Tamron Blog: Angle of View

South Platte Moon Shot

By Rob Moody

One of the things that used to frustrate me about nature photography was that whenever a picture included the moon, it was always washed out. To me, having the moon in a landscape adds interest and balance to the composition. Ironically, many people think you added the moon in a computer when it is properly exposed in your image.

While you can just show up anytime and hope for the best, for optimum results plan in advance to shoot images of the moon with a little knowledge beforehand. Look up the moon phase on your computer or smart phone, there is an app for that. You may have noticed that you can see the moon in the sky during daylight hours. This only happens during certain parts of the year. Sometimes it’s in the morning and sometimes in the afternoon. Furthermore, with programs like Google Earth, you can determine the path of the moon and the sun in the landscape. This helps you to determine the location and the time that will give you the best chance at getting the shot.

I’m often asked what settings I use in the camera to do this. The answer is the same settings I use for the landscape. The trick to making this easier is changing your thinking about a picture of the moon. It’s easy to think that you have to expose for the moon and that it’s complicated. However, the solution is to shoot the moon in the landscape when they are both in the same light. Notice in the images included that the same value of light is falling on the landscape, rocks and the moon. When this is happening, I shoot several images in various compositions.

The time of day is key because there is a limited time that both the landscape and the moon will be close together in exposure value. It’s best to show up an hour before you think will be the right time for insurance. This is where homework on the computer saves time and enables better results. As you move further away from this key time window, the exposure becomes more about the moon and less about the landscape limiting the types of images you can create. That doesn’t mean you have to quit shooting, you just have to change your exposure if you want detail in the moon instead of a bright blob. I have found that after the key time window has closed, changing my plan to silhouettes in the foreground with a properly exposed moon creates compelling images.

This is where photography can be more difficult to understand and knowledge of how your camera obtains exposure readings can be a plus. Using full or whole screen metering will result in an over-exposed moon because your camera is considering more of the landscape for the exposure and less of the moon. Using spot metering on the moon can be difficult because it’s challenging to put the spot meter on the moon and even when you can, you usually still have to compensate for over or under exposure of the moon. Therefore, while there are several ways to arrive in the same place with a camera, I have found that using center-weighted metering in combination with over/under exposure compensation quickly gets me the images I’m after. I take the first shot like a Polaroid and analyze it. Then I over or under compensate to dial in the exposure of the moon. Once I have it dialed in, I shoot several images in various compositions.

For best results, I use a tripod. If reflections in water are in the image, I use a hot-shoe bubble level to level the camera. A hot-shoe bubble level is better than a bubble level on the tripod for landscape photography because it can be used to level the camera no matter how the tripod is positioned. If you don’t own a cable release or a remote yet, use your cameras self-timer to release the shutter. Use a circular polarizer to remove any unwanted reflection from the scene.

These images were taken in the South Platte River area of Colorado using a Tamron 18-270mm VC PZD lens. This is a great place to photograph during the winter months and it is close to Denver. From a pebble to as big as a stadium, the size and the quantity of rocks in this area will amaze you. With over 310 days of sunshine every year, it seems the sky is always blue around here.

Shooting Ice Abstracts In Streams

By Mike Moats

With the above average temps that we have been having here in Michigan, the stream ice is about five weeks late, but better late then never. I always look forward to shooting the ice as it is my time to shoot abstracts. I've mentioned in the past that the abstract don't sell, but I like them and it's just fun being out in the woods. Here is a nice shot of the stream and how I set up at the edge to shoot. 

My camera is the Nikon D7000.

For these long shots where you need to reach out, use your Tamron 180 macro.

 

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This first image was shot in the area you see me in above.

If I'm shooting out into the ice a ways, I will be at an angle that sometimes needs a little extra depth of field, so I will set the f-stop at f/16. With all these cool details, you want to get it all in focus.

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Found another nice group of patterns.

If I can get the lens fairly parallel with the ice, I will set the f/stop at f/8.

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And here is the shot.

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Here are a few more from this shoot.

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I like when I find bubbles.

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The Creole Plantation Named Laura

By Ken Hubbard

Bourbon Street, beignets with chicory coffee, crawfish, Jazz music and oh those hurricanes at Pat O'Briens! They are all classic visions of the wonderful city that is New Orleans, but there is so much more to experience when you take a trip down to the Big Easy. NOLA is a city that explodes upon every sense of your body with the taste of the food, sounds of the music, sights of multicolored buildings, the smell of Cajun spices & vibrant heat upon your skin. This southern city is an amazingly complex mixture of cultures & beliefs that is rich with history. I am lucky enough to travel down to this bend in the Mississippi river every year, and to see some good friends and to experience all that makes up New Orleans.

