Tamron 24-70 f2.8 G2

Tamron G1 vs G2 Comparison

I had a owned a Tamron 24-70 f2.8 G1 lens for two years and just traded it in on a G2 version. This post will focus on some of differences between the two lenses, so it’s not intended to be a complete review of the Tamron 24-70 f2.8 G2. More of answering the question, is it a worthwhile update, that you should consider.

Both versions have basically the same optical formula, my G1 needed about +6 AF fine tune to obtain the best images at 70mm @ f2.8. The new G2, is at 0 AF fine tune in camera. I tweaked it just a little with the Tamron docking station, mainly because I wanted to try it out. You can set AF fine tuning at four focal lengths – 24, 35, 50  and 70mm, with three distances at each focal length. I added +3 at mid distance for the 70mm end only. Tamron lets you adjust how the VC works, you can set focus limits if you need to tweak the focusing performance. It also lets you update the firmware, but currently there is only version one.

The G2 version focuses at least 50% faster compared to the G1. Just slightly slower than the Nikon 24-70 version one (which I also owned), but fast enough for most action. When I first purchased the Tamron 24-70 G1, I tested it at home in low light at home using static objects with my D700, and I didn’t have an issue with hunting. I have not tested either version in extreme low light, but specific bodies and AF settings would probably have a big impact on low light performance.

Regarding bokeh, in looking at a background image I shot of a tomato plant on the patio. I wasn’t actually testing bokeh at the time, just wanted a closer subject to shoot. I don’t really see harsh onion rings, just a smooth out of focus area. If bokeh is important in what you photograph, you may want to rent a copy and perform additional testing, but I don’t think you will be disappointed.

On VC, I can say that it’s at least a stop better compared to the G1. At 70mm with the G1 version, I still needed to be at 1/30 sec. The new G2 can get pretty consistence 70mm results at 1/15 a second. At 50mm I am getting good results at 1/8 sec with VC on, so it’s comparable to the VR on most Nikon lenses. There is stabilization in the view finder, and this can be adjusted with the dock, to bias it more toward the view finder or the subject. It’s set in the middle by default, so both the subject and the view finder benefit equally.

Tamron @ 24mm, f5.6, ISO-200, D700
Tamron @58mm, f5.6, ISO 200, D700

Handling, filter size, length and weight are all about the same. So while it isn’t a small lens, it feels fine on a FX body with a grip like the D700 or D810. The zoom ring on the G1 was ok, but the G2 zoom ring is much smoother. Overall the build quality is better, and it has weather sealing. Plus you can use the dock with it, if you do need specific fine tuning, just keep in mind that dock tuning would need to take into account any other bodies. It’s a combination of all those small improvements that I believe make it worthwhile to upgrade to the G2 version.

However, if VR / VC and AF speed are not a big deal to you, the G1 version can be very good value at something like $600 used, if you don’t already own a copy. I compared both lenses on a D700 side by side in the store for about 30 minutes, and optically they are close. In fact, I hesitated for a couple of hours, before I returned to the store and traded in my old lens on the G2.

Nikon D850

Nikon D850

On 08/24/2017 Nikon officially announce their new FX upgrade to the D810.

Welcome D850!

All the specs are now on Nikon’s web site: http://www.nikonusa.com/en/nikon-products/product/dslr-cameras/d850.html#tab-ProductDetail-ProductTabs-TechSpecs

The cool thing is that Nikon finally combined a lot of features into one camera, that historically they made you purchase at least two separate bodies to get. It’s lighter than a D700 and maybe just a few grams heavier than a D810. Nikon now seems to have higher frame rates sorted out with the both the D500 and now the D850 hitting 10 and 9 FPS respectively. Yes the D4 / D5 were up there too, but every other model was stuck in the 5-6 FPS range for about 5 years.

Good Stuff!

The D850 uses the same field-proven ultra-accurate AF system as the flagship D5. Nikon included the Advanced Multi-CAM 20K autofocus sensor module with TTL phase detection and fine-tuning, with 153 focus points, 99 cross-type sensors and a dedicated AF processor. The D850 has 45.7 MP performance and is capable of shooting in low light to -4 EV.

