K. HSIAO
FEMALE IN FOCUS
F. DILEK YURDAKUL
REVIEW
TAMRON 28-300MM F/4-7.1
Di III VC VXD
“I detest stagnation and always strive for constant growth.”
Cover story SOHINI SINGH
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FRAME
CONTENTS
COVER STORY
Sohini Singh
INTERVIEW
Amit Sharma
Kai K. Hsiao
FEMALE IN FOCUS
F. Dilek Yurdakul
REVIEW
Tamron 28-300 MM f/4-7.1
Di III VC VXD
CREDITS
EDITORIAL
PUBLISHER & EDITOR
Idris Ahmed
PROOFREADING
Antasa Vairagya
Ujjayant Sinha
Published by : Photocommune
New Delhi
DESIGN & PRODUCTION
DESIGN
Amit Kumar Gangal
PRODUCTION TEAM
Amit Kumar Gangal
Antasa Vairagya
Ujjayant Sinha
COVER STORY
Photography - Idris Ahmed
Retouching - Amit Kumar Gangal
MuA - Santoshi Balhara
Hair - Bhupi Balhara
Shot at - Studio AER
Antasa is an ex-Assistant Professor pursuing her PhD in Sociology. While teaching she explored her passion for travelling and explored photography during her trips. As a researcher, she is doing her visual ethnography focusing on caste and gender. Currently, she is an active member of Photocommune and a contributor to the Magazine FRAME.
Ujjayant Sinha is a data scientist and an avid amateur photographer who has also ventured into fiction writing. His upcoming debut book, The Unconscious Drifter: A Book of Dreams, is a dream journal that narrates his vivid dreams in the form of short stories.
EDITOR’S NOTE
“The matter that was never mentioned in the entire story, That very matter has proven extremely distasteful to them.”
It is common for people to have preconceived notions and make assumptions based on those beliefs. It is crucial to break free from the influence of others’ perceptions and prioritize one’s own judgment and self-acceptance. One should follow their own heart regardless of outside opinions.
In this issue, our cover feature Sohini, an aerial fitness trainer and the founder of Aerathletica, a fitness apparel brand, reveals multiple facets of her personality. During her interview, I discovered more about her diverse character. I aimed to capture and explore these aspects through her portraits, whether depicting her as a confident professional, a person who embraces self-care, or a casual Delhi girl. She embodies all these roles. I hope you enjoy her story and portraits.
Amit Sharma’s new photo series delves into the beauty of the mundane, offering a zone of subtle silence amidst the vibrant world of captivating images. His ‘modest’ work reminds me of Vincent Van Gogh’s quote: “How difficult it is to be simple!”
This issue also features two international photographers from different genres. Kai K. Hsiao, an award-winning street photographer from Taiwan, has had his work displayed in prestigious galleries and museums.
Our special feature, “Female in Focus,” showcases the stunning images of awardwinning photographer F. Dilek Yurdakul from Turkey. I admire her unique visual expression and how she captures her surroundings’ essence.
We conclude this issue with a technical review of Sony E-mount’s Tamron 28300mm lens. It amazes me how technology has evolved; a focal length range that once seemed daunting now inspires. After using this versatile lens, I find it to be an excellent companion for travel photography and a practical choice for everyday use.
I sincerely hope you enjoy going through this issue of FRAME as much as we did while compiling it.
Happy reading!
Idris Ahmed
COVER STORY
“I detest stagnation and always strive for constant growth.”
Featuring SOHINI SINGH By Ujjayant Sinha Scholaroet, entrepreneur, aerial athelete - redefining limits.
Suspended
majestically 50 feet above ground using pink silk fabric, Sohini Singh performs an ethereal dance- going from an inverted split to twirling like a ballerina, defying the laws of gravity but with elegance. Gasps and cheers ripple across the audience as they trace the sequence of her movements. From the split to a windmill and then a graceful drop, each onlooker is mesmerised and spellbound by the aerial poetry unravelling before them.
Sohini is not just an aerial artist but also an instructor at her own Studio Aer in New Delhi, seamlessly weaving between soaring performances and the art of teaching. Beyond awe-inspiring displays, she ventured into entrepreneurship in 2022. She founded Aer Athletica, a boutique brand that crafts performance apparel tailored for fellow aerial artists and fitness enthusiasts, blending
functionality with style.
