Tamron 90mm F/2.8 Di III Macro VXD Lens Review

Tamron took time out from introducing new focal length range zoom lenses to bring us an upgrade to their classic 90mm f/2.8 Macro lens. The Tamron 90mm F/2.8 Di III Macro VXD Lens is the 4th such lens reviewed on this site, and the line goes back 45 years earlier to an f/2.5 model released in 1979. The Di III brings this lens model natively to mirrorless cameras.

Another key word in this lens's model name is "Macro". While that word in a lens name does not always hold great value, this lens is the real deal – it has a full 1:1 maximum reproduction ratio, a 1x maximum magnification. While this lens is an outstanding choice for normal, general-purpose 90mm angle of view needs, its close-focus capability, able to render your tiny subjects large in the frame, adds considerable versatility and a huge dose of fun.

I've had a short telephoto macro lens in my photography kit for as long as I can remember. A lens in this class is both extremely useful and frequently used. These factors increase the value of such a lens and increase the importance of this lens being a high-performing model. The Tamron 90mm F/2.8 Di III Macro VXD Lens fully qualifies.

This lens produces outstanding image quality, has an attractive design, good build quality, and a high-performing VXD AF system. The price is low, making it a great value and an easy recommendation.

Focal Length

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Focal length is a primary consideration for lens selection. A specific angle of view is required to get a desired subject framing with the optimal perspective (or from within a working distance limitation).

A primary application for the 90mm short telephoto focal length is portraiture. The 90mm focal length provides a great perspective for all types of portraits, especially for individual portraits ranging from tight head and shoulders portraits to those as widely framed as you have working space for. With adequate working space, small group and family portraits are easily within this lens's capabilities.

The utility of a 90mm macro lens is high at weddings, capturing details of a dress one minute, portraits the next, and photos of the rings moments later without a lens change required. Keep in mind that, while the stock image market continues to diminish the value of many types of images, it has no effect on the portrait image market.

While many sports are best captured with long focal length lenses, not all require such, and you may find a 90mm lens ideal for some sports. The 90mm focal length (like most others), can be successfully used for landscape photography. 90mm also works well for commercial and general studio photography applications and a vast range of other uses.

At the top of this lens's special features list is the 1x maximum magnification spec, and differentiating between such macro lenses is the working distance provided the focal length. The longer the focal length, the more 1:1 working distance is available, and the less likely that little living creatures such as insects will be frightened away while (or before) being photographed. In this regard, 90mm is slightly wider than the average for macro lenses in this class, but the difference between 90mm and 100mm or 105mm is small.

Another consideration especially relevant to macro photography is how much background the focal length takes in (based on the angle of view) and how much that background is compressed and magnified (resulting in blur). I'll talk more about background blur soon, but once again, this lens is just slightly wider than average for macro lenses. You get slightly more background in the frame with slightly less background blur than from the common 100mm and 105mm options.

I doubt that anyone could compile a complete list of subjects available for a macro lens regardless of focal length, and 90mm falls into approximately the middle. Great little macro subjects abound – they are everywhere. Practically everything you can see has the potential to be a photo subject. Insects, spiders, plants, food and candy, coins, jewelry, art, craft items and supplies, commercial products, etc.

Bring home flowers (subjects) for your spouse to help them enjoy and support your macro photography pursuits. A walk around your yard will turn up endless interesting things to focus on.

Utilizing a smaller image circle means that APS-C sensor format cameras frame a scene more tightly, with 1.5x being the multiplier used to determine the Sony full-frame angle of view equivalent. Multiplying 90mm by 1.5x yields 135mm as the angle of view equivalent for this lens. This tighter angle of view is useful for purposes similar to those just described, though the longer working distance favors macro work and tightly framed portraits but not group portraits.

Note that an APS-C format camera does not change the lens's minimum focus distance or maximum magnification. The subject can still be photographed at a 1:1 reproduction ratio, but 1:1 on a smaller imaging sensor results in a tighter framing of the subject,

Max Aperture

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A lens's maximum aperture is typically included in the product name immediately after the focal length range, usually reflecting this specification's next-most importance. I say "usually" because "Macro" might be more important selection for this lens, and many macro uses need narrower apertures.

