The SP AF 70-200mm F2.8 Di LD (IF) Macro is another good effort by Tamron to produce a high quality telephoto zoom lens for a budget-friendly price. After all, the studio optical tests showed a great success, as the technical quality of the images this lens can produce is superb throughout most of the range.  The AF 70-200 matched, or even outperformed, the more expensive Canon 70-200mm F2.8 L IS USM. This lens’ resolution is excellent and chromatic aberration is generally very low, which is quite the achievement for Tamron. The close minimum focus distance is also wonderful.  It may not be a substitute for a true macro lens, but it’s not a bad bargain at all.

There is, however, the slightly high distortion on full frame, which is unlikely to be a problem for most users of a telephoto zoom. There’s also the occasional flare issue with strong light sources just outside the frame, which tends to be a common in fast telezooms in general anyway.

Mainly, though, the major problem with this lens lies in the focusing systems. The AF 70-200’s autofocus feature is relatively slow and its motor is rather noisy (a common complaint with Tamron lenses), which puts it at a major disadvantage compared to its ultrasonic motor- equipped competitors. Like usual, the slow speed of the motor (in either auto or manual mode) means focus tracking isn’t fast enough for sports or action photography.  There’s also the complaint that it has a distinct problem in low light or with low-contrast subjects, where the lens can take and extremely long time to focus. This, combined with the noisy motor, means this lens probably wouldn’t be ideal in situations such as wedding or event photography, since it’s neither quiet nor quick.

So overall, Tamron’s latest AF 70-200 is a lens which fully capable of delivering excellent images. However, it’s also frustratingly capable of missing that once-in-a-lifetime shot, which is a real pity, because the optical quality of this lens is fantastic. Of course, if you shoot mainly outdoors in bright light, the focus speed and noise issues probably won’t be a great problem, which is probably what Tamron had in mind for this product anyway. In which case, this lens could be ideal for you. However, if you shoot frequently in low light, need to track quickly moving subjects, or need quiet operation, this lens simply won’t meet your needs.  In fact, it will leave you rather frustrated.

The SP AF10-24mm F/3.5-4.5 Di II LD Aspherical (IF) is an advanced and versatile ultra wide-angle zoom lens that offers even higher performance and specifications than Tamron’s previous wide-angle zoom lens for DX cameras (the SP AF11-18mm F/4.5-5.6).

The new lens offers an extended focal length range that is particularly wide for even an ultra wide-angle zoom lens. With a 1mm difference that may not sound much at first, but there’s a significant increase with 109º versus the old 103º diagonal angle of view. This increased range at the long end also means less need for changing lenses while shooting.  Tamron has also improved the aperture to F/3.5-4.5 while keeping the filter diameter to 77mm. So, the AF10-24’s lightweight and compact size makes this new wide-angle zoom very convenient.

When it comes to operation, there's much to be commended.  This time, Tamron’s lens handles and works very well. While many have been critical of Tamron's slow autofocus features on past lenses, in the case of the AF10-24, it's really not an issue.  After all, Tamron is not targeting sports and action photographers with this lens.  So, the main complaint is actually just the large, widely-flared lens hood that facilitates the use of polarisers, but decreases portability.

In terms of sharpness and chromatic aberration, though, Tamron’s 10-24mm is comparable to mid-range zooms, like the Nikon AF-S 18-200mm F3.5-5.6G VR.  Even better, it leaves out the extreme barrel distortion these other lenses exhibit at wide-angle. This makes it great for shooting subjects that are dominated by straight lines across the frame, as is the case with architecture. The AF10-24 is sharpest at the wide end, which is what users will be buying it for.  Plus, it functions wonderfully at longer focal lengths, as well. While some complain that the extreme corners are soft, this only affects a limited region of the frame.  So, a slight crop is all that is needed to deal make up for it.

Overall, Tamron’s SP AF10-24mm F/3.5-4.5 Di II LD Aspherical (IF) is a great wide-angle zoom lens that will give good results when used appropriately.  There is much to like about it in terms of usefulness, operation, and results. With a broad zoom range and a reasonable price, it's worth it for anyone looking to buy an ultra-wide DX zoom.

Above all else, the Tamron AF 18-270mm f/3.5-6.3 Di II VC LD Aspherical IF Macro lens represents clever optical engineering. With the 15x ratio covering everything from a 28mm equivalent wide-angle to a 420mm equivalent telephoto, Tamron’s latest design is a superzoom lens that has significantly longer reach than its competitors, without compromising image quality. A minimum focus distance of just 0.5m throughout the zoom range and the incorporation of optical 'Vibration Compensation' enhance the lens's flexibility even further, and this lens is all about flexibility.

The AF 18-270 is aimed at users who want to upgrade from superzoom digicams and require a similar focal length range, just without the inconvenience of having to change lenses. A definite convenience feature, the lens is also impressively compact.  Despite the extra telephoto range, it's hardly different in size and weight from competing 18-200mm lenses.  The lens features a 'double-trombone' mechanical design, which allows it to almost double in length between 18mm and 270mm, while keeping the overall size and weight.

