Summer 2008



Studies in Light



Sharpen the Shot

Russ Fortson

Travels with Dad

Sandra Nykerk

America Through the

Tamron Lens

Enter Our 2008 Photo Contests

© Richard Martin

Inform • Welcome


what’s inside

• snapshots 3

Expert Knowledge

• spotlight 4-5

Candice Stringham

Keeping it Sharp

• inspire 6-9

Richard Martin

In Search of the Aesthetic

• tips to go 10

Ken Hubbard

Spot Metering a Sunrise & Sunset

• survey 11

Win a Tamron 28-300mm VC lens

• share 12-13

Russ Fortson

The Art of Capturing Adventure

• share 14

Sandra Nykerk

Seasonal Showcase:

America's Great Outdoors

• learn 15

Geoffrey Hobbs

Beach Photgraphy

• learn 16-17

Emily Wilson: Breaking the

Rules for Family Photos

Ken Hubbard: Photographing Fun

• inform 18

– 2008 Photo Contests


Viewfinder Readers:

Welcome to the summer edition of the Tamron Viewfinder.

We have had a tremendous outpouring of interest in the

new electronic version of our popular newsletter. We appreciate

all of your comments and suggestions.

This issue’s cover story is a celebration of the visual world.

Photographer Richard Martin is inspired by an interest in the study of light, color and texture. You

will find his photography enlightening. It may even inspire you to create your own study of light

and texture. Richard works only with Tamron lenses and has created one of the finest portfolios. In

his story, we see what our 70-200mm and 18-250mm lenses can accomplish with his eye for the


Photographer Candice Stringham takes the Tamron AF28-300mm VC lens around New York and

shows off what the vibration compensation mechanism can do in low light and fast action shots.

Emily Wilson also reveals the enormous potential of the Tamron VC lens in a family picnic setting.

Dad and photographer Russ Fortson finds great success in photographing beautiful images while

also participating in his family vacation. His photo of the Washington, DC Capitol at night is a great

example of exceptional photography that can be taken without too much preparation.

Photographers Ken Hubbard and Geoffrey Hobbs offer great tips on metering and beach photography.

Ken also spent time taking photos at a local amusement park and captured the fun and

happiness on the face of one lucky little boy.

We are extremely proud of our Tamron lenses and continute to build on our commitment to

developing top quality products for photographers across the globe.

Remember to use your lens to photograph an image that fits with one of our photo contest themes

and send it in. Please continue to fill out the survey on page 11 so that we can bring you the topics

and stories that interest you most. As always, thank you for your loyalty and for choosing Tamron

lenses. We sincerely appreciate your business.


Quick Lesson:

Tak Inoue

President, Tamron USA

The Reciprocal Rule

The Reciprocal Rule is a well established guide to help photographers determine

the slowest shutter speed they can use shooting handheld and still maintaining

a sharp image. With a zoom lens, such as the Tamron 18-250mm,

the rule follows the focal length you choose. If you choose a focal length of

200mm you should be shooting at 1/200 sec or better, if you are shooting at

50mm your shutter speed should be at least 1/50th sec. Of course, this is just

a rule and depends on the photographer’s ability to keep the camera and lens

steady. Tamron's new 28-300 VC lens let's you break this rule and hand hold

at 300mm with sharp results at a shutterspeed as slow as 1/30th sec.

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/Summer 2008

Snapshots • Inform

Tamron announces to Viewfinder Readers

NEWS in focus

New Video DOWNLOADS Attract

Photography Enthusiasts

Even if you have read every book and magazine on capturing

nature and wildlife, the ability to see an expert actually walk you

through the steps blending sight, sound and motion is extremely

valuable. This is the concept behind Tamron’s Video Download series

and it has been causing quite a positive stir in photography circles.

Launched in 2006, the series includes expert advice on shooting portraits, weddings,

children, national parks, surfers and even capturing elusive creatures in the wild.

Roy Toft

Two new programs –Nature & Wildlife: Roy Toft with the 28-300mm VC and Costa

Rica: Don Gale with the 28-300mm VC have just been added. Both photographers demonstrate

Tamron’s most exciting new product – the Tamron 28-300mm with vibration

compensation technology. In an environment like the wild, where a great photograph needs

immediate attention, the Tamron VC lens is extraordinary. Hand-held shooting in low-light

using long shutter speeds remain blur-free with the VC mechanism.

To view any of the video downloads, log onto the Tamron Learning Center at

If you live in any of the following areas,

a Tamron photographic workshop

is coming to you!

• Torrance, CA

• Southampton, PA

• Palo Alto, CA

• Sioux Falls, SD

• Milford, CT

• Nashville, TN

• Melrose, MA

• Arlington, TX

• Minneapolis, MN • Houston, TX

• Columbus, OH

• Tacoma, WA

• Oklahoma City, OK • Milwaukee, WI

Don Gale

Frame the World in Your Tamron Lens

Tamron presents the 2008 In-The-Field Photo Workshops

taught by some of the world’s most celebrated photographers.

