#Tamron 28-75mm

[geekanoids]

ME & MY : Watch Collection … Tamron 28-75mm F2.8 Di III VXD G2 Sony FE L...

[thephoblographer]

3 Lenses for Professional Photographers Under $2,000 You'll Love

You don't need to break the bank!

Professional photographers demand a lot from their lenses. They often want lightweight, sturdy, fast-focusing lenses that also deliver when it comes to image quality. But they also often don’t want to spend much money. Luckily, in today’s world, that’s possible. We dove into our Reviews Index to find lenses for professional photographers on a budget. And trust us, these are the ones we think you…

[sitting-on-me-bum]

Langkofel Group by Christoph Wenzel

[ardiebeaphotography]

Edgar's Cello 21 by ArdieBeaPhotography Via Flickr: A friend invited us to a cello concert a year ago, and afterwards he agreed to sit for a photo-shoot for me. It was delayed by covid, and then Christmas, and then... etc. Recently we got it organised. Here are the results.

[ultralowoxygen]

*** by Pavel Larkin Via Flickr: film/54 Nikon F100 • Tamron 28-75mm f/2.8 • Fujicolor Superia 100 (expired) instagram • instagram II • tumblr • lomography

[hs999]

ハートと姫に溢れた古城

ロックハート城

男性もプリンスになれるようですが、私には勇気がありませんでした。

camera : SONY α7RⅣ

lens : TAMRON 28-75mm F/2.8 Di III VXD G2

[toffabergphotography]

An interview with my self – 2023

1. What is the one thing you wish you knew when you started taking photos?

2. How did you get good at photography?

It happened during a moonlit night under a starry sky. All of a sudden a beam of light shone down upon me and an ominous voice spoke to me: “Now you’re good at photography!”.

All joking aside. There is one way to get good at photography, and that is to work at it. You need to put in the hours learning the principle of photography. Get your horizons straight. Learn how to use depth of field. How different shutter speeds convey different things. How ISO impacts your images.

Or more correctly, learn how the concept of ISO (ASA) in an analog sense impacts your images as ISO in the digital age is not that big of a thing anymore. Technology has come so far now that ISO in these days is more of an ND filter for your camera than it was in the days of analog film. Yes, a slower ISO will yield a cleaner file in terms of noise, but with today’s quality on high ISO like 800 and 1600 is far superior in that regard than earlier. Beside this you also have composition and image editing as well. 

3. What gear do you use?

The one I have at hand. Last time I answered this question I elaborated in more detail about this but I won’t this time. What gear you use has in a general sense not that much impact on your photography. When you start out you often think that gear has so much to do with what type of images you’ll be able to capture. That the latest camera will make you take better images. The reality is that gear plays a far smaller part in that equation than most think. It’s not the pots and pans that make a chef create a good meal, it’s the skill. The knowledge of the ingredients and how to employ them in a dish. Yes, there are some gear that is needed to achieve certain effects like a circular polarizer or a flash.

But having a limited access to gear will also help you solve problems in a more creative manner. By having let say just one speedlight you’re forced into making it work for you. Same goes for having a limited range of focal lengths. Also, if you don’t have the skills to capture a good image you won’t get a better image with lets say a Phase One medium format digital back. All you’re left with is a higher resolution garbage.

But to tackle the question more directly, I personally have used Nikon for 20 years. Both analog and digital. My personal reason for this is that a Nikon feels good in my hand and they are mostly built like tanks that can take whatever beating you throw at it and come back for more. Also with the old F-mount one was able to use a vast array of lenses that date back to 1957.

With regard to lenses, I have for the last 13 years favoured Tamron zoom lenses. The reason for this is that it presents a good mix of quality versus price. This is what makes up the backbone of my gear roster. I also still use filters when I shoot, like ND-grads and ND-filters. My philosophy is that I want to get my exposure right on location instead of blending different exposures in the digital darkroom later. With regards to bags and backpacks I like F-Stop backpacks as they have great quality and modularity. When it comes to tripods I use Feisol legs and either a geared or 3-way head over a ball head as I’m not comfortable with ball heads for the way I shoot.

4. Which lens is your favourite? Why?

I don’t have a favourite lens in that sense, but my most loved lens is my Tamron SP 28-75mm f2.8. The reason for it is that that lens has never let me down. It has taken whatever beating I have thrown at it and like Oliver Twist has come back asking for more. That lens covers the majority focal lengths I often use, and also it has the bonus of having a manual aperture ring which lets me use it on both my digital and analog camera.

5. When you go out to shoot, do you take any essential items other than a camera and lens?

6. Among the photography gear that you’ve purchased, is there something you wish you hadn’t bought? Why?

That’s hard to say. As I said, gear is not the most important part. One will always end up with gear that one regrets buying. Unless one has the chance to rent every bit one needs in advance you need to take chances on things and hope they solve your problem. But if I should say one thing it has to be aluminium tripod and not saving up for a carbon one right away. 

7. What are your favourite settings?

8. What kind of tools do you use for post-processing? What’s your workflow like?

I use Photo Mechanic for import and sorting plus to add IPTC data for my images. After I finish in Photo Mechanic I move the images into Capture One. Since Capture One has the option to use both Sessions and Catalog, I first move the images from my import folder into a Session that’s named by year and which sit in the overall hierarchy based on the main subject. For a more specific job/shoot I use a Session name for that job/shoot. 

