Spring/Summer 2020 Ssue 8 I PRO TIPS FOR BIRD

PRACTICETOPFEATURESTOP FEATURESTOP FEATURES OF THE70-180mm F/2.8 DI III VXDFOR FULL-FRAME MIRRORLESSFast telephotozoom lens for full-framemirrorless Sony camerasis lightweight withresponsiveness thatmakes telephotoshooting betterthan ever.he new 70-180mm F/2.8 Di IIIVXD (Model A056) providesoutstanding performance evenwith its high-speed F/2.8 aperturepackaged in the world’s lightest andmost compact lens design in its class.This remarkable zoom is the thirdmember of Tamron’s exciting trio of fastF/2.8 zoom lenses for full-framemirrorless cameras.Flourine CoatingMoisture resistantlens construction19 elementsin 14 groups180mm, F/2.8, 1/2000th sec., ISO 400Eye AF& more*The highest level of autofocus speedand precision in Tamron’s 70-yearhistoryVXD autofocus(Voice-coilExtreme-torqueDrive)TCompact and lightweight bodyfacilitates active telephoto shootingTamron designed this compact andlightweight lens to be the idealcombination with a full-frame orAPS-C mirrorless camera. To achievethis diminutive size while maintainingthe high performance of the F/2.8aperture, Tamron selected the focallength of 180mm at the telephoto endand employed an innovative zoommechanism. The result is a compacttelephoto zoom lens that is comfortableand easy to shoot handheld. Theimpressive portability of this lensexpands its usefulness to many differentfields of photography.6 Tamron Magazine33.5" MODthroughoutthe rangeTamron developed its first-ever linearmotor AF drive focus mechanism, VXD(Voice-coil eXtreme-torque Drive),especially for the 70-180mm F/2.8. Thekey features of a linear motor drive arehigher precision in “Stop Position”accuracy during high-speed operation,as well as quietness. VXD makes fulluse of these qualities to produce AF thatis faster than ever. Focus tracking hasbeen vastly improved to facilitate sportsand vehicle photography, two commonsubjects for telephoto zooms. Thisensures that those dramatic, actionpacked moments are never missed,whether shooting still photos or video.Outstanding image quality to capturethe ambience of the momentBBAR-G2CoatingCamera-basedlens unit firmwareupdates*1:4.6max.magnificationratio (@180mm)* Varies between camera bodiesIn developing the 70-180mm F/2.8,Tamron sought to strike a balancebetween compact size and light weightwithout sacrificing high image quality.The optical construction features 19elements in 14 groups in a generousarrangement of special lens elementsincluding XLD (eXtra Low Dispersion),LD (Low Dispersion), GM (Glass MoldedAspherical) and hybrid aspherical lenselements. Combined, they achieveexceptionally high resolving power andcontrol of aberrations from image centerto the edges. BBAR-G2 (Broad-Band Noriyuki WatabeAnti-Reflection Generation 2) Coatingis used to suppress ghosting and flareand to render subjects in exacting,full-contrast detail even under backlitconditions.Close FocusingThe MOD of the 70-180mm F/2.8 is just33.5” across the entire zoom range, asurprising accomplishment for a largeaperture telephoto zoom lens. Thanksto this short distance, at 180mm themaximum magnification ratio is 1:4.6,allowing you to create powerful close-upimages. A floating component equippedwith two VXD linear focus mechanismsmaintains high image quality whileeffectively controlling aberrations sothat the lens ensures great image qualityeven in the close-up range.lenses that share the same 67mm filterdiameter. In addition to providingexcellent portability when carryingmultiple lenses, costly Polarizers,ND, and other filters can be usedinterchangeably. Plus, the hassleof looking for different-sized lenscaps when switching lenses has beeneliminated. In addition to outstandingoptical quality, you will enjoy thehighest level of convenience across theentire lineup.Shoot with confidenceMoisture-Resistant Construction andFluorine Coating are employed tofacilitate outdoor shooting, and eachlens in the series is fully compatiblewith camera-specific features like FastHybrid AF.Series designed for portabilityThe greatest feature of the series thatincludes the 17-28/2.8, 28-75/2.8and 70-180/2.8 is the excellentportability. Combined, the three lensesare unbelievably light at just 62.8 oz,fulfilling the photographer’s dream ofbeing able to easily carry three fast,potent zoom lenses at the same time.Pursue a wide range of photographywith a lineup of lenses that all havethe same 67mm filter diameterGreat things come in compact packages!Tamron’s FE lineup includes otherNEW 70-180mmF/2.8 Di III VXDModel .A056Focal Length .70-180mmMax. Aperture .F/2.8Blades . 9 (circular diaphragm)MOD . 33.5”Max. Mag. Ratio .1:4.6Length .5.9 inWeight.28.6 ozMax. Diameter.ø81mmFilter Size.ø67mmTamron Magazine7