But before gliding into the world of gravity-defying performances, Sohini, a scholar with a Ph.D. in Art History, dedicated six years to research at the National History Museum of India and has published thrice. Her doctoral thesis delved into syncretism in IndoIslamic architecture, exploring the amalgamation of Indian elements like floral and geometric patterns. During her field visits to Chanderi, she experienced the vibrant village life, often sharing meals with locals. “They were very nice people and lived in harmony. It was the best time of my life,” she reminisces, smiling fondly.
Eventually, her thirst for a new adventure led her to Critical Collective. She served as the Editor for Art History at this online journal, working on volumes covering Indian photography
from 1857 to 2021. Her pursuit of knowledge extended internationally with a visit to the UK, delving into the world of colonial drafters and studying their sketches of monuments.
Sports have been a part of Sohini’s life since school. The gritty volleyball courts bore witness to her spirited clashes, and later on, she proudly wore the banner of Delhi in athletics. Over time, while academics took a higher priority, her passion for physical endeavours was
always a constant thread in her life.” Struck by a hamstring injury, she discovered a different form of fitnessaerial arts. “I began aerial as a hobby in the final year of my PhD in 2017 at 30. I was intrigued and couldn’t imagine how you could teach your body to move this way! I fell in love with the art and wanted to progress further,” she says, her eyes lighting up. “Even my vacations involve training. I have teachers in Bangkok and Sydney. I want to learn constantly,” she reveals.
Her foray into aerial arts ignited her entrepreneurial spirit, prompting her to initiate research for her apparel brand, Aer Athletica, in 2021. “When I started training, I noticed the available outfits were stiff and unsuitable for aerial practice. I wanted to create something that would not get in my way, allowing my body to feel completely free without any tension. That’s what gave birth to Aer Athletica,” she shares. After all, when performing 50 feet in the air, the last thing on your mind should be your outfit. “I believe in using the products I create, ensuring they are tried and tested by a practising artist. Additionally, my clothing is versatile and suitable for various activities, whether it’s gym workouts, yoga sessions, or other athletic pursuits,” she adds.
Sohini regularly trained at Delhi Rock, a New Delhi climbing gym and fitness centre, and her diligence did not go unnoticed, capturing the owner’s attention. Impressed by her proficiency and commitment, at the start of 2022, he approached her with an exciting proposition- the opportunity to become an instructor.
Reflecting on this moment, she shares, “I taught there for about a year, working with kids and adults. I still worked at Critical Collective, but transitioning to aerial full-time was always on my mind. So, I suppose I can call this experience the turning point that led me to bid farewell to academia and art history. Teaching brought me immense joy, and growing my apparel business became the next challenge I eagerly pursued.”
Amidst the astonishment of those who knew her, she boldly decided to part ways with Critical Collective and leave behind a familiar world to which she had dedicated over half a decade of her life. “I accomplished all that I wanted in that career. I detest stagnation and always strive for constant growth. I cherished my time there, and while I occasionally take on freelance editorial assignments, aerial is where my heart lies now,” she
reveals. Adapting to such a significant shift was difficult. Still, her gaze reflects the excitement and thrill of charting a new course.
It has been an encouraging journey thus far. While balancing the two ventures has always been tricky, Sohini’s classes have resonated across age groups, and her distinctive apparel has garnered appreciation among a diverse community of aerial artists, dancers and fitness enthusiasts. Notably, performers, showcasing their skill and creativity, have mesmerised audiences at various events while adorned in vibrant and colourful ensembles crafted by Aer Athletica.
However, obstacles lie ahead as aerial remains a niche practice in India with only a few practitioners and students. “It’s more expensive than a gym membership, and there aren’t a lot of trainers in the country. So, my goal is to make it more accessible. I have different packages to cater to different needs so that more people can experience the thrill of aerial without constraints,” says Sohini.
One can unmistakably feel Sohini’s enthusiasm as she meticulously nurtures her students with great care. The studio comes alive with students warming up before they begin practice. Witnessing them effortlessly balance on an aerial hoop or sway from suspended silk is not a mere spectacle but a testament to their remarkable journey under her expert guidance. Sohini says, “I treat my studio as a platform to pass my skills on. I want my students to not only learn well but share the joy that aerial gave them. Perhaps, one day, they’ll pass on their knowledge of aerial arts to others.”