There is also a special workshop aboard the Regent Seven Seas

Cruise’s fabulous six-star Seven Seas Mariner on a spectacular

one-week Alaska cruise September 3 - 10, 2008.

Hone your craft and test Tamron’s versatile

all-in-one lens for just $179.00

Photo Workshops include:

• Welcome Bag

• Classroom Seminar

• In-the-Field Workshop

• Admission (if applicable)

• Transportation (if applicable)

• Loaner Equipment

• $20 Gift Card

• Refreshments & Meals

• Exclusive Offers & Rebates

• Door Prizes include:

Nik Filter Set, Books, Tripod & More!

Log onto to learn more. Workshops sell out fast!

The Experts


The Tamron

Learning Center

is a Photographer’s

Best Online


In the world of photography, learning is a

constant. Have you ever considered taking

photos of astronomical objects like

the moon, the sun, planets, comets and

more? Getting tips from an astrophotography

expert is just a few clicks away at the Tamron

Learning Center at

Become a Photoshop expert and transform

your images with some simple tips. If you

have just purchased a lens with macro capability,

take time to visit the macro section of

the learning center with expert suggestions

on ways to capture the bulging eyes of your

garden’s resident dragonfly.

Always return to the basics. It is a mantra

used by even the most skilled professionals

in many forms of business. The learning

center is full of basic information on shutter

speeds, fast apertures, telephoto and wide

angle lenses, using depth of field to capture

sharp, crisp images and much, much more.

Underwater shots, wedding photography and

posing unforgettable portraits are some of

the topics available at the Tamron Learning


The Tamron Learning Center is constantly

being updated with information on new

trends, products and techniques provided by

some of the world’s most celebrated photographers.

Capture those elusive shots of the soaring

Bald Eagle, the green flash at sunset or the

foam caps of ocean waves.

Visit and choose

from nearly 100 topics. Tamron Viewfinder/Summer 2008 – 3

Spotlight • Candice Stringham



Keeping it Sharp with

the Tamron VC Lens

Few new lenses have created the excitement and buzz

among professional photographers over the past year

as the Tamron AF28-300mm F/3.5-6.3 XR Di VC

(Vibration Compensation) LD Aspherical (IF) Macro.

“It’s a great all-in-one lens that works for sporting events to

Easter morning celebrations,” says Professional Photographer

Candice Stringham. “It also has a macro feature so it’s great

for getting beautiful close-ups.”

Stringham is also a contributing editor for Creating

Keepsakes magazine. As an editor she is always on the

lookout for products that can make a significant difference

in the lives of her readers. She readily admits that Tamron

lenses have been her primary source of lens since the beginning

of her career more than 10 years ago. Today, her professional

career has taken her into the college classroom and to

private workshops offering tips and techniques on capturing

many shot scenarios. As an accomplished photographer, she

has worked in several settings, though portraiture is her specialty.

She was especially excited about the work she recently

shot using the Tamron 28-300mm VC lens.

“The image stabilization is so great, especially taking pictures

in low light,” she says.

Stringham’s camera is the Canon 40D. For the series of

shots using the Vibration Compensation lens, she used no

other equipment – no lighting or tripod.

Her image of the couple in the arched doorway was taken

late in the evening.

4 – Tamron Viewfinder/Summer 2008


on Creating Great

Photos with the Tamron VC

Meter on the element that is most important. Let the rest of the light fall

1. where it may. It will make for a dramatic portrait while still lighting what is most


Use the lens! Try different focal lengths to get a different feel in the photo. It’s nice

2. because you don’t even need to move to do it!

Don’t be afraid to zoom in. Use the 300mm end of the lens when you want

3. to compress and blur out the background. This is great for sports and outdoor

adventures when you want to get in close to the action and blur out the chaos in the


“The only source of light was inside the building,” adds Stringham. She used

ISO 1600 with a focal length of 28mm, an aperture of f/3.5 and a shutter speed of

1/15 th sec. “It was a long exposure. I metered the couple’s face, and then moved

back. You usually shouldn’t go below 1/60 th sec when photographing people, but

the VC was so stabilized. It’s a great lens.”

The resulting photograph is a testament to the Tamron VC lens’ capabilities, with

the couple easily viewed, framed by the archway with no blur or shake. Even the

concrete lines and trim of the structure are readily visible.

The photograph of the baby sitting on pink petals and smiling was taken using

an aperture of f/4.5, ISO 400, a focal length of 46mm with a shutter speed of

1/400 th sec.

“The nice thing about this lens is that I can zoom in and out instead of moving

around a lot, especially with a young subject,” says Stringham. “She’s actually smiling

at her mom, but I’m far enough away that she is not distracted by the camera.”

The canopy of trees did not darken the image or the baby’s face. Stringham

always meters the face of her subjects to set the overall exposure. For her, “The

person’s face is the most important feature.”

