Nikon 24-70mm f/2.8 vs. Tamron 24-70mm f/2.8: A Comprehensive Showdown for the Discerning Photographer

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Welcome, fellow photographers, to a side-by-side exploration of two high-performing, versatile camera lenses—the Nikon 24-70mm f/2.8 and the Tamron 24-70mm f/2.8. If you’ve found yourself considering an upgrade or perhaps diversifying your lens portfolio, and you’re torn between these two options, you’re in the right place.

We understand that choosing the right lens can be as personal and complex as selecting the genre of your photography—it’s a matter of capturing your vision in the best light, literally and figuratively. Each lens has its character, its strengths, and its nuances, much like us photographers. Our mission here is to shed light on the unique features, strengths, and shortcomings of these two lenses, helping you to make an informed choice based on your style, subjects, and photography goals.

Whether you’re a portrait artist seeking to create dreamy bokeh that adds a magical touch to your subjects, an event photographer requiring quick and accurate autofocus to never miss a moment, or a landscape lover desiring sharpness and optimal control over distortion and flare, we’ve got you covered. We’ll delve into each aspect of these lenses from a practical, user-friendly perspective, arming you with the knowledge to bring your creativity to life, one click at a time.

But the benefits of this exploration don’t stop at helping you make an informed purchase decision. By joining us on this journey, you’ll gain insights into lens mechanics and how to exploit them for your benefit, irrespective of the lens you use. So, get ready to take your photography, understanding, and creative expression to new heights.

Let’s dive in!


Nikon AF-S NIKKOR 24-70mm F2.8E ED VRTamron SP 24-70mm F2.8 Di VC USD G2 Nikon F (FX)
Max ApertureF2.8F2.8
Aperture TypeFixedFixed
Focal Range (mm)24-7024-70
Mount TypeNikon F (FX)Nikon F (FX)
Max Format35mm FF35mm FF
Zoom Ratio (X)2.92.9

The Nikon 24-70mm f/2.8 and Tamron 24-70mm f/2.8 both have a fixed maximum aperture of f/2.8, which allows for better low light performance, shallower depth of field, and higher image quality compared to lenses with variable apertures. These lenses are suitable for various photography genres and situations, as they offer a versatile 24-70mm focal range and are compatible with Nikon F (FX) mount cameras.

The Nikon lens, being a well-known brand, may offer superior build quality, better customer support, and potentially better resale value. However, the Tamron lens might be more budget-friendly, making it an attractive alternative for photographers with limited funds.

Both lenses are excellent choices, offering consistent image quality across the zoom range and good low light performance. If you prioritize brand reputation and build quality, the Nikon lens may be the better choice. On the other hand, if you’re looking for a more affordable option without compromising on image quality, the Tamron lens could be an excellent choice.

Design and Ease of Use

Nikon AF-S NIKKOR 24-70mm F2.8E ED VRTamron SP 24-70mm F2.8 Di VC USD G2 Nikon F (FX)
Diameter x Length (mm)⌀88×154.5mm⌀88×111mm
Weight (gr)1070900
Filter Thread (mm)8282
Weather SealingYesYes
Zoom MethodRotary (internal)Rotary (extending)
Distance ScaleYesYes
DoF ScaleNoNo
Hood SuppliedYesYes

The Nikon 24-70mm f/2.8 has a diameter of 88mm and a length of 154.5mm, while the Tamron 24-70mm f/2.8 has a diameter of 88mm and a length of 111mm. The Nikon lens weighs 1070g, and the Tamron lens is lighter at 900g. The Nikon lens utilizes an internal rotary zoom method, whereas the Tamron lens employs an extending rotary zoom method.

The smaller size and lighter weight of the Tamron lens make it more portable and easier to carry around, which can be beneficial for extended periods of shooting, travel photography, or when you want to be discreet. However, the Nikon lens’s internal rotary zoom method provides consistent balance while zooming and better weather sealing due to its constant length. This can be advantageous in various shooting conditions and environments.

Both lenses have their pros and cons, if portability and a compact size are your priorities, the Tamron lens may be the superior option. On the other hand, if you value consistent balance and better weather sealing during zooming, the Nikon lens might be the better choice.

