Review Tamron Sp 45mm F/18 Di Vc Usd

A few years ago Sigma began to carve out a very nice niche for itself with the introduction of its Art series primes. These speedily became legitimate alternatives to some of the top start political party primes and it was no longer "second charge per unit" to have one in your lens kit. Meanwhile third party rival Tamron was accomplishing something similar with its pro quality stabilized zooms like the 24-70mm f/two.8 VC, lxx-200mm f/2.8 VC, and, most recently, the superlative 15-30mm f/two.8 VC (which has chop-chop become i of my favorite lenses, particularly since I got the Fotodiox WonderPana filter arrangement for information technology). But it'due south clear that Tamron was keeping an heart on Sigma' success with the ART serial and has been quietly working behind the scenes to create its own pro-form prime lenses.  This new line of primes has now been unveiled, and I've been spending some quality fourth dimension with the Tamron SP 35mm f/1.8 and Tamron SP 45mm f/1.8 VC lenses over the past few weeks.

Information technology'southward been a long fourth dimension since Tamron has been associated with prime lenses (with the exception of some fine macro lenses like the recent 90mm f/ii.8 VC). At one indicate, however, Tamron was making a number of quality prime lenses and had an innovative "Adaptall" mountain system that allowed a user to swap mounts according to their photographic camera's mount organisation. I'thou glad to come across Tamron returning to the production of prime number lenses, and fully conceptualize that the newly released 35mm f/1.8 VC and the 45mm f/one.8 VC are merely the start in a line of SP (Super Performance) prime lenses.

I will refer to Sigma's ART serial primes some during this review because I do believe that these are the almost logical competitors for these new lenses. Sigma has produced some excellent prime lenses (and even a few innovative zoom lenses) in its ART serial with infrequent optical operation and beautiful designs. I've reviewed the majority of them (see my reviews here). Just Tamron has a few tricks upward its sleeves every bit well. They accept pioneered a number of their own innovations over the past several years, and about of those are being implementedcheck out my reviews hither into their new primes. And fortunately for Tamron, several of these play to some of the weaknesses of the Sigma ART primes.

45mm? Yeah, I scratched my head, too. I posed the question to Tamron, and got the reasonable response that these two lenses were the opening salvo of more Tamron SP primes, and at that place was a sure corporeality of shared R&D costs betwixt these two start lenses. They share the same forepart chemical element sizes, and perchance the motility towards 50mm might take exceeded the shared design for the two lenses. I would have preferred 55mm to 45mm, myself, but that's not what we got.  Some readers accept already expressed additional interest because of the 45mm focal length – so it all comes downward to your own preferences. Tamron (probably wisely) elected to develop an first-class 45mm lens rather than a less excellent 50mm lens. The reality is that information technology doesn't behave much differently in practice to whatever 50mm lens.  Hither'due south what the difference between a 45mm and a 50mm looks similar in real life:

Step back a few more feet (this is from near 4 feet/1.25m abroad) and that deviation will get well-nigh imperceptible.  By the manner, this is likewise what the difference between f/one.4 and f/1.8 looks like.  The 50mm f/1.4 shot is from my SMC Takumar 50mm f/1.4, which, despite its age, even so has some of the nicest drawing I've seen from a 50mm lens.  Those of you debating between a 35mm and 50mm prime may find this focal length (45mm) an acceptable compromise.  And, just for fun, here'south what the departure betwixt the 35mm and the 45mm Tamrons looks like.

Here are the raw numbers:  the lens is 544g and 3.6″/91mm long.  This is 270g less than the Sigma 50mm f/1.iv ART (815), but 254g heavier than the Catechism EF 50mm f/1.4 (a lens not in the grade of these lenses in any way).  the Sigma is also 9mm longer.  The Tamron has ten elements in viii groups, including 1 LD (Low Dispersion) element and ii Aspherical elements.  In brusque, the Tamron is a medium sized lens that is visibly smaller than its Sigma competition.

Tamron Technologies

If you are reading both the 35mm and the 45mm reviews, you will detect some overlap as they are released simultaneously and I had them both in hand at the same time.  The reviews differentiate in a variety of areas to deal with unique qualities of each lens.

