Spring 2018 MAGAZINE Issue 2 ·

TIPS FOR SPRING MACRO Tamron Pros talk about their adventures in capturing the amazing world of 1:1 .

Cover image by Monica Royal with the Tamron SP 90mm F/2.8 Di VC USD Macro 1:1

NEW ULTRA-TELE 100-400mm A WINDOW TO ANOTHER WORLD Heavyweight performance in a lightweight Meet TJ Drysdale and fall in love with his Ultra-Tele Zoom otherworldly landscapes ©Kristofer Rowe : 340mm : F/6.3 1/2000sec ISO: 800

WELCOME

© KIM YOUNG © KIM CONTENTS 6 NEWS 70-210mm F/4, 28-75mm F/2.8 full frame E-Mount 8 TAMRON TOURS PRESENTS Get the scoop on our new workshop series for 2018 10 PRACTICE SPECIAL: MACRO PHOTOGRAPHY Pros share their tips for creating beautiful close-up images 16 TOP FEATURES Get to know the new 100-400mm VC 18 EXCURSION RC Concepcion takes us on a tour of Dubai’s iconic cityscape 22 IN ACTION Cecil Holmes horses and more in the Grand Tetons 28 HOW TO: KIDS’ PHOTOS Marcie Reif discusses her top tips for capturing traditional and candid portraits 30 INTERVIEW Meet TJ Drysdale and fall in love with his otherworldly landscapes 34 PRACTICE: Tips for capturing IR images in the digital age with Russell Hart Dear Readers, 36 PRACTICE: POSING & LIGHTING We want to thank everyone who read through our first issue last Image Master Erik Valind shares how he creates impactful environmental November and gave us your valuable feedback. Please continue to portraits let us know how we are doing by posting on Instagram or Twitter 40 MY PROJECT You’re never too far from a great close-up. using the hashtag #tamronusamagazine. This issue, we are Erica Robinson meets and photo- getting you ready for spring blooms and the awakening of tiny graphs people around the world Discover the next generation ultra-telephoto creatures with our Macro Photography Special. See tips from a 42 MEET THE MACRO PROS

PHOTO BY: SYDNEY FLEM SYDNEY BY: PHOTO great group of pros specializing in capturing the world at 1:1 Read bios for each of our macro from Tamron. (pictured above is Kim Young’s amazing ) starting on page 10. Be sure to special contributors check out the two latest products announced by Tamron just last month. And read all about or new VIP Club for owners of multiple unique Tamron lenses, as well as our just announced 2018 workshop series tour. News starts on page 6. Our interview with TJ Drysdale is sure to inspire. And we go old school with a tutorial by Russell Hart on . Enjoy the Spring issue and we will be back with more inspiration and practice articles in Summer issue out in June. P.S. Missed our first issue? Email [email protected] with your mailing address to receive a copy while supplies last. FOLLOW US: FACEBOOK tamronlensesusa SP 150-600mm INSTAGRAM @tamronusa F/5-6.3 Di VC USD G2 TWITTER @tamronusa (Model A022) For Canon, Nikon and Sony* mounts Sincerely, Di: For Full-Frame and APS-C format DSLR *Sony mount model without VC TAMRON NEWS Get news, interviews, photo tips and more twice a month. Visit Tamron at Stacie Errera www.tamron-usa.com to sign up Vice President, Marketing & Communications ONLY AVAILABLE AT YOUR AUTHORIZED www.tamron-usa.com TAMRON USA RETAILER Tamron Magazine 3 www.tamron-usa.com HIGHLIGHT

JONATHAN THORPE Jonathan Thorpe is a commercial and editorial photographer in Washington DC. His blend of storytelling and unique lighting combine to create scenes of hyper-realism. Jonathan left his career in optometry to pursue his love and passion for photography, and has since never looked back. When not shooting, he also enjoys building and riding vintage motorcy- cles and a good slice of pizza. www.jthorpephoto. SP 24-70mm com F/2.8 Di VC USD G2

Tamron Magazine 5 NEWS of 1:3.1 andtheshortest-in-class MOD maximumin-class magnification ratio boasts action. thehighest- Thelens into easier spring tocarryit and instantly morecompact (onlyis 6.8 in.) making lighter(just30.3 oz.)new A034is and the telephotozoomlenses, .and Compared excellent tolarge overdepth-of-fieldsuperior control maximum aperture ofF/4,providing Model A034featuresa constant zoom range resolution throughout theentire performance withhighcontrast and DSLRs thatachieves superboptical telephoto zoom lensfor full-frame VC USD(Model A034) isacompact Tamron’s new70-210mm F/4Di 70-210MM F/4DIVCUSD REACH OUTANDCAPTURETHEBEAUTY 70-210mm f/4Di VC USD·210mm ∙1/250sec.·f/5.6ISO1600 6 Tamron Magazine filters mucheasier. makes theuseofpolarizing element and front thenon-rotating feeling, a veryrobustanddesign provides sturdy the overalllengthneverextends. This impossiblebecause “zoom creep”is stable use and operation. So-called more and ofgravity providing center the changesin thereby minimizing , doesnotchangeduring lens lengthofthe thephysical mechanism, zoom highlyreliableinternal its With atelephoto zoom. flowers whileusing close-up images ofsmall objectslike enables photographers tocapture of 37.4”. distance The shorter working (Model A034)

• 1:3.1maximummagnificationratio • Full-timeManualFocusoverridemechanism • USDAFsystemprovidesexcellent • Outstanding4-stopVCImageStabilization • High-speedDualMPU(Micro-ProcessingUnit) MAIN FEATURES: • DesignedforCanonandNikonmount fullframe • OptionaltripodmountcompatiblewithArca- • CompatiblewithTAMRON TAP-in Console • CompatiblewithTamron teleconverters • Moisture-ResistantConstruction • FluorineCoating responsiveness andfast,precisefocusing and APS-CDSLRs Swiss stylequickreleaseplates and 37.4”MOD

© ALEXANDER AHRENHOLD dynamic wideangle expressions thanks thanks expressions wideangle dynamic Photographers unprecedented can enjoy background blureffects(bokeh). andbeautiful imagequality outstanding both including performance, optical The newmodelA036delivers superb formats. DSLR andothermirrorless for lenses toits addition cameras, in forfull-frame mirrorless lineup lens to furtherexpandandimproveits plans A036)— Tamron’s signaling 28-75mm F/2.8 DiIIIRXD(Model cameras— the full-frame mirrorless forSony’s speed standardzoomlens ofa newhigh- the development On February 22,Tamron announced cameras lens for full-frame Sony mirrorless of afast aperture standard zoom Tamron announcesthedevelopment 28-75MM F/2.8DIIIIRXD(ModelA036) FAST APERTUREZOOMFORSONYFULL-FRAME 28-75mm f/2.8DiIIIRXD·75mm∙1/40sec.f/4.0ISO100 © ITSUKA YAKUMO experiences. comfortableuser that ensure functions take fulladvantage oftheadvanced newzoomto this cameras, enabling (DMF)”systemfeature of Sony Manual the“Direct compatible with A036is and Inaddition, debris. tofingerprints highlyresistant that is Coating Fluorine plus hydrophobic outdoor photography, helpfulin is that Construction Moisture-Resistant also use. features Thelens for video perfect remarkable it quietness,making operates with motorunit stepping Drive) stepping (Rapid eXtra-silent system. TheRXD AFdriving and precise an all-newincorporates high-speed 19.4and weighing oz. ModelA036 only4.6”light weight,measuring compact sizeand byits are enhanced Usefulnessandversatility setting. to anMODofjust7.5” atthe28mm • Compatiblewiththe“DirectManual Focus • Moisture-ResistantConstructionandFluorine • Excitingnext-generationdesignkeepingthe • All-new“RXD”steppingmotorAFunitis • Close-focusing;MinimumObjectDistance:7.5 • Comfortablylightweight19.4oz.andcompact • Superbopticalperformance,includingboth MAIN FEATURES: focus instantly switchbetweenautofocusand manual (DMF)” featurethatenablesSonycameras to Coating forweatherprotection brand consistencythatisergonomicallysuperb capture extremely quietandthereforeperfectforvideo position in atwideanglesettingand15.3”thetele 4.6 in” F/2.8 aperture background blureffects(bokeh),providedbyfast outstanding imagequalityandbeautiful DEVELOPMENT ANNOUNCEMENT

Tamron Magazine 7 NEWS NEWS TAMRON USA VIP CLUB Register your Tamron lenses towards 2019 VIP status and reap the rewards

amron USA’s new VIP Club T rewards users who have registered their eligible Tamron lenses through our online warranty registration system since May 2011. There are three VIP Club levels: Silver for those having registered four purchased lenses; Gold for those having registered five purchased lenses; and Platinum for those having registered six or more purchased lenses. Club membership will be evaluated each year to include new members who qualify and to increase the status level of current members if applicable. Get complete rules and program details at http://www. tamron-usa.com/vipclub. 1Certain exclusions apply, see website for rules and details.

