamron 15-30mm f/2.8. bigger. PerformanceOverallThe Tamron 15-30/2.8 is an excellent performer. It takes the same pictures as the camera-brand f/2.8 lenses and adds stabilization they don't have. AutofocusAutofocus is fast and sure. No problems here. It's nearly silent, too. Manual FocusManual focus is easy. Just slide the real mechanical focus ring with a fingertip any time for instant manual-focus override. Focus BreathingFocus breathing is the image changing size as focused in and out. It's important to cinematographers because it looks funny if the image changes size as focus gets pulled back and forth between actors. If the lens does this, the image "breathes" by growing and contracting slightly as the dialog goes back and forth. The image from this Tamron lens gets smaller as focused more closely. This effect is stronger at the 15mm end. BokehThere is rarely anything out of focus with an ultrawide lens, but if there is, bokeh, the feel or quality of out-of-focus areas as opposed to how far out of focus they are, is pretty good. Backgrounds are soft and smooth. Here are shots at headshot distance: Davis 6250 weather station, 04 May 2018. bigger or camera-original © file. Davis 6250 weather station, 04 May 2018. bigger or camera-original © file. As always, if you want to throw the background as far out of focus as possible, shoot at 30mm at f/2.8 and get as close as possible. DistortionThe Tamron 15-30 2.8 has typical distortion for a zoom: strong barrel distortion at 15mm and moderate pincushion distortion at 30mm. It has no visible distortion from about 18~20mm. No camera can correct it automatically because no camera has a lens profile for this lens. Here are my exclusive Photoshop lens correction filter correction coefficients to correct this distortion manually in your computer. These aren't facts or specifications, these are the results of my research that requires hours of photography and calculations on the resulting data. The great news is that this distortion is simple, first-order distortion which corrects completely with these factors. On Full-Frame at 10' (3m) Correction factor 15mm +4.50 18mm +1.00 20mm -1.00 24mm -2.20 30mm -2.50 © 2018 KenRockwell.com. All rights reserved. ErgonomicsTamron 15-30mm f/2.8. bigger. This Tamron is the same as the Nikon 14-24mm or Canon 11-24mm f/4 L. These are all big, fat, heavy lenses with no front element protection other then the built-in petals, and no ability to use a front filter for protection. All weigh about the same and all have big, fat front elements. This image isn't conveying how big it is until you look at the little lens mount. See how, unlike most lenses, the barrel greatly expands as it gets away from the mount? This lens is about 33% bigger in every dimension than a typical zoom. If it took screw-in filters (which it doesn't), they would be 95mm, not 77mm like most large pro DSLR lenses. Zoom and focus are as expected. The big zoom ring needs two fingers to work well; you're moving a lot of glass. The focus ring needs just one slightly firm finger to slide it, no need for two fingers. You can feel the big red mounting index with your eyes closed. Excellent! This Tamron has its feet and meter distance scales both in the same tiny gray digits. They aren't easy to read, and meters and feet look the same, not bright yellow or green as on Nikon or Canon. Also the Tamron puts the AF/MF slide switch much higher on the lens so my thumb doesn't directly reach it, which is different from Nikon or Canon. When you reach for what you expect to be the AF/MF switch, instead you reach the VR/IS ON/OFF switch. EyeblowAir pumps in or out of the back of the lens as zoomed. Depending on your camera you may or may not feel air blowing out of your eyepiece as zoomed. FalloffThere is very little corner darkening wide-open at f/2.8, and then no visible vignetting at f/4 and smaller, even without any correction. Canon cameras have no way of correcting falloff because they require a lens profile which doesn't exist for this off-brand lens. Nikon's Vignette Control may or may not improve this. I've greatly exaggerated the falloff by shooting a gray field and placing these on a gray background: Falloff on full-frame, no correction. f/2.8 f/4 f/5.6 15mm © 2018 KenRockwell.com. All rights reserved. Filters, use withForget it. There is no front thread and no rear slot. You can buy special adapters, but I don't recommend them because often you'll get unintended reflections of bright things behind you from the back of the exposed filter in a holder. ; the sky's natural polarization will appear as a dark band in the sky. Flare & GhostsThis lens is less resistant to ghosting than other lenses, but I doubt you'll see any unless you go out of your way as I did here, with the sun shining directly into my lens and then exposing for the dark shadows of the palm tree. See more reasonable examples at Sunstars. Worse case flare at f/8 and 30mm. bigger. Front CapTamron 15-30mm f/2.8 front