One surface area where Tamron has been on the cutting border is in the implementation of its paradigm stabilization systems. Tamron's VC (or Vibration Compensation) systems have consistently been amongst the manufacture's best since their introduction, and they have been the kickoff (and, so far, the just!) lens manufacturer to successfully implement one in a standard wide aperture zoom (the SP 24-70 f/two.8 VC) or wide angle/wide aperture zoom (the SP 15-xxx f/ii.viii VC). These new prime lenses will be the first with an discontinuity this wide to receive in lens stabilization. In a Canon organization the EF 35mm f/ii IS (an excellent lens that I own) has been Canon's widest discontinuity prime number to receive epitome stabilization. Both these new Tamron primes volition now become the title holder. The Sigma ART prime number lenses take a "sexier" (and larger) f/1.4 aperture, and while Tamron's VC will allow for lower minimum shutter speeds in some situations (with a static subject area), I suspect that some photographers will at least initially view these lenses every bit beingness less "pro form" because of non having an f/1.4 aperture.  The actual design and build of these suggest that they are well-nigh certainly pro-grade lenses (more so than the Fine art series, at least in build), merely many consumer class prime lenses also accept an f/1.eight aperture (including Canon's own "nifty l" that costs but $125), and then Tamron will have a "perception gap" to overcome.

The inclusion of VC is a feature that many photographers will perceive as very valuable, and is a matter of priority for those that shoot video.  The VC functioning here is very practiced.  Information technology is completely unobtrusive, with almost no hints of its operation beyond the steady viewfinder and the nicely stabilized images.  High resolution sensors really punish camera milk shake, so having practiced stabilization makes a huge difference.  The VC is about silent and does no unseemly jumping when activated.  Handholding 1/tenth 2nd images is a slice of cake, and slower shutter speeds are possible with skillful technique and a static subject.  This image is 1/8th 2d and essentially perfectly abrupt:

Sony mounts practise not come with VC.  I'm always a scrap disappointed by this, for, while I know that there is the possibility of interference with the in torso prototype stabilization (and users would accept to choose betwixt the two systems), my feeling is that the best stabilization is in the lens where the system can be tuned to the individual needs of the lens.  Sony users are familiar with this pain, however, and then this is nothing new.

Another expanse that Tamron has been developing some valuable expertise is in the development of moisture resistance/weather sealing. They have included this feature on a broader range of lenses than anyone else, and, while there are differing opinions on the value of wet resistance, it is also a strongly desired feature by many photographers. Photographers with pro grade camera bodies (with weather sealing) desire the liberty to match lenses that also have weather sealing and then that they can shoot in a broader range of weather conditions.  The options for a atmospheric condition sealed 50mm lens have been very slim. Tamron has gone to a whole new level (for them) with the weather sealing on these lenses, with actual seals at the appropriate places (even the focus ring), a rear gasket, and expensive fluorine coating on the front element.  They support this conditions sealing with an industry leading six twelvemonth warranty (in Northward America), which suggests they are serious about the build quality of these lenses.  And these lenses are beautifully congenital, with a premium experience that is a existent joy to handle and utilize.

Here's a video breakup of the size and build quality of these new lenses:

Moisture resistance is an expanse where the ART serial has lagged, with no lens in the series claiming moisture resistance, and so this is one more area where Tamron tin can distinguish its new primes.  The 45mm VC appears to be a seriously pro-grade lens, with one of the higher levels of build quality that I've seen in a while.   I've reviewed a LOT of lenses this year (I'm somewhere near 25 for the year), but this lens is near the tiptop of the heap when information technology comes to build quality.  Simply the Canon 100-400L 2 and the Zeiss lenses that I've reviewed this lens match the build level hither (and this includes several Canon 50 series lenses that I've reviewed this year)..  This is manifest in a number of ways, including a body that is primarily fabricated of metallic (including metal filter threads!!), a metal mount (manifestly), and a quality feel to the switches.  There is a rubber gasket effectually the lens mount, and Tamron has likewise included expensive fluorine coatings on the forepart elements that farther help the moisture resistance and makes lenses both easier to make clean and more than resistant to scratching.  This lens chop-chop becomes one of the superlative options for a 50(ish)mm lens for photographers that demand to shoot in sometimes adverse weather weather.