The photo of the young boy with a painted face is Stringham’s son. The family

enjoyed the festivities at the annual Tribeca Film Festival Family Street Fair. With

so much happening in one small area, she felt comfortable bringing her Canon

with the Tamron all-in-one VC lens because of its versatility and durability.

“The VC creates completely different looks. I can zoom in close and get sharp,

clear images eliminating the crowds behind him.”

The focal length for this image was 50mm with an aperture of f/4.5, ISO 400 and

a shutter speed of 1/400th sec.

The interior photo of her youngest son sitting on the window seat would have

been especially difficult with a traditional lens, if not impossible.

“It was a difficult shot,” say Stringham. “The room was fairly dark.”

She used an aperture of f/3.5 with ISO 1600. The focal length was 35mm with

a shutter speed of 1/50 th sec. Tamron’s Vibration Compensation technology is

especially successful in low light conditions, stabilizing the image with very long

shutter speeds and creating no blur or shake.

What most impressed Stringham about the new Tamron VC lens was the many

shooting opportunities available because of its 28-300mm zoom capabilities.

“The Tamron VC lens goes so wide that it can be used for landscapes, and buildings,

then you can zoom in and use it for beautiful portraits. It is a great overall


Be part of the excitement. Capture the Tamron VC 28-300mm lens for yourself

and discover the possibilities.

Inspire • Richard Martin

Richard Martin:

In Search of the Aesthetic

Photography does not end or begin

with the capturing of an image. It is a

process that starts long before a photo

is taken. It begins with a concept in the mind

of the photographer of what he or she wants

to reproduce in the frame of the lens. There

are perhaps more photographic genres than

there are literature themes. From Aerial to

Wildlife photography, the possibilities are

endless and each photographer brings his or

her own unique style to a photo.

Professional photographer Richard

Martin considers his photography to be a

celebration of the visual world.

“It originates straight from the heart, honest

and direct. Inspired by color, texture and

light, I make photographs to express feelings

surrounding my experiences, searching for

visual equivalents to those feelings.”

His camera of choice is the Fuji Film

FinePix S5 Pro and more recently the

Nikon D300. His lenses are exclusively


“There are many factors that go into

capturing an image,” says Martin. “I

have proven over and over that Tamron

lenses produce the same quality of

image than lenses costing much more.”

Martin’s approach to photography is

a somewhat literal interpretation of the

term. From the Greek photos and graphos,

directly translated as “light drawing”,

he has made translating images

through light his life’s work.

“I view line and shape in a highly

graphic manner, with a fascination for

the dramatic effects of light and shadow

on form,” he says.

His work is displayed in museums

and has appeared on the covers and

within the pages of numerous magazines.

He is a lecturer as well as a teach-


er who cautions his students to look beyond the

obvious and to break the rules. His photographs

are studies in light and how it can transform a

scene or object.

He is drawn to the work of Frank Gehry, whom

he calls “The rock star of architects.” Gehry’s

buildings have been referred to as deconstructed

aesthetic designs, both awing visitors and

attracting criticism among his peers.

“I love his buildings because they are like

landscapes. I’m drawn to their curvilinear form,

graphic shapes and the undulating movement

of them.”

Martin spent time in Seattle where he shot

Image 2 of the Experience Music Project, a

museum of music designed by Gehry and constructed

of fabricated steel frame clad with titanium,

stainless steel and painted metal.

“The balance of the visual elements in this

Gehry photo shows how a single contrasting line

can balance a large simple shape and achieve

equal visual weight. Asymmetry invites the

viewer to find the visual rhymes and contrasts

that exist across a perceived center of gravity

in the picture space. The great contrast of

bold elements in asymmetrical balance creates a

dynamic visual pattern.”

Martin enjoyed the detail of the image which

he felt created a Zen-like feeling with the organic

(tree) against the manmade structure.

“Gehry’s buildings are very organic in form,”

says Martin. “What’s interesting to me is the

piece of roofing coming down which reminds

me of a leaf.”

Martin positioned himself across the street for

this shot with his Tamron 70-200mm telephoto

lens and camera secured onto a tripod. The distance

helped to compress the image and capture

a two-dimensional graphic shot.

“I like the wide 2.8 aperture of this lens,”

adds Martin about the newest Tamron telephoto


For Image 2, Martin used the aperture priority

mode since he felt it was the predominant

characteristic needed to capture the scene as he

imagined it. It was shot at f/11@ 1/60 sec. The

focal length was 150mm with ISO 100.

“Focal length is what completely affects the

design of the photograph.”

Although according to Martin, light plays

an important role in his photographs, it is the

lens that is ultimately the tool that creates the


“Choosing a lens is one of the most fundamental

creative decisions a photographer can make,”

he says.

According to Martin, “Telephoto lenses alter

the illusion of depth in a scene, compressing or

reducing the apparent distance between near

and far objects in the picture space.”

