We get it: finding the best zoom lenses is a pretty difficult task when no one is making a bad one. But some are truly more innovative, unique, or balance things just right better than others. Professional photographers demand the best zoom lenses for the variety of work they do on locations and in studios. Further, passionate photographers everywhere love to be able to capture and create scenes they can share with engaged onlookers everywhere. So to make it easier for you, we dove in and found some of the best zoom lenses money can get you. Here they are.
The Phoblographer’s various product round-up features are done in-house. Our philosophy is simple: you wouldn’t get a Wagyu beef steak review from a lifelong vegetarian. And you wouldn’t get photography advice from someone who doesn’t touch the product. We only recommend gear we’ve fully reviewed. If you’re wondering why your favorite product didn’t make the cut, there’s a chance it’s on another list. If we haven’t reviewed it, we won’t recommend it. This method keeps our lists packed with industry-leading knowledge. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission.
Here’s some insight into how we chose the best zoom lenses:
In our review, we state:
“The Tamron 17-70mm F2.8 Di III-A VC RXD is the full-frame equivalent of a 26-105mm f2.8 lens. The depth of field will be around f4.2 in full-frame too. But the light gathering and true aperture will still be f2.8. This is the first time we’ve ever gotten a lens like this. Add onto this the vibration compensation, sharp optics, and weather sealing features, and then realize it’s under $1,000. To me, this sounds like a no-brainer.”
In our review, we state:
“Where to start? The Tamron 35-150mm f2-2.8 Di III VXD is the only lens on the market that begins with an f2 aperture and goes down to f2.8. Tamron has a similar lens for DSLRs that starts at f2.8 and stops down to f4. But obviously, this f2 is a full stop faster. Tamron has also done a world’s first with building a USB port directly into the lens. This port is sealed the same way as one is on a phone. That means you can get rid of the dock to update the firmware. With this lens, you don’t necessarily need a 28-75mm and a 70-180mm lens. Instead, you’ve got one lens to do everything you’d realistically need. It’s brilliant.”
In our review, we state:
“The autofocus on the Tamron 28-75mm f2.8 Di III VXD G2 is very good. The only time I had any sort of trouble was with tracking a cat moving closer to the camera. (Specifically this was on the Sony a7r III; with the Sony a1 it was a bit better.) And for what it’s worth, I don’t think anyone would buy this lens with the intention of photographing their pets moving closer. You should also know that Sony owns part of Tamron, so the autofocus is bound to be fantastic!”
In our review, we state:
“In situations where you’re shooting more environmental portraiture, you’ll find that the Tamron 24-70mm f2.8 Di VC USD does a fantastic job. It’s saturated and, even when it comes to skin tones, you’ll find the saturation a bit higher than normal. But it’s surely manageable if you’re using good shooting and editing techniques. By that, what I essentially mean is a locked white balance and finding a way to keep the various colors in the scene separate from one another for editing in specific color channels.”
This piece is presented in partnership with TAMRON. We’ve independently and ethically reviewed all the products in this post already without sponsorship. And we worked with them to recommend a few key gems to you.
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