Photography - Idris Ahmed
Retouching - Amit Kumar Gangal
MuA - Santoshi Balhara
Hair - Bhupi Balhara
Shot at - Studio AER
INTERVIEW
In Conversation
AMIT SHARMA with Idris Ahmed
Amit’s images hint at different facets of his human experience, his ease of artistic collaboration and the vehement iconoclasticurges throbbing beneath the polished veneer of a practiced socialised existence.
Off late we are seeing a new kind of photography in your work. Would you like to indulge us into what inspired you to diverge from lifestyle/commercial photography?
Amit - I have always been creating personal / non-commercial work but started considering it for publishin g around 2019. The commissioned work has a totally different approach. It’s more skill based to communicate an idea visually which comes from the other source. Creative directors, clients and such. It’s great to collaborate on those projects but they are more transactional in nature and the idea is very specific with a specific interpretation.
How do you transition between commercial photography and your non-commercial series? Do you approach them differently?
Amit - On a base level nothing is different. Photography still relies heavily on observation and then using it as a language to deliver a message. There are overlaps in my approach to commercial vs personal. I become the client or the viewer when I am curating. This separation allows me to objectively look at the work and then reach a subjective conclusion. Also, one
thing that differs is my personal work is personal. Its experiential and feeling based rather than focusing solely on the aesthetic.
While exploring your latest work, we came across some intriguing series, such as “here the streets have no name.” Could you share the concept and inspiration behind these series, and what you aim to convey through each of them?
Amit - A lot of my work envelopes a basic idea of the human condition in this ever changing, ever evolving urban flux. With this particular project, I decided to peel off the layers of abstraction and subjectivity and reveal the inner workings of our visual landscape. It’s like peeling the skin off your forearm and seeing how sinews and tendons work. The images probe identity and existence in a complex milieu of India’s socio economic and cultural diversity. As our cities expand and populations migrate to inhabit ever expanding mega cities, what do we hold on to? Who are we in this shape shifting environment?
In the perpetual dance of progress and migrations, a paradox unfolds as hopeful souls traverse landscapes in search of progress, only to find themselves entwined in an unyielding struggle.
The journey, fueled by aspirations for a better life and brighter horizons, often collides with the harsh reality of unforeseen challenges. The paradox lies in the contrast between the initial optimism that propels individuals toward migration and the unexpected complexities that await them. What begins as a pilgrimage towards the promised land of opportunity transforms into a test of resilience, where the pursuit of progress metamorphoses into a relentless battle for survival.
How do you hope that your photos are interpreted?
Amit - The photographer’s gaze often comes with a temptation to exotify India. I voraciously guard against that. Resulting in a difficult aesthetic owing to the strange chaos that surrounds us. But that chaos is the character and I embrace that. So, my hope is that the viewer can go beyond the aesthetic and appreciate something deeper. Especially in an environment where history is written and re-written every day. What is here today will not be there tomorrow. In essence, this work is a hyper-real snapshot of humanity in a certain time-space construct.
There is a couplet from Ghalib “Aate hain ghaib se yeh mazameen khayal mein…” which loosely translates to “the creative thoughts come from unseen source and are empyrean in character”. So, is it the same with you when you are approaching a new series or you meticulously plan and put in a lot of effort and hard work into it?
Amit - We have spoken about these beautiful pearls of wisdom from Ghalib before. The creative thoughts come from an unknown source but the reason that they find us is because we have the required receptors on an individual level. Our understanding of the human suffering and struggle to exist poses unique situations and problems and if we pay attention to those peculiar thoughts we can define our personality and even the way we perceive the world. I start every project with a very simple one-line thought in my mind and then the exploration begins. I try to not interfere with a sub-conscious approach to seeing and then photographing. My attempt is to reduce that lag where one second feels like infinity. That’s the allure of unstaged photography.
What advice would you give to aspiring photographers who want to pursue their own
series? What should be their approach?
Amit - That’s a tough question. We as individuals can be utterly same if we don’t pay attention to this fact. There are enough pretty pictures in this world. And a lot has been done to push the limits of the medium. The only thing that’s not been done is your own story. The work has to come from an authentic place and everything else including the process is secondary. The first thing to do is find what makes you authentic and then expand upon it.
How you deal with the Art-block when you get stuck while doing your personal projects?
Amit - I just sit back and not force anything. Procrastination is a part of my process and I let ideas sit sometimes for a long period of time. I don’t feel the urge to work daily. It’s not a compulsion. It can’t be as far as I am concerned. I read, I watch movies, I listen to music or I just polish and tune-up my guitars. We need to enrich our mindspace and make the soil fertile. We can’t force it.
