Junichi Date’s lens paradise “CAPA” December 2022 issue Other Shots
Photographer Junichi Date makes extensive use of various lenses and reviews “CAPA“Lens Paradise”, a popular series in this magazine.December 2022 issue‘s “lens paradise” Other Shots is Tamron’s large-aperture standard zoom lens “20-40mm F/2.8 The III VXD” and super-telephoto zoom lens “50-400mm F/4.5-6.3 Di III VC VXDI checked the depiction performance of “.
In the first part, let’s take a look at the depiction of the “20-40mm F/2.8 Di III VXD” with live-action examples.
table of contents
- Tamron 20-40mm F/2.8 Di III VXD live action check
- Tamron 50-400mm F/4.5-6.3 Di III VC VXD live action check
Tamron 20-40mm F/2.8 Di III VXD
spec
[マウント] sony e mount[最大径×長さ]φ74.4×86.5mm [重さ] 365ｇ[レンズ構成]11 groups of 12 pieces[最短撮影距離]0.17m (W) / 0.29m (T) [最大撮影倍率] 0.26 times (W) / 0.20 times (T)[絞り羽根枚数]9 sheets[フィルター径]φ67mmReference price88,000 yen (tax included)
You can shoot landscapes with a sense of expansiveness pulled down to 20mm
From Yamanakako panorama deck. A typical standard zoom does not have such a wide angle of view, so there is a risk that the volume of the pampas grass on the slope will be insufficient. With this zoom, you can zoom in up to 20mm, so it’s strength is that you can take landscape photos with a sense of expansiveness. If you stop down to f/13, you can shoot mid-to-long-distance scenes with pan-focus, and the details of the ears of silver grass and trees in the distance are well resolved.
A sharp depiction of the details of the cosmos
At Sakura Furusato Square. After a leisurely lunch, we arrived just before 2pm. It was still cloudy, but regarding 10 minutes following arriving, the sun came out with a drizzle. When I looked behind me, I saw a rainbow, so I hurriedly moved to a shooting position where the windmill, cosmos field, and rainbow all fit together. This cut was taken with W. The cosmos in the foreground is also very sharp and very satisfying. Anyway, it looks surprisingly good.
Surprisingly sharp resolution, and Mt. Fuji in the background has a natural presence
I took a picture of pampas grass with Mt. Fuji in the background. With the aperture wide open, only part of the pampas grass is in focus, and Mt. Fuji is a little too blurry, so I stopped down to f/8. There is no color bleed in the ears exposed to the light, and the resolution of the ears in the foreground is so sharp that it gives me chills. Mt.Fuji in the background is also blurred with a natural presence.
When stopped down to F11, the light streaks are beautifully extended.
At Sakura Furusato Square. It had been cloudy until then, but just before sunset, the sun appeared through the gaps in the clouds, and the cosmos emerged in the light of the setting sun. If the aperture is stopped down more than F11, the striations will extend beautifully.If you use half ND, the windmill will be dark and unnatural, so Sony’s Special Move D Range Optimizer [LV5] I lifted up the shadow part with , aiming for an HDR-like effect.
The close-up resolution is excellent, and the bokeh is soft and natural.
Speaking of flower macro, there is an image of medium telephoto, but this is a shot taken with W 20mm. The shortest focusing distance is 17cm for W (29cm for T), so you can enjoy taking close-up shots of flowers with a wide angle of view. It’s bright at F2.8, so if you shoot with the aperture wide open, the background will be blurry and the bokeh will be soft and natural. The resolution of the focal plane is excellent for close-up photography.
At the telephoto end, the resolution is a little loose, but the fine bokeh is smooth.
This was taken in the 35mm range. Compared to the wide-angle side, the sharpness of the wide-open rendering on the telephoto side is slightly lacking, but the resolution on the focal plane is not particularly disturbed, and the resolution and bokeh are above the standard for a wide-open rendering of an F2.8 zoom lens. is. At a closer distance, the resolution becomes a little looser, but the fine bokeh is also smooth and soft.
