A stabilized standard 2.9x zoom, the Tamron SP 24-70mm f/2.8 Di VC USD G2 (model A032) is available in mounts for Canon and Nikon DSLRs that have full-frame sensors. It is also compatible with DSLRs that have APS-C or DX sensors, on which the field of view is comparable to that of a 36-105mm zoom lens.
Tamron’s 24-70mm f2.8 VC (model A007) was the first stabilized 24-70mm f2.8 zoom lens available on the market when it was released in 2012. The new lens, which was announced in June 2017, is the successor to that lens.
Tamron SP 24-70mm F/2.8 Di VC USD G2 Zoom Lenses
The optical design of the lens has not been altered by Tamron, but it is now compatible with the company’s USB dock, which can be used to fine-tune different aspects of the autofocus and image stabilization mechanisms, and it boasts an upgraded AF drive and VC mechanism. There is also the unavoidable price rise, which has resulted in a list price of a whopping 1700 EUR.
However, the current street pricing has already dropped to 1200 USD or 1300 EUR, which is still a markup of 70% above the current street price of its predecessor in Europe.
In order to determine how well the new Tamron 24-70mm f2.8 VC G2 performs, I put it through its paces on the 46-megapixel Nikon D850 camera, pitting it against its A007 predecessor, as well as Nikon’s own 24-70mm f2.8E VR and Sigma’s most recent 24-70mm f2.8 OS Art. You are at the correct spot if you are looking for a conventional zoom lens that is designed for a full-frame camera and has a big aperture.
Information is taken from the catalog
As is my custom, the first thing I’ll do is examine the new Tamron’s specifications and statistics. I have given the features a rating of [+] (or [++]) when it is superior to the average or even state of the art; I have given them a rating of  if it is standard or merely average; and I have given it a rating of [-] if there is a drawback.
For the sake of this comparison, I will be using the (“predecessor” for short), the “Nikon 24-70mm f2.8E VR,” and the “Sigma AF 24-70mm f2.8 OS Art.”
Dimensions (in diameter and length): 88 mm x 109 mm (3.5 in. x 4.3 in.); the lens hood adds 35 mm to the overall length (with a diameter of 106mm). The maximum length may be increased to a maximum of 175mm by zooming out by an additional 31mm.
Both the ancestor and the Sigma have dimensions that are fairly close to one another. The Sigma zoom cannot be locked, however, both of the Tamron zooms can be locked. The Nikon has a lens hood that adds 203 millimeters to its length, but it does not become longer as you zoom in or out. 
Weight: The new Tamron is 10% heavier than its predecessor, coming in at 900 grams (32 ounces), plus 38 grams for the plastic lens hood. Despite this, it is still 90 grams lighter than the Sigma and approximately 200 grams lighter than the Nikon. 
Optics include 17 elements (including 5 special dispersion and 4 aspherical elements) in 12 groups, but the Nikon has 20 elements in 16 groups, and the Sigma is somewhere in the middle of the two.
However, there are still 12 groups with a total of 24 air and glass surfaces, which results in a large number of chances for flares and ghosts. It will be interesting to observe how well the eBand coating from Tamron performs under these conditions. 
The closest focusing distance is 0.36 meters (1.2 feet), and the magnification is 1:4.7, which is the same as with Sigma or its predecessor. In manual focus mode on the Nikon, the maximum magnification is 1:3.1.
The Tamron has to be at a focus distance of 0.71 meters in order to produce a magnification of 1:10, which is equivalent to taking a very close headshot. This leaves a working distance of 0.54 meters. For a magnification of 1:10, the Nikon needs a focus distance of 0.87 meters (with a working distance of 0.67 meters). 
The thread size for filters is 82 millimeters, the same as its predecessor, the Sigma, and the Nikon. Because this is larger than the de facto norm of 77mm, you will probably need to purchase some new filters. 
Yes, we have something called VC for image stabilization (vibration control). This is very necessary when handholding a camera with a current high resolution in order to achieve longer shutter speeds.
The USB dock allows for the selection of a variety of image stabilization settings, some of which prioritize the camera’s ability to take photos over its ability to maintain its position in the viewfinder. If you need a different priority for filming, you will not be able to swap modes while you are out in the field, which is unfortunate. [+]
USD (ultrasonic drive); hence, it even works on camera bodies that don’t have an AF drive built in, such as Nikon’s D3000/5000 series. To override the autofocus system and switch to manual focus, just rotate the focus ring.
- The same may be said of our rivals. Using its USB TAP-in interface, the new Tamron lets you change the focus fine-tuning at three different distances and four different focal lengths.
- If it covers the entire frame/FX or is smaller, then it is excellent. The same may be said of our rivals.
The price is around 1300 EUR (including 19% VAT), which is equivalent to 1200 USD. In comparison to the price that can be found on the street for its predecessor, that is quite steep price; however, this will become irrelevant once there are no more supplies available. The Sigma may also be purchased for 1300 EUR, however, the Nikon can be purchased for a somewhat higher price of 2100 EUR.
There is no strap included, however, it does come with a soft lens cover. The lens hood is provided, can be turned around for transport, and includes a lock to prevent it from being lost inadvertently. The Sigma does not have any of these features. The lens caps are your typical design.
With this lens, the camera and flashes are able to accomplish all of the sophisticated exposure-related stuff since the lens transmits information about the distance to the camera. The same may be said about the rivals.
