I recently changed case, I went to a 550D 5Dmk3.
It is the day and night, it's not the same universe. Suddenly, old but still very good 17-50 which I have made the criticism no longer corresponded to the case.
Has thus opened up to me the mythical range of 24-70. Canon with its f / 2.8 L USM made happy many years, there are those who swear (correctly) that the 24-105 (one ranks so convenient). I had the chance to cross the course at the time a novelty arose on the market stabilized 24-70. That, unless you have a Sony whose sensors are stabilized, not optical, it is a total novelty.
And on this point, I do not expect, the SP Di VC USD 27-70 is a bomb: 1/4 second, and the picture is clear. Well, we must still be very static for this kind of cliché, and if you are of a nervous nature, it will be complicated. But that gun. So, stabilization becomes a real argument, not a marketing stunt. Tamron has successfully integrated this technology.
Then the dive.
From f / 2.8, it is superb. At all focal lengths, that is. Maybe a little lower at 70, but I found nothing means, at worst, it's very good. In short, bad lighting conditions are not an obstacle for him. And with the issue of openness, the natural quality of the bokeh. Just beautiful, and for good reason: the diaphragm has 9 blades. All the conditions exist for subjects that perfectly detached from the background, all on soft background bokeh.
And there, I have not told you of the pitfalls of this rock.
The rest is in keeping: close to f / 5.6, and enjoy a dive that ... beam. Sorry, I can not find the words to say how happy I am this (beautiful) gift. At f / 8, the depth of field is remarkable, f / 16 is still very good. But f / 22 is frankly way. The sharpness is not there. Well, this is the minimum aperture of Tamron, and with the 5Dmk3, unless you have the right sun in the face and again, 1/4000 of a second at f / 16 will do :)
It is not on the ground of the dive we will plant this goal.
It's more about the distortions. There one can find fault, but to me, it is not a real concern. First, because not too expensive software like Photoshop Elements have a distorted processing module, and that these distortions can be widely used as creative element. They are quite acceptable and are currently visible at 24mm. 70 mm is fine, and the rest. I've seen much worse objectives (including the Nikkor AF-S 24-85 which is a shame for an optician as Nikon).
Vignetting is quite good now, but not problematic.
Chromatic aberrations are very well contained, and go very well in post-processing.
So after this avalanche of compliments, I have to tell you that this is an excellent stone.
I will finish all the same by a Board: the coming months will be rich of novelty in this segment for solid transtandards formats. Parent poor until now, this branch will be enhanced by very interesting objectives through 6D and to the creation of the full range of formats "entry level": the future EF 24-70 f / 4 L IS USM Canon seems to be a king of the accuracy with stab copy the EF 24-70 f / 2.8 L II USM is already a killer dive.
Consider your budget and needs, but soon there will be the choice.
