Tamron Magazine Autumn 2018 Edition

Issue 8 · Autumn 2018 Token charge: € 2.50

WHATEVER THE WEATHER On the road with Bastian Werner and the SP 15-30mm F/2.8 Di VC USD G2 between sunrise and supercell

WIN A

17-35mm F/2.8-4 Di OS

D

Survey inside

HOT AND COLD

SPEED IN FOCUS

The 28-75mm F/2.8 for Sony DSLMs used by two reportage photographers

Sharp super-tele photos: Practical tips from sports photographer Oliver Güth

HIGHLIGHT

METROPOLIS EXORBITANTIS

PHOTO: DAISUKE FUJIMURA

Around 37 million people, more than a quarter of the population of Japan, live in the Tokyo metropolis region. There is nowhere else in the world where so many men, women and children live in such a small area. Tamron professional Daisuke Fujimara photographed the almost endless sea of lights of this world city from the Tokyo Metropolitan Government Building with the new SP 15-30mm F/2.8 G2 ultra wide angle lens. www.tamron. eu/de/objektive/ sp-15-30mmf28-di-vcusd-g2/

Technical information: SP 15-30mm F/2.8 Di VC USD G2 路 19 mm (35 mm) 路 30 s 路 F/9 路 ISO 64

HIGHLIGHT

Tamron Magazine 5

HIGHLIGHT

ROAD TO NOWHERE

PHOTO: PHILIP RUOPP

A dead-straight road that disappears into the clouds in the distance... this timeless subject jumped out at Philip Ruopp on a tour of Iceland. The climate on the island in the North Atlantic is harsh, the vegetation sparse.

However, in the short summers, the blooming wild plants scatter attractive dashes of colour across the green landscape. Taken with a Sony Alpha 7 Mark II and the new Tamron 28-75mm F/2.8. www.tamron.eu/ de/objektive/ 28-75mm-f28di-iii-rxd

Technical information: 28-75mm F/2.8 Di III RXD · 28 mm (35 mm) · 1/2500 s · F/2.8 · ISO 160

HIGHLIGHT

Tamron Magazine 7

28-75mm F/2.8 Di III RXD 路 28mm 路 1/500 s 路 F/2.8 路 ISO 400

REPORTAGE

FUERTEVENTURA

ROAD TRIP

16 Tamron Magazine

REPORTAGE

PHOTO: MARTIN KROLOP

Two models, one peak zoom. Desiree and Sara from Stay Salty on tour across their favourite island, Fuerteventura. They took with them Martin Krolop and the Tamron 28-75mm F/2.8 Di III RXD.

Tamron Magazine 17

REPORTAGE

28-75mm F/2.8 Di III RXD · 56mm · 1/8,000 s · F/2.8 · ISO 100

uerteventura is also known

blogger Martin Krolop, who documented

as the ‘silent island’. Located

the tour with his Sony Alpha camera and

in the middle of the Atlantic,

the new Tamron 28-75mm F/2.8 Di III

the second largest island in the Canary

RXD. “We had just tested the lens and

archipelago offers a multitude of

were really excited by the quality, so we

wonderful natural landscapes and

asked Tamron to extend the rental to

beautiful beaches.

cover this trip. No problem!”

F

Desiree Timm and Sara Stefan-De

Krolop didn’t have a set plan when

Miguel had the latter highest on their

the small group thundered out of the

wish list on their road trip. The model

Aeroporto de Fuerteventura in the 200

duo, who offer exclusive photography

HP beast. “Admittedly, just going for

trips and events under the name ‘Stay

a spin isn’t usually my thing,” Krolop

Salty’, drove all over the island on the

explains. “But this time, I was relying

hunt for new locations with a Jeep

on the pair to hopefully drive to the

Wrangler Sahara (200 HP). In the back

right places instinctively.” Ultimately,

seat was Cologne photographer and

Desiree and Sara are professionals and

18 Tamron Magazine

Full throttle – away! The Jeep Wrangler has some decent power under the bonnet. The ultra-fast shutter speed means even the fast-flying stones are still sharp as a tack. The new 28-75mm F/2.8's high resolution lets you pick out even the smallest individual grains of sand.