Another Gehry building is shown in Image

1. This free flowing design is the entrance to

The Peter B. Lewis Building for Case Western

Reserve University’s Weatherhead School of

Management. Martin viewed the structure from

morning until dusk in order to create this photo.

“To reduce contrast on the highly reflective

metal surface, this architectural detail was made

at dusk,” says Martin.

Again, he used the Tamron 70-200mm lens

at a focal length of 200mm with an aperture of

f/22 @ 15 sec.

“The camera lens is the photographer’s basic

design tool, having a powerful effect on the way

the subject is presented by altering the shapes,

lines, textures and perspective in a photograph.

Developing an acute awareness of the lens' ability

to distort perspective, alter reality, and isolate

subject through focus and depth of field is essential

to the process of creating good expressive


The Italian Landscape

In Image 3, Martin positioned his camera and

lens on a tripod several feet from this Sicilian

landscape. He used the Tamron 70-200mm telephoto

and shot with a focal length of 200mm.

In order to create the most depth of field, he set

the aperture at f/22, focusing 1/3 up from the


“When stopping the lens down to f/22, for

example, to achieve maximum depth of field

you may focus one-third of the way up the

picture space from the bottom (assuming that

the subject matter closest to the camera is from

the bottom of the frame). This will achieve the

maximum range of sharpness for that lens. This

method is based on the fact that the zone of

sharpness is one-third in front of the point-offocus

and two-thirds behind.”

Martin’s images of Venice were all captured

using the Tamron 18-250mm lens. Image 4 was

taken shooting downward onto the reflection.

The literal image is a boat reflecting on the water,

but capturing it with an aperture of f/11, using a

focal length of 92mm @ 1/90 th sec created an

image of swimming color and dynamic geometric


Image 5 and 6 are studies in color and design,

says Martin. Martin is intrigued by shadows

and considered them interesting graphic studies

of abstracting elements and light balance. The

vertical shadow on the green wall was shot at

a focal length of 170mm @ 1/60 th sec with an

aperture of f/13. It is a canopy above a doorway

that is casting the angular shadow.

“Much of what I am intrigued by in design is

the play of light. It is the most intangible element

in Architecture yet it is potentially the most powerful

— affecting how we will feel in a space and

shaping how we will react to a particular design,”

2. 3.

6 – Tamron Viewfinder/Summer 2008 Tamron Viewfinder/Summer 2008 – 7



says Martin.

The horizontal image shows

blue sky next to a dark yellow

building. The object is the

arm of a lamp casting a long

shadow against the corner of

the building. Martin found

this scene to be an interesting

study in color. The horizontal

image was shot using a focal

length of 130mm @ 1/45 th

sec with an aperture of f/16.

Perhaps the most haunting

of Martin’s photos is Image 7,

which has meaning beyond

the single photo.

“The dark and light repetitions

make a graphic statement,”

says Martin who took

the photo angling the camera

and lens downward early one

morning. The focal length was 185mm with an aperture of f/22 @

1/180 th sec.

“The quality of light plays an important role in my image making,

with its capacity to transform the commonplace into the poetic and

render the real as mystical and surreal,” says Martin.

In this image, Martin positioned himself on a bridge above the

walkway, shooting into the sun which created strong backlighting and

shadows. He was interested in the potential of contrast between light

and shadows.

“The potential [of a photo] is always created by the light,” he says.

“Different light, different subject matter.”

While some may believe photography is a simple act of capturing



a moment in time, others like photographer Richard

Martin see it as a way to understand the elements

around us. The shadows we create, scenes from structures

that have been created around us, all have some

form and function well beyond what is apparent from

a simple look.

What kind of photography do you engage in? Martin

would suggest you experiment with all forms. Let the

lens be your brush. Keep your mind open and your eyes

sharp and continue to study the art of “light drawing.”

Tips for Capturing the Aesthetic

Focal length is what completely affects the design of the photograph. Developing an acute awareness of

1. your lens' ability to distort perspective, alter reality, and isolate subject through focus and depth of field is essential to the

process of creating good expressive images.



Manipulating camera shutter speed to extend time visually transforms the appearance of objects.

For Martin’s daisies, 1/15th second shutter speed was used to create motion blur and show movement.

Capture the often ignored object. The shadows we create, scenes from structures that have been created around

us, all have some form and function well beyond what is apparent from a simple look.

On the Cover:

Martin’s dancing daisies were captured using the shutter speed priority

mode. He employed the Tamron 18-250mm lens. “Subject motion can

create new realities. In this image, the daisies were moving to the right

with repeated wind

gusts.” To express a

feeling of freedom, he

chose a ground level

camera position in

order to eliminate

the landscape, and

a 24mm wide-angle

setting with an aperture

of f/22. He steadied

his camera using

rocks, then waited for the wind gusts.

“Manipulating camera shutter speed to extend time, visually transformed

the appearance of these daisies from the literal into the poetic. In

this case, 1/15th second shutter speed was used to create motion blur.”