Still, the max aperture matters, and this lens gets an up-to f/2.8 opening. While most lenses in the similar 85mm lens class get significantly wider apertures, f/2.8 is popular with the macro options, and f/2.8 is rather wide for a short telephoto lens.

Wide apertures are useful for stopping action, both that of the subject and that of the camera, in low light levels while keeping ISO settings low. They also benefit AF systems, enabling them to work better in low-light environments.

Even when photographing under bright light conditions, wide apertures are useful for creating a strong background blur that clearly isolates a subject from even highly distracting backgrounds. Here is an example of the maximum background blur this lens can create:

A telephoto lens is inherently able to create a strong background blur, but the ability to focus so close gives this lens a massive advantage in that regard (when focused to its shortest distance).

A moderately wide aperture opening facilitates using moderately sized lens elements, which result in the moderate size, weight, and price of this lens.

Image Stabilization

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The Tamron 90mm F/2.8 Di III Macro VXD Lens does not feature image stabilization. Omitting the optical stabilization system reduces size, weight, complexity, and cost.

If stabilizing this lens is imperative, select a camera that features IBIS.

With no IS switch on the lens, the camera menu must be used to enable or disable IBIS or check the current settings. This extra step is a slight impediment to working quickly, moving from tripod mounted to handholding, for example.

Image Quality

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Macro prime lenses have a history of creating outstanding edge-to-edge sharpness, and this lens delivers that.

In the center of the frame, this lens is really sharp at f/2.8 and razor-sharp at f/3.2, only 1/3 of a stop narrower. The super-sharp description remains in place at narrower apertures until the effects of diffraction begin to cause blur.

Often, subjects are not placed in the center of a composition, and lenses typically produce decreased sharpness in the periphery of the image circle, where light rays are refracted to a stronger angle than in the center. That is the case with this lens. However, the difference is remarkably minor, and this lens provides excellent full-frame-corner image quality.

The resolution chart is merciless on image quality, so let's take the testing outdoors, next looking at a series of center-of-the-frame 100% resolution crop examples. These images were captured in RAW format using a Sony Alpha 1 and processed in Capture One using the Natural Clarity method. The sharpening amount was set to only "30" on a 0-1000 scale. Note that images from most cameras require some level of sharpening, but too-high sharpness settings are destructive to image details and hide the deficiencies of a lens.

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These results are outstanding, and there was no need to share the f/4 test results.

Next, we'll look at a series of comparisons showing 100% resolution extreme top left corner crops captured and processed identically to the above center-of-the-frame images. The lens was manually focused in the corner of the frame to capture these images.

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Samples taken from the outer extreme of the image circle, full-frame corners, usually show a lens's weakest performance. There is no weakness seen here. Again, these results are outstanding.

This lens does not exhibit focus shift, the plane of sharp focus moving forward or backward as the aperture is narrowed (residual spherical aberration or RSA).

When used on a camera that utilizes its full image circle, a lens is expected to show peripheral shading at the widest aperture settings. At f/2.8, the corners are shaded by about 2.5 stops, a modest amount.

Want less corner shading? Stopping down usually delivers that. Stop down 1 stop to decrease corner shading by 1 stop, to about 1.5 stops. The about 0.5 stops of shading at f/5.6 are limited to deep in the corners.

APS-C format cameras using lenses projecting a full-frame-sized image circle avoid most vignetting problems. In this case, the near-one-stop corner shading showing at f/2.8 may be slightly visible in select images, primarily those with a solid color (such as a blue sky) in the corners.

One-stop of shading is often considered the number of visibility, though subject details provide a widely varying amount of vignetting discernibility. Vignetting is correctable during post-processing, with increased noise in the brightened areas the penalty, or it can be embraced, using the effect to draw the viewer's eye to the center of the frame. Study the pattern shown in our vignetting test tool to determine how your images will be affected.

Lateral (or transverse) CA (Chromatic Aberration) refers to the unequal magnification of all colors in the spectrum. Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii), with the mid and especially the periphery of the image circle showing the most significant amount as this is where the most significant difference in the magnification of wavelengths typically exists.

