Tamron Blog: Angle of View

Macro Flowers Part 2, Keep it Simple

By Ken Hubbard

 

Some orchids can be very complex flowers with curving lines overlapping one another and colors galore. Having so much to work with, in such a small flower, sometimes it can be difficult to find a point of focus. So I am going to keep this blog nice and short with a simple technique I use to keep myself from getting frustrated.

Keep it simple

We all go through periods where we look at something we want to photograph but just don't know where to start. When I have a tough time finding an interesting image with the more complex orchids, I turn to the very simple ones. A perfect example is the image above, what caught my eye was the perfect curve of the fuzzy stem leading to the slightly opened bud which revealed just a little bit of pink color. That's it, nothing more, so I framed the flower nice and tight accentuating the curve and size of the bud.

I captured this image using Tamron's SP 180mm 1:1 Macro lens with the following settings: ISO 400, F/32 at a 1/2 sec. shutter speed. This was shot in one of Parkside Orchids (Ottsville, PA) greenhouses, so the sunlight was nicely diffused by its translucent roof. I placed a yellow piece of craft paper about 24" behind the flower to add some color and a white panel reflector to bring in a touch more light.

Great American Scrapbook Convention

By Rob Moody

Attention photographers who scrapbook: The Great American Scrap book Convention is almost upon us. May 30- June 2, in Arlington, Texas will be the first of two huge scrapping events held by GASC this year. I am honored to be one of the class presenters for Tamron during these events. I wanted to let you know a little more about the class, “Simple Secrets to better pictures”.

I’ve been fortunate, in my line of work, that my mother is a scrapping addict! I can remember her scrapping pages for grandchildren that weren’t even born yet… Seriously, my mother has so many pairs of scissors, my father had to make a huge custom wooden rack just to organize them. Over time, I have watched my mom evolve into a very experienced scrapper. This insight has helped me to create this class for you. One of the most important aspects of scrapping is photography. Better photography will create better scrap books. This is why I am passionate about teaching you the skills to achieve your complete scrapping vision.

We will discuss light and how to see it, use it, change it and add it to your pictures. We will cover everything from existing light to adding flash to the equation. We will discuss compositional elements that will not only help your photos look better, but will also influence your scrap page layout as well. You will learn how to set your camera for maximum crop-ability and image quality. You will discover the potential offered by various different lenses and why professional photographers choose them. There will be a valuable section on accessories and filters that will help you fine tune your creative potential for maximum benefit, as well as, a question and answer period at the conclusion of the presentation. Also, I will be available to answer any additional questions or provide help at the Tamron booth between classes. I love to teach photography and I know this class will have you instantly taking better pictures. I can’t wait to see you there!

Macro Flowers Part 1: Backlit Painting with Light

By Ken Hubbard

 

A little while back I was capturing some images for a macro photography seminar and I was thinking of some different ways to light my subjects, which in this case was a variety of flowers. At first I headed outside with a diffusion panel and some reflectors to work with the natural sunlight. Then I headed back inside to work with some nice soft window light, using sheer curtains as a diffuser. After capturing some nice traditionally lit images I decided to change things up a bit and started to capture some images by painting with light, using an old maglite flashlight in a completely dark studio. The image above was captured by painting with light, but with a small twist.

Photography is defined as "Drawing with Light" and in this image that is a literal definition, I used a maglite flashlight as my sole light source and "drew" the light where I wanted it. First, with the lights on I set up my subject (the flower) on a black background sweep, I set up my camera on a tripod and framed then focused the camera on the flower. I then set my camera using the Tamron 180mm 1:1 Macro lens to F/22 with a shutter speed of 30 seconds and an ISO of 200. Next I turned off all the lights, with flashlight in hand so I could see what I was doing. I fired the cameras shutter using a release cable (to prevent camera shake). Once the shutter was released I started to paint/draw the flower with light, continuously moving the light across the flower. Making sure not to stop in one spot for too long which would cause a hot spot in the final image. My first few shots were taken by painting the light only on the front of the flower, which looked nice, but wasn't what I was looking for. The small twist with this image was that for most of the 30 second exposure I was backlighting the flower to make it glow and only about 5 seconds of painting of light on the front red center of the flower to make sure I get some detail there as well. This is a fun way to capture some really unique looking images of flowers, just remember there will be some trial and error to getting the correct setting on your camera and how and where you want the light on your subject.