TOP FEATURESTOP FEATURESTOP FEATURES OF THE28-200mm F/2.8-5.6 DI III RXDHIGHLIGHTS IN FOCUS:28-200mm F/2.8-5.6 Di III RXDFOR FULL-FRAME MIRRORLESSThe world’s first all-in-onezoom lens starting at F2.8*provides unprecedented blendof optical performance andversatilityMoisture Resistant ConstructionTravel in all weather conditionswith confidence. The all-in-onezoom is weather sealed to protect against the elements.Fluorine CoatingMoisture resistantlens constructionEye AFll of Tamron’s technicalknow-how regardingall-in-one zoom lenses hasbeen distilled to create this28-200mm F/2.8-5.6 Di III RXD(Model A071). The lens has a largemaximum aperture of F2.8 at 28mm,a world’s first* for all-in-one zoomlenses, and delivers high-levelperformance from 28mm wide-angleto 200mm telephoto. Althoughcovering a wide range of focallengths, the lens is lightweight andcompact. Tamron has taken anuncompromising approach to opticalperformance, making liberal use ofspecial lens elements—including LD(Low Dispersion) and XLD (eXtra LowDispersion) lens elements—to greatlysuppress chromatic aberrations, makingit possible to achieve high image qualityfrom edge to edge. This innovativeall-in-one zoom lens vividly capturesvirtually all possible scenes, fromlandscape photography to portraitphotos and snapshots.ZoomLockA28mm8 Tamron Magazine200mmRXD autofocus(Rapid eXtrasilent Drive)Close-up performance that’s astonishingfor an all-in-one zoom lensFast F2.8 apertureat wide-angleAt 28mm, the MOD is 0.19m (7.5 in) with amagnification ratio of 1:3.1; at 200mm theMOD is 0.8m (31.5 in) with a magnificationratio of 1:3.8. Capture stunning close-upimages and leverage the bokeh utilizing alarge F-number and enjoy unique close-upsthat were not possible with all-in-one zoomlenses until now.BBARCoatingVersatile lens does it all!The 28-200mm F2.8-5.6 covers anexpansive range of focal lengths from28mm to 200mm. This empowersdiverse photographic expression, fromwide-angle shooting of sweepinglandscapes to close-up and compressivecompositions at telephoto. The compactdesign measures 117mm (4.6 in) anda weighs 575g (20.3 oz) so it’s easy tocarry anytime, anywhere.Superb Image QualityA precise arrangement of speciallens elements accommodate theincreasingly high resolutions oftoday’s digital cameras.Modern design,high-gradematerials1:3.1 (wide)/1:3.8(tele) max. magnification ratioCamera-basedlens unit firmwareupdates*** Varies by camera bodies*Maximum aperture in zoom range among currently availableall-in-one interchangeable zoom lenses with a zoom ratio of 7xor higher (As of June 2020: Tamron)NEW 28-200mmF/2.8-5.6 Di III RXDModel .A071Focal Length . 28-200Max. Aperture . F/2.8-5.6Blades . 7 (circular diaphragm)MOD .7.5 in (WIDE)31.5 in (TELE)Max. Mag. Ratio .1:3.1 (WIDE)1:3.8 (TELE)Length .4.6 inWeight.20.3 oz.Filter Size.ø67mmMax. Diameter. ø74mmRXD AutofocusTamron’s original RXD AF motorunit is designed to reduce theaction noise for extremely quietoperation and achieves quickand responsive focus.Unified system of lenses with67mm filter sizeCombine the 28-200mm F2.8-5.6with other members of Tamron’slineup of 67mm filter size lensesand cover an even wider range.The shared 67mm filter sizeenables efficiency in filter use;the same polarizer filters, orother filters, and lens caps canbe shared between all models.Tamron Magazine9

