Tamron SP 90mm F/2.8 Di Macro 1:1 VC USD F017

Macro lens • Announced in February 2016 • Digital era

SP Professional lens with high quality optics and robust build. Meets the highest standards and provides excellent performance and flawless image quality unachievable with traditional optical technologies.
DI The lens is designed for full-frame digital SLR cameras but can be also used on APS-C digital SLR cameras.
MACRO Macro lens. Designed specially for shooting close-ups of small subjects but can be also used in other genres of photography, not necessarily requiring focusing at close distances.
VC The lens is equipped with Vibration Compensation.
USD The lens is equipped with Ultrasonic Silent Drive.

Model history

Tamron SP 90mm F/2.8 Di Macro 1:1 VC USD F0171:1A14 - 110.3mE62 2016 
Tamron SP 90mm F/2.8 Di Macro VC USD F0041:1A14 - 110.3mE58 2012 
Tamron SP AF 90mm F/2.8 Di Macro 1:1 272EN II1:1A10 - 90.29mE55 2008 
Tamron SP AF 90mm F/2.8 Di Macro 1:1 272E1:1A10 - 90.29mE55 2004 
Tamron SP AF 90mm F/2.8 Macro 1:1 172E1:1A10 - 90.29mE55 1999 
Tamron SP AF 90mm F/2.8 Macro 1:1 72E1:1A10 - 90.29mE55 1996 
Tamron SP 90mm F/2.8 Macro 1:1 72B1:1Adaptall-2A10 - 90.29mE55 1996 

Sample photos

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Features highlight

F.E.
1:1
IF
USD
MFO
Focus limiter
VC 3.5 stops
Panning det.
XY-Shift
DP/WR
FC

Specification

Optical design
Maximum format: 35mm full frame
Diagonal angle of view: 27° (35mm full frame)
21.6° (Canon EF APS-H)
17.8° (Minolta/Sony A APS-C)
17.8° (Nikon F APS-C)
Lens construction: 14 elements - 11 groups
2 XLD, 1 LD
Floating element system
Mechanical design
Mount: Canon EF
Minolta/Sony A
Nikon F
Diaphragm mechanism
Diaphragm control system: Mechanical (Nikon F)
Electromagnetic (Canon EF, Minolta/Sony A)
Number of blades: 9
Focusing
Closest focusing distance: 0.3m
Closest working distance: 0.139m
Maximum magnification ratio: 1:1 at the closest focusing distance
Focusing method: Internal focusing (IF)
Focusing modes: Autofocus, manual focus
Manual focus control: Focusing ring
Autofocus motor: Ultrasonic Silent Drive
Focus mode selector: AF/MF
Manual focus override in autofocus mode: Yes
Focusing distance range limiter: FULL;0.3-0.5;0.5-
Image stabilizer
Vibration Compensation (VC): Canon EF (Yes)
Nikon F (Yes)
VC features: Mode 1
Panning Detection
XY-Shift
VC efficiency: up to 3.5 stops
Physical characteristics
Weight: 610g (Canon EF)
600g (Nikon F)
Maximum diameter x Length: Ø79×117.1mm (Canon EF)
Ø79×114.6mm (Nikon F)
Weather sealing: Dust-proof and water-resistant barrel
Fluorine coating: Front element
Accessories
Filters: Screw-type 62mm
Lens hood: Bayonet-type HF017 (round)

Manufacturer description

A New Chapter in the Distinguished History of Tamron’s 90mm Macro Lenses

A Legacy of Superior Optical Performance Now Reaches a New Plateau with Enhanced VC Functionality and Advanced Features

The SP 90mm F/2.8 MACRO VC (Model F017) is the most recent release in a successful line of Tamron SP 90mm macro lenses. It redefines the best in advanced features and succeeds a legacy of superior optical performance.

XY-Shift compensation has been newly added to reinforce VC functionality, further improving image stabilization capabilities at any shooting distance from infinity to macro. Advancements in USD control software have also increased AF focusing speed and optimally fine-tuned for various framing conditions. Furthermore, a high standard of Moisture-Proof and Dust-Resistant Construction has been added to prevent intrusion of dust or water droplets. Highly durable, Fluorine Coating is applied to the top element surface and efficiently prevents condensation of moisture and repels smudge-causing substances.

