Tamron Adaptall-2 35-135mm f/3.5-4.5 BBAR Macro Zoom (Model 40A, 1985-1996)

Tamron Adaptall-2 35-135mm f/3.5-4.5
BBAR Macro Zoom
(Model 40A, 1985-1996)

2016.10.01 - Published

2022.08.06 - Re-written and re-uploaded photos

Tamron Adaptall-2

35-135mm f/3.5-4.5

BBAR Macro Zoom

Model - 40A

Years Produced - 1985-1996

Focal Range - 35mm to 135mm

Zoom Type - One-touch aka 'push-pull zoom'
Focusing Type - Varifocal

Focus Throw - 90 degrees

Minimum Focusing - 1.5 meters

Macro - 28cm at 35mm (1:4), 80cm at 135mm

Aperture Run: f/3.5 - f/32
# Diaphragm Blades - 6

Filter Thread Ø - 58mm

Hood - #79FH Bayonet

Optical Formula - 15 elements, 11 groups

Coating - BBAR MC

Made in Japan

VERSIONS

Model 22A (1982-1985)

35-135mm f/3.5-4.2 CF Macro Zoom

http://www.adaptall-2.com/lenses/22A.html

Model 40A (1985-1996)

35-135mm f/3.5-4.5 Macro Zoom

http://www.adaptall-2.com/lenses/40A.html

Price List

http://www.gyes.eu/documents/tamron-adaptall-2_lenses.pdf

Photo Albun

https://photos.app.goo.gl/SjJvdnv6bQsDMegRA

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Impressions

History

Tamron created two versions of their versatile 35-135mm zooms -- the 22A, then succeeded by the 40A. The 40A, which is featured in this blog, was designed to be more compact than the previous model. The tradeoff is that instead of continuously focusing into the macro range at 135mm (22A), the way to access macro on the 40A is by zooming to 35mm and then turning an extra ring that extends the helicoid (acting as an extension tube). This is really fiddlesome to use.

Build Quality/Handling

This beautiful compact zoom lens features a friendly range that people normally use, from a semi-wide 35mm up to a medium telephoto 135mm that people like to shoot portraits with. That can be said for people shooting with film or a full frame camera. My Nikon D5200 has a crop factor of 1.5x, therefore the images are cropped and effectively become something like the equivalent of 53mm to 210mm when shooting with film/full frame.

The lens is called 'one-touch' or push-pull zoom, which combines the focusing and zooming rings into one huge ring. This is a very welcome feature for manual shooters. This ring feels very smooth to operate, with only a slight resistance.

The normal focusing range of this lens is from 80cm to infinity. Macro can be accessed from 35mm, and by turning an extra ring that extends the helicoid (acting like an extension tube). This is a hassle to do, but it was a common feature during the era.

Image Quality

The lens had haze in the middle group of elements, and the haze was in between the cemented elements. The balsam that was holding it together was very soft and I could easily separate it like prying open a cooked clam shell. The haze and fungus were eventually removed, but lacking was the cement that was holding those two elements together. This obviously affects the output to have a softer contrast. The coating was also removed as well, so you would notice my unedited shots were bluish.

Shooting outdoor with this damaged copy brings problematic output. But surprisingly, shooting indoor with controlled light produces normal shots as if it was taken with a modern 18-55mm kit lens -- nice color saturation, pleasing contrast, and somewhat sharp to see details but not modern lens sharp.

I can only give impressions based on this defective copy with me, but overall, the output looked okay but even better when stopped to f/5.6 or f/8.

Conclusion

Despite this copy being defective, I'm pleased with the output particularly shooting indoor. The lens was smooth to operate, but the only thing I didn't like was the fiddly macro ritual. If I had the earlier 22A, I think I would have preferred that one simply because the CF feature (Continuous Focusing) was more convenient.