The new build design is actually quite beautiful.  It's unproblematic and clean, and faintly reminiscent of Sigma'due south ART series, although the materials here are actually higher grade.  I do find the texture variety on the Sigma Fine art series a little more appealing, but I do actually like this new, clean blueprint.  The black is broken upwardly by white lettering (etched rather than printed) here and there along with an "SP" (Super Operation) badge and a lite metal ring almost the lens mount that Tamron euphemistically calls "Luminous Gilt".  This divergence from the black on black is probably the design aspect that most distinguishes the lens from the ART series, however, and will assistance Tamron with branding.  Several surfaces have a slightly rubberized/soft touch feel that has a tactile pleasing quality.

The focus ring is extremely dainty.  It is very generously wide and almost perfectly damped.  It glides smoothly either in MF manner or in full fourth dimension manual override, and while the stops at minimum and infinity focus aren't as definite as a true transmission focus lens, they are definite enough that you lot don't effort to focus past them.  There is also sufficient travel (nearly 180 degrees) to accurately focus manually.  The focus rings on these lenses are some of best I've used outside of dedicated manual focus lenses, and are better than several of those, too.  This becomes very important when one considers the amazing minimum focus power of these lenses.  At macro distances most photographers adopt transmission focus anyway, and these lenses are joy to employ in a pseudo-macro fashion.  The lens has focus distance window but no hyperfocal markings (not surprising).  Both lenses take a moderate, inexpensive, and easy to find 67mm filter for those nice metal filter threads that is shared with a number of other lenses.

The build quality here is a new high for Tamron, and belies the moderate toll point ($599 USD).  The look of the Sigma ART serial is still perhaps minutely better, merely the build quality of these new Tamron primes exceeds any of the four Sigma Fine art serial lenses I've used.

The attention to detail in the fresh design carries over to redesigned front and rear lens caps. The front cap is both chunkier and more than contoured than previous Tamron lens caps. It has a more than premium feel, which was (I'm certain) the point. Equally lens caps go it is very nice, and the centre pinch portion has a notably precise activeness that feels better engineered than any previous lens cap I've used. The rear cap is also a huge pace forward. The previous Tamron rear caps have been on the (ahem) lesser of my list of favorites. I tend to trade them out with Catechism caps for the Tamron lenses in my kit while the Tamron caps tend to go to the more than lowly vintage lenses in my drove that don't get used often. Those caps only spiral on at singled-out points and lack flare. These new caps are another matter. They are contoured, for one, flaring out towards the lens in both a stylish and functional manner. They mount easier as well and certainly wouldn't get demoted in my collection.

Tamron has even redesigned the font for its proper name in a more serious, contemporary way. These two lenses represent an attempt to move upscale, and my perception is that information technology is working.

Perhaps to deflect some criticisms over moving some of its manufacturing out of Japan on some of its less premium offerings, these lenses remind usa twice that they are both designed and manufactured in Nippon (and then again on the hood).

There are two switches on the torso with a different look and experience than any other Tamron lens I've used.  They resemble (look for information technology…) the ART series a scrap more, save these are a bit wider and flatter.  They are the basic switches you would wait, with an AF (Autofocus)/MF (Transmission Focus) switch (full fourth dimension transmission override is always available), and the second switch is an ON/OFF for the VC (Vibration Compensation).  The switches placement is a little different than usual, with a more adjacent expect than the typical stacking.  In that location is internal sealing around them to complete the moisture resistance.

Another effective technology that Tamron has recently developed is in its coatings. This from Tamron's press release, "eBAND Blanket deployed to thoroughly suppress ghosting and flare eBAND (Extended Bandwidth & Angular-Dependency) and BBAR (Broad-Band Anti-Reflection) coatings, both providing outstanding anti-reflection effect, are applied to critical element surfaces for maximum light transmission. Internal reflections from chemical element surfaces which cause ghosting and flare are reduced to an absolute minimum. Flawless, crystal clear images tin can be obtained. eBAND Coating, a hybrid nano-structured layer with extremely low refractive index coupled with multilayered anti-reflection coating engineering, efficiently minimizes reflection of extremely angulated incident light—something that cannot be achieved by conventional anti-reflection coatings alone."

