Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Review: Travel Light

Nov 13, 2025

Chris Niccolls

Tamron has a long and illustrious history of making travel-zoom lenses with massive focal ranges. These lenses provide a maximum amount of convenience, but how much of a compromise needs to be sacrificed to make this all possible? The new $900 Tamron 25-200mm f/2.8-5.6 Di VXD G2 is set to make a mark on the travel-zoom industry.

Buy the Tamron 25-200mm f/2.8-5.6 Di VXD G2 new on B&H Buy the Tamron 25-200mm f/2.8-5.6 Di VXD G2 used on KEH.com

On a recent trip to Japan, I had an opportunity to review the Sigma 20-200mm f/3.5-6.3, which does sacrifice some light gathering to provide a staggering wide-angle range with plenty of optical performance. I love this lens, but Tamron’s new option is a natural competitor for anyone using an E-mount body. Not only will I review the 25-200mm f/2.8-5.6 Di VXD G2 lens here, but I will also provide my feedback on how it compares to the Sigma 20-200mm lens throughout.

A Tamron 25-200mm f/2.8-5.6 Di III VXD G2 camera lens stands upright on a white surface with a gray grid-patterned background. — The new Tamron 25-200mm is compact and lightweight.

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Review: How It Feels

The Tamron is a very compact lens with a 67mm filter diameter and easy-to-carry dimensions. It weighs only 575 grams, which makes it very similar in size and weight to the Sigma lens.

A black camera zoom lens is placed horizontally on a white surface, with a gray grid background behind it. The lens shows detailed markings and a textured grip. — At full extension, the Tamron is lengthy, but it is so easy to travel with when stowed.

There is a basic zoom ring on the Tamron, with a locking switch to keep it from extending past the 20mm mark. I like the locking option to prevent lens creep — gravity cannot extend the barrel of the lens while wandering around. However, this switch has to be fully disengaged before zooming the lens, which is in contrast to Sigma’s option, which has a locking switch that can be easily bypassed simply by zooming the lens with a small amount of force.

Close-up of a black camera lens showing the 28-200mm F/2.8-5.6 Di III VXD G2 label, a lock switch, and part of the lens barrel with fine ridges and "Made in Vietnam" text at the bottom. — There is a basic locking switch for the zoom function but not much else.

Otherwise, the Tamron is quite basic. There is a manual focus ring (which I wish had more resistance), but no AF/MF selector switch to be found. Changing the focus within the body is no big deal, but when I was using the macro functionality, I liked being able to quickly change focusing modes with the selector switch on the Sigma 20-200mm. There are no other controls to be found on the Tamron lens, but it does have a USB-C port to allow firmware upgrades. The lens is also well-sealed against the elements.

Close-up of a camera lens showing a USB-C port and two screws on its body. The lens has a ridged focus ring, and “DESIGNED IN JAPAN” text is partially visible at the top. — The standard USB-C port is present as usual.

Close-up of a Tamron camera lens showing focal length markings from 25mm to 135mm, with “TAMRON” and “25-200mm Di III VXD” labeled on the lens barrel. — This latest G2 version is simple and sparsely appointed.

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Review<: How It Shoots

The optical formula required to facilitate the vast focal range is going to be complex, and this can often cause issues with internal reflections and flare. However, the Tamron 25-200mm did a great job of resisting flare issues, instead providing good contrast when shooting towards bright lights. There is some minor ghosting, which is only apparent when stopping the lens down, and I found the Tamron to be superior to the Sigma in this regard.

The sun shines brightly behind the trunk of a tree, creating a lens flare and casting the bark in shadow. The background is overexposed, with bare branches faintly visible. — There is some ghosting present but the effect is minor.

A bike lane runs along a quiet, empty street lined with houses and leafless trees under a cloudy, overcast sky with the sun shining through. Fallen leaves are scattered on the sidewalk and roadside.

Black and white photo of a brick building’s exterior with a fire escape, a door, a window, and steam or smoke rising in front of the structure.

The autofocus performance is impressive thanks to a VXD, voice-coil, linear motor. I had no issues acquiring and maintaining tracking focus on the Sony a7R V I tested it with. The speed and smoothness with which the Tamron can focus should be ideal for most users.

A bearded man in a cap smiles widely while standing outdoors next to a sign with partially visible text, in a black-and-white photo. — Our good friend Alex Mitchell showed up and the autofocus worked perfectly as always.

A person wearing a beanie and sunglasses stands in the middle of a street under construction, holding something in their hands. Traffic barriers and signs are visible, with buildings and a car in the background. The image is in black and white.

Black and white photo of a window with four glass panes, reflecting overhead power lines and a street lamp. The image is slightly blurred, creating a moody and abstract atmosphere.

This lens has some good sharpness characteristics throughout its zoom range. Center sharpness at the 25mm end is impressive, with good detail and contrast at f/2.8. Stopping down the lens brought about a little more contrast, but the result is pretty similar overall. When looking side by side at the Tamron at 25mm and the Sigma at 20mm, the sharpness was basically identical.

Side-by-side image comparison of two photos showing a Canadian one-dollar bill and a focus test chart, labeled “25mm @ f/2.8” on the left and “25mm @ f/5.6” on the right. — The corners of the Tamron are excellent regardless of what aperture is used.

A weathered wooden fence with peeling turquoise paint stands in front of a colorful mural featuring cartoon characters with large eyes, eating food and drinking.

At 200mm, the Tamron has good sharpness in the center at f/5.6, and there is a noticeable improvement when stopping down the lens slightly. However, the corners have a little bit of blur to them regardless of the aperture chosen. I still think the performance at 200mm is good, and I enjoyed the look of the photos that I took with it.

