Summer 2018 MAGAZINE Issue 3 · THE EXPRESSIVE LIFE OF PETS Alex Cearns shares her secrets for creating unforgettable pet portraits

Cover image by Alex Cearns with the Tamron SP 24-70mm F/2.8 Di VC USD G2 lens

NEW 28-75mm Fast Zoom SUMMER TRAVEL PHOTOS: The first compact, fast standard-zoom perfectly 12 tips for amazing vacation photos matched for Sony full-frame mirrorless 400 WELCOME ISO : 160 sec / 1

© IAN PLANT 8 . 2 / F CONTENTS 6 NEWS Tamron wins two TIPA Awards! Exposure : 8 TOP FEATURES 75 mm See the new 28-75mm f/2.8 for Sony e-mount

Length : 10 PRACTICE SPECIAL

Focal Pros share their tips for extraordinary vacation photos 16 TOP FEATURES Get to know the new 70-210mm f/4 compact tele zoom 18 EXCURSION Ian Plant photographs the gelada monkeys of Ethiopia 22 IN ACTION Professional photographer Maxim Guselnikov on his favorite lens SP 45mm f/1.8 30 INTERVIEW Alex Cearns shares her secrets to creating unforgettable pet portraits 10 PRACTICE Night skies photography made sim- ple with tips from André Costantini 36 PRACTICE Dear Readers, Lisa Langell photographs the wild with Tamron’s long lenses in US The first compact, fast standard-zoom perfectly national parks Happy Summer! In this issue, we bring you lots of tips from the pros for your summer vacation photography. Whether you’re 40 MY PROJECT Jillian Bell shares her latest photo- matched for Sony full-frame mirrorless planning a local overnight getaway, a week at a theme park, a graphic obsession once-in-a-lifetime journey, or a visit to the relatives, you are sure to find great how-to info on pages 10-15. Get a closer look at the 42 VIP CLUB Learn how to become a 2019 VIP new Tamron ultra-lightweight and compact 28-75mm F/2.8 Di III member

PHOTO BY: SYDNEY FLEM SYDNEY BY: PHOTO RXD zoom perfectly matched for your Sony full-frame mirrorless on page 8 and on page 16, check out the new 70-210mm F/4 compact and lightweight tele zoom with a constant aperture and the best-in-class close focusing capability. Tamron Image Master Ian Plant recounts his trip to Ethiopia to photograph the gelada, (pictured above) a species of Old World monkey found only in the Ethiopian Highlands, starting on page 18. If you love the highlight image by Pulitzer Prize winning photojournalist Nick Ut on page 26, then check Crisp vibrant images with soft defocused blur background qualities. out our “One Location, One Lesson, One Lens” video series on YouTube (@ Pursuing an unprecedented fusion of image quality, fixed fast-aperture, and tamronvids), episode 2, to watch how he creates such an amazing image. You will fall in love with the animals photographed by Alex Cearns, a Tamron Australia compact size and weight, the new Tamron 28-75mm F/2.8 Di III RXD offers Ambassador, in this issue’s interview that starts on page 28. We hope you are superb balance when mounted on Sony full-frame mirrorless cameras. following us on social media and look forward to seeing your feedback about the magazine (#tamronusamagazine). We also want to see your photographs created FOLLOW US: Portray the world beautifully. with Tamron lenses. Be sure to use the hashtag #withmytamron when posting on FACEBOOK tamronlensesusa Instagram and Twitter. And for your chance to be featured in the magazine, see INSTAGRAM @tamronusa page 42 for details on how to submit your photos. See you in the Fall. TWITTER @tamronusa

Sincerely, 28-75mm F/2.8 Di III RXD (Model A036) Length 4.6 in. | Weight 19.4 oz. TAMRON NEWS Get news, interviews, photo tips and more twice a month. Visit Tamron at Stacie Errera www.tamron-usa.com to sign up ONLY AVAILABLE AT YOUR Vice President, Marketing & Communications www.tamron-usa.com AUTHORIZED TAMRON USA RETAILER

Tamron Magazine 3 HIGHLIGHT

LEWIS KEMPER is widely recognized as a photographer, writer, and instructor, lecturing throughout the United States. He currently is a Contributing Editor to Outdoor Photographer. Books include, “Ancient Ancestors of the Southwest”, published by Graphic Arts Center Publishing; “Capturing the Light” which won the People’s Choice Awards in Fine Art in the 2009 Photography. Book.Now competition; and his “Photographing Yosemite Digital Field Guide” which was voted in the top 20 field guides. Lewis’ DVD, “My Stretch of the River: A Photographer’s Journal”, features a years worth of photography and journal entries on the American River in Sacramento, CA. His latest publications are photo guide apps, “Yosemite National Park SNAPPGuide” and “Yellowstone National Park SNAPPGuide”. You can visit his website at www. lewiskemper.com 70-210mm F/4 Di VC USD

Tamron Magazine 5 PHOTOGRAPHIC NEWS WORKSHOPS NEWS The all-new Tamron Tours Presents Workshop ONE LOCATION, ONE LESSON, Series 2018 will take you TAMRON LENSES AWARDED WITH TWO from classroom to field PRESTIGIOUS TIPA AWARDS IN 2018 for an immersive learning ONE LENS VIDEOS experience. Tamron Video Series Updates The Technical Image Press Association (TIPA) presented awards to two Tamron lenses; 70-210mm F/4 Di VC and 18-400mm atch Tamron’s new video series featuring lessons F/3.5-6.3 Di II VC HLD, making this the 5th year in a row that EPISODE 3: Tamron has garnered a TIPA award. The TIPA Awards are world- W from pros capturing images on location with their renowned as the most influential photo and imaging product favorite Tamron lens that best suits the subject awards in the industry. TIPA has a worldwide membership of matter. A new video is posted in the third week of photo and imaging magazines from 15 countries across five continents and each month, so subscribe to TamronVids YouTube channel once a year the editors of TIPA’s member magazines meet to vote for the to be the first to know when a new lesson drops. best photo and imaging products in each category. Their citations are below.

EPISODE 1: AWARD CITATION: AWARD CITATION: Tamron hits the road again to bring BEST DSLR TELEPHOTO BEST DSLR you a unique workshop experience ZOOM LENS SUPERZOOM LENS in every city we visit. The all-new workshop tour will kick off in April Ken Hubbard takes the 18-400mm all-in-one Tamron 70-210mm F/4 Di VC ultra-tele 22.2X zoom lens to San Francisco to Tamron 18-400mm F/3.5-6.3 and is slated to hit locations all USD (Model A034) capture the Golden Gate Bridge at sunrise. Di II VC HLD (Model B028) across the United States. Our team The 70-210mm focal length has consists of expert photographers that Delivering an effective focal length long been the choice of nature and will present a 1 �/� to 2-hour seminar range of 28-620mm (35mm equivalent) outdoor photographers as an all-in- to provide gear and photo tips on a on APS-C DSLRs (varies slightly in EPISODE 4: one lens for a wide variety of subjects hand-picked topic for the tour stop. Canon mounts), the moisture-resistant and scenes. The constant aperture The next day, jump in our supplied Tamron 18-400mm all-in-one 22.2X Professional Photographer, Cecil Holmes, uses Tamron 70-210mm for full frame and transportation (when applicable) to zoom is a mere 4.8” long and weighs the new 100-400mm lens to capture horses on a APS-C DSLRs delivers 4EV vibration just 24.9 oz. An HLD (High/Low torque- visit a local venue. You’ll get hands- snowy day in Grand Teton National Park. compensation when shooting handheld modulated Drive) is designed to save on instruction from our friendly and and is constructed with 20 elements in power and enables smooth AF operation, talented team of experts while also 14 groups, with three LD elements. The plus allows for a smaller AF module trying out any Tamron lens you like. minimum focusing distance of 37.4” and EPISODE 2: that helps reduce lens size. A new barrel Our team will provide a variety of the nine-bladed diaphragm combine to design, which includes distribution of experiences such as a scenic hike yield very pleasing bokeh effects. A Dual complex movement across three cams, through a local park, a walk along MPU (Micro-Processing Unit), internal insures smooth zooming. The lens also busy city streets, a tour of the local zoom (which does not increase barrel Tamron Image Master Jonathan Thorpe uses the offers built-in vibration compensation botanical garden, or a memorable trip SP 45mm F/1.8 Di VC USD prime lens for this fun length when zooming) and an Ultrasonic of 2.5EV and, to expand its capabilities through the city zoo, every stop tak- vintage style bowling photo shoot. Silent Drive ring-type motor enable even further, a minimum focusing ing advantage of local photographic smooth operation and high-speed, distance of 17.7”. opportunities. No matter what the accurate AF performance. subject, you will learn how to frame through your lens and make expo- EPISODE 5: sure adjustments to get the results Legendary Photojournalist Nick Ut is a you want. self-proclaimed "Lunartic" and in this video he uses his SP 150-600mm G2 to capture a silhouette Learn more at of an airplane as it passes over the moon. www.tamron-usa.com/tamrontours.