8 – Tamron Viewfinder/Summer 2008 Tamron Viewfinder/Summer 2008 – 9


to go

Metering For

sunrise & sunset

with Ken Hubbard

There are few phenomenons more amazing than the sunrise and sunset of our day.

Photographer Ken Hubbard has expertly photographed many and admits one of the most important

components to recording the end or beginning of the day is in how a shot is metered.

Since both conditions involved extreme contrast, metering is extremely important. For both sunrise

and sunset, I expose for the sky. In most cases, this will be the brightest part of your image.

Spot meter a fairly bright spot of the sky using the in camera metering system. This allows you to

keep detail in the sky and prevent overexposure. I often use a graduated neutral density filter that will

help keep the detail in the sky as well as preventing the shadows going completely to black.

For the Sunrise, I used a .9 Lee ND Filter to help keep the Teton Range in good exposure while

the foreground still has good detail.

The Sunset was relatively neutral, so no filters were necessary. I exposed for the sky close

to the moon, which created a nice exposure. I also bracketed 1 stop up and down to ensure an

accurate exposure. With a scene such as this you can use “matrix” (Nikon) metering which takes

the overall image values and determines a good exposure. This works because there is not an

extreme amount of contrast.

Sunset 1

Sunrise 1

canyon x

To shoot an image as challenging as Canyon X, take an exposure for the hi-light area and just

expect the shadows to go to black. The contrast ratio is too extreme for camera sensors or film

to handle. I usually take a meter reading in aperture priority (F/16 or better for a good depth of

field), then switch to manual and bracket at a minimum of 1 stop up and down.

When shooting in slot canyons, always keep the sky out of the image, in order to capture the

spectacular oranges, yellows and reds. This will allow you to shoot the finer details with less

contrast and keep a more balanced exposure. Take your exposure readings on the highlights and

the shadows will fall into place. Take plenty of pictures using multiple exposures, this will insure

images you will love when you get home.


Age Group:

❍ Under 25

❍ 25-34

❍ 35-44

❍ 45-54

❍ 55-64

❍ Over 65







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.

Answer A Few Questions:

What camera(s) do you own?

❍ Canon

❍ Nikon

❍ Pentax

❍ Sony

❍ Konica Minolta

❍ Fuji

❍ Film Model

What would you like to see featured in upcoming issues

of Viewfinder? ( Pleae check all that apply.)

❍ Pro Photographer Profiles ❍ Reader Profiles

❍ Product Spotlights ❍ Lighting Tips

❍ Photoshop Tips ❍ Travel/On-Location

❍ Pet Photography ❍ Portrait Photography

❍ Sports Photography ❍ Contests

❍ Wedding Photography ❍ New Product News

❍ Special Events Photography

❍ Other

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 July 31, 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.

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


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


(200 prizes)


(50 prizes)

Share •Russ Fortson

The Art of



When your day job is focused on sending astronauts into space,

it is easy to have a view of the world that is wide open. That is

the expanded perspective of award-winning photographer Russ

Fortson who spends his days at NASA and his free time documenting the

places he is fortunate to visit.

Armed with his Pentax K100D camera and his Tamron AF18-250mm

F/3.5-6.3 Di-II LD Aspherical (IF) Macro, he and his family have set out on

summertime adventures that span the globe. His unique images have their

own stories to tell, but even in his fervor to capture a specific scene, he is

conscious that his family has their own agenda - fun! And, waiting for Dad

to set up a shot is not an option, so his camera equipment must be versatile

and offer a variety of options.

“The Tamron 18-250mm lens is the perfect family vacation lens,” says

Fortson. “I don’t want to inconvenience anyone. With its all-in-one zoom, I

can get the shots I want, and my family doesn’t have to wait on me to change


Washington, DC is a great family destination. In his image of DC at Night,

Fortson set the aperture at f/8 to get a little more depth of field and used the

aperture priority mode. His focal length was 155mm @ 1.6 sec. He used

his spot meter to meter off of the Capitol and set the ISO to AUTO which

captured the glowing light from the windows of the dome at ISO800.

“Spot metering helps to set the correct exposure on the point of interest.

The Capitol was the main focus of the photo,” he says.

Most photographers will insist on using a tripod, especially for dark shots

that require a longer shutter speed. Fortson does not travel with a tripod,

because of his need to “keep up” with his family. He suggests even night

time shots can be sharp with a little ingenuity.

“I can still get low light shots by handholding and looking for stationary

objects on which to brace my camera. A stop light pole on a traffic island

allowed me to shoot the night time shot of the U.S. Capitol.”

His Lima Cathedral image was also taken with very little natural light. He

compensated using ISO800 and a wide open aperture of f/3.5 @ 1/40 sec.

“The symmetry of the shot was important to me.” He stabilized the camera

and lens on a chair and shot the scene at a focal length of 18mm.