After I have moved the images into a Session folder I start a more detailed culling process where I find the keepers I want to work on further. From there I cull them further into what will be my limited edition prints and what will end up as my stock/regular print editions. For concrete jobs/shoots I only cull my images into selects and output them from that specific Session. I cull my images by star ratings and use colour tags to denote if an image is finished or not. 

Once the culling process is done I broadly tweak the RAW-files in Capture One. I only focus on getting the image closest to how I want it to look and then I export them into TIFF master files which I then finish in Photoshop and NIK Software. Also I don’t do my dust removal in Capture One. Photoshop is a far superior engine for that job.

Once I get the image into Photoshop I first start with the dust removal before I move on to the final edits. After dust removal I move into different NIK Software plug-ins depending on what the final output will be. Most often I start in Color Efex where I work the colour aspect of the image. I further tweak my edit from Capture One here. If the final image is gonna be a colour image, this is where I leave editing the image and move to clean it up if needed before I call it done.

If I’ve decided that the image is a black and white I move onto Silver Efex. In Silver Efex I work on the image as if I was to work on it in an analog darkroom. To go into specific details here regarding each slider would make this section a book. So I leave this for something I might write about in the future. After I’ve developed the image to where Silver Efex can’t help me any more I revert back to Photoshop where I do my final retouching. Removing parts that don’t support the image as a whole. This is something I would have burned in if I were to do it analog or that I would employ traditional retouching to remove. 

When I view the image as done I flatten the layers and save it as TIFF-file. I flatten the layers because I regard my image as a print, and I will not do any further edits to that version besides going back to do some minor cleaning that I might have overlooked earlier.

9. Out of all your photos, which one is your favourite? Why?

10. Whose work has influenced you most?

First and foremost I have to say Ansel Adams and Joe Cornish. Both of these have influenced me the most, but they are not the only ones. Over the years others have also influenced and inspired me. W. Eugene Smith is one that is not a landscape photographer but who also had a great influence on my work. Mainly his use of light and contrast. In the later years I find that photographers like Ben Horne have influenced me. Not so much in terms of technique but in ways to approach the scene and how he works with his subject matter. 

Beside purely photographic influences I’m also very inspired by the Norwegian national romantic painters of the 19th century. Painters like J.C Dahl, Hans Gude, Thomas Fearnley, Theodor Kittelsen, August Cappelen, and Lars Hertervig. This has very much to do with my national identity and my love for Norwegian nature. 

[districtjuanph]

ᜊᜍ᜔ᜊᜒ (BA•R•BI)

Bringing Filipina Barbies to Life!

Step into the enchanting world of Barbie, where dreams come true even in the heart of the Philippines! During my travel in Iloilo City last July 2, 2023, I had the incredible opportunity to collaborate with an amazing team and create a stunning Barbie-inspired concept.

To add an authentic touch, I designed the "Barbie" logo in beautiful Baybayin script.

Muse #1: Shayne Glenmae Maquiran

Make-up: Apple Genciana

Hair: Pong Degala

Stylist: Josh L. Sales

Muse #2: Vanessa Tse Wing

HMUA: Yanne Gu

Stylist: Josh L. Sales

Photography: Uno Casanova

Location: Balay Sigahum

Sony Philippines a7iii

Tamron - Philippines 28-75mm f2.8

[chill-wavetable]

📷canon ae-1 + osawa 28mm 2.8

📷sony a7iii + tamron 28-75mm f/2.8

📷agfa mini

📍quinta vergara, viña del mar

[geekanoids]

Tamron 28-75mm F2.8 Di III VXD G2 Sony FE Lens Unboxing & First Look

[thephoblographer]

How to Shoot Beautiful Cat Portraits

Get the purrrrrfect photo!

The internet loves cats, as do most people! Getting a beautiful portrait of your cat can be incredibly tough for most of us. Sometimes they won’t stop moving around, they’re too dark, or we can’t hold their attention. But a little bit of pet psychology can help here. We’re going to give you a short tutorial on how to shoot beautiful cat portraits you’ll love. (more…)

[anderk]

Sony A7 III

Tamron 28-75MM F/2.8 ISO 100 1/10sec

[ardiebeaphotography]

Edgar's Cello 00 by ArdieBeaPhotography Via Flickr: A friend invited us to a cello concert a year ago, and afterwards he agreed to sit for a photo-shoot for me. It was delayed by covid, and then Christmas, and then... etc. Recently we got it organised. Here are the results.

[ultralowoxygen]

*** by Pavel Larkin Via Flickr: film/54 Nikon F100 • Tamron 28-75mm f/2.8 • Fujicolor Superia 100 (expired) instagram • instagram II • tumblr • lomography

[naototanno]

ひとり登山部LOG第154弾。

北海道は日高山脈の南端付近に位置するアポイ岳へひとり登山。 世界ジオパークに認定された豊かな自然や、眼下に雄大な太平洋を望みながら、3年ぶりのひとり登山を楽しみました。予定では山頂を目指していましたが、山頂手前の馬の背からの景色で十分満足できたのでそのまま下山しました。

登山コース： アポイ岳ジオパークビジターセンター〜馬の背〜アポイ岳ジオパークビジターセンター

Camera: Sony a7sIII + DJI RONIN-S Lense: Tamron 28-75mm f2.8 Edit: Premiere pro Music: Vacations by Straight White Teeth

[hs999]

久々の鉄道風景

普段あまり使わない、リアルタイムトラッキングによる撮影。

機関車、重連で引っ張ってるんだね。

camera :SONY α7RⅣ

lens : TAMRON 28-75mm F/2.8 Di III VXD G2