Posts Tagged ‘17-50’
Found an optical defect in one of the inner elements of my Tamron 17-50mm /f2.8 VC a couple weeks ago. As soon as I discovered the problem, I shipped the lens over to a Tamron service center. I promptly received notice from Tamron that the issue would be repaired under warranty, but I’m still waiting for the lens to return. At first I thought I’d have a real tough time without the lens, but I must say that so far, I don’t miss those mid-range focal lengths very much at all. I think it’s because the 17-50mm range just doesn’t give you a whole lot of control over the perception of space and distance in a photograph.
I usually like to either expand foreground and background elements using an ultra-wide lens, or compress the foreground and background using a long telephoto. An example of the latter is seen in the image above. Shot at 165mm, you can really see how compressed the elements in the frame are, giving Suki a really powerful presence in the photo. In contrast, check out a similar image shot at 78mm:
See? Not quite as dramatic, right? Even Suki is disappointed, as you can see by her facial expression. Now if you really want to isolate your subject from the background, try an even longer focal length:
Same location, only with my lens at 280mm. The background gets so compressed at this focal length that it becomes unrecognizable, which completely isolates Suki in the foreground. This is the kind of creative control that a telephoto zoom lens can give you. So the next time you’re out taking photos, think about what you’re trying to accomplish before you start rotating that zoom ring. Are you zooming because you’d rather stay in one spot instead of moving closer to your subject, or are you trying to alter the perception of space and distance in your image? It’s almost always best to consider the latter first.
Ok, so it’s not that I don’t want my Tamron 17-50 anymore. It’s usually the lens I grab first if I have no idea what I’m going out to shoot. But I know now that I can definitely live without that focal range.
Camera Specs: Nikon D300s + Nikkor AFS 70-300mm f/4.5-5.6 VR
If you live in San Francisco and love Jazz, great coffee, good food, and a nice selection of beer and wine, you must check out Epicenter Cafe. It’s a great place to kick back with your laptop and browse the web, get some studying done, or just hang out with friends.
The interior has a very “South of Market” industrial look to it, with modern furniture and art, waxed concrete flooring as well as exposed concrete pillars, electrical conduits, plumbing and air ducts. During the day, tons of light floods in through large, floor-to-ceiling windows.
The live music, however, is the most important element! Every Sunday evening, the cafe hosts a “Jazz Jam,” which is basically the Jazz version of an open mic. If you can play/sing Jazz and read a lead sheet, you’re free to perform. There was a great group there yesterday evening:
Chris (on trumpet you see below) is a friend of mine. We met with a bunch of other friends to see him jam with the other instrumentalists.
My wife also brought a few charts along and performed two pieces. I decided to video record the performances instead of taking stills. Used my D300s fitted with the Tamron 17-50mm f/2.8 VC for the two clips. I must say, Vibration Control makes a huge difference in steadiness when recording video while hand-holding a DSLR. Check out the clips below!
The first clip is her second performance, where she sang “On Green Dolphin Street.” Video was recorded in 720p resolution. The second clip is the song “September in the Rain,” accidentally recorded in a lower resolution. Oh well!
Jazz jam sessions are rare in San Francisco, so my wife and I were really excited about this opportunity. The band was thrilled with her performance (as was I), and invited her back with specific requests as well. Good job, honey. Truly beautiful!
Alright, I finally did it. I broke down and gave HDR a try (click image above for large version). Creating a HDR or high dynamic range image involves blending multiple exposures together in order to display detail in the final image that would otherwise be lost in a single exposure. Our eyes are capable of looking at a scene with bright highlights and dark shadows and still see an immense amount of detail. Cameras simply don’t have that kind of ability, which is why blending exposures is useful when a scene contains very bright and very dark elements at the same time.
I set my D300s to automatically bracket a series of photos for me at 1 stop increments, and here’s what I got out of the camera:
Notice that if the sky looks good, the beach looks too dark. Conversely, if the sand looks detailed, the sky is blown out. There’s simply too much range for the camera to pick up detail in all areas of the frame. Yes, I suppose I could have used a split neutral density filter to even things out, but the purpose of this shoot was to experiment with HDR.
Exposure blending used to be extremely difficult, requiring the use of multiple layers, masks, and a whole lot of brush strokes to manually bring out detail in the HDR image. Nowadays, it’s dead simple. Photoshop has a “merge to HDR” feature built-in, but it’s not quite as good as standalone software like Photomatix Pro, which I used to merge this HDR image. All I had to do was drag the four bracketed images above straight from Lightroom 3 Beta 2 into Photomatix Pro, specify a few parameters, and POOF! It spit out an HDR image. Of course, what you see at the top of this post is not what you get right after the merge in Photomatix. I still had to tone map the HDR, then export it as a standard image file back into Lightroom for post-processing before it looked satisfactory.
I’m pretty excited about how easy the process was. My goal was to try to convey the scene the way my own eyes saw it, and I have to say that the final result looks very close to what I experienced that evening. Overall, I’m glad that I decided to give HDR a try, and I look forward using this photographic tool again.
Camera Specs: Nikon D300s + Tamron 17-50mm f/2.8 VC at f/13 ISO200, various shutter speeds.
One of the things I’ve learned from running around the city taking pictures of Suki for my 52 week project is that natural lighting doesn’t always cut it. Bringing some basic lighting equipment along with you when you go out, however, can let you take control of a situation in which the existing light just won’t give you a nice photo. Take this series of images, for example. Strolling around one of my favorite areas of the city, Suki jumped up on this long platform along the sidewalk, and I immediately had a shot in mind. I lined up my camera and took the shot below, a test image to see what the camera was thinking about the scene:
Meh, no shot here. The lighting is flat, and not coming from the direction I need it. Notice that the bulk of the light in the scene is coming from behind Suki. As a result, she’s dark. With no directional light on her, the subject of the photo, she appears flat and one-dimensional. Boo…
Fortunately, I had my SB-900 speedlight with me. Fired it wirelessly at Suki from my left through a small piece diffusion material, and the difference was dramatic (top image and below). Notice that she now has increased color, dimension, clarity, and separation from the background.
This is what I love about Nikon’s CLS, or Creative Lighting System. You can carry portable speedlights with you anywhere, and it’s like bringing the controlled elements of a studio out into the less-predictable field. Firing multiple lights wirelessly and getting your desired exposure is incredibly easy with CLS, as the camera does most of the thinking for you. It also helps to have a subject that is used to having her picture taken!
Nikon D300s + Tamron 17-50mm f/2.8 VC // SB-900 Speedlight off-camera
See another shot using this setup HERE