Lens Mount and Barrel

The lens mount of Nikon 24-70mm f/2.8 is crafted from metal and features weather sealing with an O-ring, which helps prevent dust and water from entering the camera. This offers enhanced protection against various environmental elements. In contrast, the lens mount of Tamron 24-70mm f/2.8 is also made of metal for durability and sturdiness, and it has a rubber gasket around it for some degree of weather sealing, making it more resistant to moisture and dust.

Regarding the lens barrel, the Nikon lens combines high-quality plastic and metal materials and is finished with a rubberized texture. This offers a balance between weight, durability, and cost. The Tamron lens barrel, on the other hand, is constructed from a blend of metal and thick, sturdy plastic, finished in black with a silver accent ring at the base. The outer barrel is metal, while the inner portion, including the bayonet mount around the front element and the included lens hood, is made from thick plastic. The Tamron lens extends in length as you zoom from 24 to 70mm, which may affect handling during shooting.

Weather Sealing

When comparing the weather sealing of the Nikon 24-70mm f/2.8 and Tamron 24-70mm f/2.8, both lenses have features designed to resist water, dust, and smudges. The Nikon lens has a rubber grommet seal on the lens mount to limit dust and water from entering the camera, as well as internal seals at rings, switches, and the front of the barrel. These elements provide protection against harsh weather conditions, making it a durable and reliable choice. However, it is important to note that extreme weather conditions can still cause issues, and sudden changes in temperature can lead to condensation or moisture build-up inside the lens.

The Tamron lens also has weather sealing, including a gasket at the lens mount and internal seals at various parts of the lens, such as rings and switches, to protect against moisture and dust. Additionally, the front element is coated with fluorine, which repels grease, moisture, and dirt, making it easier to clean and maintain.

In conclusion, both the Nikon and Tamron lenses offer solid weather sealing, ensuring durability and performance in various conditions. The Nikon lens has more comprehensive sealing, including a rubber grommet seal on the lens mount, which might give it an edge in terms of protection. However, the Tamron lens also provides a high level of protection with its gasket and fluorine coating on the front element. Ultimately, the choice between these lenses will depend on your specific requirements and preferences, but both lenses are well-equipped to handle challenging weather conditions.


Comparing the rings of the Nikon 24-70mm f/2.8 and Tamron 24-70mm f/2.8, both lenses feature a zoom ring and a focus ring.

Towards the rear of the lens, there is a rubberized zoom ring, while the manual focus ring is located towards the front. The zoom ring has a wide grip with raised ribs, offering a great tactile feel and smooth rotation with slight resistance, while the focus ring is narrower, equally grippy and smooth in operation. It features a windowed distance scale with marks in both feet and meters but lacks IR or DOF markings on the focus indicator.

On the other hand, the Tamron lens has a zoom ring located closer to the front, which is wide and covered in textured rubber, turning smoothly with focal lengths marked at 24, 35, 50, and 70mm. It also has a physical lock at the 24mm position to prevent barrel creeping. The focus ring is closer to the camera, narrower, and also covered in rubber. It turns smoothly with some resistance, allowing for small adjustments. The lens features a distance scale under a small window but lacks a depth of field scale. The focus ring has a throw of about 95-115 degrees, depending on the source.

In conclusion, both lenses have well-designed rings with a focus on ergonomics and control. The Nikon lens offers a more extensive grip and raised ribs on the zoom ring, providing better tactile feedback, while the Tamron lens has a physical lock for the zoom ring, which can be beneficial for preventing barrel creeping. The choice between these lenses will depend on your specific requirements and preferences, but both lenses offer a comfortable and precise experience when adjusting focus or zooming.


The Nikon 24-70mm f/2.8 and Tamron 24-70mm f/2.8 both have two switches/buttons on the side of the barrel to control various functions.

The Nikon lens is equipped with an AF/MF switch that enables quick and seamless transition from autofocus to manual focus operation, with virtually no time lag. It also has a VR switch with settings for Off, Normal, or Active VR modes. While these switches are clearly labeled, they are identical to the touch, which can make it difficult to determine which switch you are selecting if you’re working quickly and relying solely on feel.

In contrast, the Tamron lens has an AF/MF switch that enables switching between autofocus and manual focus modes, with full-time manual override always available. Additionally, it has a VC switch to turn the Vibration Compensation system on or off, which is useful for stabilizing images, especially when shooting handheld. These switches are easy to locate and operate, with a low profile to prevent accidental activation. They also move with a precise, definite click, providing a reliable and comfortable user experience.