REPORTAGE

specialise in driving photographers to extraordinary locations on the island.

The 75 mm focal length is ideal for portraits. At an F/2.8 aperture with the full-format sensor in the Sony Alpha camera, it makes the subject pop out of a very attractive background blur (the ‘bokeh’ effect).

The beaches of the Jandia peninsula in the south of the island are a particular highlight. The kilometre-long desert landscape of Corralejo is a paradise for water sports enthusiasts.

Reportage photography as a field test “After the first test in Cologne, I was really excited about how the fast standard zoom lens worked in practice.

Because it's a typical universal zoom PHOTOS: MARTIN KROLOP

for discerning photographers, I tested it with some travel reportage photography as one of several applications,” Krolop says. “True, the technical specifications of the 28-75mm F/2.8 Di III RXD aren’t amazing at first glance – it's just a very versatile standard zoom.

However, it's the first Tamron lens for

28-75mm F/2.8 Di III RXD · 75mm · 1/2,000 s · F/2.8 · ISO 100

mirrorless full-format cameras, which makes it interesting for all Sony Alpha photographers – especially because it's priced so competitively.”

After he had taken a few pictures from the Jeep in action, Krolop took a few portraits of the two models. He worked mainly with the aperture set at F/2.8 to test the resolution performance in the extreme range. "The image results on the 42-megapixel sensor just

28-75mm F/2.8 Di III RXD · 75mm · 1/320 s · F/2.8 · ISO 100

"THE IMAGE RESULTS ON THE 42-MEGAPIXEL SENSOR JUST BLEW US AWAY.” 28-75mm F/2.8 Di III RXD · 28 mm · 1/8000 s · F/2.8 · ISO 100

Tamron Magazine 19

REPORTAGE

The zoom of the 28-75mm F/2.8 Di III RXD covers the most commonly used focal lengths. The lens is suitable for both landscape shots and portraits, even under challenging lighting conditions.

Because of its short minimum object distance of 19 cm in wide angle, it can even be used for close-up shots in an image ratio of 1:2.9.

28-75mm F/2.8 Di III RXD · 39mm · 1/250 s · F/2.8 · ISO 100

blew me away,” he says. “When it

light and reflections inside the lens.

The pictures from Fuerteventura speak for themselves. Back on the

came to sharpness and aberrations, the

Excellent resolution and precise focus

plane, Krolop is more than satisfied with

better than I could have expected.” The reason for the high image quality is the

The autofocus system also contributes

conclusion: “The attractive price

special glass elements, such as the XLD

to the high-quality sharpness; it is run

combined with the optical quality and

(eXtra Low Dispersion) lens. This is made

by an RXD stepping motor. A sensor

dimensions make the 28-75mm F/2.8

from a special glass with an extremely

continually detects the lens’s current

the perfect lens for a high-resolution

low colour dispersion index for

focus setting, achieving quick, precise

full-format DSLM camera.”

maximum sharpness and compensation

and quiet focusing. The AF shows its

of chromatic aberrations.

strengths best with moving subjects.

optical quality of the lens is so much

The lens can handle even demanding

the results. The experienced blogger’s

“What struck me was how amazingly

backlit shots, such as photos with the

compact and light the 28-75mm Di III

sun directly behind the model, without

RXD is, despite its F/2.8 speed,” says

any appreciable loss of contrast. The

Krolop.

coating effectively prevents scattered 28-75mm F/2.8 Di III RXD · 54mm · 1/500 s · F/2.8 · ISO 160

28-75mm F/2.8 Di III RXD · 54mm · 1/500 s · F/2.8 · ISO 160

REPORTAGE

“WHAT STRUCK ME WAS HOW AMAZINGLY COMPACT AND LIGHT THE 28-75MM DI III RXD IS, DESPITE ITS F/2.8 SPEED.”

PHOTOS: MARTIN KROLOP

28-75mm F/2.8 Di III RXD · 59mm · 1/800 s · F/2.8 · ISO 320

28-75mm F/2.8 Di III RXD · 28mm · 1/1,250 s · F/2.8 · ISO 100

The 28-75mm DI III RXD is the first Tamron lens for mirrorless full-format cameras.