cap. bigger. Tamron's front cap is superior to any other current ultra-ultrawide lens. Tamron's is a solid plastic cap with a felt lining. It stays on and doesn't let dust in. is awful; it has no felt, doesn't fit very tightly, and even when it's on dust can get in around the sides because of all the airspace between the ridges - which also can scratch you barrel. is also horrible. Canon's cap is a wimpy plastic snap-cap, which also has no felt and allows air and dust flow around the corners. Lateral Color FringesThere are few to no color fringes as shot on an uncorrected Canon at 50MP, which is excellent. Even without a lens profile (which doesn't exist anyway) you won't see any unless you really go looking; this lens is far, far better than the Irix 11mm. There won't be any on Nikon cameras, which by default correct for any that may be there. Lens CorrectionsNikonNikons correct automatically for lateral color fringes (chromatic aberration). No lens profile is needed for this on Nikon. Nikons cannot correct for distortion because they require a lens profile, which doesn't exist for this off-brand lens. CanonCanon has no lens profile for this lens, and obviously isn't going to be writing one for this off brand lens. Therefore there is no correction for falloff (peripheral illumination), lateral color fringes (chromatic aberration), distortion or diffraction on any Canon camera. MacroThis lens gets very close, which is pretty good — especially for an ultrawide. Kienzle Flieger Automat 800/2843, 04 May 2018. Canon 5DS/R, Tamron 15-30mm at 30mm wide-open at f/2.8 at 1/3,200 at Auto ISO 100, Perfectly Clear. bigger or camera-original © file. Not only does it get very close, this is shot wide-open and it's still very sharp: 1,200 × 900 pixel crop from above. bigger or camera-original © file. If this is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½″ × 41¼″ (70 × 105 cm) at this same high magnification. If this is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification! Mechanical QualityTamron 15-30mm f/2.8. bigger. This is a gigantic, heavy and well-made plastic-barreled lens. Most of the outside is plastic, and most of the inside is metal. Front BumperNone. HoodPermanently attached part of the lens barrel. Plastic. Filter ThreadsNone. Front BarrelPlastic. Identity RingGrey metal trim ring printed with TAMRON 15-30mm etc. between zoom ring and front barrel. More identification also printed on bottom of mid-barrel. Zoom RingRubber-covered plastic. Middle BarrelSection between focus and zoom rings: Plastic. Focus RingRubbery plastic. Rear BarrelSection with focus distance window: plastic. InternalsPlastic and plenty of metal. Moisture Seal at MountYes. MountDull chromed metal. MarkingsPaint. Serial NumberLaser engraved in black-on-black on the bottom of the middle barrel. Date CodeNone found. Noises When ShakenMinor clattering. Made inJapan. SharpnessIt's super-sharp corner-to-corner at every setting. Even at f/2.8 it's very sharp in the far corners. The only limitation to picture sharpness is your skill as a photographer. By day it's super sharp at normal apertures: Spanish Desert Home, 08 May 2018, 2:40 PM. Canon 5DS/R, Tamron 15-30mm at 15mm at f/7.1 at 1/250 at Auto ISO 100, Perfectly Clear. bigger or full 50 MP resolution or camera-original © 50MP file. Here's super sharp shot at f/2.8. Remember that this is a real subject and not everything is in focus, especially the tree trunks close-in at the bottom: Spanish Desert Home, 08 May 2018, 8:13 PM. Canon 5DS/R, Tamron 15-30mm at 15mm wide-open at f/2.8 for five seconds at ISO 100, exactly as shot. bigger or camera-original © 50MP file. At f/5.6 everything is super-sharp, although the palm fronds were blowing around and turned into waves in this 20-second time exposure: Spanish Desert Home, 08 May 2018, 8:29 PM. Canon 5DS/R, Tamron 15-30mm at 15mm at f/5.6 for 20 seconds at ISO 100, exactly as shot. bigger or camera-original © 50MP file. Image StabilizationImage Stabilization (IS or Vibration Reduction (VR)) is incredible. I get perfectly sharp images at 50MP most of the time hand-held at a half second at 30mm, and at a full second hand-held at 15mm! Here's a sample standing with the camera hand-held at eye level for one full second with stabilization: Desert Fountain at dusk, 08 May 2018, 7:51PM. Canon 5DS/R, Tamron 15-30mm at 15mm hand-held for one-second at f/5 at ISO 100, Perfectly Clear. bigger or full-resolution or camera-original © 50MP file. Stabilization only works with subjects that hold still, and it's always a good idea in iffy conditions to make several shots so you can pick the sharpest one. You should know how to shoot a rifle; you heed to breathe properly and release the shutter smoothly and at the right time, something most Americans are taught at home, in school or scouting. In this sample of course only some parts of the fountain are in focus, the rest is simply out of focus and not supposed to be sharp. SunstarsWith a rounded 9-blade diaphragm