Tamron’s 50-300mm f/4.5-6.3 Di III VC VXD offers an interesting option for those seeking a versatile zoom lens. It expands the standard range of 70-300mm telephoto lenses to start at 50mm, making it more flexible for a variety of shooting scenarios. Whether you’re capturing landscapes at wider angles or zooming in for distant details, this lens aims to cover it all.
Coming to you from Christopher Frost, this thorough video review dives into the features and performance of the Tamron 50-300mm f/4.5-6.3 Di III VC VXD. Frost highlights that while the lens delivers a wide range, its variable maximum aperture of f/4.5-6.3 might be a limitation for some. This darker aperture can make shooting in low light challenging and doesn’t offer as much background blur as faster lenses. However, the trade-off is a more compact and lightweight design compared to other telephoto zooms. Weighing only 665 grams (1.5 lbs), it’s easy to handle and doesn’t add much bulk to your gear.
The lens’ build quality is good overall, but Frost mentions that it rattles when not mounted on a powered-on camera. This quirk might be unsettling if you’re used to more solid constructions. Tamron has included a USB-C port for firmware updates, which adds a nice touch of future-proofing. Autofocus performance is another highlight, with the VXD linear motor providing fast and silent focusing, especially in continuous autofocus mode. Frost does note, though, that single-shot autofocus is slower than expected, which could be a drawback for quick, one-off shots.
Optically, the Tamron 50-300mm performs well at its telephoto end, offering sharp images with good contrast, even in the corners. This is ideal for wildlife or sports photography, where the longer focal lengths come into play. At wider angles, however, the corners tend to soften, particularly at lower apertures. Frost suggests stopping down to f/8 or f/11 to get better corner sharpness, though this isn’t always convenient in low-light situations. Close-up performance is also solid, with the lens offering half-macro capability at 50mm, making it versatile enough for some macro work without needing an additional lens.
Distortion and vignetting are well controlled at 50mm, but become more noticeable as you zoom in. Frost demonstrates that vignetting clears up when stopped down to f/8 or smaller, but the strong pincushion distortion at 300mm is something to be aware of. If you frequently shoot architecture or other subjects with straight lines, you’ll likely need to correct these in post-processing. Check out the video above for the full rundown from Frost.