Technical specifications 28-75mm F/2.8 Di III RXD Focal length: 28-75mm Speed: F/2.8 Minimum object distance: 19 cm (W), 39 cm (D) Max. image ratio: 1:2.9 Elements/groups: 15/12 Filter diameter: 67 mm Length: 117.8 mm Weight: 550 g

Tamron Magazine 21

IN THE FIELD

PRO TIPS: PERSPECTIVE MAKES THE SHOT

GREAT OUTDOOR PHOTOS Tamron photographer Philip Ruopp shows how you can take impressive nature shots even in poor weather. Here are his top 5 tips.

P

hotography is relatively effortless in the sunshine.

The days are warm, the

light of the sun lights up the colours and emphasises contrasts. “On overcast days, though, it's always difficult to find a subject,” says Tamron pro Philip Ruopp. The sports and action photographer from Laichingen spent his holidays in the north Atlantic, visiting Iceland and the Faroe Islands. “Even at the height of summer, we only had a few days of sunshine.” That was a challenge for his photography, since without sunshine, even the most

TIP 1 Choose low perspectives “Bring the foreground into play by photographing from the perspective of a frog. This will bring more depth into the picture. With the aperture open, focus either on the foreground or the background, depending on where you want the viewer to focus.”

“PHOTOGRAPHED FROM NEAR THE FLOOR, EVEN BARREN LANDSCAPES GAIN DEPTH.” 28-75mm F/2.8 Di III RXD · 61mm · 1/4,000 s · F/3.2 · ISO 250

22 Tamron Magazine

28-75mm F/2.8 Di III RXD · 67mm · 1/5,000 s · F/2.8 · ISO 100

PHOTOS: PHILIP RUOPP

28-75mm F/2.8 Di III RXD · 28mm · 1/1250 s · F/3.5 · ISO 250

IN THE FIELD

TIP 2 Wear bright clothes “Bright-coloured jackets and bags always show up well in landscape shots – provided that you want to integrate the person completely into the composition. They make for attractive dashes of colour, especially on dull days or in monotone landscapes. Reds and blues, or even yellows, are especially well suited for this.” spectacular landscape can look boring in a photo.

To make sure he still came back with pictures worth their salt, Ruopp reached into his bag of tricks.

“As a professional photographer, I’m forced to make the best of the conditions I have,” he says. Since I only had my 28-75mm F/2.8 Di III RXD, I mainly concentrated on perspectives and composition.

Because I knew in advance that we would mainly be in inhospitable areas without much vegetation, I made sure to take a few brightlycoloured jackets and bags to bring some colour to the landscape.”

28-75mm F/2.8 Di III RXD · 28mm · 1/1,000 s · F/3.5 · ISO 250

28-75mm F/2.8 Di III RXD · 35mm · 1/13 s · F/2.8 · ISO 400

28-75mm F/2.8 Di III RXD · 75mm · 1/2,500 s · F/2.8 · ISO 250

Tamron Magazine 23

IN THE FIELD

The standard zoom lens provides Ruopp with the most common range of focal lengths. “This means I can basically photograph any subject – from dramatic landscapes to natural portraits,” Ruopp explains. “The large F/2.8 aperture is ideal in situations without much sunlight so I can use the fastest shutter speeds possible. It also offers the best conditions for playing with sharpness and blur when used in combination with a full-format

TIP 3 Photograph through something “This tip works a bit like tip 1: A (blurred) object in the foreground lends the picture depth and makes it more interesting. Branches or irregular boulders are good for this, for example. Perhaps you could even photograph through something and frame the main subject. This will get rid of any ‘dead sky’, which can wreck even a great subject.”

28-75mm F/2.8 Di III RXD · 28mm · 1/5,000 s · F/3.5 · ISO 500

camera.”

28-75mm F/2.8 Di III RXD · 66mm · 1/320 s · F/4.5 · ISO 250

TIP 4 Look out for mirror images!

