Issue 6 · Spring 2018 Token charge: € 2.50
LET’S FIGHT
SP 24-70 mm f/2.8 G2 in the field. Sports photographer Oliver Güth fights his way through.
WIN 100-400 m m F/4.5-6.3 NO W Survey ins
ide
NEW 100-400 mm F/4.5-6.3
GREAT PORTRAITS
Pure flexibility – the lightest telephoto in its class sets new standards
Take your portrait photography to the next level with chic fashion poses
CANDY DOGS Lap, lap. Whose mouth doesn’t start to water when photographer Natalie Große unpacks the goodies she has in her bag? For her series, “Candy Dogs”, it seems like she spoils the dog models in her studio. But there is more to the picture than the sweet appearance suggests. Instead of confectionery, her four-legged friends will have to put up with ‘just’ liver sausage – a trick that evidently works quite well with animals. www.purrpaws.de
Taken with SP 35 mm f/1.8 ∙ 1/160 sec. · f/4 · ISO 100
HIGHLIGHT
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6 Tamron Magazin
HIGHLIGHT
400 mm
CLOSE, CLOSER, MEGAZOOM How often have you wanted a faraway subject to fill a photo? Now your wish can come true with the 18-400 mm megazoom lens. In tele mode, the lens can achieve the 600 mm focal length (in 35 mm format) beloved by professional sports photographers and ideal for capturing far-away subjects – like this kitesurfer – as if they were only metres away. Unforgettable holiday photos are guaranteed! http://www. tamron.eu/ 18-400 Kitesurfer captured by photographer Thomas Kettner with: 18-400 mm f/3.5-5.6 Di II VC HLD at 400 mm (600 mm in 35 mm format) · 1/3200 sec. · f/8 · ISO 800
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“Weather and light are the heart of a landscape,” says Bastian Werner. The young photographer from Southern Hesse chases spectacular phenomena in the sky with the SP 15-30 mm f/2.8.
BASTIAN WERNER
PHOTO: BASTIAN WERNER
STORMCHASER
SP 15-30 mm f/2.8 · 15 mm (35 mm) ∙ 30 sec. · f/4.5 · ISO 400
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REPORT
SP 15-30 mm f/2.8 · 15 mm (35 mm) ∙ 1/640 sec. · f/8 · ISO 100 TOP
hundred million volts, three hundred thousand amps – when thunder and lightning peal across the sky, we instinctively run for cover. Bastian Werner is different – the dark cloud fronts draw him in, as if he were under a spell. The 25-year-old from Mühltal in southern Hesse is among Germany’s best weather photographers, despite his young age. Since his childhood, storms, severe weather and tornadoes have had an irresistible appeal to him. “Even as a young child, I watched TV news reports about stormchasers wide-eyed and tried to follow documentaries about how tornadoes form,” he says. His second passion was aviation. His whole bedroom was full of model aeroplanes. He recreated a model aeroplane on a 1:500 scale on the floor of his parents’ house. At 14, he bought his first digital reflex camera to – such
A
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was the ambition of the young planespotter – photograph every aeroplane in the world. Werner will soon be flying aeroplanes himself. He is training to be a glider pilot on the glider airfield in Reinheim. “I studied meteorology intensively and developed a love for the subject,” the photographer recalls – he took advanced courses in physics and maths at school in order finally to understand the scientific background of weather phenomena. Things continued to develop and it was only a matter of time until photographing weather phenomena from the seat of a glider was no longer enough for him. Now, Werner chases severe weather specifically. He regularly lies in wait for them – and chases them with his camera and tripod. “To begin with, I would just recklessly stand on a hill with my push bike,” Werner says.
The supercell is the most powerful level a thunderstorm can reach. Bastian Werner photographed this spectacular phenomenon in 2016 near Passau. RIGHT
This picture shows a “crawler” above a motorway. This type of lightning does not touch the ground, instead spreading across the bottom of a storm cloud like a spider's web.
PHOTOS: BASTIAN WERNER
REPORT
SP 15-30 mm f/2.8 · 22 mm (35 mm) ∙ 17 sec. · f/4 · ISO 100
“LIGHTNING IS THE HEARTBEAT OF A STORM CELL. ONCE THE LIGHTNING PETERS OUT, THE LIFE OF A STORM IS OVER.” “When I was 18, I started chasing lightning in my car.” His desire just to document the weather phenomena developed into a passion to photograph them in a better and more spectacular way. Today, Werner is constantly keeping himself up to date about where and when to expect what weather phenomena and travels more than 40,000 kilometres per year together with other weather enthusiasts on the hunt for ‘supercells’ and storm fronts. The pictures he and others
have brought with them form their own genre within landscape and nature photography: weather photography. “When I find a photogenic landscape, I immediately think about what weather phenomena I'd like to photograph here,” says Werner, explaining his process. “Then, I look at the weather forecast charts to find out when the landscape will be misty or when there might be a breathtaking sunset.” Only when the weather conditions
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REPORT
LEFT
With the ultrawide-angle lens, the dramatic storm clouds above the landscape can be captured in their entirety. BOTTOM
Finally: after an unsuccessful day on the hunt for a storm, Bastian Werner stumbles across this spectacular storm cell at sunset to the north of Fulda. SP 15-30 mm f/2.8 · 27 mm (35 mm) ∙ 4 sec. · f/2.8 · ISO 1600
“MY GOAL IS TO PHOTOGRAPH THE BEAUTY OF STORM CLOUDS IN ALL THEIR FORMS.”
