Tamron 35-100mm f/2.8 Di III VXD Review: Every Street Photo Focal Length

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Tamron consistently creates zoom lenses that break the norm when it comes to focal length, offering alternatives to the classic patterns that most other manufacturers pursue. Even the more conventional Tamron 28-75mm f/2.8 and 70-180mm f/2.8 refuse to match the more common 24-70mm and 70-200mm formulae. However, the standout lens from Tamron in recent memory is the oddly effective 35-150mm f/2-2.8 lens, which proves to be an ideal event lens for almost any situation. If it could be faulted in any way, it would be due to its rather heavy weight and bulky size.

Looking to capitalize on the success of this excellent optic, Tamron has decided to create an alternative version with its latest $900 design. This new Tamron 35-100mm f/2.8 Di III VXD, available for both Sony E-mount and Nikon Z-mount, is a compromise between versatile focal range and compact size, but whether it can fill a needed void or simply overlaps existing designs was unclear. What better place than the wintry streets of New York City to find out the answer?

A Tamron camera lens with a lens hood is standing upright on a gray grid-patterned surface, set against a dark background. The text on the lens indicates it is designed in Japan and made in Vietnam.

Tamron 35-100mm f/2.8 VXD: How It Feels

The compactness of this lens is the key element of Tamron’s design here. The desire for a similarly-sized optic to the standard 28-75mm f/2.8 has been achieved as the new 35-150mm uses the same 67mm filter threads and is overall roughly the same dimensions. It weighs only slightly more at 19.9 ounces (565 grams) and comes with a host of handling features.

The manual focus ring and aperture ring turn smoothly and I’ve always appreciated the understated but handsome look and excellent build quality of the Tamron lenses. This particular lens ups the versatility game by offering a custom button with three possible settings. This can quickly be adjusted via a three-position switch and should please most event photographers.

A Tamron 35-150mm F/2-2.8 Di III VXD camera lens stands upright on a grid-patterned surface with a solid black background.

Close-up of a camera lens showing a control panel with a circular button, a sliding switch labeled "CUSTOM/1" with settings 1, 2, and 3, and focal length markings from 70 to 100. The lens has a textured grip.

Close-up of a Tamron camera lens showing the "35-100mm F/2.8 Di III VXD" label, focus and zoom rings, and part of the zoom range scale, with a dark, blurred background.

I like that you can also connect the lens to through the the excellent Tamron lenses app via a built-in USB-C port, which allows you to adjust focusing direction, linear response, and more. There is a simple hood provided that bayonets into place, and the whole lens is sealed against most dust and moisture. Everything about this lens feels like a Tamron professional G2 series lens, although this lens does not carry the G2 moniker because of its novel lens formula. However, the lens feels so familiar with its size and weight to what has come before, that the only discerning feature left is the slightly different focal range of 35 to 100 millimeters.

A camera lens is shown facing upward on a grid-patterned surface, with its rear mount and electronic contacts visible. A lens cap lies in front of it, partially out of focus. The background is dark and blurred.

Close-up of a person holding a Sony camera with a Tamron 35-150mm f/2-2.8 lens. The lens and hand are wet with raindrops, suggesting the camera is being used in rainy weather.

Close-up of a camera lens showing a USB-C port, small screws, and certification markings, with textured focus and zoom rings visible in the background.

Tamron 35-100mm f/2.8 VXD: How It Shoots

It is this overlapping of lens purpose versus Tamron’s existing line of options that stuck with me as I tested the lens out. Although the intention of Tamron is to provide an alternative to its larger 35-150mm f/2-2.8 lens, I couldn’t help but feel like the real comparison was against the 28-75mm f/2.8 G2 lens. Classically speaking, a pro photographer would have a three lens setup with a 16-35mm lens, the 28-75mm, and then a 70-180mm to finish the trio. The question you have to ask yourself is if you want this more traditional lens setup that goes to 180mm in the long end or is an ultra-wide 16-35mm lens coupled with this new 35-100mm range enough with just two lenses?

A woman uses a ticket booth on a city street at night, illuminated by warm lights. Several people are gathered nearby, some wearing coats and hats, with city buildings and signs glowing in the background.

A vibrant city street at night with colorful neon signs and billboards, including a large ad of a person diving into a pool. Cars, including a yellow taxi, are stopped in traffic, reflecting neon lights.

