New Tammy SP AF17-50mm with VC for NIKON


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Back to the Tamron 17-50. It seems the specs are almost identical to the non-VC version. I am using the non-VC version now and I really like it. AF is a lil retarded sometimes but I can live with it. It is only milliseconds slower than the Sigma. And it is nothing as loud as AF in the old film days.
 

Back to the Tamron 17-50. It seems the specs are almost identical to the non-VC version. I am using the non-VC version now and I really like it. AF is a lil retarded sometimes but I can live with it. It is only milliseconds slower than the Sigma. And it is nothing as loud as AF in the old film days.

How is this non-VC compared to the Toki 16-50f2.8 in terms of the AF? B'cos I read from your another thread;
"Tamron 17-50/2.8: Sharpest, Best IQ. Slow AF (if you get the one with built in motor)
Sigma 18-50/2.8: Fastest and best AF.
Tokina 16-50/2.8: Best build. 1mm more wide than Tam. 2mm more wide than Sigma."
 

How is this non-VC compared to the Toki 16-50f2.8 in terms of the AF? B'cos I read from your another thread;
"Tamron 17-50/2.8: Sharpest, Best IQ. Slow AF (if you get the one with built in motor)
Sigma 18-50/2.8: Fastest and best AF.
Tokina 16-50/2.8: Best build. 1mm more wide than Tam. 2mm more wide than Sigma."

Didn't have the chance to use the Tokina, but the Tamron's AF speed is pretty decent to me.
 

How is this non-VC compared to the Toki 16-50f2.8 in terms of the AF? B'cos I read from your another thread;
"Tamron 17-50/2.8: Sharpest, Best IQ. Slow AF (if you get the one with built in motor)
Sigma 18-50/2.8: Fastest and best AF.
Tokina 16-50/2.8: Best build. 1mm more wide than Tam. 2mm more wide than Sigma."

Tammy's AF is slightly slower. Sometimes in certain situations, locking on a subject may be a tad weaker in low light. And the built in motor is not a silent wave type so there is this mechanical sound (that goes eeennnnnnnnnggghhhh) when focusing. And the focus ring will turn when focusing. But seriously speaking the AF is still within acceptable limits for me.

If you are worried about AF, you should get the Sigma. It's AF is super fast (HSM la).
 

i've gotten my hands on my first tamron 18-270mm.. i must say i'm very impressed with the VC... i can see how much i'm shaking at 270 and when i focus.. very very stable.. although the built can be improved abit..

AF is a problem with low light.. so instead letting it hunt.. i would release first and try focusing again.. it works sometimes..
 

Actually the RRP is abt S$1100 and I got this info from the local distributor. Street price may be less than this i suppose. The new version only incorporates the VC according to the press release http://www.tamron.com/news/35mm/1750di2_VC_2009.asp & http://www.dpreview.com/news/0909/09090107tamron17mm50mm.asp#specs

I'm lookin fwd to when it arrive on our shores nx mth

By any chance u know when it's coming?
 

I agree that FX lenses takes in more light. But more light entering the FX lens but with smaller sensor to capture that light, the end result? Same as a DX lens with same aperture.

Yes f/2.8 on compact is smaller than f/2.8 on DX which is smaller than f/2.8 on FX. But the actual sensor capturing the light is also proportionally smaller as well. So in the end, the amount of light captured is exactly the same.

A sensor do not suck light, neither does a lens suck light. Light travels in a straight line. If it lands on a sensor, it is captured, if it lands outside the sensor area, it is not captured. It is as simple as that. So more light enters a FX lens at f/2.8, but the additional light will land outside the DX sensor, so question is, so what if it takes in more light?? when it is not captured? :think:

Sorry for the slight OT reply.

To reply to you question... I wonder if you ever shoot film.... Haiz.... anyways.... I use to shoot film...

Well.. Thinking of how to say it in a way that is less insulting....

1. Light from a 'FF' Lens that falls out of a DX Sensor at f/2.8 will mean that there is less Vignetting/ light fall off. f/22 produce less vignetting than f/2.8. So by Theory and test, a 17-55 f/2.8 has more vignetting at f/2.8 on a DX Sensor compared to a 17~35 at f/2.8 on a DX Sensor. as.. the rear glass is bigger.

http://kenrockwell.com/nikon/20mm-comparison/falloff.htm

2. Lens does not 'suck in' light.....hmmm maybe I used the wrong word... ever played with magnifying glasses. Does it burn??? Every tried pointing your lens at the sun... does it increases the power of light that can almost 'torch your eyes'... Why the spot of glasses are usually brighter... Why Glass, not plastic... hmmm...