No, the aperture ring is not different from what the competition offers. The aperture is controlled electromagnetically in the Nikon version as well, making it functionally equivalent to a contemporary E-type Nikon lens. This eliminates the need for the mechanical coupling that Nikon employs on all of its older lenses, as well as the mechanical coupling that Tamron had on the lens that was the forerunner of the new lens.
- Sealing is present and consists of a rubber grommet at the lens mount as well as additional specific weather-sealing throughout the lens.
- The “features department” received a score of 0 [-]/8 /5.
- The lens has a number of useful features, but it does not have the possibility to have its lens mount changed, which is a characteristic that is exclusive to the Sigma brand.
- The previous model, as well as Tamron’s newly developed standard zoom.
Beginning in 2012, the EF 24-70mm f2.8 II L USM will be available to Canon customers. It does not come with picture stabilization and may be purchased for close to 1800 EUR.
2015 saw the release of Nikon’s AF-S 24-70mm f/2.8E ED VR lens. It has a stabilization feature, can be purchased for close to 2100 EUR, and has a Highly Recommended rating for its optical performance. Check out my review of the Nikon 24-70mm f/2.8E VR lens.
There are other variants of a 24-70mm f2.8 zoom lens available from Sony, but the FE 24-70mm f2.8 GM is their most recent release. Because the lens does not come with its own image stabilization, you will need to rely on the built-in stabilization that has been included in more current Sony bodies. It may be purchased for around 2060 EUR. Check out our work-in-progress review of the Sony FE 24-70mm f/2.8 GM lens.
Sigma’s new stabilized 24-70mm f2.8 OS Art lens can be purchased for around 1,300 EUR. In my assessment of the Sigma 24-70mm f2.8 OS Art lens, I gave it a recommendation grade.
Around 900 Euros is the price for Tokina’s AT-X Pro 24-70mm f2.8 FX, which was released in 2015. It does not have an image stabilization feature.
The following is a description of the field of view that can be captured by the new Tamron 24-70mm lens thanks to its 2.9x zoom:
Focus and zoom
It is essential to have an accurate focus that can be repeated in order to create consistently crisp photographs. The repeatability of this lens at 70 millimeters focal length is fairly strong (measured at 98.7% in Reikan FoCal), with only one small outlier throughout a series of forty photographs. Repeatability refers to the precision of focus on the same subject after repeated focus acquisition.
Whether the lens begins focusing from infinity or from a closer distance, there is little difference in performance between the two. It takes the lens around 0.4 seconds to focus without hunting when set to a focal length of 70 millimeters, which is a significant improvement over the 0.5 seconds that were required by its predecessor. The Nikon 24-70mm f2.8E VR and the Sigma both have a time of 0.35 seconds to go from infinity to 0.5 meters when shooting.
There is no slack or play between the movement of the focus ring and the focus action, and the throw of the focus ring is 95 degrees. The width of its rubberized surface is just 11 millimeters. The zoom ring features a rubber surface that is 24 millimeters wide and can turn through 70 degrees. Both rings are rather rigid, and it is nearly impossible to spin them with a single finger.
They rotate in the same direction, which is the way that users of Nikon are accustomed to it, but this is the total opposite of what Canon does. The zoom ring is located at the front of the camera, but the focus ring is located closer to the body of the camera, just like the Sigma. On the other hand, the zoom ring of Nikon and Canon’s most recent 24-70mm f/2.8 zoom lenses is located closer to the camera.
The functioning of the autofocus is scarcely audible from the outside, and if you record video with the built-in microphone, the AF drive does not emit any clicks at the start or stop of focus movements, and noise is quite low even when the AF is making quick movements.
When the autofocus system makes quick adjustments, the Sigma emits a discernible hissing sound.
The image stabilization of the new Tamron is nearly silent both when the camera is turned on and while it is recording video, which is also true of the image stabilization of the Nikon and Sigma.
You’ll notice something called “focus breathing” when you draw the focus ring: as you go closer to the subject, the picture will get less magnified.
When I changed the focus on the Sigma from infinity to 0.7 meters, I found that there was a 9% reduction in magnification at 70 millimeters of focal length. This reduction is rather noticeable and may be distracting to videographers. When compared, the Nikon 24-70mm f2.8E VR lens results in a 2% increase in picture size.
For the purpose of evaluating the performance of the image stabilization, I tested the new Tamron lens by taking a series of hand-held test photos with a focal length of 70 millimeters and a VC setting that prioritized the stabilization of the image that was taken. I tried shutter speeds ranging from one-eightieth of a second to one-half of a second.
Shots taken at 1/80 of a second with the optical image stabilization set to off are used as a baseline for determining how steady my hand-holding was during the test, and Reikan FoCal was responsible for determining how crisp each and every shot was.
The findings, taken as a whole, are quite persuasive. This is what you need to know: There is a significant difference in performance between VC and VC=Off at 1/80 sec, 1/40 sec, and 1/20 sec. The results were more inconsistent at 1/10 second and 1/5 second (three and four stops), but 80 percent of the photos taken at 1/10 second and 70 percent of those taken at 1/5 second were still extremely useable.
Only at a shutter speed of 1/2.5 second (5 stops) did the probability of capturing an acceptable image drop below 50%. That amounts to anywhere between three and four stops of stabilization. The Sigma produced somewhat superior results at 1/10 and 1/5 of a second, while the Nikon is approximately in the middle of the pack.