Lens Review Tamron 24-70 mm f/2.8 Di VC USD

The Tamron 24-70mm f/2.8 Di VC USD is a great lens choice for both professionals and enthusiasts.

The Tamron 24-70mm f/2.8 Di VC USD is a great lens choice for both professionals and enthusiasts.

I won’t make you wait until the end of the review for the verdict– this lens absolutely rocks. Plain and simple. Despite what I consider to be a huge and unfortunate misconception among many professional photographers, there are some truly amazing, high-quality lenses being designed and produced by companies other than Nikon and Canon. Dismissing them as being somehow inferior simply because their logos don’t match up with those on the camera would be a big mistake. The Tamron SP 24-70mm f/2.8 Di VC USD is just such a lens. I recently had the opportunity to put it through its paces, and this is where the test drive took me.

The Specs

Let me start with deciphering the alphabet soup. Designed for digital (Di), this lens includes Tamron’s proprietary Vibration Compensation (VC) for less camera shake and smoother image stabilization, as well as its Ultra Silent Drive (USD) motor, ensuring fast, virtually silent auto focusing. This Super Performance series (SP) lens includes 17 elements in 12 groups, which vastly reduces chromatic aberration.

  • Focal Length:  24-70mm
  • Maximum Aperture:  f/2.8
  • Lens Construction:  17 elements in 12 groups
  • Minimum Focal Distance:  0.38m (15.0 inches)
  • Maximum Magnification Ratio:  1.5 on APS-C sensor cameras
  • Filter Size:  ø82mm (3.2 inches)
  • Length:  108.5mm (4.3 inches)
  • Extended Length:    116.9mm (4.6 inches)
  • Diameter:  ø88.2mm (3.5 inches)
  • Weight:  825g (29.1 oz)
  • Diaphragm Blades:  9 (rounded diaphragm)
  • Standard Accessories:  Lens Hood
  • Cost:  $1,224 (USD), compared with $1,887 (Nikon) and $2,299 (Canon L Series)
  • Compatible Mounts:    Nikon, Canon, Sony (NOTE: The Sony version of this lens does not include the vibration compensation feature, since Sony DSLR bodies already have this functionality).

First Impressions

In some ways, I was sold on this lens before I even put it on a camera. Taking it out of the box for the first time, I was immediately impressed with the feel of it. It’s obvious that this lens was both designed and constructed with high-quality materials and great attention to detail. A common complaint among photographers about “off-brand lenses” (a term I hate, by the way), is that they just don’t have the same feel or build quality as lenses coming from Nikon or Canon. I’ve used several Tamron lenses over the years (the 28-75mm f/2.8 being among my favorites), and I can tell you that you’d be hard-pressed to find any flaws in the construction and build of this lens. As a matter of fact, this is Tamron’s first lens to include extra seals for moisture-resistant construction.


Lens Creep

Lens creep is a fairly common problem with zoom lenses of lower quality. If you have ever zoomed a lens all the way out, only to have it slowly slide back down on you when trying to shoot at a sharp, upward angle, you know what I’m talking about. The opposite can also happen, where a poorly crafted zoom can start sliding out all on its own when pointed at a downward angle. While lens creep usually manifests itself more readily with longer, heavier zooms, it can be an issue on shorter lenses also. I experienced no lens creep at all on this lens, regardless of where I was along the zoom range.


As noted in the specs above, this lens is equipped with Tamron’s Ultra Silent Drive (USD) motor, which is supposed to help ensure fast, virtually silent autofocus. This is particularly useful for wedding and event photographers who are trying to be as unobtrusive as possible. One of the things that helps me hide in plain sight is quiet autofocus. One word of caution is worth mentioning. While the USD is virtually silent on the outside of the camera, it is possible that additional noise might be picked up when shooting video.

Autofocus was fast, accurate, and, as mentioned, quiet. There might have been a slight bit of focus lag in extremely low light situations, but I would expect that from just about any lens in dark conditions. My only complaint regarding the manual focus on this lens is the size of the rubber focus ring. I think it’s a little too small, even for average hands. Add my big Chewbacca hands into the mix, and manual focus ends up taking a little more concentration that it should actually need. As far as the actual manual focus mechanics, however, I have no complaints at all. There was no lag whatsoever on the ring, making it smooth, accurate and responsive.


