Put on the Tele (Part 4)

Tamron Adaptall-2 SP 300mm f2.8 LD IF (Model 60B)

by Marwan El Mozayen / SilvergrainClassics

Introduction

The Tamron Adaptall-2 SP 300mm f2.8 LD IF (Model 60B) was introduced in 1984 as a professional, compact and fast 300mm telephoto lens with special low-dispersion glass and an internal focusing system. If filters are needed, they come as 43mm rear filters in a special slide-in compartment and it can be transformed into a 420mm lens with 4x aperture using the Tamron SP 1.4x (140F) or into a 600mm lens with 5.6x aperture using the Tamron SP 2x (01F or 200F).

 

One Lens for Every Camera

The Tamron Adaptall-2 SP 300mm f2.8 LD IF (60B) introduced in 1984 was something special on the market. It was part of a line of lenses that could be connected to almost any SLR camera on the market via a complex interchangeable adapter and also supported all or most automatic and program functions. Who changed his camera system or used more than one system did not need to keep this focal length 2 times but simply changed the adapter as needed.

The first Adaptall lenses appeared in 1973, followed by the Adaptall 2 series in the early 1980s. Between 1979 and 1993, Tamron SP lenses appeared for ambitious photo amateurs and professional photographers. Most of these lenses were produced until the 1980’s and 1990’s. Production of the Tamron SP 500mm F8 mirror lens and the fast telephoto Tamron SP 300mm F2.8 LD-IF was not discontinued until 2006.

These Pro Line lenses also extended Tamrons reach as a third-party manufacturer in addition to its amateur lenses to professionals at a much lower price than comparable original glass from Nikon, Canon etc. . At that time, these pro lenses were the only Tamron lenses with Low Dispersion [LD] glass. The use of LD glass can be identified by the light green stripe on each lens. A total of four lenses were offered in this series: SP 80-200 f2.8 LD (30A); SP 180mm f2.5 LD IF (63B); Tamron SP 300mm f2.8 LD IF (60B) and the Tamron SP 400mm f4 LD IF (65B).

While the 80-200mm contains only one LD element, all other lenses in the lineup have two of each of these special lenses. This exclusive lineup of four lenses was marketed together with the green stripe on each lens, but the smaller lenses are distinguished from the larger lenses by two different designs. The smaller lenses are black, while the larger lenses are olive green, with identical lens hoods. However, the 300mm lens (f2.8) came in two different variants: an earlier – very rare – white version with a red stripe (107B).

 

Juliette, ADOX COLOR MISSION, Leicaflex SL2, Tamron Adaptall-2 SP 300mm f2.8 LD IF (Model 60B)

 

The Accessories Should be Complete

All that to the backgrounds now we concentrate on the Tamron SP 300mm f2.8 LD IF.

Now and then, it is an interesting lens that can be purchased at internet auctions at an affordable price.

Anyone interested in this lens should definitely make sure to get the entire set. Tamron offered the lens in a case that contained the actual lens as well as accessories such as a lens cap, lens hood, insert filter and a 1.4 teleconverter plus a palm holder. All these individual components are always difficult to find as accessories afterwards. Therefore, always make sure that everything is in the set.

 

Charys, Kodak T-MAX P 3200, Leica R7, Tamron Adaptall-2 SP 300mm f2.8 LD IF (Model 60B)

 

Tamron’s Professional Equipment

When you hold the optics in your hand for the first time, you will immediately notice first it’s weight and then the built quality! The metal casing is impeccably manufactured. Everything moves precisely and without play. Focusing is a joy, and the internal focus mechanism does not change the length of the lens.

Tamron itself spoke of a Variable Pitch. This means focusing movements change in the infinity range differently (small rotation) than in the close-up range (bigger rotation). This helps to work more accurately while pulling the focus. There is also a preset focus click setting to adjust the focus more quickly. The tripod mount ring has click stops in 90° Intervals. The Lens hood is mounted via bayonet connection. This shade is also very large, which is technically advantageous to avoid unwanted reflections and loss of contrast. The rubber coating on the focus ring still looks very good on my specimen despite its age, and it’s not sticky like on many other older lenses.

 
 

 

 

Charys, Kodak T-MAX P 3200, Leica R7, Tamron Adaptall-2 SP 300mm f2.8 LD IF (Model 60B)

 

The Tamron Adaptall-2 SP 300mm f2.8 LD IF in Practice

Manual focus – Adaptall mount adaptable for almost any SLR camera. These were the ingredients for Tamron’s successful Adaptall system. The company’s typical customers were mostly amateurs. With the lens discussed here, however, it was mainly professionals and semi-professionals who were in the company’s sights as a target group.