SILVER GOLD PLATINUM PHOTOGRAPHIC WORKSHOPS Membership Membership Membership The all-new Tamron Tours Presents Workshop Series 2018 will take you Tamron owners who have purchased and Tamron owners who have purchased and registered Tamron owners who have purchased and registered six or more (6+) lenses during the time-frame of registered four (4) lenses during the time-frame five (5) lenses during the time-frame of May 2011 from classroom to field for an immersive learning experience. of May 2011 and January 15, 2018 are eligible May 2011 and January 15, 2018 are eligible for and January 15, 2018 are eligible for these 2018 these 2018 membership perks: for these 2018 membership perks: membership perks: † † • Welcome gift • Welcome gift • Welcome gift† • Tamron t-shirt† • Tamron magazine mailed 3X per year • Tamron t-shirt† amron hits the road again to advantage of local photographic opportu- • Tamron L.L. Bean™ Vest† • $50 bonus rebate towards any Tamron • Tamron magazine mailed 3X per year bring you a unique workshop nities. No matter what the subject, you lens • Tamron magazine mailed 3X per year T GET TO KNOW OUR TEAM • $75 bonus rebate towards any Tamron lens experience in every city we visit. will learn how to frame through your lens • 50% off one Tamron Tours event ticket • $100 bonus rebate towards any Tamron lens • 50% off two Tamron Tours event tickets The all-new workshop tour will kick off and make exposure adjustments to get the • 10% discount on non-warranty repair • 50% off three Tamron Tours event tickets* • Free pass to one Tamron Tours event in April and is slated to hit locations all results you want. All workshops include • Invitation to participate in VIP • Free passes to two Tamron Tours events* • 15% discount on non-warranty repair across the United States. Our team 1 �/� to 2-hour seminar, transportation Member contest • 20% discount on non-warranty repair • Invitation to participate in • Membership Card with lanyard consists of expert photographers that will to/from field workshop venue, loaner VIP Member contest • Lifetime Limited Warranty on any new lens purchase from year of Club induction present a 1 �/� to 2-hour seminar to lenses, welcome bag, tour tshirt, bonus • Membership Card with lanyard provide gear and photo tips on a hand- savings on Tamron lenses, lunch during • Free repair shipping of your lens to Tamron picked topic for the tour stop. The next workshop and more. The workshop dates, • Exclusive Tamron Photo Tips Hotline † day, jump in our supplied transportation locations and fees will be posted as they • Invitation to a Tamron Workshop Summit to visit a local venue. You’ll get hands-on are scheduled, so check out the tour • Free 2-week lens loaners instruction from our friendly and talented section of our website often. You can also • Invitation for chance to be profiled on website team of experts while also trying out any follow the Tamron Tours Facebook page Watch their videos and grab their • Invitation to participate in Tamron lens you like. Our team will (@TamronTours) where we hope you will social handles VIP Member contest provide a variety of experiences such as a post your workshop images. bit.ly/TamronTechTeam REGISTER YOUR TAMRON LENSES AT • Membership Card with lanyard scenic hike through a local park, a walk along busy city streets, a tour of the local bit.ly/RegisterLenses *excludes Tamron Workshop Summit † Gifts and The Workshop Summit are limited to once per life of the botanical garden, or a memorable trip Learn more at program regardless of any change in membership status through the city zoo, every stop taking www.tamron-usa.com/tamrontours.

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1 - FIND THE PATTERN

Spring is a great time to flowers and doing it in an unusual way can be very rewarding. Abstract macro photography can sometimes appear chaotic, so if you are going to fill the entire frame with the same subject matter try to find pleasing patterns for the viewers eye to land on. Adding layers, as you see in this image, not only creates TIPS FOR visual interest but allows the viewer to travel through the image and land on different points of interest. Remember the rule of thumb is that you can’t typically handhold the camera using a speed LESS than the focal length of the lens. At 1/40 of a second and using my 90mm Tamron Macro lens I’d always reach for my to ensure sharpness. Also, watch your lighting. Half of this rose bush was in direct SPRING MACRO sunlight but I wanted a more muted, softer feeling image so I PHOTOGRAPHY shifted my position to find a rose that was shaded.

Of all the different photography genres, few transport the viewer into new, unseen worlds quite like macro. By zooming in close to expose the intricate details of everyday objects, a macro photo shows us what our own eyes often miss unassisted.

1/200 sec. F/2.8 ISO 100 © Monica Royal

Tamron SP 90mm 2 - CENTER OF INTEREST f/2.8 Di MACRO 1:1 VC Creating a distinct center of interest can give your macro images a real wow factor. Especially if you adhere to the or apply Fibonacci’s golden ratio. These 2 crop ratio’s are really fun to play with. Try both of them side by side and see the subtle differences. In this image I chose to focus on the inside of the water drop. With the 90mm macro (my staple macro lens) I’m able to focus on the front, middle or back of the water drop. Choosing a center of interest and then furthermore choosing how much you allow are

1/40 sec. F/7.1 ISO 100 © Monica Royal ISO 100 1/40 sec. F/7.1 just some of the creative tools that the artist has.

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3 - DESIGN & PRESENT 6 - ARE YOU CREATING ART OR JUST DOCUMENTING?

This image didn’t just happen, I designed it. I thought about the entire scene in When you photograph a flower, does it tend to look documented, like something you advance. I knew I wanted a red ladybug on my favorite lavender roses. I’m a would see in a flower identification textbook? In documented photos, it shows the flower big believer in work smarter, not harder so I went to the garden store when it and the environment it grows in with all the clutter. Are you creating artistic compositions was ladybug season and for about $10 I bought a bag of 100 ladybugs. They with a clean background that allows the flower to stand out? Find the right are not only great for your garden but they make gorgeous subject matter! I with the least distracting background that allows the flower to stand out, creating a more then came home, sprayed my roses with a fine mist and emptied the bag of artistic composition. ladybugs. It doesn’t mean they are going to do what you ask them to, after all, they are still wild creatures, but if you are willing to get down in the dirt and chase them around you can make some spectacular images. Again, I applied the rule of thirds but I also tried to chase the bugs that were moving. When you shoot wildlife or bugs or anything alive, it’s better to capture them doing something. It’s far more interesting than a bug sitting on a leaf. Additionally, I added a digital mat with key line and drop shadow to really present this image nicely. This way, when a client buys it, it’s ready to frame!

1/125 sec. F/7.1 ISO 500 © Monica Royal 7 - POCKETS OF LIGHT

Find the pockets of light around you, especially dappled light from trees. They are the 1/1250 sec. F/4.5 ISO 800 arch enemy of portrait photographers, but to the macro photographer they are small © Mike Moats 4 - GET IN THERE! spotlights for the show. Follow the dappled light and you will likely find a new subject to capture waiting center stage. This saddleback moth caterpillar seemed to be almost Don’t be afraid to get into the space you want to capture. Most photographers are waiting for me to notice it. I was scanning the bushes and trees, when I saw a spot of content with capturing from a distance. Experiment and get in close. Lay down on light open up on lower branches. When I looked down I was giddy with excitement at this the ground. Ditch the tripod and crawl into spaces. Get eye level with your subject. little fellow that was there all along. I just needed to follow the light. I was lying on my belly in mud for this shot. It was a little extra dirt for the laundry, but well worth it. Don’t forget that the closer you get to your subject, the shallower it makes your depth of field. So adjust your settings accordingly.

1/10 sec. F/36 ISO 100 © Mike Moats

1/400 sec. F/11 ISO 2000 © Kim Young

5 - YOU DON’T HAVE TO TRAVEL FAR FOR MACRO

Macro subjects are everywhere. You can find them at the local parks, in your own yard, and even inside your home. I have four great parks within twenty minutes of my house, and probably sixty percent of my images are photographed in those parks. A few of my best-selling images were shot in my backyard. Most people have flower gardens in their yard, so they can walk outside their home and shoot. This close convenience saves on fuel, wear on our vehicles, and time when we just have an hour or two available. In the winter here in Michigan, I do most of my shooting indoors. I buy flowers from the local florist and go online to order from websites that sell feathers, mounted butterflies, sea shells, and slab agates, all of which can be arranged into artistic compositions.

1/200 sec. F/18 ISO 4000 © Kim Young

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8 - BACKLIGHTING 11 - EXPERIMENT WITH YOUR LIGHT SOURCE

Backlight can help your subject stand While I often use a ring for my macro work for an eve out from a darker background. I was light, it is often nice to take the flash off camera and light the photographing late in the day, and had a subject from an angle as you would for a portrait. This gives mostly clear horizon. A strong silhouette a beautiful depth to the image as your highlights transition is important, and many insects have into shadow. This can be done easily with a speedlight and a confusing shapes and need help to stand small stand. out from the background. This photo features lots of and although unpredictable, flare adds some 1/640 sec. F/3.5 ISO 500 nice eye candy for the viewer and here © Kim Young adds warm complementary to contrast with the green grass blades and 13 - OPEN UP katydid. The red, circular flare targets the katydid, its round shape offsetting all the 1/200 sec. F/7.1 ISO 200 Macro does not have to be shot at a high f-stop. Unwritten old straight lines. © Rick Lieder school rules can be broken. An aperture of f/22 is not the default for Can you spot a second insect just under all macro images. Open up your lens and use the shallow depth of the sun flare? 9 - BE PATIENT field to create a unique look. Let selective focus create the mood of your image. I wanted the above image’s focus to be on the tightly This portrait of the shadow of a newborn curled petals of this bud. I want you to feel the potential energy praying mantis is featured in my book building inside its confinement as it waits to blossom and spread "Wake Up!". its petals in freedom. Once I realized the shadow might be more interesting than a straightforward image, I waited for the mantis to move into a clear silhouette. The shape of the peony petal is abstract enough that the image would be unreadable if the shadow was not easily recognized. I had to wait and hope the mantis would move into a nice arrangement of limbs. When I think about my favorites of all the wildlife images I've made, I'm surprised at 1/100 sec F/32 ISO 100 how many would not have happened if I had © David Maynard 1/200 sec. F/10 ISO 320 not waited, sometimes for hours, for the © Rick Lieder right moment.

