Issue 5 · Winter 2017 Token charge: €2.50
FILM-LOOK PORTRAITS Professional photographer Maxim Guselnikov on his favourite lens SP 45mm f/1.8 The cover photo was taken by Maxim Guselnikov with a TAMRON SP 35mm f/1.8 Di VC USD.
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SP 24-70M M f/2.8 G2 NOW
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NEW SP 24-70mm F/2.8 G2
EVERY MOMENT COUNTS
The new standard in fast zoom lenses for professional needs
Philip Ruopp shows how versatile the new SP 24-70mm f/2.8 G2 is in practice
POWER AND PRECISION Full concentration on the moment! In this situation, that’s what both athletes and photographers need. The boxer leans his whole body into a straight right, every muscle is tense; meanwhile, the photographer tries to catch the exact moment of impact. The contrast created by the light and the clouds of chalk bring out the powerful dynamic. Professional photographer Oliver Güth captured the moment in a Cologne boxing club using the new SP 24-70mm f/2.8 G2. The special strength of the fast standard zoom lens is its outstanding image quality and high detail reproduction - even in shooting situations with challenging backlight. www.olivergueth.com
62mm · 1/125 sec. f/5 · ISO 250
HIGHLIGHT
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DESERT WASHOUT No, don't worry! Everything’s OK with the flight. And the pilot’s not drunk. The Red Bull Air Race is a risky undertaking for the pilot, though, no doubt. We got this picture at the start of this year’s season in February in Abu Dabi. We got to watch the daredevils with their flying machines over the Lausitzring, as well. Pro photographer Daniel Grund shot the air race with the SP 150-600mm f/5-6.3 Di VC USD G2. The compact ultra-telephoto lens offers high resolution and excellent contrast reproduction with its f/5 aperture. www.danielgrund. com
205mm · 1/6400 sec. f/5 · ISO 1,250
HIGHLIGHT
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REPORT
RUGGED TRIP TO THE HIGH NORTH Pro photographer Philip Ruopp travels to the rugged north of Europe for some reportage photography, taking his trusty partner, the new fast standard zoom, SP 24-70mm f/2.8 G2
All the pictures for this article were taken with the new SP 24-70mm f/2.8 G2. You can find more information on the lens from page 26.
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REPORT
Dark clouds over Moskenes on the Lofoten Islands, in the very north of Norway. The picture is sharp despite the exposure time of 1/20 seconds. How? The powerful image stabiliser. “It creates a completely new type of photography,” says photographer Philip Ruopp.
PHOTO: PHILIP RUOPP
24mm · 1/20 sec · f/4 · ISO 100
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REPORT
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45mm · 1/1600 sec. · f/4 · ISO 125
REPORT
he Lofoten. Even the name of the northern Norwegian island cluster brings to mind memories of bleak weather and gloomy winters. You can’t rely on sunshine here even in the summer, when thousands visit the region north of the Arctic Circle. Philip Ruopp, a sports and advertising photographer from Laichlingen, learnt this the hard way when he spent a few days in Reine with the new SP 24-70mm f/2.8 Di VC USD G2. The idyllicallylocated town, containing just 300 inhabitants, is known worldwide for the spectacular opportunities it presents for photographers. “We had hoped for just a few great nature shots with the Scandinavian midnight sun,” says Ruopp. “But no such luck - for almost the entire trip, great, heavy grey clouds hung over the landscape.”
T
A challenge for the photographer Ruopp made a virtue of necessity and concentrated on composing a photographic portrait of the town and its inhabitants. He captured the village panorama from the water outwards, complete with the picturesque wooden houses, in a set of dramatic pictures. But the weather thwarted the photographer's plans once again. “What we really wanted was to go out to sea on a fishing boat. But because of the
The standard zoom SP 24-70mm G2 completes the new Tamron SP Series lineup. In the past two years, the manufacturer has raised its whole lens portfolio to another level. “The technology in the new zoom lenses opens
weather, we were told we'd be waiting outside for 72 hours,” Ruopp says. “We had to decline, because we'd have missed out flight.” Only later, right on time for a portrait shoot, did the sun finally peek through the clouds, making for some very welcome variety. “As part of the reportage series, we wanted to show not only how impressive the weatherproof seals on the SP 24-70mm G2 are,” says Ruopp with a smile, “but also how well the zoom does under extreme lighting conditions.” For Ruopp, the fast SP 24-70mm was a universal lens. “If I was going only going to take one lens with me for a job, this would be the one,” he says, and then explains his choice: “The 24mm wide angle lets you get right into the action with great reportage pictures; with the 70mm tele, I can make the subject pop out of portrait shots really well. Also, the aperture of f/2.8 allows me to take photos even in low light without a tripod or with flash - both of these are indispensable for journalism photography.” For Ruopp, Tamron has hit the sweet spot with the new SP lenses. “The development is remarkable,”
24mm · 1/2000 sec. · f/4 · ISO 400
24mm · 1/160 sec. · f/2.8 · ISO 500
“I LIKE TO TAKE PHOTOS WITH A WIDE-OPEN APERTURE. THE NEW 24-70 G2 ACCOMMODATES THAT PERFECTLY.”
