CandICe StrIngham

Sharpen the Shot

ruSS FortSonTravels with Dad

Sandra nykerkAmerica Through the

Tamron Lens

RichaRd MaRtinStudies in Light

© Richard Martin

ViewFinderSummer 2008

EntEr Our 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 appre-

ciate 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 aesthetic.

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 pho-tography. 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.

Sincerely,

Tak InouePresident, Tamron USA

Tamron Viewfinder is produced for Tamron USA, Inc. by CSJ Media, Inc.Custom Publishing Dept., Hilton Head Island, South Carolina.

Editor: Ann Scott

Viewfinder Readers:Dear

2 – Tamron Viewfinder/Summer 2008 www.tamron.com

Inform • Welcome

contentswhat’s inside

www.tamron.com Tamron Viewfinder/Summer 2008 – 3

Snapshots • Inform

Tamron announces to Viewfinder ReadersNEWS IN focuS

• snapshots 3Expert Knowledge

• spotlight 4-5Candice StringhamKeeping it Sharp

• inspire 6-9Richard Martin In Search of the Aesthetic

• tips to go 10Ken HubbardSpot Metering a Sunrise & Sunset

• survey 11Win a Tamron 28-300mm VC lens

• share 12-13Russ FortsonThe Art of Capturing Adventure

• share 14Sandra NykerkSeasonal Showcase: America's Great Outdoors

• learn 15Geoffrey HobbsBeach Photgraphy

• learn 16-17Emily Wilson: Breaking the Rules for Family PhotosKen Hubbard: Photographing Fun

• inform 18– 2008 Photo Contests

The RecipRocal RuleThe Reciprocal Rule is a well established guide to help photographers deter-

mine the slowest shutter speed they can use shooting handheld and still main-taining 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.

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.

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 dem-onstrate 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.

In the world of photography, learning is a constant. Have you ever considered tak-ing 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 capa-bility, 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 profession-als 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 Center.

The Tamron Learning Center is constant-ly being updated with information on new trends, products and techniques provided by some of the world’s most celebrated photog-raphers.

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.

The Experts Speak: The Tamron Learning Centeris a Photographer’s BesT Online Resource!

If you lIve In any of the followIng areas, a tamron photographIc workshop

Is comIng to you!

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!

Roy Toft Don Gale

frAmE thE WorLd IN your tAmroN LENStamron presents the 2008 in-tHe-field PHoto WorksHoPs taught by some of the world’s most celebrated photographers.

log onto tamron.com to learn more. WorksHoPs sell out fast!

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• Milwaukee, WIThere 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.

“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 1/15th sec. “It was a long exposure. I metered the couple’s face, and then moved back. You usually shouldn’t go below 1/60th 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 1/400th 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 smil-ing 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 1/50th 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 build-ings, then you can zoom in and use it for beautiful portraits. It is a great overall lens.”

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

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 begin-ning of her career more than 10 years ago. Today, her profes-sional 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 spe-cialty. 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 pic-tures 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.

Spotlight • candice Stringham

www.tamron.com4 – Tamron Viewfinder/Summer 2008 www.tamron.com

Keeping it Sharp with the Tamron VC Lens

1. Meter on the eleMent that is Most iMportant. let the rest of the light fall where it may. it will make for a dramatic portrait while still lighting what is most

important.

2. Use the lens! try different focal lengths to get a different feel in the photo. it’s nice because you don’t even need to move to do it!

3. Don’t be afraiD to zooM in. Use the 300mm end of the lens when you want 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 background.

Tips on Creating Great Photos with the Tamron VC

Photo Diversity:

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 deconstruct-ed 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 con-structed of fabricated steel frame clad with tita-nium, 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 grav-ity 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 dis-tance 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 zoom.

For Image 2, Martin used the aperture prior-ity 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 design.

“Choosing a lens is one of the most fundamen-tal 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' abil-ity to distort perspective, alter reality, and isolate subject through focus and depth of field is essen-tial to the process of creating good expressive images.”

THE ITALIAN LANDSCAPEIn Image 3, Martin positioned his camera and

lens on a tripod several feet from this Sicilian landscape. He used the Tamron 70-200mm tele-photo 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 foreground.

“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-of-focus 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 @ 1/90th sec created an image of swimming color and dynamic geomet-ric movement.

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 @ 1/60th 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 pow-erful — affecting how we will feel in a space and shaping how we will react to a particular design,” 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, hon-est 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 Tamron.

“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 gra-phos, directly translated as “light draw-ing”, 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 maga-zines. He is a lecturer as well as a teach-

Inspire • richard martin

www.tamron.com Tamron Viewfinder/Summer 2008 – 76 – Tamron Viewfinder/Summer 2008 www.tamron.com

RichaRd MaRtin: in Search of the aesthetic1.

2. 3.

www.tamron.com Tamron Viewfinder/Summer 2008 – 9www.tamron.com

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 @ 1/45th 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 rep-etitions make a graphic state-ment,” 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 @ 1/180th 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

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 aper-ture of f/22. He stead-ied his camera using rocks, then waited for the wind gusts.

“Manipulating camera shutter speed to extend time, visually trans-formed 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.”

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 struc-tures 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.”