Chromatic Aberration

Forgive me for a minute or two while I geek out on the science end of things. Chromatic aberration is a type of distortion in which the lens fails to focus on all colors to the same convergence point. It is also a type of distortion which appears more frequently in lower quality lenses. It occurs because different lenses have different refractive indices for different wavelengths of light. Before your eyes glass over too much, let me just say that chromatic aberration becomes visible as fringes of color along boundaries separating light and dark parts of the image (i.e., contrast). As a general rule, chromatic aberration is mainly an issue at the combination of a lens’ shortest focal length and its widest aperture. This particular lens was designed specifically to minimize chromatic aberration and those efforts appear to be successful. While the laws of physics make it practically impossible to completely eliminate chromatic aberration, this lens exhibited it so slightly that I actually had trouble finding it. To that end, I’d say that any chromatic aberration actually created by this lens is inconsequential.

As long as we’re on the subject, let me offer one additional point regarding chromatic aberration that has nothing to do with this review. Colored fringes (often purple) around image highlights can be due to lens flare and have nothing at all to do with chromatic aberration.

Sharpness, Vignetting and Distortion

I found this lens to be very sharp in the center at all focal lengths and apertures. While stopping down a lens (moving to a smaller aperture) can sometimes result in an increase in sharpness and resolution, there was virtually no change in this lens between 24mm and 35mm. It wasn’t until I got between 50mm and 70mm that I think I might have noticed a very slight improvement by stopping down, but it was too slight to be of any real concern to me.

On a full frame Nikon D800, the corners are slightly less sharp than the center–a fairly common issue in lenses of this focal length. Having said that, however, corner image quality improves at all focal lengths as the lens is stopped down. I found the optimum aperture for the corners to be around f/8. Taking both center and corner sharpness into account, I’d put the “sweet spot” for this lens to be around f/5.6, but don’t let this keep you from capturing great “wide open” shots at f/2.8. The big surprise for me came when I compared corner sharpness on the Tamron with a Nikkor 24-70 f/2.8 and found corner sharpness on the Tamron to be better than the Nikkor.

While there is some visible distortion at the wider end of the lens, it does drop off quite quickly as you zoom in from 24mm. This is of most concern when shooting portraits. Making sure that faces are not distorted is an obviously valid concern, and is easily addressed by zooming the lens all the way in to 70mm.

Putting it to the Real Test

It’s easy to get passionate about lenses, regardless of brand name. It’s also easy, however, to get lost in the details. Look hard enough and you’ll find issues relating to chromatic aberration, sharpness, vignetting, and distortion in any, and every, lens you try. As pointed out earlier, we’re dealing with the laws of physics. That’s why the ultimate test of any lens has to be how it performs in everyday shooting conditions.

The first thing I want to know about any lens is what it’s going to do for me. Like many photographers, I make a living capturing a wide variety of subject matter. Since most of us don’t have unlimited gear budgets, the best purchases are those that are going to fill more than just one function. This is one of those lenses that does a great job, regardless of whether I am shooting portraits, food, or architecture. The fact that it does a great job as an all-around, everyday lens for personal photography is a bonus for the professional and a necessity for the enthusiast.

First came outdoor portraits. This first image was taken in the shade with no direct sunlight. There was a single off-camera strobe in a softbox to the left of the camera, approximately three feet from the subject. I was impressed with the speed of the autofocus, as well as how this lens captured the fine details. As noted, the wrong focal length can sometimes distort a subject. Zooming a 24-70mm all the way in to 70mm, like I did here can prevent that.


1/125, f/8, ISO 200, 70mm, off-camera flash.

I was in the middle of a cookbook shoot when this lens arrived, and I was curious to see how it would do in an all natural light scenario. When we shoot food in the studio, we generally use a single natural light source (big window) to backlight or sidelight the dish, along with a bounce card for fill. Shooting from the shadow side of the food can sometimes pose a challenge for auto-focus, but this lens had no problems at all, even when I selected a focus point in the darkest part of the frame.


1/80, f/5.6, ISO 400, 70mm, natural light.

But let’s take low light a step further. Really low light. In the images below, the photo on the right was taken with only ambient light in order to show how the autofocus performs in very low light situations. For purposes of the test, I placed my focal point on the subject’s left eye- the one in shadow. The photo on the left was taken at the same settings, with a single speedlight in a softbox to the left of the camera. The autofocus obviously had to work a little harder than it might have in broad daylight, but not so much that it became a problem on the shoot.