PHOTOS: PHILIP RUOPP

“Wherever there's water, you’ll find great mirror images. This goes for the city as well as in nature.

The mirror images give the photo another dimension and make it more interesting. The effect is particularly captivating with high contrast and clear shapes, such as silhouettes. In the photo to the left, the conditions (blue sky, smooth water surface) were perfect.”

28-75mm F/2.8 Di III RXD · 35mm · 1/1600 s · F/4.5 · ISO 100

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Tamron Magazine

28-75mm F/2.8 Di III RXD · 28 mm · 1/3200 s · F/3.5 · ISO 250

IN THE FIELD

100-400mm F/4.5-6.3 Di VC USD

SPEED IN FOCUS Sports photographer Oliver Güth is won over by the 100-400mm’s quick autofocus. Here are his tips for tack-sharp tele shots.

T

he 100-400mm super-telephoto is the compact alternative to the significantly larger SP 150-600mm G2. Both were

developed for full-format sensors, but with a weight of 1,115 grams and a length of just under 20 centimetres, the 100-400mm is significantly easier to handle – while offering similar performance features.

Like the current generation of Tamron SP lenses, the 100-400mm is equipped with a “dual MPU”, meaning it uses two processors for autofocus and the VC image stabiliser. This technology allows quick and precise focusing and very even image stabilisation.

So far, so good. But what does this mean in practice? The Cologne sports photographer Oliver Güth uses the lens in the field. “Longer telephoto focal lengths are ideal to image the subject with a neutral perspective and make it pop out of the background,” he says. “What's special about the 100-400mm is the blisteringly quick and precise

SHARPNESS TIP 1 Continuous autofocus

100-400mm F/4.5-6.3 Di VC USD · 1/4,000 s · F/6.3 · ISO 640

26 Tamron Magazine

If the object is moving directly towards the camera, the AF needs to react more quickly. To keep the hurdler within the range that will keep her sharp, Oliver Güth uses continuous autofocus (AF-C).

“This will continually adjust the focus while the shutter release is held down halfway. Try to hold the focus on the runner's face. If this is too difficult because of unsteady movement, alternatively you can pre-focus manually: focus on one area and press the shutter release once the runner reaches this area.”

IN THE FIELD

SHARPNESS TIP 2 Ultra-quick shutter speeds A quick and precise autofocus does not guarantee really sharp pictures. It does guarantee that the lens will focus on the subject at the right moment – however, too slow a shutter speed will still lead to motion blur. “While the VC image stabiliser effectively prevents blur caused by unwanted camera movement, it is powerless to deal with the subject moving within the frame,” says Güth.

"When photographing athletes in action, you should use an ultra-fast shutter speed, around 1/4000 of a second. You might need to increase the ISO value a bit for this to work. That way, you’ll make sure the movement is captured sharply in the photo.”

Technical specifications 100-400mm F/4.5-6.3 Di VC USD Focal length: 100-400mm Speed: F/4.5-6.3 Minimum object distance: 1.5 m Max. image ratio: 1:3.6 Elements/groups: 17/11 Filter diameter: 67 mm Length: 199 mm Weight: 1,115 g

100-400mm F/4.5-6.3 Di VC USD · 1/5000 s · F/5.6 · ISO 500

autofocus. The high performance of the dual MPU is a crucial advantage, especially when following quick-moving objects. Meanwhile, the low weight also allows me to work very flexibly over a longer time period.”

Tamron’s 1.4x teleconverter opens up more possibilities; it can be used to extend the focal length by a factor of 1.4 to a maximum of 560 mm.

“This means I can cover an enormous range of focal lengths with a super-compact telephoto – it gives me everything I need,” says Güth. “There is even an optional tripod clamp, which is practical in these extremely long telephoto ranges to help stabilise the picture more and achieve the best imaginable picture sharpness.”

100-400mm F/4.5-6.3 Di VC USD · 1/5,000 s · F/5.6 · ISO 640

Tamron Magazine 27

IN THE FIELD

SP 15-30mm F/2.8 G2 · 18 mm · 1/50 s · F/4 · ISO 100

SP 15-30mm F/2.8 Di VC USD G2

WHATEVER THE WEATHER A large angle of view and a rain-proof casing – these core features of the SP 15-30mm G2 from Tamron are very important to weather photographer Bastian Werner. Here are his impressions of the new ultra wide angle zoom.