up totally new opportunities for composition,” says Philip Ruopp. “The image stabiliser means the tripod is superfluous in lots of situations. So I can stay flexible even after sunset.”
70mm · 1/400 sec. · f/4.5 · ISO 200
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35mm · 1/320 sec. · f/4 · ISO 320
PICTURES ON THIS SPREAD:
PHOTOS: PHILIP RUOPP
The fast SP 24-70mm f/2.8 G2 is suitable for a wide range of subjects. “The extreme wide angle is ideal for broad panoramas, while the telephoto is sufficient for natural portrait photos,” says Philip Ruopp. “The low minimum object distance of just 0.38 metres lets you take wonderful detail shots. Even with the aperture fully open at f/2.8, the resolution performance is extraordinary.”
70mm · 1/500 sec. · f/3.5 · ISO 125
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46mm · 1/15 sec. · f/2.8 · ISO 320
REPORT
“THE FAST STANDARD ZOOM SP 24-70mm G2 IS THE IDEAL UNIVERSAL LENS. YOU CAN USE IT TO SHOOT ANY SUBJECT YOU WANT.”
24mm · 1/100 sec. · f/2.8 · ISO 400
26mm · 30 sec. · f/10 · ISO 32
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REPORT
he says. “The lenses are absolutely top-class when it comes to resolution and configuration options. The priceto-performance ratio of this lens is sensational." The new SP 24-70mm f/2.8 G2 fills the last gap in Tamron’s current Super Performance lineup. Together with the SP 70-200mm f/2.8 G2, announced at the beginning of the year, it forms a versatile duo that will meet the highest professional requirements with regard to imaging performance and functionality. “I regularly rely on Tamron's quality,” says Ruopp, who frequently uses the lenses in combination with a highresolution DSLR.
Bringing new photo ideas to life Career photographers life Ruopp consider the SP lenses to be a coherent overall optical package. Not only are the images virtually free of scattered light and aberrations, the technology inside the sleek barrels excites many photographers, especially the lightningfast ultrasound autofocus and image stabilisation, which allows up to five stops’ longer exposure times. “That lets you bring completely new photo ideas to life,” says Ruopp. “I’m more flexible now after sunset and can make use of the short time span before it gets dark to capture some different subjects. The same goes for situations with very low light, which you get a lot of here in Norway. Before, I was using a tripod for that and had to painstakingly set up the camera position for every shot.” So the new SP 24-70mm G2 contributed, at least in a small way, to Ruopp's return from the rainy Lofotens with some very impressive pictures.
ABOUT: PHILIP RUOPP Philip Ruopp, born in 1982, has been working as a sports and advertising photographer for more than 15 years. He is based in Laichlingen, Alb-Donau-Kreis. From there, he travels around the globe for action-packed shoots for a variety of clients. www.philip-ruopp.de
TAMRON SUPER PERFORMANCE: OVERVIEW OF THE 2017 LINEUP The current SP series has eight lenses - four primes and four zoom lenses. All have been developed for the most demanding, professional requirements and offer incredible resolution performance.