Techno-speak bated, these coatings provide an well-nigh complete resistance to flare and ghosting.   Many prime lenses are susceptible to a diversity of flare defects, from veiling to ghosting to a diverseness of flare related artifacts., but despite thorough torture testing during my fourth dimension with the lenses I found them extremely resistant to flare.

Equally you read the various reviews as they offset to cascade in, I remember you will detect a general consensus that these lenses are seriously well fabricated pieces of kit.

Merely Are They Super Functioning?

Scout the video here to see me interruption downward Tamron'south diverse claims almost the "Super Performance" of these lenses.

I'one thousand happy to announce that aye, they are definitely super performing prime lenses.  Both lenses take been able to perform extremely well in my tests.  They aren't Zeiss Otus level (nothing is), but they will stand confronting annihilation else on the mere mortal level.

Here'south an prototype quality breakdown from the Tamron SP 45mm f/1.eight VC in bullet form:

• Sharpness is potent across the image frame from wide open up.  I don't meet the bitter resolution/contrast of the Otus series, but even wide open landscape shots prove high resolution across the frame without any hint of that haziness/indistinct edges that softer lenses will bear witness.  The lens also exhibits a nicely flat focal plane.  I oasis't institute a situation where I would hesitate to apply the lens broad open.  I'll exit the chart testing to those that excel at it, but I suspect that these lenses are resolving merely about as high as the ART series lenses at equivalent apertures.  Stopping down to more than typical mural apertures produces biting sharpness across the frame.  I'k e'er happy when I zoom in to images at a pixel level and discover that images await even ameliorate then.  Hither is a series of images and crops that accept been a bit mind blowing:

• Flare resistance is infrequent.  No hazing, ghosting, or flare artifacts that I've seen.  These lenses perform more strongly in this aspect than whatever ART series lens that I've used, though they are good performers likewise.  I simply could not innovate any kind of flare artifacts when putting the sun into the frame.  Very overnice!
• Bokeh quality is very overnice from the rounded nine bladed discontinuity iris.   Bokeh quality is creamy and soft, with a nice transition to defocus.  This is true of the bokeh before the plane of focus and beyond information technology.  The 9 rounded bract aperture is doing its job, also, with bokeh highlights remaining circular when you stop the lens downward.  My own objection is a common one – towards the edge of the frame the bokeh highlights take on a somewhat "cat-eyed" quality and are less circular.  When putting vivid defocused lights into the scene (similar with the Christmas lights below) the bokeh shows a minimum of busyness.

• At a pixel level there are some very, very low-cal concentric circles (commonly referred to as "onion bokeh") that become a little more than pronounced as the lens is stopped downward.  This "activity" is less pronounced than information technology was with the Zeiss Otus 1.4/55mm, however, and none of us are complaining virtually it'due south bokeh.  Within many bokeh circles in that location is an inner line, and typically the less pronounced that is, the better.  Bokeh highlights will be softer.  The Tamron does a better task with this than many of the 50mm lenses I have similarly tested.  The overall roundness of highlights across the frame is ameliorate than that of, say, the Canon 50mm f/1.8 STM that I recently reviewed. At close focus distances the lens creates extremely strong blur that looks a lot similar a macro lens.

The combination of nice eyes and strong bokeh performance means that this is a lens capable of producing a lot of cute images!  The ability to focus down so much closer than other 50mm lenses (more on that in a moment) opens upwards all kinds of new possibilities.  On the other finish of the aperture spectrum, stopping downwards the nine bladed aperture produces some delightful sunstars/sunbursts that add a lot to an epitome.

• Vignette command is also a strength.  There is a slight fleck of vignette visible in the corners at wide open apertures, simply far less than competing primes.  The use of a slim round polarizer did not add whatsoever obvious vignette.  In most situations in that location isn't enough vignetting to even exist noticeable, and when yous compare information technology adjacent with other lenses y'all quickly get a sense of how practiced this operation is.  The frame below (which should be white from corner to corner) shows a small corporeality of vignetting (roughly one cease) wide open on a full frame body.  In field use I haven't noticed enough vignette from the lens that I would feel the need to correct anything.  This, combined with depression native baloney (a tiny amount of barrel distortion), means that those of you concerned virtually not having a lens profile in camera to right for these things shouldn't have much to worry nigh.