In conclusion, while both lenses offer essential switches for controlling autofocus and stabilization, the Tamron lens has a slight advantage due to its well-designed, low-profile switches that are easy to locate and operate, preventing accidental activation. The tactile feedback from the Tamron switches also enhances the user experience, making it the superior choice in terms of switches/buttons.

Filter Thread

The Nikon 24-70mm f/2.8 has an 82mm filter thread size, which is larger than the previous model, requiring larger filters. However, its internal focusing mechanism ensures that the filter position remains fixed while the lens focuses, making it easier to use with certain filters, such as circular polarizers or graduated neutral density filters.

On the other hand, the Tamron 24-70mm f/2.8 also features an 82mm filter thread, which is larger than the standard 77mm. As a result, you might need to purchase new filters. The filter thread material is metal, providing durability. The front element and filter thread do not rotate during focusing due to the rear focus design, making it convenient to use with filters. When using a filter holder system, ensure it can accommodate the 82mm size with the appropriate adapter.

In conclusion, both the Nikon and Tamron lenses have an 82mm filter thread size, which offers compatibility with a wide range of filters but may require purchasing larger filters. Both lenses also have design features that prevent filter rotation during focusing, making them more convenient for certain types of filters.

Lens Hood

The Nikon 24-70mm f/2.8 comes with a petal-style plastic lens hood, model number HB-74, which is included in the box. This lens hood features a lock mechanism for a secure fit and can be reversed for storage on the lens. The deep design helps to reduce lens flare and protect the front element. The hood attachment bayonet is located just forward of the gold stripe on the barrel, and the hood coverage at 24mm is fairly scant but does not need readjusting while zooming due to the inner barrel design.

The Tamron 24-70mm f/2.8 also includes a lens hood in the box, made of strong molded plastic with slight flex, which is useful for absorbing impact. The interior of the hood is mold-ribbed to reduce reflections. The push-button design allows for easy installation and removal while remaining securely locked in place. The ergonomic bevel and design enable natural movement when attaching or detaching the hood from the lens.

In conclusion, both lens hoods are designed to protect the front element and minimize lens flare. The Nikon lens hood has a petal-style design and a lock mechanism, while the Tamron lens hood features a mold-ribbed interior and a push-button design for secure attachment. Both hoods are well-designed and effective, but the Tamron lens hood’s push-button design may offer a slight advantage in terms of ease of use and secure attachment.

Focusing and Optical Stabilization

Nikon AF-S NIKKOR 24-70mm F2.8E ED VRTamron SP 24-70mm F2.8 Di VC USD G2 Nikon F (FX)
AF MotorSilent Wave MotorRing-type ultrasonic
Rotating Front ElementDoes not rotate on focusingDoes not rotate on focusing
Min Focus Distance0.41m(24,28,70mm);0.38m(35-50mm)0.38m
Max Magnification (X)0.270.2
Full-Time Manual FocusYesYes
Focus MethodInternalInternal

Focusing Performance

The Nikon 24-70mm f/2.8 boasts a snappy and quick autofocus performance, allowing for easy subject acquisition and focus shifting. With its virtually silent AF-S drive, it is well-suited for video recording. The autofocus accuracy is excellent in both daylight and low-light conditions, and the lens consistently snaps into focus, particularly when used with the latest-generation DSLR.

The manual focus override is easy to use due to the focus ring with no slack/play and smooth manual focus action. Additionally, the lens has an internally focusing design, maintaining a constant length regardless of focus and zoom settings, and exhibits no focus breathing.

The Tamron 24-70mm f/2.8 also features a quick and quiet autofocus system, with decent accuracy and a focus time of approximately 0.4 seconds from infinity to 0.7m at 70mm focal length. The autofocus performance remains reliable in low-light situations, and the initial autofocus acquisition speed is fast.

The manual focus override is engaged by turning the focus ring, which has a smooth action, 95-degree throw, and rubberized surface. Like the Nikon lens, the Tamron lens has an internally focusing design, with a non-rotating front element during focusing. However, it does exhibit some focus breathing.

In conclusion, both lenses offer impressive autofocus performance, with the Nikon lens having a slight edge in terms of speed and accuracy. While both lenses feature smooth manual focus overrides and internally focusing designs, the Nikon lens does not exhibit focus breathing, making it the superior choice for focusing performance.