1/60, f/5.6, ISO 640, 70mm, off-camera flash.

If you read my article on How to Shoot Flowers, you know I spend a lot of time capturing flowers and their delicate details. Obviously,  I was excited to see how the lens would perform with flowers. Other than the crop, this image is straight out of the camera. The edges and textures are all very sharp. While not specifically a macro lens, it’s nice to know it can still capture fine details with precision.

1/500, f/2.8, iSO 100, ambient light.

1/500, f/2.8, iSO 100, ambient light.

While attending Photoshop World in Atlanta last month, I stopped by the Westcott expo booth, where models and lights were set up for the Westcott Shootout Contest. Since studio lights were already set for optimal conditions, it seemed like a great opportunity to test the lens for indoor portraits. Other than the black and white conversion, this image is straight out of the camera. The lens performed really well while trying to capture the glam look of 1940s Hollywood.


1/200, f/5.6, ISO 1600, 70mm, constant LED studio lighting.

The lens had performed extremely well with portraits, food, and flowers, so I decided to see how it would do on an architectural interior shoot before I had to box it up and send it back. I was thrilled with how it captured the color and contrast.

1/160, f/10, 28mm, ISO 200, ambient light.

1/160, f/10, 28mm, ISO 200, ambient light.

Wrap-Up and Recommendations

Like I said at the very beginning — this lens rocks. It performed flawlessly in a variety of lighting and shooting situations. While I didn’t have time to take it out on a landscape shoot, there was absolutely nothing about my experience with this lens to indicate that nature and landscape results would have been any different. An excellent lens for either full-frame or APS-C sensor cameras, if you’re looking for a really great lens that can handle just about any assignment, the Tamron 24-70 f/2.8 should be at or near the top of your list of choices. The only down side to this lens was returning it to Tamron when I was done.

We hope hop enjoyed this review – get a price on the Tamron 24-70 mm f/2.8 Di VC USD at Amazon

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Tamron 24-70mm f/2.8 Di VC USD Lens
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Jeff Guyer is a commercial/portrait photographer based in Atlanta, GA. Still an avid street photographer and film shooter, Jeff also launched a kids photography class called: Digital Photo Challenges.

  • Thanks for the review, especially on a Nikon! This is my next lens for certain, even when most of the reviews I’ve read were based on Canon bodies. I’m also coming from a Tamron 28-75mm which has been my de-facto zoom on all my bodies (D50, D90, D600), but that non-AFS focus drive is showing its age.

    I felt accomplished when I finally standardized on 77mm for most of my filters, then comes this 82mm beast and a $200 minimum for a decent CPL that I’ll inevitably need to purchase. My question: since you appear to have only reviewed and then returned the lens, if you WERE to purchase this, how would you handle your current filters?

    Also, did you find any complaints or issue of “busy bokeh” or “onion bokeh”, the latter apparently being common with the Tamrons? I don’t mean to pick, but it’s something I never even noticed until someone pointed it out in a review, and then I noticed it in my current Tamron. Did you find shallow DOF subjects to have a pleasing-enough background in most cases?

    Lastly, I tried out one of the all-in-one zooms from Tamron and found that with the VC on I had a bit more battery drain–not surprising since it’s essentially an electromagnet that handles the fine-tuning. Did you notice any potential issues in that respect, or did you try a day with and without the VC on?

  • Pierre

    Thanks for the review. While I’m mostly convinced now to buy this lens after doing some research for quite a while, I am still a bit concerned about vignetting; but you did test all that on a full frame body, didn’t you? Because on a crop body, that would of course be much less of an issue…

  • Jeffrey Guyer

    Hi, Pierre. I tested the lens on both a full frame and cropped body, and found the vignetting to be minimal on the full frame– particularly when stopping down. On the APS is was pretty much a non-issue entirely.

  • Jeffrey Guyer

    Hi, Dustin.

    The filter question is a good one. Unfortunately, I don’t have a solid answer for it. I don’t do a ton of filtered shooting, but I suppose that would all have to be part of my cost-benefit assessment before actually purchasing it.