12 - FILL YOUR FRAME

1/60 sec F/20 ISO 100 There is no such thing as too close. Sure there are © David Maynard compositional considerations for each image, but you can’t really get too close to your macro subject. Don’t be afraid 1/400 sec. F/11 ISO 2000 to cut off petals in the frame. Leave parts out. Put your © Kim Young viewer’s eye where it is intended by eliminating excess from the image. Fill your frame. It may draw your viewer into the image even more. 14 - TAKE YOUR CAMERA OFF THE TRIPOD

Get down. No, not dancing. Get down on the 1/200 sec. F/9 ISO 400 ground. Lay on your stomach to get on the © Kim Young same level as your subject. In fact, just lay on the ground more often in general. The new may open your eyes to new shots. 10 - A NEW PERSPECTIVE This pine tree blossom was on a low hanging branch and facing the ground. I got under the Perspective. With tiny subjects such as this ¼ inch Jumping branch with my back on the ground to capture Spider, we often tend to take the shot from above, or the unique light created by the setting sun maybe level with the subject. Consider trying to get a through the tree. Experiment more by taking less common upward angle for a fresh perspective. This your camera off the tripod and exploring upward angle on the spider gives the illusion that it is new angles. Macro worlds are waiting for you much larger than he really is, as well as offering details to capture them, but you have to explore underneath that we do not see as often. to find them.

14 Tamron Magazine Tamron Magazine 15 TOP FEATURES TOP FEATURES

Excellent AF HIGHLIGHTS IN FOCUS: performance meets 100-400mm DI VC USD enhanced VC (Vibration TOP FEATURES OF THE Compensation) Precise tracking and VC image stabilization are essential to ultra- 100-400MM DI VC USD performance. Tamron’s Dual MPU high-speed Flourine Coating control system, a new Heavyweight Performance in a control system using two Moisture resistant high performance MPUs, Lightweight Lens: The all new Lightest in Class lens construction helps make this possible. Magnesium alloy is used in In addition to an MPU ultra-tele zoom from Tamron key areas of the lens barrel (micro-processing to improve weight reduction, features the latest optical and unit) with a built-in strength and portability. At mechanical technologies DSP for superior signal just 39.3 oz. (Nikon mount)/40 processing, the A035 oz. (Canon mount), it’s the inside a compact and features a separate MPU lightest in its class. 22.2x optical zoom dedicated exclusively lightweight design. to VC (vibration 21mm, F/13, 1/1500th sec., ISO 800 compensation). There are two VC modes, one for normal stabilization Zoom-lock and VC mode 2 which function engages the stabilization at the moment the Moisture Resistant Construction shutter is released Shoot with confidence in USD autofocus to realize 4 stops of inclement weather like snow (Ultrasonic image stabilization and rain. Silent Drive) to maximize hand- held shooting. With AF tracking and enhanced VC, you can enjoy he Tamron 100-400mm shooting fast-moving F/4.5-6.3 Di VC USD (Model subjects with stability T and ease—even in A035) is a highly portable, Tamron 1.4x and 2x Teleconverters low-light. ultra-tele zoom lens with AF precision (optional) The Tamron teleconvert- for shooting instantaneous movement ers further optimizes ultra-tele with the utmost clarity. With an shooting by extending the focal effectively positioned, extraordinary length to a zoom range of 140- glass LD (Low Dispersion) lens, 560mm (1.4x) or 200-800mm (2x). aberrations typical with many telephoto Experience additional precision lenses are a thing of the past. Tamron’s Modern design, with an F8-compatible sensor. proprietary eBAND Coating suppresses high-grade NEW 100-400mm f/4.5-6.3 Di VC USD reflections, yielding vivid images of materials amazing clarity. And thanks to a lens Model...... A035 Length*...... 199mm (7.8 in) Canon barrel made primarily of magnesium, Focal Length...... 100-400mm 196.5mm (7.7 in) Nikon the A035 boasts the lightest weight in its Max. Aperture...... F/4.5-6.3 Weight...... 1,135g (40 oz) Canon 1,115g (39.3 oz) Nikon class, making it ideal for handheld (diagonal)...... 24°24' - 6°12' for full-frame format Aperture...... 9 (circular diaphragm)** shooting over long periods of time. With VC image 15°54' - 4°01' Min. Aperture...... F/32-45 stabilization for APS-C format 59” close focusing and a 1:3.6 macro, the Image Stabilization Performance...... 4 Stops A035 lets you soften the foreground or (2 modes) Optical Construction...... 17 elements (CIPA Standards Compliant) Tripod Mount (optional) background to dramatically emphasize in 11 groups For Canon: EOS-5D MKIII is used For Nikon: D810 is used Using a tripod is as easy as your subject at close range. Moisture- MOD...... 1.5m (59 in) Max. Mag. Ratio...... 1:3.6 Standard Accessories...... , Lens caps shooting handheld with the Resistant Construction and a fluorine- Filter Size...... Φ67mm Compatible Mounts...... Canon, Nikon A035. Its new textured grip is coated front element provide additional Autofocus Max. Diameter...... Φ86.2mm (3.4 in) easy to handle and Arca-Swiss protection when shooting outdoors. limiter release compatibility and easy TAP-in Console & Dual MPU Specifications, appearance, functionality, etc. may be changed without prior notice. detachment improve your * Length is the distance from the front tip of the lens to the face. Teleconverter Compatible System ** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture. speed and flexibility.

1616 TamronTamron Magazine Magazine Tamron Magazine 17 PHOTO: RC CONCEPCION 18 EXCURSION Tamron Magazine CITY OFGOLD photo opseach timehegoes. This timearound,his new Tamron occasional quirky weatherpattern, RCfindsfresh occasional quirky RC ConcepcionhasvisitedDubainearlyadozen times. Butthankstononstopconstructionthat keeps thelandscapedynamic,aswellan keeps FROM THE capture hiseye-catching cityscapes. SCENES 18-400mm DiII VC lenshelpedhim 50mm, F/4.5,1/180th sec.,ISO1600 thing you want to do is swap lenses and risk thing youwant todois swap lensesand risk "When you'reoutinthedesert, thelast switching lensesinthemiddle ofashoot. he neededtoensurewouldn't have tokeep so Ican streamline mytravel." focal-length range helpscutdownon myload 18-400 thatcoverssuchan extremelywide practical anymore. Having onelenslikethe "Bringing fourorfivelensesjustisn't as weight restrictionsonplanes,"hesays. these days istheincreasingly restrictive travel photographers havetoworryabout 18-400mm DiIIVClens. "Thefirstfactor city." out timeformorephotosofthisbeautiful art commissions. ButIalsomade suretocarve bunch ofprivateclientsandtookcaresome "While Iwasoutthere,also metwitha workshop calledGulfPhotoPlus,"hesays. populous city. "Iwas theretospeak ata 11th triptotheUnitedArabEmirates' most they're lookingat." the sensethat they'refalling intothework quite large,"hesays. "Iwanttogivepeople portraits andcityscapes that canbeprinted moment. "That's whyItendtoshootbig like tobeineach place at a particular immense locales, hisgoalistodepictwhatit's many oftheplaces RCvisitsare vast, like. Shootwhat itfeelslike." Andso,since A The 18-400 also offered RC the versatility The 18-400also offeredRCtheversatility Packed inRC'stravel bagwas hisTamron RC visitedDubaiinearly February, his he travels: "Don't shoot what it looks he travels:"Don'tshootwhatitlooks destination images nomatterwhere Harvey informsRCConcepcion's quote fromphotographerDavid Alan 50mm, F/4.5,1/180th sec.,ISO1600 21mm, F/13, 1/1500th sec., 21mm, F/13, 1/1500th Tamron Magazine EXCURSION ISO 800 19 EXCURSION EXCURSION

