The lens comes with a soft bag, front and rear covers, a lens hood that can be reversed, and a reversible lens cap. You have the option of purchasing it with either a Canon EF or a Nikon F mount, and Tamron has validated its compatibility with the mirrorless camera systems produced by Canon and Nikon.
Even though Tamron does not provide official support for the combination, owners of Sony cameras can use the lens on an a7 or a9 series camera by purchasing an adapter from a third-party manufacturer, such as the Sigma MC-11.
Best Tamron SP 35mm F/1.4 Di USD Lenses
The lens is protected by a robust metal barrel on all sides. It has a cool sensation to the touch and features internal sealing that prevents dirt and moisture from entering the space. Fluorine protection is included in the front element, in addition to the usual variety of anti-reflective coatings. Because the material is hydrophobic, which means it won’t absorb water or grease, you’ll have to clean your lens less regularly.
On-lens controls are basic. In front, you’ll find a ring for manually adjusting the focus. Because it is broad and has a finish made of rough rubber, it is easy to get a grip on it and turn it. In order to change the focus mode, there is a switch labeled AF/MF on the side of the lens; nevertheless, a manual override may be used at any time, even when the lens is in autofocus mode.
When measured from the plane of the sensor, the closest focus distance allowed is 11.8 inches. When operating at or near the minimum distance, this places approximately five inches of space between the front element and the subject being photographed. It has a resolution that is adequate for a 1:5 life-size reproduction, which is quite standard for a 35mm f/1.4 lens. With the Tamron SP 35mm f/1.8 Di VC USD, you can go a little bit closer thanks to its close focusing ability, which provides a magnification ratio of 1:2.5.
Choosing the SP 35mm f/1.8 lens will, of course, result in a reduction in the amount of light that can be gathered by the camera. You will not only save money since it only costs $599, but you will also acquire optical stabilization, which is not a feature that can be found in any other 35mm f/1.4 lens on the market.
If you are looking for a stabilized 35mm prime lens, another option besides the Tamron SP 35mm f/1.8 is the Canon EF 35mm f/2 USM. Both of these lenses are available through Canon. Stabilization is not a function that is absolutely necessary for taking still photographs; nonetheless, it is quite critical when capturing handheld video.
Unparalleled Concluding Statement
Along with Canon’s highest-resolution single-lens reflex camera, the 50-megapixel EOS 5DS R, and the Imatest software, I tested the SP 35mm f/1.4. Even at an aperture of f/1.4, the pair produces a resolution that is 3,678 lines, which we believe to be quite good. There is a slight decline in clarity as you travel toward the outskirts of the image, but the 3,182-line output is still satisfactory even in most peripheral areas. This is a lens that can be used with very few sacrifices when stopped down to f/1.4.
At f/2, the resolution reaches a great 4,013 lines, and it becomes even better at f/2.8, where it reaches 4,435 lines, before entering exceptional territory at f/4, where it reaches 4,861 lines, and f/5.6, where it reaches f/5.6 (4,802 lines). Even if the edges are a touch below average, there is no reason to be concerned about it. At an aperture of eight, the pair is able to resolve 4,166 lines, which is an outstanding performance.
On the 5DS R, the effect of diffraction, which is the scattering of light that occurs as it travels through a narrow aperture, begins to take place a little bit sooner than usual. If you want to take a picture that is as crisp as possible, I wouldn’t worry about using the lens with an aperture setting of f/8 or f/11 (3,790 lines), but I would advise against using an aperture setting of f/16 (3,218 lines).
Although we use a camera body, an SFRPlus test chart, and the lens itself to do our evaluations, there are other approaches as well. Roger Cicala of Lensrentals conducts testing independently on a camera body using a variety of tools.
His testing supports our observations, which show that the SP 35mm f/1.4 is one of the most impressive 35mm f/1.4 designs now available. It performs somewhat better than Canon’s own EF 35mm F1.4L II USM lens, which retails for $1,800.
There is around 1.2 percent apparent barrel distortion in the image. There is some evident barrel distortion. If you are going to use the lens for architectural work, you should be aware of this impact despite the fact that it is rather slight. In the vast majority of cases, you won’t even notice it. Adobe Lightroom is equipped with a lens profile that automatically corrects for distortion with the touch of a button.
When using larger apertures, the SP 35mm lens produces a vignette. When photographing a gray field with the lens set to infinity, we obtained a reading of -5.1EV at the four corners of the frame. This is only a somewhat lower reading than what we obtained with the Canon EF 35mm f/1.4L II USM (-6EV) and the Sigma 35mm F1.4 (-5.7EV). It gets less noticeable when you stop down, and it disappears completely when you stop down to f/4.
It is not something that will be noticeable in each and every picture. When honing in on something up close, for instance, it becomes less noticeable. Lightroom’s lens profile, similar to how it corrects for distortion, compensates for the effect. In-camera corrections for third-party lenses are not available on Canon cameras; however, if you possess a Nikon camera, you may take advantage of a little amount of automated correction whenever you shoot in JPG format if you so want.
Optics That Are Pin-Point Perfect at a Price That Is Reasonable
There is hardly a shred of doubt in anyone’s mind that the Tamron SP 35mm f/1.4 Di USD is an outstanding lens. It performs well in the laboratory, and it also performs quite well in the field. In addition, it is constructed to be durable, with an all-weather construction as well as fluorine protection. The Sigma 40mm F1.4 DG HSM Art was larger and heavier than comparable lenses, which was one of our complaints about that lens. This lens, on the other hand, is comparable in size but costs nearly half as much as comparable products from Canon and Nikon.
Because of this, it is a simple lens to suggest to any SLR user who is in the market for a prime lens of 35mm focal length. You won’t find many other solutions that can compare to its performance, and you won’t find any that are anywhere like as economical. If you use the lens with a Z 6 or Z 7 camera, you’ll be able to make use of the camera’s in-body stabilization, and it’s also compatible with the EOS R and Nikon Z mirrorless systems with the use of an adapter.
However, prior to making a financial commitment to purchasing yet another SLR lens, I would advise photographers who have already made the switch to a mirrorless system to exercise some degree of discretion.
In spite of this, the EOS R and Nikon Z camera systems are still relatively new, and neither one presently supports native lenses with a focal length of 35 millimeters and a maximum aperture of 1.4. It is up to you to decide whether you want to deal with the hassle of an adapter or whether you would rather just live with an f/1.8 design, such as that of the Canon RF 35mm F1.8 Macro IS STM or the Nikkor Z 35mm f/1.8 S.