Optical Stabilization

The Nikon 24-70mm f/2.8 features optical stabilization (VR) with up to 4 stops longer exposure times, resulting in excellent image stabilization performance, even at slower shutter speeds. This lens offers both Normal and Active modes of stabilization, and its virtually silent AF-S drive ensures quiet autofocus operation. The VR system works effectively without noise, allowing for crisp handheld shots at speeds as long as 1/5-second when shooting at 70mm.

On the other hand, the Tamron 24-70mm f/2.8 is equipped with VC (Vibration Compensation) technology, claiming up to 4 stops of stabilization, but users have reported a more realistic advantage of 2.5-3 stops. The stabilization system has different modes accessible via the USB-dock, but they cannot be switched on-the-fly.

The VC system may produce some noise during video recording with an internal microphone. By using the Tap In Console and selecting Capture Priority mode, the VC system’s effectiveness can be enhanced. When shooting at 70mm focal length, the VC system shows a clear advantage at shutter speeds of 1/80 sec, 1/40 sec, and 1/20 sec, but results become more erratic at 1/10 sec and 1/5 sec, reducing the percentage of usable shots.

In conclusion, both lenses offer optical stabilization, with the Nikon lens providing a more consistent and quiet performance. The Nikon lens’s VR system allows for longer handheld exposures, making it the superior choice for optical stabilization.

Image Quality

Nikon AF-S NIKKOR 24-70mm F2.8E ED VRTamron SP 24-70mm F2.8 Di VC USD G2 Nikon F (FX)
Special Elements3 aspherical and 2 ED elements + nano crystal and fluorine coatings2 XR, 3 LD, 3 GM aspherical, 1 aspherical elements + eBAND and fluorine coatings
Diaphragm Blades99
Circular ApertureYesYes


The Nikon 24-70mm f/2.8 exhibits varying levels of chromatic aberration, with lateral chromatic aberration being particularly high at 35mm and reaching peak values of above 3 pixels at the image borders. Longitudinal chromatic aberration (LoCA) is also present, resulting in magenta coloration in the foreground and greenish hues in the background.

Despite these aberrations, they can be corrected easily in post-production. The lens also displays some coma, particularly in the FX corner at different apertures and focal lengths during night shots, but it is not significant. Spherochromatism is minimal, and out-of-focus highlights remain reasonably neutral.

In contrast, the Tamron 24-70mm f/2.8 shows varying levels of chromatic aberration, coma, and spherical aberration depending on the focal length and aperture settings. Chromatic aberration is minimal in the center of the frame but can be observed in the corners at certain settings. Coma is more noticeable at wide apertures and towards the image periphery, decreasing when the lens is stopped down.

Spherical aberration, along with spherochromatism, is generally present in combination with axial chromatic aberration, resulting in a hazier image quality at wider apertures. Stopping down the lens can help reduce spherical aberration. Most of these aberrations can be effectively corrected in post-production, ensuring satisfactory image quality.

In conclusion, both lenses exhibit some degree of aberration, but the Nikon lens has a slight advantage with less significant coma and spherochromatism. However, it’s important to note that aberrations in both lenses can be effectively corrected in post-production. Considering these factors, the Nikon lens demonstrates a marginally superior performance in terms of aberration control.


The Nikon 24-70mm f/2.8 exhibits varied degrees of sharpness contingent on the focal length and aperture. The central sharpness is typically very good across different settings, although the widest aperture may yield slightly softer results. Notably, the most substantial drop in sharpness can be found at 50mm and beyond, predominantly affecting the corners.

However, adjusting the aperture to f/5.6 enhances the overall sharpness. Despite a minor sharpness loss when using a teleconverter, the lens performs well. The sharpest aperture for this lens generally lies between f/5.6 and f/8.

In comparison, the sharpness of the Tamron 24-70mm f/2.8 fluctuates based on the focal length, aperture, and camera resolution. The lens usually provides excellent central sharpness, particularly at wider apertures such as f/2.8. Although corner sharpness tends to be softer at wider apertures, it significantly improves upon stopping down. The lens reaches peak sharpness around f/5.6 to f/8, where both central and corner sharpness excel.

However, stopping down further may induce diffraction effects, diminishing sharpness. The lens exhibits weaker performance at the 70mm focal length, especially at f/2.8, but stopping down to f/4 or f/5.6 markedly ameliorates the sharpness.

