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The short answer is that we use stock photos on some listings to save us time and to save you money. The longer answer is that we love to take photos of each and every lens, camera, and accessory, but doing so takes a lot of time and makes it difficult to get everything listed. So, we decided to compromise: take gorgeous photos of some things and charge a little more for them, and use stock photos for other items and charge a little less for those, all else equal.
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Tamron 10-24mm f/3.5-4.5 Di II for Canon
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The Tamron 10-24mm f/3.5-4.5 Di II for Canon
The Tamron 10-24mm f/3.5-4.5 Di II is an ultra-wide-angle zoom lens for Canon EF-S crop-frame cameras. At 10mm it’s perfect for capturing sweeping landscapes and cityscapes, with the flexibility to zoom in to narrow the field of view. By utilizing three glass-molded aspherical lenses as well as three hybrid aspherical lenses, the Tamron 10-24mm provides high-quality images with minimum optical aberrations, coma, and barrel distortion. It can focus as close as 9.45" throughout the zoom range, allowing the user to creatively exaggerate perspective. With a relatively small 3.9" length, this is a great option to have handy for all types of photography.
Comparing the ultra-wide, crop-sensor lenses is an extremely difficult task, so I’ll put the summary first: they all deliver excellent image quality, and you can’t go wrong with any of them. By my "just taking pictures" assessment, they are all excellent. There are some differences though, so I’ll try to point those out so you have a better chance at choosing the one that’s best for you.
The Sigma 8-16 f/4.5-5.6 is the widest (and remember, 8mm is 20% wider than 10mm, so it’s a very real difference). Not quite as sharp in the corners as the others and lower maximum aperture, but it’s really pretty good, especially considering it’s the widest of the wide.
The Canon 10-22 f/3.5-4.5 is arguably the most flare resistant, the smallest and lightest, and has low distortion. It’s also the most expensive and vignettes a bit. I like it a lot, though, and often find myself preferring it because of its small size.
The Sigma 10-20 f/3.5 has a bit more distortion than the others but delivers very nice images and is also built much better than the Canon 10-22. It does everything well and probably is the best value of the bunch.
The Tamron 10-24 f/3.5-4.5 Di II is the least expensive of the bunch and has the longest zoom range. It actually has less barrel distortion than most of the others, but a bit more chromatic aberration (purple fringing) and perhaps a bit more vignetting. But none of these are severe, and the larger zoom range often comes in handy.
The Tokina 11-16 f/2.8 and Tokina 11-16 f/2.8 Mk II (there are really no differences between them) give you the widest aperture if you’ll be working in low light (with ultra-wides, depth of field is rarely an important point), but it’s a bit soft at f/2.8, so the aperture advantage isn’t huge (I usually shoot it at f/4, if I can, to get it sharper). It has very little vignetting and distortion, probably the least of the group. Unfortunately, it does show quite a bit of chromatic aberration and is known to flare at times. But if you need f/2.8, this is your only choice, and it’s not a bad lens at all.
The Tokina 12-24 f/4 PRO DX II is built like a sturdy tank (and therefore a bit heavier). It does tend to give low-contrast images when shot into the sun but is quite sharp otherwise. This is the one I’d take if conditions were rough: I pity the rock this bad boy falls on.
But like I said above: they’re all excellent. We hardly ever get anything but happy comments about any of them.
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