    As far as “onion bokeh” is concerned, I assume you are talking about those situations where the blurred highlights contain concentric circles, thereby resembling an onion slice? (See attached image). It’s been my experience that onion bokeh is only created when there is a very bright light source that (1) out of focus, and (2) STRONGLY contrasts with the rest of the scene– like a car headlight, perhaps. I didn’t do much with this lens in terms of lights-at-night situations, but I can tell you that over many years of using many types of lenses– Nikkor, Canon L Series, Leica, Tamron, Sigma, etc.– I’ve only encountered this issue once of twice. I could be wrong, but I believe the phenomenon to be more related to the shooting conditions than the lens per se.

    Honestly, I did not stop to think about the effect VC might have on battery life. I can tell you that I shot extensively with this lens over the course of four days and didn’t change my battery.

    I hope this helps. –J.

  • Guest

    Image missing from previous reply.

  • Pierre

    Thanks for that quick response to my question.

    As I’ve seen in reviews on other websites, it’s hardly an issue when stopped down. However, my main concern would be the vignetting for portraits (so at the longer end) wide open; some reviews say that there’s more than 2 EV of vignetting wide open!

  • Adri

    Hi Dustin, I recently purchased this lens after reading loads of reviews. The “onion bokeh” did come up and worried me a great deal since I am in love with those beautiful smooth bubbles. 🙂 In South Africa Tamron offers a very competitive product at LESS THAN 50% of the cost of the Nikon equivalent (approximately a 1300 USD difference), which is what eventually swayed my decision.

    I am incredibly happy about my purchase and though I have noticed the onion bokeh (if I’m being nitpicky), I have a portrait lens for situations where I know bokeh will be my star. The image below is a 28% crop and only at 28% do I really start noticing the ‘onioniness’. So, it will be visible in large high quality prints, but in normal sized prints, not so much… (Image taken with f2.8 ISO 100 1/80s with external flash.)

    I will most likely start uploading images taken with the lens on Flickr soon. Let me know if I should let you know.

  • Adri

    Great review with beautiful example images, Jeffrey. I recently purchased this lens and it is my new workhorse lens (on a D610). Love it!

  • Jeffrey Guyer

    Thanks, Adri! I’m glad you’re enjoying it.

  • Steve

    I wish manufacturers – and reviewers alike – would get into the habit of distinguishing between lenses designed for full frame and crop sensors in plain English, right up front. Your alphabet soup definition of telling me “Di” is for digital cameras didn’t help – as the “Di II” really wouldn’t be used on a film camera either. I had to hunt to find out which it was – for the benefit of other readers – “Di” is full frame. Why couldn’t you have simply said that? I hope you’ll consider this when you next review a lens – especially from 3rd party manufacturers. Other than that – thanks for the review.

  • Jeffrey Guyer

    Thanks for commenting, Steve. I didn’t distinguish this as a “full frame” lens, simply for the reason that it can be used– with excellent results– on an APS sensor camera as well. While some might feel that the crop effect takes the lens out of the wide range, and not far enough into the zoom range, it’s all a matter of taste and preference. Classifying it as strictly a full frame lens in the review could easily discourage people from unnecessarily avoiding the lens.

  • Ah Tan

    When I was about to make my purchase on this lens, the salesperson from the camera shop told me that all third party lenses run into potential problem of not being recognized by the camera body. Is that a valid concern? I just bought my D610 recently. Thanks.

  • Jeffrey Guyer

    I have never heard of this happening.

  • Fabio Moretti

    Hi, great review!!

    I used from about 11 months this great lens on both a cropped body (Canon 60D) and a full frame (with my new Canon 5D Mark III) and I loved it from first instant !!
    This is the lens I put every time into my photography bag during my travel o photography time!

    This is one shot of yesterday in Rome (my city) with my 24-70 lens (original and PS retouched)

  • Guest

    Hi, great review!!

    I used from about 11 months this great lens on both a cropped body (Canon 60D) and a full frame (with my new Canon 5D Mark III) and I loved it from first instant !!

    This is the lens I put every time into my photography bag during my travel o photography time!

    This is one shot of yesterday in Rome (my city) with my 24-70 lens (original and PS retouched)

  • Guest

    This is the PS retouched version

  • This is the second PS retouched version of original

  • Adri

    I use it on my D610. Also never heard of this happening.

  • Choo Chiaw Ting

    great. Waiting for the author to do review n 50mm f/1.2 Manual AIS lens..