SPECIALSPECIALPRO TIPS FORPHOTOS OF BIRDSIN FLIGHT Garrett SheetsWhether you’re trying to depict a flock of snowgeese descending upon a wildlife refuge, wranglewith the fast-moving wings of a hummingbird,or scratching your head on how to best capturethe contrast of a bald eagle, taking pictures ofbirds in flight ranks among the more challengingphotographic endeavors. But it’s also ahighly satisfying one—there’s a reason manyphotographers become addicted to it—and byfollowing some basic guidelines on camerasettings, exposure, and composition, you, too,can add well-made photos to your avian portfolio.Here, our experts share their favorite tips onphotographing our feathered friends once theirtalons leave the ground.10 Tamron MagazineSP 150-600mm (600mm) · 1/3200sec · F/6.3 · ISO 1000Tamron Magazine11

SPECIALSPECIAL"KNOW THE FLIGHTHABITS OF THEBIRD YOU’REPHOTOGRAPHING SOYOU CAN PREDICTWHERE IT MAY GO,HOW FAST IT WILLFLY, AND WHAT ITMAY DO." Lisa Langell Lewis Kemperemper Lewis K Dan Walters31Research to see if and whenthere will be seasonal gatheringsof large numbers of birds. David Akoubian Ian PlantFor example, every winter, large numbersof snow geese gather by the dozen atnational wildlife refuges across theUnited States, including at Bosque delApache in New Mexico. There’s nothingquite like watching thousands of birds fillthe sky and being able to capture themwith your camera.2Know the behavior patterns andbiology of your subjects.It’s important to know the flight habitsof the bird you’re photographing so youcan predict where it may go, how fast itwill fly, and what it may do. For example,American skimmers, like the one shownhere, eventually drop down to water leveland travel methodically over the water,with their lower mandible below thesurface. This is how they feed. Once onefeels a fish, its beak will instantly snapshut, and it gets a meal. By anticipatingthis type of activity, you can capture abird in action during feeding time.12 Tamron MagazineUse custom settings onyour camera.Before venturing out, set up your cameraand lens with presets for action. Forinstance, Don Mammoser (who took theimage shown here of an osprey divingfor a fish) has three custom settings onhis camera and generally sets up andactivates his: Auto ISO (limited to a rangeof ISO 100-3200); Shutter Priority with aspeed of 1/2000th sec.; continuous-followfocus tracking; a high-speed motor driveof 7fps; center point focus sensor, plusthe nine other sensors surrounding thecenter point; white balance (set to sunny);lens autofocus; and the distance limiteron the lens set for faraway subjects (10meters to infinity). That way, when he’s inthe field, he can quickly switch from hisnormal shooting parameters of AperturePriority and single focus tracking to hisaction modes simply by turning the maincommand dial on his camera, which takesjust a few seconds.4 Don MammoserFreeze the action.To do so, it’s important to maintaina shutter speed of at least 1/1200thof a second—ideally 1/1600th. Whilethis number may vary, depending onhow fast the bird is moving and yourlighting conditions, having such a highshutter speed ensures the action will becompletely frozen in every shot.Tamron Magazine13