In conclusion, both lenses deliver varied sharpness based on various factors such as aperture and focal length. However, the Tamron lens slightly edges out its Nikon counterpart by offering excellent central sharpness, even at wider apertures, and improved corner sharpness upon stopping down. Thus, for photographers prioritizing sharpness, the Tamron lens may be the more advantageous option.

Bokeh Quality

The Nikon 24-70mm f/2.8 provides satisfactory bokeh quality, although it’s not exemplary. The areas of transition and blurred backgrounds can reveal some unease, and outlining or ‘cat’s eye’ shapes may occur due to mechanical vignetting at wider apertures.

Furthermore, the peripheries may exhibit bokeh fringing. Nevertheless, the lens is capable of rendering three-dimensional images where the sharp subject appears to leap from the softer backgrounds. For superior bokeh quality, the use of a dedicated portrait lens is suggested.

On the other hand, the Tamron 24-70mm f/2.8 delivers varied bokeh quality, with the background bokeh tending to be smoother than the foreground and highlights. Compared to its predecessor, the Tamron 24-70mm G2 lens showcases enhanced bokeh, with softer and smoother circles and less noticeable rings. However, some images may still display evidence of concentric circles.

While bokeh fringing is not a significant concern, the lens may present a thicker, uneven outline and an ‘onion-ring’ effect in the bokeh due to the different aspherical lens elements utilized. Furthermore, the bokeh quality fluctuates depending on the focal length, with more pronounced outlining at wider angles. Despite these irregularities, the lens still provides pleasing bokeh in many scenarios.

In conclusion, both lenses produce commendable bokeh, each with their unique characteristics. However, the Tamron lens, with its smoother background bokeh and less apparent rings, offer a slight edge over the Nikon lens in terms of bokeh quality.


The Nikon 24-70mm f/2.8 exhibits commendable resilience against flare and ghosting, especially when the light source is distinctly outside the frame of the image. However, if the light is near the corner but still outside the frame, it may trigger some flare. The lens incorporates a Nano Crystal Coat designed to mitigate flares and ghosting, yet shooting in direct sunlight could still result in some image artifacts.

The intensity of ghosting and flare depends on the placement of the bright light source within the frame; with careful positioning, these issues could be eliminated. Despite its general resistance to flare, under very bright lights within the image area, the lens might produce some minor spots accompanied by veiling flare.

In contrast, the Tamron 24-70mm f/2.8 tends to manifest flare and ghosting, particularly when a powerful light source is located within or close to the frame. These effects become more noticeable at longer focal lengths. At shorter focal lengths, the lens results in less severe flare and ghosting, and it produces more distinct sun-stars when the aperture is narrowed down.

The lens is better equipped to handle flare and ghosting in backlit photography, thanks to the use of specialized high-quality glass materials and Tamron’s proprietary nanotechnology-based eBAND Coating. Nevertheless, at smaller apertures, some circular ghosting might still appear. During night photography, the lens faces additional hurdles, but it produces only very minor flare effects when the sun is positioned in the corner of the frame and the aperture is reduced.

In conclusion, both lenses demonstrate their unique strengths and weaknesses when it comes to flare and ghosting. The Nikon lens offers robust resistance to flare and ghosting, especially when the light source is outside the frame, whereas the Tamron lens employs advanced technologies to manage these issues. However, the Tamron lens have a slight edge due to its superior performance at different focal lengths and advanced coating technology, making it a better option for photographers who frequently shoot in challenging lighting conditions.


The Nikon 24-70mm f/2.8 exhibits a level of vignetting, especially noticeable at wider apertures and shorter focal lengths. This phenomenon is more pronounced compared to its previous model. Vignetting is a consequence of the light rays having to travel further to reach the corners of the sensor due to the wider field of view at shorter focal lengths.

However, this effect can be significantly minimized by narrowing the aperture. At an aperture of f/5.6, the vignetting remains perceptible, though from this point onwards, it becomes largely insignificant. In cases where vignetting is not desirable, it can be easily rectified with a simple click in post-processing software.

On the other hand, the Tamron 24-70mm f/2.8 also shows marked peripheral shading at its widest apertures, particularly when used with full-frame cameras. The most substantial shading occurs at the shortest focal length of 24mm, with the corners darkening by just over 2.5 stops. This darkening effect reduces to approximately 2 stops at other focal lengths.