I know music has a major impact on your life. Is there a particular artist/band that influenced your work and how?
Amit - Last few years three bands have influenced me a lot. Extreme metal band Gojira, An electronic music band from Scotland called Boards of Canada and an experimental band called LOW. Music creates a certain calm in my brain and it empties a space where things can happen. It disconnects me from the drudgery of daily existence. I also admire the artistry, the skill, the expression and its amazingly inspiring.
With photography’s evolution into digitalization it is very easy these days to produce an aesthetically pleasing photo, but it’s still just as hard to make a great photo. Why is it so?
Amit - The freedom to do anything and everything, is actually prohibiting. Friction is needed for any kind of movement. Aesthetics are boring. After the initial impulsive WOW, there is nothing that actually goes inside. My approach in photography is to create documentary fine-art, that’s a hard one to understand and to get a grip on.
On parting words, I’d like to say that a good photograph has no obligation to ‘look’ like art. But its great if it can do that.
INTERVIEW
In Conversation
I would like to emphasize that passion for photography should be lifetime, not momentary interests.
Kai K. Hsiao with Antasa Vairagya
Would you like to share with our readers, what sparked your interest in street photography?
Kai - I have been fascinated by photography since my teenage years. I played with my father’s old Yashica camera and developed and printed my own photos. My passion for photography has never diminished, even during my busiest career days. About 10 years ago, I was invited by a publisher to write a composition textbook, which led me to teach photographic composition. Five years ago, I started using Instagram and realized that I could apply my composition skills to street and travel photography. I’ve been captivated by the interplay of light, colors, and geometry in urban environments and how rapidly changing urban scenes unfold in our daily lives.
How has your background in technology and your experiences at HP Inc. influenced your approach to photography?
Kai - I have an undergraduate degree in Electrical Engineering and an MBA. My engineering background has enabled me to delve deeply into subjects of interest. My management training has helped me organize complex theories into simple, actionable practices. Throughout my career in American international companies like Honeywell, Data General, Ingram Micro, and finally HP, where I served as a General Manager and Senior Director of Global Procurement Organization overseeing 12 offices worldwide, I gained an appreciation for diverse cultures and cities. During my extensive business travels, I
immersed myself in reading art and photography books despite the challenge of carrying heavy volumes alongside my camera gear at the time.
What are some of the most memorable moments or encounters you’ve had while capturing street photography around the world?
Kai -During a stopover in London on one of my business trips, heavy rain persisted throughout my two-day stay. I vividly recall standing in front of Buckingham Palace as the rain poured down, leaving me alone in the freezing weather with soaked clothes and no shelter. This experience, although challenging, prompted me to learn street photography and lamented missed opportunities for capturing remarkable moments. Since then, London has remained on my bucket list.
Your book on composition in photography has been well-received. Could you elaborate on some key principles you teach aspiring photographers?
Kai - I advocate that photography revolves around LCM (Light, Composition, and Moment), with composition being particularly multifaceted. Light and shadows, colors, geometry (lines, shapes, and patterns), and abstract elements form the four pillars of my composition approach. Success in composition hinges on simplicity, figure-toground relationships, and engaging themes. Among numerous composition rules, I emphasize the significance of the Gestalt Theory as the foundational principle.
Travel seems to be a significant aspect of your work. How do different cultures and locations influence your photography?
Kai - While initially engaging in photography through participation in photographic society activities and contests, I soon found myself drawn to travel photography as a means of exploring diverse cultures. India became a favorite destination, with annual solo trips during Christmas, where I challenged myself to capture the vibrant essence of the country using only blackand-white film. My photographs from Rajasthan
and northern India were later exhibited in Taiwan’s Fine Arts Museums. The richness of India’s culture and the warmth of its people have fueled my desire to explore and travel further.
How do you balance the spontaneity of street photography with the need for composition?
Kai - The essence of street photography lies in expecting the unexpected. I typically wander the streets without preconceived images, echoing Jay Maisel’s saying, “If you are out there shooting, things will happen for you.” Comfortable footwear proves more valuable than advanced camera gear, and mastering the art of spotting compelling elements amidst spontaneity requires practice and internalizing composition principles. While some critics have mistakenly attributed the structure in my photos to AI, I emphasize that all my photographs stem from real-life street scenes, emphasizing the importance of ingraining composition rules through practice.
