VC Hawaiian Style
Buggy for Macro
EntEr Our 2008 PhOtO COntEsts
© Don Gale
Inform • Welcome
• snapshots 3
News in Focus
• spotlight 4
All about VC
• share 6-9
Don Gale In Venice
• tips to go 10
Great Macro Backgrounds
with Ruben Dario Cruz
• survey 11
Win a Tamron 28-300mm VC lens
• share 12 - 13
• share 14 - 15
Macro uncovers the Mysteries
• workshops 16
Hone your craft
• learn 17
• learn 18
• inform 19
– 2008 Photo Contests
Welcome to our first electronic edition of the Tamron Viewfinder
which will now be brought to you four times a year with more stories
where you can learn, share and be inspired! With the new digital version
of our popular newsletter, you can continue to participate in our survey on
page 11 and link directly to learn more about our celebrated photo contests
Spring is just a few days away and with it comes the ubiquitous colors of this season. Is your camera and
Tamron lens ready?
Our cover story showcases award-winning photographer Don Gale’s photos of Italy. Using the Tamron
AF18-250mm F/3.5-6.3 Di II LD Aspherical (IF) lens he captured the unique landscapes, architecture and
ambiance of one of the world’s best loved cities.
André Costantini took one of our most talked about lenses on his travels to Hawaii. The Tamron AF28-
300mm F/3.5-6.3 XR Di VC LD Aspherical (IF) with Vibration Compensation (VC) technology not only
offers an all-in-one zoom, but 1:3 Macro capability. The VC technology compensates for camera shake, a big
benefit if your shots take you where a tripod is often unusable.
David Maynard’s macro images were taken with our SP AF180mm F/3.5 Di LD (IF) 1:1 Macro lens, a consistent
favorite of many photographers who enjoy shooting macro. Not only is it easy to handle, it provides
sharp, crisp images of the world’s tiniest inhabitants.
Kayce Baker is truly a snowboarder’s best asset. Her images capture some of the top riders in the world
showing off daring feats using another one of our new lenses – the SP AF70-200mm F/2.8 Di LD (IF) Macro.
Shooting the extreme definitely requires a tele-zoom lens that is lightweight and can capture a wide range
of focal lengths. Photographer Kay Eskridge captures a moment in the life of tween girls. She showcases her
images taken using our SP AF17-50mm F/2.8 XR Di II LD Aspherical (IF) lens, versatile enough for portrait
to wide angle group shots.
I’m proud of the extensive variety of lenses that Tamron offers photographers. We continue to build on our
success offering new and exciting technologies such as Vibration Compensation. Some of the world’s most
renowned photographers count on Tamron lenses to capture the best image possible.
We hope you enjoy this issue of the Tamron Viewfinder newsletter.
President, Tamron USA
Watch out for What may be too good to be true.
In looking for our products, you may find that products not supplied through our regular channel are sold
in your market. Such products are generally called “gray-market products” and may involve quality problems.
Always look for Tamron products that are supplied through our authorized distribution channel. By purchasing
Tamron products from an authorized dealer, you can ensure the quality of the product and you will be
covered by Tamron USA’s Six-Year Limited Warranty, the only warranty accepted by Tamron USA, Inc. in the
USA as of October 1, 2007. To find out more, visit http://www.tamron.com/lenses/gray_market.asp
Tamron Viewfinder is produced for Tamron USA, Inc. by CSJ Media, Inc.
Custom Publishing Dept., Hilton Head Island, South Carolina.
Editor: Ann Scott
2 – Tamron Viewfinder/Spring 2008 www.tamron.com
Snapshots • Inform
Tamron announces to Viewfinder Readers
NeWS IN focuS
tamroN aNNouNceS 2008 Photo
coNteSt aNd the debut of the
PeoPLe’S choIce aWard
What has become an annual tradition for many photographers is the
announcement of Tamron’s yearly photo contest theme. This year’s subject
was announced in January and is expected to be the most interesting to
date. See back cover for details. Perhaps the best reason to enter is this
year’s Grand Prize – the award-winning Tamron AF28-300mm F/3.5-6.3
XR Di VC LD Aspherical IF Macro zoom lens featuring Tamron’s new
Vibration Compensation mechanism (a $599 value).
Prize Valued at $599 (average price)
tamroN aNNouNceS the deVeLoPmeNt of three
Zoom LeNSeS WIth buILt-IN motor for NIKoN
Nikon owners will now have access to three Tamron zoom lenses with built-in motor for Nikon cameras.