SPECIALSPECIAL5Turn on Auto ISO.This is one way to ensure you’reusing a fast-enough shutter speed. InManual mode, simply set your shutterspeed and aperture, and the camera willselect the proper ISO for you. In AperturePriority mode, you can set in the menus aminimum shutter speed of, say, 1/1250thof a second, then manually select youraperture. The camera will then selectthe ISO based on your aperture and theminimum shutter speed you selectedin the menus. Auto ISO is especiallyhelpful when you’re shooting in lightingconditions that are constantly changing.6 David Akoubianmoseram Don M Ian PlantUse a four- or five-flash setupfor super-fast movement.For example, if you’re trying toconsistently freeze the action of thewings of a hummingbird, using naturallight requires, minimally, shutter speedsof 1/3500th second or higher. At thosespeeds, having enough available lightto do so typically becomes a problem.Opening up the aperture only helps somuch before sufficient depth-of-fieldcan become an issue at close range,resulting in one wing or other partsof the bird often being out of focus.Substantially increasing the ISO improvesthe exposure, but the level of noise in theresulting image may be unsatisfactory,especially if cropping is involved. Even so,the available light may not consistentlyfall properly onto the bird, resulting inthe image having unpleasing lighting.Using a four- or five-flash setup, withlow-powered flashes (no more than 1/16thpower per flash), solves all of those issuesand consistently gives you high-qualityimages.78Wait for “that moment.”9Focus before the birdstarts to land.For example, as you’re tracking abird, hold out for a photo when the bird’swings are outstretched and fully visible.This will enhance your composition andlook especially attractive if its feathers arebacklit by the sun. Cecil HolmesThat way the bird is sharp, plus you get amore dynamic image, with its wings andfeet outstretched.10Use a colorful sunset asyour backdrop.Sometimes combining that with the rightform of the bird is all you need to make acompelling image. The sharpness of thebird against a softer background makesthe silhouette stand out. Shooting all theway at 600mm on a lens like the TamronSP 150-600mm VC G2 at, say, F/6.3 helpsto create the distinct look of a sharpforeground and blurred background.TURN ON AUTO ISO TO ENSURE YOU’REUSING A FAST-ENOUGH SHUTTER SPEED. André CostantiniBe careful of overexposing.With bald eagles especially, you don’twant to blow out the whites of theirheads. Birds like bald eagles are easierto photograph on overcast days or inareas that don’t get direct sunlight forthis reason—it helps solve the contrastproblem of photographing a dark birdwith a white head. When shooting inManual mode, take some preliminaryphotos in an area with consistent lighting,where you won’t have to worry aboutchanging exposure values, to determinethe best exposure so that you don’t loseany detail in the bird.14 Tamron MagazineTamron Magazine15

Oliver GüthG2EXCURSIONEXCURSIONWIDE-ANGLE EXPLORATIONSBlaine Scinta uses the SP 15-30mm F/2.8 VC G2 lens to capturefleeting road-trip moments.Tamron G2 quartet—superb optical quality withremarkable autofocus and imagestabilization performance.mm16 Tamron MagazinemmF/2.8 Di VC USD G2 [Model A032]www.tamron-usa.commmF/2.8 Di VC USD G2 [Model A025]mmF/5-6.3 Di VC USD G2 [Model A022]ONLY AVAILABLE AT YOURAUTHORIZED TAMRON USA RETAILERPHOTOS: BLAINE SCINTASP15-30 SP24-70 SP70-200 SP150-600F/2.8 Di VC USD G2 [Model A041]When Blaine Scinta gets thetravel bug, he packs his bags andhits the pavement with hiscamera bag, embarking on road tripsfrom his native Kentucky to suchfar-flung locales as the Southwest andPacific Northwest. To best capture thelandscapes in front of him, and thepeople enjoying them, Blaine seeks abalance of light, color, and gesture in allof his photos.Wmoment. I also want to ensure that thecolors I’m seeing work well with eachother, and with the light.”15-30mm (15mm),1/4000 sec., F/2.8To inspire himself, Blaine likesto check out the work of otherphotographers who’ve been to aparticular destination on his roadtrip itinerary before he goes, but he’sfound that spontaneity has also servedhim well. “Some of the coolest placesI’ve been to, and the best things I’vephotographed, are the ones I neverplanned to visit,” he says. “On a roadtrip, you have to be flexible and willingto pull over if you’re passing by a scenethat really blows you away.”“That gesture might be somebodylaughing or mesmerized by a landscape,or you may be trying to capture thefeeling of that moment right afteryou’ve summited a mountain,” heWhether he’s photographing thesays. “It’s easy to forget about thosesecluded Birthing Cave in Sedona,seemingly trivial moments when you’rethe wildflowers in Utah’s Cathedralon the road, but once you see the photo,Valley, or the Pinnacle Peak Trailit immediately takes you back to SPthat15-30mm (30mm), 1/1000 sec, F/3.5, ISO 200Tamron Magazine17