You’ve transitioned from a corporate career to becoming a successful street photographer. What prompted this shift, and what challenges did you face along the way?
Kai - The transition from a corporate career to photography was seamless, as I had been teaching and practicing street photography for several years prior. Retiring from HP in 2020 with a secure pension allowed me to fully dedicate myself to photography without financial constraints.
What advice would you give to someone who wants to pursue a similar path, combining their passion for photography with their careers?
Kai - Balancing professional life with photography is achievable without sacrificing either. Effective time management prioritizes quality over quantity, allowing individuals to allocate time for both pursuits. I view street photography as a mental and physical “rest.” I also like to emphasize that passion for photography should be lifetime, not momentary interests.
As someone who has lived in both Taiwan and Canada, how have these diverse cultural experiences shaped your artistic vision?
Kai - Canada’s natural beauty and urban organization contrast with Taiwan’s bustling streets and vibrant chaos. While Canada’s orderly environment lends itself to straightforward photography, Taiwan’s dynamic scenes challenge me to discern and construct photographic elements amidst the chaos. The contrasting experiences in these cultures have enriched my artistic vision and appreciation for diverse photographic opportunities.
In your opinion, what role does street photography play in today’s society, and how does it contribute to cultural understanding and documentation?
Kai - Street photography is not mere documenting, offering a unique aesthetic and compositional experience that transcends what we see in our everyday life. When shooting, forget “the name” of what you shoot, but focus on photographic elements and how they can be tied together. By focusing on photographic elements rather than recognizable subjects, street photography invites viewers to engage with unfamiliar scenes and perspectives. Transforming mundane street scenes into extraordinary visual narratives elevates street photography to an art form that resonates with audiences whom we have never met on a profound level.
Can you share some tips for aspiring street photographers on how to approach strangers and capture authentic moments without intruding on their privacy?
Kai - Maintaining a respectful distance while observing subjects enables photographers to capture authentic moments without intruding on privacy. Emphasizing the supporting role of individuals in street scenes, I often obscure faces to respect privacy and avoid disrupting
natural interactions. Shooting discreetly and unobtrusively preserves the authenticity of moments while minimizing intrusion.
If you could go back and give yourself one piece of advice when you first started taking photos, what would it be?
Kai - I would advise myself to recognize the depth and breadth of composition knowledge, acknowledging that learning is an ongoing process. Reflecting on feedback and continually expanding my understanding of composition has been essential to my growth as a photographer. I do learn composition by watching Instagram photos and YouTube videos on a daily basis.
What in your opinion is the difference between Travel and Street Photography? How do you differentiate between the two genres?
Kai - Travel photography documents experiences and scenes encountered during journeys, often highlighting broader contexts or novelties. In contrast, street photography emphasizes photographic elements and composition within urban environments, often truncating scenes to focus on specific details. While both genres intersect during travel, street photography requires a heightened focus on composition and visual storytelling within the urban landscape.
What is your favourite location/street to shoot and why?
Kai - No specific locations/street I can offer. I find urban corners to be ideal stages for street photography, each presenting its own set of composition challenges and opportunities. For me, the appeal lies in the diverse environments that urban settings offer, providing endless possibilities for creative exploration.
FEMALE IN FOCUS
F. Dilek Yurdakul
Photography, which initially started as an escape from the boring and gloomy routine of daily life, turned into a quest for meaning for me.
Interview with Antasa Vairagya
Can you tell us about your journey from studying law to becoming a photographer?
F. Dilek - I was very overwhelmed by the dull and gloomy atmosphere of the judiciary. When I became unable to pursue my biggest hobby, skydiving, I decided to find myself a new hobby because I always believed that alongside our professional lives, we need hobbies to breathe amidst the daily routines of life. I also raised my children with this belief. Afterwards, photography, which initially started as an escape from the boring and gloomy routine of daily life, turned into a quest for meaning for me and became central to my life.
What sparked your interest in photography, and how did you decide to pursue it alongside your career in law?
F. Dilek - When I first started with photography, I thought that having a good camera would automatically result in good photographs. It’s a common belief among those who know little about a subject to think they know everything. At that time, I hadn’t yet realized the importance of the person behind the camera and their perspective. However, as I began to learn, I
discovered that even with the best camera, one cannot necessarily capture good photographs unless they understand the deeper meanings behind good photography.