One piece of advice from someone who has been to New Orleans a number of times, please don't spend all of your time on Bourbon Street, get out of the french quarter and experience all that New Orleans has to offer. For me, one of the areas I love to visit is St. James Parish and the plantations along River Road. On my last trip to the Crescent City I was able to take a very quick trip out to a plantation that I have wanted to visit for a number of years. It's name is Laura, and it is a true Creole Plantation with a uncompromising historical tour of its past. It is hard to describe in a short newsletter, the vast history of this amazing plantation, just know you are getting a real account of the history of the area and what really happened on these plantations. For more information please visit their website at www.lauraplantation.com

So, now for the images, and how to create good images while on a guided tour that lasts 1 1/2hrs and does not allow you to walk around on your own. For me, it's about preparation and keeping my gear down to a minimum. On this visit I brought one camera body and two lenses, a Tamron 18-270mm VC PZD and a Tamron SP 10-24mm Di II and in the end I only used one lens, the 18-270mm, you move around the property too quickly to be worrying about changing lenses . Starting with the outside of the building, I usually start with wide angle shots of the entire building, shooting it straight on and then at different angles. I then start to zoom in on specific features of the exterior, taking tighter and tighter images. It's a process I use consistently to make sure I get a variety of images at different focal lengths, start wide then zoom in. Once you go inside, images become tougher because the quarters are tight, people walk in your frame and lighting is usually dark and changes from room to room. Shooting in aperture priority will be the easiest way to capture good exposures and controlling your depth of field. Try to shoot at at least F/11 so your foregrounds and backgrounds are in focus, even if this means bumping your ISO up to 800. Make sure your lenses Vibration Compensation is turned on, even with these settings chances are you will have some slow shutter speeds. Stay to the back of the pack and take a few test shots while the guide is speaking and get your framing and exposures down. Once the guide and main group move on to the next room, you should be ready and able to quickly capture images while the room is empty and not fall too far behind. Pay attention to the lines in your frames as well, for example the bed posts in the image below. Try to keep them as straight as possible in your frame, I use the edges of the frame to line them up, you should also turn on the grid feature in your viewfinder. Remember to look at the small details as well, such as the kneeling bench and small cross image below. Capturing only the kneeling bench without the cross in the frame, leaves you without a reference to what it was actually used for. Lastly, the best way to be courteous and not be a distraction to all others and the guide, is to stay in the back of the group even if this means falling a little behind.

Brook Forest Backlight

by Rob Moody

I really enjoy the mountains and the forest. Whether it is on skis, snowshoes or on foot, there is something mystical about hiking through it on a crisp winter day. I often marvel at the way the sunlight looks through the trees as it paints its path. Late in the afternoon a few days ago, I drove to a close by trail near Brook Forest, Colorado to take a hike. I always bring a tripod when I intend to shoot in the forest. While it seems bright as you hike along, it’s amazing how dark it is when you shoot into the trees.

For me, there is something compelling about the challenge of shooting into the sun. This is probably because I was always taught not to do it by my father and eventually teachers as I grew up. Just like touching your tongue to a freezing metal light post outside in the winter, I had to try it at least once. While I found out the hard way that others were right most of the time, today I still shoot into the sun.

Here are a few things to think about while shooting. Blocking the sun out entirely with part of a branch or trunk can be compelling. Partially blocking the sun can also be interesting. If you want the direct sun to be more like a star burst, use higher f-stops or close down your aperture. If your color is getting messed up, use daylight white balance. Use your over/under exposure compensation to dial it in. Make sure to set the over/under exposure compensation back to 0.0 afterwards.

If you haven’t tried this before, consider it. The worst thing that can happen is you have to delete the image. It’s a lot of fun, especially when you get a really good one. Good shooting. Both images were created using a Tamron 18-270 VC PZD.

