Tamron 28-200mm F/2.8-5.6 Di III RXD A071

Superzoom lens • Digital era

DI III The lens is designed for digital mirrorless cameras.
RXD The lens is equipped with Rapid eXtra-silent stepping Drive.

Features highlight

4 ASPH
1 XLD
2 LD
IF
RXD
WR
FC
ZL

Specification

Production details
Announced:June 2020
Production status:In production
Production type:Mass production
Original name:TAMRON 28-200mm F/2.8-5.6 Di III RXD A071
Optical design
Focal length range:28mm - 200mm
Speed range:F/2.8 @ 28mm - F/5.6 @ 200mm
Maximum format:35mm full frame
Mount:Sony E
Diagonal angle of view:75.4° @ 28mm - 12.3° @ 200mm (35mm full frame)
53.6° @ 28mm - 8.1° @ 200mm (Sony E APS-C)
Lens construction:18 elements - 14 groups
4 ASPH, 1 XLD, 2 LD
Diaphragm mechanism
Number of blades:7
Zooming
Zoom type:Rotary
Zooming method:Extends while zooming
Additional features:Zoom lock
Maximum aperture when zooming:F/2.8 @ 28mm, F/3.2 @ 32mm, F/3.5 @ 44mm, F/4 @ 54mm, F/4.5 @ 80mm, F/5 @ 115mm, F/5.6 @ 150mm
Focusing
Closest focusing distance:0.19m @ 28mm
0.8m @ 200mm
Maximum magnification ratio:1:3.8 @ 200mm at the closest focusing distance
Focusing method:Internal focusing (IF)
Focusing modes:Autofocus, manual focus
Manual focus control:Focusing ring
Autofocus motor:Rapid eXtra-silent stepping Drive
Focus mode selector:None; focusing mode is set from the camera
Manual focus override in autofocus mode:Determined by the camera
Vibration Compensation (VC)
Built-in VC:-
Physical characteristics
Weight:575g
Maximum diameter x Length:⌀74×117mm
Weather sealing:Water-resistant barrel
Fluorine coating:Front element
Accessories
Filters:Screw-type 67mm
Lens hood:Bayonet-type HA036 (petal-shaped)

*) Source of data: Manufacturer's technical data.

Manufacturer description

Tamron has distilled all the technical capabilities and know-how amassed over the last 28 years in its development of all-in-one zoom lenses into the creation of this 28-200mm F/2.8-5.6 Di III RXD (Model A071), designed exclusively for Sony E-mount. The lens has a large maximum aperture of F2.8 at 28mm wide end, which represents a world’s first for all-in-one zoom lenses, and delivers high-level performance across the entire zoom range, from the 28mm wide-angle end to 200mm telephoto. Despite covering a wide range of focal lengths, the lens is lightweight and compact, with a length of 117mm (4.6 in) and a weight of 575g (20.3 oz). Aside from day-to-day portability, the 28-200mm F2.8-5.6’s lightweight and compact size make it especially convenient for travel photos, where users wish to avoid the burden of heavy baggage. Tamron has also taken an uncompromising approach to optical performance, making liberal use of special lens elements—including LD (Low Dispersion) and XLD (eXtra Low Dispersion) —to greatly suppress chromatic aberrations, and making it possible to achieve high image quality from edge to edge. With an MOD (Minimum Object Distance) of 0.19m (7.5 in) at the wide end and 0.8m (31.5 in) at the telephoto end, the lens also offers high-level close-up shooting performance. The AF drive system is powered by the RXD (Rapid eXtra-silent stepping Drive) stepping motor unit to deliver high-speed, high-precision performance. The lens also features Moisture-Resistant Construction and Fluorine Coating for added protection. When it comes to all-in-one zooms, the innovative 28-200mm F2.8-5.6 is in a class by itself and vividly captures virtually all possible scenes, from landscape photography to portrait photos and snapshots.

In 1992, Tamron launched its first all-in-one zoom lens, the AF 28-200mm F/3.8-5.6 Aspherical (Model 71D). At that time, the Model 71D astonished the world and overturned the existing perception of all-in-one zoom lenses as being large, heavy and delivering poor image quality. Since then, Tamron has continued to develop and innovate as a pioneer in the field of all-in-one zoom lenses, delivering a stream of ground-breaking models such as the 18-400mm F/3.5-6.3 Di II VC HLD (Model B028), delivering the world’s only 22.2x zoom ratio. Now the Model A071, too, shares the legendary name “71” given to Tamron’s revolutionary all-in-one zoom lens: a name infused with the destiny to write a new chapter in the history of all-in-one zoom lenses.

From wide-angle to telephoto, all-in-one zoom lenses deliver a wider range of usefulness, from everyday snaps to travel and much more. That’s why Tamron pursued a high level of portability in the development of the 28-200mm F2.8-5.6, achieving a compact, lightweight design that’s a mere 117mm (4.6 in) long and weighs just 575g (20.3 oz). The small size enables comfort and convenience, even during extensive travel, without the burden of a heavy camera bag. The 67mm filter size is the same as other lenses in Tamron’s mirrorless lens lineup. This means that the filters such as PL (Polarizer) and lens caps can be used for all models in the series, for greater convenience and less hassle during lens changes.