there aren't any sunstars at the largest apertures, and from f/8 and on it can give pretty good 18-pointed sunstars on brilliant points of light. Click any to enlarge: Click any to enlarge. ComparedThis Tamron is optically about as good as the lenses from Canon and Nikon. Not only that, this lens adds stabilization absent from any Nikon or Canon lens this wide or any of their f/2.8 ultrawides. If you're shooting hand-held at slow speeds, this lens will give better, sharper results than from Nikon or Canon's unstabilized lenses. What you lose is that this Tamron is built only to good consumer levels, while the Nikon 14-24mm f/2.8 G FX (check price) and Canon 11-24mm f/4 L (check price) are built to extraordinary professional standards with mostly metal barrels. Nikon and Canon's lenses are built to withstand a lifetime of full-time professional environmental and physical abuse, while this Tamron is designed for normal people who take care of their equipment. Every non-camera-brand product has the potential to be, or to become, incompatible with your camera. While it probably will be perfect with your camera today (and if it's not and you get yours from an you can send it back for a 100% cash refund), there's no telling if it will be compatible with whatever new camera you might buy 10 years from now. I'm still using my Canon and Nikon ultrawide lenses that I bought back in the 1990s with my newest digital cameras, but no one can be sure if this Tamron lens will work with cameras 10 years from now. While off-brand makers all smile and try to reassure you today that they'll be around in the future to update lenses, experience has shown that these makers just walk away when it comes to trying to update 10 year old lenses. Let's be serious: The other 2.8 ultrawides cost a lot more than this Tamron today, and that's real money in your pocket today compared to "what ifs" years from now. If you have work to do and money - or vibration reduction - matters, by all means get this Tamron lens. This Tamron and all these lenses are super-sharp: Nikon 14-24mm f/2.8 G FX (check price) Nikon 16-35mm f/4 VR FX (check price) Canon 11-24mm f/4 L (check price) Canon 16-35mm f/2.8 L III (check price) Canon 16-35mm f/4 L IS (check price) Sony 16-35mm f/2.8 GM (check price) Sony 12-24mm f/4 G (check price) These older lenses are much softer: Nikon 17-35mm f/2.8 FX (check price) and Nikon 14mm f/2.8 FX (check price). These expensive and well made lenses are optical relics from the 1990s, but since Nikon makes no modern 14mm or 15mm lenses or f/2.8 ultrawide zooms, they continue to sell these dinosaurs. Canon 16-35mm f/2.8 L II (new 2007-2016 and only available used today) and the Canon 16-35mm f/2.8 L (new 2001-2007 and only available used today) are also older discontinued lenses with inferior optics. Thank goodness Canon makes the modern Canon 16-35mm f/2.8 L III, while Nikon is still selling their ancient 1990s 17-35mm f/2.8 FX and 14mm f/2.8 today. The Canon 14mm f/2.8 L II (check price) and even older 14mm f/2.8 L (new 1991-2007 and only available used today) are also much softer than this Tamron. UsageTamron 15-30mm f/2.8. bigger. VC ON/OFFThis activates or deactivates Image Stabilization. Always leave it on (VC/ON), except if you are on a sturdy tripod or making time exposures (OFF). AF/ MFThis selects auto (AF) or manual focus (MF). Always leave it at AF, at which setting you can move the focus ring at any time for instant override. Only set it to MF if you want to lock it in manual focus. RecommendationsFor NikonNikon's 16-35mm f/4 VR FX (check price) is a superb lens. It is far more practical because it takes normal filters, also has VR, covers a broader zoom range, is as sharp, weighs a lot less and costs the same as this Tamron. I've been using my 16-35 VR since it came out in 2010 and love it. I don't care that it's a stop slower; for nature and architecture and landscape, get the 16-35 VR and stay safe with proven Nikon service and longevity. Nikon's 14-24mm f/2.8 G FX (check price) is excellent, but lacks VR. If you want VR, get this Tamron or Nikon's 16-35mm. Otherwise the 14-24 is a great lens similiar to this Tamron but costs more. Nikon's 17-35mm f/2.8 FX (check price) and all Nikon ultrawides other than the excellent 16-35mm VR and 14-24mm f/2.8 are ancient dinosaurs and much less sharp. Get the 17-35mm f/2.8 or Nikon 14mm f/2.8 if you need you need an all-metal pro lens and need the f/2.8 speed for news and action, otherwise get this Tamron for sharper optics and VR if you really need f/2.8. (No one needs f2.8 for digital unless you're shooting sports and action in very low light.) Your camera cannot correct distortion from this Tamron in-camera, but even with my 1990s Nikon 14mm f/2.8 AF-D I can. I'd get my Nikon version at B&H, at Adorama or at Amazon. Tamron's own rear cap is awful. Leave it in the box and get a real Nikon rear cap for about $5. Tamron's front cap is excellent. For CanonThe Canon 16-35mm f/4 L IS is