Tamron Blog: Angle of View

Great Smoky Mountains and Tamron Lenses

By Ed Heaton

Greetings,

Tamron Image Master Ed Heaton here, sharing a few insights and images from my most recent Great Smoky Mountain Photography Workshop in Tennessee.

To give you just a bit of background, I’ve been teaching a workshop in the Great Smoky Mountains now since 2005 and I have to say I am truly impressed every time I visit the park. The wild flowers and overall scenic views are absolutely breathtaking not to mention some of the most pristine rivers on the East Coast. The workshop is five days of nonstop photography. We are up long before sunrise and will be out photographing at the very least 30 minutes past sunset. Of course we do have a bit of downtime during mid-day but these long days allow us to get some amazing images. Another great thing about the Smokies is that spring weather is very dramatic and unsettled. In fact one of the old sayings there is “if you don’t like the weather wait 10 minutes and it’ll change”. I can honestly say I found that to be true!

Whenever we have a workshop scheduled we arrive several days ahead of the start date and stay a couple extra days on the tail end so that we can shoot a few personal images. Here are just a few that I was able to capture. All of the images that I created here were shot with the Tamron SP 24-70mm f/2.8 Di VC USD lens.  One sharp lens!!! 

Best of Light,

Ed

 

Knowing Your Gear Gets The Shot

  By Jeff Allen

On a recent spring-like Sunday drive, I happened upon the Benson Sculpture Park in Loveland, CO not far from where I live. I love viewing art of all sorts, so I stopped to enjoy the garden and some of the 144 sculptures that are spread throughout the park. There is just about always a camera in the car with me and this day was no exception. After all, you never know when you will see something that inspires image making.

Wandering through the 10-acre sculpture park, I enjoyed the variety of sculptures and was inspired to shoot some hand-held and some tripod-mounted images. However, it was a windy day and those gusts were zapping my creative energy. So I folded up the tripod and headed back to the car.

Just then I rounded a corner, almost stumbling into a larger-than-life sculpture of people pulling on a wishbone, “Big Wish,” by Linda Prokop. Though wind-beaten from my trek around the park, the piece inspired me to stop and take a couple of shots.

Big Wish by Linda Prokop, 2009. Benson Sculpture Park Loveland, Colorado. Exposure info: ISO 100 Aperture priority, at f 22. Shutter speed chosen by camera=1/15 sec. Focal Length 16mm Circular Polarizer used to increase color saturation of the sky.

Times like this are when really knowing how your equipment will perform comes in handy. I had one of my “go-to” lenses, the Tamron 16-300 VC PZD, attached to my APS-C sensor DSLR. I knew I wanted a large depth of field for the shot I envisioned. I set the camera to aperture-priority mode and stopped down to f22. Since it was a bright sunny day, I set the camera at ISO 100. Because I have taken the time to understand my camera’s capabilities, I knew with this scene I could trust that the “matrix” or “evaluative” metering mode in the camera would get the exposure just right.

The camera chose a shutter speed of 1/15 sec.  I set the lens to the 16mm focal length and held the camera just barely off the ground to get this exaggerated view looking up at the sculpture. It wasn’t necessary to use live view, or even attempt to lie on the ground. I know my gear well enough to know what to expect in the shot. And as you can see from this image, I nailed it with the first shot.

As always, I worked the subject from several different angles, but I knew that the first shot was the one I would deem the keeper. The lesson here is to shoot your camera and favorite lenses regularly so you know how the light meter reads scenes, and what to expect from lenses at different focal lengths and angles of view. Then you too will be able to ‘shoot from the hip’ -- or in this case -- from the ankle. 

Good shooting

Sunday Drive - The Elk

 by Jeff Allen

Trail Ridge Road in Rocky Mountain National Park is one of the most incredible drives in the contiguous 48 states. The road rises to 12,134 feet elevation and over 11 miles of the highway is above treeline. Whether your camera is pointed toward the twin peaks of Long’s Peak and Mount Meeker, the alpine flowers or the pikas, bighorn sheep and elk, the photographic possibilities are endless and inspiring.