PRIMES SP 35mm f/1.8 SP 45mm f/1.8 SP 85mm f/1.8 SP 90mm f/2.8 Di VC USD Di VC USD Di VC USD Di VC USD Macro Focal lengths (35mm format) ........................................... 35mm ............................................... 45mm .............................................. 85mm ............................................... 90mm Image angle.......................................................................................... 63° ...................................................... 51° .................................................... 28° ..................................................... 27° Largest aperture ............................................................................. f/1.8 ..................................................... f/1.8 .................................................... f/1.8...................................................... f/2.8 Aperture blades....................................................................................... 9 ........................................................... 9 .......................................................... 9 ........................................................... 9 Elements/groups ............................................................................. 10/9 ......................................................10/8 .................................................... 13/9................................................... 14/11 Minimum object distance........................................................ 0.2m .................................................. 0.29m ....................................................0.8m......................................................0.3m Max. image ratio ........................................................................ 1: 2.5 .................................................... 1: 3.4 ...................................................1: 7.2......................................................... 1: 1 Image stabiliser................................................................................... VC ........................................................ VC ...................................................... VC ....................................................... VC Filter diameter ............................................................................... 67mm .................................................. 67mm .................................................67mm...................................................62mm Dimensions (Ø x L) .............................................. 80.4 x 78.3mm .......................... 80.4 × 89.2mm ......................... 84.8 x 88.8mm ............................ 79 × 114.6mm Weight................................................................................................... 450g .................................................. 520g ................................................. 660g .................................................. 600g
ZOOM LENSES SP 15-30mm f/2.8 SP 24-70mm f/2.8 SP 70-200mm f/2.8 SP 150-600mm f/5-6.3 Di VC USD Di VC USD G2 Di VC USD G2 Di VC USD G2 Focal length (35mm format) .................................... 15 -30mm ....................................... 24 -70mm ................................... 70 -200mm ................................. 150 - 600mm Image angle......................................................................... 110°– 71° ......................................... 84°– 34° ........................................ 34°– 12° ............................................ 16°– 4° Largest aperture ............................................................................. f/2.8 ..................................................... f/2.8 .................................................... f/2.8................................................. f/5-6.3 Aperture blades....................................................................................... 9 ........................................................... 9 .......................................................... 9 ........................................................... 9 Elements/groups .......................................................................... 18/13 ...................................................17/12 ................................................. 23/17................................................... 21/13 Minimum object distance....................................................0.28 m ................................................ 0.38 m ............................................... 0.95 m.................................................... 2.2 m Max. image ratio ............................................................................ 1: 5 .........................................................1: 5 ...................................................1: 6.1.....................................................1: 3.9 Image stabiliser................................................................................... VC ..................................... VC (5 EV)* .................................... VC (5 EV)* ................................ VC (4,5 EV)* Filter diameter ...................................................................................... n/a .................................................. 82mm .................................................77mm...................................................95mm Dimensions (Ø x L) ........................................... 98.4 × 142.5mm ....................... 88.4 × 108.5mm ........................... 88 × 191.3mm .................... 108.4 × 257.7mm Weight............................................................................................. 1,100 g ................................................. 900 g ......................................... 1,485 g ............................................ 1,990 g * Testing in accordance with CIPA standards.
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Rich detail and sharpness with an open aperture, f/2.8 - the SP 24-70mm G2 is exceptional in everyday photography across the spectrum. 60mm ∙ 1/640 sec. f/2.8 ∙ ISO 125
TECHNOLOGY
TOP FEATURES
SP 24-70mm F/2.8 G2 With high-performance Dual MPU and outstanding image quality, the fast standard zoom sets new standards. Here is a summary of the most important core features. eBand coating he best features of the new SP 24-70mm G2 are its versatility, as well as its cutting-edge technology inside the robust lens barrel. The optical structure is largely responsible for the high image quality. High-quality speciality glass makes for precise colour reproduction and superior sharpness. The tube contains 17 lens elements in twelve groups, including two XR (extra refractive index) elements, three LD (low dispersion) elements, three GM (glass-moulded aspherical) elements and a hybrid aspherical element. These highperformance lenses minimise image faults such as chromatic aberrations (colour fringes) and contribute to equally high imaging performance. All lenses are also equipped with an eBAND (extended bandwidth and angular dependency) nano-coating, specially developed for the SP 24-70mm G2. This prevents reflections and scattered light inside the lens reducing the image quality. The absolute tech highlight of the SP 2470mm G2, however, is the dual MPU. The dualcore processor helps achieve an enormous increase in performance: The ultrasound autofocus is quicker and more precise; the VC image stabiliser allows up to five stops’ longer exposure times. That means at 50mm, you can still take sharp pictures by hand, even at a shutter speed of 1/2 sec.
