Tamron SP AF 17-50mm F/2.8 XR Di II VC LD Aspherical (IF) B005

Standard zoom lens • Digital era • Discontinued

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.
XR The lens incorporates high refractive index elements.
DI II The lens is designed for APS-C digital SLR cameras only.
VC The lens is equipped with Vibration Compensation system.
LD The lens incorporates low dispersion elements.
ASPHERICAL The lens incorporates aspherical elements.
(IF) The lens incorporates internal focusing.

Model history

Tamron SP AF 17-50mm F/2.8 XR Di II VC LD Aspherical (IF) B005APS-CA19 - 140.29m⌀72 2009 
Tamron SP AF 17-50mm F/2.8 XR Di II LD Aspherical (IF) A16N IIAPS-CA16 - 130.27m⌀67 2008 
Tamron SP AF 17-50mm F/2.8 XR Di II LD Aspherical (IF) A16APS-CA16 - 130.27m⌀67 2006 

Sample photos

17mm F/2.8
17mm F/2.8
50mm F/8
17mm F/4
25mm F/5.6
42mm F/4
39mm F/3.2
50mm F/3.2
50mm F/3.5
24mm F/2.8
20mm F/6.3
17mm F/14

Features highlight

APS-C
Extreme AoV @ 17-18mm
Fast
Constant F/2.8
3 ASPH
2 XR
2 LD
IF
MM
VC 4 stops
VC Mode 1
Panning det.
ZL

Specification

Production details
Announced:September 2009
Production status:Discontinued
Production type:Mass production
Original name:TAMRON SP 17-50mm F/2.8 DiII VC B005
Optical design
Focal length range:17mm - 50mm
Speed range:F/2.8 across the focal length range
Maximum format:APS-C
Mount:Canon EF
Nikon F
Diagonal angle of view:90.5° @ 17mm - 37.9° @ 50mm (Canon EF APS-H)
79.5° @ 17mm - 31.6° @ 50mm (Nikon F APS-C)
Lens construction:19 elements - 14 groups
3 ASPH, 2 XR, 2 LD
Diaphragm mechanism
Diaphragm control system:Mechanical (Nikon F)
Electromagnetic (Canon EF)
Number of blades:7
Zooming
Zoom type:Rotary
Zooming method:Extends while zooming
Additional features:Zoom lock
Focusing
Closest focusing distance:0.29m
Maximum magnification ratio:1:4.8 @ 50mm at the closest focusing distance
Focusing method:Internal focusing (IF)
Focusing modes:Autofocus, manual focus
Manual focus control:Focusing ring
Autofocus motor:Micromotor
Focus mode selector:AF/MF
Manual focus override in autofocus mode:-
Vibration Compensation (VC)
Built-in VC:Yes
VC features:Mode 1
Panning Detection
VC efficiency:up to 4 stops @ 50mm
Physical characteristics
Weight:570g (Nikon F)
Maximum diameter x Length:⌀79.6×94.5mm (Nikon F)
Weather sealing:-
Fluorine coating:-
Accessories
Filters:Screw-type 72mm
Lens hood:Bayonet-type AB003 (petal-shaped)

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

Manufacturer description

TAMRON LAUNCHES FAST SP AF17-50MM WITH VIBRATION COMPENSATION FOR NIKON DX-FORMAT DSLRS

Groundbreaking high-speed, high-definition f/2.8 standard zoom features Tamron's Vibration Compensation (VC) image stabilization mechanism

September 1, 2009, Saitama, Japan— Tamron Co., Ltd. announced the release of the SP AF17-50mm F/2.8 XR Di II VC LD Aspherical [IF] (Model B005NII), a high speed f/2.8 wide-to-moderate-telephoto zoom lens designed exclusively for Nikon-mount digital SLR cameras with smaller sensors. Featuring Tamron's proprietary tri-axial Vibration Compensation (VC) mechanism that minimizes the effects of handheld camera shake, the lens will be available starting on September 17, 2009 in Japan. Tamron plans to introduce the lens in a Canon mount version shortly after the new Nikon mount version with built-in motor hits the market.