“In dimly lit cathedrals, flashes aren’t typically allowed, and I feel they

would change the look of the scene as I see it anyway. Here, look for the

back of a chair or pew for bracing. Another trick is to shoot at a wider

focal length, as the camera shake will be less

pronounced. Boost your ISO to increase shutter

speed which reduces the effect of camera


He also advises shooting a burst of 3-4 shots.

“Typically, the second or third shot will be the


Perhaps the most difficult shots to craft happen

in tourist spots that draw hundreds, if not

thousands of people.

“Sometimes indoor attractions are packed

and it’s really hard to get good shots.” Fortson

suggests changing perspectives and looking for

different angles.

“For my aquarium shot in the glass tunnel,

I stood against the wall which took the crowd

out of one half of my picture. By taking the shot

from the side of the crowd, the railing created a

“trail” from the edge of the picture towards the

center of the shot, helping to draw the viewer’s

attention into the photo.”

One rule that he usually holds fast to for capturing

images on the run is to set the camera to

Aperture Priority.

“Aperture Priority mode is handy. Changing

the aperture probably has the greatest effect

on the final look of the shot by changing the

depth of field. Using the semi-automatic modes

helped me take the aquarium photo quickly.”

The all-in-one zoom’s focal length was set

to 18mm with an aperture of f/8 @ 1/13 sec.,

with ISO 800.

The crowds can also be displaced by simply

bringing the lens down and shooting upward.

This was the technique he used for Pioneer


“I wanted to capture a timeless shot,” says


To the viewer, it appears to be an abandoned

cabin set among the beauty of hundreds of

wildflowers. It is actually a working farm and a

well-visited destination. By getting down low in

the field, he eliminated the telephone poles and

cars parked beside them. To create a shallower

depth of field, he used an aperture of f/10 @

1/500 sec, focal length of 93mm and ISO200.

His photo of the Peruvian Mother and Child

was taken at the base of Machu Picchu. This

magnificent “Lost City of the Incas” is visited

by more than 400,000 people annually. Though

crowds can be overpowering, Fortson focused

on a different image during his trip to Peru.

“Kids are alike everywhere,” he says. He was

drawn to the young child humming along as

her mother carried her across the market.

“I held up my camera and smiled.”

The woman and the resulting image is a

colorful display of rich blues, reds and pinks as

well as the distinctive smiles on the subjects.

The cloudy day created a dark pall over the

market. ISO800 helped to brighten the image,

though he admits ISO400 would probably have

worked just as well. He used a focal length of

43mm @ 1/100 sec.

Family vacations offer a great haven for the

avid photographer. Fortson’s biggest tip is to

consider different angles for a shot.

“At Disney World, look for the moon rising

over the Mission Space exhibit. At the museum,

shoot the popular statue from behind to capture

all the other tourists shooting from the front.”

Also, make sure your camera gear and lens

travel well and are versatile. Tamron creates

the best in lenses that bring the world’s most

spectacular scenes in focus.

quick tips for the traveler

1. Look for different angles for your shots. Take the shot from down low, from

behind the crowd, or above the crowd. Be on the lookout for these opportunities.

2. Brace yourself and get the shots. Use a chair, pole, or fence to brace your

camera and lens when shooting to stabilize the shot then shoot in a burst of 3-4


3. Know the customs of street photography. There's a debate among photographers

about tipping the locals when photographing them, but Russ finds the

small amount I may pay is easily offset by the enjoyment I get out of the shot


4. Use a lens with a variety of focal lengths. The Tamron all-in-one-zoom is wellsuited

for a wide range of opportunities, it is easy to carry and offers numerous

opportunities to capture a scene, close up or far away.

5. Look for close up "macro" shots. The Tamron 18-250 lens focuses within 18"

throughout the entire focal length range. At 250mm, you can emulate a macro

lens, allowing you to take large shots of small items. Architectural details are also

nicely captured with the macro function.

12 – Tamron Viewfinder/Summer 2008 Tamron Viewfinder/Summer 2008 – 13

Share • Sandra Nykerk


Great Outdoors

Zion Pothole: Aperture: f/22, Shutter Speed: 1/4, FL: 28mm

What place is more popular than any other when

it comes to visits or attendance? The answer is

America’s national parks and historic sites. In

2007, more than 275 million visits were recorded

in America’s national park system.

“With all the recreation choices available, national parks still draw

more visits than Major League Baseball, the National Football League,

professional basketball, soccer and NASCAR combined,” said National

Park Service Director Mary A. Bomar.

Professional photographer and Montana resident Sandra Nykerk

is fortunate enough to live on the Northern Boundary of Yellowstone

National Park and has spent decades photographing the unique and

distinctive beauty of America’s first national park and offers Tamron

Viewfinder readers tips on taking great photos in the wild. Her

cameras are Canons. Her lens of choice is Tamron. In this series of

photos she used the AF28-200mm F/3.8-5.6 XR Di Aspherical (IF)

Macro with the exception of the White Dome Geyser where she used

the AF18-200mm F/3.5-6.3 XR Di-II LD Aspherical (IF) Macro. All

White Dome Geyser: Aperture: f/8, Shutter Speed: 1/125, FL: 35mm

images were shot with only natural light.

