Tamron Blog: Angle of View

High Wind Rocky Mountain Sunrise

By Rob Moody

I headed out with a headlight on a cold and breezy morning before sunrise. I wanted to get high on the unnamed point next to St. Mary’s Lake, Colorado to capture sunrise images. The sun emerged over the horizon as I neared the summit of the point. As I emerged from the tree-line, the cold breeze turned to bitter cold accompanied by extremely high wind.

I dropped my pack, removed my tripod and extended the legs. After hiking for almost an hour, I knew my camera and lens had made the adjustment to the cold conditions. For outings like this, I put it in a zippered case so it can gradually change to the outside temperature as I hike to the destination. I removed my camera and placed it on the tripod. The wind was so strong and continuous that I had to hold the tripod down as I photographed.

To keep your hands as warm as possible in these conditions, I try to anticipate the start settings I will use and set them in the camera before leaving the house. This way I will minimize removing my hands from gloves during the shoot. I also highly recommend using gloves with leashes that attach around your wrists so you don't accidentally have one blow out of your hands and down the mountain as you remove it. Guess how I figured that one out?

The settings I set in the camera before leaving are settings I know I want or I know will be correct. One of these is RAW+ small jpeg. I know I will process from RAW, but I like to have the small jpeg for immediate viewing. This way I can toss them on my phone or pad for easy quick review on the couch or on a plane. They may not be perfect, but are enough to review and choose for editing the RAW version.

Another setting is white balance or WB on your camera. I know I want the daylight, commonly the sun symbol, setting so I retain all the subtle hues in the sunrise. If left in auto white balance, the camera is likely to shift the setting from image to image washing out most as it attempts to turn yellow and magenta light into white as it would with a light bulb. Daylight white balance is a fixed setting that doesn’t change. 

For my nature landscapes, I like to use a quality circular polarizer. I rotate the polarizer to the dial in the look I’m after. Simply put, a polarizer removes or forces the reflection. I use it to remove undesired light reflection from atmospheric particles. In this case, mostly crystals of ice and snow blowing in the wind. They reflect the light, so I dial the polarizer to remove this reflection. Sometimes I dial to get the reflection. You can clearly see it through the camera as you turn the polarizer. Don’t forget to always turn your polarizer in the same direction it screws onto the lens to prevent it coming off, hitting the ground and rolling off a cliff! Guess how I figured that one out?

Finally, in a situation like this with high wind, take two or three images of the same shot. I do this because I’m never sure how the wind will gust or momentarily ease. I’m using f/stops to maximize depth of field which means slower shutter speeds at a lower ISO. Taking multiple images of the same shot increases you chances of getting a sharp image in high wind. I keep my hand firmly on the neck of the tripod holding the legs down. There is no reason to leave your camera packed away until it is warm outside. With the right game plan, a little suffering and the right equipment you can create some incredible images in the winter.

The following images were taken with a Tamron SP 24-70 f/2.8 VC USD lens and a Nikon D800. Also used was a circular polarizer and a tripod. Keep warm and Enjoy! 

Over Exposure

By Rob Moody

Most of the time when you are rock or ice climbing, you are either climbing or you are on belay with the other end of the rope to manage. This makes photographing these activities difficult if not impossible. On this day, there would be two other climbers allowing me to roam freely while photographing the ice climbing. 

I am myself a mountaineer and have climbed steep ice a few times. I am intimately familiar with all the moves, techniques and equipment involved with the sport. Even though this is the case, it doesn’t actually matter to me whether I am totally familiar or completely unfamiliar with a sport because I do the same thing before photographing. I read and learn about it taking in everything I can. I review past photographs from photographers who regularly shoot the sport to become familiar with the key moments to photograph. Then I actively pre-visualize the key moments and me releasing the shutter at exactly the right moment to get the shot! I do this every day until I am actually there to photograph the event.

One of the things about ice climbing that makes it difficult is the bone chilling cold. Of course, in order for waterfalls to exist, they must be out of the direct sunlight and very cold. For this reason, management of both equipment and personal comfort become the keys to freeing your creative energies for the shoot. I use zippered camera bags for this to manage the extreme change in temperature. As I walked from the warm car to the ice climbing routs in Vail, my equipment had over 30 minutes to slowly become the same temperature as the outside shooting environment. This helps to prevent fogging of your lenses and condensation inside your camera body.