Two new zoom lenses for APS-C size format - AF18-200mm F/3.5-6.3 XR Di II (model A14NII) and SP
AF17-50mm F/2.8 XR Di II (model A16NII) — and one zoom for full-size format — 70-300mm F/4-5.6
Di (model A17NII).
tamroN aNNouNceS the LauNch of SP af70-200mm
f/2.8 dI Ld (If) macro
Interested in a lightweight, high-performance and fast tele-zoom lens? The SP AF70-200mm F/2.8 Di
LD (IF) MACRO is designed for all DSLR cameras. The lens boasts a fast maximum aperture of F/2.8, yet it
allows close-focusing down to 37.4” over the entire zoom range, the closest in the category. The maximum
magnification ratio is 1:3.1 at the 200mm tele-end, the best in class. Pair this new fast tele-zoom with the
17-50mm F/2.8 or 28-75mm F/2.8! The Canon mount is scheduled for spring delivery. The shipment
schedule for Nikon, Pentax and Sony will be announced at a later date.
tamroN SP af17-50mm f/2.8 Xr dI II Ld aSPherIcaL If
NoW aVaILabLe IN PeNtaX mouNt
Tamron introduces the SP AF17-50mm F/2.8 XR Di-II LD Aspherical [IF] (Model A16) in Pentax
mount designed exclusively for digital SLR cameras with smaller size image sensors.* The SP AF17-50mm
F/2.8 XR Di II LD Aspherical [IF] has been well received as a lightweight and compact, fast standard zoom
lens. In addition to Nikon, Canon and Sony AF mounts, it is now available in Pentax mount to meet consumer
*Di (Digitally integrated)-II lenses are designed for exclusive use on digital cameras with smaller-size imagers. This lens
is not designed for use with 35mm film cameras or digital SLR cameras with image sensors larger than 24mm x 16mm.
Win this Lens!
aF28-300 di vc
SP AF17-50 F/2.8
SP AF70-200 F/2.8
Tamron Viewfinder/Spring 2008 – 3
Spotlight •andré costantini
hawaii With VC Accuracy
Pro Photographer André Costantini
spent time recently in the extraordinarily
beautiful location of Hawaii.
In between conducting lectures, he visited
Waimea Arboretum and Botanical Garden,
part of Waimea Adventure Park and famous
for its botanical garden.
The explosion of color that characterizes
America’s 50th State makes it easy to understand
the ongoing compulsion many have to
photograph all that is indigenous and beautiful
in this Pacific Ocean location.
Fortunately, Costantini was properly
equipped with his Tamron AF28-300 f/3.6-6.3
XR Di VC lens. Not only is it a versatile zoom
range lens, it features Tamron’s new Vibration
His photos are flowers from the
Caesalpinioideae subfamily of flowering
plants found in tropical areas known locally as
Ohai Alii, Dwarf Poinciana, Pride of Barbados,
and the Bird of Paradise.
In one of his most exceptional photos of the
Dwarf yellow Poinciana, his challenge was in
its location and clouds.
“It was an overcast day,” says Costantini
who found the flower growing up out of a
tree. With ISO 100, he used a focal length of
“The closer that you focus,
especially with longer focal
lengths, camera shake becomes
a critical factor to overcome,”
says Costantini. “Without a
tripod it can compromise getting
sharp photographs. This is
where the VC is really an asset.”
300mm @ 1/160th sec. Using the cloudy sky
as a background, the resulting image looks
more like an illustration than a photograph.
The VC technology allows handholding at
a slower shutter speed without resulting blur
from camera shake.
Using just the afternoon natural light,
Costantini was still able to illuminate the Ohai
Alii showing off its bright yellow petals. This
image was shot at 154mm @1/80th sec.
In addition to compensating for camera
shake, the lens provides not just an all-in-one
zoom, but also 1:3 MACRO capability.
The green grasshopper is as vivid in color
as the Red Bird of Paradise it is resting on.
Costantini credits the VC’s three-coil system with
keeping his images clear no matter how his lens
is angled. To capture this photo, he used the
minimum focus distance of 19.3” at 300mm @
“The closer that you focus, especially with
longer focal lengths, camera shake becomes
a critical factor to overcome,” says Costantini.
“Without a tripod it can compromise getting
sharp photographs. This is where the VC is
really an asset.”
Never let a precarious angle, overcast day or
close-up shot keep you from taking a photo.
With the Tamron AF28-300 f/3.6-6.3 XR Di
VC the possibilities are endless.
4 – Tamron Viewfinder/Spring 2008 www.tamron.com
As seen in the February 2008 issue of Popular Photography.
