Tamron 50-300mm F4.5-6.3 Di III VC VXD Review (2024)

The $799 Tamron 50-300mm F4.5-6.3 Di III VC VXD telezoom lens for full-frame Sony E-mount cameras is quite versatile thanks to its lightweight design and standard-angle coverage at the wide end. It also comes with full weather protection, a speedy linear autofocus motor, and decent optical stabilization. That said, it doesn't control flare as well as we'd like, and resolution drops off at 300mm. We continue to recommend another Tamron lens, the $1,299 50-400mm F4.5-6.3 Di III VC VXD, as our Editors' Choice if you want a telezoom that extends longer and has more effective stabilization, though the 50-300mm still makes sense if you want to keep the size and price down as much as possible.

Design: A Respectable Size for Its Focal Range

Despite covering a relatively wide angle, the Tamron 50-300mm isn't too big or heavy. It's a good fit for outdoor photographers who want to keep gear weight down on hikes as well as owners of compact cameras like the APS-C a6700 and full-frame a7C II. At about 5.9 by 3.1 inches (HD) and 1.5 pounds, the 50-300mm is just slightly larger and heavier than the $549 Tamron 70-300mm (5.8 by 3.0 inches, 1.2 pounds) even though it has the advantage of a wider starting angle and optical stabilization. Both are easier to carry than the 50-400mm (7.2 by 3.5 inches, 2.5 pounds).

(Credit: Jim Fisher)

The 50mm starting point gives you some creative flexibility, especially if you're looking to snap a picture of a few people standing together or capture landscape scenes. On the telephoto end, the 300mm angle is useful for photos of team sports from the stands or sidelines and wildlife that lets you get pretty close. This is a good lens to take to the zoo, though you will likely need a longer focal length if you prefer to take photos of animals in the wild. Such lenses, including the $1,399 Tamron 150-500mm (8.3 by 3.7 inches, 4.1 pounds) and $1,499 Sigma 150-600mm (10.5 by 4.3 inches, 4.6 pounds), are heavier and more expensive.

(Credit: Jim Fisher)

Tamron includes front and rear caps in the box, along with a reversible lens hood. The 50-300mm supports 67mm front filters like many other Tamron zooms, including the 28-75mm F2.8 G2, 17-50mm F4, and 28-200mm F2.8-5.6. I'm glad to see Tamron keep up with this trend since it means you can use the same set of filters across several lenses.

(Credit: Jim Fisher)

Competition: A Few Others to Mull

Despite its relatively compact frame, the 50-300mm Di III VC VXD is fully compatible with full-frame cameras. I tested it with the Sony a7R IV, a full-size body with a 60MP full-frame sensor.

Most other telezooms don't cover a standard angle; Sony a7R IV, 50mm, f/4.5, 1/500-second, ISO 100 (Credit: Jim Fisher)

A couple full-frame zooms cover similar focal ranges, including the aforementioned budget-line 70-300mm and mid-tier 50-400mm. Sony also sells the aging, $1,199.99 FE 70-300mm F4.5-5.6 G OSS zoom that comes in at 5.7 by 3.3 inches and 1.9 pounds. Sigma doesn't make anything that matches up perfectly, but its $949 100-400mm F5-6.3 Contemporary is reasonable in size (7.8 by 3.4 inches, 2.5 pounds) and performs well.

A 300mm frame captured from the same position as the previous image; Sony a7R IV, 300mm, f/6.3, 1/640-second, ISO 100 (Credit: Jim Fisher)

If you use an APS-C camera, you can consider the $999.99 Sony E 70-350mm F4.5-6.3 G OSS. It provides a bit more reach than the 50-300mm but omits some wide-angle coverage. The 70-350mm (5.7 by 3.3 inches, 1.9 pounds) is around the same size as the Tamron 50-300mm, but heavier. Otherwise, the biggest difference is for macro photography: The Tamron focuses closest at 50mm (1:2 magnification), while the Sony supports larger 1:1.3 reproduction at 350mm.

Build Quality: Fully Weather-Protected

The 50-300mm uses a polycarbonate barrel; it's a heavy-duty plastic material that feels far from flimsy. Moreover, the zoom includes full dust and splash protection, so it's suitable for use outdoors, even under ominous skies.

(Credit: Jim Fisher)

The weather protection extends to the front element. It has an anti-smudge fluorine coating, a material that repels grease and moisture. Drops of water bead off the glass without leaving marks, and a quick wipe with a microfiber cloth clears away any stray fingerprints. Fluorine is a pretty common feature on higher-end lenses these days but doesn't always make it to sub-$1,000 optics, so I'm glad to see it here.

(Credit: Jim Fisher)

The lens also has a weather-sealed USB-C port for connecting to the Tamron Lens Utility app for Android phones and Mac or Windows computers. It offers firmware updates and, for this lens, the ability to change the manual focus ring response and remap the function of the Focus Set button.

Sony a7R IV, 57mm, 1/60-second, ISO 160 (Credit: Jim Fisher)

Swapping the focus ring is useful, but I don't like setting the button function via the app since it leads to inconsistent controls when you change lenses. If you set the lens function button via the camera menu, operations should remain consistent across any lens you attach.

