Tamron Blog: Angle of View

Captivating Hotel

By John VanSteenberg

After nearly forty years on traveling most weeks for business, some things become either invisible or interchangeable to you. Particularly things like hotels. So, imagine my surprise to have been unexpectedly captivated by one while on a trip to Columbia, SC with a stop in Charlotte, NC.

We were to fly out of Charlotte and had to overnight there. I walked into the Embassy Suites and was greeted by two LIONS and an incredibly comfortable and inviting Grecian palazzo, garden and waterfall.

It was exciting enough to make me want to take pictures and with the kind OK from the front desk, and the forbearance of a couple of guests, I made the following images:

While getting ready to photograph, there were two major issues going through my mind. How to capture the natural outdoor flavor and ambiance of this very comfortable area, overflowing with plant life and stone, without seeming too out of context considering that the area is indoors, in the atrium of the hotel? Then, how do I separate the details from the environment and make them seem more natural (like lions in the lobby)?

Technically: Light volume varied from adequate to pretty dim. Therefore, some images had to be made at high ISOs to get the depth of field necessary. Then, with even high ISOs, in the dim light some very slow shutter speeds became necessary. Some shots were hand held at 1/5th second at 1000 ISO.

The surrounding atrium, while not confined, was a little tight. And, as usual, my Tamron SP 17-50 f/2.8 VC zoom provided the most versatile tool. It was great in the limited space. It allowed some detail separation from the background and minimized the impact of the low available light. Yet it did not change the relative perspective so much as to make objects look distorted.

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.