Tamron Viewfinder/Spring 2008 – 5
Share • don gale
“Lighting attracts me to most things,”
says Award-winning photographer Don Gale.
“Some people walk right by some of the most
amazing subject matter.”
with Don Gale
Capturing the sites with the most powerful
all-in-one zoom lens – Tamron’s 18-250mm
It was the light focused on the entryway
to Gale’s hotel that motivated
him to set up his tripod and shoot the
heavy, wooden door. He and a group
of photographers spent the early part of
November last year in Venice, Italy and his
resulting images offer a diverse representation
of the medieval city.
For all the shots that we showcase in
this article, all photos were taken using the
Tamron AF18-250mm F/3.5-6.3 Di II LD
Aspherical (IF) lens. For Gale, the expansive
zoom on this lens is often all he needs.
“I always keep one camera with lens
around my neck when I’m traveling,” says
Gale. The Tamron all-in-one zoom lens is
not only lightweight, it’s small enough that
it doesn’t interfere with everyday life.
“People continue to act candidly,” he says.
After years of photographing scenes and
landmarks, Gale has noticed an apprehension
if the camera equipment overwhelms
the overall location. Large lenses often discourage
area visitors and shoppers from
6 – Tamron Viewfinder/Spring 2008 www.tamron.com
His photo of the heavy, oak door could easily
fit into the 14th or 15th Century. Using
an aperture of F/16 with a shutter speed of 8
sec., the final photo seems to bring the door
alive. It is easy to imagine the road in front
of the door as being made of cobblestones
and uneven. Gale uses the Manfrotto Neotech
tripod for traveling. Each leg extends independently
and is adjustable to help set the
lens in the perfect framed position.
Gale’s shot of the produce market was taken
early in the morning. Though overcast, he
used only available light and still was able to
show off the vibrant colors of the vegetables.
In order to freeze the motion of the couple in
the background he used ISO 400. The aperture
was F/11 @ 1/6 sec with a focal length
“The shutter speed and the increase in ISO
sensitivity was enough to stop the action and
provides a greater depth of field,” adds Gale.
Venice and Tamron lenses were comfortable
partners for Gale’s colorful images. The
scene of the Burano Canal with bright pastels
reflecting off the water was captured using an
aperture of F/16 @ 1/8 sec. The camera was
set to shady with ISO 200 and a focal length
of 58mm. The city’s story of uniquely colored
homes centers on a need for inebriated fishermen
to be able to find their residence when
they returned from sea without too much
trouble. In this beautiful location, it is said
that no two homes are the same shade and
the town leadership must approve any change
For the Burano Canal shot, Gale set his
camera to Velvia simulation mode which
increases color saturation.
His scene of the Italian countryside was
taken above on a hill. He chose a focal length
of 85mm. This medium telephoto length
worked to compress the image allowing the
subject matter in the foreground to fit in with
the trees in the middle and background.
“Using an aperture of F/16 isolates a small
portion of the scene to make all the elements
look accurately rendered regardless of the
details from the camera,” say Don.
In this landscape, the color balance was
set to shady, ISO 200 with shutter speed @
The Gothic and Byzantine architecture of
Venice, most notably the churches, cathedrals,
universities, and town halls are just as
much an aspect of this great city as its Grand
Canal. Capturing the nuances can sometimes
be difficult especially before sunrise as Gale
did in his photo of St. Mark’s Cathedral built
in 1050 A.D. The building was lit by spotlights
and other mixed lighting so he set his white
balance to tungsten with ISO 200 creating a
rich blue skyline above the domes and spirals.
The focal length of his Tamron 18-250mm
lens was 48mm. The aperture was F/8 with a
long shutter speed of 20 sec.
Though most of us relate Carnivale or
Mardi Gras with New Orleans, it is Venice that
has been hosting it for centuries as Carnevale
di Venezia. People were allowed to don the
unique masks between St. Stephen’s Day
or December 26th to Shrove Tuesday (Fat
Tuesday). Not only did Venetians enjoy the
anonymity, mask makers or mascherari’s held
a special society position.
Tamron Viewfinder/Spring 2008 – 7
It would be nearly impossible to
walk away from Italy and especially
Venice without hundreds, maybe
thousands of images.
Gale’s photo of the carnivale mask
was taken inside a store that specifically
instructed visitors, “No
“We asked nicely,” says Gale who
instructed his group to purchase
something before leaving. The
store had track lighting that helped
to enrich the images. His group
also made sure not to obstruct the
other shoppers. Before he left, he
exchanged business cards with the
owner and promised to send photos
It would be nearly impossible to
walk away from Italy and especially
Venice without hundreds, maybe
thousands of images. For Americans,
the scenes are unlike any we experience
or participate in as a group.
