Tamron’s SP150-600mm f/5-6.3 Di VC USD is amongst the longest zoom lenses available for ‘full-frame’ and APS-C format DIGITAL SLR cameras. As a Di zoom lens, it can be utilized on both of the ‘full frame’ and cropped sensor systems. Its focal length range is equivalent to 225 to 900mm with DX sensor DSLR’s from Nikon and Sony and 240 to 960mm on Canon EOS DSLR’s.
The optical design of this zoom lens is necessarily complicated, using twenty elements in thirteen groups. The leading group contains 3 LD (Low Dispersion) glass elements (2 within the 1st group, 1 within the 3rd) for enhanced optical correction effectiveness, making it possible for the zoom lens to compensate for on-axis aberrations at the telephoto end.
Tamron’s eBAND (Extended Bandwidth & Angular-Dependency) coating and conventional BBAR (Broad-Band Anti-Reflection) have been used to suppress internal reflections as well as minimise flare and ghosting. The nine-bladed iris diaphragm closes to a rounded aperture for appealing bokeh.
Tamron’s VC (Vibration Compensation) system uses 3 voice coils for lenses with Canon and Nikon mounts. The driving coils trigger the shake-compensating VC zoom lens group electromagnetically through 3 ceramic ball bearings, which in turn support these with very little friction.
Stabilisation is not incorporated into Sony mount models because it is included in their DIGITAL SLR bodies.
The USD (Ultrasonic Silent Drive) AF drive within the zoom lens promises to deliver high torque, extremely fast reaction times, and extremely low noise. Full-time manual over-ride is possible in AF mode.
The most obvious targets for this zoom lens are sporting and wildlife photographers, especially birders, that are hunting for a long telephoto zoom lens at a reasonable cost. There are not many 600mm lenses for DIGITAL SLR cameras which belong to this category – or close to it.
Build and Ergonomics
Being a comparatively large and hefty zoom lens, the SP150-600mm f/5-6.3 Di VC USD is much better suitable for pro as well as pro-sumer digital camera bodies compared to entry level DSLRs. It felt nicely balanced on an EOS 5D camera, owing to its strategically-positioned tripod mount. Although not quite as comfortable or simple to manage on an EOS 70D.
You can easily sit the bigger digital camera with the zoom lens attached on a steady support and be certain it’s going to stay in place and secure enough to capture with, which is convenient when you need to take a quick photo and do not have a tripod close at hand. However, the dimensions and weight of the zoom lens make it most suitable for tripod mounting – and you will need a durable and stable tripod with a quality head.
There is absolutely nothing to make a complaint in regards to the build quality of the zoom lens. As stated by Tamron, it’s moisture-resistant and you will easily feel the rubber sealing gasket should you run a fingertip across the zoom lens mount.
Even though the barrel is manufactured primarily from polycarbonate plastic material, it is actually high-quality and there aren’t any gaps to be noticed wherever components join. The overall finish is actually first-rate and all of the necessary components are of a suitable quality and properly designed to augment the lens.
Without the hood affixed, the barrel measures just under 260 millimeters long. Installing the hood contributes an additional 102 millimeters. The overall weight with the hood and tripod collar installed is just below 2 kgs.
The inner barrel at the front end of the lens is threaded for 95 millimeter filters, whilst the outer barrel features a bayonet mounting for the lens hood. The barrel flares gently outward starting about twenty five millimeters back from the hood mount.
Lateral chromatic aberration was very well managed for this kind of high-magnification zoom lens and we uncovered no noticeable coloured fringing within test shots.
We detected a small drop in image sharpness towards the 600mm focal length setting in photos taken with both cameras. Nevertheless, focal lengths up to around 300mm supplied impressive sharpness and an abundance of contrast.
Autofocusing was actually rapidly as well as precise with the evaluation zoom lens, provided light levels were sufficient and there was adequate contrast in the subject matter for the lens to lock on to. In inadequate illumination as well as with low contrast subjects, hunting was common and it may take a second or so for the zoom lens to lock on – and even then you’ll probably need to make use of AF area selection and choose the area carefully when the primary subject is off-centre.
Tracking motion was not quite as simple as we expected and we found it challenging to maintain the subject within the frame – and sharp – whenever recording bursts of images following moving birds.
The photographing technique to accomplish a high percentage of razor-sharp images calls for plenty of practice. Unfortunately we haven’t had enough practice for this type of shooting.
Setting the focus limiter enhances your chances whenever photographing in indifferent lighting circumstances along with when subject contrast is low, especially using longer focal length settings. However even when there seemed to be an abundance of light, we discovered minor hesitation when the zoom lens was required to change focus rapidly between close and distant subjects.
