Tamron Tamron Di III Tamron 35-150mm f/2-2.8 Di III VXD Lens for Nikon Review

The Tamron 35-150mm f/2-2.8 is a revolutionary do-it-all zoom for Nikon Z shooters. Its killer feature is the f/2 aperture at 35mm, giving you prime-like speed in a zoom. At $1799, it's expensive, but it replaces multiple lenses. Just be ready for its substantial weight. If you shoot portraits or events and want one lens on your camera all day, this is it.

The Tamron 35-150mm f/2-2.8 is a lens that makes you question why you'd carry anything else. It's a single zoom that covers the classic portrait range, from a wide 35mm to a tight 150mm, and it does it with a shockingly fast aperture. For photographers who shoot events, weddings, or just want one lens for everything, this is a dream come true.

It's built for Nikon's Z-mount mirrorless cameras, which means it's designed to take full advantage of that system's autofocus and in-body stabilization. The big story here is the f/2 to f/2.8 variable aperture. At 35mm, you get a super bright f/2, and it only dips to f/2.8 as you zoom all the way to 150mm. That's a huge deal for low-light work and getting that soft background blur.

But there's a catch, and it's a literal heavy one. This lens weighs in at 1191 grams, or over 2.6 pounds. It's a chonker. So while it promises to replace a bag full of prime lenses, you're putting all that weight on one point on your camera body. It's a trade-off, and it's the first thing you need to decide if you can live with.

Our database puts this lens in the 94th percentile for versatility, which is no surprise given its focal range. Where it gets interesting is the aperture performance, landing in the 69th percentile. That f/2 at the wide end is a genuine advantage over standard f/2.8 zooms, giving you an extra stop of light for indoor events or evening shots without cranking the ISO.

The autofocus, powered by Tamron's VXD motor, sits in a more modest 46th percentile. In practice, that means it's fast and quiet for most situations—portraits, street, travel. It'll keep up with casual action, but if your primary subject is sports or wildlife, there are dedicated lenses that might lock on a bit quicker. The lack of optical stabilization (a 36th percentile score) isn't a deal-breaker for Nikon Z shooters, since those bodies have excellent in-body IS, but it's something to note if you're adapting it to an older system.

At $1799, this lens isn't cheap, but you have to look at it as a replacement for two or three premium primes. A Nikon Z 35mm f/1.8 S and an 85mm f/1.8 S together would cost you about the same, and you'd still be missing the 50mm and 150mm focal lengths. So, on a cost-per-millimeter basis, it's actually compelling.

The value proposition is all about convenience and speed. You're paying to never change lenses during a shoot. For an event photographer billing by the hour, that alone could justify the price. For everyone else, it's a question of whether that convenience is worth the premium over a more traditional, and lighter, 24-70mm f/2.8 zoom.

The most direct competitor is the Canon RF 28-70mm f/2, another fast standard zoom. The Canon has a constant f/2 aperture and arguably better build, but it stops at 70mm. The Tamron gives you another 80mm of reach, which is a massive difference for portraits. You'd need a second lens with the Canon to match it.

Against Nikon's own S-Line zooms, like the 24-70mm f/2.8 S, the Tamron trades a bit of wide-end (24mm vs 35mm) and native build quality for that extra telephoto reach and the brighter f/2 aperture at the wide end. If you shoot a lot at 35mm and 50mm, the Tamron's brightness is a win. If you need 24mm for architecture or group shots, the Nikon is the clear choice.

Then there's the prime lens route. A trio of f/1.8 primes (35, 50, 85) will be lighter, potentially sharper, and give you even better low-light performance. But you'll be swapping lenses constantly. The Tamron is the antithesis of that: one lens, no fuss, ready for anything in its range.

Landscape and architecture photographers should look elsewhere. Starting at 35mm is just not wide enough for epic vistas or tight interior shots. You'll be constantly wishing for a 24mm or wider lens. For you, a dedicated ultra-wide zoom or a standard 24-70mm is a better starting point.

Videographers who need silky-smooth handheld footage should also skip this. The lack of lens-based stabilization means you're relying solely on the camera's IBIS, which is good but not always enough for professional video work. You'd be better served by a lens with optical stabilization or planning to use it primarily on a gimbal. Also, the focus breathing (a slight change in field of view when focusing) common to many photo zooms might be more noticeable in video.

Buy this lens if you're a portrait, event, or travel photographer who values speed and versatility over everything else. If your shooting style involves moving quickly between wide environmental shots and tight headshots, and you hate missing moments to change glass, this is your holy grail. The image quality is more than good enough for professional work, and the f/2 aperture is a genuine creative tool.

Think twice if you're a landscape photographer who needs 24mm, a videographer who relies on lens-based stabilization for gimbal-like smoothness, or someone with a smaller mirrorless body who's sensitive to weight. The heft is real, and the lack of weather sealing means it's not the best companion for adventures in the rain. For those folks, a standard 24-70mm f/2.8 zoom and a separate telephoto might be a more balanced, if less exciting, kit.