As with snow, the key to ice climbing photography is exposure, over-exposure to be exact. While a modern camera is excellent at auto exposure most all of the time, snow or light sand will cause the cameras meter to under expose images. This is because images composed primarily of snow, ice and light sand are, as a whole, brighter than the gray value a cameras meter is set to base its exposure on. This is why we still need manual settings so we can compensate for this exposure difference. I can shoot it in manual mode, a challenge with gloves. Alternatively, I can use program or aperture priority mode along with exposure compensation to get the right exposure. I prefer aperture priority or aperture value on some cameras. 

To properly expose for the ice, I start at 2/3 (also shown as +0.7) of a stop over exposure and create a test shot of the ice with a climber included. Just as with snow, it is important to over expose enough to make ice lighter, but also to retain detail in the ice. My goal with this is to get the ice closer to its actual brightness without over exposing. Then, if needed, I go the rest of the distance in post production.

I want cut time at the computer to a minimum, so I believe it’s best to do all you can to create the best image possible in camera during the shoot. I refine all photographic processes to achieve this. Unlike the old days of film, I over shoot these kinds of activities because it doesn’t cost me a thing. I believe that once you own the equipment, shooting is free whether taking one shot or a million. For this reason, I fill my cards with images knowing the worst thing that will happen is that I will have to erase images. The images were created using a Tamron SP 70-300 f/4-5.6 Di VC and a Nikon D800.

Cold Weather Camera Tips

by Jillian Bell

December 21, 2012 marked the start of our winter solstice. In Minnesota this means 20F temperatures, warm scarfs and beautiful winter landscapes. Anytime you are out photographing in below freezing temperatures, be weary of how your camera can react. Batteries deplete faster, condensation can build on fast warm ups, lenses can fog. To help keep your gear at its best, follow these guidelines.

Tips for Shooting in the Cold

• Pack extra fully charged batteries. To extend rechargeable battery life, keep them warm in your pocket rather than in your camera bag. When possible, non rechargeable lithiums or alkaline batteries are preferred and have better cold weather resistance (an adapter might be needed for SLR cameras).
• Always travel and use rain covers. These keep cameras dry in the snow and sleet.
• Only change lenses outdoors when necessary. If possible go inside, or a sheltered area. If your equipment gets wet, dry as soon as possible.
• Keep microfiber cloths handy for cleaning, and keep dry within plastic bags / containers. Plastic film containers work well for this. Also, know where your cards are stored. Use a waterproof card case to keep cards dry if they ever are dropped into the snow. Brightly colored cases are easier to find.
• I prefer fingerless gloves for dexterity. Mittens can be worn over for warmth. Find a system that works best for you.
• MOST IMPORTANTLY - When you are bringing your electronics back inside, warm them up slowly. Put your camera inside a sealed plastic bag, or I put my whole case inside a cooler. Place them in the coldest area inside to warm equipment up slowly. This minimizes the risk for condensation and shock to the new environment.

Happy New Year Everyone, Enjoy these photos from our last snow fall - Jillian

What A Difference A Little Snow Makes

 By Ken Hubbard

According to the calendar on my phone, laptop, iPad and even the one hanging on the door that leads to my cellar, it's spring. I think mother nature is on vacation somewhere and forgot to turn on the warm weather, and put the snowy cold conditions in the attic till next winter. With that said, this past weekend Tamron hosted a workshop at Lakota Wolf Preserve and once again we had our eye on the weather channel watching an impending snow storm. Lucky for us it dumped about 10 inches of snow on the Columbia, NJ area early enough in the week so we were able to hold our workshop with out any problems. I'll be honest, I wasn't as worried about the snowy conditions as much as being excited to photograph the wolves in a beautiful winter scene. I have been to Lakota many times and never experienced it in the snow. Snow can really play tricks on your exposure, especially if you have a very bright & sunny day. Because snow is so reflective it will sometimes fool the metering system of your camera and you end up with dark & muddy under exposed images. So to brighten up your images you will have to tell the camera to add more light, this is done by using the exposure compensation feature on your camera. Luckily for us there was a nice balance of shadow and sunlight and the matrix metering on my camera handled the conditions just fine. All three images were taken with Tamron's SP AF70-300mm VC USD lens, which is an ideal focal length for Lakota.