With smaller – and more normal – adjustments to focusing distance, the zoom lens reacted rapidly enough to satisfy the majority of prospective buyers, though minor hesitation often happened with the longer focal lengths. With stationary subjects, the zoom lens can capture an abundance of detail.
Stabilisation was extremely effective, permitting the lens to be handheld at shutter speeds as slow as 1/160 second and obtain over fifty percent of the photographs crisp. The stabilisation of the viewfinder image makes it much simpler to compose shots, especially when the subject is not moving.
Depth of field is actually exceptionally shallow with longer focal lengths and, should you shoot with the zoom lens wide open, the plane of sharpness is extremely narrow. This brings about smooth bokeh this is certainly extremely attractive and offers exceptional separation of the subject from the background.
Both the rectilinear distortion and vignetting were relatively low – but clearly apparent. Distortion was within the shape of pincushion distortion. It was present through the entire focal length range, although you most likely would not notice it inside photos unless they included straight line running parallel to the image frame.
Vignetting was most obvious at the extremes of the zoom range, with edges as well as corners being a little bit over a stop darker as compared to middle. The darkening disappear around a stop down from maximum aperture. Both problems are very easily remedied, either with in-camera processing or during post-capture editing.
Backlit subjects were managed exceptionally well, with thanks to the generous lens hood. We were not able to force the zoom lens to flare, even if a bright source of light was on the edge of the frame. A smallish region around the bright spot displayed minimal loss of contrast; the remainder of the frame maintained the entire dynamic range anticipated from the subject.
The Tamron SP 150-600mm f/5-6.3 Di VC USD would definitely rate a recommendation based on its price alone, all the other factors being equal. Its nearest rival is Sigma’s 150-500mm f/5-6.3 APO DG OS HSM, that features a comparable AF drive mechanism and optical stabilisation. Nevertheless it covers a reduced range and its coatings are not up to the specifications of Tamron’s eBAND coatings.
Sigma additionally makes a considerably much longer zoom lens, their 300-800mm f /5.6 EX zoom, that is in excess of 1 / 2 a metre long – without lens hood – and weighs in at 5.88 kgs. Its price places it beyond the reach of all but the most committed (as well as cashed-up) specialists.
Canon as well as Nikon each make telephoto zoom lenses however both have maximum focal lengths of 400mm, though with maximum apertures which ranges from f/4-5.6. Both Canon’s EF 100-400mm f/4.5-5.6L IS USM and Nikon’s AF-S 80-400mm f/4.5-5.6G ED VR Nikkor lens sells significantly more than the Tamron.
Tamron additionally makes a 200-500mm f/5-6.3 Di LD (IF) zoom lens, that is an older design which is lacking Vibration Compensation, USD silent focusing as well as eBAND anti-reflective coating.
This makes the Tamron zoom lens something of a bargain.
This new zoom lens is approximately thirty millimeters longer and 715 grms weightier versus the earlier model as well as its close focusing distance is actually twenty cm longer. Given the longer range and less expensive price tag, that is quite a remarkable accomplishment.
Previously, opting for a ruggedized digital camera has demanded some serious sacrifices. Either that’s meant comically large housings or less than stellar performance, you could not get yourself a fantastic point-and-shoot digital camera which you can also safely bring on the slopes, the back of a motorbike or while diving. This year’s Olympus Stylus Tough TG-3 is the first such product I have seen that is worth your money. A fast lens, quick focusing as well as solid image quality make the TG-3 an excellent choice even if you simply intend to record the flower garden or perhaps a young child’s 1st steps, but it will also handle far more sophisticated photographing situations effortlessly.
The TG-3 packs the typical collection of high end point-and-shoot functions, such as a 16-megapixel BSI CMOS sensor, a fast 25-100mm, f/2-4.9 aperture 4x internal zoom lens, built-in Wi-fi and also the exact same processor chip Olympus utilizes within the flagship OM-D E-M1 mirrorless digital camera. On the sensor front, it can calculate altitude or water depth as well as atmosphere or water pressure, all of which can be displayed in the digital camera. Additionally, there is built-in GPS, which can locate your position in ten seconds or less, adding location information to individual pictures. My personal favorite feature, however, is the optional LED Light Guide, which redirects light from the camera flash to a ring round the zoom lens, allowing you to record macro photos just like a professional.
I spent a few days photographing with the TG-3. Granted, this is not the most competent point-and-shoot available on the market — Sony’s RX100 III most likely has that honour — however the digital camera nonetheless dealt with significantly different photographing conditions just like a champion. I discovered the focus speed to be excellent, allowing the capture of fast-moving objects without missing the shot. The display screen was bright enough for framing photos as well as confirming exposure and sharpness in direct sunlight, and the controls were responsive and simple to comprehend.