Handling: Few On-Barrel Controls

The 50-300mm's control scheme is relatively minimalist and might disappoint advanced photographers. Apart from the expected zoom and manual focus rings, the lens offers just a customizable Focus Set button and zoom lock switch. It's missing the standard AF/MF toggle, as well as an aperture control ring.

(Credit: Jim Fisher)

An aperture ring is uncommon on variable-aperture zoom lenses, but the omission of the AF/MF switch is an unfortunate oversight since only Sony's high-end a1 and a9 series bodies include physical dials to change the focus mode.

With most cameras, you must either jump into the camera menu to change the focus mode or reconfigure the Focus Set to work as an AF/MF toggle. The latter method is problematic, however, since you lose the simple visual indicator that a physical switch provides.

(Credit: Jim Fisher)

Both the zoom and manual focus rings have ridges, but only the former is rubberized. I don't have any complaints about the zoom ring. It's ample in size, has enough resistance to stay in place once you set it, and includes markings at the 50, 70, 100, 135, 200, and 300mm focal lengths. You can engage the zoom lock switch to keep it set to 50mm if you prefer, though I didn't find this necessary during testing since the optics aren't heavy enough to cause the zoom to creep out and extend when the camera is hanging at your side.

Focus: Stick With Autofocus

The manual focus experience is disappointing. Out of the box, the 50-300mm is set for nonlinear focus, a method that changes the response rate based on how quickly you turn the ring. That's a boon for still photography in theory, but, in this instance, the focus ring is loose to the point of being sloppy. It's incredibly sensitive, so subtle focus changes are nearly impossible. I won't go so far as to call it useless, but it's not useful either.

Sony a7R IV, 300mm, f/6.3, 1/400-second, ISO 100 (Credit: Jim Fisher)

I recommend using the Lens Utility app to switch to Linear Focus. In this mode, the angle of rotation is what matters. The app lets you set the angle of rotation, too. I found the default, 180-degree setting a little too touchy for precise adjustments, so I recommend either the 270- or 360-degree options instead. I had fewer problems getting the focus spot-on with the latter setting, though I still don't like how loose the focus ring feels.

Linear focus is also handy if you're using the lens for cinema productions. I don't envision a lot of cinematographers picking this zoom, but you can enjoy consistent focus pulls from take to take with linear focus mode. The lens shows a hint of focus breathing, but the change in angle is pretty minimal. The relatively narrow aperture detracts from shots that shift focus from one subject to another for narrative or artistic reasons. Typically, you should use a lens with an aperture of f/2.8 or wider for such focus racks.

Sony a7R IV, 50mm, f/4.5, 1/640-second, ISO 100 (Credit: Jim Fisher)

The autofocus performance is a bright spot. The lens snaps from near to distant subjects without hesitation on the a7R IV and takes just a split-second to go from a far-off subject to a close one. In the field, I had no problem getting the lens to focus on birds, frogs, and other wild animals. The only limitation for action is the frame rate—Sony restricts all third-party lenses to 15fps continuous drive with focus. That means you can't take advantage of the fastest burst rates if you use an a1 or a9 series body. The a9 III, for instance, goes up to 120fps.

Close focus for 1:2 reproduction (at the 50mm focal length) adds some versatility. At its widest angle, the lens focuses down to 8.7 inches from the sensor (roughly two inches from the front element) and brings small objects into clear view. Since the working distance from the front element is short, you should remove the hood and be careful to avoid casting a shadow on your subject. The lens also works pretty well for macros at 300mm. The tighter angle of view makes for 1:3.1 life-size magnification with nearly three feet of working distance (35.4 inches).

Sony a7R IV, 50mm, f/4.5, 1/50-second, ISO 250 (Credit: Jim Fisher)

The 50-300mm includes in-lens optical stabilization (OIS), an important feature for long zoom lenses and one that the Tamron 70-300mm RXD omits. Stabilization has two major benefits for this type of zoom. Primarily, it makes it possible to use longer shutter speeds without worrying about the motion blur that results from shaky hands or unsteady feet. It also steadies the picture in the viewfinder at longer focal lengths and macro distances. The latter is an important, often overlooked benefit of in-lens stabilization since telephoto and macro lenses that rely entirely on a camera's in-body stabilizer typically show a shaky image in the viewfinder; that type of stabilization kicks in only when you press the shutter button to take a photo.

Sony a7R IV, 300mm, f/6.3, 1/320-second, ISO 2500 (Credit: Jim Fisher)

Tamron doesn't provide us with a CIPA rating for the 50-300mm's OIS, but I managed crisp handheld photos at exposure times as long as 1/8-second at 50mm and at 1/40-second at 300mm in testing. That result is fine but not great. The Tamron 50-400mm provides more effective stabilization; I managed similarly sharp results at 1/2-second and 50mm, as well as at 1/15-second and 400mm under similar conditions.

Image Quality: Some Concerns About Flare

I used Imatest software and an SFRPlus test chart to measure the 50-300mm's resolving power. Typically, we test lenses using a center-weighted average method, but the Tamron delivered results that were less than realistic with this methodology since its optics show strong field curvature. In short, the edge numbers fell sharply when I focused on the center. I verified this via additional testing. For simplicity's sake, I will quote results from the central portion of the frame.