This landscape shot was taken wide open and the primary corner (upper left) that should exist light shows relatively footling vignette.

• Colour rendition seems very good overall.  Colors are natural and rich.  You tin can judge for yourself past checking out the Lens Paradigm Gallery.

The parade of optical goodness comes to a crashing (and surprising) halt when it comes to the chromatic aberration control.  This is definitely the optical weak point.  I was surprised by the amount of both purple and green fringing I saw in high contrast areas. This is one area where the Sigma ART 50mm definitely exceeds the optical performance of the lens.  It seems like so many modernistic lenses seem to have this monster defeated, so I'chiliad bluntly disappointed by this performance.  In most cases chromatic aberrations can exist easily corrected in mail service, only it'due south a stage that I personally prefer to avoid.  Here is the worst example I saw during my review period.

This sample likewise shows off the very impressive sharpness, though.  If y'all want to run into many more epitome samples, including some full size images you can download, please visit the Lens Prototype Gallery here.  I'm always happy when Roger Cicala from LensRentals weighs in on whatever lens. He has the unique opportunity to test large batches of lenses (unlike most of nosotros reviewers) and tin thus spot trends similar sample variation. He tested the two new Tamron primes on the optical demote and plant that A) they resolved very highly and B) the sample variation outcome was excellent on the 35mm and exceptional on the 45. That'south an encouraging report, and you can check it out here if you would like.

Close Encounters of the Magnification Kind

I've saved one of the all-time features of the lens until last.  When I first saw the printing release for the 45mm, I did a double take.  Loftier maximum magnification figures are not the norm for 50mm lenses.  I've got an older Zeiss Planar T* 1.7/50mm that I actually dear, just I don't utilize it equally oft equally what I'd like because its minimum focus distance is two feet/60cm. Here's what minimum focus altitude looks similar for my Zeiss – this is a not very impressive amount of magnification of my petty SMC Takumar 55mm f/1.viii.

I will frequently attain for the SMC Takumar 50mm f/1.four when I'm shooting with my vintage drinking glass primarily because it'due south minimum focus distance is much ameliorate.  It volition focus down to 45cm (around 18 inches), resulting in a somewhat standard for 50mm .15x magnification.  Here'due south what that standard looks like:

Some of the new releases better that marking past a bit (the Sigma Fine art allows for .17x magnification).  The fresh design of the Canon 50mm f/ane.8 STM is much better and allows for focus downwards to 14″ or 35.5cm, giving a .21x magnification figure.  But the new Tamron SP 45mm is in a league of its own, allowing for a minimum focus distance of 11.4'/29cm, and maximum magnification of .29x.  Hither's what minimum focus altitude looks similar with it.

Umm, wow!  I doubt that I need to tell you how impressive this operation is. Here's a adjacent visual comparison:

You tin go close enough to requite a very macro look to the image, with the background completely diffused.  This opens upwards any number of creative shooting options, and just look at how loftier the resolution is hither even at f/one.8.

I find that information technology can focus close enough and resolve highly enough that I can treat it much like a macro lens, right down to needing to consider endmost down the discontinuity considering the depth of field is and then narrow (depth of field at minimum focus is just .18 inches or just 4.47mm – that's tiny!).  The performance is good enough that if you lot don't need true one:1 life size reproduction and mostly desire to shoot flowers or similarly small objects you would probably be very satisfied with using this lens as your macro lens.  The working distance isn't terrible and that is already a lot of magnification.  A bit of cropping and suddenly you have life size.  Adding an extension tube would get yous even closer!  The fact that the focus ring works so well (most macro photographers like to apply manual focus) makes this a treat to use at close focus range.  This is a very, very fundamental selling betoken for me. By the way, the Tamron 35mm f/1.8 is fifty-fifty more impressive, offering upward a .40x magnification that is just incredible!

Tamron accomplishes this through the use of a floating element (Tamron calls it their "Floating System").  They've done a fabulous job of its implementation, and if they manage to exercise something similar with an 85mm lens (magnification figures are even worse there!) it could exist a pretty revolutionary lens.