Meticulous craftsmanship is demonstrated in every detail of the exterior design of the newly transformed SP 90mm macro lens. The user can feel it in the exquisitely smooth texture of the metallic barrel.

The lens features an optical construction of 14 elements in 11 groups, including one LD (Low Dispersion) and two XLD (eXtra Low Dispersion) glass elements that in consonance help to control lateral and on-axis chromatic aberrations at a very high level of performance. A Floating System works in tandem with the optical construction to efficiently compensate for inherent aberration changes subject to varying distances. Therefore, this lens ensures seamless and outstanding depictive capabilities across the entire shooting range – close or far.

Flare or ghosting can be detrimental to a decisive shot. A combination of 2 types of coating – eBAND (Extended Bandwidth & Angular-Dependency) layered on top of BBAR (Broad-Band Anti-Reflection) – dramatically improves anti-reflection efficiency to deliver flawless, crystal clear images even against harsh beams of sunlight.

Tamron has maintained a reputable standard for generations of 90mm macro lens models — all the way from manual focus lenses to the current AF models — for their exceptional depictive quality with spectacular bokeh. We also set a high standard to keep pace with the upward migration of digital cameras with advanced technical features and high pixel density.

We have now balanced these polar traits at a higher level: raising resolution performance to a new standard of sharp images, while rendering a soft and smooth transition in gradation of blur-effect in background objects. Optical simulations were thoroughly conducted to realize both well-tuned bokeh effects, while minimizing disturbance in dual-line smear of linear-shaped objects naturally blended into the overall bokeh effect.

The result: the SP 90mm F/2.8 MACRO VC sustains the tradition of excellence in optical design while extending the limit in cutting-edge optical performance and beautiful bokeh.

An accelerometer has been newly integrated into Tamron’s highly accredited VC to compensate for shakes on the x-y plane. The accelerometer in unison with a gyro sensor detects and enables motion compensation for camera shakes for a maximum efficiency in image stabilization optimized for distance ranges from infinity to macro.

The USD (Ultrasonic Silent Drive) control software has been optimized for macro photography with increased focusing speed and positional accuracy when shooting in close-up settings. The AF drive responds rapidly yet quietly to zero in on the photographer’s point of interest and the Manual Focus Override enables instant shift in focus when necessary.

Moisture-Proof and Dust-Resistant Construction has been improved to an exceptionally high standard in lens protection, preventing any intrusion of dirt, dust, or raindrops. A rubber seal protects each switch on the lens and sealing member is applied to the mechanical interface between the focus ring and the lens housing. The new construction further expands opportunities for shooting, ensuring reliability even in harsh, windy conditions and immediately after rainfall.

The optical construction includes one LD (Low Dispersion) glass and two XLD (eXtra Low Dispersion) glass elements, that in consonance, helps to control lateral and on-axis chromatic aberrations at a very high level. While both offer significantly low dispersion characteristics compared to regular glass materials, the XLD provides prominent dispersion properties across the visible spectrum.

A 9-blade diaphragm is configured to retain a smooth, circular-shaped aperture opening even when stopped down by two stops from the wide-open aperture. This produces a smooth-edged bokeh in background light spots and avoids rugged aperture geometry.

eBAND (Extended Bandwidth & Angular-Dependency) Coating and BBAR (Broad-Band Anti-Reflection) Coating work in tandem to achieve exceptional anti-reflection. These technologies enable dramatic cut-off of ghosting and flare when shooting against the sun or under adverse lighting situations to deliver high-fidelity images without inducing noise. eBAND Coating is a nano-structured layer deployed on the lens element surface. In addition to regular anti-reflection coatings, eBAND Coating offers higher transmissivity and significant improvement in anti-reflection characteristics especially against angulated incident rays.

Fluorine coating, originally developed for use in industrial optics applications, has now been applied to the lens to offer long-lasting oil and water repellency. The water-and-oil-repellant coating applied to the front element surface instantly repels dirt or smudges for ease of cleaning and maintenance. The coating is also durable to accompany the photographer on outdoor travels for years to come.

As the shooting distance to the subject is determined, the photographer can choose to manually limit the travel range of the focusing group. This reduces the amount of time that it takes to focus on the targeted subject, making it possible for swift AF operation and preventing a precious photographic moment from slipping away.