Diptych: Nature vs. Industry

by Jillian Bell

I took a photograph this summer of a plant eaten away by an insect of some sort. I was drawn to the repetition of shape, and how precise the wear marks were. I was curious what made the marks, and why there were spaces, creating the letter "i". Recently, while at a sale day at Dodd Camera in Ohio, I looked up and saw a similar pattern. If you can believe it, the second photo is taken of a fluorescent light fixture hanging above the counter. I cannot say if I was entirely successful, but I tried taking the second photo to mimic the first one. I did not have the first photograph in front of me, but my first thought was how similar these two objects are even though their makeup and purposes are completely different. The photograph of the plant leaf was taken with the Tamron SP 180mm F3.5 Macro at F/4 and 1/30^th of a second. I like it better in color but decided to show in B&W to relate both images better. The fluorescent light photograph was taken with the Tamron 18-270mm VC PZD at F/6.3 and 1/2500^th of a second. Exposure was set +0.05 to allow the whites to really pop. This is a true testament in keeping your eyes open. I have learned to always keep my camera on me. I never know when I will find something interesting to photograph. Thank you for reading.

The Unexpected Guest

by André Costantini

This year the Christmas tree came from the backyard and on the evening that we put it up I noticed a gigantic spider or rather a gigantic shadow from a tiny spider as it walked over the tree lights. But with so many lights trying to find the actual spider became an exercise in futility. And I went to bed knowing that at least the spider was tiny. The next morning I heard some rustling towards the top of the tree and my mind immediately drifted to those urban myths of cactuses exploding with thousands of spiders. So I was somewhat surprised to see a butterfly, who apparently found it warm enough to emerge and thus our Christmas butterfly was born or maybe more accurately had arisen.

My internet detective work led me to believe that the butterfly is an Eastern Comma, on account of the comma like slit in the wings and the coloration. He or she, as I am not in the business of distinguishing the gender of butterflies, was quite cooperative as a subject landing on the finger of my fiance and exposing the innards of it's wings. The butterfly has taken a liking to the bedroom window in the afternoons and the outside of the window curtain in the evenings. She has been with us for four weeks now and seems quite content, especially when some birds unsuccessfully attempted to eat her through the window. But I digress, on the first day of our acquaintance, I was compelled to photograph my new friend. And of the 120 or so images I shot, came a collage, a portrait and an abstract of the butterfly in the tree.

All images were taken with the Tamron SP 60mm F/2.0 macro lens. The collage images were taken at 1/100-125th of a second at 1600 ISO f3.3. The images themselves are not manipulated other then erasing the edges to soften them and laying them out together. Because of the depth of field and the movement of the butterfly with respect to the shutter speed, some blur occurred, resulting in an image that resembles painting. The portrait was 1/125 ISO 800 f3.3 and is two images combined together to increase the depth of field and create more planes of sharpness. Butters in the tree was 1/80th ISO 8000 f4.0. I focused the lens to its closest focus point to get the tree lights to blur into nice round circles and then moved around to get the butterfly silhouette in the foreground.

Sometimes the unexpected guest can become the center of attention, especially when it is a butterfly in your living room in mid December in the northeast of America.

What’s in your own backyard?

by Rob Moody

We’ve been getting a bit of snow in Colorado lately. One morning as I was drinking my coffee, I noticed that the snowfall from the night before looked very interesting on the trees against the blue sky. Doing presentations to the public, I often get statements like, “You live in Colorado and it’s hard to take a bad picture there.”

While I admit I’m closer to the action when it comes to nature photography, you would be surprised what’s in your own backyard. Often times we think we need to travel to a far off land to take great pictures. You are used to your surroundings and don’t find them as photographically interesting as that distant far off land. However, I might however come to your neighborhood and find it incredibly interesting to photograph.

Shooting in familiar surroundings causes you to actively seek out interesting photographs. This is a great exercise. Take a fresh look in your backyard… you might be surprised what you find. All images were taken with a Tamron 18-270 VC PZD Lens.

Adventures with Tamron : Holidazzle

by Jillian Bell

This post is a little late for the holidays, but still worth sharing.

Celebrating it's 20th season this winter, the Holidazzle Parade brings a festive reason to venture out into the cold. It is sponsored by local businesses and is made up of about 15 floats, choirs singing, marching bands, and of course an appearance by Santa Clause to finish off the night. It runs Thursday - Sunday the weekend after Thanksgiving until the weekend before Christmas. Holidazzle is rather unique in the fact that each float, and those walking in the parade are completely covered by lights, glitter, and costumes. The excessive light displays are essential because here in MN the sun is setting by 5:00pm. It has a family friendly atmosphere, all of the floats have storybook themes and if it's too cold, there is plenty of hot cocoa, or a sky way system to watch from above. Personally, I am a fan of holiday light displays. There is a challenge to get good exposure having high contrast, and moving subjects, but I think these turned out well. The exposure for these images floated right around F6.3 @ 1/60th of a second, with my ISO ranging from 1000-3000. For best results, keep your camera on manual mode and under expose by a full stop. Once you figure out what exposure the scene is, setting the camera in Manual over Aperture, Shutter priority, or another mode will keep your exposure consistent. Keep the same rule of thumb for photographing holiday lights on your home. Underexpose slightly, but in this case, you can use a very low ISO to reduce noise, and achieve better detail. Tripods are a must for this application. My favorite part of all these photos, is how vivid the colors are. I don't decorate much at my house, so being able to celebrate the season by other means is appreciated. Wishing you well, whichever season you are celebrating. Thank you for reading.