The digital camera can pair with Olympus’ Image Share application on an Android os or iOS smart phone or tablet, and overall performance there is extremely good also. You scan a QR code on the camera’s display screen to get connected the 1st time, then going forward you just launch Wi-fi mode in the TG-3 and open up the Olympus application. Following that you’re able to fire off photos remotely as well as transfer pictures individually or in a group. The in-camera PhotoStory mode additionally allows you to take Instagram-size (1:1) split-photos, with three pictures in one single frame. I could to upload to Instagram merely seconds after shooting.
Needless to say, battery-life is not going to correspond to exactly what you’re going to get with a mirrorless digital camera or DIGITAL SLR, however I did manage to take over five hundred photos as well as 3 1/2 mins of 1080p movie in one recharge. The camera charges through USB, however it utilizes a proprietary cable, so you will need to bring that accessory with you on overnight excursions. In general, I was extremely pleased with the TG-3. I did not have an opportunity to bring it under water or even drop it from a height of 2 m (which it’s thought to survive unscathed), however I would not hesitate to utilize this particular ruggedized point-and-shoot for everyday photography, it’s really a incredibly solid pick. In short the Olympus Stylus TG-3 is a ruggedized digital camera which doesn’t blow.
At this point, no doubt you’ve had the opportunity to shoot with a compact interchangeable-lens digital camera, or perhaps you have at the very least noticed the nonstop mirrorless camera buzz. Of course, we have encountered a couple of duds, however the previous few years have delivered a multitude of models which surpassed our already lofty expectations, with Sony frequently leading the pack. Still, it is quite a bit to spend on any device, and while you would most likely be secure purchasing based upon Sony’s reputation within this area, we do not fault you for looking for a review.
Hardware and user interface
The A6000 is among Sony’s beefiest-looking mirrorless digital cameras so far. The body remains rather compact, however a top-quality metal build means that it ought to endure minor bumps and tumbles without suffering any dings and dents as well as scuff marks. This particular model takes the place of Sony’s NEX-6, maintaining the OLED electronic viewfinder, full-size hot shoe, dedicated function dial and pop-up flash. There is a 3-inch, 921k-dot, tilting Liquid Crystal Display, in addition to a 24.7-megapixel CMOS sensor, Wi-fi, 1080/60p movie plus a peak sensitivity of ISO 51,200. It’s obviously not deficient in the specifications department.
The A6000 is scarcely the most daunting mirrorless digital camera, however it is equipped with its fair share of control keys as well as dials. You’re able to choose the shooting mode utilizing a dedicated wheel placed up top, and then make adjustments to aperture and shutter speed with the secondary dial to its right. The included 16-50mm f/3.5-5.6 power zoom lens features a toggle switch on the side for adjusting focal length, you can also zoom in and out by twisting the front lens wheel. There are numerous dedicated and easy to customize control keys on the back, covering anything from exposure compensation to ISO, as well as a video record button situated next to the thumb rest.
The camera’s software user interface looks exactly the same as exactly what you will find using the latest NEX and Alpha digital cameras. Whilst there isn’t a touchscreen display, individual tabs ensure it is very easy to simply click through to the setting you want. It is possible to make adjustments on the fly utilizing the quick-function menu, and you also can easily shoot pictures as well as movies to a smart phone or computer over Wi-fi simply by pressing the plainly labeled transfer button.
Performance and battery life
Sony promises that the A6000 sports the “world’s fastest autofocus.” That’s challenging to validate without testing a number of recent models alongside each other, however the Alpha is unquestionably quick. There are 179 autofocus points, which makes it very easy to obtain a razor-sharp picture quickly even with complex scenes and the eleven frames-per-second consecutive-shooting mode ought to serve sporting shooters just fine. Really the only process that continues to be a little time consuming is actually transferring photos up to a linked smart phone. Once you pair both devices, you will nonetheless have to wait for your phone to connect with the camera’s Wi-fi network before you could initiate transferring pictures over, either one after the other or several at one time.
In terms of life of the battery, Sony’s succeeded in making improvements through the years without changing the 1,080mAh cell. The A6000 will come bundled with Sony’s NP-FW50 battery pack, that has been shipping with all the company’s mirrorless digital cameras ever since the NEX-3, a model which initially hit stores nearly 4 years back. Officially, you can expect to get 360 pictures with a full charge, although we had gotten through a complete day’s recording, including over five hundred photos as well as 3 mins of High Definition movie, with almost 50 % charge remaining.
The A6000 features fantastic image quality, on level with recent Sony NEX and Alpha digital cameras. You’ll not necessarily see a significant improvement if upgrading from the NEX-6 or similar models, however if you are shifting over to this ILC system, you ought to be rather happy with the final results.
Movie quality was also excellent. The camera exposed correctly and adjusted rapidly, with rapid focus as well. Zoom is also improved over earlier models, with thanks to the motorized zoom lens and integrated toggle switch.
