Tamron 35-150 Vs 24-70: Ultimate Comparison Guide

Hey, friends! Let’s dive into the Tamron 35-150 Vs 24-70 debate, a topic I’ve discussed countless times with fellow photographers. As someone who’s spent years behind the lens, I’ve used both the Tamron 35-150mm f/2-2.8 Di III VXD and the Tamron 24-70mm f/2.8 Di VC USD G2 extensively. These lenses are powerhouses, but they cater to different needs. Whether you’re shooting portraits, landscapes, events, or traveling the world, I’ll share my experiences to help you pick the right one for your kit.

The 35-150mm is a versatile all-in-one lens, covering wide to telephoto ranges, while the 24-70mm is a classic standard zoom with a constant aperture and stabilization. Both deliver stunning image quality, but their strengths shine in different scenarios. Let’s break down their features, performance, and real-world applications to guide your decision.

Tamron 35-150 Vs 24-70 Comparison

Overview of Each Lens

Let’s start with a deep dive into what makes these lenses tick, from their optical designs to their handling.

Tamron 35-150mm f/2-2.8 Di III VXD

This lens is a game-changer for photographers who crave versatility. It spans 35mm to 150mm, with a bright aperture starting at f/2 at 35mm and stopping down to f/2.8 at 150mm. Designed for Sony E-mount and Nikon Z-mount mirrorless cameras, it weighs 1165g, which is manageable for all-day shoots. Its optical design is complex, with 21 elements in 15 groups, including 1 XLD (eXtra Low Dispersion), 3 LD (Low Dispersion), 2 GM (Glass Molded Aspherical), and 1 hybrid aspherical element. These elements minimize chromatic aberration and distortion, ensuring sharp, high-contrast images.

I’ve taken this lens on countless trips, from Japan’s neon streets to Iceland’s rugged landscapes. Its range lets me capture wide scenes and distant subjects without swapping lenses, saving time and keeping my sensor dust-free. The VXD (Voice-coil eXtreme-torque Drive) autofocus is lightning-fast and silent, perfect for both stills and video. However, it lacks optical stabilization, relying on your camera’s in-body stabilization (IBIS). If your camera, like a Sony A7R IV or Nikon Z7 II, has robust IBIS, you’re set; otherwise, you might notice some shake in low light.

The lens barrel is weather-sealed, with a metal mount and durable plastics. The zoom ring is well-damped, offering precise control, and the focus ring is smooth with full-time manual override. A customizable function button lets me switch between autofocus and manual focus quickly, which I find invaluable during fast-paced shoots.

Tamron 24-70mm f/2.8 Di VC USD G2

This lens is a professional workhorse, offering a constant f/2.8 aperture across its 24-70mm range. Available for Canon EF, Nikon F, and other mounts, it’s lighter at around 900g. Its optical formula includes 17 elements in 12 groups, with 2 XR (Extra Refractive Index), 3 LD, 3 GM, and 1 hybrid aspherical element. These elements ensure consistent sharpness and low aberrations, making it ideal for low-light and general photography.

The standout feature is its Vibration Compensation (VC), offering up to 5 stops of stabilization. This is a lifesaver for handheld shooting in dim conditions, like weddings or concerts. The USD (Ultrasonic Silent Drive) autofocus is quick and quiet, and the weather-sealed build adds durability for outdoor use. I’ve used it for countless events, where the 24mm end captures grand venues and the 70mm end isolates subjects with creamy bokeh.

The 24-70mm feels balanced on full-frame bodies, with smooth zoom and focus rings. It lacks a function button but includes a distance scale for hyperfocal calculations, though I rarely use it with modern autofocus systems. Its lighter weight makes it comfortable for long shoots, especially compared to the 35-150mm.

Image Quality & Performance

Both lenses deliver exceptional image quality, but their performance varies by focal length and aperture.

Tamron 35-150mm f/2-2.8

At 35mm f/2, this lens is razor-sharp in the center, with very good corner sharpness. By f/4, the entire frame is tack-sharp. Zooming to 85mm or 150mm, sharpness remains high, though at 150mm f/2.8, corners soften slightly when wide open. Stopping down to f/4 restores edge-to-edge clarity. The 9-blade diaphragm produces smooth, pleasing bokeh, especially at wider apertures, making it a portrait photographer’s dream.

Chromatic aberration is minimal, thanks to the XLD and LD elements, and pincushion distortion at longer focal lengths is easily corrected in software. Flare and ghosting are well-controlled due to advanced coatings, though extreme backlighting can cause slight contrast loss. I used this lens for a portrait session in a park, shooting at 85mm f/2.8, and the background compression and bokeh were stunning, isolating the subject beautifully.

For landscapes, the lens’s sharpness and vibrant colors shine. I shot Iceland’s waterfalls at 35mm, capturing expansive scenes with crisp details. At 150mm, I compressed distant mountains, creating dramatic compositions.