Panoramic Visions

 By Ed Heaton

The New Year has found me shooting more than my fair share of panoramic images and I have to admit I'm really enjoying it. Being able to visualize and capture the scene before me in a panoramic format can be challenging but it has enormous gratification when done correctly. Here are a few images that I wanted to share that really showcase what I was feeling and seeing at the time I captured them. I normally shoot all of my panoramic images in a vertical format with an occasional horizontal mixed in. I made these images using only two of my Tamron lenses, 28-75mm f/2.8 and the 70-200mm f/2.8. Both of these lenses have outstanding build and optical quality!

Click on images to see larger versions.

Always Have Your Camera Ready

 By Ken Hubbard

As you all know, weather forecasters are never wrong and you should always plan your days photography around what they say the weather will be like. Yeah right!!! I do have to say they were pretty much right for most of this rainy/snowy day in Zion, it did exactly what they said, until about an hour before sunset. We ended up getting one last squall which put a soft coating of snow on almost everything, then the clouds started to break and everything changed!

This 1st image is of the Court of the Patriarchs just after the snow stopped and clouds started to break. The light is really nice and soft but not too colorful yet but I decided to take some images anyway. I new right away this was not going to be an image I wanted in color, I looked at it as a B & W image right away.

 
Here is the same image in B & W. The little bit of snow that fell helped create a really nice contrast with the blackness of the tree trunks and mountain peaks. I used Silver Efx Pro and Photoshop to create this image, and it (as were all the images in the blog) was shot with the Tamron 28-300mm VC lens.

 
With the Tamron 28-300mm VC still in hand and the light getting more and more colorful, I stopped at “the Junction”. This is probably the most popular spot at sunset. It overlooks the Virgin River which leads you to The Watchman mountain in the distance. By the time I reached this point many photographers had already started gathering for what was shaping up for a great sunset. I decided to shoot the opposite direction (and the other side of the road) because there were really soft pastel colors in the sky and there was no one looking that direction. TIP: Always look behind you, there may be something better!

 
Finally, this image was taken after leaving the crowds behind at “the Junction” and heading back to Springdale for dinner at my favorite place, The Bit and Spur. As the light died on The Watchman the clouds started to explode with color! I pulled off to the side and shot this image. As I said before, all images were shot with Tamron’s 28-300mm VC lens. The reason for this, it was the only one I had with me. Since it was such a horrible day as far as weather goes I debated what camera equipment to bring with me if anything. Lucky for me I took my own advice and took something, all be it only 1 lens, at least it was one that I could shoot pretty much anything with! Moral to this story, always bring your camera and a good all around lens where ever you go.

VC in the Snow

 By André Costantini

After living in NY for 11 years, one thing that I've always wanted to do was walk over the Brooklyn Bridge during a snowfall. Well, last week I finally got the opportunity. I was able to not only shoot the bridge as a subject but also use it as a background element and even to use it to gain perspective for a few shots. I took only my Tamron 28-300 VC, which I was convinced stood for Very Cold like the temperature, but actually having the VC was a huge asset for a couple of the shots. In fact, they likely would have been impossible to take without VC. Take for example the cab zooming through the snow covered steel. It was shot hand held at 1/10 of a second at 60mm at f11. I needed to have the shutter speed slow enough to get the blur and the aperture small enough to have the foreground in focus. This combination let me go to 1/10 of a second shutter speed which would have been nearly impossible to hand hold without VC technology. The same goes for the birds flying off the bridge. It was shot at 1/125th of a second at 300mm. The shutter speed was perfect to show the movement of the birds wings but quick enough to still see that they are in fact birds. In this image the VC kept the bridge sharp even at 300mm.

You might expect to see cross country skiing in the snow, but this is a rare glimpse at cross city skiing.

 
I know people build snowmen all over the world, but they don't all get this view.



On the walk home, I happened upon a couple of lamp posts trying to fit in with a bunch of trees.