DON GALE - Tamron

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DON GALE - Tamron

ViewFinder

Spring 2008

Don Gale

Viva Italia!

Kayce BaKer

Snowboarders

Take Note

andrÉ

costantini

VC Hawaiian Style

dave

Maynard

Buggy for Macro

EntEr Our 2008 PhOtO COntEsts

© Don Gale


Inform • Welcome

contents

what’s inside

• snapshots 3

News in Focus

• spotlight 4

Andre Costantini

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

Kayce Baker

Extreme Sports

• share 14 - 15

David Maynard

Macro uncovers the Mysteries

• workshops 16

Hone your craft

• learn 17

Kay Eskridge

Shooting Tweens

• learn 18

Life Lessons

Geoffrey Hobbs

Architectural Tips

• inform 19

– 2008 Photo Contests

Dear

Viewfinder Readers:

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

at Tamron.com.

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.

Sincerely,

Tak Inoue

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


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

mouNt

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

demand.

*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

(vibration compensation)

SP AF17-50 F/2.8

SP AF70-200 F/2.8

Tamron Viewfinder/Spring 2008 – 3


Spotlight •andré costantini

André Costantini

Captures

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

Compensation mechanism.

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 @

1/80th sec.

“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


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.”

Viva Italia!

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


eing photographed.

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

of 22mm.

“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

www.tamron.com

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

of color.

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 @

1/30 sec.

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

Pictures!”

“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

via email.

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

portrait.

8 – Tamron Viewfinder/Spring 2008 www.tamron.com


Tips

for the

International Traveler:

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

shots.

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

blur.

www.tamron.com

AF 18-250mm Di-II

F/3.5-6.3 XR LD Aspherical (IF) Macro

• 15.2 oz.

• 3.3"

• 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

without blur.

Tamron Viewfinder/Spring 2008 – 9


Tips

To go

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

silVer daMselfly

LENS: Tamron 180mm F/3.5 1:1 macro

LIgHTINg: Ring Light

SHuTTER SPEED: 1/300th sec

Great Macro

BackGrounds

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.

Blue daMselfly

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

anole lizard

LENS: Tamron

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.

Happy shooting!


Feeling

LuCKy?

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eMaiL:

ansWer a FeW Questions:

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We want to

hear from

you!

Tamron Viewfinder is successful because so many of our

readers take the time to answer our surveys. This is how we

know what you are interested in seeing in our newsletter.

What would you like to see featured in upcoming issues

of Viewfinder? ( Pleae check all that apply.)

❍ Pro Photographer Profiles ❍ Reader Profiles

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❍ Pet Photography ❍ Portrait Photography

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What may be your next lens purchase(s)? (Please check all that apply.)

❍ 11-18mm Di-II ❍ 18-250mm Di-II ❍ 28-200mm Di ❍ 70-300mm Di

❍ 17-50mm Di-II ❍ 55-200mm Di-II ❍ 28-300mm Di ❍ 200-500mm Di

❍ 18-200mm Di-II ❍ 28-75mm Di ❍ 28-300mm Di VC ❍ 90mm Di

❍ 70-200mm Di ❍ 180mm Di

rePLy to us via internet or Print & Fax BacK

to us at (631) 543-3963.

ruLes: Surveys must be completed in full and submitted or faxed by April 10, 2008. No

entry will be accepted without all questions answered. Enter only once. Only one entry

per household, no duplicate submissions or faxes will be accepted. All prizes are selected

randomly and awarded 60 days after electronic mailing of last Tamron Viewfinder of 2008.

Enter each time you receive Tamron Viewfinder for a total of 4 entries.

INCREASE YOUR ODDS OF WINNING!

http://209.221.152.164/survey_08.html

Grand Prize:

Tamron aF28-300mm VC!

AF28-300mm F/3.5-6.3 XR Di VC

(VibRAtion CompensAtion)

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

WWW.taMron.coM

other PriZes:

you could win!

taMron $25 Gift card

(3 prizes)

Gift Card to your favorite

authorized Tamron dealer

taMron rollerball Pen

(5 prizes)

taMron Baseball

cap (20 prizes)

taMron Lens cleaning

cloths

(200 prizes)

taMron t-shirts

(50 prizes)


Share •Kayce baker

Kayce BaKer

Taking it to

4

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,”

she says.

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.

The exTreme

first look:

the chaLLeNge

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.

wicKed Tips

1

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

overall competition.

The ESPN Winter

X Games are already

past us, but fortunately

it is an annual

event which contin-

2

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

at night.

“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

camera equipment.

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

best friend.”

8. BE CREATIvE.

www.tamron.com Tamron Viewfinder/Spring 2008 – 13

5


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

nocturnal animals.

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

focused image.

“[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

DaviD MaynarD:

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

not afraid

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

to document.

“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

handheld.

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

spectacular highlights.

www.tamron.com Tamron Viewfinder/Spring 2008 – 15


Learn •Kay eskridge

Tweens

Photographing

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

rules:

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


10 Architectural

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

photographer’s kit.

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

camera.

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,

if possible.

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

the consumer.

Learn • Life Lessons

Photography Tips

from Geoff Hobbs

18 – Tamron Viewfinder/Spring 2008 www.tamron.com


Photo Contest 1

Inform •2008 Photo contests

What Makes a

Winning Photo;

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

Win this

Lens!

aF28-300 vc

(vibration compensation) Prize Valued at $599 (average price)

emoTional appeal

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 -

EMOTIONAL APPEAL

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

camera.

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

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