28 Tamron Magazine

IN THE FIELD

“THE NEW IMAGE STABILISER IS PROBABLY THE BEST NEW FEATURE IN THIS LENS.”

PHOTOS: BASTIAN WERNER

SP 15-30mm F/2.8 G2 · 15 mm · 1/100 s · F/5.6 · ISO 200

SP 15-30mm F/2.8 G2 · 30mm · 15 s · F/4 · ISO 100

for Bastian and why is it ideal for professional

photographers in the world to test the

weather photography.

SP 15-30mm F/2.8 Di VC USD G2. Even

before the official release, he was on the road with

Why is the SP 15-30mm F/2.8 so interesting to

a pre-production model, testing it out in the field.

you as a weather photographer?

The new ultra wide angle zoom lens quickly

Bastian Werner: Almost all weather phenomena

became a firm fixture in the photo bag of the

take place in a wide section of the sky, so I need

well-known weather photographer. There was

an ultra wide angle lens with excellent image

hardly a situation where he couldn’t use it. We

quality. In theory I could use

PHOTO: OLIVER GÜTH

W

astian Werner was one of the first

wanted to known what made the lens so special

Tamron Magazine 29

IN THE FIELD

“I NEED THE WIDE ANGLE OF VIEW TO CAPTURE THE BIGGEST POSSIBLE SECTION OF THE SKY IN ONE SHOT.” a prime lens, but the Tamron SP 15-30mm G2 is

movement is another consideration. These two

practically the same while also allowing me to

factors mean I can’t always take a panoramic

fine-tune the composition with its variable focal

photo. This is why I need the wide angle of view

length.

provided by the 15 mm focal length to capture the biggest possible section of the sky.

What is the practical advantage of the large angle of view?

The new AX coating is new to the SP 15-30mm

Bastian Werner: Because I photograph storms, I

G2. Does this really result in higher quality in

don’t have much time to take each photo. After

practice?

a few minutes, a cell could have moved on. Cloud

Bastian Werner: The AX coating lets me capture lightning with maximum aperture with a little more sharpness. This surprised me again in comparison with the previous model. You can actually see the difference in quality with the naked eye, not just in a laboratory.

What do you think of the new design of the SP 15-30mm G2?

Bastian Werner: I like that the new design fits with the other SP lenses from Tamron. I think the focus ring and zoom ring on the lens are especially well-made. Both are easy to grip, so I don’t turn the wrong ring by accident, even at night.

SP 15-30mm F/2.8 G2 · 20 mm (35 mm format) · 1/50 s · F/5.6 · ISO 100

KNOWLEDGE FROM EXPERIENCE: HOW TO TAKE SUCCESSFUL AND SPECTACULAR WEATHER PHOTOS A good weather photographer needs to be a good meteorologist as well. Unlike in a studio, light cannot be used to change the weather. If you want to succeed in this kind of photography, you have to know when the best time is to get on the road to capture the subject you want in the right light and in the right weather.

SP 15-30mm F/2.8 G2 · 15 mm (35 mm format) · 1/10 s · F/8 · ISO 100

30 Tamron Magazine

“Be more focused in your photography!” is therefore Bastian Werner’s first tip.

Instead of just setting off and relying on luck, he studies weather reports

and satellite images.

Even sunrise and sunset, which are among the basic tools of a landscape photographer, can be predicted very precisely using light paths and the height of clouds.

“A sure sign of a red sunset about to set in is sunlight that appears suddenly in the evening of an overcast day,” Bastian Werner explains in his book, “Photography with Wind and Weather”. In the book, he uses scientific knowledge to explain what you should look at in detail.