With the right lens profile and software, lateral CA is often easily correctable (often in the camera) by radially shifting the colors to coincide. However, it is always better to avoid this aberration in the first place.

Color misalignment can be seen in the site's image quality tool, but let's also look at a worst-case example. The image below is a 100% crop from the extreme top left corner of a Sony a1 frame showing diagonal black and white lines.

This image should only contain black and white colors, with the additional colors indicating only slight lateral CA presence.

A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the various wavelengths of light. More simply, different colors of light are focused to different depths. Spherical aberration, along with spherochromatism, or a change in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic aberration but is hazier) are other common lens aberrations to observe. Axial CA remains somewhat persistent when stopping down, with the color misalignment effect increasing with defocusing. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.

In the real world, lens defects do not exist in isolation, with spherical aberration and spherochromatism generally found, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures.

The wide-open aperture example below compares the fringing colors of the defocused specular highlights in the foreground to the background. The lens has introduced any differences from the neutrally colored subjects.

This result looks great.

Bright light reflecting off lens elements' surfaces may cause flare and ghosting, resulting in reduced contrast and sometimes interesting, usually objectionable visual artifacts. The shape, intensity, and position of the flare and ghosting effects in an image are variable, dependent on the position and nature of the light source (or sources), selected aperture, shape of the aperture blades, and quantity and quality of the lens elements and their coatings. Additionally, flare and ghosting can impact AF performance.

"The BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating significantly minimizes ghosting and flare, ensuring that even in backlit conditions, the finest details of the subject are captured with clarity and precision." [Tamron]

This lens produced only minor flare effects even at narrow apertures in our standard sun in the corner of the frame flare test. This performance is excellent, especially for a telephoto lens.

Flare effects can be embraced or avoided, or removal can be attempted, though removal is sometimes challenging. Thus, this lens's high flare resistance is a welcomed trait.

Two lens aberrations are particularly evident in images of stars, mainly because bright points of light against a dark background make them easier to see. Coma occurs when light rays from a point of light spread out from that point instead of being refocused as a point on the sensor. Coma is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light that can be oriented either away from the center of the frame (external coma) or toward the center of the frame (internal coma). The coma clears as the aperture is narrowed. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal). This aberration can produce stars appearing to have wings. Remember that Lateral CA is another aberration apparent in the corners.

The image below is a 100% crop taken from the top-left corner of a Sony a1 image captured at f/2.8.

In this example, the stars remain tiny, but they have little tails.

This lens has minor barrel distortion. You'll seldom notice it unless photographing straight lines along the edge of the frame, and this distortion can be corrected with little stretching required.

As seen earlier in the review, it is easy to illustrate the strongest blur a lens can create, and telephoto lenses are inherently advantaged in this regard. Due to the infinite number of variables present among available scenes, assessing the blur quality, bokeh, is considerably more challenging. Here are some f/11 (for diaphragm blade interaction) examples.

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The first example shows defocused highlights smoothly filled and quite round for the aperture closed by 4 stops. The second pair of examples show full images reduced in size and looking great. Macro lenses are often used at narrow aperture settings for adequate depth of field, so f/11 bokeh matters.

Except for a small number of specialty lenses, the wide aperture bokeh in the frame's corner does not show round defocused highlights, instead showing cat's eye shapes due to a form of mechanical vignetting. If you look through a tube at an angle, similar to the light reaching the frame's corner, the shape is not round. That is the shape we're looking at here.

In this example, the left and right sides, the image circle periphery, show some truncation. As the aperture narrows, the entrance pupil size is reduced, and the mechanical vignetting diminishes, making the corner shapes rounder.

A 12-blade count diaphragm will create 12-point sunstars (diffraction spikes) from point light sources captured with a narrow aperture. Generally, the more a lens diaphragm is stopped down, the larger and better shaped the sunstars tend to be. Wide aperture lenses tend to have an advantage in this regard, and this lens can produce nice stars, as illustrated below.

The example above was captured at f/16.

The design of this lens is illustrated above.