With the IF system, the working distance from the front element to the subject does not change during focusing. The distance of 139mm is maintained even during close-ups. This allows the photographer to secure distance away from live, sensitive subjects and to prevent a photographer’s shadow from intruding and disrupting a precious photographic moment.

A USD (Ultrasonic Silent Drive) is used for the AF driving system in the SP 90mm F/2.8 MACRO VC. The integration of a full-time manual focus override mechanism enables a photographer shooting with AF to instantly make fine focusing adjustments with manual focus, without having to switch back and forth between AF and manual focus modes.

Minute objects are projected on the camera’s image sensors at a magnification ratio of 1:1 so that the photographer can enjoy a macro world on print that would otherwise be impossible to experience with the naked eye.

The SP 90mm F/2.8 MACRO VC is a versatile lens that allows the photographer to enjoy shooting in a wide variety of circumstances. The lens can be used particularly for macro photography as well as for portraiture by taking advantage of the fast F/2.8 aperture and remarkable bokeh capability. Photographers can take advantage of the versatility to approach subjects for tabletop photography, as well as to capture distant views for landscape photography with its outstanding resolving power.

Our attention to every engineering detail has yielded the most advanced optical and electro-mechanical design featured in the newest Tamron SP lenses, culminating in a new benchmark for high performance and visual elegance. The design philosophy is based on human touch and is an integral factor in macro photography. The newly designed all-metallic barrel features an embedded concave ring at the base of the lens – for a firm hold and comfort necessary for a steady shot. Switches are larger and reconfigured for smoother torque and the typeface has been redesigned for intuitive legibility.

From the editor

The image stabilizer features an accelerometer to correct not only angle but also shift camera shake, which is more pronounced in close-range shooting when a camera moves parallel to the imaging scene. As a result, the image stabilization is optimized for the entire focusing range from infinity to the closest focusing distance. The technology is similar to Hybrid IS of the Canon EF 100mm F/2.8L Macro IS USM lens (2009).

Version of the lens for the Minolta/Sony A mount has been discontinued since December 2018.

Typical application

portraits, travel, macrophotography and product photography

Slowest shutter speed when shooting handheld

VC OFF11/21/41/81/101/151/301/601/1001/1251/2501/5001/1000+
VC ON11/21/41/81/101/151/301/601/1001/1251/2501/5001/1000+

Tamron SP 90mm F/2.8 Di Macro VC USD F004

Tamron SP 90mm F/2.8 Di Macro VC USD F004
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Tamron SP 90mm F/2.8 Di Macro 1:1 VC USD F017

Tamron SP 90mm F/2.8 Di Macro 1:1 VC USD F017
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Not enough data to compare lenses.

Tamron SP 90mm F/2.8 Di Macro 1:1 VC USD F017

Tamron SP 90mm F/2.8 Di Macro 1:1 VC USD F017
  • Advantages: 0
  • Disadvantages: 0
Not enough data to compare lenses.

Sigma 105mm F/2.8 EX DG OS HSM Macro

Sigma 105mm F/2.8 EX DG OS HSM Macro
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Tamron SP 90mm F/2.8 Di Macro 1:1 VC USD F017

Tamron SP 90mm F/2.8 Di Macro 1:1 VC USD F017
  • Advantages: 0
  • Disadvantages: 0
Not enough data to compare lenses.

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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 short telephoto macro primes

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

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Quality control issues

The manufacturer of this lens does not provide adequate quality control. If you do decide to purchase this lens, do not order it online, but choose the best copy available in the store. In any case, there may also be problems with the build quality, and warranty repairs can take months.

Model produced in a small batch. It is collectible and can only be found on the secondary market.

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.

Classic focal length

85 and 90mm are the classic focal lengths of short telephoto lenses for 35mm full-frame SLR and rangefinder cameras (respectively). As a rule, this class of lenses consists of high-speed models, however, there were also slow ones in the era of analog photography.

Short telephoto lenses are optimized for portrait photography, so that the background blur and impressive isolation of the subject from the background is achieved at medium focusing distances.

Many short telephoto lenses are compact and lightweight enough to be well suited for casual and travel photography. Some models are equipped with optical image stabilization.