EXCURSIONEXCURSION"IT’S EASY TO FORGET ABOUT THOSE SEEMINGLY TRIVIAL MOMENTSWHEN YOU’RE ON THE ROAD, BUT ONCE YOU SEE THE PHOTO, ITIMMEDIATELY TAKES YOU BACK TO THAT MOMENT."in Washington, Blaine has hisTamron SP 15-30mm F/2.8 VCG2 wide-angle lens. “I’m able tocapture angles with that lens inways I never thought possible,especially in tight quarters like thediamond-shaped Birthing Cave inSedona,” he says. “I got there andrealized we didn’t have a lot ofspace to work in. But I put the 1530 on my camera, stepped way tothe back of the cave, and was ableto perfectly frame the shot.”In Zion National Park, the 1530mm allowed Blaine to framethe entire scene below him. “Wewere headed up to a spot called theCanyon Overlook when we camearound this turn and I said, ‘Whoa,that’s my view,’” he says. “Thesun was hitting the mountains justright. I was super-happy with howthe lens performed here. I was ableto capture the full extent of theroad below, with the mountains inthe background.”SP 15-30mm (20mm), 1/250 sec., F/2.8, ISO 600PHOTOS: BLAINE SCINTASP 15-30mm (30mm), 1/100 sec., F/16, ISO 320The 15-30mm also helps Blainedepict the scenes in front of hiscamera the way he wants to.“To get to Eagle Rock, in Utah’sCathedral Valley, we had to drivedown a 15-mile dirt road through adesert-like area,” he says. “As wegot closer to the rock, we startedto see more and more patches ofgreen and wildflowers. I focused,then zoomed out to 30mm tocompress the shot a bit and makethe flowers pop in my image.”A jaunt out to Washington’sPinnacle glacier and tarn—a typeof mountain lake sitting in a valleyformed by glacial erosion—offeredBlaine one of his favorite recentroad-trip photos. “We got downto this spot, the fog started to rollaway, and it was like somethingout of a movie,” he says. “Thatmountain just revealed itself to us.My buddy Steve said, ‘Hold up, I’llbe right back,’ and he ran all theway to the other side so I could gethim in the shot. It all framed upjust the way I wanted it to.”18 Tamron MagazineSP 15-30mm (19mm), 1/3200 sec., F/2.8, ISO 320SP 15-30mm (18mm), 1/800 sec., F/2.8, ISO 320SP 15-30mmF/2.8 Di VC USDSP 15-30mm (15mm), 1/160 sec., F/2.8, ISO 800Focal length . 15-30mmAngle of view . 110 - 71 Aperture .f/2.8Minimum object distance . 11"Image ratio .1:5Elements/groups . 18/13Aperture blades.9Length.5.7" (CAN)/5.6" (NIK)Weight. 38.8oz.SP 15-30mm (15mm), 1/400 sec., F/2.8, ISO 160ABOUT:BLAINE SCINTAI picked up acamera 11 yearsago. From thatpoint forward, theway I see things wouldchange forever. My fathertaught me in my early yearsafter he gave me his filmcamera from art school aboutwhat it means to truly bethere for the shot. Photography has always been waymore than going out, buyinga camera and opening theshutter and seeing whatcomes out on the other end.It is about capturing abalance of light gesture andcolor. I’m here to capturewhat no one else sees.They’re the little momentsthat happen in between andthe kind that are so easy tomiss. I love working closelywith brands who do far morethan make stuff we don’tneed and sell ideas ratherthan solve problems. I wakeup every morning to a worldthat always has a storyto be told.Tamron Magazine19