getting sand inside of your gear," he says. morning, I positioned myself in a parking together. Shooting with a long exposure "In the old days, I might have brought garage about five stories up and shot of 30 seconds gave me those spectacular two different camera bodies, with two down on these dhows, which are old-time night trails of the cars on the roadways." different lenses. But the 18-400 meant I sailing vessels. It was so interesting to Once he'd captured the photos he only had to worry about packing one lens catch a glimpse of this important part of wanted, post-processing was the final, that would take care of all of my needs." Dubai life." necessary step in RC's workflow. "I have Each time he visits Dubai, RC Yet there is also that constant two different styles of editing I use," he photographs some of the same famous construction taking place, and RC hoped says. "There's the -style post- landmarks, such as the Burj Khalifa, to document that as well. "In the daytime processing I stay faithful to, where I'm currently the tallest building in the picture of the Burj Khalifa you see here, very meticulous about simply drawing world. But thanks to the never-ending I wanted to show the development of the very best out of the image. Then construction taking place in Dubai, RC smaller apartment buildings and stores there's the post-processing technique I finds new photo opportunities on every in the foreground against the large-scale use as a means of expression, one that's trip. "The landscape I saw five years development of skyscrapers along the more hyperrealistic and used to convey ago is different from the landscape I see Dubai skyline," he says. emotion. It's like using a pack of crayons, now," he says. "The pictures I take also Considered one of the most luxurious where anything goes. I'm not using those 18mm, F/9.5, 1/1000th sec., ISO 80 help document the progression of what's hotels in the world, the Burj Al Arab crayons to document reality—I'm using happening in the city. And you're always is also one of the most photographed those crayons to create art." going to get a different picture at different structures in Dubai. "It's an iconic picture times of the day—you want to chase that everyone tries to capture," RC says. down notable moments at those particular But while there are plenty of photos of points in time." the Burj, as well as many of the Jumeirah The temperamental weather in Dubai Beach Hotel next to it, it's tricky to also drove one of RC's photographic goals capture them in one photo together. this time around: to capture the Burj "There's a beach you can photograph Khalifa in a cloud of fog. "There are a the Jumeirah from, while capturing the couple of weather patterns that usually Burj can usually be achieved from another happen at the start of spring or fall, hotel if you have a long-enough lens," RC when the fog rolls in from the desert and explains. "I was interested in somehow "I WANT TO GIVE PEOPLE heads into the Arabian Gulf," he says. photographing both. So I went out on a THE SENSE THAT THEY'RE 18mm, F/22, 30 sec., ISO 400 "There's such a small window to capture 35-foot yacht in the Arabian Gulf and shot an image like that. Photography is really the two from behind. It's not a shot you'll like fishing: You can set yourself up in see very often. Having them in silhouette FALLING INTO THE WORK the environment with all of your gear, as the sun went down allowed me to show 31mm, F/16, 8 sec., ISO 100 but if the weather doesn't cooperate, you two recognizable shapes that have become THEY'RE LOOKING AT." won't get anything. Luckily, I was able to so well-known on the Dubai horizon." achieve my fog photo, though next time RC'S favorite time of day to shoot 21mm, F/13, 1/1500th sec., ISO 800 I'm hoping to shoot an even wider-angle cityscapes is in the blue hour. "At sunset, view." the lights on the buildings may not yet be Depicting the unusual or breaking turned on, so a city scene may not provide stereotypes of a certain location is much visual interest," he says. "That's also one of RC's goals in his travel why I like waiting a bit so the buildings photography. "When people think about light up and the city starts to come to Dubai, for instance, which is a city smack life." in the middle of the desert, they usually For one image RC took of an Emaar- ABOUT: RC CONCEPCION think of two things: sand and cloudless owned building, he was drawn to the gold RC is an award-winning skies," he says. "So when I spotted a view tones emanating from the towers against photographer based in of the city with a rock outcropping jutting the dark blue sky. "I wanted to show how into the water and a sky full of clouds, I those two colors complemented each Tampa and the author of knew I had a relatively rare shot for that other well in a blue-hour shot of Dubai," several photography area." he explains. books, including How to Get Your A saltwater channel called Dubai Creek, Along the edge of a handful of artificial Photography on the Web. He's an which runs all the way from Dubai out lakes lie the Jumeirah Lake Towers, or Adobe Certified Instructor and to the Arabian Gulf, is how the wooden JLT, a series of 80 or so towers ranging teaches online courses at First merchant ships enter the city each between 35 to 45 stories—except for the Shot School. RC is also a public morning to pick up electronics and other 68-story Almas Tower, the development's speaker and leader of seminars supplies for export to other countries like signature skyscraper. "I wanted to around the world. His client list Iran. "People often see Dubai as a new capture them along the side of the has included Microsoft, Dell, city, kind of like a very clean Las Vegas," highway," RC says. "There's a compelling Razer, and Synology, among RC says. "I wanted to show some of amount of texture that happens when others. 92mm, F/13, 1/20th sec., ISO 100 the older heritage, though, so early one you photograph all of these buildings www.aboutrc.com

20 Tamron Magazine Tamron Magazine 21 IN ACTION IN ACTION A DIFFERENT BREED Cecil Holmes heads to the Grand Tetons to photograph preening birds of prey, casually roaming moose, and snow-sprinkled horses with Tamron's newest ultra-telephoto zoom: the 100-400mm Di VC lens.

270mm, F/6.3, 1/500th sec., ISO 2000

100mm, F/5.6, 1/100th sec., ISO 12,800 IMAGES BY CECIL HOLMES BY IMAGES

hether he's spying on birds in into the wild due to injuries, for a pri- sation comes in very handy to eliminate W his backyard, zooming in on a vate showing so Cecil and others could any blur from camera shake." raptor at a rehab center, or photograph them in the most flattering Finally, at just 40 ounces, the 100-400 tracking wildlife roaming the expanses of light. "It was a unique experience to take helps lighten the load when Cecil is out the Grand Tetons, Cecil Holmes under- pictures of them that way," he says. "I on the range from first light to sunset. stands that patience is key. "You gener- was able to use the 100-400 to zoom in And its moisture-resistant construction, ally can't control what the animals do or nice and tight and capture a photo I likely including the fluorine coating on the where they go, so you're pretty much wouldn't have been able to get out in the front element, allows him to keep shoot- working on their terms and hoping wild." ing in nearly any weather conditions. things fall into place," he explains. Cecil also appreciates the 100-400's "We didn't have any rain while I was in The Tamron 100-400mm Di VC lens sharpness and clarity. "The 100-400 the Tetons this year, but I did shoot in offers the versatility, sharpness, and is one of the sharpest lenses I've used, the snow for about an hour on one of portability that Cecil needs for these which is especially useful when I want the days," he says. "I knew my lens was wildlife captures. "Having that focal- to show every last detail in the creatures sealed up and protected from the pre- length range allows me to stay far back I'm capturing," he says. "And since I cipitation. And any moisture that built up when I'm dealing with a skittish or typically shoot handheld when photo- on the front of the lens was easily wiped potentially dangerous animal," he says. graphing wildlife, the Vibration Compen- away." "For example, I have my backyard set up to photograph birds, with a meal- 400mm, F/6.3, 1/640th sec., ISO 1250 worm feeder to attract them. Carolina wrens often find their way back there, and I'll stand back and photograph them as they're standing on one of the logs. I have to work quickly, since they don't stay in one place very long. If I didn't have such a long lens, I'd have to get closer, and that might scare them away." Being able to zoom in and fill the frame with a super-sharp image of his subject allows Cecil to concentrate on the animal's expressions, colors, and pat- terns. At the Teton Raptor Center in Wil- son, Wyoming, which Cecil visited dur- ing his last trip to the Grand Tetons in January, staffers brought out the resident raptors, most of which can't be released

22 Tamron Magazine Tamron Magazine 23 IN ACTION IN ACTION

"THE 100-400 IS ONE OF THE SHARPEST LENSES I'VE USED, WHICH IS ESPECIALLY USEFUL WHEN I WANT TO SHOW EVERY LAST DETAIL IN THE CREATURES I'M CAPTURING. AND SINCE I TYPICALLY 400mm, F/8, 1/500th sec., ISO 450 SHOOT HANDHELD WHEN PHOTOGRAPHING WILDLIFE, THE VIBRATION COMPENSATION COMES IN VERY HANDY TO ELIMINATE ANY BLUR FROM CAMERA SHAKE."

400mm, F/6.3, 1/320th sec., ISO 2000

PHOTO TIPS: WILDLIFE PHOTOS 3 Incorporate the animal's environment. Compensation to compensate for me It's helpful to offer the viewer some standing there shivering in the snow. 1 Let the animal guide your ABOUT: CECIL HOLMES context in your wildlife photos, whether 5 Let your camera do some of the work. composition. that's showing off the landscape an Cecil Holmes is MTypically, you want to try to position animal lives in or even the time of year One thing I always do with wildlife: If the owner of Cecil the animal so that it's looking into the (here you can see a couple of photos I'm shooting in Aperture Priority, which Holmes Photogra- frame, not out of it. For the image of the where the snow served as a visually I did for most of these images, I'll set phy, located in moose you see here, which I took from appealing element). On the flip side, Auto ISO up in my menu. That way I Huntsville, Alabama. He's a inside my car (about 40 yards away), I if you're photographing at a nature can simply select my aperture while I'm self-taught nature and just kept tracking it with my camera as center where the animals are captive, shooting and let the camera raise the landscape photographer it ambled along. I would try for different you may want to position yourself so ISO to what it needs to be to keep me at you can't see the man-made features who teaches field-based compositions when it stopped and the minimum I want. of their environment. Instead, try to workshops both in Huntsville turned its head in various directions. I and across the Southeast. He stake out a vantage point where you're 6 Don't be afraid to raise the ISO if followed it this way for about 15 to 20 has offered his photographic able to capture more of the natural conditions are right. minutes until I got a few photos I liked. talents over the years to a environment—in front of a plant or tree, On dark days, especially when you're variety of clients, including 2 Tap into the power of your zoom to perhaps. I tried to capture the birds Nature Photographer, show detail. shown here so they look like they're out photographing wildlife in the winter, a Vanguard, the American in the wild, not at a raptor center. high ISO can be your friend, if you're What can make a wildlife photo Alpine Club Library, and able to compensate for the noise. For particularly compelling is the uniqueness 4 Monitor your shutter speed to best Tamron. a photo of one of the brown horses I of each species or individual animal. At capture movement. www.cecilsphotos.com spotted in the Tetons, I used an incredibly the raptor center, we were lucky enough It obviously depends on what you're high ISO of 12,800. You don't really to have a private session with the birds trying to photograph, and in what notice the noise, though, because of the that allowed me to be just 10 feet away environment, but if an animal is moving, snow and because I shot it so wide open, during our shoot. By zooming in to I like to be at least at 1/500th of a second. 400mm, I was able to fill the frame for If it's standing still and maybe just leaving a good portion of the image dramatic effect and focus on the birds' slightly moving its head around, I'll drop blurred out. What I wanted the viewer eyes, and on the details and patterns of down to 1/250th of a second, depending to focus on—the horse's eye—was their feathers. on the light. I'll also use the Vibration 380mm, F/8, 1/500 sec ISO 1250 unaffected by any of that.

24 Tamron Magazine Tamron Magazine 25 HIGHLIGHT

THOMAS KETTNER Thomas Kettner is a photographer, director and creative director in Hamburg. Born in 1960 in Stuttgart and raised in South Africa, he has been traveling the world for over 30 years, promoting his client advertis- ing, fashion and free art. True to his motto "he who brakes, loses!" he is always on the lookout for spec- tacular, unique images. www.thomas- kettner.com SP 150-600mm F/5-6.3 Di VC USD G2

Tamron Magazine 27 HOW TO HOW TO

"NOT ONLY DOES THE 15-30 LENS ALLOW ME TO GET MORE OF THE HOW TO: ENVIRONMENT IN WITH THE KIDS, BUT I'M ABLE TO WORK CLOSE ENOUGH SO THAT I CAN TALK OR OTHERWISE INTERACT WITH THEM KIDS' PHOTOS MORE EASILY." With her Tamron SP 85mm F/1.8 VC prime and SP 15-30mm F/2.8 wide-angle lenses, Marcie Reif is confident she has the tools she needs for both traditional portraits and candid captures.