Grazing Cows

Tamron 150-600 VC at 600mm (Hand held!) ISO:400, Shutter speed: 1/125 sec, Aperture: f7.1 

After we finished shooting wildflowers above Hidden Valley, we continued our drive toward the summit. The parking lot at Rainbow Curve and its incredible vistas was teeming with cars and people so we decided to drive up a little further.

Our patience paid off when we pulled into a spot at Lava Cliffs, which is just below the highest point on the road. In the valley to our east were elk. The gentlemen were enjoying a snack and napping near the ponds while the ladies were to their north in the meadow munching on a midday treat. Now the elk weren't that close to the roadside pullout but I was confident that I could get some great shots with the Tamron 150-600mm I brought along.

 

Relaxing With The Boys

Tamron 150-600 VC at 600mm (Hand held!) ISO: 800, Shutter speed: 1/500 sec, Aperture: f8  For this image, the wind had come up and the bull elk were further away than the cows so I had to increase my shutter speed to compensate for the windy conditions

Little did we know when we pulled out our cameras and Tamron lenses, we were going to attract almost as much attention from the tourists as the elk did.

When we arrived at Lava Cliffs, the overlook was full of tourists with i-Devices, point-n- shoots, binoculars, and a few DSLRs with "kit lenses." We set up our tripods along the edge of the overlook. I was using the new Tamron 150-600 VC on my camera while Deanna had the 200-500 on hers. With lens shades on, and pointed toward the elk, they were a sight compared to those around us.  

And our lenses allowed us to get a little closer to the wildlife. These images show how the right lens can still let you get the action even when you are over a half mile away from it. The bull elk in the second image were approximately a half mile from our vantage point while the cows and calves were in a field a little closer - only about a quarter mile or maybe a bit less. In all three of these, you can see how amazingly sharp this lens is when it's wide open at 600mm

And as often happens, it wasn't long before we were answering questions about the lenses, photography and sharing the views from our cameras with visitors from Kansas to Iowa to England. I think Deanna spent more time allowing people to look through her camera viewfinder than she did shooting.

Lone Cow Grazing

Tamron 150-600 VC  at 600mm (hand held using the fence post as a makeshift monopod) ISO:400, Shutter speed: 1/250 sec, Aperture: f6.3

As I told those I spoke with on Sunday, I love the versatility - and affordability - of this lens. And I can be confident whether on a tripod or even handheld as these are, that my images are going to be great with Tamron's VC stabilization even in the always breezy conditions at 12,000 feet above sea level. 

Follow me on Twitter, Facebook and Instagram: @TamronTechJeff

Sunday Drive - The Flowers

 By Jeff Allen

Between my visits to photo specialty stores, events around the country, and the Tamron Tailgate Tour, I am fortunate to have seen and photographed a lot of beautiful and fascinating places around the country. However, one of my absolute favorite places happens to be in my own “backyard” – Rocky Mountain National Park just above Estes Park, Colorado.

Fly On Fleabane

Tamron 16-300 VC PZD at 300mm at lens min focus distance of 15.3" from the sensor, providing a macro magnification of 1:2.9 ISO: 200, Shutter speed: 1/125 sec, Aperture: f9

 

So with a few days off the road, I headed up to the park with the amazing new Tamron 16-300, the powerful 150-600, and the hope to find a few wildflowers and/or elk along the way. With just these two lenses, I can cover just about any situation. Since we planned on doing a little walking during our day trip, I wanted to keep my backpack as light as possible by carrying as few lenses as possible and yet be prepared for anything I might want to photograph.

Dandelion Seed

Tamron 16-300 VC PZD at 300mm at lens min focus distance of 15.3" from the sensor, providing a macro magnification of 1:2.9 ISO: 200, Shutter speed: 1/125sec, Aperture: f6.3 for that beautiful bokeh

 

Of course, when my wife and I headed west from our home in Fort Collins, I forgot that it was a state holiday weekend (Happy 138th Birthday Colorado!) in addition to being the height of the summer tourist season. Despite the crowds, we managed to find a few great spots, some inspirational flowers, a few distant elk and some really interesting people.