Tamron 24-70mm f/2.8

This lens excels in consistency. At 24mm f/2.8, center sharpness is excellent, but corners can be softer with some barrel distortion. By f/4, the entire frame is sharp, and distortion is minimal. At 70mm, it’s tack-sharp across the frame even at f/2.8, ideal for portraits and video. Chromatic aberration is low but slightly more noticeable at 24mm compared to the 35-150mm. Pincushion distortion appears at 70mm, but it’s correctable.

The constant f/2.8 aperture ensures predictable exposure, and the VC system allows handheld shooting at slower shutter speeds. At a recent wedding, I captured group shots at 24mm and intimate portraits at 70mm without a tripod, thanks to the stabilization. The bokeh is smooth, with the 9-blade diaphragm creating round, attractive highlights.

Both lenses handle backlighting well, with minimal flare. However, using the included lens hoods is recommended for optimal contrast in harsh light.

Practical Use & Versatility

Let’s explore how these lenses perform in real-world scenarios, from travel to video.

Travel Photography

The 35-150mm is a travel photographer’s dream. Its 35-150mm range covers wide-angle street scenes, standard shots, and telephoto reach for distant subjects. On a trip to Tokyo, I used it for bustling markets at 35mm, street portraits at 85mm, and distant skyscrapers at 150mm. The ability to shoot without swapping lenses saved time and kept my gear clean.

The lens’s weather-sealing was a lifesaver in Iceland’s misty conditions, and the VXD autofocus locked onto subjects instantly, even in crowded scenes. However, its 1165g weight can feel heavy after a long day, so a comfortable strap is a must.

Portrait Photography

Both lenses excel for portraits, but they cater to different styles. The 35-150mm’s 85-150mm range offers superior background compression and bokeh, ideal for headshots and three-quarter-length portraits. I shot a model at 135mm f/2.8, and the blurred background made her pop against a busy park setting.

The 24-70mm is better for environmental portraits, where the 24-35mm range captures context, like a subject in their workspace. At 70mm, it still delivers pleasing bokeh for tighter shots. I used it for a family session, capturing group shots at 24mm and individual portraits at 70mm seamlessly.

Event Photography

For events like weddings or conferences, the 24-70mm is my go-to. Its 24mm end captures grand venues and group shots, while 70mm isolates candid moments. The constant f/2.8 aperture ensures consistent exposure, and the VC system allows handheld shooting in dim venues. At a recent wedding, I shot the ceremony at 24mm and reception candids at 70mm without needing a flash.

The 35-150mm can work for events, but its 35mm start might feel limiting for wide shots. It’s better suited for smaller gatherings where telephoto reach is needed.

Landscape Photography

The 24-70mm’s 24-35mm range is ideal for expansive landscapes, capturing vast scenes like deserts or coastlines. I shot a sunset over the Grand Canyon at 24mm, and the sharpness and vibrant colors were breathtaking. The 35-150mm’s 35mm start is wide enough for many landscapes, and its 150mm end compresses distant elements, like mountains, for creative compositions.

Both lenses deliver sharp, vibrant images, but your choice depends on whether you need wider angles or telephoto compression.

Street Photography

In street photography, the 35-150mm’s range lets me stay discreet while capturing close-ups at 85-150mm. I used it in New York to shoot street performers from a distance, avoiding intrusion. The 24-70mm requires getting closer, which can be challenging in busy areas, but its 24mm end is great for contextual street scenes.

Video

Both lenses are excellent for video. The 35-150mm’s VXD autofocus is smooth and silent, ideal for focus pulls, and its range offers versatility for different shots. I used it for a short film, zooming from wide establishing shots to tight close-ups without changing lenses. The 24-70mm’s constant aperture and VC ensure steady footage in varied lighting. Its 24mm end is great for cinematic wide shots, while 70mm works for interviews.

Both lenses have minimal focus breathing, making them filmmaker-friendly. The 24-70mm’s stabilization gives it a slight edge for handheld video in low light.

Build Quality and Handling

Both lenses are built for professional use, with metal mounts and weather-sealed barrels. The 35-150mm is larger and heavier, which can make it front-heavy on some cameras, but its robust construction inspires confidence. The zoom ring is well-damped, and the focus ring is smooth with full-time manual override. A focus limit switch speeds up autofocus for distant subjects, and the customizable function button is a nice touch—I’ve set mine to toggle AF/MF.

The 24-70mm feels more balanced, especially on full-frame bodies. Its zoom and focus rings are smooth and precise, and the lighter weight makes it comfortable for long shoots. It lacks a function button but includes a distance scale, useful for manual focusing in specific scenarios.

Both lenses come with lens hoods to reduce flare, with the 35-150mm’s larger hood suiting its longer focal length. Their weather-sealing has saved me in rainy conditions, but I always clean them carefully to maintain their seals.

Comparison with Competitors

While both Tamron lenses are exceptional, it’s worth noting how they compare to Canon and Nikon equivalents. The 35-150mm is unique, with no direct competitor in this focal range and aperture. It combines aspects of a 24-70mm and 70-200mm, offering a one-lens solution for many scenarios.

