Studies in Light
Sharpen the Shot
Travels with Dad
America Through the
Enter Our 2008 Photo Contests
© Richard Martin
Inform • Welcome
• snapshots 3
• spotlight 4-5
Keeping it Sharp
• inspire 6-9
In Search of the Aesthetic
• tips to go 10
Spot Metering a Sunrise & Sunset
• survey 11
Win a Tamron 28-300mm VC lens
• share 12-13
The Art of Capturing Adventure
• share 14
America's Great Outdoors
• learn 15
• learn 16-17
Emily Wilson: Breaking the
Rules for Family Photos
Ken Hubbard: Photographing Fun
• inform 18
– 2008 Photo Contests
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.
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 www.tamron.com
Snapshots • Inform
Tamron announces to Viewfinder Readers
NEWS in focus
New Video DOWNLOADS Attract
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.
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 Tamron.com.
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
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 Tamron.com to learn more. Workshops sell out fast!
is a Photographer’s
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 Tamron.com.
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 Tamron.com and choose
from nearly 100 topics.
www.tamron.com 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 www.tamron.com
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
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
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,”
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,”
6 – Tamron Viewfinder/Summer 2008 www.tamron.com
www.tamron.com Tamron Viewfinder/Summer 2008 – 7
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
“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
www.tamron.com Tamron Viewfinder/Summer 2008 – 9
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.
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.
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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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authorized Tamron dealer
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Cap (20 prizes)
TAMRON Lens Cleaning
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
“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 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 www.tamron.com
www.tamron.com Tamron Viewfinder/Summer 2008 – 13
Share • Sandra Nykerk
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 www.tamron.com
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 Tamron.com
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
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.com.
www.tamron.com 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
“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.
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
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
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
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
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
“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.
• 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
A Tamron Lens, of course!
Prize Valued at $599 (average price)
Photo Contest 1
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
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.
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 www.tamron.com/lenses/scrapbook.asp
18 – Tamron Viewfinder/Summer 2008 www.tamron.com