Gale’s ability to provide so much of
the city makes one want to enlist in
his next workshop! He is not only a
master photographer; he is a master
storyteller, with the remarkable ability
to choose just the right scene to
motivate the viewer beyond the single
8 – Tamron Viewfinder/Spring 2008 www.tamron.com
Bring a versatile lens – Use a lens
1. that provides a wide zoom range. Traveling leads
from street scenes, to landscapes and having a lightweight
all-in-one-zoom like the Tamron 18-250mm
means comfortable walking and quick and easy to capture
tripod – Few photographers would chance a
2. shot, especially a lowlight image without a tripod.
The Manfrotto Neotech is not only compact, it adjusts to
uneven surfaces such as hills or cobblestone streets.
Bring two cameras with lens
3. attached – Gale always carries a camera
around his neck with an expansive zoom. For wide angle
shots, he keeps a second camera, ready with lens to
shoot. His second lens of choice is the Tamron SP AF11-
18mm F/4.5-5.6 Di II LD Aspherical [IF].
protect YoUr images – To ensure that
4. his images do not get lost, Gale brings enough
cards for an entire trip with no need to format any of
them. When a card is full, he transfers the files to his
laptop, and an external hard drive. He then has three sets
of the original image and never has them together when
traveling in case his luggage is lost or stolen.
Use YoUr iso – The ISO is used to set the
5. light sensitivity of the image sensor. ISO 400,
though noisy, can freeze fast moving objects and reduce
AF 18-250mm Di-II
F/3.5-6.3 XR LD Aspherical (IF) Macro
• 15.2 oz.
• 17.7" MFD
• 1:3.5 max. macro mag.
• ø62 filler size
• for Canon, Nikon, Pentax & Sony DSLRs
oN the coVer:
Some perfect images require patience and
lots of shots. The cover image shows a Venetian
woman, with head
down, nearly discounting
the beauty around
her as she carries on
with her chores. For
this shot, Gale set the
color balance to shady
with an aperture of
f/6.3 @1/125 sec. The
focal length was 35mm
with ISO 400, keeping
the woman sharp and
Tamron Viewfinder/Spring 2008 – 9
With so much emphasis placed on the main subject of any photograph, it is easy
to overlook the background from time to time. However, a carefully composed image
that considers all areas of a photo - foreground, middle ground, and background –
will result in an aesthetically balanced photograph.
Specifically addressing the background with macro images means you should
LENS: Tamron 180mm F/3.5 1:1 macro
LIgHTINg: Ring Light
SHuTTER SPEED: 1/300th sec
with Ruben Dario Cruz
consider these factors: color, texture, illumination.
If your background has distracting elements, consider shooting with a flash, then
employ a faster shutter speed to reduce the amount of ambient light. This will produce
an image that isolates the subject against a black background as shown below
of the Silver Damselfly. The result is a very stark, flat high contrast subject.
LENS: Tamron 180mm F/3.5 1:1 macro
LIgHTINg: Ring Light, shot towards a riverbed illuminated by the sun.
SHuTTER SPEED: 1/60th sec
28-300mm VC F/8
LIgHTINg: Ambient Light
SHuTTER SPEED: 1/80th
If you want color only in the background:
• Employ a wide aperture opening.
• This creates a very shallow depth of field.
• The depth of field also adds to the blending of colors from one object to the next.
If you want more texture in the background decrease the shutter speed to add more
ambient light. This will create a three-dimensional dynamic image.
PoPPy with african Violets in BackGround
LENS: 180mm F/3.5 lens
LIgHTINg: Ambient light
SHuTTER SPEED: 1/400th sec
If you desire more depth and color in your
photo like this image of the Blue Damselfly:
• Position your lens so that the background
light is bright then use a slower shutter
speed to allow more ambient light.
Note that both images above were shot at a similar time of day with the same equipment, but demonstrate two very different backgrounds.
The only difference in the shooting approach was the light source and shutter speed.
If you want color only in the background:
• use a wide aperture opening to create a very shallow depth of field. The depth of field also adds
to the blending of colors from one object to the next.
GENDER: M ❍ F ❍
❍ under 25
❍ Over 65
city: state: ZiP:
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❍ 11-18mm Di-II ❍ 18-250mm Di-II ❍ 28-200mm Di ❍ 70-300mm Di
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❍ 70-200mm Di ❍ 180mm Di
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Enter each time you receive Tamron Viewfinder for a total of 4 entries.