When the aperture is decreased to f/4, the shading is reduced by about 1 stop. From an aperture of f/5.6 onwards, the residual vignetting varies between 1.5 stops at 24mm and 0.5 stops at 70mm. Interestingly, when used with APS-C sensor format cameras, the peripheral shading is virtually unnoticeable regardless of the aperture or focal length used. Similar to the Nikon lens, any undesired vignetting can be easily corrected in post-processing.

In conclusion, both lenses display vignetting which can be artistically pleasing to some photographers, while others might prefer to correct it. The Nikon lens shows more vignetting at shorter focal lengths, while the Tamron lens demonstrates a more pronounced effect at wider apertures.


The Nikon 24-70mm f/2.8 displays a varying degree of distortion across its focal lengths. More specifically, it demonstrates notable barrel distortion at the shorter 24mm end, where the edges of the image seem to bulge outward. This distortion transitions into a pincushion-like effect in the 35-70mm range, where the middle of the image appears pinched and the edges stretched out.

However, Nikon might have deliberately allowed more distortion to achieve superior sharpness in the corners. Although distortion might be a concern for some photographers, it can be readily corrected in post-processing software like Adobe Lightroom, mitigating its impact on the final image.

Contrastingly, the Tamron 24-70mm f/2.8 also exhibits variable distortion, albeit at a different rate. At the widest focal length of 24mm, it shows moderate barrel distortion at a rate of 3.4%. As you zoom in to 35mm and 50mm, the distortion becomes less pronounced, gradually transitioning into a subtle pincushion distortion.

By the time you reach 70mm, pincushion distortion becomes more noticeable, measuring around 1.2%. Despite the presence of distortion across the zoom range, it is manageable and can be corrected using post-processing software.

In conclusion, both lenses exhibit distortion, but it varies depending on the focal length. The Nikon lens displays more pronounced distortion, especially at shorter focal lengths. The Tamron lens, on the other hand, manages distortion slightly better, particularly at mid-range focal lengths, with a smoother transition from barrel to pincushion distortion. Therefore, in terms of distortion control, the Tamron lens edges out the Nikon lens as the superior choice.

Final Verdict

Both the Nikon 24-70mm f/2.8 and Tamron 24-70mm f/2.8 are high performers, offering consistent image quality across the zoom range and remarkable low-light performance. However, each lens shows its unique strengths in different photography genres, depending on the specific factors important to each genre.

For photographers engaged in portrait photography, bokeh quality is paramount. Both lenses deliver pleasing bokeh, but the Tamron lens shines slightly brighter with its smoother background bokeh and less noticeable rings, making it an excellent choice for this genre.

When it comes to landscape photography, sharpness, distortion control, and resistance to flare and ghosting are crucial. The Tamron lens outperforms in these areas, offering excellent central sharpness even at wider apertures, better distortion management, and superior performance in challenging lighting conditions, thanks to its advanced coating technology. This makes it an ideal choice for landscape photographers.

For event or sports photography, where rapid autofocus and optical stabilization are critical, the Nikon lens holds the advantage. Its autofocus performance is slightly faster and more accurate, and its Vibration Reduction system allows for longer handheld exposures, making it an excellent choice for photographers in fast-paced, dynamic environments.

In terms of street photography, where portability and lens size matter, the Tamron lens, being more compact, holds the upper hand. It’s also a more affordable option, making it a great choice for photographers on a budget or those just starting in the field.

Lastly, for architectural or product photography, where distortion control, vignetting, and aberration control matter, the Tamron lens once again stands out. Despite both lenses exhibiting some vignetting and distortion, the Tamron lens shows less pronounced effects and transitions smoothly from barrel to pincushion distortion. Moreover, it has less significant aberrations, making it an ideal choice for these genres.

In conclusion, both lenses have their strengths depending on the genre of photography. The Nikon lens, with its superior autofocus and stabilization, would be a great choice for event or sports photography. The Tamron lens, with its excellent sharpness, distortion control, and bokeh quality, would be a fantastic option for portrait, landscape, street, architectural, and product photography. Your choice ultimately depends on your primary genre of photography, budget, and brand preference.

Meet the Author

Wei Mao

Wei was a cruise photographer who worked at Disney Cruise Line. He is a lucky traveler who has been to more than 20 countries with his camera while working on an around-the-world cruise. Photography has changed his view of the world forever. Now he wants more people to benefit from photography through his blog.

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