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Splash-proof lens construction Zoom-lock function
36mm · 1/125 sec. · f/2.8 · ISO 320
24mm · 1/160 sec. · f/2.8 · ISO 250
VC image stabilisation
24mm
70mm
Universal focal length range: SP 24-70mm f/2.8 Di VC USD G2
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Modern design, high-grade materials
TECHNICAL SPECIFICATIONS SP 24-70mm F/2.8 Di VC USD G2 Focal length ..................................................................... 24-70mm Angle of view...................................................................... 84°- 34° Largest aperture ......................................................................... f/2.8 Aperture blades....................................................................................9 Elements/groups ..................................................................... 17/12 Minimum object distance...................................................38cm Max. image ratio ........................................................................ 1: 5 Image stabiliser..............................................................VC (5 EV)* Filter diameter ...........................................................................82mm Other features ................................................................. Dual MPU Dimensions (Ø x L) ...................................... 88.4 x 108.5mm Weight.............................................................................................. 900 g * Testing in accordance with CIPA standards.
TECHNOLOGY
OTHER FEATURES The new SP 2470mm f/2.8 Di VC USD G2 offers photographers a wide range of advanced features:
Compatible with the Tamron TAP-in Console (sold separately). The tool and software can be used to adjust the zoom lens to the photographer's individual requirements.
The LOCK switch locks the lens barrel so that it doesn’t extend by accident (e.g. during transport). 55mm · 1/200 sec. · f/2.8 · ISO 200
70mm · 1/250 sec. · f/5 · ISO 250
IN DETAIL: DUAL MPU Two micro-processors for AF and image stabiliser Two hearts beat inside the SP 24-70mm G2: Autofocus and image stabilisation are controlled with the improved computing power of a dual MPU (micro-processing unit). The dual processor provides a tangible performance increase, because the ultrasound AF and VC image stabiliser each have their own
microchip. The autofocus is even quicker and more precise and the algorithm for image stabilisation compensates for shaking across five stops according to the CIPA standard. That means you get sharp photos when shooting by hand, even at relatively slow shutter speeds.
The LOCK switch stops the lens hood slipping or falling off accidentally.
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PRACTICE
PERFECT HOLIDAY INSPIRED ZOOM
wing, from Cologne, went to The photography duo Sallyhates Di II VC HLD. Below are their 6.3 .5f/3 m 0m -40 18 the th wi l Portuga om. impressions of the new mega-zo
nly the best is good enough for us. When it comes to the equipment for a paid shoot, professional photographers don't compromise, for obvious reasons. But what about recreational photography? Do you forget about the image quality that’s so important to you the rest of the time? For photography duo Philipp Johann and
O
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Sarah Schmid, known as Sallyhateswing, that’s not even a question.
Optimum balance “Of course, I didn’t want to bring every lens we have with us when we went travelling,” says Sarah, who mostly shoots with SP prime lenses on jobs. “Still, we obviously wanted the best
PRACTICE
PHOTOS: SALLYHATESWING
18-400mm lets you Versatility is a trump card. The large zoom offers The ect. subj any for e scen the set ideal for banishing e angl e imag ll an extremely sma t. parts of the photo you don’t wan
THE 18-400mm OFFERS GREAT SHARPNESS OVER THE ENTIRE ZOOM RANGE. Tamron Magazine
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PRACTICE
PHOTOGRAPHY WITH THE MEGAZOOM: THE TOP 5 TIPS FROM SALLYHATESWING
1
Always leave the image stabiliser on “With the extremely long telephoto focal lengths, there’s always going to be some unsightly camera shake because of the relatively slow shutter speeds. We only turn the stabiliser off when we’re using the tripod.”
4
Beautiful bokeh effect with portrait shots “For professional portraits, you don’t need a special fast lens. Choose an f/6.3 aperture and a long focal length (e.g. 175mm). Important: Make sure there’s enough distance between the model and background - this will get you a beautiful blur
2
Look for subjects in small sections of the picture “The advantage of the zoom is that you don’t have to get really close to the subject; you can just zoom in. At 600mm (equivalent with 35mm format), nothing is out of your grasp. So sharpen your focus on the small details that you'd overlook otherwise.
effect.”
5
Include the foreground in the composition l “The 28mm wide angle is idea tos. pho e scap land for dynamic Look for an interesting object and kneel down to integrate it into the photo.”
The 18-400mm isn’t only made for spectacular landscape photos. The travel zoom can be used for beautiful portraits as well. For the picture on the left, photographer Philipp Johann used an f/6.3 aperture at a focal length of 177mm (274mm with 35mm format).
3
Take lots of shots of each subject “You can capture lots of different versions of a subject with the mega-zoom. So for example, you can easily take an overview picture that will give important context when you're creating a photo album.”
possible image quality. Our travel kit couldn’t hold back our creativity in any way. When we see a subject, we wanted to be able to get it in the frame just the way we image it.