Competition is firm within the mirrorless digital camera marketplace, however you are unable to do much better than the Alpha 6000 kit for the price. If you are prepared to invest a little more, Sony’s A7 full-frame model is really a exceptional alternative, however that will cost you significantly more without a lens. Within the 6000′s price range, Samsung’s NX30 is a good alternative. Photographers additionally appear to adore Panasonic’s GH4, and also the Olympus E-M1.
Sony is actually continuing its winning streak with the Alpha 6000. This well-balanced digital camera ought to last you for many years of first-rate photographing, and at the price with the 16-50mm power zoom lens, your budget is going to be in great shape, too. Advanced shooters will find dedicated controls, fast performance and outstanding picture quality, whilst ILC first-timers will reap the benefits of precise full-auto options as well as a straightforward user interface, additionally making this a sound fit for beginners with the money to spare.
Sony Alpha 6000
Extremely quick autofocus
Outstanding picture quality
Beginner-friendly user interface
Built-in Wi-fi as well as EVF
Reliable battery life
No mic input jack
You can find more powerful mirrorless digital cameras available on the market, however if you are looking to invest less than $1,000 including a zoom lens, Sony’s Alpha 6000 is definitely a sound choice. The Sony Alpha 6000 is a do-it-all mirrorless camera that’s worth every cent.
The Panasonic LUMIX G Micro DMC-GH4 is the first consumer compact system camera to deliver 4k video at pro-level quality. The Panasonic GH4 can shoot 4K at 30/25/24fps at 100Mbps and 1080p way beyond broadcast standard to 200Mbps. Extremely impressive.
It can perform this mighty feat thanks to the brand new 16MP Live Mos sensor & Venus Engine IX, which is much more powerful than the previous version. The electronic viewfinder has also been improved, and is now a 2306k dot OLED panel.
The new Live Mos sensor has a brand new autofocus system, known as DFD – depth from defocus – for optimum performance with Micro Four Thirds lenses, had has an increased 49-point focus system. These work together seamlessly, and provide accurate focusing that feels instantaneous.
The Panasonic GH4 can shoot stills at up to 12fps, or 7.5fps with continuous autofocus. Focus peaking & zebra pattern are available in both still & video recording modes for manual focusers.
The new Live Mos sensor has an improved signal, providing better noise reduction, resolution detail, graduation and a wider dynamic range. 4k video is shot in a straight “pixel for pixel” capture system, as it uses a significant portion of the camera sensor, making the output crystal clear. When shooting 4k video, there is a 17% increase to the equivelant focal lenght of the lens – so if you are using a 50mm Micro Four Thirds lens, it gives you a 100mm equivalent for still shooting & 117mm equivelant for 4k video shooting.
The impressive list of specifications combined with the outstanding image quality and incredible 4k video make the Panasonic GH4 an extremely worthy contender for both serious photographers and videographers.
The Manfrotto KLYP+ system transforms your iPhone from a simple point and shoot camera to an all-in-one photography solution.
Manfrotto are extremely well known as a manufacturer of a huge range of glorious tripods, camera bags and other photographic gear. The Manfrotto KLYP+ system brings all of Manfrotto’s outstanding manufacturing quality to the iPhone photographer.
The Manfrotto KLYP+ system is built around the rugged iPhone bumper case with a kickstand and wrist strap, available in black, red, pink and white.
The Manfrotto KLYP+ iPhone Bumper Case is a poly-carbonate cover which is reassuringly sturdy. It features a raised edge around the circumference to securely attach compatible accessories, which also provides enough clearence to keep your iPhone screen intact should you accidentaly drop it.
The Manfrotto KLYP+ iPhone Bumper Case has an eylet at the corner, which allows you to attache the wrist strap for additional security.
The raised edge of the Manfrotto KLYP+ iPhone Bumper Case allows you to attach the kickstand to any edge of the case. The kickstand allows you to prop the iPhone at an angle on a surface, but also doubles as a tripod mount. This allows you to mount your iPhone on to any camera tripod.
The Portrait lens is a 1.5x telephoto magnification lens, and is ideal for portraiture and getting closer to the action.
The Landscape lens is a wide angle lens with 0.68x magnification, allowing you to capture much more of the landscape in a single photo.
The Fisheye lens is a circular fisheye with 0.28x magnification, that wraps photos into round, hemispherical images.
Rounding off the Manfrotto KLYP+ system is the STM LED light. The STM LED light is a super-bright continuous light that has 3 brightness settings. it comes with its own tripod mount, which can also be used on the Manfrotto KLYP+ iPhone Bumper Case. The STM LED light has a built in rechargeable battery, which charges over USB, just like the iPhone.