 

Often when we head out on trips, my wife serves as “spotter.” She watches the scenery and looks for potentially interesting places to stop while I watch the road. Fortunately for me, she has a good eye and has found more than one interesting spot that inspired me to some great images.

 

Once we were into the park, our first stop was at about 10,100 feet at a pullout overlooking Hidden Valley just before the very popular Rainbow Curve overlook on Trail Ridge Road.  Deanna had spotted some interesting flowers she thought I might like. There was a bit of haze in the air but since I wasn’t really looking for landscapes, I was able to concentrate on things a little closer to the ground. There were several different clusters of wildflowers which provided some great color.

 

After about an hour of shooting and a few minutes to review our images, we decided to rejoin the stream of cars, campers, and tour busses to head up toward the summit. But more about that in part two of our trip: Sunday Drive – The Elk. 

Follow me on Twitter, Facebook and Instagram: @TamronTechJeff

Photographing Spring Rivers and Waterfalls

By David Akoubian

Each winter I count the months and days until I will be able to return to the rivers and shoot with some green around the water. I enjoy shooting flowing rivers any time but my favorite is when the trees have that “electric” green look. Shooting rivers is the perfect exercise in technique and composition. Using the natural curves of a river can lead the viewer through your frame.

Here are a few tips to help you get that perfect river or waterfall image. Contrast can be an image maker or breaker. The best time to shoot flowing water is on a low contrast day whether it is a result of an overcast day or even just after a rain or drizzle. I prefer to use a wide angle lens when shooting because of the ability to decompress the scene and include a foreground object to grab the viewer and pull them into your image. A must for me is sharpness and clarity so the logical choice for me is the Tamron SP 24-70mm f2.8 Di VC USD lens. It allows me to jam it into the foreground and still get the sharpness I need in the background at f16 or so. The other advantage to shooting in low contrast is that you are able to shoot at f11 or f16 and still get a shutter speed of 1 second or slower to give the water a soft flowing look. A crucial accessory that is needed to perfect the image is a high quality circular polarizer. The polarizer is going to eliminate glare from foliage and the rocks around the river while adding some contrast to the scene to make the compositional elements stand out more.

Another reason I like the Tamron SP 24-70mm lens is the construction of the lens will help to keep any minor moisture out of the lens. I typically will cover the camera and lens with a shower cap as I am moving around setting up my compositions but for the time it is uncovered and capturing the image I know the lens is safe from the elements. The lens comes standard with a lens shade so in addition to reducing any glare coming in from the side, it will also keep any moisture from hitting the front of the polarizer.

Another necessity is a tripod when dealing with shutter speeds of 1 second or slower. When I do this I will turn off the VC (Vibration Compensation) in order to reduce shake that would be created using this feature when the lens is on a tripod. My tripod of choice is the Vanguard Abeo or Alta Pro tripod. I have used this tripod in extremely awkward positions, often while standing in knee or waist deep water. The tripod legs will go to ground level independently and I will often have two legs resting on a wall or rock almost making the setup a right angle!

I prefer to shoot at slow shutter speeds as a personal choice to create the mood I desire in the image. In order to pre-visualize the effect of the slow shutter speeds I will squint. This makes the flow apparent to a minor extent. Shooting waterfalls is usually done from an obvious point but when photographing rivers I will try and find some area that has nice “C” or “S” curves in the river. I will also look for objects such as flowers or ferns to place into the foreground. Many cameras will only go to ISO 200 by default but often will allow you to go to lower ISO settings often referred to as L1 or L3.

With the spring thaws and the lush greens emerging along the rivers, it is the perfect time to get the gear out and go shoot some rivers and waterfalls. April and May are my favorite months for the new growth and you will find me in the woods often!