a superb lens, costs less and is far more practical and smaller and lighter than than this Tamron. The 16-35 is a much better buy for most people since it takes filters, is better made and more compatible with past and future cameras. It's a better lens for less money. If you need f/2.8 for sports and action in low-light, you probably don't need VR. Consider any of the Canon 16-35/2.8s which are smaller and lighter and take filters. Even a used older model Canon 16-35/2.8 is great for sports and action, since for action you're not worried about counting pixels in the far corners. If and only if you really need f/2.8 and need IS, then consider this lens. 15mm isn't that much different from 16mm. If you know what you need then do what you want, but if you get this Tamron instead of the 16-35mm f/4 L IS, you 'll be kicking yourself for all the extra weight you're carrying around and how careful you need to be of its unprotected front element. Your camera cannot correct Tamron's distortion since there's no lens profile, and no, Canon isn't going to be creating any. If you want ultra-ultrawide, 15mm isn't that much wider than 16mm. Consider maning-up and get the far superior Canon 11-24mm f/4 L (check price) which is much wider. See also Is It Worth It. Skip either of Canon's 14mm f/2.8 lenses; this Tamron is sharper and less expensive. I got my Canon version at B&H, which I'd also get at Adorama or at Amazon. Tamron's own rear cap is awful. Leave it in the box and get a real Canon rear cap for about $7. Tamron's front cap is excellent For SonyIf you have an old Sony A99 or Minolta MAXXUM 7000, you're in luck because the Sony version is the only ultra-ultrawide you can get for these old cameras. Yes, Sony still sells new cameras with this mount, but the lens mount dates from the 1980s. The Sony version of this Tamron lens has no image stabilization. Presuming you're using modern Sony mirrorless cameras which use a completely different E-mount, don't mess with adapters to use the Nikon or Canon version on Sony mirrorless. The genuine Sony lenses have better optics optimized for mirrorless cameras, as well as much faster autofocus also optimized to this new breed of Sony cameras. This is an old-guard DSLR lens, not a mirrorless lens. Sony's 16-35mm f/2.8 GM (check price) is a superb lens for mirrorless, and it's priced accordingly. Not only can it be sharper, but it also takes filters and it built much tougher. Sony's exquisite 12-24mm f/4 G (check price) is magnificent and much, much wider than this Tamron for use on mirrorless. If you want ultra-ultra wide, get this Sony. Neither Nikon nor Canon have any reasonably priced lenses this wide, and this Sony 12-24 is fantastic. Get this Tamron if you have an old A-mount camera, but skip it for E Mount. If you insist on using an adapter to use it on Sony mirrorless, your best bet is to get the Sony (A-mount) version and use Sony's LA-EA3 adapter which should do an excellent job of adapting the Tamron/Sony-A lens to the Sony E mount. Also before throwiung any more money down Sony's old A-mount system, consider updating to the extraordinary state-of-the-art full-frame Sony A7 Mark III which sells for only $1,998. I'd get the Sony A-mount version at B&H, at Adorama or at Amazon. Tamron's own rear cap is awful. Leave it in the box and get a real Sony rear cap for about $6. Tamron's front cap is excellent © Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten. Helping those who help usI got my Canon version at B&H, which I'd also get at Adorama or at Amazon. There is a Nikon version available at B&H, at Adorama and at Amazon. It's also available for the old Sony (Minolta MAXXUM) A-mount (not the current mirrorless E-mount), at B&H, at Adorama and at Amazon — but the Sony version has no image stabilization. There is no version for Sony E-mount mirrorless, use the spectacular Sony 12-24mm instead. This all-content, junk-free websites biggest source of support is when you use those or any of when you get anything, regardless of the country in which you live. I use the stores I do because they ship from secure remote warehouses where no one gets to touch your new lens before you do. Buy only from the for the best prices, service, return policies and selection. If you find this page as helpful as a book you might have had to buy or a workshop you may have had to take, feel free to help me continue helping everyone. If you've gotten your gear through one of my or helped otherwise, you're family. It's great people like you who allow me to keep adding to this site full-time. Thanks! If you haven't helped yet, please do, and consider helping me with a gift of $5.00. As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use. If you wish to make a printout for personal use, you are granted one-time permission only if you PayPal me $5.00 per printout or part thereof. Thank you! Thanks for reading! Mr. & Mrs. Ken Rockwell, Ryan and Katie. 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