WATCH THE VIDEOS... www.youtube.com/user/tamronvids

Photographer André Costantini heads to Iceland to capture ice formations with his new 28-75mm Di III RXD Sony Full-Frame Mirrorless lens.

6 Tamron Magazine Tamron Magazine 7 TOP FEATURES TOP FEATURES

HIGHLIGHTS IN FOCUS: TOP FEATURES OF THE 28-75mm F/2.8 Di III RXD 28-75MM F/2.8 DI III RXD

Flourine Coating The first compact, fast 7.5” MOD / 2.24” Working Distance Moisture resistant Image above shot at 28mm for a standard-zoom perfectly lens construction 1:2.9 Macro capability. matched for Sony full-frame mirrorless cameras

Eye AF

28mm, F/22, 1/20th sec., ISO 125 Lightest in Class The Sony α7/9series are recog- Minimum Object Distance at every focal Also, the addition of a dedicated nized as “Travel light” full-frame length, the new Tamron 28-75mm can sensor that accurately detects the format mirrorless cameras and RXD autofocus be focused at 7.5 inches (subject to film position of the lens enables high speed the lightweight and compact (Rapid Extra- plane) at the 28mm wideangle end of the and precise autofocus that allows you form factor of the A036 perfectly Silent Drive) zoom range, delivering a magnification to maintain razor-sharp focus when matches these cameras for ratio of 1:2.9. The subject is only 2.24 shooting continually moving subjects every use. inches from the front lens element! At or filming video. the 75mm setting, image magnification Because Tamron knows your lens is 1:4 and the MOD is 15.3 inches. doesn’t stay inside all day, the Quiet—and Blazing Fast lens features Moisture-Resistant Construction for extra protection The only sound you’ll hear is your heart he new Tamron standard zoom outdoors, plus hydrophobic Fluorine beating—the new Tamron zoom is for Sony mirrorless full-frame Coating that is highly resistant to T that quiet. Thanks to an AF drive that cameras is light and small, fingerprints and debris. incorporates an RXD (Rapid eXtra-silent checking in at 19.4 ounces and 4.6 stepping Drive) stepping motor unit, inches, making it smaller than a soda Modern design, video shooters will be delighted by the RXD AF can. Despite its bantam weight, this high-grade absence of extraneous noise. The RXD AF unit is extremely zoom delivers outstanding image materials quiet and great for video quality, maximizing the capabilities of shooting. Tamron’s original high resolution, full-frame mirrorless RXD motor unit is designed to cameras. reduce the acting noise and The fast, constant F/2.8 aperture achieve quick focus. BBAR NEW 28-75mm F/2.8 Di III RXD delivers stunning bokeh and allows Coating portrait photographers to isolate Model...... A036 Max. Mag. Ratio...... 1:2.9 (wide) / 1:4 (tele) their subjects from the background Focal Length...... 28-75mm Filter Size...... ø67mm for dramatic effect. The fast aperture 1:2.9max. Max. Aperture...... F/2.8 Max. Diameter...... ø73mm also makes street shooting and other magnification Angle of View (diagonal)...... 75°23'-32°11' Length*...... 4.6 in photography more potent. ratio (@28mm) for full-frame format Weight...... 19.4 oz Camera-based 52°58'-21°05' Aperture...... 9 (circular diaphragm)** New Rules for Close-Focusing lens unit firmware for APS-C format updates* Optical Construction...... 15 elements Min. Aperture...... F/2.8-22 Moisture Resistant Construction New close-focusing capabilities open in 12 groups Standard Accessories...... Lens hood, Lens caps The lens comes with moisture doors to new creative expression. MOD...... 7.5 in wide Compatible Mounts...... Sony E-mount resistant-construction. It is a 15.3 in tele Have you ever focused to within less sealant for lens joints and seams than three inches from a subject with throughout the lens barrel help- a wideangle lens? Unlike most zoom Specifications, appearance, functionality, etc. may be changed without prior notice. ing to protect the lens from bad lenses, which have the same hardwired * Length is the distance from the front tip of the lens to the lens mount face. weather. * Varies between camera bodies ** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

8 Tamron Magazine Tamron Magazine 9 SPECIAL SPECIAL PRO TIPS FOR GREAT TRAVEL PHOTOS Photography and travel - they just belong together. The most beautiful days of the year deserve to be captured in the best photos. Our pro tips will help you do just that.

“BE INSPIRED BY THE LIGHT AND DETAILS OF FARAWAY PLACES. A PICTURE MAKES WHAT YOU EXPERIENCE UNFORGETTABLE.”

10 Tamron Magazine Tamron Magazine 11 SPECIAL SPECIAL

Use the picturesque light in the 1morning and the evening Shortly after sunrise and in the late afternoon, the sun is lower in the sky. That makes the light significantly warmer (the “golden hour”) and more friendly - ideal for great photos. The rays of sunlight fall sideways onto the subject, creating more plasticity in the picture. Choose your photo 2equipment carefully No one wants to drag around more luggage than they need to on holiday. Take only the equipment you really need for your photography. All-in-one zooms like the Tamron 16-300mm or the Tamron 18-400mm are practical, offering a very wide range of focal lengths in a compact and light lens - letting you capture a large variety of subjects. Use the rule of thirds to 3compose your picture Rules of composition help you achieve harmonic results in your photography. The golden ratio roughly corresponds to the rule of thirds, according to which the picture is divided into nine equal squares with two horizontal and two vertical lines. Position the central elements on one of the points of intersection and this will

create a balanced and visually attractive composition. Target your focus! Use the bokeh 4effect Along with the choice of image detail and the lighting, sharpness is the third design tool available to photographers. Always focus on the main subject (in portraits, on the eyes). Allow the rest of the photo to blur, so that the viewer’s gaze is unconsciously guided to the important elements of the picture. Use diagonal lines to create a 5dynamic picture Develop an eye for the lines in a picture. These lend structure to the subject and guide the viewer’s gaze. While horizontal and vertical lines give stability, diagonals contribute to a dynamic composition. Include the foreground in the 6composition When taking landscape photos, choose a deep perspective and show part of the foreground as well (e.g. plants or rocks). This way, you’ll give the picture more depth and lead the viewer’s eye in the picture. CONTRIBUTING PHOTOGRAPHERS: ANDRÉ COSTANTINI; MICHAEL DICKEL; KEN HUBBARD; THOMAS KETTNER; IAN PLANT; IAN PLANT; KETTNER; THOMAS MICHAEL DICKEL; KEN HUBBARD; ANDRÉ COSTANTINI; PHOTOGRAPHERS: CONTRIBUTING VLADIMIR SAZONOV SALLYHATESWING; FROM AND SARAH PHIL

12 Tamron Magazine Tamron Magazine 13 SPECIAL Wait until the golden hour SPECIAL before you start taking photos. The light is warmer at that time and will flatter Find a common thread to run the subject. “PRACTICE YOUR STORYTELLING. SOMETIMES 7through your photo story Tell stories with your photos instead A VARIED SERIES OF PHOTOS IS MORE of just shooting a random series of individual photos. Stick to the themes of INTERESTING THAN A SINGLE PICTURE.” your trip in pictures that are as different as possible: Consciously change the location, perspective and shooting distance. This will give you a large number of different pictures that you can use later to tell your personal story about your trip. Pay attention to the contrast 8in the picture! It makes it more exciting Opposites don’t just make life more interesting - they improve your photos as well. It doesn’t always have to be the well-trodden light/dark contrast; complementary colours (e.g. red/green, yellow/blue) and pairings that are interesting to look at (small/large, old/ young, near/far) will make your picture more exciting. Photography after nightfall 9Don’t stop taking photos just because it's getting dark. In cities, the ‘blue hour’ after sunset is an opportunity for great twilight shots. Switch on the VC image stabilizer or use a tripod to avoid blur from the camera shaking. Let small details blossom into 10 the starring role It’s not for nothing that people say the devil is in the detail. Sharpen your eye for TAMRON 18-400mm Di II VC HLD the smaller visual nuances. A small flower 22.2X All-In-One™ Zoom on the edge of a path, a hand-painted sign, a nicely decorated front door - these Tamron’s 18-400mm ultra-tele 22.2X all-in-one details often tell a better story than a zoom lens is perfect for travel photography of vague overview shot. sweeping landscapes, neon-lit cities, wildlife and portraits, and even capture beautiful Don't let the camera set the close-up details. The power of ultra-telephoto. 11 settings for you The versatility of all-in-one. Switch the camera to A or S mode. When you choose the aperture and shutter speed yourself, you're photographing in a 18-400mm more conscious way and you can control F/3.5-6.3 Di II VC HLD the lighting better. BEST Don’t be afraid to take Focal lengthTRAVEL (35mm) ...... 18-400mm spontaneous snapshots Minimum object distance...... 17.7 in 12 Max. image ZOOMratio ...... 1: 2.9 Your photos don’t always have to Filter diameter ...... Ø 79mm follow all the rules of art. Sometimes, a EVER! Length...... 4.8 in (NIK) / 4.9 in (CAN) spontaneous photo is better than one Weight...... 25 oz (NIK) / 24.9 oz (CAN) that’s perfectly put together. If you find an exciting situation, don't hesitate - get your camera to your eye and let loose. These snapshots are seldom perfect, but they • Weight 25oz. are authentic - and add variety to your • Length 4.9 inches portfolio. • Filter Diameter ø79mm You can use a series of pictures to tell a whole story. When you build this story, it's best to follow the action using a zoom lens. Change the perspective and focal • MOD 17.7 inches length to add variety.