IN THE FIELD

Technical specifications SP 15-30mm F/2.8 Di VC USD G2 Focal length: 15-30mm Speed: F/2.8 Minimum object distance: 28 cm Max. image ratio: 1:5 Elements/groups: 18/13 Filter diameter: N/A Length: 142.5 mm Weight: 1,100 g

PHOTOS: BASTIAN WERNER

SP 15-30mm F/2.8 G2 · 30 mm (35 mm format) · 7.3 s · F/2.8 · ISO 100

SP 15-30mm F/2.8 G2 · 30 mm (35 mm format) ∙ 15 s · F/3.5 · ISO 100

SP 15-30mm F/2.8 G2 · 15 mm (35 mm format) · 20 s · F/2.8 · ISO 5000

Do you use the image stabiliser? It’s helpful in some situations.

Bastian Werner: The new image stabiliser is probably the best new feature in this lens. It’s very dark around the weather fronts, of course, and the short time window I have to take a shot means I often can’t use a tripod. So it surprised me that I could still take sharp pictures by hand even with a 0.5 second exposure at 15 mm. This saves me a few ISO stops and actively improves image quality.

ABOUT: BASTIAN WERNER The photographer, born in 1993 in Südhessen, has dedicated his life to our weather – and in doing so, has taken weather photography in Germany to a new level. Following his specialist book, “Photography with Wind and Weather”, his illustrated book, “Stormchaser: the hunt for weather extremes in Germany” was published this year. He also regularly teaches his considerable knowledge in presentations and workshops. www.bastianw.de

Tamron Magazine 31

PORTRAIT

PASCAL ZERRESSEN

“PHOTOGRAPHY IS THE PERFECT BALANCE” 32 Tamron Magazine

PORTRAIT

After training, Pascal Zerressen trades his hockey stick for a camera. The national ice hockey player's favourite way to spend his free time is on carefully planned hunts for spectacular nature shots.

P

ascal Zerressen doesn’t tarry on the ice

is used again and again; he uses it to capture every

for long. When the puck flies towards

detail in a landscape.

his net, the 6’ 5”, 15st 10lb Kölner Haie

“Whenever we can, we drive to places that

defenceman launches it back at the opposing

promise spectacular views,” says Pascal. He

forward with verve. The two players collide with a

usually researches beforehand what subjects he

crash. Danger is averted for a moment, but there

might want to photograph on the location and

are often only seconds before the next attack. “Ice

what locations and perspectives are of particular

hockey is actually a very quick and tough sport,”

interest. Using maps and a sun position app, he

laughs Pascal. “It’s not only the game that’s

plans his route in minute detail. “We often get up

challenging; the training is really demanding as

very early even on holiday, just to be in the perfect

well.”

place on time for the sunrise. But the wonderful

After an exhausting day on the ice, Pascal

light and breathtaking silence are more than

likes to relax in the countryside. He trades in his

worth the effort. For me, nature photography is

stick and skates for a camera, lens and hiking

the perfect balance to my hectic everyday life,

shoes. On long walks with his girlfriend Selina

since it’s so quiet and relatively slow.”

and dog Maya, his thoughts are often only of one thing: photography. “We’re always on the hunt for new subjects,” Pascal admits; he shares his best pictures on Instagram. The 25-year-old has around 6700 followers on the site and many of his fans share his passion for great photos.

Pascal taught himself photography. Encouraged by positive feedback, he has continued to refine his technique. Most of his pictures are taken with one of the three fastest F/2.8 Tamron zoom lenses: the SP 15-30mm, SP 24-70mm and SP 70-200mm. The extremely sharp SP 85mm F/1.8

ABOUT: PASCAL ZERRESSEN Born in 1992 in Tönisvorst, Lower Rhine. He took the first steps on his career on skates in Krefeld when was ten years old. In 2009, he made it onto the U18 national team. He has played since 2013 as a defenceman for the Kölner Haie. Since early 2017, he has played for the German national ice hockey team. www.instagram.com/zerri27

Experience nature up close – and document the best moments with your camera and Tamron SP lenses. For ice hockey pro Pascal Zerressen, the best balance for his physically exhausting everyday life.