This lens leaves little to complain about. Stars in the corner of the frame are slightly stretched, minor barrel distortion is present, and there is modest peripheral shading, but overall, the Tamron 90mm F/2.8 Di III Macro VXD Lens is optically impressive.

Focusing

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The VXD (Voice-coil eXtreme-torque Drive) linear motor internally drives the Tamron 90mm F/2.8 Di III Macro VXD Lens's fast and accurate autofocus system. AF is quiet, with only faint clicks audible.

As usual, AF becomes slow in low light, but this lens focuses on contrast in extremely dim environments.

This lens features a focus distance range limit switch that, in addition to enabling the full focus distance range, allows distance selection to be limited to 0.75 - 2.3' (0.23 - 0.7m) or 2.3' (0.7m) - ∞, with the narrower range potentially decreasing focus lock times (reduced hunting).

Sony's DMF (Direct Manual Focus) AF mode supports FTM (Full Time Manual) focusing.

The Tamron 90 Di III provides a superb manual focus experience that is especially appreciated in a macro lens. The large, sharp-ribbed rubber-coated manual focus ring is smooth but has light resistance.

This lens features a non-linear rate of manual focus adjustment based on the ring's rotation speed. Turn the ring slowly for a slow 2300° of full-extent adjustment or fast for 420° to cover the range, which is vast. Most of the adjustment range covers extremely close focus distances, with a smaller subset of the rotation covering longer distances. This design makes the adjustment rate ideal for the focus distance.

Unique is that Tamron enables a choice between non-linear and linear MF adjustment rates.

Using the Tamron Lens Utility app (free) on a laptop (or mobile device using the mobile app), connected via the lens's USB Type-C port (a USB-C cable is not included in the box), linear MF is selectable, with 450, 540, 630, and 720° rotation angles selectable.

Reversing the focus ring direction is another available feature via the software.

This lens has a Focus Set Button. Traditionally, pressing this button disables AF, permitting a focus hold, such as when a focus and recompose technique is desired while using continuous AF. This one can be configured for:

• Assign function from the camera
• Select AF/MF (immediate or 1-sec button hold)
• Focus limiter (Near, 5m, 7m, and 10m to ∞)
• Focus Preset (focus set time and delay selectable for movie)
• A-B focus (focus speed selectable for movie recording)
• Ring function (Focus/Aperture) (immediate or 1-sec button hold)
• Focus Stopper (immediate or 1-sec button hold)
• Astro FC-L (immediate or 1-sec button hold)
• Clear settings

While a native AF/MF switch is not provided, that feature is included in the options list above.

This lens has a minimum focus distance of 9.1" (230mm), generating a super-high 1.00x maximum magnification spec.

Model	Min Focus Distance		Max Magnification
Canon RF 100mm F2.8 L Macro IS USM Lens	10.2"	(260mm)	1.40x
Sigma 105mm f/2.8 DG DN Macro Art Lens	11.6"	(295mm)	1.00x
Sony FE 90mm F2.8 Macro G OSS Lens	11.0"	(280mm)	1.00x
Tamron 90mm F/2.8 Di III Macro VXD Lens	9.1"	(230mm)	1.00x
Tamron 90mm f/2.8 Di VC USD Macro F017 Lens	11.8"	(300mm)	1.00x

At this lens's minimum MF distance, a subject measuring approximately 1.4 x .9" (35.6 x 23.7mm) fills a full-frame imaging sensor.

The USPS love stamp measures 1.19 x 0.91" (30 x 23mm).

"This lens is highly corrected for superior flat-field resolution, ideal for flat subjects such as documents and coins, ensuring edge-to-edge sharpness and minimal distortion." [Tamron]

Most lenses produce a curved plane of sharp focus at their minimum focus distance, typically producing soft corner image quality. Not this lens. Macro lenses capable of 1:1 reproduction usually have excellent flat-field resolution, and this lens has that highly desired feature. This lens is a great choice for flat copy work, such as art, including that from your kid.

The minimum focus distance is measured from the imaging sensor plane with the balance of the camera, lens, and lens hood length taking a bite out of the number to create the working distance. At this lens's minimum focus distance, the working distance is only 0.5" (12.7mm) in front of the lens hood, and it will obstruct the subject lighting and scare away living creatures. Removing the hood increases the working distance to a considerably better but still short 3.0" (76.2mm).