One lens for everything When Phil and Sarah set off for Portugal recently, they only packed one lens: the new mega-zoom 18-400mm f/3.5-6.3 Di II VC HLD. “I’ll admit I was sceptical,” Phil confesses. “I've always steered clear of travel zooms because I didn't trust the image quality. But I was pleasantly surprised.” Obviously, a travel zoom is no prime lens, but to make up for it, it effectively offers lots of lenses in one. “That made us super-flexible, which was practical because we didn’t have
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much time to hang around,” says Sarah. “The 22.2x zoom is amazing. It lets you capture endless detail in no time at all.” The big surprise for both photographers, however, was in the hotel room in the evening when they looked at the photos on the computer. “I have to admit, the look and feel and the workmanship really impressed me,” says Phil. “But the image quality is what won me over in the end. I didn’t expect the sharpness and contrast reproduction from a 22.2x zoom.
ABOUT: SALLYHATESWING The Cologne photography duo Philip Johann and Sarah Schmid specialise in lifestyle and beauty photography. www.sallyhateswing.com
THIS MEGA-ZOOM CAN BE USED TO EXPAND A VARIETY OF IMAGE SECTIONS TO FILL THE FRAME.
TECHNOLOGY
TOP FEATURES
18-400mm F/3.5-6.3 Di II VC HLD The new mega-zoom offers a 22.2x zoom and the latest technology, including HLD autofocus and VC image stabiliser. The 18-400mm f/3.5-6.3 Di II VC HLD is the world’s first APS-C DSLR lens that covers the enormous focal length range of 28mm to 620mm (35mm equivalent). That's equivalent to a 22.2x zoom! Despite this enormous zoom, the lens is still relatively compact and light, thanks to its telescopic structure - it can be reduced to 1/3 of its full length. Its weatherproof seals make it ideal for travel, wildlife and sports photography. With the 18-400mm, Tamron has set the next milestone in the mega-zoom segment, which the manufacturer established in 1992 with the launch of the AF 28-200mm f/3.8-5.6.
The tried and tested Tamron VC (vibration compensation) image stabiliser in this lens makes for sharp and shake-free pictures. This means the long telephoto focal length can be hand-held even at relatively slow shutter speeds. Like the lenses in the professional SP series, the 18-400mm travel zoom is compatible with Tamron’s TAP-in Console. This lets you use software to adjust the focus, for example, to the individual needs of the photographer.
18mm
177mm
High image quality
TECHNICAL DATA 18-400mm F/3.5-6.3 Di II VC HLD Focal length (35mm) ............... 18-400mm (28-620mm) Angle of view.................................................................. 75.3°- 4° Largest aperture ............................................................. f/3.5-6.3 Aperture blades................................................................................. 7 Elements/groups ................................................................... 16/11 Minimum object distance................................................ 45cm Max. image ratio ................................................................. 1: 2.9 Filter diameter ..................................................................... 72mm Dimensions (Ø x L) ......................................... 79 x 121.4mm Weight............................................................................................. 705g *In comparison with other interchangeable lenses for DSLR cameras (as of May 2017; source: Tamron)
400mm
PHOTOS: SALLYHATESWING
The optical structure consists of 16 lens elements in 11 groups. Special glass elements such as LD (low dispersion) and aspherical lens elements effectively minimise image faults such as chromatic aberrations and distortion and ensure outstanding image quality. The AF drive system uses an energy-efficient HLD motor developed by Tamron that allows powerful drive torque and precise and quiet focusing. Its arch shape saves a lot of space, allowing the lens to be even more compact.
LEFT:
TOP:
The design language of the 18-400mm is inspired by the groundbreaking design of the lenses in the new SP series. For example, it has the white-gold ring on the bayonet. The travel zoom's built quality is excellent.
The zoom increases the size of the subject by 22x. This means: A tiny section of the picture can be photographed to fill the frame. The pictures above show how big the range is - and how many details it can uncover.
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PHOTO: MAXIM GUSELNIKOV
INTERVIEW
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INTERVIEW
USE PICTURES TO TELL STORIES At first glance, Maxim Guselnikov’s pictures might seem unspectacular. But look again, and you’ll notice he has an incredible love of detail.
axim Guselnikov has made a name for himself far beyond the borders of his native Russia with his sultry photos of female models. The young photographer has a weakness for calm, tranquil photos that tell a story. In this interview with Tamron magazine, he explains how his photos come about and what is most important to him during a shoot.