The new SP 17-50mm F/2.8 XR Di II VC covers the very popular 17-50mm focal length range (equivalent to 26-78mm in the full-frame 35mm format) making it extremely versatile. Its wide aperture and outstanding performance provide practical advantages in low-light shooting and aesthetic image control, thereby enriching the user's range of creative expression. The new lens delivers impressive sharpness and striking contrast over its entire focal-length and aperture range, and at its maximum aperture of f/2.8 it produces beautiful images enhanced by shallow depth of-field, and smooth, natural transitions in out-of-focus areas of the image (i.e. excellent bokeh.) The new lens is equipped with Tamron's proprietary Vibration Compensation (VC) image stabilization mechanism, which controls the effects of camera shake in three planes. VC provides more opportunities for sharp hand-held photography at the slow shutter speeds needed when shooting in low-light conditions (e.g. night or indoor scenes) dramatically enhancing the user's level of photographic freedom.

Di II lenses are designed exclusively for use with digital SLR cameras (equivalent to APS-C size), and employ an optical system optimized for the characteristics of those cameras. Di II lenses are not designed for use with digital SLR cameras with image sensors larger than APS-C size or 35 mm film SLR cameras.

MISSION ACCOMPLISHED

The previously announced, still currently available Tamron SP 17-50mm F/2.8 XR Di II (Model A16) boasts superlative optical performance for a fast standard zoom lens and has been acclaimed world-wide as a masterpiece of compact optical design. In developing the new Tamron SP 17-50mm F/2.8 XR Di II VC zoom, the primary goal was to maintain this incredible compactness and ease-of-use while simultaneously enhancing its convenience and expanding its performance envelope. As a result of concerted efforts, the engineers were able to incorporate Tamron's proprietary state-of-the-art Vibration Compensation (VC) image stabilization mechanism into the new lens without materially increasing its size and weight. As a result of this success, the SP 17-50mm F/2.8 XR Di II VC makes sharp hand-held photography possible under a vastly expanded range of photographic situations.

VC (VIBRATION COMPENSATION)

The Tamron Vibration Compensation mechanism employs a three-coil system in which three driving coils move internal optical components within the VC lens electromagnetically, based on signals originating from three steel ball bearings. Since the VC compensating lens elements are held in place solely by contact with these bearings, smooth, virtually frictionless movement is assured, providing the stabilized viewfinder images and excellent tracking performance characteristic of VC lenses. Moreover, since the VC lens elements move parallel to the image plane via electronic control alone, the mechanical structure is simplified, and the lens is more compact.

PRODUCT FEATURES

Tamron's proprietary VC (Vibration Compensation) image stabilization mechanism

Equipping a fast standard zoom with the advanced VC mechanism enables extended hand-held shooting possibilities along with enhanced versatility. It allows the full range of photographic expression, all the way from maximizing the expressive background-blurring effects by shooting at the maximum aperture of f/2.8, to fixed focus photography at the smallest apertures using extended depth of field.

Compact size with a filter thread of Ø72mm, while delivering both a large F/2.8 diameter and VC

While the size of a lens tends to increase when it's equipped with an image stabilizer unit, Tamron has kept this lens as compact as possible through improvements to optical, mechanical and VC designs, thus achieving a remarkably compact size with a filter thread of 72mm.

Since the new Tamron 17-50mm VC lens is a large diameter f/2.8 zoom, the optical image stabilization system is also relatively large compared with previous VC lenses. To achieve the same anti-shake effect as the renowned VC mechanism incorporated into Tamron's high power zoom lenses— models B003 and A20— the engineers had to enhance the VC unit itself, the mechanism that controls the optical image stabilization system. This initially led to an increase in size compared with existing lenses. It was therefore necessary to reduce the size of the VC unit while at the same time increasing its torque of driving power. This could only be achieved by bringing to all of Tamron's advanced engineering capabilities that had enabled is to produce high-power zoom lenses and light, compact, high-speed standard zooms. After a prolonged program of development entailing exhaustive research and tireless testing, Tamron's engineers finally achieved their goal, a fast, compact zoom lens with a filter thread of 72mm incorporating both a large f/2.8 maximum aperture and an effective Vibration Compensation mechanism.