My country acts as a bridge geopolitically between East and West. Its people largely embody a Western appearance but often hold Eastern mindsets. Despite advocating for women to be part of and successful in life through their words, they actually struggle to accept successful women. In an environment I once visited, I encountered behavior that implied I couldn’t succeed as a woman in photography. This triggered a critical realization for me.
How did your background in law influence your perspective as a photographer?
F. Dilek - The main reason I pursued a career in law was to help the oppressed and those who suffer injustice, and to establish justice in society. I dreamt of a fair and humane world. Starting with travel photography and transitioning to documentary photography, I realized I could use photography for this same purpose. Through my documentary projects, I could give voice to the
voiceless, bring attention to important issues, raise awareness, document history, and perhaps even change the course of history. This felt like a bigger battle than the individual struggles in the field of law. I continued to pursue photography while earning a living from my legal career. In this sense, the common goal in both fields is very similar.
Could you share some examples of social responsibility projects with our readers you’ve been involved in and the impact they’ve had on the communities they aimed to serve?
F. Dilek - I had a project focusing on cancer patients where I emphasized the importance of early diagnosis and engaging in an art form during treatment. Following that, I documented COVID-19 by staying in hospitals for a month. I also worked on a project highlighting the violation of human rights through the harsh working conditions of child laborers and workers. Additionally, I worked on a project advocating for the importance of integrated education and the education of girls. Currently, I am working on two projects related to sustainability and global warming
What draws you to photographing socially important issues, and how do you approach capturing the essence of these issues through your lens?
F. Dilek - Because I see photography as a tool to be a voice, create awareness, and effect change, I have focused on socially significant issues. When photographing these subjects, I also prioritize aspects such as light, composition, and the difficulty of capturing the moment. I advocate for the importance of the aesthetic power of photography, believing that aesthetically strong photographs can reach a wider audience and achieve their purpose effectively. I admire photographers like E. Smith and Salgado who have captured exquisite photographs that are both aesthetic and meaningful.
As a contributor photographer for National Geographic, what has been your most memorable assignment or project so far?
F. Dilek - We worked on a project focused on bees facing the threat of extinction after the wildfires in Turkey. It involved collaborating with artists from various disciplines, making it a significant project for me
What challenges have you faced as a female photographer working in Turkey, and how have you overcome them?
F. Dilek - Being a woman in Turkey who is outspoken, never holds back her words, and refuses to flatter anyone for personal gain is
not easy. No matter how successful you are internationally, surviving and making a difference in this country often requires either silence or compromise. In all the projects I have worked on so far, I have not received any financial support or sponsorship from any institution, organization, or individual, despite witnessing less successful people reach different heights. However, I am a fighter, and despite all this, I continue to create to the best of my ability. Because I know that years later, what I have accomplished will leave a lasting impact and I will proudly say that I succeeded despite all odds
In your opinion, what role can photography play in raising awareness and driving positive change in society?
F. Dilek - Some people, in my opinion, still haven’t grasped the true power of photography. Taking beautiful portraits, landscapes—yes, these can be enjoyable and preferred by people to see. But when we look at photography through history, the immortal ones are often those with a cause, conveying a message, creating awareness, and possessing strong aesthetic qualities. With your photographs, you can give voice to the voiceless, be the eyes for those not present, and draw people’s attention to important issues. I believe that just like human beings search for meaning, there’s also a search for meaning in photography at this point. Instead of a photograph that lacks
any message but has high technical quality, I find photographs flawed but serving a specific purpose to be more meaningful.
What advice would you give to aspiring photographers who want to use their craft to make a difference in the world?
F. Dilek - The most crucial way to effectively portray a social issue is to deeply understand it and establish strong connections with relevant individuals and places. Therefore, I recommend conducting thorough research before and during the shoot, avoiding haste, and striving to tell the story from all angles. It’s important to avoid repetition and focus on the visual power of photography rather than words, aiming to capture aesthetically strong photographs. This isn’t easy, but achieving this results in lasting, impactful work that leaves a mark.
Among your own photographs, which one holds a special place in your heart, and what makes it so special?
F. Dilek - My photographs are like my children; it’s difficult for me to choose favorites among them. However, within each project, there are individual photographs that I particularly cherish. Similarly, I take pride in certain travel photographs I have captured.