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Maxim, what is it about photography that fascinates you? Maxim Guselnikov: One the one hand, that’s a really good question - but on the other, it's not easy to answer. I like the feeling of living right inside a moment. A good photo carries the unique atmosphere and feeling of a moment. It’s like a short film or a personal memory. How did you become a photographer? Maxim Guselnikov: Simple really: I like to take photos and fun things are my favourite things to do! I never set any goals for myself and also never wanted to compare myself with other people. My
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goal has always been to take what I think are beautiful photos and to do whatever it takes to do that. That strategy has worked pretty well for me so far. You mainly photograph people. How do you make them seem so relaxed in the photos? Maxim Guselnikov: The trick is that I don’t see the photo as important, so much as the communication with the model. That doesn’t automatically guarantee good photos, but at least you haven’t wasted your time that way. Would that be your tip for better portrait shots as well? Maxim Guselnikov: Yes! Just try to have as much fun as you can at a shoot. Then everyone will be behaving naturally, and that’ll show through in the photos.
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“MY BASIC APPROACH IS THAT I DON’T JUST TRY TO PORTRAY A PERSON, BUT INSTEAD ALWAYS LOOK FOR A STORY TO TELL.” How would you describe your personal style? Maxim Guselnikov: That’s hard for me because I feel like the imagery I use is changing all the time. My basic approach is that I don’t just try to portray a person, but instead always look for a short story to tell. I’ll usually incorporate a little puzzle and show the environment the person's in while I’m shooting. I'm a film fan and set up my shots like scenes from films. So I try to present a character or an interaction between the protagonist and her environment.
The colours in the photos seem very carefully chosen as well... Maxim Guselnikov: I use colours to achieve a certain effect for the viewer. Sometimes it's just a case of creating a harmonic effect in the picture, but usually I try to communicate an atmosphere or feeling through the colours in the photo. I focus on that especially during post-processing. What photographers have inspired you the most in your work? Maxim Guselnikov: There are lots of photographers who’ve had an impact on my work. To name a few names: Ryan
PHOTOS: MAXIM GUSELNIKOV
INTERVIEW
Schude, Gregory Crewdson, Maia Flore, Alessio Albi, Dima Zverev and Anka Zhuravleva. What equipment do you use for your shots? Maxim Guselnikov: The funny thing is that you can actually - despite all the ‘rules’ - shoot a portrait with any lens. In the past, I've worked with virtually all focal lengths between 15mm and 200mm, and I still can’t say there’s a lens that’s better suited to the purpose than any other. I myself shoot with Tamron lenses exclusively, predominantly with primes lenses in the SP series. My favourite lens is the SP 45mm; I like the image angle and the combination of crisp sharpness and butter-soft bokeh.
What do you like generally about the lenses in the Tamron SP series? Maxim Guselnikov: For me, they're the perfect balance and a coherent overall package. As well as the high image quality, which is essential for me, like the VC image stabiliser and the weatherresistant sealing. What’s on your agenda for the coming year? Maxim Guselnikov: I have a few ideas of how I’d like to carry on developing my storytelling portraits. I’ll take some time and experiment with new ideas. I've also got lots of trips and workshops planned in Russia and in Europe. My schedule for the year is already full, but I'm looking forward to it. Anything to do with photography makes me happy.
ABOUT: MAXIM GUSELNIKOV The 33-year-old photographer from Moscow made a name for himself with scenic portraits with a deeper meaning that is not always obvious on first glance. When Guselnikov, who started his photography at seven years old, isn’t looking through a camera's viewfinder, his favourite thing to do is travel the world. He passes on his knowledge in workshops in Russia and Europe. www.maxguselnikov.com
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GALLERY
Photographer: Cem Ecevit Lens: SP 24-70mm f/2.8 Di VC USD What we think: “Who wouldn’t want to trade places with this photographer? This idyllic beach in the Seychelles looks so inviting. Tip: Another angle might have brought even more tension and dynamism into the photo.”
Photographer: Darko Sabljo Lens: SP 15-30mm f/2.8 Di VC USD What we think: “The photo's composition pulls the viewer across the 360-metre-long Geierlay hanging rope bridge in Hunsrück. Tip: Go a little further along the bridge, so you can see that it stretches across the valley up to 100 metres above the ground.”
