Main trade-off
Sigma 28-105mm F2.8 DG DN Art for Sony E
990 g is still a substantial lens. 105 mm can be short for a far stage.
Head-to-head
Sigma 28-105 vs Tamron 35-150: Nearby groups or a distant stage?
The short answer
Choose Sigma for nearby groups, portraits and small details in one lens. Choose Tamron for a farther stage or portrait where 150 mm prevents a swap. Sigma starts at 28 mm, saves 175 g and reaches its 1:3.1 maximum close-up at 105 mm. Tamron starts at 35 mm and reaches 150 mm at F2.8, with F2 at the wide end. Both use 82 mm filters.
Before you choose
The reasoning and the trade-offs
The event schedule tells you which lens change is more expensive
A nearby group followed by portraits favors Sigma’s 28 mm start. A portrait followed by a distant stage favors Tamron’s 150 mm end. From the same position, 28 mm covers about 25% more width than 35 mm at a distant plane, while cropping 105 mm to 150 mm framing keeps about 49% of the pixels. Neither range covers every event. Identify the moment where moving or opening the bag is least practical, then buy for that gap rather than the most impressive zoom ratio.
What this is based on
One-camera event schedule plus restricted movement crossed with two independent endpoint geometries. 35/28 width, (105/150)^2 crop, with close-focus limits.
Main trade-off
Tamron 35-150mm F2-2.8 for Sony E
35 mm can force a wide-lens change for the group. 1165 g and variable F2-2.8, not constant F2.
Sigma 28-105mm F2.8 DG DN Art for Sony E
- Choose it for
- Keep more nearby people in frame with a 28 mm start.
- Photograph small details at the 105 mm end with 1:3.1 maximum reproduction.
- Main trade-off
- 990 g is still a substantial lens. 105 mm can be short for a far stage.
Tamron 35-150mm F2-2.8 for Sony E
- Choose it for
- Reach a distant portrait at 150 mm without changing lenses.
- Use F2 at the 35 mm end when the subject and depth of field permit.
- Main trade-off
- 35 mm can force a wide-lens change for the group. 1165 g and variable F2-2.8, not constant F2.
About this comparison
Sigma 28-105 vs Tamron 35-150 for one-lens events, family groups and small details. Compare the missing view, close-up position and shared filters.
These substantial Sony E event zooms try to reduce normal-to-telephoto lens changes while retaining a bright maximum aperture. They share 82 mm filters and overlap in portrait use, but shift coverage toward a nearby group or a distant stage.
Winner by situation
Start with what you need it to do
Nearby group followed by small event details
28 mm and long-end 1:3.1 close-up cover that sequence.
- Sigma 28-105mm F2.8 DG DN Art for Sony E
- Better fit
- Tamron 35-150mm F2-2.8 for Sony E
- Caution
Distant stage from a fixed position
150 mm avoids a substantial crop.
- Sigma 28-105mm F2.8 DG DN Art for Sony E
- Good
- Tamron 35-150mm F2-2.8 for Sony E
- Better fit
Single subject at 35 mm in dim light
Tamron provides F2 at that endpoint.
- Sigma 28-105mm F2.8 DG DN Art for Sony E
- Good
- Tamron 35-150mm F2-2.8 for Sony E
- Better fit
Existing 82 mm filter kit
Native diameter is shared.
- Sigma 28-105mm F2.8 DG DN Art for Sony E
- Good
- Tamron 35-150mm F2-2.8 for Sony E
- Good
What matters in practice
The differences that matter
The event schedule tells you which lens change is more expensive
A nearby group followed by portraits favors Sigma’s 28 mm start. A portrait followed by a distant stage favors Tamron’s 150 mm end. From the same position, 28 mm covers about 25% more width than 35 mm at a distant plane, while cropping 105 mm to 150 mm framing keeps about 49% of the pixels. Neither range covers every event. Identify the moment where moving or opening the bag is least practical, then buy for that gap rather than the most impressive zoom ratio.
How we reached this conclusion
One-camera event schedule plus restricted movement crossed with two independent endpoint geometries. 35/28 width, (105/150)^2 crop, with close-focus limits.
The detail shot between portraits gives Sigma a different kind of reach
Sigma reaches 1:3.1 at 105 mm with a 0.40 m sensor-to-subject minimum. Tamron’s tele-end maximum is 1:5.9 with a 0.85 m minimum. A small decoration or craft can therefore occupy a larger fraction of the frame with Sigma’s documented long-end close-up setup. The ratios are each lens’s endpoint result, not a matched focal-length optical test. This is useful when one camera alternates between faces and details, but front working distance, light access and depth of field still need checking.