14 Tamron Magazine Tamron Magazine 15 TOP FEATURES TOP FEATURES

An internal zoom HIGHLIGHTS IN FOCUS: provides stability by 70-210mm F/4 Di VC USD minimizing changes to the center of gravity TOP FEATURES OF THE while shooting. Also, since the total length of the barrel never changes while zooming, you can 70-210MM F/4 DI VC USD easily shoot through obstructions such as wire fencing. Flourine Coating Lightweight and Easily turn the lens into Moisture resistant a super tele zoom using compact close focusing lens construction Tamron’s teleconverters. Low Dispersion lens Elements tele zoom with a For example, with the Magnesium alloy is used in 1.4X, the lens becomes key areas of the lens barrel to improve weight reduction, constant aperture a 98-294mm F/5.6 on Internal zoom strength and portability. a full-frame camera At just 30 oz. (Nikon mount)/ and approximately 153- 30.3 oz. (Canon mount), it’s 456mm F/5.6 on an the lightest in its class. APS-C camera. Zoom-lock Thanks to its low 70mm, F/4.0, 1/200th sec., ISO 2000 © André Costantini function weight (30 oz. Nikon mount / 30.3 oz. Canon mount ) and its Focal length: 70mm Exposure: F/4 Focal length: 210mm Exposure: F/4 compact dimensions, USD autofocus the 70-210mm F/4 is a (Ultrasonic dream to use over long Silent Drive) periods hand-held. With its moisture-resistant construction and fluorine Internal Zoom coating on the front lens, Shoot with confidence in the new telephoto is inclement weather like snow suitable for use outdoors and rain. in inclement weather as well. And it’s compatible or anyone who doesn’t want to with Tamron’s TAP-In do without a high-performance F Console that allows you telephoto zoom, there is now a to customize autofocus handy alternative to the faster (and and VC settings. heavier) SP 70-200mm F/2.8 G2: the new 70-210mm F/4. The compact telephoto for full-format sensors provides a 35mm format equivalent of Modern design, 109-326mm on an APS-C camera. high-grade Like its big brother, the F/2.8 model materials A025, the 70-210/4 offers outstanding NEW 70-210mm F/4 Di VC USD imaging performance over the entire VC image focal range. With the same minimum Model...... A034 Max. Diameter...... ø76mm (3 in) stabilization focusing distance of 37.5”, it has 10mm Focal Length...... 70-210mm Length*...... 6.9 in Canon (4-stops) more focal length, achieving the greatest Max. Aperture...... F/4 16.8 in Nikon Tripod Mount (optional) The possible magnification in its lens class. Angle of View (diagonal)...... 34°21'-11°46' Weight...... 30.3 oz Canon Tamron teleconverters further for full-frame format 30 oz Nikon optimizes ultra-tele shooting This makes the new lens extremely Optional 23°01'-7°46' Aperture...... 9 (circular diaphragm)** by extending the focal length versatile for shooting anything from tripod mount for APS-C format Optical Construction...... 20 elements Min. Aperture...... F/4-F/32 to a zoom range of 140-560mm portraits to wildlife to close-up subjects. (Arca-Swiss type) Dual MPU TAP-in Console in 14 groups Standard Accessories...... Lens hood, Lens caps (1.4x) or 200-800mm (2x). The lens features Tamron’s VC image System & Teleconverter MOD...... 37.4 in Compatible Mounts...... Canon, Nikon Experience additional precision stabilization that gives you 4 extra stops Compatible Max. Mag. Ratio...... 1:3.1 with an F8-compatible sensor. for low light hand-held photography Filter Size...... ø67mm (CIPA-rated). It has a “dual MPU”, in which two processors guarantee quick, precise focusing and consistent image Specifications, appearance, functionality, etc. may be changed without prior notice. * Length is the distance from the front tip of the lens to the lens mount face. stabilization. ** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

16 Tamron Magazine Tamron Magazine 17 PHOTO: IAN PLANT 18 EXCURSION Tamron Magazine Tamron SP24-70mm VC G2lens,encountering EXPEDITION deserts deepinthe'Hornof Africa' withhis ETHIOPIAN Ian Plant traverses themountainsand Ian Planttraverses the rarestofenvironments and animals alongtheway. SP 24-70mmG2,F/2.8, 1/100th sec.,ISO200 subjects, yet wide enough to take in more subjects, yetwide enoughtotake inmore enough tozoomintightonmore distant of photosubjects,"hesays. "Itwaslong lens. "Thisistheperfectlensforavariety into theTamron SP24-70mmF/2.8 VCG2 camera andotherelectronicsfullycharged." along a portable solar chargertokeepmy wilderness camping quitea bit,soIbrought else inbetween. Ialso knewIwasgoing tobe clothes fortheseextremes,and everything concern was making sureIhadtheright feet belowsea level,"hesays. "Somymain the Danakil, whereIwas several hundred feet abovesea level—tothebrutalheatof the mountains—I was as highas 14,000 from below-freezingtemperatureshighin an extreme mixofweather andtemperatures, country. "IknewIwasgoingtoexperience the Tigrayarea, thenorthernmostpart ofthe and visitedtheancient rock-hewnchurchesof desert environmentnear anactivevolcano, Simien Mountains,spentsometimeinthehot through thebackcountry ofEthiopia inthe imaging ideologyintopracticeas hetrekked landscape, wildlife,ortravel." opportunities, whetherthey'rerelated to end, Ikeepmyeyesopenforany and all creating compellingphotographs. Toward that and toshowmypersonalartistic visionby my camera," he says. "Iwant totellastory, more than justdocumentthethingsIseewith W On his African excursion, Ian tapped On hisAfricanexcursion,Ian tapped For threeweeksinDecember,Ian putthis out the scenery. "I'm looking to do out thescenery. "I'mlookingtodo definite missioninmind as hescopes venturing abroad, IanPlant has a hether he'sexploringtheU.S. or 50mm, F/4.5,1/180th sec.,ISO1600 F/11, 1/50thsec.,ISO100 Tamron Magazine EXCURSION 19 EXCURSION EXCURSION