Photographer: Sven Fischer Lens: SP 15-30mm f/2.8 Di VC USD What we think: “The arched ceiling on the Cologne Cathedral is more than 40 metres high. This free-hand panorama made from three separate pictures effectively shows the viewer the dimensions of the building. Tip: With a tripod - which you’re admittedly often not allowed to use in churches - the axes in the picture could have been aligned more precisely.”
READER GALLERY Tamron magazine presents the best reader photos in every issue. Are your photos here this time around?
Do you find that great photos only look really good in print? Do you want to see your photo in Tamron magazine? Then send us your best Tamron shots! From this issue, the editorial team will include the best submissions in every issue and give personalised tips on each one. The only requirement: The photo must have been taken using a Tamron lens. Just upload your photo with a brief description on the following website: www.magazin.tamron-fotorallye.de
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GALLERY
Photographer: Anderson Cunha de Sao Sabas Lens: SP 24-70mm f/2.8 Di VC USD What we think: “Sometimes you're lucky and just have to press the release. This impressive mountain panorama reminded us of the photography of US master photographer Ansel Adams. Tip: Sit tight for a little longer in a place and look at the sky. Once the clouds have passed, the shadows will disappear from the centre of the frame they're a bit too dark for the photo.”
“WITHOUT PHOTOGRAPHY, THE MOMENT IS LOST FOREVER, AS IF IT HAD NEVER HAPPENED.” Richard Avedon (1923–2004)
Photographer: Rene Terstappen Lens: SP AF 70-300 f/4-5.6 Di VC USD What we think: “Less is more! That rule of thumb applies to this portrait of a bald eagle as well. The striking eagle's head contrasts very well against the black background. Tip: The sharpness should be exactly where the eye is drawn - this applies to animal portraits as well. Photographer: Lysann Morgenstern Lens: SP 70-200mm f/2.8 Di VC USD What we think: “Really well-executed double portrait of a dog and a human. The blurred yellow spot brings the picture to life even more. Tip: Keep a special eye on parts of the picture that detract from the effect. For example, there's a branch here in the bottom right that could have been removed.
Photographer: Stefan Göbel Lens: SP AF 70-300 f/4-5.6 Di VC USD What we think: “The photographer wanted to capture the restlessness of life in New York using the zoom effect. It worked really well! Tip: Show a few more recognisable details. It's a bit hard to tell that we're in the Big Apple in this photo.”
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GALLERY
Photographer: Björn Bleiß Lens: SP 150-600mm f/5-6.3 Di VC USD G2 What we think: “The little fox is looking curiously straight into the large front lens of the telephoto. I wonder what he's thinking? The photographer pressed the shutter release at exactly the right moment. Tip: Try to get a clear view. Unfortunately, there's a branch protruding into the foreground of this picture.”
Photographer: Gocha Nemsadze Lens: SP 45mm f/1.8 Di VC USD What we think: “An enchanting portrait of a child. It proves how effective the combination of back light and fill light can be for portrait photography. Little Salome (4) is concentrating hard on her drawing and seems not to notice that her father is taking a photo of her. Tip: Make sure the background is calm. In this photo, the furniture to the left of the photo takes away a little from the main subject.”
Photographer: Ronny Grimm Lens: 15-30mm f/2.8 Di VC USD What we think: “Often, the best subjects are the unexpected ones. That was the case here. The photographer was driving past Cap de Formentor in Mallorca when he discovered this amazing play of light in the sky. Tip: The photo would have benefited from a tighter crop. The bin in the centre in particular doesn't really fit in with the scenery.”
Photographer: Jens Müßigbrodt Lens: SP AF 70-300 f/4-5.6 Di VC USD Photographer: René Delrieux Lens: SP AF 17-50mm f/2.8 XR Di II LD asph. What we think: “The play between the light and shadow in this photo brings out the charm of Barcelona's Gothic Quarter. Like the man in the picture, the viewer relaxes and loses themselves in the architectural details. The only thing that takes away from the picture is the intense red hue.”
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What we think: “Even the monotony of Pyongyang, North Korea, can make a nice photo. Tip: A less centralised structure might have brought a bit more interest into the picture.”