HIGHLIGHTHIGHLIGHTGREG PIAZZAGreg Piazza “@thedallas artist” ofDallas, TX is an awardwinning photographerand painter frequently featuredin contemporary and fine artpublications. Greg has wonseveral national awards including The National: Best ofContemporary Photography 2018and 2017 40 Under 40 list by theAmon Carter Museum’s Curator,Maggie Adler. His exhibitionhistory includes group and soloshows, withrecent exhibitions at the FortWayne Museumof Art and TheMattatuckMuseum in 2018- 2019. Greg’spainting “MesaRise” andphotograph“Sentenced” arenow part of thepermanentcollections ofthe beforeSP 150-600mmmentionedF/5-6.3 Di VC USD G2museums.20 Tamron MagazineTamron Magazine21

PRACTICEPRACTICETHE WORLDIN BLOOMEdina Merkel uses the Tamron SP 90mm F/2.8 VC Macrolens to explore the plant-filled paradiseright outside her door.SP 90mm, F/3.5, 1/250 sec., ISO 160or Edina Merkel, creating macrophotos is a way to decompress fromthe routine of daily life and see theworld in a new way. “Macro photography ismy hobby, but it’s also become a kind oftherapy for me,” the Ohio photographer says.“I love getting out of the house andwandering around outside, and the beautyof it is that I don’t have to go far to do so.Even though I often venture into Clevelandto visit parks and botanical gardens there,I’m usually just in my yard, taking picturesof the trees, plants, and flowers rightoutside my door.”Macro photography with her Tamron SP90mm F/2.8 VC also offers Edina a differentlens, both literally and figuratively, throughwhich she sees the world. “You slow downand notice details you never would if youweren’t actively trying to take these types ofimages,” she says. “Plus, when I’m takingphotos in the spring, which is right aroundthe corner, I love seeing everything cometo life again after the long winter. It’s anoptimistic time of year that I really lookforward to.”PHOTO: EDINA MERKELFSP 90mm, F/4.5, 1/200 sec., ISO 12522 Tamron MagazineTamron Magazine23

PRACTICEPRACTICEPHOTO TIPS: MACRO IMAGESSP 90mm, F/4.0, 1/800 sec., ISO 200SP 90mm, F/4.2, 1/500 sec., ISO 25039mm · 1/250 sec. · F/2.8 · ISO 100“SPEND A LOT OF TIME WITH JUST ONE FLOWER.YOU CAN CREATE MANY DIFFERENT TYPES OFIMAGES WITH JUST ONE SUBJECT.”1 Check the weather.If you see it’s going to be an overcast oreven rainy day, that’s an ideal time toshoot macro. Plus, if it’s rainy, you mayget some water drops in your image,which, when shot up close, can b

Spring/Summer 2020 NORWAY Capturing the solitude of Norway with Tamron Prime Lenses for Mirrorless PRO TIPS FOR BIRD PHOTOGRAPHY Special Guide To Birds In Flight NEW ZOOMS FOR SONY MIRRORLESS 28-200mm F/2.8-5.6 Di III RXD & 70-180mm F/2.8 Di III VXD 28-2