“I love the all-in-one Tamron zooms because of their unique perspective

and versatility,” says Sandra.

14 – Tamron Viewfinder/Summer 2008


When shooting scenics, Sandra likes to use the smallest aperture

in order to get the most depth of field. For White Dome

Geyser, however, she used an f/8 aperture because she needed a faster

shutter speed in order to freeze the water droplets in the air.


Also for landscapes, she uses very low ISO to minimize noise

and create sharp, crisp images. All images in this series were

captured using ISO 50 film with the exception of White Dome Geyser,

which was captured using a digital camera with ISO 100.


For several shots in this series she used a polarizer on her

Tamron lens in order to reduce glare and saturate the colors. A

polarizer can diminish the gray reflection, but Sandra cautions, however,

that these filters can be easily overused, making a beautiful blue

sky appear dark and black.


Don’t forget to take some shots that include friends and family.

You may beam with pride at that perfect image of Yosemite

Falls, but says Sandra, “It will be the picture of your children playing in

the creek that you’ll treasure most in 30 years!”


Lower Falls of the Yellowstone: Aperture: f/16,

Shutter Speed: 1/15, FL: 150mm

Sandra also cautions, “Don’t load yourself down with too much

equipment. Tripods are necessary for long exposures of landscapes

or for macro photography or if you are shooting wildlife with a

long lens. But zoom lenses are great and the new Tamron VC lens with

vibration compensation technology can substantially lighten your load

while also adding the advantage of being able to shoot handheld at

much slower shutter speeds and still obtain sharp images.”

Lastly, have fun and enjoy the great landscapes that America has to offer.

No permits are necessary when shooting in areas open to the public.

For more tips on shooting America’s great

parks, log onto



It’s summertime and with that comes trips to the beach. Sand and

moisture can render your camera and lens useless. Consider these

careful tips offered by Hilton Head Island’s Premiere Photographer

Geoffrey Hobbs who has spent more than a decade capturing the

sand, sun and water in South Carolina’s beautiful lowcountry.


Keep your camera and lens in a large sealable plastic storage

bag. Bring it out only when you are shooting. Don’t lay the camera on your

towel or loose in a beach bag. If all you have is a plastic grocery bag, wrap the camera

in a small towel and put that in the grocery bag.


Changing lenses on a breezy beach leaves your

camera vulnerable to dust, sand and moisture

being blown inside. A good lens for a day with the family on the

beach is the Tamron AF18-250mm Di II zoom, wide enough to shoot

groups and a nice long telephoto for tight face shots and candids.


If you want to shoot a nice beach portrait of the

family in the early morning light, be sure to use

your flash. When the camera is pointed toward the sun, the meter is

overpowered by the bright sun and your subjects will be left in the dark.

Pop up the built in flash to kick in some light on your subject. You will get a

nicely balanced photo of the sunrise and the subject. (Photos right.)


Try something different while on your morning

photo trek. Take the white balance setting off automatic and

try different settings to see what effect they have on the image. Using a

tungsten white balance in natural light

gives you a beautiful cool blue. You can

also use the cloudy white balance to

warm things up. (Photo left.)


Learn • Top 5

Photography Tips

Early morning is a good

time to throw your

long zoom on the camera

and shoot birds and other

natural sights. The Tamron

28-300 f/3.5-6.3 XR VC Di Macro or

the 70-200 f/2.8 Di LD Macro lenses

are perfect for those early morning

sessions. (Photo right).

from Geoff Hobbs

For additional tips for shooting the beach,

visit us online at Tamron Viewfinder/Summer 2008 – 15

Learn • Emily Wilson

Learn • Ken Hubbard


As we age, it is often difficult to remember

the energy and curiosity we possessed

as children. Creating a record

of family events are often comprised of posed

images, diluting the enthusiasm that actually

surrounds an outing or special occasion.

Professional photographer Emily Wilson

16 – Tamron Viewfinder/Summer 2008

Breaking the Rules

offers advice on ways to capture the excitement

and exhilaration of a simple family picnic in the

frame of your Tamron lens.

For all of the photos she used her Canon

5D and the Tamron AF28-300mm Di VC

(Vibration Compensation) Macro zoom lens,

the perfect lens for taking spontaneous

family images without blur.

“For the Family Portrait, I actually

set up the camera on a tripod, using

the self timer mode and then let each

child have a turn pressing the shutter

and running into the frame. The

kids loved it and gave the photos a

very spontaneous energy.” The focal

length was 65mm with an aperture

of f/6.3 @ 1/80 sec with ISO 250.

Curiosity is a trademark of youth.

“While the little girls were playing

in the grass, I went over and set the

camera down on the ground and

angled it slightly upwards. I said, ‘Hey, are

you looking for bugs?’ They had quite a

giggle smiling for the ‘camera bug’.”