This is ane of the features that I'm most excited by because it fits my own shooting way and so well.

AF Performance

This is an surface area where these lenses really demand to distinguish themselves.  I own the Canon EF 35mm f/two IS, and it is a focusing standout.  It'southward fast, but more importantly, it is exceptionally authentic.  My images from it are always well focused, so its a lens I will frequently employ for professional person piece of work – from portraits to reportage.  I can trust it.  I won't ain a lens that I cannot trust to consistently and accurately autofocus.

The Achille's heel for the Sigma ART serial in my feel (and that of many other photographers – peculiarly other Canon shooters) has been sometimes inconsistent autofocus accurateness. Both Tamron and Sigma are forced to reverse engineer Canon, Nikon, and Sony's autofocus algorithms because these companies will non license their technology to them. My experience says that Tamron has been able to more effectively accomplish this, and I become very consequent results from some of the professional course zooms from Tamron. I use them near exclusively for my event and wedding work and typically don't have to discard one prototype out of a thou for missed focus. Large aperture primes are very demanding for autofocus, so this is a primal point for Tamron if it wants to convince photographers to choose its lenses over first party choices.

Things got off to a good start when I performed calibration.  The 45mm required only a +1 AFMA adjustment while the 35mm needed a -ii.  I prefer small adjustments as a affair of principle; information technology means that those without the power to perform microadjustment in their camera bodies tin still expect reliable functioning out of the box.  I did notice a difference fifty-fifty in that +1 aligning, however, as autofocus accuracy was improved.

The autofocus motor in the lenses is Tamron's USD (Ultrasonic Drive).  This is a truthful ring type AF motor like to Catechism'southward USM.  The AF feels a fleck more snappy in the 35mm.  The 35mm is roughly similar in speed to my Canon 35mm f/ii IS in most situations, although I would even so requite the Canon the slight nod.  The 45mm is a bit slower, all the same, though information technology is marginal. I rarely find Tamron's AF speed with its broad aperture lenses to be top of the class (the seventy-200 f/2.8 VC is the all-time of the bunch). They are more like middle of the pack. The all-time USM motors from Canon focus faster, and I would also requite a slight edge in speed to Sigma'southward 50mm f/1.4 Art. One affair to consider is that these lenses focus closer than their competitors, then if the lens is completely defocused information technology volition have a carve up second longer to reach focus as information technology has a larger focus range. Less extreme focus changes come quickly, and the lens has proven able to focus confidently even in challenging situations similar backlit or dimly lit environments.  There is a separate second feeling of momentum gathering before the elements fly into motion which is accompanied by a faint sliding sound like the elements moving along.  It isn't as quiet as Sigma'south HSM motors, nor is it as fast as the ameliorate USM motors from Canon.  If you are familiar with the focus speed of Tamron's 24-70mm f/2.8 VC lens so you have a pretty good idea of the focus speed of this lens.  The 45mm lens is probably a pilus quicker.  I've used the 24-70 VC on several different continents and in many professional applications and its always gotten the chore done for me, so I suspect this lens volition besides.  The reality is that I oasis't actually seen a 50mm lens that focuses with the speed of, say, the Canon 135mm f/2L.  I would say that the Tamron 45mm is a scrap behind Canon 50mm f/one.2L or the Sigma 50mm f/1.iv ART, but these lenses advantage is marginal.

It seems like every 50mm lens has some kind of focusing quirk.  The 50mm f/1.viii even in STM guise focuses at a like speed.  The EF 50mm f/1.iv has inconsistent focus and tends to suspension.  The 50mm f/one.2L tends to backfocus, and the Sigma 50mm f/1.4 Art simply focuses inconsistently at times.  The Tamron?  I'd merely love to run across a bit more speed hither, particularly considering that it is moving a bit less glass than its top competitors (f/1.2 and f/1.4 respectively).

Focus speed is adequate…but what most focus accuracy?  This is where the safe meets the route!