This stunning achievement entailed innovations in both manufacturing technology and production engineering, including improvements to the precision, weight, and strength of the lens' components. The result: The Tamron SP AF17-50mm F/2.8 XR Di II VC, an extraordinarily complex lens to manufacture but a joy to use.

The optical system, optimized for the characteristics of digital cameras, uses special glass for multiple elements, to enhance optical quality while maintaining compactness

With its innovative use of XR (Extra Refractive Index) glass, Tamron has optimized the overall optical power distribution and reduced the size of the lens, while at the same time implementing advanced correction of optical aberrations. In addition, the optimized positioning of three compound aspheric elements has enabled further shortening and compression of the entire optical system while maintaining outstanding imaging performance. Two LD (low dispersion) lens elements are also employed to make effective corrections for axial chromatic aberrations and chromatic aberrations due to magnification, a major factor in enhancing optical quality in digital photography. The result: excellent image performance throughout the zoom range.

Optimizing the angle of light rays striking the image sensor

To reduce the impact of changes in aberrations due to zooming, the optical design adopted for this lens was developed to literally guide the angles of rays of light entering from the center to the periphery of the lens. This ensures that the light rays fall within a set range on the image sensor, enhancing image quality.

Reduced fall-off of peripheral brightness

The fall-off in peripheral brightness that limits resolution in wide-angle shooting is very well controlled, resulting in excellent image detail from the center to the outer edges and corners of the image field.

Superior resolution

As an SP Di II class lens, this lens delivers top imaging performance in all key parameters--high resolution, high contrast, and excellent detail rendition.

Uncompromising countermeasures to reduce ghosting and flare

The latest BBAR (Broad-Band Anti-Reflection) multi-layer coatings are used to reduce reflection from the lens, ensuring excellent performance in all photographic conditions. The coatings enhance light transmission in both the short wavelength and long wavelength ranges. In addition, internal surface coatings (coatings on cemented surfaces of lens elements) have been applied to all cemented surfaces, for sharpness, optimum color reproduction performance and excellent color balance.

Minimum focus distance of 11.4" (0.29m) across the zoom range, with macro capability of 1:4.8

Even with its VC image stabilization optical system this lens delivers a minimum focus distance of 11.4" over the entire zoom range, enabling stress-free close-up photography. The maximum magnification ratio at 50mm is 1:4.8(*3).

(*3) This lens enables photography of virtually the same range as that when using a lens with a maximum magnification ratio of 1:3.1 on a full frame format camera, as APS-C size image sensors are smaller than 35mm film.

Simple, beautiful exterior design

A simple, classic design with a smooth silhouette has been adopted to ensure that this lens combines well with various SLR cameras. The highest quality textured paint has been used to give a superb finish to the exterior.

Zoom lock mechanism, useful when carrying the lens/camera over your shoulder

The lens includes Tamron's zoom lock mechanism to prevent the lens barrel from extending by its own weight when lens is being carried on the camera pointing downward.

Flower-shaped hood with excellent stray light shielding properties supplied as standard accessory

The flower-shaped hood is ideally matched to the frame of the viewfinder screen to effectively block damaging light rays coming in from outside the borders of the image area, ensuring clear, sharp flare-free performance. The hood is provided as a standard accessory.

Typical application

landscapes, interiors, buildings, cityscapes, portraits, travel

Slowest shutter speed when shooting handheld

VC OFF @ 50mm11/21/41/81/151/301/501/601/1251/2501/5001/1000+
VC ON @ 50mm11/21/41/81/151/301/501/601/1251/2501/5001/1000+

Notes and recommendations

Sigma 17-50mm F/2.8 EX DC (OS) HSM

Sigma 18-50mm F/2.8 EX DC Macro

Tamron SP AF 17-50mm F/2.8 XR Di II LD Aspherical (IF) A16

Lenses with similar focal length range and speed

Sorted by manufacturer name

Best fast standard zooms

The higher a lens is on the list, the better it is in its class

Your comment

Copy this code

and paste it here *

Copyright © 2012-2021 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

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

One of the best fast standard zooms

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

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

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.

Micromotor

Micromotor

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.

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.

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.