INCREASE YOUR ODDS OF WINNING!
Tamron aF28-300mm VC!
AF28-300mm F/3.5-6.3 XR Di VC
Camera shake can ruin your photos, particularly at
telephoto or in low light. Tamron’s state-of-the-art
Vibration Compensation mechanism incorporated
into the award-winning 28-300mm zoom gives you
blur-free hand-held images for incredible results!
Finally, the technology you need in the lens you want.
see the Lens in action at
you could win!
taMron $25 Gift card
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taMron rollerball Pen
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taMron Lens cleaning
Share •Kayce baker
Taking it to
Perhaps it’s the speed, the adrenaline
rush, the level of skill needed
to perform certain activities or
all these reasons combined that draws
more and more athletes to the world of
extreme sports. For Photographer Kayce
Baker, her skill lies in capturing men and
women in motion during amazing and
intense athletic performances. Not only
do her photo subjects seem to fly, they
almost make it look easy. Almost.
“In order to be recognized and get
sponsored in extreme sports, you need to
be documented,” says Baker.
Another aspect to shooting extreme
sports is the need to show a reference
point, which means that the subject of the
image, the athlete, is often a small portion
of the overall picture.
“Extreme sports have to show a reference
point,” adds Kayce, though she
admits that when she first started shooting
she wanted to get up really close and
document the faces of the snowboarder
in mid-air. Those shots rarely showed
3 the intensity of the stunt or illustrated the
extent of the athletic triumph.
“You need to show a take off and landing spot. It’s more about perception,”
When shooting the extreme, Baker relies on camera equipment that is
versatile and well-made especially since the conditions that she shoots in can
be severe. Her camera gear includes a Fuji S5 camera, a Canon EOS 1D Mark
II N which can shoot 8.5 frames-per-second, a Canon EOS 1V Film Camera,
Tamron’s new tele-zoom, the SP AF 70-200mm F/2.8 Di LD (IF) Macro and
the Tamron SP AF 14mm F/2.8 Aspherical (IF), which includes two Hybrid
Aspherical lens elements. The Hybrid Aspheric elements compensate for aberrations
and result in flat-field photo illustrations. She also rounds out her shooting
gear with a Hassy 501CM, Hassleblad Xpan, and several Holgas.
Baker has several challenges when shooting snowboarders - the speed of the
shot and shooting against snow, a natural light reflector. Capturing fast moving
objects and suspending them in mid-air requires skill and technique. She also
rarely gets to choose the time of day to shoot or the angle of her subject. She
sometimes is required to shoot directly into the sun.
The Risto shot (1) was taken at the Annual U.S. Open Snowboarding
Championships on Stratton Mountain in Vermont. Baker used Tamron’s 14mm
lens. In order to get the exposure correct, she metered the location of the shot
and then metered off a neutral object, this time it was herself. The result is white
snow, a blue sky and a colorful Risto Matilla, one of the world’s top snowboarders.
For the shot, she used a fill flash, an aperture of F/16 @ 1/250 sec.
The Yale Cousino Rail shot (2) was also taken at the U.S. Open. To build the
12 – Tamron Viewfinder/Spring 2008 www.tamron.com
sp aF 70-200mm F/2.8
“slope-style” image, Baker had to stand out of the
way of Cousino. She used Tamron’s 70-200mm telezoom
lens and started with a reference point then
moved with the boarder, shooting nearly 10 shots
a second with an aperture of F/11. Moving and
contorting her body with the boarder’s movement
began with a focal length of 90mm and quickly
zoomed out to 70mm. The secret to building the
shot is to move. Many photographers stand in one
place shooting a shot like this one, ending up with
the same perspective throughout the photo. Baker
then pieced it together in PhotoShop CS3.
This past February launched the second annual
Union Square Street Session Rail Jam in New York
City, bringing in 14 trucks of snow, a down bar with
stairs and other equipment for snowboarders to
test their abilities. Baker shot Jed Anderson (3) sliding
easily down a flight of stairs using just natural
light, a focal length of 91mm with her Tamron telezoom
with an aperture of F/5.6 @ 1/350 sec.
Her shot of Jeremy Cloutier (4) suspended over
the rail hovering above a Jeep® is a great example of
extreme perspective and the danger many stunts
entail. This was shot using fill flash at a focal length
of 500 with an aperture of F/3.5 @ 1/180sec.
1. KEEP yOuR CAMERA DRy – use a lint-free cloth
to wipe off the lens periodically since it may get
fogged over with condensation.