15mm 1/ 500 sec F/2.8 ISO 2000 30mm 1/320 sec F/2.8 1/320 sec ISO 1250

When Marcie Reif prepares to W take pictures of kids, either her own or a client's, she has Pay attention to styling so it doesn't Engagement is important for group Start fun, move to formal. It's key three goals in mind. "First, I want to 4 distract from the photo. For example, I 5 photos You have to keep kids occupied, 7 to begin the session by letting them capture their faces, to freeze what usually wouldn't have kids in neon-colored especially when you're working with more have fun doing some candids. Then, once clothes, as the will likely cast onto than one. I'll talk to them and play games they're warmed up and relaxed, I'll start to that child looks like at that particular their skin. I like to think about where I'm with them, like Simon Says. For the beach mix in more formal, traditional images. It moment in time," she says. "Second, going to display the photo in my home— photo you see here, I had them all hold does depend on the kid, however—some- I want to document important we have pops of red in our house as an hands and then asked them questions times you have to flip that order if a child memories in their lives. Finally, I accent color, so you'll see many photos in like: "Who likes ice cream?" It keeps them is especially reserved, nervous, or shy and want to capture their emotion. With which my kids are dressed in red. An- animated and relaxed and makes for better not ready to play and goof around right off kids, that's usually joy, excitement, other interesting idea is to use clothing pictures. the bat. wonder, or surprise, especially if with words or slogans. For instance, my daughter has a T-shirt that says "Beautiful" Be prepared to photograph moving they're seeing or experiencing on it, so I thought showing her wearing 6 subjects. To freeze movement, I always something for the first time." 85mm 1/640 sec F/2 ISO 1000 that shirt to illustrate how beautiful she is start with my ISO. If I'm outside, it's going would make a terrific photo. to be a bit lower, maybe at 800. Then I Marcie's lenses of choice during her consider my aperture, which I prefer to be kid sessions are the Tamron SP 85mm somewhere between F/1.8 Di VC and the SP 15-30mm PHOTO TIPS FOR KID PORTRAITS F/2.2 and F/2.8. Finally ABOUT: MARCIE REIF F/2.8 Di VC wide-angle. "I tap into there's my shutter Allow the kids to wield some control. through certain windows. Then, the next Marcie is a lifestyle the 85mm when I want my subject to Pick the space you want your subjects day at that exact time, I'll bring my kids speed, which I need to 1 photographer based out be looking directly at me for a more to be photographed in, but occasionally over to that spot to see if I can take photos be higher than 1/200th traditional, posed photo," she says. "I hand control over to them on how they'll in that light. of a second—the of Atlanta who higher the better. I'll like to use a longer focal-length lens appear in that space. For example, in this specializes in taking Choose the right lens to work with usually set my ISO and when I take pictures like that because photo of my daughter lounging in a chair, outdoor lighting. For the photo of my aperture, then meter; photos of families, newborns, and it blurs out the background perfectly, she wasn't being super-cooperative. I 3 finally let her pick a pose, and because she daughter in her hat, for example, I chose as I'm metering, the children; she also does maternity so that the viewer focuses on my the 85mm lens because the sun was set- camera will change my had control of the situation, she ended and engagement portraits. Marcie subject's face." When Marcie knows up relaxed and happy in the photo. Plus, ting and was really low. I knew I could get shutter speed. When she'll be working outside or doing it resulted in a picture with a somewhat some gorgeous backlighting and that the I feel like I'm metered started out as a teacher and group photos, she reaches for the unusual pose. compression would result in that creamy correctly, if my shutter transitioned to photography after background. In the middle of the day, 15-30. "That lens is so versatile," she speed is too low, I'll Study how light falls inside your home. however, when the sun is high, I'll choose change something else her first child was born. She is an says. "Not only does it allow me to 2 We have a lot of trees in our yard, so a wide-angle lens like the 15-30. It does a to get it higher. instructor for Clickin Moms, an get more of the environment in with in the winter, we get a lot of light stream- stellar job capturing the colors of the sky organization dedicated to female the kids, but I'm able to work close ing in through our windows, but in the and the environment, which helps make enough so that I can talk or otherwise summer we don't. I'll analyze where and your image stronger. photographers at every skill level. 45mm 1/160th sec. F/4.5 ISO 100 interact with them more easily." how the light on a particular day is coming www.marciereif.com

28 Tamron Magazine Tamron Magazine 29 INTERVIEW INTERVIEW

"I ALWAYS TRY TO CAPTURE A CINEMATIC MOMENT, A WINDOW TO ANOTHER WORLD AS IF THE MODEL IS WANDERING AND EXPERIENCING A TJ Drysdale uses his Tamron SP 15-30mm F/2.8 VC wide-angle and SP 70-200mm LOCATION FOR THE VERY FIRST TIME." VC G2 zoom lenses to create otherworldly photos in the great outdoors.

When you first see a TJ Drysdale In the early days, I was mainly shooting her life. I'm essentially trying to tell a W photo, you may think you're landscapes. There was a boardwalk in my unique story with each image. witnessing something out of a neighborhood, so I'd head out there and fairy tale. Known for his whimsical, take pictures. I love nature. Even when So we get that you love nature. Do fantastical style, TJ often juxtaposes his I was doing film, I'd constantly create you ever do studio work, and is that models against expansive landscapes, nature videos out in the woods, where like torture for you being "trapped" offering a sense of how small humans are the light would come through and hit the inside? leaves, or film the deer in my backyard. in the universe's grand scheme. Whether Drysdale: I actually worked at a studio Then one day a friend asked if I could do he's shooting locally with commissioned for six years; last year was my first a photo shoot. I said, "Sure, why not?" models or traveling around the world year being completely out on my own. I started taking pictures of people from with his main model, girlfriend and Let's just say that studio work is not then on, and my specialty began to form: business partner, Victoria Yore, TJ uses my thing at all. The only time I was combining people and nature together in the Tamron SP 15-30mm F/2.8 Di VC and able to be outside during my time my photos. the SP 70-200mm F/2.8 Di VC G2 lenses in that job was when we did senior to achieve his dreamlike images. portraits, and then it would be 2 p.m., Who are your photography mentors? "The 70-200 is a fantastic lens," TJ in Florida, when the light was harsh says. "I love the compression it offers. Drysdale: The first book on photography and it was hot as all get-out. I do If Victoria is really small in a field and I got didn't teach me how to shoot, appreciate all of the work that goes per se. It was just a book of images by I'm far away, that lens is able to capture into studio photography, though, and German photographer Peter Lindbergh. the landscape as large as it really is. It the skills I learned while doing it. I'd But I love the way he photographs also lets me zoom in for some very close just much rather be outside, on my women, especially his black-and- portrait shots, essentially doing double own terms. white work, because while many of duty." As for the 15-30, TJ says it has his shots are sensual, they never cross added a whole new look to his work. "I've How much planning goes into it that fine line into trash. His work is before you head out to a destination? never had a lens that wide," he notes. always elegant. When it comes to fine- "When we were on location in the past, I Drysdale: Before we go on our trips, art photography, I love the work of was limited as to what I could get in my we check out Instagram to study the Brooke Shaden. She does really amazing frame. Now I've got a lens wide enough locations we're going to visit. We Photoshop composites. to capture pretty much everything I'm view as many photos of that location looking to capture. We're traveling Of course, even though these two were as possible, which spurs us to say, 15-30mm 15mm 1/20th sec. F/5.6 ISO 100 overseas soon for a press trip, and if we big influences, I developed my own style "OK, when we go, maybe we'll try to have to take pictures of the train or our over time. I tell everyone when they get photograph that mountain from this hotel room, the 15-30 will help me out in their first camera not to worry, that their angle, or that beach those tight quarters." style will develop on its own. It doesn't from this side." So yes, happen overnight. To find it, they have to my photos are indeed TJ looks back on his first photographic shoot nonstop. inspired by other forays, talks about how his style has pictures I've seen, but evolved over the years, and offers How would you categorize your current I always try to put a glimpse into how he achieves his photographic style? my own spin on it. romantic, idyllic photos. Drysdale: I consider what I do fine art. That's what happened I try to capture a cinematic moment, as for the picture shown What initially drove you toward if Victoria or whatever model I may be here of Moon Falls photography? using is wandering and experiencing a in Oregon. We'd seen Drysdale: In high school, I was really into location for the very first time, or idling images online that filmmaking. I thought I wanted to be a deep in thought. I want the viewer to showed the waterfall director or cinematographer, and that's look at the model's face (if her face is absolutely raging, but what I ended up going to college for. showing in the photo) and wonder what when we got there, Then, midway through college, around she's thinking about. Or, if I'm shooting it was just a trickle. Christmas 2010, my grandparents bought without including the model's face, I I was somewhat me a DSLR. I started taking pictures and want the viewer to imagine why she's disappointed, but I 15-30mm 15mm 1/80th sec. F/5.6 ISO 100 fell in love with it. 70-200mm 70mm 1/125 sec. F/9 ISO 250 in this location and what's going on in then harnessed that

30 Tamron Magazine Tamron Magazine 31 INTERVIEW INTERVIEW moody atmosphere and created a picture the scene a bit, not I was proud of. directing it. "I TELL EVERYONE