I'm happy to written report that I'm getting fantabulous focus accurateness results.  Every bit per usual, lenses on the 6D prefer AF points closer to center (it has a super focus point in the middle and unexceptional focus points beyond).  While focus takes longer on the outer points (and will hunt in poor atmospheric condition), one time focus locks it does so accurately.  My 70D body has more than robust cross-type AF points across the frame, and the lens focuses more apace with them.  Par for the course for the 6D, but I'm very accustomed to that past now.  Fortunately the 6D  makes up for it in a lot of other ways!!

I'm very happy with focus accuracy; if the 45mm focused but a little more than speedily I'd be ecstatic.  Hither'southward a few other focus samples (all wide open):

 Interestingly, however, in a Japanese language interview (it doesn't translate perfectly) Tamron engineers intimated that they prioritized accuracy over speed.  It was probably the right choice.  The 45mm is fast enough…and accuracy is paramount for me.

Portrait notes: Some of you that have read my reviews in the past know that I like to endeavour broad aperture lenses out in a portrait environment.  Environmental portraiture is typically very enervating on an AF system because you are shooting at wide apertures and looking for pin point focus on eyes.  This is where the focus inconsistencies of many lenses are exposed.  I went out today to shoot a portrait session.  The weather was not particularly cooperative; information technology was a very, very bright and my open up window for shooting was not the best.  But, I was on a deadline with these lenses, and I thought, "Why not a torture test?"  I shot almost every portrait shot broad open up (f/ane.8), except for three frames I dialed downwards to f/2.2.

I took a few tools to help combat the low-cal.  I used the Lite Genius Lite-Scoop Two flash modifier I reviewed a few months back for my Metz 64 AF-ane wink unit.  I adopt to shoot with my flashes off camera, only did not have time nor the inclination for a complicated calorie-free setup.  The flash was on the camera with the modifier in place.  I also took along an ND8 filter that I happened to have in the appropriate 67mm size and then that I could bring the shutter speed down in certain situations.  I also went with Manual HSS mode and shot with really high shutter speeds in other situations to but overpower the ambient lite.  The Metz has a lot of power and enables me to do this in most circumstances.  I went through the roughly 100 shots from the session at a pixel level and found that my focus consistency was very skilful despite the challenging weather.  I slightly prefer the 35mm'southward focus speed and accurateness, just the 45mm was rock solid as well (the 35mm may be a flake sharper).

Here is a gallery of portrait shots from the sessions and crops.  These were all shot at f/one.eight.  They will too give yous a adventure to evaluate bokeh and color in an environmental portrait surroundings.  These are not weather that I would normally like to shoot portraits in, but the lenses themselves worked very well.

Transmission focus is actually quite nice due to the combination of the nice focus ring I mentioned previously forth with the stone solid VC. I don't usually have the luxury of an image stabilizer when I manually focus, and then it makes manual focus a kinder experience than on most AF lenses. Videographers will appreciate this along with a total 180 degrees of focus throw.  These are perchance the nicest manual focusing autofocus lenses that I've come across.

EOS M3 notes.  While these lenses are on the larger side of what I would deem natural for my smaller EOS M3 mirrorless body, the focal lengths are appealing crossover ones. I was happy to find that the lenses focused nearly as quickly and accurately every bit native G mount lenses, although video AF Servo shooting can be a bit deadening when making major transitions. Images produced with the combination are very appealing. It'south ironic that many contempo Tamron lenses bear more mannerly via the EF adapter than most of the Catechism lenses. Something virtually the way they achieve focus seems to agree with the M3. I recognize this affects only a few of you, but just in case…

How virtually Canon'south DPAF?  A few readers were interested in how these lenses would work with Canon's DPAF.  I accept a Canon 70D trunk, the first to use DPAF, and one of the few DSLRs to have quality servo AF during video recording.  The lenses that work best with DPAF for video are those with stepping motors like Catechism's STM, merely I'1000 happy to written report that while these lens don't focus quite as rapidly equally STM motors (and are bit louder in doing it), they focus smoothly and accurately.  If yous are using something else to tape your sound I don't see an outcome.  Here's a little sampling of videos using DPAF.

DPAF works well for stills, too, though not equally fast every bit typical contrast AF.  All in all, the autofocus doesn't wow you with speed, only makes up for it with accuracy.  My guess is that the primary reason is that the lens has a longer focus throw than many competitors, a detail that volition bring a sparkle to videographer's eyes.