2. BE PREPARED – extreme sports requires
extreme photography. Standing still during competition
shoots is normal…so bring warming agents
to keep your extremities toasty.
3. BRING PLASTIC BAGGIES - to hold your flashes
and batteries if necessary. This will keep them from
getting wet and if you need to move your light
source around you can place it on the snow.
4. WEAR SNOW GEAR – snow is wet and keeping
The Chris Rotax
image (5) was shot at
8pm and also used
only natural light
with a focal length of
70mm, an aperture
of F/3.5 @ 1/180 sec.
Rotax took third in the
The ESPN Winter
X Games are already
past us, but fortunately
it is an annual
event which contin-
ues to draw extreme competitors. The Vancouver
2010 Olympics will no doubt showcase the level
of daring and skill embodied by these athletes
with spectators continuing to call for more. When
shooting, remember that perspective is everything.
Baker uses natural light, fill flash to maintain the
integrity of the background and strobes when photographing
“Riders are there for competition and as such they
are also there to be photographed,” reminds Baker.
your body dry is essential, especially when working with
5. ALWAyS BRING A TRIPOD – you can use if for shooting
or for mounting a flash.
6. BRING BACK-uP FLASHES – at least two.
7. INVEST IN A LIGHT METER – this can save your life
according to Baker. “Digital cameras are not always going
to save your shoot…and if you want to manipulate lighting
and make your shoots interesting you are going to need to
know what the light is doing. A light meter will be your
8. BE CREATIvE.
www.tamron.com Tamron Viewfinder/Spring 2008 – 13
Share • travel tips
Professional photographer David
Maynard would never let a little thing
like the middle of the night keep him
from photographing the tiny world that is
often hidden from the human eye. He insists
that Greek for photography – “Drawing with
Light” – is the simple key to successfully
capturing a photo, even in the dark world of
A resident of New Port Richey, Florida,
Maynard prefers to photograph his subjects
in their natural surroundings. His lens of
choice is the Tamron SP AF180mm F/3.5 Di
LD (IF) 1:1 Macro
“No question, it’s the best macro lens I own
and the best on the market,” he says. Like
many macro photographers, Maynard never
uses the auto-focus component. Instead he
uses a technique that he calls “rocking,” where
he first adjusts with the focus ring, then
slowly “rocks” the lens closer and further
from the subject until he has a fine-tuned
“[The Tamron lens] is so well engineered, I
can use the tip of my middle finger to quickly
adjust focus,” he says. “It’s that smooth.”
And it’s that essential. When shooting
macro, the tiny subjects rarely stay in one
place. Rocking is a necessity for consistent
shooting and every shot in this series was
captured using the Tamron 180mm.
Maynard’s colorful image of the
Southeastern Lubber Grasshopper was shot
in the early afternoon using a battery pack on
a light adjacent to him.
He used an ExpoDisc to capture the rich
colors of the leaves against the grasshopper’s
red slender legs and black bulging eyes. An
ExpoDisc averages the color temperature of
all light sources into a reference frame, including
reflected light and is used to set a custom
white balance. Maynard shot the grasshopper
with an aperture of f/8 @1/250 sec.
His extraordinary shot of raindrops bubbling
off a twig was taken after a storm. The
black background was accomplished by using
“a lot of strobe and a fast shutter speed to
knock down the ambient,” says Maynard.
He used an aperture of f/18 @ 1/200 sec to
shoot this image, but also employed an invention
of his own. To create a soft reflection
off the raindrops, Maynard used two 580EX
flashes with diffusers affixed to a custom
designed macro bracket that holds them both
of the dark
in place and swivels. He sets the flashes to
shoot at different percentages. For this shot,
the one on the right was set at 60 percent and
the one on the left was set at 40 percent.
Maynard uses the light to sculpt his images
and create more volume and contrast to different
images. One tip he offers to accomplish
this is to always move the flash away from the
lens plane to create proportion and dimension.
The shot of the Hyla cinerea or green tree
frog on a tiger lily bud is an exceptional example
of his ability to sculpt the image using
artificial light. For this shot, as in the others
in the series, he used his Tamron 180mm
with an aperture of f/32 @ 1/80 handheld. He
lit the image using portable battery powered
strobes, both with small light umbrellas pow-
14 – Tamron Viewfinder/Spring 2008 www.tamron.com
ered by a wireless PocketWizard.
His 17 year-old son Shawn, a talented photographer in his own right, often
works with him. On this shot, Shawn held the primary diffused strobe on a
monopod and the other was strategically set adjacent to Maynard (and the
lens) and was used as fill.