Side-by-side comparison of test charts featuring a portrait and the text "ADA," labeled "200mm @ f/5.6" (left) and "200mm @ f/1.8" (right), highlighting sharpness differences. — The Tamron at the 200mm end is sharp in the center.

A decorated Christmas tree with gold and red ornaments and twinkling lights stands in a cozy room with brick walls, framed art, and a mirror reflecting the tree’s glow.

Corner sharpness doesn’t play that big a part when shooting wildlife or sports at 200mm. I do have to mention, though, that the Sigma is even more consistent at 200mm, with excellent sharpness throughout the telephoto range and better corner sharpness.

Side-by-side comparison of printed test patterns and a portrait, showing image sharpness at 200mm for Tamron lens at f/5.6 (left) and Sigma lens at f/6.3 (right), with text labels on each photo. — The Sigma does seem to have an edge over the Tamron at the 200mm range.

Comparison of image sharpness: left side taken with Tamron 25mm at f/2.8, right side with Sigma 20mm at f/3.5. Includes a Canadian dollar bill, focus chart, and geometric shapes on a gray background. — Sigma has more vignetting at its wider 20mm end, but sharpness is equivalent.

The versatility of the Tamron lens is further enhanced with a macro capability that brings 1:1.9 reproduction at the 25mm end. This semi-macro performance is great to have for the occasional close-up shot; however, the working distance between the subject and the lens is quite poor. The front element is millimeters away from the subject, and the lens itself blocks a ton of light. Zooming the lens to the telephoto side will give back useful working distance, but the reproduction capability isn’t close to macro anymore.

Close-up of two pieces of rusted, weathered metal with holes, set against a wooden surface. The metal shows signs of age and corrosion, creating a textured and rough appearance. — The macro capability is excellent, and you can get 1:2 macro at most ranges.

Close-up of a cluster of small red and orange crabapples on a branch with a few dried leaves, set against a blurred background of more branches and fruits.

Close-up of three decorative yellow metal fence posts with fleur-de-lis tips, set against a blurred reddish-brown background. A faint spider web connects the posts.

The Sigma has an obvious advantage when it comes to close-up shots because it has the exact same macro capability, but it can provide this same ability anywhere from the 28mm mark to the 85mm mark. This means I can get the wide-angle macro look if I want it, but also get far more working distance while still maintaining the same macro capability by pushing to 85mm. Both lenses lack any sort of image stabilization, so there is no obvious difference in stability either way.

A close-up of a geometric-patterned brown, red, and orange blanket with a turquoise beaded necklace draped on a chair in the background.

A black-and-white photo shows bare trees and the corner of a building with “KARL KOOM” written on its side against a cloudy sky.

The major advantage that the Tamron has over the Sigma is its faster aperture range. The f/2.8 to f/5.6 range provides anywhere from 1/3 to 2/3 improvement over the Sigma lens at similar focal lengths. This gives the Tamron slightly faster shutter speeds throughout the range, and also the potential for shallower depth of field.

The Sigma 20-200mm lens has rather pedestrian-looking bokeh, with a harsh overall look to out-of-focus areas. Perhaps Sigma decided not to improve the look of the bokeh because the lens so often has expansive depth of field anyway, given its slow aperture range. The Tamron lens has a smoother look to its specular highlights with a softer transition across the plane of focus. Soft backgrounds also look more pleasant, and highlights are smooth and round in shape.

A close-up of an orange string light wrapped around a brown pipe on a wall, with a caution label visible and more lights blurred in the background. — Bokeh is nicer than the Sigma lens, with cleaner highlights and softer backgrounds.

A row of yellow metal bollards with round, dark tops lines the edge of a sidewalk next to a brick wall, with the nearest bollard in sharp focus and the others blurred in the background.

A sticker of a traditional-style tattoo portrait of a woman with a red hat and green scarf is placed on a gray pole. The background is blurred with warm colors and bokeh lights.

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Review: Second Fiddle

If you were to evaluate the Tamron in a vacuum, so to speak, I would say it produces good optical performance for such a handy and versatile travel lens. The 25mm to 200mm zoom range is ideal for a walk-around lens that can handle any travel photography situation. It is also such a compact and handy optic if you only want to leave the house with one lens, and provides enough light to get by in darker conditions.

A weathered wooden fence with peeling turquoise paint stands in front of a colorful mural featuring cartoon characters with large eyes, eating food and drinking.

A weathered sign reading "PRO LINE SHOOTERS II GUN SHOP" hangs on a chain-link fence with overgrown vines, in a black-and-white outdoor setting near an industrial building.

When comparing the two lenses, however, the Sigma has a lot going for it. The macro capability and wider 20mm advantage are very handy when looking at any landscape or travel situations. I found the Sigma to be slightly sharper, and the overall dimensions are essentially identical. I also appreciated the extra controls on the Sigma lens and better manual focusing experience. In most situations, I would probably choose the Sigma over the Tamron when recommending a travel-zoom lens, given its superior overall versatility. However, if flare resistance, bokeh, and a little extra light are more important to you, the Tamron 25-200mm lens will not disappoint.

A window cleaner in a red jacket and yellow gloves uses a long pole to clean the glass door of a store called "Recess," with cleaning supplies and plants visible nearby.

Are There Alternatives?

The Sigma 20-200mm is obviously a competitor that trades less light-gathering capability for more versatility. The previous 28-200mm f/2.8-5.6 is an option, but the G2 version has a more usable wide-angle and an attractive $900 price.

Buy the Sigma Contemporary 20-200mm f/3.5-6.3 DG new on B&H Buy the Sigma Contemporary 20-200mm f/3.5-6.3 DG used on KEH.com