Tamron Magazine 33

GALLERY

READER GALLERY Photographer: Katharina Kramp Lens: SP 150-600mm F/5-6.3 Di VC USD G2 We think: “No ordinary animal portrait; the photographer captured this with a 450 mm telephoto length. In the Kruger national park in South Africa, a water buffalo eyeballs the visitor’s vehicle curiously. The evening sun makes for wonderful lighting. An unforgettable goosebump moment.”

In every issue, Tamron Magazine presents the best reader photos it receives. Are your photos here in this issue?

Do you find that great photos look so much better in print?

Do you want to see your picture in Tamron Magazine?

Then send us your best Tamron shots now! The only requirement: The picture must have been taken with a Tamron lens.

The editorial staff will comment on a selection of the best submissions in each issue. Just upload your photo with a short description of the content and the story of how it was taken to the following Tamron website: www.magazin.tamron-fotorallye.de

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Tamron Magazine

GALLERY

Photographer: Thomas Gelineck Lens: SP 24-70mm F/2.8 Di VC USD G2 We think: “Eclipse in Berlin. The summer was hot and the theme of shadows inspired the photographer here to take a “cool” backlit shot of the 368 metre Berlin radio tower.”

“I PHOTOGRAPH TO FIND OUT WHAT SOMETHING WILL LOOK LIKE PHOTOGRAPHED.” Garry Winogrand (1928–1984)

Photographer: Michael Keiser Lens: AF 70-300mm F/4-5.6 Di LD MACRO 1:2 We think: “The DTM car was only ploughing through the gravel during this race in Zandvoort for a few seconds.

The photographer reacted lightning quick and captured the dramatic moment in a great motor sports photo.”

Photographer: Stefan Bosbach Lens: 18-200mm F/3.5-6.3 Di II VC We think: “The early bird gets the worm. In early August, the sun is high above the beach of Neuharlingersiel in East Frisia early in the morning, at 7 o’clock. A reflection turns this unspectacular subject into a strong photo. The small lens flare and the aura make for an attractive optical repetition.”

Photographer: Alexander Simchen Lens: 70-210mm F/4 Di VC USD We think: “Photography means capturing the most beautiful moments in our lives. Here, this was a short pause on the Brand rocky plateau in Saxon Switzerland. A well-composed photo for the family album!”

Photographer: Maximilian Forst Lens: SP 15-30mm F/2.8 Di VC USD We think: A landscape photo that seems straight out of a textbook. Every nature photographer strives for electrifying subjects like these.

A bit of luck played its part here; at the Fanad Head in Donegal, Ireland, good weather is not guaranteed. Great perspective, beautiful light and technically flawless execution with a long exposure (30 s).”

Tamron Magazine 37

GALLERY

Photographer: Dietmar Jeschke Lens: SP 150-600mm F/5-6.3 Di VC USD G2 We think: “For many passionate animal photographers, a close-up portrait of an orangutan is like winning the lottery. Even in a zoo, shots like these rarely work. In this case, the photographer's perseverance and concentration really paid off. He captured the perfect moment with the 600mm supertelephoto in the all-weather zoo in Münster.”

Photographer: Sabine Boldt Lens: 18-200mm F/3.5-6.3 Di II VC We think: “Sunsets are one of those things that is always right on the borderline between tasteful and kitsch. Here, however, the photographer captured one very successfully as a monochrome silhouette. The shot was taken on an unforgettable evening in Playa de Mogan on Gran Canaria. A photo that reminds us of a beautiful holiday.”

Photographer: Stefan Bestle Lens: SP 35mm F/1.8 Di VC USD We think: “This picture was taken during a trip to Norway in March this year – and the photographer fulfilled his dream of finally seeing the Northern Lights with his own eyes. Photographing this celestial light phenomenon requires some technical skill, which was used here in the best possible way: a wide aperture (F/2.2), long exposure (2 s) and high sensitivity (ISO 3200)."

38 Tamron Magazine

IN THE FIELD

EATING ISN’T STRESSFUL I'm often asked why most of my photography is of food. Apart from the fact that everyone loves good food, there is a simple explanation: food doesn’t have any mental states; it stays still (except maybe ice cream) and you don’t have to communicate with it. A big advantage over people photography because it means a distracting factor and a stressor is gone. You don’t have to be particularly quick to capture a moment (assuming the food stays fresh, of course). You can just concentrate on the set and photograph at home, unlike with landscape photography, regardless of the weather.