Perfect for portrait photography with superb resolving power and natural background bokeh
I held the camera horizontally so that the vertical lines were not slanted as much as possible, and took care not to distort the shape of the face. Compared to medium-telephoto, you can enjoy portrait photography with a feeling of expansiveness. The eyebrows and eyelashes are sharp, but the rough skin and pores are not over-resolved, and the exquisite resolution and natural background blur are attractive.
Faces near the periphery of the screen are resolved without disturbance even at full aperture
Raise the tilt monitor and shoot at a low level and low angle. In order not to be confused by the tilted vertical line, I took advantage of the strength of the perspective while paying attention to the horizontality of the camera to make the legs longer and the face a little smaller. Even though there is a face in the periphery, the resolution is not disturbed even at the maximum aperture, and the skin is reproduced smoothly, making it a female-friendly depiction.
Excellent point image reproduction performance for an F2.8 zoom
It’s too wide to shoot the night view of Minato Mirai from Yokohama Osanbashi, so I took a picture of an airplane at night from the observation deck of Haneda Airport Terminal 2. Both ends of the long side maintain sharp resolution even with the W aperture wide open, and point light sources are slightly distorted in the periphery near the four corners, but the wings do not spread out and the purple fringing around the streetlights does not stand out. Excellent point image performance for an F2.8 zoom.
Ghost flares are not noticeable unless the conditions are bad
Kochia at Kawaguchiko Oishi Park. In order to check the appearance of the rays, I put the sun directly into the frame and stopped down to F11. Even if the sun does not cover the gaps in the trees, beautiful light streaks can be seen, and a small, faint ghost can be seen on the diagonal line where the sun is located.
* The reference price is the mass retailer price at the time of writing the article.
In the second part, I will check the rendering power of the “50-400mm F/4.5-6.3 Di III VC VXD”.
Sony α7R IV + Tamron 50-400mm F/4.5-6.3 Di III VC VXD (left), Tamron 20-40mm F/2.8 Di III VXD (right)
Sony α7R IV Tamron 20-40mm F/2.8 Di III VXD Aperture priority auto F13 1/200 sec +0.3 correction ISO200 WB: Auto 20mm area
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Sony α7R IV Tamron 20-40mm F/2.8 Di III VXD Aperture Priority Auto F11 1/200 sec ISO100 WB: Sunlight 20mm area
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Sony α7R IV Tamron 20-40mm F/2.8 Di III VXD Aperture priority auto F8 1/400 sec +1 correction ISO100 WB: Auto 40mm area
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Sony α7R IV Tamron 20-40mm F/2.8 Di III VXD Aperture priority auto F18 1/30 sec +0.3 correction ISO200 WB: Auto Creative style: Sunset 20mm area
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Sony α7R IV Tamron 20-40mm F/2.8 Di III VXD Aperture Priority Auto F2.8 1/1000 sec ISO100 WB: Sunlight 20mm area
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Sony α7R IV Tamron 20-40mm F/2.8 Di III VXD Aperture priority auto F2.8 1/640 sec +0.3 correction ISO100 WB: Sunlight 35mm area
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Sony α7R IV Tamron 20-40mm F/2.8 Di III VXD Aperture priority auto F2.8 1/250 sec +1 correction ISO800 WB: Sunlight 21mm area
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Sony α7R IV Tamron 20-40mm F/2.8 Di III VXD Aperture priority auto F2.8 1/160 sec +1.7 correction ISO800 WB: Sunlight 21mm area
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Sony α7R IV Tamron 20-40mm F/2.8 Di III VXD Aperture priority auto F2.8 1/30 sec -1.7 correction ISO400 WB: Auto 20mm range
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Sony α7R IV Tamron 20-40mm F/2.8 Di III VXD Aperture priority auto F11 1/400 sec -0.7 correction ISO100 WB: Auto 20mm range
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