  • Yunusa Tanko Abdullahi

    Tamron is a super lens though It might not have the same name as canon and Nikon but it’s a beast in terms of performance. Checkmoutbthev10-22mm f/3.5. Amazing shots

  • Roger Lambert

    I *have* had a problem using this lens on a Canon and getting it to work with ETTL off-camera flash.

  • Kenneth Dougherty

    I have put a CPL filter on mine and it leaves a little dark edge in each corner at 24mm. It leaves about 30mm so i removed it. Has anyone else had similar issues?

  • ManFromGlad

    Thank you. Went ahead and bought it. Tamron is offering a $100 rebate on this lens right now.

  • Yuliya Brown

    I have a question. I’ve heard on one of the video reviews that this lens is not true 24-70mm but rather 24-65mm. the same person made a comment that tamron’s 70-200mm is not true 200 mm. I can’t find this information anywhere else. Is this true? because if its is I dont understand why would manufacturer mis-represent the data. that bothers me more than people complaining that companies misrepresent f stop when convert the lens specs to APS-c sensors.

  • Jeffrey Guyer

    I’ve never heard that claim about these lenses and I’ve used both extensively.

  • Yuliya Brown


    if you skip to 7:12.
    this is the same lens, right?

  • Rich Nicely

    I agree that now that full frame DSLRs are becoming more common, it’s nice for reviewers to specify whether a lens is Full Frame or not.

    With that being said, in defense of Tamron (and all other lens makers) you have to understand the history, to understand why they don’t market lenses as “Full Frame” or “FX”.

    It’s not as if there’s always been such a thing as FX and DX, and although DX lenses are made specifically for DX bodies, FX lenses are made for ALL bodies.

    You have to remember, that prior to 1999 there was no such thing as a Nikon DSLR or the DX format. All Nikon SLR lenses were made for 35mm.

    In 1999 when Nikon came out with the D1 it was designed to use 35mm lenses, even though it had a smaller APS-C sized sensor.

    It wasn’t until 2003 that Nikon had the bright idea that they could make cheaper lenses that only had an image circle large enough to cover the sensor on a DX camera and market them as DX lenses.

    Contrary to popular belief, DX lenses are not “optimized” to work better on a DX body than FX lenses. A DX lens is simply a lens that’s was cheaper for them to manufacture because the image circle was not large enough to completely cover the sensor on a 35mm camera.

    (Even today an FX lens is better whether you are using an FX body or a DX body….it’s just that with a DX body since you only use the center portion of the image circle you can get away with using a cheaper DX lens.)

    There was never any concept of an FX or Full Frame lens at that point.

    It was understood that there were regular lenses, and cheaper “DX” lenses that could only be used on the new DX (APS-C) DSLRs.

    In 2007 when Nikon introduced the D3…their first Full Frame DSLR (sensor equivalent to the size of a 35mm film negative)…that was the first time any body was designated as FX, and because their sensor was the same size as 35mm, a DX lens wouldn’t work and you had to use “regular” lenses (Lenses that were not designated as DX only)

    Only now that full frame DSLRs like the D600 and D750 have become affordable to the masses have people started thinking about lenses as being “FX” or “DX”…and there is a popular misconception that FX lenses are designed for FX cameras and DX lenses are designed for DX bodies.

    The reality is that Regular (FX) lenses are the norm and the better lens for any Nikon SLR or DSLR….and DX lenses are made only to be used on DX lenses.

    So instead of thinking of lenses as either FX or DX…..simply think of them as regular or DX only….and when Tamron specifies that their Di II are for APS-C (DX) bodies only that means Di are for any DSLR (FX or DX either one)

  • Benjamin Fletcher

    Go to another store. They’re just trying to get you to buy the Brand name lens.

  • Marcel Martinéz

    I didn’t like this lens w/ my D750 for weddings. This was the first time I used that focal length on a full frame though. I prefer it on a crop sensor. On a full frame it’s essentially a 18-55 kit lens, with f2.8 aperture of course

  • Channah Lerman

    Hi, A great lens. I have it mounted to my Nikon D750 as a day to day lens. I love it.

  • Dave Pearce

    I had two copies of this lens for my 5Dmkiii, and both had faulty VC systems. Not only that one was not as sharp as the other, one locked up my camera numerous times, and AF was not good at keeping up with AIServo.
    I would own one again if i had to, its not a bad lens, but id be very weary of buying it.