  • Nikon has included a new BSI CMOS sensor with no optical low pass filter. This sensor should be good for an additional stop at higher ISO’s over the D810 Body (with comparable noise).
  • Expeed 5 that processes 45.7 MP images with wider dynamic range, high-speed continuous shooting and full-frame 4K UHD movie recording. Data through put is obviously very high, along with a buffer that can handle 1.8x more 14 bit RAW and 3.6x more 12 bit RAW images before the buffer fills up.
  • Seamlessly switch between RAW sizes of Large (45.7 MP), Medium (25.6 MP), and Small (11.4 MP), whichever fits your need or workflow. The camera will average RAW data, but not compressed all the way into jpeg (8 bit). So you obtain smaller batch (12 bit) files in camera, but still retain most of the DR and the other benefits of the RAW format.
  • Focus peaking- Focus peaking works by detecting edges of highest contrast in your scene (and therefore most in focus) and highlighting them in a bright color.  The camera will use red, blue, yellow, or another color that allows photographers to recognize what is in focus and what isn’t. Also, when using manual lenses stopped down, it can also help show you how much of the scene is in focus at those apertures for checking your current depth of field.
  • Focus stacking- Is a digital image processing technique which combines multiple images taken at different focus distances to give a resulting image with a greater depth of field (DOF) than any of the individual source images.
For a more in depth look, see Nikon’s and Photographylife’s web sites:



RRS Pocket Pod Review

The Mini Tripod – Pocket Pod

I had a RRS BH-25 mini ball head shown on top, and came across this Really Right Stuff Pocket Pod. It’s small about six inches high without the ball head, light and very well made. As with most of RSS products, the parts of various ball heads and clamps all inter change.

The leg positions can be adjusted independently, if the surface isn’t flat. It has a fully open, fully closed and two intermediate  leg positions. The Pod has a load rating of 15 lbs, more than the BH-25, which I believe is rated at 8 lbs. That still is pretty strong and lets you attach a normal DLSR camera body and a small to medium size lens.

The ball head (not included) has one dedicated vertical slot and can be adjusted for virtually any angle. So for table top work or self portraits, it does allow you to manipulate the camera / lens safely. I know that I often don’t carry a tripod, unless I know I am going to use one, as in I am shooting video or have something specific in mind.

The pocket Pod let’s you hedge your bets, because it takes no room in your bag, so your more likely to have it with you. Specifically for those times when you didn’t plan to use a tripod, but suddenly find yourself thinking, I wish I had a tripod!
Really Right Stuff

Material: 6061-T6 black anodized aluminum
Load Capacity: 15 lbs
Leg Positions: Vertical, plus 2 positions and also fully open
Thread: 1/4-20 with 3/8-16 adapter
Folded Lenght: 5.9″ (with stud)
Height Fully Spread: 1.5″ (without ball head)
Weight: 4.8 oz

Nikon 300F4E PF Review

Nikon 300mm F4E

My review is a brief summary of what works and what does not work for me related to VR. Nasim Mansurov from Photography Life has an extensive review, with excellent comparisons to other lenses completed in 2015 at the link below:


Unfortunately the VR issues reported two years ago in different reviews have not improved, no new firmware or design changes.  Nikon officially acknowledged the problem with only the D800 series bodies, and indicated that lenses with serial numbers below 205101 were affected (Nikon did issued a firmware fix for those lenses, but it was only slightly effective in reducing the problem).

It seems like Nikon really doesn’t want to face the reality that many other bodies are also impacted in that same shutter speed range. Hello – Nikon, it’s now 2017 and my recently purchased lens has a serial number that starts with 226XXX. I don’t own a D800 series body, so why would my D7200 and to a lesser extent on my older D700 body have the exact same VR issues with my new lens?

My bodies are only affected in a limited shutter speed range of 1/100 sec to about 1/160 of a sec. However down at 1/80 of a sec, VR works well, yielding sharp images. Also, images taken over 1/200 of a sec with VR on are very good. Note: Images with VR off at 1/160 sec are better than with VR turned on.

I happen to be shooting some test shots of a rabbit in my back yard one morning and my shutter speed fell to 1/160 of a second.  So a pretty normal use case in my opinion, not trying to find or doing anything unusual. Viewing shots in the camera at 100%, I could easily see the VR blur. Once I pushed the ISO to 3200, to get the shutter speed high enough (1/320 sec) to overcome the VR limitation, the images look nice (see the bunny below).

D7200 with 1.4TC, f5.6 @ ISO 3200, 1/320 sec

As an update I did a little more testing the next morning (after the bunny shots) and found a couple of interesting things at lower shutter speeds. Specifically with my system of the D7200 and 300 f4E, it seems that with VR on 1/160 of a second is the worst possible shutter speed for IQ. Going up slightly to 1/200 sec or faster solves the issue. Also, reducing shutter speed below 1/100 sec helps a good deal.