The places where you shoot often seem What do you try to WHEN THEY GET so remote. How do you find them? emphasize in your com- positions? THEIR FIRST CAMERA Drysdale: Like I said, some are locations we knew about and studied ahead of Drysdale: If I'm time. Other times, we come across the photographing NOT TO WORRY, THAT best photographic sites by accident mountains or another while wandering around. For instance, similarly stunning THEIR STYLE WILL for the image here that shows the path vista, I always make at sunset, we drove around all day in the landscape the most DEVELOP ON ITS OWN. Newfoundland scouting out a place we important feature, even could use until we found this spot. And if there's a person in IT DOESN'T HAPPEN for the cliff's edge shot in Peru, we just the picture. I want my stumbled across that location. We were photos to have that OVERNIGHT." 15-30mm 24mm 1/640th sec. F/4.5 ISO 50 driving in a national park and saw some sense of scale. I suppose 70-200mm 135mm 1/250th sec. F/6.3 ISO 100 cars pulled over. We climbed about 200 that comes from when feet up the hill, above where all of the I was mainly shooting Most of your work is in color. When do other tourists were, and saw this other nature when I first you gravitate toward ? side, which they couldn't see from the started taking pictures. Drysdale: I do black-and-white ground. We were the only ones up there. I also circle back to the conversions maybe 10 percent of the That, to date, is our favorite location. part of time, but it's still one of my favorite I've never seen any other pictures taken it all—making a photo mediums. I feel like certain images call there. look like a scene from a movie, without dialogue. for it, like maybe when Victoria and I are What's ideal lighting for your type of You're giving the viewer on location and she's standing on a cliff, work? a sense of where this or when I shoot locally and my model is person is at a particular Drysdale: When it comes to doing something that looks a little old- point in time. photographing shoots in the woods, fashioned, like holding a lantern. When which is where I often end up, I prefer I do decide to go for a black-and-white Tell us about your post- moody shots. That's why I love when image, I'll go all out and add grain to the processing technique. it's a cloudy day. I actually find that image. I want it to seem like an old-time when the sun filters through and hits the Drysdale: I try to photo. bark of the trees, it's distracting; when approach each picture differently, and I only do 15-30mm 15mm 1/160th sec. F/8 ISO 125 it's overcast, the lighting is nice and Anything exciting coming up for you in even. My other favorite type of light is what that photo needs. the near future? at sunset, because that offers a rimlight For instance, if I shot on of sorts for my model. That's also why a dreary day, there may be no definition Drysdale: We've been resting for the I almost always take sunset shots at an in the sky. So I'll go in and do some sky past couple of months, because the last 15-30mm 18mm 1/160th sec. F/6.3 ISO 100 angle, because I never want the sun to be replacement to improve the picture. But year has been so crazy with all of the directly in the frame. my overall goal is to keep the image as traveling—we were barely ever home. natural as possible. If there's a sunset But we'll be heading soon to India. We're Talk about your posing protocol. image, for example, I'll go into the photo working with a luxury train company and tweak the colors a bit to make them Drysdale: I try to keep it as natural as more vibrant. One thing I typically do for there and will be traveling around the possible. With Victoria, especially, I all of my images is add a subtle vignette. northern part of India, mainly in the never have her doing anything elaborate, This helps me draw the viewer's eye to a New Delhi area. This is our first time like putting her hands on her head or specific part of the photo. going to Asia. We're really excited for the doing intricate poses. I'll just have her ABOUT: TJ DRYSDALE walk around a location, maybe have I do all of the editing myself, but Victoria opportunity. TJ is a fine art, her run on occasion. The same goes for helps me assess the images beforehand. portrait, and fashion the other models I use. What I will tell I'm my toughest critic, but my second- What advice can you offer to up-and- photographer based coming photographers? them to do is maybe run their fingers toughest critic is Victoria. I love having a in Tampa. His focus through their hair, place their hands in second pair of eyes on my photos. While is on natural landscapes Drysdale: Shoot as much as you can and their laps, wherever they may be sitting it's my work, I don't claim to have the captured in natural light. TJ's figure out what you like and don't like. or standing—basically, to just do what best ideas in every single circumstance, work has been featured in It's terrific to have photographic idols they'd do if they were hanging out in and she'll tell it like it is, even if it's Conde Nast Traveler, Lonely those locations in solitude on their own. I something as simple as whether a picture Planet, 500px, and Getty and mentors, and you may try to emulate might just say, "Turn your head this way should have more of a warm tone or cool Images, among others. them, but you have to create your own

or turn your shoulder in." It's tweaking tone. www.tjdrysdale.com TJ DRYSDALE PHOTO: style. 15-30mm 17mm 1/200th sec. F/5.6 ISO 50

32 Tamron Magazine Tamron Magazine 33 Practice Practice

"INFRARED PHOTOGRAPHY LETS ME PLAY WITH TONAL RELATIONSHIPS IN WAYS THAT ORDINARY PHOTOGRAPHY DOESN'T."

Left to Right: PHOTO TIPS: INFRARED 4 Rely on your viewfinder. 24-70mm (31mm), F/11, 1/90th sec., ISO 500 When it comes to infrared photography, 24-70mm (26mm), F/16, 1/180th sec., ISO 320 1 Don't assume you have to shoot on a your camera's metering likely isn't the sunny day. best way to determine exposure. You 24-70mm (32mm), F/11, 1/60th sec., ISO 800 70-200mm (70mm), F/16, 1/125th sec., ISO 320 Back in the age of film, I always went need to experiment a bit at first when out when the sun was highest, because you're getting started with infrared, and that was when you got the most infrared the display screen works well for that. radiation. However, with digital, you can You can scan it and tell if you're in the shoot on overcast days or in low light ballpark in terms of whether the image is and it won't come out grainy like it used turning out too light or dark. to in the old days. I like using infrared 5 Use the converter that comes with in non-obvious ways, so I'll often shoot your camera to convert RAW files. BEYOND THE VISIBLE in light that isn't what people would I shoot in RAW, and I always do my normally associate with infrared, with conversions this way. The converter in Russell Hart uses his Tamron SP 70-200mm F/2.8 VC G2 and SP 24-70mm often amazing results. your camera understands your camera's F/2.8 VC G2 lenses to achieve stunning, sometimes surreal infrared photos. 2 Choose subjects best suited for RAW files better than Photoshop, infrared photography. especially when it comes to infrared. The I'm usually drawn to outdoor subjects converter will have an eyedropper tool that allows you to simply click on various that contain a lot of organic material. he goal of most photographers is To work within this niche, photogra- camera for white balance as well, so your parts of the image to get the colors Landscapes are obvious, because you'll to capture and share what they phers can't simply head out with their files come out better in that regard." ABOUT: RUSSELL HART where you want them. T achieve dramatic effects. The grass and see, and how they see it. If regular DSLRs. They can buy an infrared Lens choice is important, too. "I use trees will turn out light, while the infrared 6 Don't let your infrared work become you're an infrared photographer, filter that goes over their lens, or they Russell Hart, the the Tamron SP 70-200mm F/2.8 VC G2 will darken the sky, making the clouds gimmicky. however, your mission is to photograph can decide to dedicate a camera specifi- executive editor of and SP 24-70mm F/2.8 VC G2 lenses," American Photo for stand out. You may be surprised to know Many people tend to do this when they what you can't see. "This type of cally to infrared photography by sending Russell says. "The focal-length range more than a decade, that blue jeans also turn out very light, first start exploring with infrared. Instead, photography captures electromagnetic it out to companies that specialize in this I've tried to understand what this between 24mm and 200mm is ideal for is an award-winning photogra- because they're made of flax or similar along the infrared spec- type of conversion. "People often convert pher who also offered his material. technique can do and how to harness the type of photography I'm doing. But trum," explains photographer Russell an SLR they're not using much anymore, photographic/editorial services that. And when I do my post-processing, 3 Get a handle on focusing. Hart. "It's beyond the red spectrum of as converting your camera will void your what many photographers don't realize to Popular Photography, I don't go overboard—instead, I focus Infrared radiation focuses on a different visible light." warranty," Russell explains. "I bought a when they jump into infrared photog- Petersen's PhotoGraphic, and on the details. After I do my conversion, plane than visible light, so focusing on Because infrared photography inverts refurbished DSLR for this purpose. The raphy is that not all lenses are compat- American Photographer. He has I'll run the image through DxO software, your subject can be a challenge. There how we usually see certain objects—trees company basically removes an internal penned articles for the New York which applies a correction over the photo ible with infrared photography. Many are two ways around that: You can put a and other foliage typically turn white, for filter that screens out infrared radia- Times, Outdoor Photographer, to ensure sharpness throughout. Then I get some kind of hot spot in the mid- loupe on your viewing screen so what import it into Photoshop and implement example—Russell has always been drawn tion. And the company will often give and Rangefinder, among other dle, leaving areas in the image that are publications, and authored a you see on the screen is what you're some global changes with shadows and to this style of photography, going all the you the opportunity to indicate how deep lighter and less contrasty. The Tamron dozen books on photography. actually capturing. Or you can send your highlights and "select color." Finally, I'll way back to his film days in the '70s. "It you want to go into the infrared range. lenses don't have that issue, so my infra- He's a renowned instructor and camera, along with the lens you use, to use a Nik plug-in that allows me to go changes the normal tonal relationships Some conversions go deep and you don't your camera company so it can calibrate into the image in great detail, making red photos come out nice and clean. I also juror whose photos have been of things, which I like," he says. "Even get much color; others aren't as deep, exhibited nationwide, most the focus of the lens specifically to your tiny, localized adjustments wherever typically shoot handheld, so the Vibration today with digital, it lets me play with but you get more color—a reddish tone, recently at Massachusetts' camera. That way you can use autofocus I need them in terms of brightness, those tonal relationships in ways that obviously. What's also cool is that these Compensation (VC) feature on both of deCordova Museum. with your camera, which will focus for contrast, color, and structure—whatever I

ordinary photography doesn't." companies will often put a preset in the these lenses is invaluable." HART RUSSELL PHOTOS: https://russellhartphoto.com/ infrared. can do to make the image "read" better.