An extension tube enables a decreased minimum focus distance, which modestly increases this lens's magnification.

Design & Features

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The Tamron 90mm F/2.8 Di III Macro VXD has a fresh, modern design as first seen with the 50-400mm f/4.5-6.3 Di III VC VXD and then the 50-300mm F/4.5-6.3 Di III VC VXD.

"Every individual part of the lens has been reexamined, right down to the fine details, resulting in a new design that updates both operability and the ergonomic considerations. The surface of the lens exterior is shiny black, much glossier than previous models. Improved abrasion resistance makes the lens harder to scratch and resists fingerprints. In addition, grip performance has been improved by increasing the number of protrusions in the striped pattern of the rubber ring. The smoothly curved, glossy surface of the brand ring creates a dignified appearance with a design that signifies functional beauty and high quality." [Tamron]

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The sole switch, the focus limiter, has 3 positions. Additional care must be taken to get it in the middle position, but the switch is optimally shaped and clicks firmly into position.

This lens is dust and moisture resistant.

The front lens element has a fluorine coating that repels fingerprints, dust, water, oil, and other contaminants and makes cleaning considerably easier.

Lenses in this class are modest in size and weight, which makes them comfortable to use and carry for extended periods. The Tamron 90 is similar in size and weight to Sony's 90mm counterpart and slightly smaller and lighter than the Canon and Sigma options. The Sony and Canon lenses feature optical stabilization, and the Canon and Sigma lenses have a longer focal length.

Model	Weight oz(g)		Dimensions w/o Hood "(mm)		Filter	Year
Canon RF 100mm F2.8 L Macro IS USM Lens	25.8	(730)	3.2 x 5.8	(81.5 x 148.0)	67	2021
Sigma 105mm f/2.8 DG DN Macro Art Lens	25.1	(710)	2.9 x 5.3	(74.0 x 135.6)	62	2020
Sony FE 90mm F2.8 Macro G OSS Lens	21.3	(602)	3.1 x 5.1	(79.0 x 130.5)	62	2015
Tamron 90mm F/2.8 Di III Macro VXD Lens	22.2	(630)	3.1 x 5.0	(79.2 x 126.5)	67	2024
Tamron 90mm f/2.8 Di VC USD Macro F017 Lens	21.5	(610)	3.1 x 4.6	(79 x 117.1)	62	2016

View and compare the complete Tamron 90mm F/2.8 Di III Macro VXD Lens Specifications in the site's lens specifications tool. Here is a visual comparison:

Positioned above from left to right are most of the lenses from the above table, Tamron, Sony, Sigma, and Canon. The same lenses are shown below with their hoods in place.

Use the site's product image comparison tool to visually compare the Tamron 90mm F/2.8 Di III Macro VXD Lens to other lenses.

It's a Tamron lens, so the filter size is 67mm. While not universally true, Tamron has standardized on 67mm filter threads, and that statement usually holds true. This size commonality makes sharing effects filters such as circular polarizer filters and lens caps easy.

Tripod rings provide balanced tripod mounting, avoiding tripod head and camera strain and sag and allowing easy camera rotation. Lenses in this class do not include tripod rings, and aside from the Canon lens, tripod rings are not optionally available.

Tamron includes lens hoods in the box, and this one gets the model HF072 hood. This semi-rigid round plastic hood is large, effectively protecting the front lens element from impact and from flare-inducing bright light.

A filter adjustment window is provided. The space provided by such windows is insufficient for the most frequent CPL filter adjustment I make, which is 90° when changing camera orientation, and the door pulling open when removed from some cases is annoying. This window implementation provides a firm click into the window's locked position, reducing that last annoyance.

A case is not included.

Price, Value, Compatibility

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The Tamron brand is synonymous with great value. This lens has a modest price that is considerably lower than the Sony alternative, and it is a great deal.

Tamron's Di III lenses are designed for use on mirrorless interchangeable lens cameras. The Tamron 90mm F/2.8 Di III Macro VXD Lens is compatible with all Sony E-mount and Nikon Z-mount cameras, including full-frame and APS-C sensor format models.