Again, a 300mm lens advertised with 4 stops of VR should do fine at 1/160 sec. In fact, VR actually works well at 1/60 – 1/80 sec, indicating the lens can provide 3 stops of stabilization from one over the 300mm focal length. In my case, I just need to avoid 1/100 sec to 1/160 of a second at all cost if VR is turned on. In the bad range it’s better to simply leaving VR turned off and the hand held images improve. So counter intuitively, if I cannot go to a higher ISO,  I should lower the shutter speed to obtain better images with good IQ at around 1/80 sec with VR on.

D7200 with 1.4TC, f5.6 @ ISO 800, 1/2500 sec

In the above photo, it had been partially foggy that morning, and at times the shutter speed would drop. However, it was a little brighter during the above photo, and the fact that I had left VR on, did not seem to affect IQ. Outside of the VR limitation, it’s a nice lens, close in sharpness to the 300 f2.8G. It focuses fast with 1.4TC, and is generally fun to shoot with. On the D7200 with a 1.4TC, you get a very good effective crop focal length of a 600mm lens at f5.6 that you can easily carry with one hand. Just learn the VR specific limitations with your bodies.

Tamron 10-24mm VC HLD Review

Tamron 10-24mm F/3.5-4.5 VC HLD Review







   I have been shooting more with my DX camera, and was missing an ultra-wide lens, in my kit. In the past I had used a wide angle FX setup, but it’s not always convenient to take two bodies and multiple lenses with me. During a quick search online, I discovered the new Tamron 10-24 VC HDL lens had just came out and while not widely reviewed seems to be very nice.

Tamron list the optics as: “The optical design includes 16 elements in 11 groups. A new large aperture aspherical lens and LD (Low Dispersion).”

But does it work? – Well, after using it a couple of days the short answer is yes. I am impressed with this lens. I have owned the older Nikon 10-24mm f3.5-4.5G AFS and the 12-14mm f4G AFS lenses in the past. In looking at test shots from those lenses, I have two general comments. The new Tamron is sharper than the Nikon 12-24 f4G at f4, and has less distortion than the 10-24 f3.5-4.5.

Its body style is very close to the new Sigma “C” Contemporary series lenses. I also own the Sigma 17-70mm Dc f2.8-4, and it would be hard to tell them apart from the side. They both use 77mm filters, and have the same texture and sleek black poly carbon body. It does come with a lens hood, but no pouch. If anyone is interested, a Tamrac Goblin 1.4 lens pouch fits this lens with the hood attached.

The lens is impressively sharp at 10mm and very good at 24mm wide open. I do not have the TAP-IN console at this time, so I did a little AF fine tune on my D7200, and use +2, which seems to work pretty well across the zoom range, but probably not ideal at 24mm. The TAP-In would allow you to set different fine tune setting at different focal lengths, something that Nikon has yet to offer.

Note: “The optional TAP-in Console™ provides a USB connection to your personal computer, enabling you to easily update your lens’s firmware as well as customize features including fine tune adjustments to the AF.”

10-24 @ 15mm f5.6, 1/200 sec, ISO 200

10-24 @ 10mm f5.6, 1/200 sec, ISO 200

The AF motor is very fast and very quiet, basically silent, no complaints at all. Also the AF motor is equipped with a Full-time Manual Focus override mechanism that enables the user to freely select the focus point. One could ask does having VC on an UWA lenses makes sense?  If you’re trying to grab a quick shot in low light, I think it definitely helps. I was able to get an acceptable hand held shots at 24mm @ ¼ sec even though it was underexposed by one stop.

10-24 VC at 24mm F8 ¼ sec, ISO 100

The above low light photo was edited for exposure only in LR, no sharpening. I was in manual mode to force the shutter speed lower, and wasn’t paying attention to the exposure. One additional comment related to VC, is that above 1/100 sec it is simply is not needed, and by 1/125 sec, VC actually degrades the image slightly if left on. So if you’re shooting at faster shutter speeds, I would recommend leaving the VC off, until you need it at 1/30 sec or slower, where it does a good job.

In conclusion the lens seems like a very good value at $500 (USD). I plan on keeping my copy and using it on my D7200 along with my Sigma 17-70 Contemporary lens. The two make a great , very sharp and inexpensive travel kit that you can take anywhere, with minimal weight. I may eventually get the optional USB TAP-IN to try, but I am happy with the results I have seen so far.