34 Tamron Magazine Tamron Magazine 35 Practice Practice

"I TRY TO TELL A COMPLETE STORY, INCLUDING WITH DETAIL SECOND SHOTS, A TIGHT CLOSE-UP WITH AN EMOTIVE SUBJECT, AND AN ENVIRONMENTAL PORTRAIT EXPLAINING WHAT MY SUBJECT DOES THAT AND WHO THEY ARE BY INCORPORATING THE BACKGROUND." PHOTO TIPS: LIGHTING FOR PORTRAITS light on a bright morning. Plus it gave me had in the rental car, placing a beauty quite a bit of control, because I could have dish behind the model to offer a harder, 1 Control the light to minimize flaws or my assistants move it a little closer to on- crisper light, so it looked like it was still EMOTION emphasize positives.  camera access, where I was standing, for daytime. I wanted that backlight to have If you look closely at my images of the a flatter light, or I could have them move the characteristics and feel of sunlight Intimacy, expressiveness, male models here compared with the it around to the side and create a more spilling on her and the ground around her. female models, you'll notice the guys have wrapping light from the side for beautiful, Then, so the model wouldn't become a and a bit of backstory find highlights on their faces and shadows even coverage. silhouette, I placed a 130-inch parabolic on their cheekbones, while the girls have in front to offer a broad, soft, 4 Use rimlights judiciously. highlights on their face and almost no three-dimensional push of light from that their way into each one of Most of the time the sun works for me as shadow. That's because I lit the guys with direction. It was an effective use of both a natural rimlight for saturation. But when Erik Valind's environmental smaller light sources for harder light to hard and soft light to create the look I I'm shooting in the studio using darker emphasize detail: The harder the light, the wanted. backgrounds, or if I have subjects with portraits. faster you'll achieve that transition from darker hair or clothing, I'll add a subtle highlight to shadow. rimlight to add three-dimensionality to the Now, in a good sense, shadows that photo so the model quickly appear can draw attention to doesn't just fade into chiseled cheekbones or sculpted muscles. the background abyss. But on the flip side, they also draw the For the in-studio shot 24-70mm (48mm), F/5.6, 1/200th, ISO 400 viewer's eye to blemishes, scars, and you see here of the wrinkles. The way to minimize that is with model in the halter top, a softer light—and the bigger the light I used a 1-foot-by-6-foot source in relation to your subject, the strip bank on the back softer the light will be. If you're using a side, which offered 24-70mm (45mm), F/4.5, 1/200th sec., ISO 100 Speedlite or studio strobe, you'll want that separation of her to combine that with a or large hair on the right from umbrella. The light will filter through the black background. that modifier for broader, softer light I chose the 1-by-6 strip hen a model steps in front of ground into the image," he explains. when you shoot with a prime like that that's more flattering for most traditional because I could pull Erik Valind's camera, the With his Tamron lens arsenal at hand, wide open, everything is blurry except for portraits. back and get a three- W quarter or full-body photographer has one main goal Erik is able to seamlessly create such a your subject's eyes and maybe one or two 2 Maximize the natural light on your shot and still achieve at top of mind: to capture an authentic, story at every shoot. "I almost always planes of their face," he says. "If you're subject's face. that separation from engaged portrait. "Especially when I'm start things off with my bread-and- using that depth-of-field creatively to When you're shooting outdoors, direct head to toe. doing tighter shots, I need to foster a butter lens: the SP 70-200mm F/2.8 VC selectively only show the eyes in focus, your subjects to turn their faces into sense of intimacy with my subjects so I'm G2," he says. "When I'm working with you need to make sure your connection the light. People aren't always innately 5 Learn how to use a not getting a dead-eyed look or, in the a new subject and trying to make them with your subject is strong so their face aware of where the light is coming from, mixture of hard and case of professional models, one of the 25 feel comfortable, I don't want to start out is expressive—and that doesn't usually though, so you can simply stand with soft light. or so stock looks they're able to pull out right in their personal space. The 70-200 happen in the first few minutes of the your back toward the light. That way, when I was wrapping up a your subject looks at you, the light falls job in Las Vegas and without breaking a sweat," he says. "I try allows me to stand a little further away shoot." directly on her. Any shadow that the sun or decided I wanted to to find common interests to create and offer them breathing room. I can still Erik also taps into the SP 24-70mm streetlight creates will be cast behind her do a test shoot at a narratives I can share with them, either zoom in and get more intimate shots, but F/2.8 VC G2 lens to expand on his sub- head, where your camera won't pick it up. dry lake bed I'd found to make them laugh, open up, or simply without feeling like I'm encroaching on ject's backstory. "I want to explore my during my previous 3 Soften the sunlight. have something else to focus on other them." subject's personality, and the 24-70 scouting. However, it For the early morning image here of the than the fear of an unflattering photo." As the cadence picks up and Erik and allows me to capture more of the envi- was evening by the model on the beach, I created what was in time we got out there, Erik's other goal at a shoot: to tell a his subject become more comfortable, ronment in a wider ," effect a large softbox with an 8-foot-by-8- and a rainstorm was complete story. "That means I want to he'll switch to a macro lens like the SP he says. "The 24-70 is incredibly versa- foot translucent scrim. I set the scrim up moving in. It got dark capture detail shots of the tools of the 90mm F/2.8 VC for true 1:1 representa- tile, because if I don't feel like breaking about 10 feet away from my model. She pretty quickly. trade that are used by my subject, a tight tion, or perhaps to his SP 85mm F/1.8 VC up the momentum and switching lenses was about 5-foot-5, and the scrim was 8 close-up focused on my expressive, emo- prime, which allows him to blur out the right away, I can still zoom all the way feet tall, so it was much larger than her, So I worked up a tive subject, and an environmental por- backgrounds with a very shallow depth- in to 70mm, which approaches that ideal which offered a soft, wrapping light all two-light setup with trait explaining what my subject does and of-field to make his subjects pop. "I need portrait-lens length where you don't get the way around her. The scrim helped me a couple of battery- knock down and soften that medium-hard powered strobes I who they are by incorporating the back- to work my way up to the 85, because distortion on the face." ERIK VALIND PHOTOS:

36 Tamron Magazine Tamron Magazine 37 Practice use tocoaxamodel tolookslightly what Iwas looking for. Onetrick I furrowed browgave meexactly more forward. That eyecontactand also hadhimbringhisheadeven a little harderwiththelightand pumped-up athletelook.Iwent wanted aslightly moreaggressive, took ittomoreofanextreme,asI the runnerinbluetanktop,I he's listeningandengaged. For viewer, makinghimseemlike forehead isleanedtoward the boxer Imentionedearlier, his important, too. Ifyoulookatthe way youposeamodel'sfaceis you thinkofthebody, butthe When youthink"bodylanguage," posing for abigeffect. 3 Usesubtlevariations infacial on. gave himsomethingelsetofocus in frontofthecamera,becauseit up slightly. That puthimatease massage hishandsalittle, thenbringthem amateur boxer, soIinstructedhimto the redbrick wall, he'sadancerandan the caseofmodelshownhereagainst playingaround withtheirphones.In like something thatcomesnaturaltothem, forinstance,I'llhavethemdo for realtors, comfortable. When I'mdoingheadshots with theirhandssotheyrelaxandfeel professionals, Ihavethemdosomething To avoid that,especiallyifthey'renot arms hangingstraightdownattheirsides. deer-in-the-headlights look,withtheir What Idon'twant withmy modelsisthat 2 Putthemodels'handsto work. her legsandarmsseemlonger. instead ofcompressingher, which made allowed metolether"breathe"abitmore angle lens(inthiscase,the24-70mm) extended outsomewhat.Usingawider- this pose,whereherarmsandlegswere squishing her. That's howIcameupwith find a way toshootdownonherwithout you're doingawholebodyshot.Ihadto someonelooktinyyou canmake when point worksgreatforatightheadshot, However, whilethattypeofvantage shoot downonherinstead. that hadlightonitfrommy strobesand pickselectively apart ofthedesert floor visible inthebackground. Ineededto a dramaticposewiththewholedesert sunlight I'dcreated,soIcouldn'tuse a lotofsurfaceareacovered bythefake For themodelinLas Vegas, Ididn'thave have spaceconstraints. 1 Employ "practical posing"whenyou PHOTO TIPS:POSINGFORPORTRAITS 38 Tamron Magazine shoulders right towardshoulders thelightalittle your hipswheretheyare,butturn body atonce.Instead,Imightsay, "Keep direction, I'm notmoving theirwhole give and facialplanes,sowhenI shoulders, When Idirectmodels,talkaboutthehips, 4 Useathree-plane scheme for posing. completely different stories. Just theselittle tiltsoftheheadcantell or ladderonhandexactlyforthisreason. asmallstepstool keep all photographers flattering lookforportraits. Irecommend wider andpullherchin outsomemore,a yoursubject openhereyesabit makes you establishamoodoremotion.Italso innocence, discovery, oropenness,helping that, itconveyslook uplike asenseof eye expression.Byhavingthemodel her faceturnedup,withasoft, closed- Vegas you'llnoticehowshehas riverbed, Circling back tothemodelonLas toward me. or sheisforcedtoleaninandlookdown subject, thentalkveryquietly, sothathe downward: Igetabitlowerthanmy some widthoff. towardshoulders thecameraandtook narrowed asitangledher hershoulders, see herebecauseofthecrop,butitalso of slimmingherwaist, which youdon't right intothelight. That gave theillusion slightlytowardmove hershoulders her toward herto thecamera,thenasked herhips wheretheywere,facing her keep the three-planeplancameintoplay:Ihad squared uptothecamera. That's where more thanIwantedshoulders whenshe dimensionality, itemphasized her in thatitshowedalittle skinandthree- although herwardrobe was beautiful So,petite buildwithbroadshoulders. gorgeous model,butshe'salsogota of themodelinhaltertop.She'sa That's whatIdidforthein-studioshot light thatway. S-curve-type poseorturnthemtoward the very quickly positionthemodelintoan bit, thenmove yourfaceleft slightly." Ican 85mm (85mm), F/5.6, 1/200th sec.,ISO100 85mm (85mm),F/5.6,1/200th http://erikvalind.com ABOUT: ERIKVALIND ON MYSUBJECT." INTIMATE SHOTS,BUTWITHOUTFEELINGLIKEI'M ENCROACHING "WITH THE70-200MMG2,ICANSTILLZOOMINANDGETMORE instructor. and KelbyOne as aCreativeLive ences, asanauthor, andonline atmajorphotoconfer speaker photography internationallyasa techniques andpassionfor shares hisvisualapproach, pro photographer. Erikalso the styleandvisionofthistop and energeticimagerydefines environmental portraiture -airy lifestyle photography and City. Specializingincommercial beaches, inNew nowliving York 70-200mm (125mm), F/2.8,1/1250th sec.,ISO64 70-200mm on theFlorida pher, bornandraised freelance photogra- Erik Valind isa - 24-70mm (45mm),F/8,1.3 sec.,ISO400 70-200 (100mm), F/8, 1/200th sec.,ISO 100 (100mm), F/8,1/200th 70-200 Tamron Magazine Practice 39 PHOTOS: ERIK VALIND MY PROJECT

