|Diameter x Length||-|
While rediscovering some images taken with this lens in the nineties, i was flabbergasted by the sharpness and constrast of these color prints. So i decided to try out a second copy of this lens, found locally for a very decent price, on a Sony A7 body. With equally satisfying results - given that resolution and constrast are on par with fixed focal lenses between 24 and about 40 mm. Above 40 mm, contrast suffers a bit but closing the lens a few stops controls coma and residual spherical aberration. On a full frame sensor, uniform sharpness in 99 % of the frame is achieved by closing the lens to f/8, for extended depth of field it is possible to stop down to f/16, the visible impact on sharpness staying minimal. Distorsion is visible and distracting at 24 mm but it decreases at longer focal lengths. Vignetting is only visible at f/3,5 (24 mm) or f/3,8 (48 mm). Due to the number of elements ( 10 in 9 groups), flare is noticeable in backlight situations - unfortunately, the lens hood is seldom supplied with the lens and often sold at prices which are barely lower than those of the lens ! Furthermore, without the lens hood, there's no "official" way to place a filter in front of the lens. While a slightly modified Canon EW-63 II lens hood can be used to protect the front lens from stray light, it doesn't solve the annoying filter problem...
Mecanically, this is one of the finest lenses i've ever owned - while having a small and compact size, the body is made of metal, with very smooth operation focusing and zoom rings. The aperture ring, only piece made of plastic, sports clic stops at full values between 3,5 and 4 as well as 16 and 32, and half values between 4 and 16.
The Tamron SP 24-48 mm is a very good alternative to the two Canon FD-L wide angle zoom lenses - at a very interesting price !