Tiny Bit of Winter

By André Costantini

 

It doesn't matter where you are in the United States this year, one thing seems pretty certain, 2012 will not be remembered for a harsh winter. I was out in Colorado a few weeks ago and even in the mountains you could see the grass poking through the lack of snow.

Last weekend, in the Catskill Mountains there was finally a day that looked and felt like winter and to celebrate this glorious occasion my fiancée and I hiked up Slide Mountain. It wasn't until the sun briefly managed to break through the clouds that I noticed that all the trees were completely encased in ice, making it truly a "Winter Wonderland."

Halfway up the mountain we came across this easily accessible subject and took turns looking for compositions with the Tamron SP 60mm F/2 Macro. Inherently, macro lenses have less depth of field at closest focus especially at wider open apertures. This makes focus critical but also allows you to select a specific point of interest.

It's funny that the images seem to convey calmness, which completely does not depict the reality of the windy conditions and snowfall that was actually occurring at the time of capture. Anyone that has macro experience knows that when even a slight breeze can blur your subject, high winds and snow would make it a bit more challenging. When I downloaded the images I noticed that these two looked great together because they had a similar rhythm even though they were from different perspectives and decided to create a diptych. Often the placement of images next to each other can change the meaning or the mood. In this case, the curves of the individual images become more lyrical and accented, more like music instead of merely notes. And that is my brief and tiny bit of winter.

Pike National Forest Sunset Silhouette

By Rob Moody

During the days of shooting film, sunsets and sunrises were easier to shoot correctly. Your image had all the color and vividness you remember standing there witnessing the scene. There is no question that digital cameras have made taking most pictures easier, however this isn’t always the case when it comes to sunrise and sunset. This is because the camera gets fooled into thinking the vivid colors are an undesired colorcast over your image and therefore tries to correct them out. This results in the colors being different from image to image as you shoot.

The solution here is to study white balance and how to set it using the WB button on your camera. In the olden days of film, the white balance was built into the film. You bought either daylight film or tungsten corrected film and then used filters for any further color correction. In digital cameras today, the white balance is selectable at anytime. Adding to possible confusion, there is also now an automatic white balance mode where the camera automatically selects the setting it thinks is right. Well, despite modern advances in state of the art cameras, auto white balance or AWB is not accurate in certain shooting scenarios including sunrise and sunset.

Did you know your camera came with a manual? All kidding aside, inside your manual you can study different white balance settings that include auto, daylight, tungsten or incandescent, shade on a blue sky day and several settings for florescent lights. If you are new to this don’t worry! Your camera may have scene select modes like portrait, landscape and night scene. If it does, it more likely than not has a sunrise/sunset mode inside the menu. If so, that mode does exactly what we are about to learn.

The key for beginners may be to shoot images in auto white balance. Then when the colors go haywire, use that sunrise/sunset scene mode or learn to set your camera to daylight white balance. The icon for this is a sun in your WB settings area in your camera. What this does is set the camera to a known value of white balance, in this case daylight. With this reference, your camera will capture great colors in your sunrise and sunset images like the ones you remember standing there.

Now that we know the color will be correct. The final piece of the pie is to use your over/under exposure compensation to dial in the exact exposure you want. I find in this situation that under-exposing by 1/3 to 2/3 of a stop or 0.3 to 0.7 on the compensation reading in your camera, results in images that most resemble the scene as it was when I was standing there. Also, try under-exposing more to create a silhouette with foreground objects such as trees as I did in the last example image. This is a good thing to do as the sun sets behind the ridgelines. As you do this for a few minutes you will come to a point where the images are too dark. At this point, start moving the exposure compensation back toward neutral or 0.0, reviewing an image every couple of minutes, keeping your trees silhouetted, but the sky as bright as possible. With a little practice, you will have it down. It’s important to remember to change the settings on your camera back to their neutral or automatic positions if you don’t want to encounter a surprise at your next shoot.

