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 The lens features 16 elements in its optical path. The arrangement includes LD (Low Dispersion), XR (eXtra Refractive) and ASL (Hybrid Aspherical) elements, along with multi-coatings. Tamron’s VC (Vibration Compensation) system is also featured, which gives optical image stabilization to the tune of around 4 stops. The scale on the left side is an indication of actual image resolution. The taller the column, the better the lens performance. Simple. 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 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.

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. Image: Shot approximately halfway through the focal range at f/8, this image shows plenty of details in the horses’ hair Closest focus distance is 39cm, which is very close for a lens that covers up to 300mm and focusing is performed internally. The 67mm filter thread does not rotate, which should make this lens ideal for use with graduated filters and polarisers. A petal shaped hood is supplied with the lens, which attaches to the front via a bayonet fitting. The build of the lens seems solid enough, and there’s not too much wobble when the three-part barrel is fully extended. The supplied hood is a little squidgy, but that flexibility may well protect it from breaking when under pressure.

Introduction

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. Plenty of distortion present, with strong +3.2% barreling at 16mm, transitioning through neutral at 18-20mm, then on to almost equally strong pincushion distortion at longer focal lengths, easing off slightly to around -2% at 200-300mm. This is very noticeable in critical subjects like architecture, but easily corrected in software. Specific optical characteristics Macro 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.

In coming to the soft assessment, I looked at the sample photo of the berries taken in the review, which is quite excellent for such a lens. Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more. Images: Coloured fringing in distant subjects extends well into the frame at f/6.3. At f/11 fringing still exists, but it is less obvious in the centre of the frame

Studio Tests

Although those who will only really be sated by the absolute sharpest of lenses may not be overly excited by this lens, those who value convenience will find this lens is more than adequate for general photography. The compact size, light weight and splash proof construction make this lens an ideal travel companion, and the lens' ability to focus down to 39cm makes frame-filling close-ups possible. Dave, you say I'm making a "pointless observation" because the lens will only be for casual snapshots. Thanks. But in your desire to put me down, I think you've missed what I'm really getting at, the context.

Bokeh is a word used for the out-of-focus areas of a photograph, and is usually described in qualitative terms, such as smooth / creamy / harsh etc. In the AF 16-300mm F/3.5-6.3 Di II VC PZD lens, Tamron have employed an iris diaphragm with seven rounded blades, which has resulted in quite nice bokeh in our view. We do realise, however, that bokeh evaluation is subjective, so we've included some 100% crops for your perusal. Sell the kit you’re not using to MPB. Trade in for the kit you need to create. Buy used, spend less and get more. Buy. Sell. Trade. Create. The Tamron 16-300mm f/3.5-6/3 offers a uniquely huge 18.8x zoom range, performs well, delivers good value for money and has impressive close up focus performance making this an ideal travel zoom lens. At 16mm, the field of view is 82°12', which is the same as that of a 24mm lens on a 35mm full-frame camera. The version of this Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro lens I had to test was fitted for Canon EF-S, so I chose to mount it on an EOS 70D – being perhaps at the upper end of the kind of camera with which we might expect this lens to be used. Extended or contracted, the lens makes a fine mate for the body. The two balance well, and while somewhat heavy for all-day carrying, it is no worse than most enthusiasts are prepared to lumber themselves with.

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In the DSLR sector, Tamron faces superzoom rivals in every camp, and some of the designs are notably similar. Alphabetically, the Canon EF-S 18-200mm 3.5-5.6 IS looks a little behind the curve these days, though it's a proven good performer. Nikon has a history of occasional cooperation with Tamron and matches the long-end reach with its Nikkor 18-300mm F3.5-6.3G AF-S DX ED VR. The Pentax SMC DA 18-270mm F3.5-6.3 ED SDM bears more than a passing resemblance to the superseded Tamron 18-270mm. Not to be outdone, Sigma joins the up-to-300mm superzoom club with its revamped 18-300mm F3.5-6.3 DC Macro OS HSM C, and Sony has the DT 18-250mm F3.5-6.3. Angle of view 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.