The 28-200mm F2.8-5.6 is the first all-in-one zoom lens for full-frame mirrorless cameras to offer a maximum aperture of F2.8. It maintains outstanding performance throughout the entire zoom range, and aperture values of F3.5 at 50mm, F4.5 at 100mm, F5.6 at 200mm. From landscape photography to portrait photos and snapshots, the 28-200mm F2.8-5.6 delivers finely detailed images in a wide range of shooting situations. The generous use of special LD and XLD lens elements (with properties close to those of fluorite) enables it to thoroughly minimize chromatic and other aberrations, while the application of BBAR (Broad-Band Anti-Reflection) Coating offers high anti-reflective benefits and reduces ghosting and flare that are otherwise likely to occur when shooting backlight scenes. Additionally, by leveraging camera functionality, the lens delivers excellent optical performance to match the high-resolution image sensors on the latest cameras, achieving beautiful images that are a cut above all-in-one zoom lenses of the past.

The 28-200mm F2.8-5.6 delivers amazing close-up performance for an all-in-one zoom lens. At 28mm wide-angle, the MOD is 0.19m (7.5 in) with a maximum magnification ratio of 1:3.1, and at the 200mm telephoto end it has an MOD of 0.8m (31.5 in) with a maximum magnification ratio of 1:3.8. In addition to capturing stunning close-up images, you can leverage the blurred background bokeh utilizing a large F-number and enjoy unique close-up shots that were not possible with all-in-one zoom lenses until now.

The AF drive on the 28-200mm F2.8-5.6 includes an RXD motor unit to help you stay focused on the action. RXD uses an actuator to precisely control the rotational angle of the motor, allowing it to directly drive the focusing lens without passing through a reduction gear. A sensor that precisely detects the position of the lens enables high-speed and accurate AF, which is ideal when shooting continually moving subjects or recording video. And with a focusing system that is both smooth and quiet, the 28-200mm F2.8-5.6 lets you shoot free from stress not worrying the drive sound in a quiet environment.

The 28-200mm F2.8-5.6 for Sony E-mount covers a broad range of focal lengths in a single lens, starting from 28mm at the wide-angle end to 200mm at the telephoto end. This versatile range enables diverse photographic expression, from wide-angle shooting of expansive landscapes to close-up and compressive compositions in telephoto shooting. The compact, lightweight design makes it easy to carry the lens with ease, anytime, anywhere. The 28-200mm F2.8-5.6 is a very convenient lens that can be used for nearly any genre, from vast landscapes to snapshots around town, table-top photography and for professional-looking portraits.

Seals are located at the lens mount area and other critical locations to deter infiltration of moisture and/or rain drops and afford Moisture-Resistant Construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions. Also, the front surface of the lens element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, moisture or oily fingerprints, allowing for much easier maintenance. Additionally, the handy Zoom Lock switch prevents unwanted barrel extension during transportation.

Tamron’s new 28-200mm zoom is compatible with many of the advanced features that are specific to mirrorless cameras. This includes:

  • Fast Hybrid AF
  • Eye AF
  • Direct Manual Focus (DMF)
  • In-camera lens correction (shading, chromatic aberration, distortion)
  • Camera-based lens unit firmware updates

Typical application

landscapes, interiors, buildings, cityscapes, portraits, travel, wild nature

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

Professional lens (Top class)

One of the best superzoom lenses

According to lens-db.com; among lenses designed for the same maximum format and mount.

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Rapid eXtra-silent stepping Drive

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance from the lens mount to the film or sensor can also be different.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Flange focal distance

The flange focal distance (FFD), sometimes called the "flange back", is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Convex protruding front element

The convex front element protrudes from the lens barrel, making it impossible to use filters.

Fixed focus

There is no helicoid in this lens and everything is in focus from the closest focusing distance to infinity.

Overall linear extension

The entire lens optical system moves straight backward and forward when focusing is carried out. This is the simplest type of focusing used mainly in wide-angle and standard prime lenses. It has the advantage of introducing relatively little change in aberrations with respect to change in focusing distance. With telephoto and super telephoto lenses this method becomes less beneficial in terms of operability because of the increased size and weight of the lens system.

Front group linear extension

The rear group remains fixed and only the front group moves straight backward and forward during focusing. This method is primarily used in zoom lenses and allows to design comparatively simple lens construction, but also places restrictions on zoom magnification and size reduction.

Front group rotational extension

The lens barrel section holding the front lens group rotates to move the front group backward and forward during focusing. This method of focusing is also used only in zoom lenses.

Internal focusing (IF)

Focusing is performed by moving one or more lens groups positioned between the front lens group and the diaphragm.

Methods of internal and rear focusing have the following advantages:

Rear focusing (RF)

Focusing is performed by moving one or more lens groups positioned behind the diaphragm.

Methods of internal and rear focusing have the following advantages:

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Rotary zoom

The change of focal length is achieved by turning the zoom ring and the manual focusing - by turning the separate focusing ring.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Push/pull zoom

The change of focal length and the manual focusing is achieved by one and the same ring. The change of focal length happens when the photographer moves the ring towards the mount or backwards and the rotation of the ring leads to change of focus.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Zoom lock

The lens features a zoom lock to keep the zoom ring fixed. This function is convenient for carrying a camera with the lens on a strap because it prevents the lens from extending.

Power Zoom

The lens features electronically driven zoom mechanism. It provides smoother, more natural zoom movements than you could accomplish by hand.

The Holy Trinity of lenses

The Holy Trinity of lenses refers to a three-lens set that covers a focal length range from the ultra-wide focal length of 14-16mm all the way long to the telephoto focal length of 200mm. The set typically consists of a 16-35mm ultra-wide angle zoom lens, a 24-70mm standard zoom lens and a 70-200mm telephoto zoom lens and usually represents the best constant-aperture zoom lenses in a manufacturer's lineup. The set is designed to cover almost every genre of photography, be it landscapes, architecture, portraits, weddings, sports, travel or even wildlife (with teleconverter). However, it is also expensive, large and heavy.