Ultrasonic Silent Drive

Ultrasonic Silent Drive

Ultrasonic Silent Drive

Focusing distance range limiter

The lens features focusing distance range limiter which allows to choose between the following focusing distance ranges:

FULLFull range of focusing distances.
0.3m - 0.5mRange of focusing distances suitable for shooting nearby subjects.
0.5m - ∞Range of focusing distances suitable for shooting distant subjects.

By setting the suitable focusing distance range, the actual autofocusing time can be shorter.

AF/MF

AFAutofocus mode.
MFManual focus mode.

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.

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.

Floating element system

Provides correction of aberrations and ensures constantly high image quality at the entire range of focusing distances from infinity down to the closest focusing distance. It is particularly effective for the correction of field curvature that tends to occur with large-aperture, wide-angle lenses when shooting at close ranges.

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. 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". A lens is not considered to be "true" macro unless it can achieve at least life-size magnification.

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:

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.

Efficiency of image stabilizer

The efficiency of image stabilizer is measured in stops and each stop corresponds to a two-times increase of shutter speed. For example, if you are shooting at focal length of 80mm and it is known that the efficiency of image stabilizer is 3 stops, it means that during handheld shooting at such focal length you can use shutter speed of 1/10 second which is exactly 23 times longer than the shutter speed 1/80 second needed to obtain sharp image in sufficient lighting conditions.

Hybrid IS

The image stabilizer has Hybrid IS technology which corrects not only angle but also shift camera shake, which is more pronounced in close-range shooting when a camera moves parallel to the imaging scene. Hybrid IS dramatically enhances the effects of image stabilization during shooting, including macro shooting, which had proven difficult for conventional image stabilization technologies.

XY-Shift

The image stabilizer has XY-Shift technology which corrects not only angle but also shift camera shake, which is more pronounced in close-range shooting when a camera moves parallel to the imaging scene. XY-Shift dramatically enhances the effects of image stabilization during shooting, including macro shooting, which had proven difficult for conventional image stabilization technologies.

Dynamic IS

The image stabilizer has Dynamic IS technology which especially effective when shooting while walking because it compensates strong camera shake. Dynamic IS activates automatically when the camera is set to movie shooting.

Mode 1

Corrects vertical and horizontal camera shake. Mainly effective for shooting still subjects.

Mode 2

Corrects vertical camera shake during following shots in a horizontal direction. Corrects horizontal camera shake during following shots in a vertical direction.

Mode 2

Corrects vertical camera shake during following shots in a horizontal direction.

Mode 2 (Intelligent OS)

The lens incorporates Intelligent OS with algorithm capable of panning in all directions. In Mode 2, the movements of subjects can be captured with panning effects even when the camera is moved horizontally, vertically, or diagonally — regardless of the position of the lens.

Mode 3

Corrects camera shake only during exposure. During panning shots, corrects camera shake during exposure only in one direction the same as Mode 2. Effective for following fast and irregulary moving subjects.

Panning Detection

The image stabilizer automatically detects panning and then corrects camera shake only in one direction

Tripod Detection

It is often thought that image blur caused by camera shake can be prevented by using a tripod. Actually, however, even using a tripod may result in image blur because of tripod vibration caused by mirror or shutter movement at the time of exposure. The image stabilizer automatically differentiates the frequency of the vibration from that of camera shake, and changes algorithm to correct image blur caused by slight tripod vibration.

VR NORMAL

Corrects vertical and horizontal camera shake. Automatically detects panning and then corrects camera shake only in one direction.

VR ACTIVE

Corrects vertical and horizontal camera shake when shooting from a moving vehicle, or some other unstable position. Panning is not detected.

VR SPORT

Allows a continuous shooting frame rate and release time lag similar to those that are possible when image stabilizer is turned off. Automatically detects panning and then corrects camera shake only in one direction.

VR TRIPOD

It is often thought that image blur caused by camera shake can be prevented by using a tripod. Actually, however, even using a tripod may result in image blur because of tripod vibration caused by mirror or shutter movement at the time of exposure. The image stabilizer automatically differentiates the frequency of the vibration from that of camera shake, and changes algorithm to correct image blur caused by slight tripod vibration.