With the 300mm f2.8 LD IF (Model 60B), Tamron managed to create an extremely powerful, fast telephoto lens that met the needs of the most demanding professional photographers. And this at a considerably lower price compared to original lenses. According to experience and test reports at that time, this lens was perfectly suitable for fast sports photography. The bright viewfinder image due to the 2.8 initial aperture of the lens was also excellent for shooting at theater and concert events. The nine-blade aperture has an almost circular opening, which promises a soft bokeh – an ideal effect for portraits.

 
 

 

 

Charys, Kodak Portra 800, Leica R7, Tamron Adaptall-2 SP 300mm f2.8 LD IF (Model 60B)

 

Shooting With the Tamron in Extreme Temperature

We wanted to test how it would perform today. At the beginning of 2021, we conducted an editorial shoot in a railroad museum for an article. The temperatures were well below freezing and we had to take regular breaks to warm up. One of the cameras used in combination with the Tamron was the Leica R7. With the appropriate Leica R adapter on the lens, the camera worked flawlessly as if it were a Leica lens. All automatic and manual functions worked flawlessly. Even the mirroring of the aperture value worked. It was a very cloudy day and therefore a monopod was absolutely necessary to shoot on Kodak Portra 800.

Everything about this lens is mechanically very well executed, everything moves silky smooth even after many years and the low outside temperatures!

Another test use was in the summer of 2022 during one of our after work model shoots. This time on a Leicaflex SL2 MOT in combination with ADOX Color Mission 200. Also this time in combination with a monopod. When shooting models in motion with such a lens, it makes sense to plan the photo in advance. Here is an experienced model helpful which runs on command in the pre-planned focus area.

Regarding the image quality my experience is, it’s really sharp at f2.8 and razor sharp at f5.6 – optically I haven’t noticed anything that would matter given the low price and the ability to attach it to almost all my camera systems without any real limitations.

 
 

 

 

The Bokeh is the Only Critical Point

But sharpness is not everything, the images also are showing a good contrast. The color balance is a bit cool for my taste. The only problem I have with the lens is the bokeh. I just like to use the 300mm f2.8 for model shoots and there the bokeh is a pretty important feature for me. My other Lens in this class is the Minolta 300mm f/2.8 APO G AF and with this lens I find the bokeh in nearly every shot much more balanced and smoother. That’s not to say that the bokeh of the Tamron is fundamentally bad. With the Tamron, it depends on the nature of the background and the specific contrasts there, and also on the graininess of the film stock. Depending on the combination, it fits downright pleasingly well. However, there are moments when it looks amazingly like a mirror lens and gets very disturbing for me.

However, it has to be said that the bokeh is purely subjective and a matter of taste.

 
 

 

 

Quality Criteria for Digital Photography Are Irrelevant for Film Photography

Researching info about this lens in the internet you’ll find quite a lot of controversial discussions mainly in many Nikon forums. Apart from that, most of the discussions are about the effect of chromatic aberrations especially on digital cameras which are quite irrelevant for film photography, you often find the opinion that the corresponding Nikon lenses are so extremely much better in direct comparison. I personally have my doubts that the differences are so extremely and therefore you should not really be unsettled by such things. I personally found the result already really very good.

Noticeable is despite the very good built quality is, that the green paint of the lens barrel is quite scratch-prone. This has no effect on the mechanical or even the optical quality, but those who value a well-maintained exterior will certainly have to live with one or two scratches during frequent use.

 
 

 

 

Conclusion

In summary, the Tamron is a compact, well-balanced pro lens with excellent optics and precise manual focus mechanism that delivers excellent results both without and with the SP 140 1.4X teleconverter included in the kit. Those who need 600mm will get slightly softer image results with Tamron’s in-house 2X teleconverter.

Given the low prices on the used market and the versatility of the adapter system, it is definitely worth the money.

 
 

 

Technical Data

Launch Year: 1984
Discontinued: 1992
List Price when new Japan: ¥372,000
Focal Length: 300mm
Aperture Range: f2.8-32
Angle of view: 8°
Optical Construction (Groups / Elements): 7 / 10
Minimum Focus: 2,94m
Filter Size: 43mm (rear), 112mm (front)
Diameter: 117.5mm
Length with Nikon adapter: 215mm
Weight: 2096g

 

 

 

Note

This article was written by the SilvergrainClassics editorial team. It’s free for you.

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