For Maynard, photography is therapeutic. Once an avid hunter, his shooting
is now limited to a camera and lens. His macro photography has provided him
with a rare perspective into an often unseen and intimate world.
The toad, resting comfortably among the yellow carnations was rescued
from drowning minutes before the shot was taken. He and others were blown
into a neighbor’s pool during Hurricane Charlie. When Maynard’s rescue was
over, he took the toad inside the studio. The lights were Novatron strobes. The
photo was taken at f/16 @ 1/125 sec. Understandably, the toad was a willing
participant spending more than 30 minutes in the studio with Maynard.
In the shot of the bee pollinating the flower, the tiny crab spider can barely
be seen hiding from its victim. Maynard refers to the photo
as “The Epic Battle”. Using an aperture of f/22 @ 1/180 and
a ring light, he captures the fragility of the bud and the
unknowing bee about to become one spider’s lunch. In the
end, it is the bee who wins, not willing to give up his life so
easily. What is most distinct about this image is the vibrant
colors in the fore, middle and background of the shot.
To photographers like Maynard who spend thousands of
hours capturing the minuscule world underneath the brush,
there are important details often overlooked that he purports
“There is a whole world that we never see until it is captured
with a macro lens,” says Maynard.
His master macro photography is not only beautiful, it is
vivid. Right down to the crawling sensation one feels when
viewing his photos.
Maynard will be teaching a workshop for Tamron in Ohio
in October 2008. (See page 16 for workshop information.)
TiPS FOr THE HUnTEr
1. Move slowly and Methodically. herps and reptiles will flee with
sudden movements, but will just stare back at you if you approach slowly.
Using a veRy slow side to side swaying motion as you approach seems to
hypnotize them, and keeps them calm.
2. Use ManUal focUs foR MacRo. once positioned, adjust the focus ring
to get it close, and then fine tune by slowly rocking back and forth toward
the subject. once used to this method, it is very fast and accurate.
3. Use qUality glass! starting with a great lens makes a huge difference.
My lens of choice for macro is the tamron 180mm di.
4. Because the dof is very thin at this magnification and close distance, Use as MUch stRoBe as yoU can get. this will allow apertures
in the f/19 to f/22 range, yielding crisp shots with more of your subject in focus, while still giving shutter speeds fast enough to shoot
5. always diffUse yoUR stRoBe when shooting natURe MacRo. our common macro subjects are often slimy or shiny creatures,
making it easy to blow out the highlights. diffusing the strobe allows you to properly expose for shadows, while keeping the detail in the
www.tamron.com Tamron Viewfinder/Spring 2008 – 15
Learn •Kay eskridge
Young tween girls between the ages of 9 and 12
have a poise and energy that is unique and unfiltered.
Professional Photographer Kay Eskridge has
found a creative way to capture special moments
that only the art of photography can offer.
She specializes in theme parties for birthdays, graduations, special
events and occasions. For one lucky young lady’s birthday, Eskridge
recently shot a “Glamour Girls” party which featured a black and pink
theme, complete with hairdressers and make-up artists to pamper the
hostess and guests.
She used the Tamron SP AF17-50mm F/2.8, a fast standard zoom
lens which helped to capture the quick pace of the party.
“The nice thing about the lens is its versatility,” says Eskridge. “It
works for groups and portraits.”
To make the best of each event, Eskridge counts on a few simple
1) SIzE OF THE GROUP – Eskridge has found that limiting the number
of girls to 8 or 10 provides a nice range. Each girl can be seen in
group shots. The 17-50mm lens also offers a wide angle that brings
each girl into focus.
2) LIGHTING – Using a strobe light, soft box and umbrella for fill
provides just enough lighting to illuminate the images without washing
out facial features. She also uses a hair or strip light that provides a glow
around each girl’s head.
3) ADDITIONAL PHOTOGRAPHER – Eskridge has an additional
photographer at each event to capture the candid shots while she is in
the room shooting posed pictures.
4) BE CREATIVE – Each guest receives a 5 x 7 picture. The hostess is
also given ‘thank you’ notes with a photo on the front from the event.
All guests are directed online to view all images with ways to purchase
after the program is over. A possible DVD with all pictures set to music
is one option for purchase.