A brightly lit street food cart with red umbrellas serves food at night. Steam rises from the ground, and several people in coats stand nearby. City buildings and lights are visible in the background.

The potential for an ultra-wide zoom lens paired with the larger 35-150mm lens makes more sense because you could cover a huge range with only two optics, and I was struggling to find that same versatility with this new lens. Perhaps, I thought, I needed to evaluate it on its own as a stand-alone range for street photography.

A person in a bright red puffer jacket stands outside Made Man Barbershop at night, looking at their phone. The shop’s lit interior and a traditional barber pole are visible through the window.

A person with a backpack is silhouetted while walking past the entrance to an indoor parking garage at night, illuminated by bright red and white signs.

A vendor in a black jacket stands behind a food stall counter, talking to a customer in a beanie. Warm lights illuminate food items, including carrots, displayed on the counter.

The busy streets of Manhattan thoroughly tested the autofocus performance of the Tamron lens and there I had zero issues. The same powerful VXD, or voice-coil linear drive, motors found in the other Tamron pro lenses made short work of quick street portraits and capturing subjects in lower light situations. Focusing is both swift and silent on the Tamron 35-100mm.

I also tried to do the occasional close-up shot but this lens is not very versatile in that regard. At the 35mm range it will provide a decent 1:3.3 reproduction ratio, but at the 100mm end where you get much better working distance, you only get 1:5.9.

A man wearing a beige puffer jacket, orange beanie, and navy pants walks down a city sidewalk in the snow, holding a drink and looking ahead. Snowflakes fall around him and a dark building lines the street.

Two people in winter coats, one in a red coat and the other in a light purple coat, walk along a city sidewalk. The person in purple steps onto a narrow ledge beside a glass storefront.

A person sits on a bench along a tree-lined park path during light snowfall. Leafless trees arch overhead, and a few people walk in the distance. The scene appears cold and quiet, with muted city buildings in the background.

The bokeh is nice out of the Tamron 35-100mm lens. I would say that the specular highlights aren’t quite as clean looking as the 28-75mm G2 lens from Tamron, but the overall rendering of backgrounds is still pleasant. You get a nice cat’s eye swirl at f/2.8 and fairly round shapes when stopped down. Having the slightly longer 100mm range does suit portraits with soft backgrounds behind them and the overall look is really nice. There is some LoCA, or longitudinal chromatic aberration, present but it is quite minor and I don’t think it will present a problem in most situations.

A man with short dark hair and a trimmed beard, wearing a red jacket and gray hoodie, looks at the camera with a slight smile. Warm, blurred lights decorate the background, giving a cozy city atmosphere.

A man with gray-streaked hair and a beard looks to the side, wearing a blue jacket. Warm, out-of-focus lights create a bokeh effect in the dark background.

A man and woman stand outdoors in winter clothing. The man wears a colorful knit hat, cream jacket, and has a camera around his neck. The woman wears a furry hat and black coat. Snow is falling and trees are visible in the background.

Flare control was quite impressive with very minimal ghosting and no loss of contrast. Even in brighter conditions with the aperture stopped way down, I found only a slight amount of ghosting present. This is quite the achievement given that the optical formula is fairly complicated.

Bare tree branches in front of suburban houses with steep roofs, silhouetted against a bright, sunny sky. Sunlight creates a lens flare near the roof, and a conifer tree is visible on the right.

Black and white photo of scaffolding with intersecting metal pipes forming X shapes, illuminated by fluorescent lights from above, creating a geometric and industrial pattern.

A person in a gray hoodie sits alone on a park bench, drinking from a cup on a snowy day, with empty benches, bare tree branches, and city buildings in the background.

A person wearing a winter hat and jacket leans against a building at night, looking at their phone. The street is illuminated with city lights, and a few people are blurred in the background. The image is black and white.

This lens is sharp. I was very impressed by the quality in the center of the image at both the 35mm and 100mm ends. The 35mm end especially shines wide open at f/2.8 with no improvement gained by stopping down. The corners are also quite good with slight improvement closing the aperture to f/5.6. The 100mm range is also good at f/2.8 but with a slight loss of contrast. At f/5.6, the quality improves and the corners also sharpen up nicely. Regardless of where you shoot this lens, the quality is excellent at f/2.8 and you’ll be happy with the detail that you receive.