dramatic scenery and stormy skies in For his image of a lone gelada lounging on the background. "I used a tripod for an Ethiopian mountain, Ian gravitated toward maximum stability here to ensure a the wider end of the 24-70 lens so he'd be razor-sharp image," he says. able to include the jaw-dropping scenery and Taking pictures of locals can add dramatic twilight sky in the background. "I a compelling perspective to a travel used a hint of flash at low power to gently pictorial, though it's important to make illuminate the monkey, making it stand out sure they're OK with the attention. "The better from its darker surroundings," he says. Ethiopians I met were very friendly, and The versatility of the 24-70 allowed Ian most were happy to have their photo to come in tight when he needed to during taken," Ian says. "However, I always his photo sessions with the monkeys. "For asked for permission first, especially the silhouetted photo you see here, I zoomed when I was in churches there, as I didn't in to 70mm when this gelada climbed up want to show any disrespect." on a boulder at sunrise," he says. "I chose a Venturing into one local church, Ian position that put the sun directly behind the SP 24-70mm G2, F/11, 1/200th sec., ISO 100 wanted to take a photo of a priest inside monkey, allowing me to capture the photo but found himself immersed in a dark with fringe light around my subject. I wanted interior. "I was handholding, but the to avoid overexposing the monkey's backlit "THE TAMRON 24-70MM IS LONG ENOUGH Vibration Compensation feature on the hair, so I dropped my exposure, letting the 24-70 allowed me to use a longer shutter monkey go into silhouette. A more artistic TO ZOOM IN TIGHT ON MORE DISTANT speed and still capture a sharp image," he look like this can fully round out your travel says. "Even with the VC, I still needed an pictorial." SUBJECTS AND WIDE ENOUGH TO TAKE IN A ISO of 10,000 to get this shot." Ian went on a backcountry trek MORE SWEEPING VIEW OF THE LANDSCAPE. organized by a local guide, which is when he had the chance to photograph SP 24-70mm Ethiopia's gelada monkeys, also called sweeping views of the landscape. Its F/2.8 F/2.8 Di VC USD G2 bleeding-heart monkeys for the patch maximum aperture lets in a lot of light, on their chests that ranges in color from Focal length (35mm) ...... 24-70mm allowing me to work effectively even in pink to bright red. "These monkeys aren't Angle of view...... 84°- 34° low-light situations. And the Vibration usually afraid of humans, so I had a lot Largest aperture...... f/2.8 Compensation feature is especially helpful of close encounters," he says. "Gelada Aperture blades...... 9 when I'm handholding, which I do a lot monkeys are a rare species, found only Elements/groups...... 17/12 with my wildlife and travel photos." in the highlands of Ethiopia. They're Minimum object distance...... 15 in For his landscape photos, Ian typically ground-based grass eaters, the last of a Max. image ratio ...... 1: 5 looks to juxtapose an eye-catching group of species that used to live much Image stabilizer...... 5 stops* foreground feature against a stunning Filter diameter ...... Ø 82mm more broadly throughout Africa." SP 24-70mm G2, F/5, 1/30th sec., ISO 10,000 Length...... 4.3 in (NIK) / 4.4 in (CAN) background. "For me, the foreground Much of Ian's time photographing the Weight...31.7 oz (NIK) / 31.9 oz (CAN) is often the most important part of the gelada monkeys was spent waiting for SP 24-70mm G2, F/16, 1/100th sec., ISO 100 landscape composition," he says. "An the ideal moment, when one or more of * CIPA standards. interesting foreground element can his subjects would be situated in just the attract the viewer's attention, then help right light and just the right pose. "Take lead their eye deeper into the scene." the photo of the solitary gelada standing ABOUT: IAN PLANT One of the most colorful landscapes Ian in the field," he says. "The males are encountered in Ethiopia was the Danakil constantly watching over the troop, World-renowned professional Depression, a geological depression where occasionally standing up to get a better photographer Ian Plant travels the three tectonic plates meet in one of the look at their surroundings, so that's the globe seeking out amazing places hottest places on the planet. "My main moment I waited for here. I took this and subjects in his never-ending challenge here was access, as the area is photo with the monkey backlit by the sun quest to capture the beauty of our world with heavily patrolled by government security shortly after sunrise, using flash at low his camera. Known for his inspiring images forces," Ian explains. "I wasn't able to power to add a hint of fill light." arrange to be there at sunrise or sunset, Ian found himself in a similar situation and single-minded dedication to creating the so I had to settle on arriving shortly after while photographing a foursome of gelada perfect photo, Ian has reached hundreds of SP 24-70mm G2, F/9, 1/200th sec., ISO 100 sunrise. That means the light wasn't monkeys perched on a giant rock. "There thousands of people around the world in his ideal, although the higher sun did bring were actually somewhere between 50 to mission to inspire and educate others in the out some of the colors more strongly than 70 monkeys on this rock," he explains. art of photography. Ian is a frequent contribu- if I'd been there when the sun was lower." "I zoomed in to isolate just a few of tor to many leading photo magazines, For a sunset photo of the Siha Gorge them. They were constantly moving and Managing Editor of Outdoor Photography in the Simien Mountains, Ian went to the changing position, so, once again, I had to Guide, a Tamron Image Master, and the author widest end of the lens to simultaneously patiently wait it out until all four looked of numerous books and instructional videos. SP 24-70mm G2, F/20, 1/160th sec., ISO 100 capture the foreground plant and the in my direction at the same time." https://www.ianplant.com

20 Tamron Magazine Tamron Magazine 21 IN ACTION IN ACTION

USE PICTURES TO TELL STORIES At first glance, Maxim Guselnikov’s pictures might seem unspectacular. But look again, and you’ll notice he has an incredible love of detail.

axim Guselnikov has made a M name for himself far beyond the borders of his native Russia with his sultry photos of female models. The young photographer has a weakness for calm, tranquil photos that tell a story. In this interview with Tamron magazine, he explains how his photos come about and what is most important to him during a shoot.

Maxim, what is it about photography that fascinates you? Maxim Guselnikov: On the one hand, that’s a really good question - but on the other, it's not easy to answer. I like the feeling of living right inside a moment. A good photo carries the unique atmosphere and feeling of a moment. It’s like a short film or a personal memory.

How did you become a photographer? Maxim Guselnikov: Simple really: I like to take photos and fun things are my favorite things to do! I never set any goals for myself and also never wanted to compare myself with other people. My goal has always been to take what I think are beautiful photos and to do whatever it takes to do that. That strategy has

PHOTO: MAXIM GUSELNIKOV PHOTO: worked pretty well for me so far.

22 Tamron Magazine Tamron Magazine 23 IN ACTION

I HAVE A FEW IDEAS OF HOW I’D LIKE TO CARRY ON DEVELOPING MY STORYTELLING PORTRAITS. I’LL TAKE SOME TIME AND EXPERIMENT WITH NEW IDEAS. PHOTOS: MAXIM GUSELNIKOV PHOTOS:

The colors in the photos seem very What equipment do you use for ABOUT: “MY BASIC APPROACH IS THAT I DON’T JUST carefully chosen as well... your shots? MAXIM GUSELNIKOV Maxim Guselnikov: I use colors to Maxim Guselnikov: The funny thing is TRY TO PORTRAY A PERSON, BUT INSTEAD The 33-year-old achieve a certain effect for the viewer. that you can actually - despite all the photographer from Sometimes it's just a case of creating ‘rules’ - shoot a portrait with any lens. Moscow made a ALWAYS LOOK FOR A SHORT STORY TO TELL.” a harmonic effect in the picture, In the past, I've worked with virtually all name for himself but usually I try to communicate an focal lengths between 15mm and 200mm, with scenic portraits with a atmosphere or feeling through the colors and I still can’t say there’s a lens that’s deeper meaning that is not You mainly photograph people. How would you describe your in the photo. I focus on that especially better suited to the purpose than any always obvious at first glance. How do you make them seem so relaxed personal style? during post-processing. other. I myself shoot with Tamron lenses When Guselnikov, who started in the photos? Maxim Guselnikov: That’s hard for me exclusively, predominantly with prime photography at seven years old, isn’t looking through a Maxim Guselnikov: The trick is that because I feel like the imagery I use is What photographers have inspired you lenses in the SP series. My favorite lens is camera's viewfinder, his I don’t see the photo as important, changing all the time. My basic approach the most in your work? the SP 45mm; I like the image angle and favorite thing to do is travel the so much as the communication with is that I don’t just try to portray a Maxim Guselnikov: There are lots of the combination of crisp sharpness and world. He passes on his the model. That doesn’t automatically person, but instead always look for a photographers who’ve had an impact on butter-soft bokeh. knowledge in workshops in guarantee good photos, but at least you short story to tell. I’ll usually incorporate my work. To name a few names: Ryan Russia and Europe. haven’t wasted your time that way. a little puzzle and show the environment Schude, Gregory Crewdson, Maia Flore, What do you like generally about the www.maxguselnikov.com the person's in while I’m shooting. I'm a Alessio Albi, Dima Zverev and Anka lenses in the Tamron SP series? Would that be your tip for better portrait film fan and set up my shots like scenes Zhuravleva. Maxim Guselnikov: For me, they're the shots as well? from films. So I try to present a character perfect balance and a coherent overall Maxim Guselnikov: Yes! Just try to have or an interaction between the protagonist package. As well as the high image as much fun as you can at a shoot. Then and her environment. quality, which is essential for me, like everyone will be behaving naturally, and the VC image stabiliser and the weather- that’ll show through in the photos. resistant sealing.