"This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation." [Tamron]

Tamron USA provides a 6-year limited warranty.

The reviewed Tamron 90mm F/2.8 Di III Macro VXD Lens was on loan from Tamron Americas.

Alternatives

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The perfect lens does not exist. However, the best lens for your needs does. To determine that answer requires a look at the alternatives. Let's start with the Sony counterpart, the FE 90mm F2.8 Macro G OSS Lens.

The image quality comparison shows the two lenses being similarly sharp in the center of the frame and the Tamron lens noticeably sharper in the periphery. The difference reduces as the aperture narrows, and by f/8, these lenses are similarly sharp throughout the frame. The Sony lens has slightly less geometric distortion.

The Tamron 90mm F/2.8 Di III Macro VXD vs. Sony FE 90mm F2.8 Macro G OSS Lens comparison shows the two lenses having nearly the same size and weight. The 9-year-newer Tamron lens has 12 aperture blades vs. 9, 67mm filter threads vs. less common 62mm threads, and a considerably lower price. I prefer the Tamron lens's MF system over the Sony lens's push-pull design. The Sony lens features OSS.

Let's compare the Sigma 105mm f/2.8 DG DN Macro Art Lens next.

In the image quality comparison, the two lenses appear similarly sharp, both outstanding performers. The Sigma lens has less peripheral shading. The Sigma lens has minor pincushion distortion vs. slight barrel distortion.

The Tamron 90mm F/2.8 Di III Macro VXD vs. Sigma 105mm f/2.8 DG DN Macro Art Lens comparison shows the Tamron lens slightly lighter and smaller. The Sigma lens's longer focal length surely accounts for at least some of that difference, and the longer focal length is often, but not always, an advantage. The Tamron lens has 12 aperture blades vs. 9. The Sigma lens has an MF switch and aperture ring. The two lenses have the same price.

Next up is the Canon RF 100mm F2.8 L Macro IS USM Lens. At review time, these two lenses are not available in the same mount, but it is still interesting to compare.

In the image quality comparison, the two lenses appear similarly sharp, both outstanding performers. The Tamron lens has slightly less color fringing at f/2.8. The Canon lens has slight focus shift at extremely close focus distances. The Tamron lens has slight barrel distortion, while the Canon lens has slight pincushion distortion.

The Tamron 90mm F/2.8 Di III Macro VXD vs. Canon RF 100mm F2.8 L Macro IS USM Lens comparison shows the Tamron lens slightly lighter and noticeably smaller. The Canon lens's hybrid optical image stabilization and longer focal length surely account for at least some of the size and weight difference. The Tamron lens has 12 aperture blades vs. 9, a Lens Function button, and a considerably lower price. The Canon lens has 1.4x maximum magnification vs. 1.0x, control and SA control rings, an MF switch, and an optional tripod ring.

Above, the Di III lens is shown to the right of its predecessor, a DSLR lens, the Tamron 90mm f/2.8 Di VC USD Macro F017 Lens. The "F017" model number is included to differentiate this lens from it's predecessor with the same name. Note that the Di III lens cap is considerably shorter.

The image quality comparison shows the 8-year-newer Di III lens to be sharper. The Di lens has slightly less geometric distortion and more color blur.

The Tamron 90mm F/2.8 Di III Macro VXD vs. 90mm f/2.8 Di VC USD Macro F017 Lens comparison shows the Di lens slightly shorter. The Di III lens has 12 aperture blades vs. 9, has more common 67mm filter threads vs. 62mm, VXD Linear AF vs. USD, and a Lens Function button. The Di lens has optical Vibration Compensation, a focus distance window, and an AF/MF switch.

Use the site's tools to create additional comparisons.

Summary

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The classic is reborn and better than ever. The Tamron 90mm F/2.8 Di III Macro VXD Lens brings the super fun and extremely useful 90mm f/2.8 macro combination to mirrorless cameras. This lens is an outstanding short telephoto macro choice, offering superb optical quality, high-performing VXD AF, and great design and build qualities. The low price seals the deal.