Tamron 20-40mm F2.8 Di III VXD Review

Most lenses are easy to classify, but the Tamron 20-40mm F2.8 Di III VXD ($699) is unlike most. Somewhere between a wide-angle zoom and a standard zoom, it could be a go-to lens for some creators despite its short focal length. The Sigma 28-70mm F2.8 DG DN Contemporary is a compact and value-oriented Sigma 28-70mm F2.8 DG DN Contemporary. It’s not as crowd-pleasing as traditional standard zooms like the , but wide-angle fans will love it.

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not super wide

We’re used to seeing ultra-wide zooms starting at 16mm and standard options starting at 24mm.This 20-40mm starts right in the middle and is the handheld vlogging, cityscape and environment port for today’s cameras. Although the angle of view is optimal for the rate, it does not match the background blur power typical of telephoto photography beyond the 70 mm line.

(Credit: Jim Fisher)

However, size is a feature here, and limiting the coverage range goes a long way to keeping the 20-40mm small. (3.6 x 2.9 inches, 15.7 oz) match several prime numbers.

The length changes when zooming as the optical block moves back and forth a few centimeters to set the zoom. Still, it doesn’t throw off balance enough to be a problem with gimbals, at least not like the DJI RS 3 Mini. The angle of view makes it a more attractive option for video specialists, but it also comes with a price tag of around $1,200.

(Credit: Jim Fisher)

It’s a worthy option, but Tamron still puts dust, splash, and anti-fouling fluorine protection on the lens. Dust and splash protection also extends to the onboard USB-C connector. This is used to connect the lens to a PC for firmware updates and to fine-tune manual focus response.tamron lens utility(opens in new window)a free download for Android, Mac, and Windows.

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handling and focus

(Credit: Jim Fisher)

As far as modern lenses go, the Tamron 20-40mm offers the bare minimum of on-barrel control. It includes a rubberized zoom and manual focus ring, but that’s about it. Creators looking for aperture control rings, focus toggle switches, or function buttons will be disappointed. All of these are included in the Sony FE PZ 16-35mm.

But even without them, the 20-40mm handles like any other basic lens. The mechanical zoom is easy to operate and the barrel is marked with focal lengths of 20, 24, 28, 35 and 40mm.

Sony a7R IV, 25mm, f/5.6, 1/100 sec, ISO 100 (Credit: Jim Fisher)

The manual focus ring is placed in front of the lens. It bends comfortably with just a little drag. Resistance is welcome, as the manual focus response is a bit sensitive, at least by default. The Lens Utility app allows you to adjust the rotation angle to change the response linearly. I’ve found that 180 degrees provides the precision needed for manual fine tuning.

Autofocus is fast and quiet enough to use for video. I recorded a few vlog-style clips with the lens and the A7R V. The 20-40mm kept the face in focus, albeit with a bit of hesitation, as I moved the lens closer and further away. The lens does have some focus breathing, but the effect is only noticeable in video shots from near to far subjects.

Close focus up to 6.7 inches at 20mm is possible for 1:3.8 macro reproduction. As you zoom in, the close-up focus shifts to 11.4 inches, less than 1:5.1. No one can accuse this lens of being the go-to lens for macro, but it can come close to accentuate the effect of blurring the background.

Sony a7R IV, 20mm, f/2.8, 1/125 sec, ISO 100 (Credit: Jim Fisher)

Optical image stabilization is omitted, but it’s less important for Sony’s cameras, as all but the first generation of full-frame models include 5-axis sensor image stabilization. I paired his 20-40mm with the a7R V for handheld long exposure shots and managed good results at shutter speeds as long as 1/2 second.

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Tamron 20-40mm F2.8: in the lab

In Imatest’s lab tests, the 20-40mm was paired with a 60MP Sony a7R IV. Lab tests show that the zoom performs well at 20mm and f/2.8 in the center, but softens towards the edges and corners. Image quality improves across the frame at f/4, but with the a7R IV’s excellent range (4,600-4,900 lines), we recommend using f/5.6-8 for the sharpest center-to-edge results. It is recommended.

Sony a7R IV, 20mm, f/22, 2s, ISO 100 (Credit: Jim Fisher)

The test chart scores are about the same at 30mm and 40mm. This is a lens you’ll want to use wide open to enhance dim light or background blur, but stop the aperture down in scenes where you want sharp focus across the frame. Images produced in the real world matched the lab results.

As with any lens, using a very small aperture will result in some loss of contrast. Still, there are reasons to set the lens to F16-22. The lens will render a multipoint sunstar with these settings. This is an effect pursued by some landscape experts.

Sony a7R V, 40mm, f/2.8, 1/1000 sec, ISO 100 (Credit: Jim Fisher)

You won’t get bokeh in every image with this lens, but when the lens gets pretty close to your subject you’ll get a soft, out-of-focus background.The lens doesn’t offer the smoothest backgrounds. However, hard-edged highlights have a busy look, which can be exacerbated by the onion skin texture visible in specular highlights.

Sony a7R V, 36mm, f/8, 1/80 sec, ISO 100 (Credit: Jim Fisher)

Optical corrections are needed to get the most out of the 20-40mm, but they work well and are transparent to many creators. The camera’s processing engine removes the mild barrel and pincushion distortion found in unedited Raw format images. Adobe includes a lens correction profile for the Lightroom Classic editor. We tested the profile and it did a decent job of straightening lines in architectural studies and removing vignetting cast at f/2.8.

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Small zoom for wide-angle fans

Tamron successfully fills the value-oriented gap in Sony’s lens system. Low cost he first hits the market with a 28-75mm F2.8 and the catalog already includes him a 17-28mm F2.8 zoom. The 20-40mm F2.8 Di III VXD sits in the middle of the field of view of these options, making this little lens an interesting proposition for creators and vloggers who don’t often use the long end of standard zooms. After a gimbal-friendly zoom.

Sony a7R V, 20mm, f/8, 1/500 sec, ISO 100 (Credit: Jim Fisher)

At around $699, the 20-40mm F2.8 is positioned as an affordable alternative to Sony’s lineup. It drops on-barrel controls to match its price, but doesn’t cut corners when it comes to weather protection or autofocus speed. It’s a much better lens for video and action.

If you’re looking for a more capable zoom, spending more money will get you there.Vloggers should consider the $1,200 Sony FE PZ 16-35mm F4. Its wide viewing angles and power zoom make it attractive for videos. Hybrid creators may also want to think about the just-announced zoom lens, the Sony FE 20-70mm F4 G ($1,099), due out this spring.

(Credit: Jim Fisher)

Neither of the name-brand options fall into the value range, but the 20-40mm remains a solidly superior zoom, at least for creators who are happy with the range. Sigma 28-70mm F2.8 Contemporary and Tamron 28-75mm F2.8 G2 are great performers if you’re a photographer and don’t want to spend a lot of money.