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NICK UT Nick Ut is an LA-based Vietnamese American photographer. He has won countless awards including the 1973 Pulitzer Prize for Spot News Photography and the 1973 World Press Photo of the Year for "The Terror of War", depicting 9-year-old Phan Thi Kim Phúc, running toward the camera from a South Vietnamese napalm attack on North Vietnam- ese troops during the Vietnam War. Now retired, Nick is currently part of a self-proclaimed “Lunartics” group where he photographs airplanes crossing the full moon. Watch his video on YouTube.com/ TamronVids to see just how he got this shot. See page 7 for more details. Twitter: @ nickut SP 150-600mm F/5-6.3 Di VC USD G2

Tamron Magazine 27 INTERVIEW INTERVIEW

"AS A PROFESSIONAL ANIMAL PHOTOGRAPHER, I NEED LENSES THAT THE NOT-SO-SECRET LIFE OF PETS RESPOND INSTANTLY AND ARE FAST FOCUSING. I LOVE THE TAMRON Her first paying client was a pug named Doug. Since then, Alex Cearns has built up her TECHNOLOGY FOR THIS REASON." business to become one of Australia's preeminent wildlife and pet portrait photographers.

hen Alex Cearns was growing up Alex converted a small office at the back How has your photographic style evolved Tell me about your very first animal 24-70mm 24mm F/13 1/200th sec. ISO 100 W in the Australian Outback, her of her property into a photographic over the years? session. dad was a sheep shearer and studio and spent every weekend filling Cearns: I'm a bit of a purist when Cearns: My very first paid studio session wool valuer—which meant, as an only requests for pet portraits. What started it comes to my photography. I love was of a black pug named Doug. I was as a weekend hobby grew so much child, her constant companions were her using negative space above, below, or pretty much making it up as I went along she found herself working up to 100 dogs, guinea pigs, horses, rabbits, and beside my subjects, as well as having as far as lighting went, but by some hours per week between both jobs. She bottle-fed lambs. "My family had a great distraction-free backgrounds. My stroke of luck, the photos turned out well left her full-time government role in regard for Australian wildlife, and I often retouching is minimal—minor tidying and the client was happy. I was learning 2010 and rebranded her business name helped my mother rescue and care for a and ensuring backgrounds are clean— as I went, but I soon started booking to Houndstooth Studio. "Since then, wide array of injured kangaroo joeys, and I usually remove collars from dogs more and more shoots. so many incredible experiences and birds, and other creatures until they and cats so that they appear opportunities have opened up," she says. could be released back into their natural without any man-made habitat," she says. For the past five years, Alex has used influences. Tamron lenses exclusively. "I was And thus started Alex's lifelong passion For studio images I initially invited to trial them for three for animals. As an adult, she put in a shoot against white weeks and I've never taken them off," 14-year stint as a police officer and crime or black backdrops, she says. "Most of my studio images analyst with the Western Australia Police effectively eliminating are captured with the SP 24-70mm Force, then transferred to the federal any environment F/2.8 VC G2 lens, and I sometimes government as a senior transport auditor from the shots. use the SP 90mm Macro and the SP in airport counterterrorism security This emphasises 70-200mm F/2.8 VC G2 lenses as well. for city and regional airports. But that the subject and Outdoors when photographing wildlife, affinity for creatures great and small kept removes all I use the 70-200mm and the SP 150- pulling at her, and everything changed distractions. I think 600mm VC G2 ultra telephoto zoom. As a when photography seriously entered the this allows each professional animal photographer, I need picture in 2006. subject to be seen in lenses that respond instantly and are fast its most pure, true "When a friend showed me the scope focusing. I love the Tamron technology form. of digital photography, I was hooked," for this reason." she says. "I spent every spare moment For my natural-light Here, Alex talks about setting up her ALEX CEARNS PHOTOS: studying photographic literature and images, I follow the studio sessions, how she gets her practicing the craft on my own pets, same concept and try to feathered and furry creatures to respond those of friends and family, farm shoot against block colors to her camera, and how animal rescue is animals, and wildlife. I tried a few other (pointing up into a blue sky or a major part of her business model. genres, including landscapes and people, down toward green grass, for example) or even toned patterns but animals enthralled me more than any Who or what serves as your inspiration? other subject." (like concrete or the ground). Cearns: I'm self-taught in photography As a result, and despite having On a work trip to the Cocos (Keeling) and have always been most inspired a different light source, my Islands, Alex photographed a group of by nature. I've learned from reading outdoor and studio images giant blue clams at a rustic breeding magazines and through associating with have a similar feel to them. facility. "Mesmerized by the vivid colours my photographer friends. Trial and error of the clams, I waited patiently to get the has also worked well to help me grow. right shot," she says. "One of the images I'm constantly striving to take a better received positive feedback from family image than my last, and as a result, and friends, and I felt encouraged to a photo I like today I might not like enter it into several major photographic tomorrow. I think most photographers competitions. I was thrilled (and a bit are very self-critical, but this is also what surprised!) when it won several major pushes us to keep creating images. awards. This led to gallery representation and print sales of the image—and was the first time I felt like my photographs had a value." 24-70mm 40mm F/13 1/200th sec. ISO 100

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them into position; they do it organically, Philanthropy is a huge part of many great animal organizations that depending on what I'm asking them for my business philosophy and one need help. or how I'm using food rewards. This is of my driving passions. I work I know many people feel as passionately the best way to get relaxed and happy pro bono with dozens of animal as I do about animals and conservation. shots. rescue charities, sanctuaries, and No matter where you live, there will be an shelters across the globe through There are challenges with dogs. They're animal rescue organization dedicated to images, sponsorship, and major very aware of their environment and the making a difference in the lives of rescue fundraising projects every year. fact that they're in a new place with a animals. I would love to see more people stranger, surrounded by flashing lights Each charity project I undertake becoming involved with a charity that and with a large object pointed in their is about improving the lives of resonates with their own personal ethics faces. I work with many dogs that come animals. Knowing I can help and compassion. from abusive backgrounds, and to relax make a difference to these rescue them I move slowly and deliberately to animals is a huge motivation for Any advice for up-and-coming pet make sure I don't trigger any of their me. The right image viewed by photographers? anxieties. If they're known for biting the right person can mean a dog Cearns: It's vital for photographers the backs of heels, I never show them is re-homed, a donation is made, to find their own style, then work at my heel. I'm proud to say I've never had or that the media will run a story developing it. You want your work to a problem because I'm able to call on that increases awareness or raises be distinguishable from that of other my dog-handling experience to ensure public concern for a cause that directly affects the welfare of the photographers. Study the images of those they trust me and have lots of fun. Some animal. There are so many species photographer you admire, then put your people call me a dog whisperer, but to 24-70mm 24mm F/13 1/160th sec. ISO 100 that need help right now and so own spin on them. me it's simply using my body language and energy to relate to them in a non- threatening way. Talk about how you compose your shots. Cats are the opposite of dogs: They're Cearns: That negative space I talked generally grumpy from either being about adds to the emotion and mood of woken up to have photos taken or from an image if used correctly. I have a few having to go in the cat carrier, but they signature shots I always try to nail as tend to stay quite still, or even play with well: a half-face (cropping my subject's a toy or two once they arrive. Most other face symmetrically in half, emphasizing animals are fairly easy to work with, one eye only); a "Zen Dog" (in which my from mice, ferrets, reptiles, and birds to canine subject has its eyes closed and is horses and other farm animals. looking happy); a pose where the animal During my studio shoots, I sit about a is looking down (where the subject bows 24-70mm 44mm 1/200th sec. F/13 ISO 100 foot away from each subject and maintain its head, which makes dogs look very their focus on me for the entire session. young and can make an older pooch look I work fast and am often able to get like a puppy again); and, of course, a What's your lighting setup for always joyous and give so much back to all the images I need in a 30-minute high-five or paw shot if the animal has pet portraits? us. They're our best friends and loyal shoot. Sometimes that will be 50 images, that in its trick repertoire. companions and always happy for each Cearns: I use simple lighting setups: sometimes 300—I then select the best 30 day they get to spend with us. What's your post-production workflow? two lights at the back and one or two to share with the client. at the front, depending on which color Cearns: After each studio photo session, What are some of the challenges in How are you able to capture those background I'm photographing on. I do a quick subject edit for goo, photographing animals? expressions and emotions on your Sometimes for dark subjects on the dribble, stray hairs on eyes, and other subjects' faces? black backdrop, I use one light. I shoot Cearns: Animals can be nervous around distractions, then check to see that intuitively, knowing when to move lights strangers. I connect to my animal Cearns: As a person who loves all my background is true black and true closer or move them away, or turn them subjects by first making friends with animals—and who will often greet a dog white. For my wildlife images, I remove up or down. them. With dogs, I find this particularly before I say hello to its owner—it's easy any extraneous items that could be easy: I just offer them select toys and for me to capture the character of my distracting. Other than that, my photos What's your favorite animal to treats. Once I've won them over, they subjects in my photographs. I basically are pretty much straight out of the photograph? think I'm the best person they've ever shoot the poses and expressions I like camera. Cearns: I love to photograph dogs. met—until the treats run out! I pretty to see in my own pets. The best way I've It's safe to say I'm a crazy dog lady! I much let them do whatever they like, a found to capture character-filled images What's your photographic mission overall? photograph more than 800 pet dogs bit like a naughty aunty who doesn't have is to ensure my subject is at ease and not each year in my studio, and on my global any rules and lets the kids do what they control them too much, as I mentioned Cearns: I have two: to show, through travels, the natural focus of my lens is want. If I ask them to sit and they won't, earlier. This way I'm able to obtain images, how beautiful animals the local dogs. I always end up laughing I let them stand. If they want to lie down, images that really reflect the nuances of are, and to support, promote, and 24-70mm 70mm F/13 1/200th sec. ISO 100

at their zany, adorable antics. They're they can. And I never move, push, or pose their character. ALEX CEARNS PHOTOS: endorse animal rescue organizations.