The 24-70mm competes with the Canon EF 24-70mm f/2.8L II USM and Nikon AF-S NIKKOR 24-70mm f/2.8E ED VR. Image quality is comparable across all three, with minor differences in sharpness and aberrations. The Tamron’s VC gives it an edge over the Canon, which lacks stabilization, while the Nikon also has VR, making it a closer match. All are weather-sealed and built for professional use, but the Tamron offers excellent value.

User Experiences

I’m not alone in loving these lenses. A travel photographer shared, “The 35-150mm is my go-to for trips. Its range covers everything, and the image quality is superb.” Another said, “The autofocus is lightning-fast, though the weight takes getting used to.”

For the 24-70mm, a wedding photographer noted, “I’ve used it for over 100 weddings, and the stabilization is a game-changer in low light.” A landscape shooter added, “The 24mm end is perfect for wide vistas, and the weather-sealing has saved me in rain.”

These testimonials highlight the lenses’ reliability and versatility across genres.

Comparison Table

Feature	Tamron 35-150mm f/2-2.8	Tamron 24-70mm f/2.8
Focal Length	35-150mm	24-70mm
Maximum Aperture	f/2-2.8	f/2.8
Weight	1165g	~900g
Image Stabilization	No (relies on IBIS)	Yes (5 stops VC)
Mounts	Sony E, Nikon Z	Canon EF, Nikon F, others
Optical Elements	21 elements, 15 groups	17 elements, 12 groups
Best For	Portraits, Travel, Video	Events, Low-light, Landscapes

Which Lens for Which Scenario?

• Travel Photography: The 35-150mm’s broad range minimizes lens swaps, ideal for diverse scenes.
• Portrait Photography: The 35-150mm’s telephoto range offers better compression and bokeh.
• Event Photography: The 24-70mm’s wide angle and stabilization excel in dynamic settings.
• Landscape Photography: The 24-70mm’s 24mm end suits expansive vistas; the 35-150mm compresses distant elements.
• Street Photography: The 35-150mm allows discreet shooting; the 24-70mm captures wider contexts.
• Video: Both are great, but the 35-150mm’s range is more versatile, while the 24-70mm’s VC aids handheld shooting.

Maintenance and Care

Both lenses are weather-sealed, but proper care is essential. I clean the front element with a microfiber cloth and lens solution after every shoot, especially in dusty or rainy conditions. Store them in a dry bag with silica gel to prevent moisture buildup. Check Tamron’s website for firmware updates to ensure optimal autofocus performance.

Decision-Making: Which Should You Choose?

Choosing between the Tamron 35-150 Vs 24-70 depends on your shooting style. If you need a versatile lens for travel, portraits, or scenarios where you want to minimize gear, the 35-150mm is unbeatable. Its 35-150mm range covers multiple focal lengths, and its bright aperture delivers stunning results. However, ensure your camera has IBIS, as it lacks optical stabilization.

If you shoot in low light, need wider angles for events or landscapes, or prefer a lighter lens with built-in stabilization, the 24-70mm is the better choice. Its constant f/2.8 aperture and VC make it ideal for dynamic settings like weddings or concerts.

Consider your existing lenses. If you have a telephoto lens, the 24-70mm fills the standard zoom gap. If you want a do-it-all lens, the 35-150mm is your best bet. Both are exceptional, so your decision hinges on your specific needs.

Conclusion

In the Tamron 35-150 Vs 24-70 debate, there’s no one-size-fits-all answer. The 35-150mm is a versatile powerhouse for travel, portraits, and video, covering a wide range in one lens. The 24-70mm excels in low-light, events, and landscapes with its wide angle and stabilization. Both deliver top-tier image quality, so choose based on your shooting style and enjoy capturing the world!

FAQ

Which lens is better for video shooting?
Both are excellent, with fast, silent autofocus and minimal focus breathing. The 35-150mm’s range offers versatility for varied shots, while the 24-70mm’s stabilization is better for low-light handheld video.

Can these lenses be used on crop sensor cameras?
Yes, both work on APS-C cameras. The 35-150mm becomes ~52.5-225mm, great for telephoto work. The 24-70mm becomes ~36-105mm, versatile for general shooting.

How do these lenses handle backlighting?
Both have advanced coatings to reduce flare. They perform well in backlit conditions, but extreme backlighting may cause slight contrast loss. Use the lens hood for best results.

What is the minimum focus distance for each lens?
The 35-150mm has a minimum focus distance of 0.3m (0.99ft) at 35-60mm and 0.8m (2.62ft) at 60-150mm. The 24-70mm is 0.38m (1.25ft) throughout.

Are there firmware updates for these lenses?
Tamron occasionally releases updates to improve autofocus or add features. Check Tamron’s website for the latest firmware.

Which lens is better for portraits?
The 35-150mm’s 85-150mm range offers superior background compression and bokeh. The 24-70mm is great for environmental portraits with context at 24-35mm.