5) USE A LENS THAT GIVES A BROAD RANGE OF RESULTS –
Eskridge credits the Tamron lens with providing wide angle group shots
and sharp, portraits. It’s also lightweight for easy hand-holding shooting,
with a fast zoom for taking the often challenging candid shot.
www.tamron.com Tamron Viewfinder/Spring 2008 – 17
1. USE A TRIPOD! To insure sharpness, a solid tripod is always the photographer’s
friend and work companion. This is the most overlooked piece of equipment in a
2. USE A LEVEL. This goes along with the tripod tip…use a tripod head that has
levels built in, or get one of those neat little levels that slides into the hotshoe of your
3. USE THE CORRECT LENS FOR THE ROOM. If you go too wide, the details of the
room get lost, BUT if you go too long, you lose the room. The Tamron SP AF11-18
mm Di-II Aspherical LD (IF) is a great choice for most situations.
4. BEFORE YOU SHOOT, LOOK AT THE ROOM…REALLY LOOK AT THE ROOM
FROM ALL FOUR CORNERS. Are there pieces of furniture that block details from
one corner, but seem to highlight them from another? Does one angle make the
room look larger or more intimate?
5. USE THE AVAILABLE LIGHT. On high end houses, builders and owners have
spent major money designing a lighting scheme that highlights the room. Use this
lighting to your advantage. Use auxiliary lights to compliment the existing light.
6. OPEN ALL BLINDS AND CURTAINS. Show the views available from each room,
7. STOP YOUR LENS DOWN TO MAXIMIzE DEPTH OF FIELD. F/22 gives you
almost perfect sharpness for the whole room, whereas keeping your lens wide open
will give you a shallow to medium depth of field. Each has its own place in this style
of photography: A shallower depth of field can draw your eye to a detail or style in a
room, whereas a deep depth of field gives you an overview of the entire room.
8. USE THE LOWEST ISO AVAILABLE FOR YOUR CAMERA. Digital noise can be
apparent at ISO 400, so use ISO 200 or 100 if possible.
9. USE IN CAMERA CROPPING AS MUCH AS POSSIBLE. Post production work
can be reduced by framing the shot in camera. The Tamron SP AF11-18mm Di-II
Aspherical LD (IF) mentioned above or the Tamron SP AF17-50mm F/2.8 Di-II LD
Aspherical (IF) are wonderful tools that make your job easier.
10. KISS. Yes, that old adage about keeping it simple applies here. A house or
museum or an office building is no more than a product shot, but on a grander scale.
At the end of the day our job is to highlight the product and make it appealing for
Learn • Life Lessons
from Geoff Hobbs
18 – Tamron Viewfinder/Spring 2008 www.tamron.com
Photo Contest 1
Inform •2008 Photo contests
What Makes a
A Tamron Lens, of course!
Photographing the natural wonder of water
DEADLINE: OCTOBER 31, 2008
It’s hard to imagine a world without water, from the grand oceans to the quiet lakes,
water is alive with plants, animals, sea life and more. It provides constant enjoyment
for children through sprinklers, fountains and waterslides. Even the endless, impulsive geysers
provide Wet & Wild! amusement for us all.
What’s your interpretation of Wet & Wild!? Enter Tamron’s 2008 Photo Contest today!
the only rules on the subject matter are that the pictures must be in good taste and include
water. Be creative and enter as often as you like.
The Wet & Wild! Grand Prize Winner will receive the AF28-300 F/3.5-6.3 XR VC Di lens valued at $599!
Tamron’s state-of-the-art Vibration Compensation mechanism incorporated into the award-winning
28-300mm zoom gives you blur-free hand-held images with exceptional results.
The winner will have his or her image showcased in Tamron Viewfinder and in the Gallery section
of Tamron.com. Up to 20 favorites will also have their winning images published on the website for
all to see.
Guest Judge: Award-winning Professional Photographer Don Gale.
view full contest rules at www.tamron.com/enews/archives/contest.asp
(vibration compensation) Prize Valued at $599 (average price)
Photographing human emotions
DEADLINE: NOvEMBER 30, 2008
Here’s your chance to show off your photography muse. Submit your
most creative image for Tamron’s 2008 Photo Contest -
Send us your favorite photo that expresses a human emotion:
happy/sad/tired/mad - or any other human emotion.
The Photo Contest Grand Prize Winner will receive a magnificent Tamron AF28-
300mm XR VC (Vibration Compensation) Di zoom lens for a Canon or Nikon Digital SLR
Plus, the winning image will be showcased in the Tamron Online Gallery in the
Learning section of tamron.com with up to 20 of our favorites.
The contest is judged by Professional Photographer André Costantini and Guest Judge
and Professional Photographer, Emily Wilson.
view full contest rules at www.tamron.com/lenses/scrapbook.asp
www.tamron.com Tamron Viewfinder/Spring 2008 – 19
Photo Contest 2