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ABOUT: ALEX CEARNS

Alex Cearns is the Creative Director of Houndstooth Studio based in Australia, and specializes in capturing portraits that convey the intrinsic character of her animal subjects. She photographs for engaged pet lovers, corporate brands in Australia, the USA and the UK, and for around 40 Australian and International animal charities and conservation organizations. Her images have been published extensively across international media, in books, magazines, billboards and advertising campaigns, and she was recently featured in an episode of ‘60 Second Docs’ which received over 6 million views (June 2018). Alex is the recipient of over 250 awards for photography, business and philanthropy, and the published author of 5 books. Inspiring others with her joy of working with animals, Alex’s philanthropy and passionate advocacy for animal rescue has 24-70mm 46mm F/11 1/200th sec. ISO 100 earned her high regard among Australia’s animal lovers and a strong following on social media.

Also, when working with animals, you have to remove any expectations. They often won't sit still, look where you want, or respond how you want them to. It's our job as photographers to work around this and achieve the results we're looking for, regardless of how engaged the animal is in the photo shoot. As soon as you learn to let go of trying to control them and learn to embrace working with what they naturally give you, the images will flow. Finally, take pictures because you love it, not because you feel any sort of pressure SP 24-70mm 24-70mm 24mm F/13 1/200th sec. ISO 100 to make money. Otherwise, the pressure F/2.8 Di VC USD G2 will be too great and you'll be doomed to fail. When I started out, people told Focal length (35mm) ...... 24-70mm me animals were boring subjects, that Angle of view...... 84°- 34° everyone photographs animals when Largest aperture...... f/2.8 Aperture blades...... 9 "EACH CHARITY PROJECT I UNDERTAKE IS they're learning, and that I'd grow out of Elements/groups...... 17/12 it. I didn't listen. They turned out to be Minimum object distance...... 15 in ABOUT IMPROVING THE LIVES OF ANIMALS. the subjects I loved to photograph most. Max. image ratio ...... 1: 5 Image stabilizer...... 5 stops* KNOWING I CAN HELP MAKE A DIFFERENCE Finally, are there any animals you'd like Filter diameter ...... Ø 82mm to photograph that you haven't had a Length...... 4.3 in (NIK) / 4.4 in (CAN) TO THESE RESCUE ANIMALS IS A HUGE chance to yet? Weight...31.7 oz (NIK) / 31.9 oz (CAN) 24-70mm 47mm F/13 1/160th sec. ISO 100 Cearns: Sloths! * CIPA standards. MOTIVATION FOR ME."

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"THE 15-30 IS A TERRIFIC LENS FOR NIGHT PHOTOGRAPHY BECAUSE ADVENTURES OF A STARGAZER IT'S AN ULTRA-WIDE-ANGLE LENS AND HAS A FAST APERTURE."

André Costantini heads into remote deserts and woodlands to capture 15-30mm (15mm), F/2.8, 30 sec., ISO 3200 35mm, F/1.8, 10 sec., ISO 1600 the beauty of the night sky with his Tamron SP 15-30mm F/2.8 VC and 35mm F/1.8 lenses.

15-30mm (17mm), F/2.8, 15 sec., ISO 3200 15-30mm (15mm), F/2.8, 20 sec., ISO 3200

15-30mm (30mm), F/2.8, 10 sec., ISO 3200

PHOTO TIPS: NIGHT SKY 4 Use manual focusing. Autofocus is a no-go with night 1 Go high-tech to find your subjects. photography, as cameras need light There are many apps available for and contrast for autofocus. There mobile devices that can help you find are a few methods I'd recommend where the Milky Way and other celestial for manual focus: bodies are positioned at any given time. • Use your camera's "Live View." The one I use most, called Sky Guide, Zoom the "Live View" as far allows you to hold your device in real as it can go, then make sure time to see where the stars are. And the area it's seeing is focused because the movement of the sky is on a bright star or planet. predictable, you can also ask the app to Then manually focus until your show you where the stars will be on any subject is a sharp pinpoint. paint given day, at any given time. It helps ander into one of the national subjects like the Milky Way. often see images of the Milky Way around • You can also use a flashlight to focus the subject by you know the position of the Milky parks after dark and you may urban areas—it's still there in the sky, of on a foreground object that's at constantly moving it throughout W If he has an eye-catching foreground Way, say, relative to your location and bump into André Costantini (and course, but the light from cities obscures infinity. With a 15mm focal length, for the exposure. This technique is called subject, however, André may opt to use foreground subjects. plenty of other photographers) basking it from our view. You can be more than example, infinity is roughly 10 feet. You light painting, because you literally use the 35mm prime lens. "With its even under the light of the Milky Way and 100 miles from a major city and still see 2 Set a baseline for your settings. can also use the "Live View" for the the flashlight as a brush to reveal the larger F/1.8 maximum aperture, it allows trying to capture the majesty of the night its glow. In my cactus image from Though there will always be several most accurate results. dark subject in your frame. It should me to use lower ISO settings and thus skies. "These days, the ability for camera Saguaro National Park, for example, the factors at play with night photography, be noted, however, that light painting reduce some of the noise associated with • Many lenses have a distance scale on sensors to capture low light is pretty glow from nearby Tucson can be seen in shooting at F/2.8 with an ISO of 3200, in some parks has been restricted or higher ISOs," he explains. them and you can use this to focus spectacular, which is one of the reasons the background. Check out the Interna- using an exposure of 15 to 30 seconds, is at infinity. A lot of zoom lenses are prohibited lately, so make sure you night photography has become so A tripod is critical if you're thinking of tional Dark-Sky Association's website a decent starting point for dark "varifocal," meaning that the focus check the rules of the park or site popular," he says. taking on the night skies—"you need (darksky.org) to scope out the darkest night skies. point may move depending on the you're at. to be on a staple tripod for night photos skies near you." 3 Search for a compelling focal length. This method is best used To capture the cosmos from his favorite 6 Account for white balance. because your shutter speed will usually foreground element. with prime lenses. If you use this perches in Yosemite, Zion, Arch- This can be somewhat tricky with night fall between 10 and 30 seconds"—and Although capturing an awe-inspiring technique with a zoom lens, make es, Acadia, Saguaro, and Grand Teton ABOUT: ANDRÉ COSTANTINI sky photography, in part because the it's preferable to shoot on a clear night, night sky or the Milky Way can be sure you check the sharpness of the national parks, among others, André taps color of the sky changes over the course especially if photographing the Milky exhilarating, finding a foreground image after you take it by zooming in into his Tamron SP 15-30mm F/2.8 VC André Costantini is a of the evening. As a starting point, set Way is on your to-do list. And for the element that works with the scene on your display. There's nothing more Wide-Angle and 35mm F/1.8 VC lenses. photographer, best photos, it's a mandate to find the can take the photo even further. frustrating than thinking you got the your white balance to 3400 degrees "The 15-30 is a terrific lens for night filmmaker and darkest skies possible. Showing a sense of place (perhaps an shot and finding out it's soft the Kelvin using the Kelvin white-balance photography because it's an ultra-wide- educator and has old farmhouse in the Grand Tetons' next day. setting. The best advice, however, is to angle lens and has a fast aperture," he "Light pollution is one of the biggest been behind and in front of the camera informing and entertain- Mormon Row) or photographing an 5 Get creative with lighting. make sure you're shooting your images says. "I use a full-frame sensor camera, issues preventing photographers from ing, learning and creating for object in relationship to the night sky, Lighting your subject can be achieved in RAW mode, not just as JPEGs: With because the field of view with respect to capturing a clear night sky," André says. more than 20 years. Clients like a silhouetted cactus, can offer a with any light source. I have a few lights RAW files, you can alter the white the focal length changes depending on "It's virtually impossible to capture the include Viacom, ESPN, Discovery sense of context or perspective in your in my own gearbox. In Arches National balance later, without compromising the format you're using. Wider-angle stars if a bunch of light is clouding the Channel, Criterion Collection photograph and make even more Park and the Grand Tetons, I've used image quality, if you're not satisfied lenses are often preferable to capturing atmosphere, which is why you don't and Tamron USA. ANDRÉ COSTANTINI PHOTOS: of an impact. a bright LED flashlight, which I use to with the results.