A LIMITLESS SKY Gernot Meiser travels the world looking for the perfect night sky photos. He takes two Tamron zoom lenses with him. The later it is in the day, the more Gernot Meiser is in his element. The science photographer from Saarlouis specialises in astrophotography and he’s usually out with his photography equipment at night. He is involved with the international photographers’ network TWAN (The World At Night) and he has taken it upon himself to document the beauty of the earth at night in photos and time-lapse videos. Since the beginning of this year, he has used the SP 15-30mm f/2.8 and the SP 150600mm f/5-6.3 G2 for his stunning shots of the night sky. “Both zooms are really well suited for night-time photography,” says Meiser, who doesn’t need any elaborate equipment for his shots. For example, he
usually does without extremely long exposure times, which would mean he would have to track with the camera because of the earth’s rotation. “With the aperture fully open, I expose for a maximum of 15 to 25 seconds, depending on focal length, so that the stars look like points when you look at the photo normally.” Meiser presents his photos with his ‘mobile planetarium’ as an impressive media-dome projection, among other places. The TV channel Arte reported on Meiser’s ‘Schattenjäger’ [Shadow Hunter] project in the summer as part of their series on ‘Night Sky Expeditions’; for the project, Meiser travels to wherever the moon eclipses the sun and draws a shadow across the earth.
ABOUT: GERNOT MEISER Gernot Meiser (57) from Saarlouis specialises in astrophotography. He teaches his extensive knowledge on the night sky in schools and as part of his media-dome projections. Visit his website for info and dates: www.twan-planetarium.de
FAR RIGHT, TOP:
Gernot Meiser photographs the Milky Way in the Mojave desert in the USA with the SP 15-30mm. The panorama is made up of seven overlapping portrait-format photos. RIGHT:
Meiser zooms in on the half moon to enlarge it in the frame using the SP 150-600mm. Tamron Magazine
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MY PROJECT
MY PROJECT
GOLDEN PRAGUE The metropolis on the Moldau is Lukas Pavlovec’s home town. He travels there every year and captures the most beautiful things he finds with his camera.
SP 35mm ∙ 1/640 sec. ∙ f/10 ∙ ISO 200
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MY PROJECT
hen I think of Prague, it feels mostly like home to me. I grew up in the town on the Moldau and a lot of it is still familiar to me. I’m there three or four times a year to visit family and old friends or manage the Tamron Academy workshop. Besides the cultural diversity of the people there, what fascinates me the most is the architectural mix of modern and Baroque. It’s prettiest in Prague in the spring and summer. It's full of tourists at that time of year, it’s true, but it also has a special charm despite that. My favourite place is the Charles Bridge, where you have a great view of Prague Castle. For me, it's the most beautiful bridge in Europe, and it’s only made better by the artists and musicians that gather there every day. The best time for photography is between five and six o’clock in the morning, in time for sunrise over the city.
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70-300mm ∙ 175mm ∙ 1/800 sec. ∙ f/10 ∙ ISO 200
70-300mm ∙ 125mm ∙ 1/1000 sec. ∙ f/9 ∙ ISO 200
Unique subjects Otherwise, I really love wandering the alleys of Old Town and hang around mostly in the little bars and jazz clubs that are open every evening. I like the sunset the most in the park at the Prague Metronome. From there, you get a wonderful view of Prague's bridges. There are great spots for photography virtually everywhere you go. The Franciscan Garden is a really special place; go there if you want to escape the everyday stress and rush of the city for a few minutes. Best done with a cappuccino and one or two “ ”slices of white bread lovingly and imaginatively covered with a variety of things, such as a combination of ham, cheese, vegetables, mayonnaise and egg. I try to capture the beauty of the architecture, life in the streets and the cultural highlights in my photos - and to take a little piece of my home town back home with me every time I go.
SP 35mm ∙ 1/15 sec. ∙ f/14 ∙ ISO 200
Prague offers a huge number of sights. Besides the famous Charles Bridge, these include Vlado Milunic and Frank Gehry’s Dancing House, David Cerny’s horse statue in Luzerna and the Lennon Wall (from top left to bottom right).
SP 35mm ∙ 1/25 sec. ∙ f/3.2 ∙ ISO 200
Born: 1974 City of residence: Cologne Profession: PR Technical & Events Employer: Tamron Europe GmbH Photography: Architecture, landscape Passion: Travel, sport Favourite lenses: SP 35mm f/1.8 Di VC USD, SP 15-30mm f/2.8 Di VC USD and SP 70-300mm f/4-5.6 Di VC USD
PHOTOS: LUKAS PAVLOVEC
PROFILE: LUKAS PAVLOVEC
SP 45mm ∙ 1/1000 sec. ∙ f/6.3 ∙ ISO 200
SP 35mm ∙ 1/160 sec. ∙ f/6.3 ∙ ISO 200
Tamron Magazine
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