of that place. When you photograph MY PROJECT another person, ask questions and show honest intent that you want to hear their answer. That simple extra step causes a ripple effect of good. That honesty MEETING AND PHOTOGRAPHING plants a little seed of trust. Your subject will then photograph better, which is then passed on to your audience. And the meaningful interaction will be PEOPLE AROUND THE WORLD remembered by both yourself and your subject, carried on far passed just the photograph. (Keep in mind this goes for both good and bad connections!) People are a challenge, but if it weren’t for challenges, life would be quite stale. I am lucky enough to have photographed people fly fishing in the rivers of Montana, catching clams on the shores of Oregon, through the spice markets of Israel, and on mountains in Norway. We are ambassadors of our craft whether we are in our own state, Simply put, I am a travel sailing with pirates, or eating crumpets photographer. But what is with the queen, and having these interactions with people of the world exactly? ensures our good name and the craft Technically speaking, it is continues. Remember that start button I mentioned? I encourage you to push it “a genre of photography and allow yourself to open up to a world that may involve the you will not regret finding! documentation of an area's landscape, people, cultures, customs and history.” But it Clockwise from bottom left: Dave. Jerome, Arizona. is indeed, so much deeper SP 70-200mm, G2, F/4, 1/250 sec., ISO 640, 135mm than that! Navajo Leader. Monument Valley, Arizona. SP 45mm, F/2.8, 1/40 sec., ISO 1000, 45mm Jerry. Astoria, Oregon. SP 15-30mm, F/7.1, 5 sec., ISO 1000, 15mm s travelers and travel Keely. White Mountains, New Hampshire. A photographers, it’s not SP 35mm, F/5, 1/60 sec., ISO 800, 35mm something we do occasionally, Uncle Uke. Kailua Kona, Hawaii. but instead something that SP 85mm, F/4, 1/1250 sec., IS0 500, 85mm has a hulk-sized grip on our world. It’s Norris. USS Alabama. Mobile, Alabama. an internal calling that doesn’t let up. SP 90mm, F/4, 1/80 sec., ISO 1250, 90mm And makes its mark on you, every time you set out on a new or revisited place. True travelers press the start button, but there is never really a stop. PROFILE: ERICA ROBINSON I photograph people, places, and life, so that not only I can grow to be Location: Boston, MA Occupation: National Technical a better human, but with the hope Representative that sharing my experiences, will Employer: Tamron USA spark that same fire in someone else. Photography specialty: Travel There is something beyond satisfying Passions: I am - an adventure seeker, when I can peel back the layers of a health food eater, animal lover, leggings location to expose its colors, shapes, wearing, travel photographer; who enjoys Crossfit, and good cup of Chai Tea. shadows, culture, faces, and voices. Favorite lenses: SP 35mm F/1.8 Di VC USD; When you photograph a place, do your SP 85mm F/1.8 Di VC USD; SP 15-30 F/2.8 research and discover the heartbeat PHOTOS: ERICA ROBINSON PHOTOS: Di VC USD ; SP 70-200 F/2.8 Di VC USD G2

40 Tamron Magazine Tamron Magazine 41 MEET THE MACRO PROS Focal Length: 400mm Exposure: F/9 1/2000sec ISO: 200 ABOUT: MONICA ROYAL ABOUT: KIM YOUNG Monica Royal is a professional Kim Young is a nature photogra- CONTACT photographer who provides pher that gravitates to macro exquisite fine art photography photography. She hunts for MAGAZINE FEEDBACK to the hospitality and health insects and tiny worlds every- care industry as well as to a long list of where from the forest to her own yard. [email protected] private art collectors. She has permanent Surrounded by Giant City State Park and art installations in Canada, the U.S. and the Shawnee National Forest, she calls Guam. Monica is sponsored by Tamron beautiful southern Illinois her home. CUSTOMER SERVICE USA, Millers Professional Imaging and www.instagram.com/kim_and_camera If you have any questions about Savage Universal. She speaks and teaches our products or services, get in macro fine art photography nationally. contact with us: www.monicaroyal.com ABOUT: RICK LIEDER Telephone: 1-800-827-8880 / prompt 1 Rick Lieder's art has appeared ABOUT: DAVID GUY MAYNARD on award-winning novels and Email: [email protected] Newbery Award-winning books Mon-Fri 8:45am – 5:00pm EST David Guy Maynard is an award for children. His wildlife winning, internationally filmmaking was featured in the PBS Nova Focal Length: 400mm Exposure: F/8 1/250th sec ISO720 F/8 sec ISO720 Exposure: 1/250th Akoubian 400mm © David Length: Focal published photographer, documentary "Creatures of Light", REPAIRS producing work in Fashion, produced by National Geographic Tamron products are manufactured Lifestyle, Event, Fine Art, Nature/Macro, Television. His nature picture books with with the greatest care and and General Commercial photography. His Helen Frost are published by Candlewick precision. However, should there work has been seen in numerous maga- Press, including Step Gently Out, Sweep be any damage to your lens, zines and publications around the world, Up The Sun, Among A Thousand Fireflies Tamron Customer Service will be as well as being featured on respected And Wake Up! happy to assist you. All Tamron lenses purchased through an web based business sites, advertising www.bugdreams.com authorized Tamron USA retailer campaigns, in galleries, and exhibits. are supported with our 6-Year When not shooting assignments, David Warranty and 3-Business Day travels the country delivering Seminars ABOUT: MIKE MOATS Repair Turnaround at no extra and Hands-On Photo Workshops on charge. You can find contact subjects ranging from studio and location Mike Moats is a pro macro addresses and more detailed information on the warranty and photographer from Michigan. lighting, to and the procedure for sending in the workflow. His articles and images have product and having it repaired on Shoot precisely in the moment www.dmaynardphotography.com been published in many major our website: photo magazines and he has written www.tamron-usa.com/support several how-to macro and photo business Extremely portable, with a highly responsive AF, book/eBooks. Mike’s images have won local and international awards. Mike runs a and clarity and color rendition you demand. series of Macro Bootcamps, a Macro Conference and other workshops through- out the country. Step up to the latest in ultra-telephoto zoom lenses www.tinylandscapes.com LEGAL NOTICE

Editor: Tamron USA, Inc., 10 Austin Blvd, Commack, NY 11725 Content Manager: Stacie Errera Lightest in its class PORTFOLIO SUBMISSIONS Editorial Staff: Paola Ponchielli, Jennifer Gidman, Ken Hubbard Would you like to be featured in the Tamron magazine Production and layout: - or Tamron eNews and social media? Send a portfolio Stephen Reisig / Real Imagination 100 400mm F/4.5-6.3 of 12-16 images taken with Tamron lenses for review to Printed by: Spectragraphic, Inc., 4 Brayton Court, Commack, New York [email protected]. Please specify the Tamron lens 11725 used for each image. Due to the volume of submissions, we Di II VC HLD [Model A035] will reply only to photographers with whom we will pursue a Reprinting, reproduction in online services and on the internet, duplication onto storage media such For Canon and Nikon mounts Tripod mount as thumbdrive, CD-ROM, DVD-ROM etc. are only Di: For full-frame and APS-C format DSLR cameras is an option. future story. We thank you in advance for taking time to send permitted with the advance written permission of the editorial staff. All information, prices, us your work for evaluation. dimensions and colors are subject to correction

Copyright © 2018, Tamron USA, Inc. ONLY AVAILABLE AT YOUR www.tamron-usa.com AUTHORIZED TAMRON USA RETAILER 42 Tamron Magazine 18-400mm Di II VC HLD Powerful performance that exceeds your imagination. World's first 22.2x ultra-telephoto high-power zoom lens. Capture thrilling close-up action in a snap.

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