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"I LOVE SHOOTING SILHOUETTES BECAUSE IT SOMEWHAT ANONYMIZES THE IMAGE. THAT MAKES IT AN EASIER IMAGE FOR THE VIEWER TO IDENTIFY WITH." 150-600mm (350mm), F/14, 1/400th sec., ISO 200

PHOTO TIPS: WILDLIFE AND NATURE to notice the connection between what humans do and what animals do. I want 1 Control what you can in the scene. to capture a photo that helps you connect With wildlife, we're often at the whims with that animal, and you're going to of the animals in terms of where connect with something that's familiar SP 150-600mm they're positioned. But you can still try to you. That's what happened with my f/5-6.3 Di VC USD G2 to determine where they might move image of Blondie, a sow in Grand Teton Focal length ...... 150-600mm toward. I look for three elements: lighting, National Park, and her cub. I photographed Angle of view...... 16°25'- 4°8' 150-600mm (600mm), F/9, 1/640 sec., ISO 250 foreground, and background. Animals them for a couple of hours, and not all Aperture...... f/5-6.3 are unpredictable, but if you can try to of the images were memorable. But Minimum object distance...... 86.6" envision a few places they may head to, this particular one was a wonderful Image ratio...... 1:3.9 you can keep an eye on the ones where interaction—one of the few moments in Elements/groups...... 21/13 there's better lighting and the foreground which they were just having fun. I think all Aperture blades...... 9 and background are more compelling. of us can relate to that type of moment in Length...... 10.2" (CAN)/10.1" (NIK) If you can set that shot up in your mind, our own lives. Weight....70.9oz. (CAN) 70.2oz. (NIK) when the animal does head over to that 4 Capture the animal in its surroundings. FORGING A CONNECTION position, you'll be ready to capture the Use a zoom like the 150-600 to pull back moment. Lisa Langell uses her Tamron 100-400mm VC and SP 150-600mm VC G2 to a somewhat shorter focal length when 2 To capture moving animals, think about you want to show an animal in more of its lenses to help her viewers feel (not just see) her wildlife and nature photos. what you want the final image to be. When a creature is in motion, you have to stop that action—or, you might want to do some blurring and panning shots. isa Langell was just 8 when she images: her desire to capture elusive you can't pull back or zoom in on the You have to envision what you want L made her first foray into moments the viewer can connect with. fly as the animals move around. A zoom the shot to look like first. (This may also birdwatching. Then, as a young "I'm always looking to make the viewer lens like these also ensures I'm able to dictate whether you shoot handheld or teen, she headed up to Point Pelee in feel something, not just see something, keep an appropriate distance from my on a tripod.) Take some of my own bear Ontario, a famous viewing spot for bird in my photos," she explains. "If my subjects, for safety purposes and also so I shots, for example: Do I want to be able migration, and became fascinated with photo doesn't make you feel something don't scare them away." to see the texture of the foliage behind photography. "I saw photographers with when you look at it, then it's just a the bears and the background, or do I The Vibration Compensation (VC) feature their long lenses and wanted to do the documentation shot. I also gravitate just want the bears, with no texture and a on both Tamron lenses ensures Lisa's same thing they were doing," she says. toward using a lot of negative space in completely blurred-out background? Once images come out sharp even when the "I was hooked." my images. It adds to the emotion when I understand that, then I can work through lenses are fully extended. "When I shoot Decades later, the Arizona professional done properly." my settings. I usually put aperture first handheld, I've really noticed a difference in my settings prioritization, with shutter photographer has expertly merged her The Tamron 100-400mm VC and SP 150- speed second, though sometimes that two first loves, heading out into the wild 600mm VC G2 lenses don't leave Lisa's when I use the VC," she says. "Especially order switches. to capture everything from coyotes in side when she's scouting for wildlife. "I with the 150-600, because when you're Yellowstone and cowboy sunset scenes love the benefits of an ultra-telephoto, out at 600mm, even the slightest shake 3 Take pictures that show relationships, at a Phoenix-area ranch to baby birds high-powered zoom," she says. "Even can be magnified. I've shot handheld at or commonality with humans. 600mm at 1/80th of a second and still nesting in Florida's Wakodahatchee though prime lenses offer great quality, I like to capture the interplay between 150-600mm (213mm), F/8, 1/800th sec., ISO 400

Wetlands. What most informs her you can miss out on many shots because captured crisp, sharp shots." LANGELL LISA PHOTOS: animals. I also don't think it's wrong

36 Tamron Magazine Tamron Magazine 37 PRACTICE to berespectfuloftheanimalsandtheir the lightwouldn'tbetooharsh. You want big, brightbursts. That distanceensured short atminimalpowerinsteadof bursts low-power lightingsetup,which offers feet fromthefox Ihadathree-strobe, to thewatering holenearby. About 10 blind, andfinallythisfox wandered over foxes, which arenocturnal.Iwaited ina southern Arizona picturesofgray totake I spentthenightoutindesert in sensitive to theanimals. 5 Ifyou usesupplementallighting, be wanted totell. in thescenetellsabitmoreofstoryI just therightmoment.Havingflowers squirrels happenedtohopuponarock at side ofadirt road,andoneoftheground nearthe drove arounduntilIfoundflowers to alsodocumenttheirsurroundings. I a recenttrip,butitwas important tome of close-upsUintagroundsquirrels on natural environment. Iwas takingabunch 38 150-600mm (552mm),F/6.3,1/640th sec.,ISO500 150-600mm Tamron Magazine 100-400mm (100mm), F/13,100-400mm 1/160th sec.,ISO320 place yourself in thephotoassubject, place yourself somewhat anonymizes theimage. You can I adoreshootingsilhouettes becauseit perspective. 7 Usesilhouettes for adifferent techniques andperspectives. really funwhileyou'retryingoutdifferent experimenting? The endresultcanbe So whatifyouhaveafewmisseswhile think onyourfeetandbemorecreative. you're goingtobedisappointed.Instead, classic shotinmindandyoudon'tgetit, save thephoto.Ifyougoinwithjustone animal ortryingforasilhouette mighthelp light isbad,zooming inreallytightonan of multipleoptions.For example,ifthe Don't justhaveoneimageinmind;think photograph. 6 Beflexiblewithwhatyou're lookingto dimension. Itwas beinginastudio. like then oneontheothersidetoaddsome two flashesononesideofthefox, and night vision,nottraumatize them.Ihad subject shouldgoblack. If youhavehigh-enoughcontrast,your in manual;thengofocusonyoursubject. and shutter speed;pluginthosesettings background. Check outyouraperture, ISO, camera in"Auto"modeandexposeforthe but onefailproofmethodistoputyour There aremany ways toshootsilhouettes, silhouetted part ofthephoto. so yoursubjectwillbecometheblack, right colors. That createsenoughcontrast background soitshowsupwithallthe considerable degree. Then exposeforyour has tobebrighterthanyoursubjectbya a high-contrastscenario: Your background lookfor once yougetthehangofit.First, created asilhouette, butit'snotdifficult It canbeabittricky forthosewho'venever our eyeslove highcontrast. Silhouettes arealsocompellingbecause image fortheviewertoidentifywith. or animal'sface. itaneasier That makes because you'renotseeingtheperson Angle ofview...... Focal length...... f/4.5-6.3 DiVCUSD 100-400mm Weight...... Length Aperture blades Elements/groups...... Image ratio...... Minimum objectdistance...... Aperture...... 7.8" (CAN)/7.7"(NIK) ...... 24°24' 100-400mm f/4.5-6.3 - 17/11 6°12' 40oz. 1:3.6 59" 9