How we reached this conclusion
Event portraits plus small object details crossed with tele-end magnification and sensor distances. No actual front clearance or image-quality ranking inferred.
F2 is a specific wide-end benefit, not the whole Tamron range
At 35 mm, Tamron offers F2 while Sigma is F2.8. That can provide roughly one stop for a moving person in low light if shallow depth of field is acceptable. At the long endpoints both are F2.8, and no unverified aperture curve through the overlap is assumed. A group spread across several distances may need stopping down on either lens. Since both accept 82 mm filters, the aperture use and framing needs should decide more than an imagined accessory incompatibility.
How we reached this conclusion
Dim single-person shot plus deeper group and existing video filters crossed with verified endpoint apertures and shared thread. No constant-F2 or midrange claim.
Choice A
Sigma, 636965
Sigma 28-105mm F2.8 DG DN Art for Sony E
Keep more nearby people in frame with a 28 mm start.
- Best matched use
- Keep more nearby people in frame with a 28 mm start.
Checked facts
- Nearby event coverage: 28 mm wide end.
- Farther portrait: 105 mm endpoint at F2.8.
- Details between portraits: 0.40 m minimum throughout, 1:3.1 maximum at 105 mm.
- Kit continuity: 990 g and 82 mm filters.
Choice B
Tamron, AFA058S700
Tamron 35-150mm F2-2.8 for Sony E
Reach a distant portrait at 150 mm without changing lenses.
- Best matched use
- Reach a distant portrait at 150 mm without changing lenses.
Checked facts
- Nearby event coverage: 35 mm wide end.
- Farther portrait: 150 mm endpoint at F2.8.
- Details between portraits: 0.85 m tele minimum, 1:5.9 tele maximum.
- Kit continuity: 1165 g and 82 mm filters.
Meaningful differences
What changes the fit
| What changes | Sigma 28-105mm F2.8 DG DN Art for Sony E | Tamron 35-150mm F2-2.8 for Sony E | Why it matters |
|---|---|---|---|
| Nearby event coverage | 28 mm wide end. | 35 mm wide end. | 28 mm covers about 25% more distant-plane width from the same position. |
| Farther portrait | 105 mm endpoint at F2.8. | 150 mm endpoint at F2.8. | Matching 150 mm from a 105 mm crop retains about 49% of pixels at distance. |
| Details between portraits | 0.40 m minimum throughout, 1:3.1 maximum at 105 mm. | 0.85 m tele minimum, 1:5.9 tele maximum. | The longer telephoto name does not create a stronger close-up ratio. |
| Kit continuity | 990 g and 82 mm filters. | 1165 g and 82 mm filters. | Sigma saves 175 g while keeping the same native filter diameter. |
What you give up
Every choice has a cost
If you choose Sigma 28-105mm F2.8 DG DN Art for Sony E
- Matching 150 mm framing from 105 mm keeps 49% of the pixels at distance. The wider event lens can still need help from the back of a hall.
If you choose Tamron 35-150mm F2-2.8 for Sony E
- The 35 mm start can need a second lens for the group photograph. Its longer reach is most valuable when that extra swap is rare.
Recommendation switch
The decision flips if...
The missed shot is the nearby group or small detail
Choose Sigma 28-105mm F2.8 DG DN Art for Sony E. Sigma emphasizes those parts of the event.
The missed shot is the performer farther away
Choose Tamron 35-150mm F2-2.8 for Sony E. Tamron’s 150 mm endpoint serves that distance.
What matters in practice
Before you choose
The one-lens event promise depends on whether the missing picture is the nearby group or the performer at the far end of the room.
What this comparison cannot tell you
- No midrange aperture curve inferred.
- Endpoint magnification is not an optical-quality test.
What the facts say
What the comparison shows
Useful conclusions from the current sony e-mount lenses comparison, followed by the checked facts used to reach them.
See the checked facts and calculation notes
| Product | Needs matched | Checked facts | Source records |
|---|---|---|---|
| Sigma 28-105mm F2.8 DG DN Art for Sony E |
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| Tamron 35-150mm F2-2.8 for Sony E |
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Ready to choose?
Check the price. Read the owner reviews.
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Sigma 28-105mm F2.8 DG DN Art for Sony E
Keep more nearby people in frame with a 28 mm start.
Photograph small details at the 105 mm end with 1:3.1 maximum reproduction.
See price & reviews on AmazonTamron 35-150mm F2-2.8 for Sony E
Reach a distant portrait at 150 mm without changing lenses.
Use F2 at the 35 mm end when the subject and depth of field permit.
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