REVIEW
TAMRON 28-300MM f/4-7.1 Di III VC VXD
Review by IDRIS AHMED
The Tamron 28-300mm F/4-7.1 Di III VC VXD is a versatile super zoom lens designed for Sony E-mount full-frame mirrorless cameras. With a broad 10.7x zoom range, it covers everything from 28mm wide-angle to 300mm telephoto. This extensive range allows photographers to capture everything from sweeping landscapes to distant subjects without switching lenses. This makes it a perfect companion for your travel photography and everyday shooting.
Design and Built Quality
The Tamron 28-300mm f/4-7.1 Di III VC VXD lens feels very good and light in hand, and is quite well built. It features protective elements such as a moisture-resistant construction and a fluorine coating for enhanced clarity and aberration control.
The lens boasts a complex optical design with 20 elements arranged in 13 groups, including XLD (extra-low dispersion) and LD (low dispersion)
elements. It also incorporates BBAR-G2 (BroadBand Anti-Reflection Generation 2) coatings to minimize ghosting and flare, ensuring high-quality images throughout the zoom range.
Equipped with Tamron’s “VXD” voice-coil linear motor and VC (Vibration Compensation) stabilization system, this lens helps you achieve sharp, clear shots at 300mm, even in low light conditions. Weighing just 610g, it’s relatively lightweight and takes a standard 67mm filter.
Image quality & Focusing
In the field, the Tamron 28-300mm f/4-7.1 performs exceptionally well, largely due to its impressive versatility. Instead of juggling multiple lenses to achieve your desired creative result, this zoom lens allows you to cover a broad range of focal lengths with ease. I used it to photograph various monuments in Delhi, experimenting
with different focal lengths to capture diverse perspectives and intricate details.
In addition to its extensive zoom range, the 28-300mm can also function as a macro lens. With a minimum object distance of 0.19m and a maximum magnification ratio of 1:2.8 at the wide-angle end, it provides decent close-up capabilities. I have included images shot at
1/250sec, f/9, ISO 200 at 300mm
1/250sec, f/9, ISO 200 at 170mm
1/250sec, f/9, ISO 200 at 96mm
1/250sec, f/9, ISO 200 at 64mm
1/250sec, f/9, ISO 200 at 48mm
1/250sec, f/9, ISO 200 at 28mm
Safdarjung’s Tomb using close focus at 28mm. While the results were satisfying, it is worth noting that this lens does not fully replace a dedicated macro lens, which typically offers a magnification ratio of 1:1 or greater.
I was pleasantly surprised by the lens’s performance, particularly the lack of noticeable colour fringing or chromatic aberration. Although the lens offers smooth focal length adjustments, its relatively slow variable aperture—f/4 at 28mm and f/7.1 at 300mm—can limit options in low light conditions. Despite this, I remain confident in the results it delivers.
After reviewing multiple images shot with this
lens, ranging from 28mm to 300mm in good light, I am pleased with the results, particularly in terms of contrast and dynamic range accuracy. The focusing speed is adequate for most typical subjects, though it is not as quick as more expensive lenses. This is likely due to the lens’s large focal length and its design, which is aimed more at the amateur market within a specific budget.
Model A074
Focal Length
Maximum Aperture
Angle of View (diagonal)
Optical Construction
Minimum Object Distance
Maximum Magnification Ratio
Filter Size
Maximum Diameter
Length*
Weight
Aperture Blades**
Minimum Aperture
Standard Accessories
Another positive aspect of this lens is that it features Tamron’s Voice-coil eXtreme-torque Drive (VXD) autofocus system and VC (Vibration Compensation) mechanism, which helps manage camera shake. While it may be slower compared to shorter lenses like a 70-200mm f/2.8, it’s important to remember that such lenses are significantly more expensive, larger, heavier, and have a more limited focal range.
28-300mm
F/4 -7.1
75°23’-8°15’ (for full frame mirrorless format)
20 elements in 13 groups
0.19m (7.5 in) (WIDE) / 0.99m (39 in) (TELE)
1:2.8 (WIDE) / 1:3.8 (TELE)
φ 67mm
φ 77mm
126mm (5 in)
610g (21.5 oz)
9 (circular diaphragm)
F/22-40
Flower-shaped hood, Front cap, Rear cap
Mount Sony E-mount
* Length is the distance from the front end of the lens to the lens mount face.
** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.
Conclusion
I really enjoyed using the Tamron 28-300mm f/4-7.1 lens. It’s a valuable addition to your kit due to its versatility and compactness. With this multipurpose lens, you can travel light without worrying about carrying multiple lenses or dealing with excessive weight and size.