Tips for good food photos The secret to good food shots is in the story they tell: the light, the props, the food, everything comes together and conjures a scenario in our heads. The viewer doesn’t only see the food; they also see, in their mind's eye, the time of day, the time of year and the room, even though all this is not directly shown in the picture.

Personally, I count on daylight.

For me, it looks the best and is uncomplicated. The dish placed clearly in the middle. Sometimes, the food looks so impressive that the space around it can be kept simple (see the lime cheesecake photo). Also important: a good lens. For photos straight on or on a slant, I prefer a fast 90 mm macro lens. This lets me photograph the food up close, make it pop out and achieve a

PHOTOS: VERA WOHLLEBEN

beautiful bokeh in the background.

Vera usually photographs with the SP 90mm F/2.8 macro lens. A wide-open aperture creates a beautiful bokeh effect. For ‘flat lays’, photos from directly above the object, she chooses a standard focal length, e.g. 50 mm, with the SP 24-70mm F/2.8 G2.

Vera Wohlleben (34) is a photographer and stylist for Food & Stills from Heidelberg. On her blog, “Nicest Things”, she regularly presents recipes and tips on living and DIY. www.nicestthings.com

Tamron Magazine 39

MY PROJECT

MY PROJECT

PURE RELAXATION Sven Diegel, Assistant Marketing Manager at Tamron, loves to travel around in the countryside. As well as his partner and his dog, he always has his 18-400mm travel zoom by his side – so that he's equipped for any photographic situation.

All pictures got their finishing touches using Luminar 2018

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Tamron 18-400mm F/3.5-6.3 Di II VC HLD · 27 mm (35 mm format) · 1/500 s · F/10 · ISO 100

H

PHOTOS: SVEN DIEGEL

MY PROJECT

olidays! Finally a chance to sleep, a chance to relax! That sounds good, but it usually

doesn’t happen. Not with a dog, or at least not with our dog. By nature apparently powered by a small nuclear reactor, he wants one thing above all else: action! And for us that generally means lots of moving around in the fresh air. Still, that means we not only stay fit, but also see and experience a lot together.

We spent this summer at home, in the Cologne region. We wanted to finally take some time for trips to places we had never visited as residents. It turns out there’s plenty to see in the region. We especially loved the Wahnbachtalsperre, with its almost alpine appearance and dreamlike paths of the Eifel, fantastic

Tamron 18-400mm F/3.5-6.3 Di II VC HLD · 82 mm (35 mm format) · 1/500 s · F/8 · ISO 100

views and lots of exciting natural monuments.

In our extended hikes through the beautiful highlands, however – especially considering the summer temperatures – it wasn’t practical to carry lots of photography equipment with us. So I relied on my Nikon D500 in combination with the Tamron 18-400mm travel zoom for all my

18-400 mm · 27 mm (35 mm format) · 1/10 s · F/3.5 · ISO 100

photos. This combination turned out to

Whether panorama or macro – Sven Diegel loves the versatility of the 18-400mm travel zoom. “It meant I was equipped photographically for any situation on our hikes.”

be ideal, since neither my partner nor my dog wanted to wait long for me to screw the right lens onto the camera for the situation. With the 18-400mm, I was perfectly equipped for every subject without losing any time – and that meant that at the end of the summer, we had almost more memories captured in photos than we had ever had before.

18-400 mm · 52 mm (35 mm format) · 1/320 s · F/6.3 · ISO 100

PROFILE: SVEN DIEGEL Born: 1978 Residence: Cologne-Porz Job title: Asst. Marketing Manager Employer: Tamron Europe GmbH Photography: Landscape, travel, animals Passion: travel, travel photography, general technology, sports Favourite lenses: 18-400mm, 10-24mm, SP 35mm, SP 90mm

18-400 mm · 66 mm (35 mm format) · 1/500 s · F/4.5 · ISO 100

18-400 mm · 225 mm (35 mm format) · 1/100 s · F/5.0 · ISO 100

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