Indoor Flower Photography

by Mike Moats

Yesterday I headed to a local florist and picked up a couple pots of Cyclamen flowers. Very nice designed flower but can be difficult to find a nice comp sometimes.

Here is the pot of white Cyclamens I was working with.

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Here is my setup to shoot. LOL, nothing fancy, it's just the stairway in the foyer. The large window on top floods the area with really nice even light.

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I used the natural light and no LED lighting on these images. I have my plamp used for holding the flower. Shooting with my Tamron SP 60mm Macro. I like using the short focal length in the house as I need to work close on the stairway. I varied the f/stops shooting wide open at f/2.0 for a soft look and then at f/22 for more depth of field. I ended up liking the full depth of field images best.

Here is the first image with no processing.

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This is an image I posted on Facebook and many commented thinking it was done with lighting. This look is from the "Solarization" filter in Nik Software Color Efex Pro 4. I added a little of "Vignette Blur" filter around the edges. That's it, no special lighting.

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Here is another version of the same subject shot wide open at 2.5. Also with "Solarization" with different adjustments.

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I shot quite a few different angles and compositions, but these two I liked the best. Here is the original with no processing.

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I wanted to have one image with a nice bright white on white, so used the "High Key" filter in Nik Color Efex 4.

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With the second version I went back to the "Solarization" filter again and got a nice defined look.

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Adventures in Tamron: My Old House

By Jillian Bell

A common thread in my photography is simply searching for inspiration in everyday life. In this blog we are attempting to find inspiration within a stressful situation. I have the pleasure to live in a historic Victorian home, built in 1905. It has always been my intention to fix it up and hopefully sell it in a few years. As all "home improvement" projects go, I am six years into it, and nowhere near the end. Honestly, I was used to the look of half finished projects and desperately needed some energy to finish. To my surprise I was about to get that added energy. May 22, 2011 a tornado flew over my house and cosmetically damaged most of the interior and exterior walls. Six months later, it is December. The siding and roofing has been taken care of. Moving to the interior walls, construction teams have completely gutted the walls revealing only studs. I am thankful being a Technical Representative for Tamron. This opportunity allowed a 2 month hotel stay to happen seamlessly. I go back to the home from time to time, taking photographs of the progress for my scrapbook. There was one day, I was wandering around, cannot say if it was the lighting, or just stepping into the same scene with a new perspective, but I found my inspiration. It started with the first shot, a lonely lamp in the middle of an open floor plan. Maybe this symbolizes hope? (or) coming from a theater background, it's a ghost lamp, always on, giving light into an empty house. The next two are of the old radiators covered in layer after layer of paint. The light coming through the window caught my eye, and the pipe sticking straight out of the floor created a great vertical line. In all the photos below, I looked at the lines, and shapes created through the destruction. I contemplated turning them all B&W, thinking it would better reflect the 106 year old house. Overall, I converted only a few, to better show the lines and texture inside the frame. The next photo is of the floorboards from the room above. This is a forgotten storage space covered in layers of magazines for insulation. They were all from the 1920s, and randomly placed was a perfect portrait framed by a knot in the wood. The last photo is a view of the old chimney. I had never seen it not covered in sheet rock, and I was automatically drawn to the different layers of brick, cement, and wall paper. One of my biggest annoyances of the house when I was fixing it up was how many layers were on everything. Six or seven was common of paint and wallpaper. It was nice to see the walls stripped down. Overall, I have a rare look at the interior, unseen by anyone in decades. These photographs not only show progress, but show a glimpse of what the house used to look like. I went back today and new sheet rock was up, and I'll be picking out paint colors next week. It's amazing how drastically the same space can change in a few days.

As always, keep your eyes open for inspiration. Thank you for reading.