8 – Tamron Viewfinder/Summer 2008

1. FOCAL LENGTH IS WHAT COMPLETELy AFFECTS THE DESIGN OF THE PHOTOGRAPH. Developing an acute awareness of 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.

2. 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.

3. 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.

tipS for capturing the aesthetic

4.

5.

6.

7.

with Ken Hubbard

Metering Forsunrise & sunset

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.

AF28-300mm F/3.5-6.3 XR Di VC (VibRAtion CompensAtion)

Camera shake can ruin your photos, particularly at telephoto or in low light. Tamron’s state-of-the-art Vibration Compensation mechanism incorporated into the award-winning 28-300mm zoom gives you blur-free hand-held images for incredible results! Finally, the technology you need in the lens you want.

See the lenS In aCtIon at www.tamron.Com

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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

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.

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 lenses.”

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 cam-era 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

Share •russ fortson

www.tamron.com Tamron Viewfinder/Summer 2008 – 1312 – Tamron Viewfinder/Summer 2008 www.tamron.com

focal length, as the camera shake will be less pronounced. Boost your ISO to increase shut-ter speed which reduces the effect of camera shake.”

He also advises shooting a burst of 3-4 shots. “Typically, the second or third shot will be the sharpest.”

Perhaps the most difficult shots to craft hap-pen 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 view-er’s attention into the photo.”

One rule that he usually holds fast to for cap-turing 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 Farms.

“I wanted to capture a timeless shot,” says Fortson.

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.

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 images. 3. Know the customs of street photography. There's a debate among photog-raphers 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 later. 4. use a lens with a variety of focal lengths. The Tamron all-in-one-zoom is well-suited 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.

quick tips for the traveler

The Art of

Capturing

Adventure

www.tamron.com Tamron Viewfinder/Summer 2008 – 1514 – Tamron Viewfinder/Summer 2008 www.tamron.com

“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

images were shot with only natural light.“I love the all-in-one Tamron zooms because of their unique per-

spective and versatility,” says Sandra.

1. When shooting scenics, Sandra likes to use the smallest aper-ture 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.

2. 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.

3. 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, how-ever, that these filters can be easily overused, making a beautiful blue sky appear dark and black.

4. 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!”

5. Sandra also cautions, “Don’t load yourself down with too much equipment. Tripods are necessary for long exposures of land-

scapes 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.

Learn • top 5

5 Beach Photography Tips

from Geoff HobbsIt’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.

1. KEEP YOUR CAMERA AND LENS IN A LARGE SEALABLE PLASTIC STOR-AGE 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.

2. 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.

3. 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.)

4. 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.)

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).

For additional tips for shooting the beach, visit us online at Tamron.com.

For more tips on shooting America’s great parks, log onto Tamron.com

Share • Sandra Nykerk

America’s Great Outdoors

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

Lower Falls of the Yellowstone: Aperture: f/16, Shutter Speed: 1/15, FL: 150mm

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.

Photographer Ken Hubbard spent time recently cap-

turing 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 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 interest-

ing shot,” says Hubbard.

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 squint-ing eyes because they are looking directly at the sun.”

Hubbard minimized this challenge by find-ing 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 image.”

Action! It is another byproduct of fun and often a dif-ficult 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.”

Learn • Ken hubbard

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. F

UN

Tamron Viewfinder/Summer 2008 – 17www.tamron.com

Learn • Emily Wilson

As we age, it is often difficult to remem-ber the energy and curiosity we pos-sessed as children. Creating a record

of family events are often comprised of posed images, diluting the enthusiasm that actu-ally surrounds an outing or special occasion. Professional photographer Emily Wilson

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 shut-ter 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 actu-ally softened the direct sunlight and

gave the photo an interesting rose colored

tint.” The focal length was 39mm with an aper-ture of f/4.5 @ 1/125th sec with ISO 250.

Interesting images can be framed using a dif-ferent 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 aper-ture of f/5 @ 1/160th sec with ISO 250.

Another great way to frame a photo is shoot-ing 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 @ 1/100th 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.

16 – Tamron Viewfinder/Summer 2008

Breaking the Rules

Fun GATheRInG TIPs

• 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.

photographing

1.

2.

3.

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

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

What Makes aWinning Photo;

A Tamron Lens, of course!

emoTional appeal

wIn thIS lenS!

aF28-300 VC(Vibration Compensation) Prize Valued at $599 (average price)

Photographing the natural Wonder of Water

Here’s your chance to show off your photography muse. Submit your most creative image for Tamron’s 2008 Photo Contest -

EMOTIONAL APPEAL Send us your favorite photo that expresses a human emotion:

happy/sad/tired/mad - or any other human emotion.

The Photo Contest Grand Prize Winner will receive a magnificent Tamron AF28-300mm XR VC (Vibration Compensation) Di zoom lens for a Canon or Nikon Digital SLR camera.

Plus, the winning image will be showcased in the Tamron Online Gallery in the Learning section of tamron.com with up to 20 of our favorites.

The contest is judged by Professional Photographer André Costantini and Guest Judge and Professional Photographer, Emily Wilson.

View full contest rules at www.tamron.com/lenses/scrapbook.asp

Pho

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test 2Inform • 2008 Photo contests

DEADLINE: OCTOBER 31, 2008

DEADLINE: NOvEMBER 30, 2008

Photographing Human emotions