These images were taken in Pike National Forest in the Rampart Range of Colorado with the Tamron 18-270 VC PZD. This can be a difficult area to shoot in because you are in the forest with few open areas to the sky. Forest roads work best for finding optimal spots to shoot. Use a tripod and a hot-shoe bubble level for best results. A circular polarizer is also handy for removing undesirable atmospheric particulate reflection if the sky seems hazy. Bring your coat, its cold this time of the year.

Passing the Camera

By André Costantini

I can remember one of the first times I handed my professional camera to a 3 year old and the reaction on the parents face. As many times as I have done this over the years (knock on wood) none has ever been dropped. Children usually understand the value of what they are holding and seem to be quite careful.

There are two things that consistently happen when letting kids use "adult cameras". First, they feel a sense of empowerment and secondly they become part of the process, which is especially helpful if part of your goal is to photograph them. Here are a few pictures from a recent brunch where we passed the camera around the table and everyone got a chance to take some pictures. These were all shot with the Nikon 7000 and the Tamron SP 17-50 f2.8 taking advantage of the available light and f2.8 aperture. I bet you can guess who shot who.

Bethlehem Steel Mill

By Ken Hubbard

At one time the Bethlehem Steel Mill was the second largest steel producing company in the United States. The steel produced from this plant was used in the construction of the Golden Gate & George Washington Bridges, as well as buildings such as Chrysler Building, Madison Square Garden, Rockefeller Center and Alcatraz Island. It was also used to build parts of The Hoover Dam. This once amazing and mighty symbol of U.S. manufacturing operated from the mid 1850's to the early 2000's and was also one of the world's leading ship builders as well.

Today, there is an amazing revitalization to downtown Bethlehem and the Steel Stacks area. A contemporary performing arts center, called the ArtsQuest Center, and the Sands Casino Resort Bethlehem have been already built on the site while the 5 blast furnaces have been left standing and serve as the lasting reminder to a forgotten time and a backdrop to the Levitt Pavilion which hosts concerts and shows.

The images I have posted were taken on a very clear and chilly late afternoon where the light got better and better as we walked around the grounds and tried to stay warm. You can see the change in color of light in the images below. The image on the left has a blueish cast and then only 20 minutes later you can see the warmth the setting sun casts upon the furnace stacks. It is difficult to keep straight lines when photographing such tall structures, especially when you are close and using a wide angle lens. To keep the lines straight on the stacks I shoot from further away and with a more telephoto lens (Tamron 28-300mm Di VC @ 150mm), this keeps the angle of your lens more parallel to the stacks and thus straighter in your image.

The image above is all about texture and colors. The yellow gold reflections of the setting sun in the windows against the deep blue fire escape. All three images were taken with Tamron's AF28-300mm zoom lens.

Captivating Hotel

By John VanSteenberg

After nearly forty years on traveling most weeks for business, some things become either invisible or interchangeable to you. Particularly things like hotels. So, imagine my surprise to have been unexpectedly captivated by one while on a trip to Columbia, SC with a stop in Charlotte, NC.

We were to fly out of Charlotte and had to overnight there. I walked into the Embassy Suites and was greeted by two LIONS and an incredibly comfortable and inviting Grecian palazzo, garden and waterfall.

It was exciting enough to make me want to take pictures and with the kind OK from the front desk, and the forbearance of a couple of guests, I made the following images:

While getting ready to photograph, there were two major issues going through my mind. How to capture the natural outdoor flavor and ambiance of this very comfortable area, overflowing with plant life and stone, without seeming too out of context considering that the area is indoors, in the atrium of the hotel? Then, how do I separate the details from the environment and make them seem more natural (like lions in the lobby)?

Technically: Light volume varied from adequate to pretty dim. Therefore, some images had to be made at high ISOs to get the depth of field necessary. Then, with even high ISOs, in the dim light some very slow shutter speeds became necessary. Some shots were hand held at 1/5th second at 1000 ISO.

The surrounding atrium, while not confined, was a little tight. And, as usual, my Tamron SP 17-50 f/2.8 VC zoom provided the most versatile tool. It was great in the limited space. It allowed some detail separation from the background and minimized the impact of the low available light. Yet it did not change the relative perspective so much as to make objects look distorted.