Don’t put your camera away when it’s cold outside…

By Rob Moody

With some proper care and handling you can bring your camera outside to shoot even in the harshest conditions. From frozen landscapes to frozen waterfalls, there are numerous winter scenes that are just waiting to be photographed with your creative eye. Winter also provides an uncluttered canvas of unique possibilities due to its inherent harshness and lack of crowds. Far less people go outside in the winter making it easier to position for that ultimate landscape image of fresh snow.

Whether it’s the combination of frozen ice alongside the motion of moving water, glowing reflections of light on blowing and hard crystallized snow during the golden hour or unblemished grand landscapes after a fresh snowfall, for me there is a magic that happens in the winter and I feel compelled to photograph it!

I am fortunate to live at the edge of a wilderness area in Colorado at an elevation of 10,600ft. I greatly enjoy getting outside in the wintertime pursuing both mountaineering and photographic interest. Winters here are bitter and hard on not only human beings, but also on electronics or equipment of any type. Unfortunately, I have learned the hard way destroying several cameras during my early adventures, to take precautions to protect my equipment. Needless to say, due to experience and learned handling techniques, my camera equipment lasts a lot longer these days.

It isn't really the cold that negatively impacts your camera equipment, it is the abrupt change in conditions your equipment experiences when you leave the warmth that impacts it the most. For this reason I have camera bags that both clasp and zip. The zip closes the camera equipment in the case buffering it from the abrupt changes in conditions. This way, I can transport the equipment to the car or trunk and to the location, giving it plenty of time for the temperature to gradually adjust to the shooting temperature. Upon arriving on location I many times allow additional time for the temperature to equalize in the bag. When I pull the camera out for use, no fogging.

I have found that putting your equipment bag on the ground for equipment changes in the winter can be problematic. Snow tends to blow or fall in to open areas and a nice layer adheres to your bag upon liftoff. Because of this, I have evolved into using packs, bags and lens cases that remain attached to me as I work from them. This also minimizes exposure to the extreme conditions eliminating bending over and removing of gloves. Additionally, I connect gloves and hats to my body with leashes to avoid losing them in high wind.

Speaking of high wind, I use tripods a lot for maximum sharpness and depth of field, it’s important to manage your equipment on a tripod in high wind vigilantly! There is nothing like the experience of watching a tripod and equipment head for the ground after the wind blows it over a cliff in front of you and there is nothing you can do but watch. It’s an excruciating feeling… guess how I learned that one? It taught me to always bring a stuffed sack to hang weight from the center column of the tripod high wind or not. Even with this addition, I’ll add a leash to the camera or manage it closely if I experience or anticipate extreme conditions.

Getting great images in the wintertime is easier if you are comfortable. For this reason, I have acquired mountaineering clothing that keeps me comfortable even in the harshest conditions. I highly recommend buying a fleece glove, outer mitt combination for winter photography uses. You can pull your hand out of the mitt while still in the fleece liners to make adjustments and change lenses. Then reinsert hand in mitt as needed. Also, a boot and sock combination that will keep your feet dry and warm during long periods of standing around. Finally, a thermos full of warm liquid and a snack accompany me everywhere. In extreme cold, it can be an attitude changer!

Many camera stores sell camera coats to protect your equipment in wet weather. Get one of these if you live in or will be traveling to an area that is known for wetness and humidity. In Colorado, it is dry even when it’s cold and snowing, so I bring a simple cloth with me to wipe moisture off equipment if it accumulates. I always use a hood on my lenses to prevent snow or rain from landing on the front element and resulting in a blur or dark blur spot on the image. I check my front element regularly and keep it clear and clean.

Is it snowing outside? it is here. Anybody can pick up a camera and go shoot a pretty flower in the summer time. It takes inspiration, preparation and tenacity to photograph in the winter! So next snow day, get your camera equipment along with these tips, dress up warm and go make some incredible winter images outside! You’ll be thrilled the first time you see incredible winter images on your monitor, while at the same time, warm and toasty inside. It’s a very rewarding experience that keeps me going back for more! Enjoy your photographic passion!