PHOTOS: LISA LANGELL happen again. thisthatmaynotever for photoopslike faces showing. Always beonthelookout with acleanbackground, withalloftheir lucky tocapturetheminsuch greatlight, den. Itwas afleetingmoment,andIfelt four babiesandtheirmotheroutof toget thisonephotoofthese six hours takingpictures.Ittookme more hours But Iwentback laterand spentafew day. Ididn'tgetany decentpictures. photographing themearlyinthe hours find thisfamily, though,andspentthree across anentirefamilyisamazing.Idid And ifyouseeoneyou'relucky; tocome animals tofind,letalonephotograph. forinstance,arereallyhard shot. Badgers, Be patientsometimestogetthatmoney lifetime opportunities. 8 Keep your eyes openfor once-in-a- 150-600mm (256mm),F/8,1/640th sec.,ISO320 150-600mm 150-600mm (428mm), F/6.3, 1/800th sec.,ISO400 (428mm),F/6.3,1/800th 150-600mm down theroad. we maynothavemuch left tophotograph but ifwe'renotconscientiousaboutthem, hard sometimestostick tothoserules, suchcan't usuallykeep ariskaround.It's if ithasabadhumaninteraction,asparks becomeadeadbear That bearwilllikely close toabearandcausingitlashout. instance,gettingthem tosurvive—for too harmed animalsandmadeitharderfor knowingly orunknowinglythathave alreadyhavedonethings photographers important, though,becausesomany while they'retakingpictures.It'sreally want tobethinkingaboutsuch "rules" guidelines. Iknowpeopledon'talways followas of ethicsIalsopersonally Association, andwehaveastandard American NaturePhotography I'm aboardmemberfortheNorth 9 Photograph ethically. ABOUT: LISALANGELL teaching style. upbeat, relaxedandnurturing both herartful imageryandher is fondlyreveredbymany for photography withcleanup.Lisa organization thatcombines environmental restoration PictureItClean.org —anonprofit more. Sheisalsothefounderof a varietyofart galleries, and and publications,featuredin in numeroustoptiermagazines Association, hasbeenpublished American NaturePhotography fortheNorthof Directors Lisa isamemberoftheBoard resources. steward ofournatural participants; andbeingagood experiences forherworkshop and highqualitylearning nature; providing exciting,fun imagesof emotionally evocative three things:Creating genuinely passionateabout workshops internationallyandis Michigan. and Sheleadstours originally fromMarineCity, Scottsdale,is Arizona—but photographer from winning professional full-time, award- Lisa Langellisa Tamron Magazine PRACTICE 39 MY PROJECT

MY PROJECT Most Plates are photographed at a 45 degree angle. This is the natural angle we see food while seated at a table. Mixing ingredients with varying textures, bold colors and sizes will make JILLIAN BELL SHARES HER CURRENT your plate more visually interesting. With salads, key focal points are rearranged and or replaced after first plating. Always mix salads dry; adding PHOTOGRAPHIC OBSESSION. dressing, garnishes or sauces sparingly right before shooting.

Stacked Dishes are photographed straight on. Each main layer is constructed from the plate up with finer details added in-between. Sauces/condiments are added with a squeeze bottle for proper placement. There is always a camera ready side. The backside is often ugly and rarely seen.

Beverages rely on garnishes and simple styling. Photographed with a shallow DOF blurs out any background ocal farmer’s markets, distraction and a straight on perspective backyard BBQ’s and late L will give each glass a presentation type nights on the patio are some quality to the image. A good friend of of my favorite things about mine gave me a tip to add a third light this time of year. Rummaging through UNDERNEATH the glass. Hide a simple fresh produce always renews my love LED light under the napkin or just of food photography. Differing textures hidden behind the glass. The result is and colors layered together turning dynamic! Highlighting every bubble and simple ingredients into delicious ice cube; illuminating the colors within still-lifes. You’ll be surprised to hear; I each glass. do not consider myself a foodie, nor do I like to cook…. My flavor preference is mild at best with a love for hot-dish and black coffee. Food styling comes from an eye for detail, patience and a creative, steady hand.

There are common techniques I use in-studio. The goal is to create inviting, mouthwatering photographs. Proper color calibration is crucial, along with lighting that provides depth and texture. For most setups, I use 2 lights. One light slightly behind to emphasize texture and the other either PROFILE: JILLIAN BELL from above or alternatively in front Clockwise from top right: to help fill shadows. There are also a Location: Minneapolis, MN Tamron SP 70-200mm F/2.8 Di VC USD splattering of paint brushes, spritzer Age: 35 200mm – F/5.6 - 1/125sec – ISO 400 bottles of diluted oil to give sheen, Occupation: National Technical Tamron SP 90mm F/2.8 Di VC USD Macro 1:1 Representative, School Market and chopsticks to help carefully place F/5.6 – 1/125sec – ISO 640 Liaison elements within a scene. I will always Tamron SP 70-200mm F/2.8 Di VC USD Employer: Tamron USA set up the lighting and exposure 110mm – F/2.8 - 1/400sec – ISO 200 Photography Speciality: BEFORE food is introduced. Produce Macro and architecture Tamron SP 70-200mm F/2.8 Di VC USD will wilt, and hot dishes will quickly 200mm – F/4 - 1/25sec – ISO 200 Passions: Live music, bonfires and riding my scooter. cool. It is best if they are brought in at Tamron SP 24-70 F/2.8 Di VC USD Favorite lenses: the last moment. F/8 – 1/60sec – ISO400 SP 90mm F/2.8 Di MACRO 1:1 VC Here are some more specific thoughts USD, SP 35mm F/1.8 Di VC USD, SP Tamron SP 70-200mm F/2.8 Di VC USD based on a variety of dishes: 70-200mm F/2.8 Di G2 VC USD JILLIAN BELL PHOTOS: 110mm – F/4 - 1/60sec – ISO 200

40 Tamron Magazine Tamron Magazine 41 TAMRON USA VIP CLUB CONTACT MAGAZINE FEEDBACK SILVER [email protected] Membership #tamronusamagazine CUSTOMER SERVICE If you have any questions about Tamron owners who have purchased and registered our products or services, get in four (4) lenses during the time-frame of May 2011 and contact with us: January 15, 2019 are eligible for 2019 VIP status. See Telephone: 1-800-827-8880 / the list of 2018 member perks at www.tamron-usa. prompt 1 Focal Length: 400mm Exposure: F/6.3 1/11000th sec ISO800 F/6.31/11000th Exposure: 400mm Length: Focal com/vipclub.* Email: [email protected] Mon-Fri 8:45am – 5:00pm EST Register your Tamron lenses towards 2019 VIP status and GOLD REPAIRS reap the rewards Tamron products are manufactured Membership with the greatest care and precision. However, should there be any damage to your lens, Tamron Customer Service will be amron USA’s new VIP Club Tamron owners who have purchased and registered happy to assist you. All Tamron rewards users who have lenses purchased through an T five (5) lenses during the time-frame of May 2011 and authorized Tamron USA retailer registered their eligible Tamron January 15, 2019 are eligible for 2019 VIP status. See are supported with our 6-Year lenses through our online the list of 2018 member perks at www.tamron-usa. Warranty and 3-Business Day warranty registration system since May com/vipclub.* Repair Turnaround at no extra charge. You can find contact 2011. There are three VIP Club levels: addresses and more detailed Silver for those having registered four information on the warranty and the procedure for sending in the purchased lenses; Gold for those having PLATINUM product and having it repaired on registered five purchased lenses; and our website: Platinum for those having registered six Membership www.tamron-usa.com/support Shoot precisely in the moment or more purchased lenses. Club membership will be evaluated each year to include new members who qualify and Tamron owners who have purchased and registered six to increase the status level of current or more (6+) lenses during the time-frame of May 2011 Lightest in its class members if applicable. Get complete rules and January 15, 2019 are eligible for 2019 VIP status. and program details at http://www. See the list of 2018 member perks at www.tamron- tamron-usa.com/vipclub. usa.com/vipclub.* 1Certain exclusions apply, see website for rules and details. *Perks are subject to change for the 2019 program. 100-400mm Di VC USD LEGAL NOTICE Extremely portable, with a highly responsive AF, and clarity and color rendition you demand. Editor: Tamron USA, Inc., 10 Austin Blvd, Commack, NY 11725 Step up to the latest in ultra-telephoto PORTFOLIO SUBMISSIONS Content Manager: Stacie Errera zoom lenses Editorial Staff: Paola Ponchielli, Would you like to be featured in the Tamron magazine Jennifer Gidman, Ken Hubbard or Tamron eNews and social media? Send a portfolio Production and layout: of 12-16 images taken with Tamron lenses for review to Stephen Reisig / Real Imagination Printed by: Spectragraphic, Inc., 4 [email protected]. Please specify the Tamron lens Brayton Court, Commack, New York used for each image. Due to the volume of submissions, we 11725 100-400mm F4.5-6.3 Di VC USD (Model A035) For Canon and Nikon mounts 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 Di: For full-frame and APS-C format DSLR cameras Tripod mount future story. We thank you in advance for taking time to send as thumbdrive, CD-ROM, DVD-ROM etc. are only is an option. permitted with the advance written permission us your work for evaluation. of the editorial staff. All information, prices, dimensions and colors are subject to correction

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