South Platte Moon Shot

By Rob Moody

One of the things that used to frustrate me about nature photography was that whenever a picture included the moon, it was always washed out. To me, having the moon in a landscape adds interest and balance to the composition. Ironically, many people think you added the moon in a computer when it is properly exposed in your image.

While you can just show up anytime and hope for the best, for optimum results plan in advance to shoot images of the moon with a little knowledge beforehand. Look up the moon phase on your computer or smart phone, there is an app for that. You may have noticed that you can see the moon in the sky during daylight hours. This only happens during certain parts of the year. Sometimes it’s in the morning and sometimes in the afternoon. Furthermore, with programs like Google Earth, you can determine the path of the moon and the sun in the landscape. This helps you to determine the location and the time that will give you the best chance at getting the shot.

I’m often asked what settings I use in the camera to do this. The answer is the same settings I use for the landscape. The trick to making this easier is changing your thinking about a picture of the moon. It’s easy to think that you have to expose for the moon and that it’s complicated. However, the solution is to shoot the moon in the landscape when they are both in the same light. Notice in the images included that the same value of light is falling on the landscape, rocks and the moon. When this is happening, I shoot several images in various compositions.

The time of day is key because there is a limited time that both the landscape and the moon will be close together in exposure value. It’s best to show up an hour before you think will be the right time for insurance. This is where homework on the computer saves time and enables better results. As you move further away from this key time window, the exposure becomes more about the moon and less about the landscape limiting the types of images you can create. That doesn’t mean you have to quit shooting, you just have to change your exposure if you want detail in the moon instead of a bright blob. I have found that after the key time window has closed, changing my plan to silhouettes in the foreground with a properly exposed moon creates compelling images.

This is where photography can be more difficult to understand and knowledge of how your camera obtains exposure readings can be a plus. Using full or whole screen metering will result in an over-exposed moon because your camera is considering more of the landscape for the exposure and less of the moon. Using spot metering on the moon can be difficult because it’s challenging to put the spot meter on the moon and even when you can, you usually still have to compensate for over or under exposure of the moon. Therefore, while there are several ways to arrive in the same place with a camera, I have found that using center-weighted metering in combination with over/under exposure compensation quickly gets me the images I’m after. I take the first shot like a Polaroid and analyze it. Then I over or under compensate to dial in the exposure of the moon. Once I have it dialed in, I shoot several images in various compositions.

For best results, I use a tripod. If reflections in water are in the image, I use a hot-shoe bubble level to level the camera. A hot-shoe bubble level is better than a bubble level on the tripod for landscape photography because it can be used to level the camera no matter how the tripod is positioned. If you don’t own a cable release or a remote yet, use your cameras self-timer to release the shutter. Use a circular polarizer to remove any unwanted reflection from the scene.

These images were taken in the South Platte River area of Colorado using a Tamron 18-270mm VC PZD lens. This is a great place to photograph during the winter months and it is close to Denver. From a pebble to as big as a stadium, the size and the quantity of rocks in this area will amaze you. With over 310 days of sunshine every year, it seems the sky is always blue around here.

Shooting Ice Abstracts In Streams

By Mike Moats

With the above average temps that we have been having here in Michigan, the stream ice is about five weeks late, but better late then never. I always look forward to shooting the ice as it is my time to shoot abstracts. I've mentioned in the past that the abstract don't sell, but I like them and it's just fun being out in the woods. Here is a nice shot of the stream and how I set up at the edge to shoot. 

My camera is the Nikon D7000.

For these long shots where you need to reach out, use your Tamron 180 macro.

 

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This first image was shot in the area you see me in above.

If I'm shooting out into the ice a ways, I will be at an angle that sometimes needs a little extra depth of field, so I will set the f-stop at f/16. With all these cool details, you want to get it all in focus.

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Found another nice group of patterns.

If I can get the lens fairly parallel with the ice, I will set the f/stop at f/8.

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And here is the shot.

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Here are a few more from this shoot.

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I like when I find bubbles.

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