Presets and Links:

While you can create your own presets in Lightroom, sometimes it’s nice to use plug-ins.

    • Google release the Nik collection about a year ago for free, the link to the down load site: https://www.google.com/nikcollection/
    • ON1 Effects 10.5 has a free version of their product that works with both Lightroom and Photoshop.  It can use smart photos, so while the side car file it self isn’t updated, it works really well. If your in Lightroom, call the ON1 plugin, it opens the effects program, you then have a large suit of excellent presets and filters that you can apply as needed.

When your happy with the result, you apply the settings (saving the edits). If you go the smart photo route with the import, you end up with a fully supported new PSD file that re-imports into Lightroom with all your original LR edits plus the new ON1 presets. ON1, Inc. is headquartered in Portland, Oregon:  https://www.on1.com/products/effects10/

Sports / Action

Sports and Action Photography Tips






What’s different about sports shots, well they happen fast and most of the time there isn’t a do over. So careful planning, anticipation and the right gear help a lot. What can you do with the equipment that you have, well here are a few tips and settings that may guide you in the right direction:

Let’s start with what we can control – camera settings, position relative to the action, lenses. When possible, its a good idea to have two bodies, each with different lenses attached. Mono pods are pretty useful if you shooting with larger telephotos. Fast apertures lenses let you shoot in dimmer ambient light conditions, they also allows you to control depth of field and isolate the subject a little better.

The shot above was at f4, and I was fairly close to the runner, so the background is still busy, and the subject isn’t as isolated as I would of liked, but that can be corrected a bit in post processing. In this edited version, I have used Photoshop to blur the background some more. The degree of blur can easily be adjusted.


Some bodies are more oriented to large burst rates like a D500, and some are not. If yours isn’t one them, then you have to be more selective on how long you hold that shutter down. Possibly shoot more jpegs if the lighting allows, and you don’t need max dynamic range that shooting RAW provides.

Below are some sports specific settings that I took from one of my older bodies:

AF Sport Settings:

  • A1 AF-C Release + Focus
  • A3 Dynamic Area – 9 or 21 points
  • A4 Focus tracking short -1 or 2
  • A8 Number of focus points – Normally set to max
  • Active D-Lighting – Off (when lighting allows)
  • NEF (RAW) bit depth 12-bit compressed

Other Tips:

  • Back button focus can come in handy if you find yourself switching back and forth between AFC and AFC on Nikon bodies.
  • Use AF fine tune for telephoto lenses, to make sure your images are as sharp.
  • Don’t be afraid to use higher ISO’s to help maintain reasonable shutter speeds, typically that is at least 1/500 of second, but may need to be higher if the subject is very fast and you want to stop the action.
  • Panning can help portray a sense of speed and naturally blur the background.


Camera Stuff

Do All Roads Lead To FX

Do you ever look at used camera equipment ads, many now start by saying “selling all my DX gear, moving to FX”. Almost like people are running for their lives to escape a fate worse than death – Having to shoot with DX lenses. The funny thing is most people don’t know why they are going to FX, but it cost more, so it “has” to be better.


Before you sell all your equipment, take the time to know the Pros and Cons of going to a FX body. I have a brief list below that hits some key benefits of each format. It really comes down to the type of photography that you do, and of course the size of your wallet. Digital technology is still emerging, it is not a one size fits all sensor solution yet.

DX Advantages:

  •  Smaller cameras and lenses to haul around, size does matter.
  • DX  lenses are generally less expensive. 
  • Single zoom lenses can cover a greater focal length range. A big plus when two lenses, a fast 70-200mm and a 17-55mm f2.8 zoom will cover 90% of most shoots.
  • You get a free teleconverter, also called a crop factor, which means a 200mm lens gives you the equivalent of a 300mm on a APC DX body, great for sports on big fields.
  • You can enlarge a 12 MP DX file just as much as a 12 MP FX file.
  • For a given lens and camera to subject distance you get more DOF.

FX Advantages:

  • No more doing crop factor conversions in your head, you get the field of view you expect from a given focal length.
  • Wide angle, is really wide angle, and you don’t have to have a super wide angle 12mm lens, because  18mm works just fine.
  • You have less depth of filed for a given focal length and subject distance, so the bokeh looks a little better, and you don’t have to shoot at f1.4 to have your subject stand out, you get less DOF.
  • More detail in portraits and close ups with the same lens.
  • Better high ISO performance due to pixel size, so you have less noise in low light conditions and can leave the flash at home.