Intro

I used to be a prime‑only shooter on my Fuji system, with the Viltrox 27mm 1.2 Pro and 75mm 1.2 Pro being so good they almost kept me in that lane and on Fujifilm forever. I could usually “zoom with my feet”, but I was still missing shots and started to really feel the lack of flexibility compared to a good zoom. I rented the Fuji 16 - 55mm 2.8 for a weekend, and I wasn't too impressed! 

Buying Decision

When I moved back to Nikon, I researched options and locked onto the 24–120mm f4 as a do‑it‑all lens, debating it against the 24–70mm f4. At around £850 used, it seemed like the perfect balance of reach, size, and price, until a video about the Tamron 35–150mm f2–2.8 popped up and completely hijacked my plans.
That crazy zoom range and fast aperture instantly grabbed my attention, especially for portraits where 24mm isn’t critical and I’m not hiking with the lens anyway. I went hunting for used copies, but stock was thin everywhere, and then I found a brand‑new one on eBay from Hong Kong for under £1200 when it’s usually about £1800.
It was Christmas Day, there was only one available, and I decided to gamble, trusting buyer protection and hoping it wasn’t too good to be true. Ten days later it turned up at my door, completely brand new, in one piece, and the gamble paid off. (Grey market items don't come with warranty so keep this in mind if you do the same). 

Build & Handling

This lens is a bit of a monster: not small, heavy, and roughly comparable in presence to many 70–200mm f2.8 lenses. Tamron chose not to include a tripod collar, which I strongly disagree with, because the weight feels like it stresses the mount, and I wouldn’t feel comfortable putting it on a tripod like that.
I bought a third‑party collar as insurance, but it is fiddly to position; too far forward and it interferes with the focus ring, with only a millimetre or two of tolerance. The screw knob holds it well enough but not in a way I’d trust to swing the camera, and because it clamps the barrel, I’m wary of over‑tightening and cracking something.
The front filter thread is 82mm, which is huge and slightly annoying since all my older filters are 77mm, but it pushed me to rebuy as magnetic filters, which might actually make me use them more. One thing I really hate is the extending barrel: it gets noticeably longer as I zoom, feels like it creates suction, and I fully expect dust to find its way inside eventually.

Tamron lens vs 50mm 1.4 and D800e with Sigma 105mm macro

(3)

 

 

Controls & Ergonomics

In the hand, the lens feels okay: lots of plastic to save weight, nothing especially premium, but nothing awful either. The zoom ring has a firm, positive feel that I actually like; no loose, sloppy movement here.
Up front is a wide focus‑by‑wire ring that I dislike because I keep catching it and nudging focus, which is easy to do if you’re me. Thankfully the lens has a USB port and, more importantly, my Z6II custom settings let me disable the focus ring, which I consider a big bonus.
There are three programmable buttons around the barrel that can be assigned to various functions, and I initially thought about using one to trigger crop mode for extra reach at concerts. It turns out that is not something the Z6II can do and seems more like a Z8/Z9 feature, so for now those buttons remain largely unused and, over time, I’ve grown to actively dislike them.
There is also a lock switch to keep the lens at 35mm, but it feels pointless because there is no zoom creep and the zoom action isn’t overly loose. The lens hood, on the other hand, has a locking button which I think is a cool and practical touch.

Autofocus Performance

Autofocus performance is generally decent: it is silent, accurate, and I rarely find myself waiting on the lens or missing shots because of AF. Even in low light on the Z6II it holds up surprisingly well, and I imagine it would be even better on a Z8 or Z9.
Where it can stumble a little is when I push it to extremes, like shooting at 150mm at distance, then suddenly zooming to 35mm and moving in very close to a subject. With that much glass to shift, focus can slow slightly, but that behaviour feels understandable given the physical design.
One thing I really wish it had is parfocal behaviour: focus that stays locked as I zoom. With this lens, if I zoom, I have to refocus; it does not keep my subject sharp throughout the zoom range.

Image Quality

Image quality is where this lens quietly shines: it is sharp and very clean, giving a reliable, somewhat clinical look. Side by side with my 50mm 1.4, the 35–150mm looks more clinical and less “characterful”, with no distinct personality beyond being consistently dependable.
There is a subtle quirk at 35mm wide open where the image takes on a gentle Pro Mist‑like glow, likely from light bouncing around all those elements. I actually like this effect; it adds a little atmospheric softness without needing a dedicated diffusion filter.
On the downside, the lens really does not handle flare well: backlit situations can produce strong, overpowering flare that is not always creatively useful. While flare can sometimes be harnessed, with this lens it often crosses the line into being more of a problem than a tool.

Here is an example of the flare. As you can see it really washes out colour, skin tones, and creates a huge and ugly flare that wuill be impossible to remove. Shooting into the sun makes autofocus really struggle too

Real‑World Use

In the studio, the lens has been fantastic, delivering the flexibility I was chasing with a bright aperture that makes it an ideal “leave it on the camera” option. Realistically, it ends up being the lens mounted for roughly 90–95% of everything I shoot.
During an environmental portrait session, 35mm proved a bit too tight, so I did swap to my 24–70mm f4 for those few wider frames. That experience nudged me toward the idea that this lens needs pairing with a wide or ultra‑wide fast lens to fully cover my shooting needs.
I’ve considered something like the Tamron 15–30mm 2.8 G2 on F‑mount with an FTZ adapter, but I’ve heard mixed things about F‑mount Tamron lenses adapting to Z bodies. For now, that remains an open question and something I feel I should probably test by renting first.
For gigs and concerts, the extra reach has been invaluable, making life considerably easier than carrying a separate 70–200mm. In those scenarios, having this single lens cover what would normally be 24–70mm plus 70–200mm territory is a huge practical win for me.

One‑Year Update & Regrets

After nearly a year of use, I would describe this lens as clinical and a great all‑purpose workhorse with no strong identity or soul. It still lives on my camera for about 90% of my shooting, and I only swap it out when I need something wider or a more “creative” rendering.
Over time, the buttons around the lens have become something I actively dislike, and the flare performance in backlit situations is downright terrible. I also still would not personally trust the lens on a tripod, even though it is probably technically fine; the idea of that weight hanging off the mount just does not sit well with me.
Most of my photography sits between 35–75mm, so looking back, I suspect a 24–70mm 2.8 would have been the more sensible choice for my usual studio and location portrait work. However, for gigs and events, the extra reach of the 35–150mm has made that side of things much easier than managing a separate 70–200mm.

Conclusion / Who It’s For

My main takeaway is that the Tamron 35–150mm f2–2.8 was a fantastic purchase and an incredible tool for fashion, events, weddings, and portraits. The zoom range, combined with the fast aperture and the option of crop mode, effectively replaces both a 24–70mm 2.8 and a 70–200mm 2.8 in one body, as long as I solve the ultra‑wide end with another lens.
If you can live with the weight, the extending barrel, the flare, and the more clinical rendering, this lens is almost a no‑brainer as a do‑it‑all event and portrait zoom. For my personal shooting style, I would probably choose a 24–70mm 2.8 if I were starting again, but in reality this Tamron will stay on my camera until it eventually dies.

Tamron samples

(4)