3. Sensor... maybe I use a wrong word again... I study about films and sensor... when you expose the sensor longer.. don't you get over exposure??? Isn't a sensor like a light sponge.... if you poor red colour dye on it you get red... when you poor more red it becomes 'redder' .Do you know that by exposing a colour to a sensor over a longer period the colour becomes more vivid.. I shall not tell more of the technic to do so...since you already have them.

I think you you write without first thinking... It's 2 am now.. maybe I am not thinking too... :bsmilie:

Anyways. DareDevil has Good Pictures. :-}
 

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To reply to you question... I wonder if you ever shoot film.... Haiz.... anyways.... I use to shoot film...

Well.. Thinking of how to say it in a way that is less insulting....

1. Light from a 'FF' Lens that falls out of a DX Sensor at f/2.8 will mean that there is less Vignetting/ light fall off. f/22 produce less vignetting than f/2.8. So by Theory and test, a 17-55 f/2.8 has more vignetting at f/2.8 on a DX Sensor compared to a 17~35 at f/2.8 on a DX Sensor. as.. the rear glass is bigger.

http://kenrockwell.com/nikon/20mm-comparison/falloff.htm

2. Lens does not 'suck in' light.....hmmm maybe I used the wrong word... ever played with magnifying glasses. Does it burn??? Every tried pointing your lens at the sun... does it increases the power of light that can almost 'torch your eyes'... Why the spot of glasses are usually brighter... Why Glass, not plastic... hmmm...

3. Sensor... maybe I use a wrong word again... I study about films and sensor... when you expose the sensor longer.. don't you get over exposure??? Isn't a sensor like a light sponge.... if you poor red colour dye on it you get red... when you poor more red it becomes 'redder' .Do you know that by exposing a colour to a sensor over a longer period the colour becomes more vivid.. I shall not tell more of the technic to do so...since you already have them.

Anyways. DareDevil has Good Pictures. :-}

imho, Daredevil's right :think:
 

To reply to you question... I wonder if you ever shoot film.... Haiz.... anyways.... I use to shoot film...

Well.. Thinking of how to say it in a way that is less insulting....

1. Light from a 'FF' Lens that falls out of a DX Sensor at f/2.8 will mean that there is less Vignetting/ light fall off. f/22 produce less vignetting than f/2.8. So by Theory and test, a 17-55 f/2.8 has more vignetting at f/2.8 on a DX Sensor compared to a 17~35 at f/2.8 on a DX Sensor. as.. the rear glass is bigger.

http://kenrockwell.com/nikon/20mm-comparison/falloff.htm

2. Lens does not 'suck in' light.....hmmm maybe I used the wrong word... ever played with magnifying glasses. Does it burn??? Every tried pointing your lens at the sun... does it increases the power of light that can almost 'torch your eyes'... Why the spot of glasses are usually brighter... Why Glass, not plastic... hmmm...

3. Sensor... maybe I use a wrong word again... I study about films and sensor... when you expose the sensor longer.. don't you get over exposure??? Isn't a sensor like a light sponge.... if you poor red colour dye on it you get red... when you poor more red it becomes 'redder' .Do you know that by exposing a colour to a sensor over a longer period the colour becomes more vivid.. I shall not tell more of the technic to do so...since you already have them.

I think you you write without first thinking... It's 2 am now.. maybe I am not thinking too... :bsmilie:

Anyways. DareDevil has Good Pictures. :-}

Yes. I shot film. And I am an engineer by training and profession (in my past career at least). I was just replying to your insinuation that FF glass will somehow give you a lot more light to work with. To which I responded yes, but that light is wasted on a smaller sensor.

Yes, vignette thing I agree. There is more possibility of vignette and fall off for a smaller glass. But there is always a design choice to prevent vignetting. It is all about choices of the manufacturer's design over cost. So a DX does not mean it will definitely vignette. But this is separate issue from what we were talking about. Having shot film, I can honestly tell you that there are quite a number of FX lenses out there that are dogs in IQ and light falloff contrary to what you claim. So, in your contention, since using FX lenses with DX bodies is so advantageous by maximising light, FX DSLR users should downgrade to DX bodies to get better IQ?

On your magnifying glass example, I am not sure what you are trying to say. Are you saying that a bigger magnifying glass will yield more power in that burning spot? If that is what you are saying, yes, I agree that a bigger magnifying glass will yield more power in that situation. But, we are talking about a camera here, where the plane where the sensor sits, is not where all the light concentrates. If you move the magnifying glass higher past the "burn" point, you will see a minaturized inverted image of the picture. That is what lands on the sensor. And if you notice, the bigger the glass, the bigger the image at the same distance - meaning more power spread over a bigger area so light per sq inch remains the same compared to a smaller glass of equal IQ. So if your sensor is smaller, you capture less of the image (i.e. less of the light).

