Is this the ideal ultra-wide angle lens for travelers? Tamron 17-50mm f/4 DI III VXD lens review

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Is This The Ultimate Traveler’s Walk-Around Ultra-Wide Angle Lens? A Review of the Tamron 17-50mm f/4 DI III VXD

This lens is clearly nothing like its predecessor. While it looks very similar to older DSLR lenses out there, it looks like it’s the first of its kind and could have a significant impact on your workflow.

Tamron, a third-party lens brand from Japan, is well known for making lenses with unusual focal ranges. In recent years, the brand has even focused on creating a variety of zoom lenses that can often do the job of two different zoom lenses. Last year alone, they released an impressive Tamron 35-150mm f/2-2.8 Di III VXD offers a completely different range than conventional zoom lens options. Additionally, it has a wide 35mm f/2 end that adds more capabilities than the conventional 24mm f/2.8

After notification, 17-50mm f/4 Di III VXD may seem completely unimpressive, especially to those who don’t read the brand’s lens codes. One of Tamron’s most popular lenses in the early days of digital photography has to be the Tamron SP 17-50mm f/2.8 for DSLRs. It’s a third-party upgrade to a standard zoom lens that was made specifically for APS-C cameras. It’s a step up from the standard kit lens, with its constant f/2.8 aperture and relatively better optics. That’s why it’s easy to mistake this new lens for a watered-down (f/4) mirrorless version of the old standard zoom. But since it’s actually made for full-frame cameras, it’s a completely different lens with a unique range that could change the way photographers choose lenses for travel.

Tamron 17-50mm f/4 Di III VXD Lens

This unique ultra-wide lens has the typical form of a new generation of Tamron lenses that first appeared with the G2 series of DSLR lenses. The lens has a sleek semi-gloss black finish with a silver ring right next to the lens mount. The lens itself is 114.4mm (4.5 inches) long with a maximum diameter of 74.8mm (2.94 inches) with a front filter thread of 67mm. The lens weighs 460 grams (1.01 lbs), which is below the typical weight and size of a mirrorless zoom lens. One thing to note is that this lens comes with a USB-C port on one side near the lens mount, making it nearly 1/3 thicker than a typical Sony E-mount lens, and it is not compatible with rotating camera mount rings.

When used as intended on a full-frame camera, this lens offers a perspective and reach that goes beyond what most wide-angle lenses can do. At 17mm, it offers the ultra-wide angle of view that most lenses in its class can achieve. But at 50mm on the narrow end, it offers a significant step up from the usual 28 or 35mm. In various use cases, having both ends in a single lens can make a big difference in versatility. While it would be even better to have a constant f/2.8 aperture, f/4 is probably more than enough, especially when used outdoors in bright conditions. Keeping the maximum aperture at f/4 has some limitations, especially in low-light situations and in terms of depth of field, but it makes sense when it comes to keeping the lens relatively small, light, and probably cheaper too.

While the lens looks like a regular zoom lens, it’s important to note that it has exposed moving parts. Unlike most internal or external zoom lenses, this lens has an internal barrel that’s visible from the front. This internal barrel moves in and out depending on the specific focal length. At around 35mm, the internal barrel sinks about an inch below the front of the lens, and at both 17mm and 50mm, it rises to close the gap. Either way, it’s important to note that this mechanism can expose the lens to moisture or dust, which can then cause problems.

Optics and distortion

Likely due to its unique range from ultra-wide angle (17mm) to normal angle (50mm), this lens exhibits quite a bit of pincushion distortion at 17mm. This distortion is noticeable throughout most of the wide angle range and disappears at the narrower end. With that said, it may mean that this lens is not made for certain types of photography where perspective and geometry must be maintained, such as architectural and real estate photography. However, for other uses, the user may be left to their own devices as to whether such visual phenomena affect the desired image.

Ignore the distortion, Tamron 17-50mm f/4 Di III VXD shows optical performance that goes beyond what one would normally expect from a zoom lens with such an extended focal range. I personally tested the lens over several days of shooting seascapes with the 61 megapixel Sony a7R V. Cameras with higher resolution sensors are often unforgiving of lenses with poor optics, but over the course of four days using the lens to shoot textured landscapes, I can say that it was generally impressive. I was unable (and have no intention) to perform a step-by-step sharpness test across the entire aperture range, but I can confirm that image quality is excellent from around f/9 to f/16.

One thing to consider (possibly due to the unique range) is that this lens has quite a bit of vignetting at wide angle. At 17mm, there is about 1.5 stops of difference in the corners that gradually disappears as you go inwards. Of course, this can be easily (and noticeably) corrected through lens profile corrections in post, along with the aforementioned distortion. Additionally, using thin circular filters does not generally increase vignetting, nor do square filter formats for landscape photography.

Application

With all the strengths and weaknesses noted about this lens, it is important to consider them all when deciding when to use it. It may not be the most ideal lens to use for anything that requires a lot of attention to perspective and geometry, especially when shooting architecture and real estate. In other genres such as portraits and events, what the lens can do to the image needs to be considered and should be differentiated.

Personally, I find this lens best suited for landscape and travel photography. Unlike interior or architectural photography, outdoor shooting does not usually require 100% perspective accuracy; distortion is generally acceptable and sometimes even beneficial to the resulting image. The extended reach can make things easier for the user logistically, as getting close doesn’t necessarily mean having to change lenses. Using a Sony full-frame camera like the a7 IV or a7R series also means that in crop mode, it can give the user up to 75mm at 24 megapixels. Using a Sony full-frame camera like a7 IV or a7R This also means that in crop mode it can give users up to 75mm at 24 megapixels.

No doubt about it this lens designed differently from conventional ultra-wide-angle lenses, and that means it has its own strengths and limitations. However, like any lens, you should use it with a full understanding of what it can do. That means there are both benefits and trade-offs to using such a unique lens.