Playing With Fire

By Jeff Allen

Try experimenting with flash and without, as demonstrated in these images. When using the flash, “bracket” your exposures – underexposing at a full stop (-1), 2/3rd stop (-.7), 1/3rd stop (-.3) – to see the variations in detail and lighting. By underexposing the flash you can avoid washing out details in the foreground which would cause the flames to look washed out as well. Most DSLR cameras allow independent flash exposure adjustments. Some brands allow settings to be made using controls on the camera body, while others allow the adjustments on the flash (speedlight) instead of the camera. Check your owner’s manual for complete details or ask an expert at your local photo special retailer.

Using ND Filters

By Ken Hubbard

For me the most important filter I have in my camera bag is the circular polarizing filter, this is because of the many uses this for this filter that can help enhance your images.  First, and what most people use this filter for is to help create a more dramatic look to the sky by deepening the blue and brightening the clouds. Second, is to take out the reflections in surfaces such as glass or glare on shiny surfaces like a wet green leaf. Lastly, you can use it to slow down your shutter speed by up to 2 stops. If you are shooting a stream or moving water and your scene is a little to bright and you cannot get a slow enough shutter speed, try putting on your CP filter and using it like a ND filter.  The way a CP filter works is by attaching it to the front of your lenses and turning the filter till you see the desired effect thru your viewfinder.  For maximum effect it is best to have the sun directly behind you or over your left or right shoulder, not directly in front of you.

 

Lens Used: SP24-70mm F/2.8 Di VC USD

Focal Length: 24mm

ISO 200

Shutter Speed: 1/80th

Aperture: F/16

Shooting Fireworks Anytime

By Jeff Allen

Firework photography isn’t just for patriotic holidays anymore. In addition to Independence Day, there are shows on New Year’s Eve, at fairs and carnivals, sports team championship celebrations and season openers, business or civic grand openings and dedications, amusement parks and many more throughout the year. There are slightly different challenges shooting fireworks from a distance versus shooting displays nearby.

The photo below was shot at an early New Years Eve event with the Tamron 18-270 Di II VC PZD. As always, dress for the weather. If outside for long periods, keep back-up batteries inside a coat to keep them warm. Choose a spot safely away from the fireworks, and scout locations in advance of the show if possible. Choose a location with the breeze at your back, so the smoke is blowing away from the display for sharper results. Focus manually and leave it set once the distance is determined, so the camera isn’t trying to hunt for focus in the dark.

Use a steady tripod and a release cable, or remote, for the sharpest results. For long distance shots a telephoto lens is necessary. Use a low ISO like 100 or 200, as the bursts are very bright. Try using manual exposure. The best results are usually shot with exposure times from about 5-30 seconds because the camera records everything that happens for as long as the shutter is open. The longer the shutter speed, the more visible the firework trails will be. Try different shots, allowing only one or two bursts, then allow several bursts to expose on each frame. A noise reduction software program in post-production can help eliminate the digital noise seen in shots like this.

Composition and the Rule of Thirds

By Ken Hubbard

One of the first steps to creating an interesting image for your audience is to work on pleasing compositions. The Rule of Thirds is one way to achieve this. The “rule” states that photos should be divided into thirds with two imaginary lines both horizontally and vertically placed over your scene making three columns and three rows on the image. Place the important subjects either on the lines or where the lines intersect, keeping them away from the direct center of the frame. When shooting a landscape, use this rule by placing the horizon either on the top or bottom line and not directly in the middle of the frame. Most of today’s DSLRs let you turn on the “rule of thirds” grid on your viewfinder (see your camera’s instruction manual). In this image, I placed the horses in the lower right third of the frame and positioned the fence across the lower third.

Lens used: SP28-75mm F/2.8 Di

Focal Length: 75mm

ISO: 400

Shutter Speed: 1/60th

Aperture: F/11