Conclusions

I've reviewed a LOT of 50mm lenses in the past year or so.  I've reviewed the Canon 50mm f/1.2L forth with the nifty fifties (50mm f/one.8II and STM), Sigma's 50mm f/1.iv DG and 50mm f/1.iv ART, the Rokinon 50mm f/1.4, Zeiss Planar T* one.iv/50mm, Makro-Planar 2/50mm, and the Otus one.4/55mm.  On top of that I've done mini-reviews of some vintage 50mm drinking glass, including the SMC Takumar 50mm f/1.iv, 55mm f/1.8, Helios 44-2, and Zeiss Planar T* 1.vii/50mm.  That's thirteen, by my count, non including the lens at mitt.  I've been on a bit of a "holy grail" quest for the perfect 50mm lens.  This Tamron isn't it, but it comes closer to finding the residual that I want than most.  It's currently on my personal Christmas list.

The fact that this lens is only f/1.viii and a Tamron might cause y'all to recall that this is not a serious, pro-grade lens.  This could not exist farther from the truth, though.  My fourth dimension with these lenses (not enough!) lets me know that Tamron means business.  These are lenses designed for working professionals despite the reasonable price.  They are built more like Zeiss lenses than Tamrons of old, save these are weather condition sealed.  The optical operation is stunningly good, and there are some killer apps like VC and a crazy minimum focus altitude that really fix this lens autonomously from the pack.  If it was a 50mm f/1.4 VC lens the line-upwards to buy would already be forming.

It'south a reasonably sized lens that wouldn't be onerous to pack along or carry.  The image quality and bokeh is as good equally anything not called Otus.  My only nitpicks are that I'd like a bit faster focus and a lot less CA.  But these principle shortcomings (along with a smaller than f/1.4 discontinuity) seem positively offset past so many strengths.  Unless you absolutely feel like yous need f/ane.four this lens is a stunning pick and highlights only how desperately Canon's own EF 50mm f/ane.four needs an update.  Tamron has undercut the toll of the Sigma 50mm f/1.four ART past $350 in this lens, and it is a LOT of lens for $599. Remember besides that these lenses come with Tamron'south half-dozen year North American warranty.  That in itself is a great value.  I'm strongly considering adding this detail lens to my ain kit as it seems to be filling the void I hoped Canon would fill up with an equivalent to the 35mm f/two IS in the 50mm focal length.  Catechism hasn't (nonetheless) built that lens, but it seems like Tamron has in the Tamron SP 45mm f/1.8 Di VC USD.  My agreement is that these lenses are only the first in a new line of Tamron prime number lenses.  All I can say is, "Bring them on!"

Pros:

• Exceptional build quality
• Better conditions sealing than any other 50mm lens
• Fluorine coating
• Amazing .29x maximum magnification
• Excellent transmission focus ring with good focus throw
• Excellent resolution from wide open on
• Low vignetting
• Quality bokeh from nine blade aperture
• Well performing VC system
• Accurate autofocus

Cons:

• Larger than other 50mm f/1.viii lenses
• More chromatic aberrations than expected
• Autofocus speed could exist faster
• Doesn't include a case/pouch
• Smaller maximum aperture than principal competitors

A big "cheers!" to Canada'southward Amplis Foto for providing these retail samples for review.  I've bought many lenses and accessories from Amplis myself, and they are great to deal with!  Yous can use the Coupon Lawmaking AMPLIS52014 to go 5% annihilation in their store, including these new lenses!

Gear Used:

Canon EOS 6D DSLR Camera (Trunk Just)
Tamron SP 45mm f/one.viii Di VC USD (in Canada)
Tamron SP 45mm f/ane.8 Di VC USD (United states and Globe)
Adobe Lightroom CC Software for Mac and Windows (Boxed Version)
Adobe Photoshop Creative Cloud 1-Year Subscription
Alien Pare Exposure seven (Use Code "dustinabbott" to get x% annihilation and everything)

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Source: https://dustinabbott.net/2015/10/tamron-sp-45mm-f1-8-vc-usd-review/

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