  • Vitaliy Gyrya

    You refer to focus breathing. What it means is at some focus distances it is indeed a “shorter” lens. I heard comparison to 22-60mm at the closest (!) focus distances. At normal shooting distances of 5 feet + it will function the way it is supposed (24-70mm).

  • Monica6296
  • Jim Wolff

    I do not consider Tamron as an off-brand lens by any means. My experience is that Tamron holds the market on zoom lenses, while I go to Nikon for prime lenses. The Tamron 24-70 F2.8 also happens to be my favorite lens. Sure, I bring my slower 18-200 Nikon F3.5-5.6) lens when I shoot wildlife, or even my 70-300 Nikon, but when I shoot models or other types of general shots, I am in love with my Tamron 24-70. It is the most versatile lens and gives great crisp results. I do not have any experience using it with video because I just don’t shoot much video with my D750 (although I probably could – it is just not my interest at this time).

  • Chirag Rana

    I am buying this lens because for a professional photographer, it replaces my 24mm, 35mm, and 50mm and to some extent 85mm lenses. When I shoot any wedding or event or portrait, this will avoid changing the lens in between which helps a lot.


  • Ali Baba

    I am the proud owner of this lens which I purchased over a year ago. This is my workhorse lens, my go to lens for 99% of all my work. I cannot find fault with it.

  • Works perfectly with Nikon D750

  • Todd Wallarab

    I “love” this lens. Pretty much on my Canon 80D at all times unless I take it off to use my Tamron 150 – 600!!

  • Vishwas

    This lens has been my workhorse for shooting weddings and events , its a fantastic lens with amazing image quality. But I occasionally face backfocusing issue when shooting groups(end up with a blurry picture) wide at 24mm. does anyone else face this ?

  • Hans Heisenberg


  • Kenneth Karirú Muchiri

    This lens is on my camera like 75% of the time. It’s that good!

  • Lesleyh

    I don’t get this?? The Tamron 24-70mm f2.8 VC usd is a full frame lens. It goes from wide to moderate telephoto. Works great on a D750 for most people so I just don’t understand?

  • tm4004

    Left it on my D300 for couple of hours and it drained the battery. Returning it tomorrow.

  • Lmleyh

    I have had the Tamron 24-70mm f2.8 for about 6 months. I have found it to be a really good lens for my photography. It has lived up to my expectations and has performed really well in low light conditions. The focusing speed is quite fast and am not left wanting in this regard. I haven’t experienced any battery drain at all and the VC works very similar to the VR on my Nikkor lenses with the Tamron being quieter I believe. The Bokeh has been wonderful for me. I haven’t noticed the onion effect I have heard and read about but I don’t go looking for it either. My out of focus areas look real good to me but I am not a “pixel peeper” as I look at my photographs at actual size in general.
    If I were to look for issues on any of my lenses I am sure I could find problems in any of them however each piece of my equipment must perform to the task at hand and all currently do. This Tamron lens performs above my expectations for sure. I have used the Nikkor 24-70mm f2.8 and the Tamron is on par for IQ and quality of construction.

  • Ruskin

    This lens remains my favorite and default lens for portraits and hikes. However, on matters build, after a year of usage one has to be careful with the rubber band around the zoom area. If not, it comes right off exposing the lens to moisture and dust. It is however fairly easy to pull back. Perhaps Tamron can do something about it. You would not have noticed this since you were testing a new lens straight out the box.

  • Dave_TX

    I won this lens in a Facebook drawing so the price was right for me. That said, it became the lens that lives on my camera when I’m not out shooting wildlife with my 400mm lens. The color, contrast, and sharpness of the photos taken with the lens are great. Be prepared for some weight lifting, but it is all worth it.

  • worryboy

    I’ve had the Tamron 24-70mm for a little over two years and use it on my D750. I had a few problems getting it to work and have had to detach and and reattach the lens a few times to get it to work. Now a new problem has developed. Any aperture below 5.6 starts to deteriorate and at 2.8 is truly soft. This happens at all focal lengths. Shutter speeds and ISO settings. I have heard that the lens develops these problems with other Nikon models. If anybody out there knows of a home fix let me know otherwise its back to Tamron. I must say that when it was working I loved it.

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