Film and sensor differ in the way they react to light. Sensor is not a light sponge. It does not absorb. It has light sensitive diodes that creates a current when light falls on it. each color diode is set to react to one color (usually total 3, red blue and green). Film is different, mainly made of light sensitive chemicals that react to light. Very different. That is why a film image is so different to a digital one. Even till today, some people still swear by film.

I am not insulted. If I am, I wouldn't be bothered to reply. I find that by talking about these things, we are actually educating other readers here which I think is important. Whenever I write, I think. Especially how people will perceive my choice of wordings, and also if what I say or write is fundamentally sound, and if what I write serve a purpose, either to support my argument, or to make a specific point.

I am not trying to start an argument here. It is just simple physics.

BTW, thanks for viewing my pictures!
 

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Yup. Choice of word.

Good read from your write. ;)

But I must say.. there are no real distinct advantage over DX or FX. For some, they just need the 'Size' for Big Prints. Was working in a Commercial Studio and It was really important.

Film.. I have been reading some time back (Mad about Fuji Velvia Load it up my D300). It is very amazing that sensor makers try to 'simulate' the film idea. And produced the CMOS and CCD Sensors allowing only certain light colours to filter through and gets 'captured'. Amazing. Check out this PDF. :-} Still Like Film.. but have life span.....

http://www.fujifilm.com/products/consumer_film/pdf/superia_200_datasheet.pdf

Vs (A little outdated...)

http://www.imaging-resource.com/PRODS/D30/D30A4.HTM

Lens as magnifying glass. ...Hmmm going OT.. HAHHA. Anyways. Its made up of concave and convex lenses. Must have some magnifying property.

Just Shoot Good Pictures Bah! Let the Lens Engineers sort out the FX, FF, DX problems.

Need lots of Practice to get Landscape like yours.

Cheers!

http://nghofei.multiply.com/photos?&=&album=&page_start=20
 

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Yup. Choice of word.

Good read from your write. ;)

But I must say.. there are no real distinct advantage over DX or FX. For some, they just need the 'Size' for Big Prints. Was working in a Commercial Studio and It was really important.

Film.. I have been reading some time back (Mad about Fuji Velvia Load it up my D300). It is very amazing that sensor makers try to 'simulate' the film idea. And produced the CMOS and CCD Sensors allowing only certain light colours to filter through and gets 'captured'. Amazing. Check out this PDF. :-} Still Like Film.. but have life span.....

http://www.fujifilm.com/products/consumer_film/pdf/superia_200_datasheet.pdf

Vs (A little outdated...)

http://www.imaging-resource.com/PRODS/D30/D30A4.HTM

Lens as magnifying glass. ...Hmmm going OT.. HAHHA. Anyways. Its made up of concave and convex lenses. Must have some magnifying property.

Just Shoot Good Pictures Bah! Let the Lens Engineers sort out the FX, FF, DX problems.

Need lots of Practice to get Landscape like yours.

Cheers!

http://nghofei.multiply.com/photos?&=&album=&page_start=20

I'm glad you find what I wrote educational. That is the purpose of this forum - to learn from each other.

For the FX and DX debate, there is actually a very distinct advantage for FX over DX from a technical and engineering standpoint. This advantage translate into very low noise in FF sensors compared to DX sensors at equal ISO. This allows FF cameras to actually use very much higher ISO than DX for usable images. It is not just about megapixels.

Sensor makers will never try to make sensors that "allow only certain light colours to filter through and gets 'captured'". Sensors are made to capture as much of the visible light spectrum as possible. The image processors are the ones programmed with algorithms to apply filters to get a certain kind of look. That is why even when Sony and Nikon shares the same sensor (made by Sony-Nikon collaboration), the pictures come out so differently. Similarly, the Leica D-lux 4 and LX3 are exactly the same camera, but the pictures come out with subtle differences.

And the switch to CMOS is actually a cost reduction consideration not a performance one. Why? It is a long story, but you really need to understand how each technology works and how the actual sensor is physically built and designed.

So Andrew, it seems you do not really understand the technology inside your camera. So I would like to remind you of a piece of advice you gave me earlier - "Think before you write". The following link provides some very good information in both areas. You might want to check it out to understand your camera more,

http://www.luminous-landscape.com/essays/sensor-design.shtml

BTW I didn't know D300 takes film. For myself the film cameras I have are Nikon F4, F2AS, Hasseblad xpan and Contax G1.

And to Dr Spock, sorry for the OT bro.
 

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It's OK cos very interesting educational readings for me as well cos I'm sort of into the technicals too;)
 

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