That's not to say the AF 18-270 is perfect. After all, it has much the same optical problems as the other lenses on the market. At a wide-angle, the lens shows chromatic aberration and barrel distortion, and test samples also exhibited one distinctly soft corner at wider apertures. In the middle of the zoom range, the lens is unexpectedly sharp and shows essentially no chromatic aberration, but suffers from rather high levels of pincushion distortion. Finally, towards the telephoto end, the lens is somewhat soft and shows relatively high levels of chromatic aberration, especially at 270mm (although distortion is low). It should be noted, though, that Tamron has managed to tread a commendably fine line in balancing these aberrations without letting any of them become too extreme.

Once again, the most common complaint against Tamron is the AF 18-270’s autofocus feature, which is simply much slower than rival lenses by Canon or Nikon. To be fair, though, the lens is perfectly adequate for users shooting everyday static or relatively slow-moving subjects, and these are Tamron’s target users. However, the moment life speeds up, the lens’ autofocus is left struggling. Therefore, the AF 18-270 is not the best choice for users who require continuous autofocus features, as one would need for sports photography.

These minor flaws aside, the Tamron 18-270mm is quite impressive as a general all-purpose optic. Tamron actually hails it 'The Ultimate All-In-One Zoom: Longest, Steadiest Lens On Earth'.  And, even where the AF 18-270 is weak, it's not far behind the competition. Its remarkable zoom range and convenience is a draw in itself.  So, as long as you're willing to put up with its somewhat sluggish focusing, it's a remarkably useful lens for your money.

To any photographer, hobbyist, or pro, getting a good telephoto zoom lens means days of research, and tons of money when you were ready to buy. Fortunately, for those of us who don't have a fortune, or time to spend, Cannon has created the EF-S-55-250mm f/4.0-5.6 IS. This is an excellent quality lens, at a price that even the humblest of beginners can afford.

Canon has incorporated an Image Stabilizer technology that allows the photographer to hand hold the camera and lens for shutter speeds as low as 1/15th of a second, and maintain a crystal clear shot. This lens also has a UD glass lens element, to correct any chromatic aberration, and gives an image quality throughout the zoom range that cannot be beat by any other comparably priced telephoto zoom lenses. Low level light photos at any distance are not a problem with this one, either. Photographing an athlete at any distance with a blurred background is also easily accomplished. Having a high ratio zoom, this lens is comparable to an 88-400mm of the 35mm formats, when used with compatible equipment.

With an MSRP of $299.00 this lens provides many features that more expensive telephoto lenses do not, and there are refurbished, and used units available on the internet for less than this. The only down side of this unit would be the fact that there are many plastic pieces on this lens, increasing the risks of damage if dropped, but making this lens much lighter than the competition, and easier to carry for a day. Even with all the plastic on the barrel there is virtually zero lens creeping, or gravity altering the zoom.

The Canon EF-S-55-250mm f/4.0-5.6 is a sure fire hit with any enthusiast. The price is affordable, and the image quality outstanding. Even though cost has been sacrificed, photo quality is still outstanding. Any professional or amateur photographer would be proud to have this in his, or her camera case.

The Canon EF 50 mm f/1.8 camera lens is arguably one of the most optically excellent lens you can buy at under one hundred dollars. It is a 50mm standard focal length lens with f/1.8 maximum aperture, weighs 4.6 ounces and focuses as close 1.5 feet. If you are an amateur and you just made the switch from point and shoot to SLR this lens is way more than adequate to fulfill your needs. The lens is extremely sharp so much so it is hard to believe that it is being sold so cheaply because comparable models delivering this quality usually cost between $300 and $400 dollars.

The lens is f/1.8, which of course means it is fast. Far faster than any consumer zoom lens because it has a wide aperture, which means that, it lets more light in and thus can take pictures with a faster shutter speed. Because of this it has an excellent shallow depth of field and therefore a lot of background blur. This lens is great for both portraits in lighted conditions in which the background is blurred and for lower light conditions because you can still shoot at fast enough shutter speeds to permit holding the camera.

The only issue with the product would be it's build quality which is not as solid as higher end models (because the barrel itself is plastic) but the optics seem to be in great shape even it comes off cheap because of the product's overall plastic feel. But this issue could also turn into a positive because it means that it is very light and therefore will reduce the strain and pressure on your shoulder from carrying it around and intense shooting sessions. Any seasoned photography would tell you that it does not take long for a heavy lens to tire you out.

Usually you get what you pay for and for a lens under $100 anyone would assume that the overall quality would be terrible but this lens is completely opposite. Aside from the build quality (which can easily be overlooked because of the price) this is an excellent lens with superb picture quality and with the speed and performance added in, it cannot be beat.