Side-by-side photo of a camera test chart with images of currency, color swatches, and resolution patterns. The left is labeled "35mm @ f/2.8"; the right, "35mm @ f/5.6".

Side-by-side comparison of two test charts, labeled “100mm @ f/2.8” on the left and “100mm @ f/5.6” on the right, showing sharpness and detail differences at different aperture settings.

A Canadian one-dollar bill and two lens test charts are shown side by side, labeled "35mm @ f/2.8" on the left and "35mm @ f/5.6" on the right, each with geometric shapes and text for sharpness testing.

A man wearing a dark hoodie and a black beanie with "NEW YORK" written on it smiles warmly, showing slight wrinkles and facial stubble. The background is softly blurred.

Black and white photo of a tall modern skyscraper at night, shot from a low angle looking up. The building’s grid-like windows and illuminated sections create a dramatic geometric pattern against the dark sky.

A person wearing a jacket and carrying bags descends a tiled staircase into a subway station. The image is black and white, and a metal gate and sign are visible in the background.

Tamron 35-100mm f/2.8 VXD: Was This Lens Necessary?

I struggled to divine the purpose of this lens when I first tried it out as I don’t necessarily agree with the intention that this be a 35-150mm alternative. The extra zoom range and faster aperture is exactly what makes that lens useful, especially when coupled with an ultra-wide zoom. This combo makes a ton of sense when shooting a journalistic event such as a wedding or concert. The larger size of the 35-150mm lens is offset somewhat by only having to carry two optics.

Black-and-white photo of a city skyline on a foggy day with tall buildings in the background, leafless tree branches on the right, and three birds flying in the cloudy sky.

A person wearing a helmet and raincoat rides a bicycle through yellowish steam on a wet city street, with cars and headlights visible in the background on a cloudy day.

A black and white photo of a city skyline in heavy fog, with tall buildings barely visible in the mist. A river separates the city from the foreground, where a boat moves across the water and leafless trees line the riverbank.

However, the 35-100mm just doesn’t have the same reach for me to be used in this way. I would still want a wider lens and a more serious telephoto to cover all my bases, unless I felt that I could be without anything wider than 35mm. I would also prefer to go with the Tamron 28-75mm f/2.8 and a longer lens like the 70-180mm to cover more scenarios if I wanted to stick to two lenses again.

A person walks past store windows with mannequins dressed in red and pink outfits, surrounded by heart decorations. The wet street reflects the display and the person, suggesting a recent rain.

A man wearing a hooded jacket and cap, dusted with snow, smiles while standing at a counter inside a store. The scene is captured in black and white through a window.

People cross a city street in heavy snow, shielding themselves from the falling snowflakes. Traffic cones and wet pavement are visible, and trees line the sidewalk as cars are parked along the road.

Where I see real merit with this lens is as a stand-alone optic for something exactly like street photography. I found the classic 35mm range wide enough for most situations by simply backing up slightly. I very much enjoyed the 100mm though for portraits, given its shallow depth of field and ability to shoot from slightly farther away. This lens performs admirably at f/2.8, providing sharp and contrasty images, and I had zero issues with quick focusing.

Whether this lens will be appealing to prospective buyers is a tough call. If you already own the G2 version of the 28-75mm lens there is little reason to switch for this. If you are in a position to buy your first f/2.8 general zoom, this can be a versatile choice as long as you are ok with emphasis on a lens towards the more telephoto range, and the $900 price.

As a working professional, however, I would probably still shell out for the 35-150mm f/2-2.8 and deal with the extra weight.

A man with salt-and-pepper hair and beard is outdoors, holding a camera up to his face and squinting through the viewfinder as he takes a photo. Snowflakes are falling around him, and his expression is focused.

Are There Alternatives?

I think the above information spells out the other options, but we do have to give kudos to Tamron for thinking outside the box when it comes to focal range. If you really like the idea of a 35-100mm f/2.8 lens, you wont find many competitive alternatives other than the similar focal range options that I already mentioned Tamron provides, such as the 35-150mm f/2-2.8.

The only possible alternative to that that comes to mind is the Samyang 35-150mm f/2-2.8 AF, which is clearly a play on the Tamron original.

Should You Buy It?

Yes. If you like the idea of this unique lens range and largely want to stick to one optic, the Tamron is an interesting choice with good optical characteristics.

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