Sony a7R IV, 300mm, f/6.3, 1/320-second, ISO 320 (Credit: Jim Fisher)

The zoom proves sharpest at 50mm, scoring near the top of the excellent range wide-open (4,800 lines) on the 60MP a7R IV. The score doesn't get better at narrower apertures. It takes a slight step backward at 135mm and 200mm, but is still what we consider excellent (4,400-4,600 lines). At 300mm, the zoom drops down to the good range from f/6.3-16 (3,700 lines). That's a notable step back from wider angles, but I confirmed the results with a second batch of tests.

Sony a7R IV, 50mm, f/4.5, 1/50-second, ISO 250 (Credit: Jim Fisher)

The field of focus isn't quite flat, as mentioned, but that only becomes an issue if you work at close focus distances. If you are taking pictures of brick walls or test charts within a few feet, stick with a narrower aperture. For scenes with more depth, the natural bokeh and shallow depth of field obscures the curvature and makes it a nonissue. If you're using the zoom to photograph distant landscapes, you can get good results at the maximum aperture. But if you have enough light, you should ratchet down to the f/8-11 range for the clearest details at the edges and corners.

Sony a7R IV, 50mm, f/6.3, 1/320-second, ISO 100 (Credit: Jim Fisher)

Lenses perform worse at very small apertures since optical diffraction causes light particles to scatter as they pass through the nearly closed iris. But you still might find this setting worthwhile here since the same diffraction effect results in 18-point starbursts. The sunstar rendering fails to blow me away, however, since the tines split apart toward their edges, and ample purple ghosting is present. The latter effect is the result of light bouncing around inside the lens.

Sony a7R IV, 50mm, f/22, 1/60-second, ISO 100 (Credit: Jim Fisher)

Ghosts and flare are often less of an issue at a lens' widest apertures, but even then, the 50-300mm doesn't do a great job in this regard. If you catch the sun (or another bright light source) prominently in frame, you're likely to see a soft purplish flare in your image and a loss of contrast. To minimize these issues, use the hood and try to avoid backlit scenes.

Sony a7R IV, 69mm, f/8, 1/80-second, ISO 2500 (Credit: Jim Fisher)

The 50-300mm relies on a correction profile to quash an optical vignette and some distortion. Without correction, the optics show dark edges at the maximum aperture, as well as minor pincushion distortion at longer focal lengths. If you use your camera in JPG mode or for video, corrections are automatic by default. You can turn them off if you want, though I can't think of many good reasons to do so. Tamron provides us with an Adobe correction profile to use with the lens during evaluation, and it works perfectly to straighten the pincushion distortion and brighten the periphery to match the center. I expect it to show up in the next Adobe update. If you use something other than Photoshop or Lightroom for photo editing, however, you might need to apply corrections manually.

Sony a7R IV, 50mm, f/4.5, 1/50-second, ISO 400 (Credit: Jim Fisher)

Photographers don't always associate an f/4.5-6.3 optical formula with blurred backgrounds, but the 50-300mm is capable of rendering some bokeh in the right situations. You can blur away backgrounds in the macro focus range at 50mm, for instance. And when you zoom in, the focal length provides enough compression to create a shallow depth of field.

The bokeh is inoffensive and fairly typical for an affordable zoom. Defocused highlights are mostly round at 50mm, with just a bit of an oblong deformity toward the edges at f/4.5. They take on a round, albeit slightly octagonal look from f/5.6-11. At 300mm and f/6.3, the highlights show a more distinct cat's eye shape toward the corners but adopt the aforementioned polygonal look at narrower apertures. In both instances, I noticed some false onion skin texture for especially larger highlights, along with hard, defined edges. Even so, the lens avoids the frenetic, soap bubble look.

Sony a7R IV, 300mm, f/6.3, 1/320-second, ISO 640 (Credit: Jim Fisher)

The lens completely sidesteps issues with chromatic aberration (CA). There's no sign of false color from the longitudinal type (LoCA) in focus transition areas in photos, around bright specular highlights, or on reflective metal surfaces in photos. Likewise, I couldn't spot any lateral CA around tree branches, power lines, or other high-contrast areas of an image where purple color fringing can detract from a scene.

Sony a7R IV, 50mm, f/8, 1/2-second, ISO 125 (Credit: Jim Fisher)

Verdict: A Useful Range and Pretty Good Pictures

With a starting angle of 50mm and a relatively compact design, the Tamron 50-300mm F4.5-6.3 Di III VC VXD follows in the footsteps of many recent telezooms. A fast linear focus system and full weather protection are also highlights given its reasonable $799 price. That said, the 50-300mm is prone to flare and struggles a bit as you zoom in. The lens is still a good choice if you want to keep your camera bag as light as possible for hikes and other outdoor excursions. But if you want superior image quality and stabilization, you should save up for the Tamron 50-400mm Di III VC VXD, our Editors' Choice. For APS-C cameras, we recommend the Sony E 70-350mm, which gets you in a bit closer for wildlife and is a little more compact.