Emily Wilson’s creativity and ingenuity

have created some expert shots using

household objects, crafts and toys to

frame a shot. For the Camera Bug shot,

she used violet-colored plastic wrap

from the picnic lunch, placing it over

the lens and keeping it secure with a

rubber band.

“The results were pretty cool. It actually

softened the direct sunlight and

gave the photo an interesting rose colored

tint.” The focal length was 39mm with an aperture

of f/4.5 @ 1/125 th sec with ISO 250.

Interesting images can be framed using a different

angle. “For the hula hoop shot, I wanted

to show how different perspectives can make

play shots more interesting. This shot was made

possible by the range in focal length of the VC

lens.” The focal length was 28mm with an aperture

of f/5 @ 1/160 th sec with ISO 250.

Another great way to frame a photo is shooting

through an object such as opening the

bottom of a lunch bag and shooting up towards

little faces peeking in. It shows the energy and

spirit of youth and their constant curiosity.

Shooting into the sun is not a technique often

used by photographers, but for the image of the

girls walking into the sunset, it creates a surreal

kind of shot that reflects what is happening –

the day is done. “I love this one and I was able

to capture it from really far away! Unplanned,

the girls just walked off into where the sun was

setting.” The focal length was 200mm with an

aperture of f/13 @ 1/100 th sec. The Vibration

Compensation was turned on for this shot in

order to eliminate camera shake which would

have been inevitable by shooting at a shutter

speed lower than the focal length. (*See page

2 for an explanation of the Reciprocal Rule.)

Just as family can be candid and unpredictable,

consider the wide range of options a lens like

the Tamron 28-300 VC offers when capturing

moments in time. Using innovative frames or

homemade filters can provide surprising and

unpredictable results and reflect energy that is

present in togetherness.


Photographer Ken

Hubbard spent

time recently capturing

the energy and

excitement of a family

outing. Hubbard suggests

fun, candid shots using

several angles that retell

the story of a special day.

“Part of creating an

1. interesting, visual story is

taking pictures in many

different ways throughout the day. Don’t just stand and

shoot. Get low to the ground or shoot from overhead.”

The camera lens that helped to chronicle this story

was the Tamron AF28-300mm F/3.5-6.3 XR Di VC

(Vibration Compensation) LD Aspherical (IF) Macro,

an all-in-one lens that created beautiful wide angle shots

as well as unique telephoto images. The perfect lens

for any photographer is a light, easy to use lens with an

expansive zoom like the VC that can stay on the camera

throughout the day, ready to shoot at will and offer a

vast array of focal lengths. The 28-300mm’s vibration

compensation mechanism is an added bonus that takes

the blur out of any hand-held shot and is exceptional for

low-light photography.

A hole in one! The young boy intently looks on

to see the outcome of his putt. “I wanted to capture

the hole, the ball, and my subject in one in interesting

shot,” says


In Image 1,

he got low to the

ground to reflect

the action. He

used a focal

length of 28mm,

ISO 125, and an

aperture of f/10


@115 sec. The child’s eyes and smile tell the

whole story.


In any outdoor shot, the sun can often get

in the way of a good photo. “On sunny days at

an amusement park, you will always get hard

shadows across your subject’s face or squinting

eyes because they are looking directly at

the sun.”

Hubbard minimized this challenge by finding

a shaded area with soft, equal light. “In the

case of Image 2, I found a nice textured wall

for a background and bamboo fencing that

added to the picture and made it more interesting.”

Set your camera’s white balance to shady for photos out

of the sun like this one or there will be a bluish cast to your


Action! It is another byproduct of fun and often a difficult

shot if your subject keeps moving. In Image 3, the

bumper boat is on the move, but it remains a crisp, clear

image. In fact, the only suggestion of movement is in the

mother’s hair.

“This is an example of capturing some action using

higher shutter speeds. Since it was such a bright day, I was

able to shoot at f/8 @ 350sec. Another place you will want

to use very high shutter speeds is on the sports field; the

faster the subject the faster the shutter speed.”

Summer & amusement parks seem to go

hand in hand and it is often difficult to

determine who is having the most fun –

the parent or the child.


Fun Gathering


• Use different angles to capture the

fun. Don’t just shoot straight on.

• Find different settings out of the

harsh rays of the sun to diminish

shadows and squinting.

• Employ higher shutter speeds to

capture the action without blur.

The faster the subject, the higher

the shutter speed.

Tamron Viewfinder/Summer 2008 – 17

Inform • 2008 Photo Contests

What Makes a

Winning Photo;

A Tamron Lens, of course!

Win this


AF28-300 VC

(Vibration Compensation)

Prize Valued at $599 (average price)

Photo Contest 1

Photographing the Natural Wonder of Water


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 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

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 -


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 with up to 20 of our favorites.

Photo Contest 2

The contest is judged by Professional Photographer André Costantini and Guest Judge

and Professional Photographer, Emily Wilson.

View full contest rules at

18 – Tamron Viewfinder/Summer 2008

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