SP 15-30 mm f/2.8 · 15 mm (35 mm) ∙ 1/1.7 sec. · f/5.6 · ISO 800
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REPORT
SP 15-30 mm f/2.8 · 15 mm (35 mm) ∙ 1/60 sec. · f/8 · ISO 250
TOP
PHOTOS: BASTIAN WERNER
Wedge-shaped shelf cloud above blossoming rape in the Lower Saxon mountains. LEFT
Sunset over the snowcovered mountains. There are many legends associated with a red sky. SP 15-30 mm f/2.8 · 24 mm (35 mm) ∙ 1/8 sec. · f/8 · ISO 100
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REPORT
All the pictures in this article were taken with the ultra-wide-angle zoom SP 15-30 mm f/2.8 Di VC USD.
ABOUT: BASTIAN WERNER
SP 15-30 mm f/2.8 · 23 mm (35 mm) ∙ 1/4 sec. · f/10 · ISO 100
“THE SP 15-30 mm’S ANGLE OF VIEW IS GREAT. I TAKE ALMOST ALL OF MY PHOTOS WITH IT.” are perfect, he gets in his car and takes the picture he wants. Thanks to the scientific precision he uses to plan his photos, his success rate is high. Over the years, Werner has gathered a huge pool of spectacular weather phenomena, including not only dramatic weather fronts, but also many extraordinary light displays that passionate landscape photographers rave about. He also supplies photo agencies and publishing houses with his pictures. Werner passes on his extensive knowledge on weather planning to nature photographers in his workshops. At the beginning of 2017, he released his book, “Photography with wind and weather: understand the weather and take spectacular photographs!” (Rheinwerk, € 39.90). In April this year, his illustrated geographical book, “Cloud
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Chaser” (Frederking & Thaler, € 39.99) will follow, with a foreword from Jörg Kachelmann. Many of Bastian Werner’s photos were taken with the SP 15-30 mm f/2.8. The high-quality ultra-wide-angle zoom is ideal for weather photography with its maximum angle of view of 110 degrees. “This lets me capture a large part of the sky and show the landscape at the same time,” says the young photographer, who wants to continue hunting the captivating beauty of the weather in the future.
The photographer, born in 1993, has dedicated his life to our weather – and in doing so, has elevated weather photography in Germany to a new level. Instead of driving to a location and hoping for the best, he waits for the day when the weather and light are perfect for a photograph. He passes on his extensive knowledge in workshops and books. www.bastianw.de
PHOTOS: BASTIAN WERNER
“Every time we look into the night sky, we are looking into the past and into eternity,” Bastian Werner writes on his website. “Many of the stars whose light we are seeing now have long since died.”
SP 15-30 mm f/2.8 · 20 mm (35 mm) ∙ 30 sec. · f/2.8 · ISO 3200
TECHNOLOGIE
TOP FEATURES
100-400 mm F/4.5-6.3 Light and powerful: The compact ultra-telephoto is ideal for travel and nature photographers alike.
ong tele-range focal lengths and outstanding image quality – this has long been an expensive combination that only professionals and very ambitious semi-professionals have been able to afford. Many other photography enthusiasts are scared away, not just by the higher price but by the weight and dimensions of the big super-telephoto lenses as well. Many also don’t want to carry around two kilos of glass with them on every photo trip. On the other hand, Tamron has long had light ‘mega-’ or travel zooms in its product range that cover an extremely wide range of focal lengths (e.g. 16300 mm or 18-400 mm). These are very compact and ideal for travelling, but because of the 20x zoom, they always represent something of a compromise when it comes to optical performance.
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Wide gripping surfaces guarantee comfort and precision when zooming and focusing manually
Compact and comfortable With the 100-400 mm f/4.5-6.3 Di VC USD ultra-telephoto for DSLR cameras with full-format and APS-C sensors, Tamron has closed the gap between these two categories. It offers high performance in a surprisingly compact housing. The 100-400 mm is an extraordinarily light and compact telescopic lens with high imaging performance and auto-focus precision.
15%
Splash-proof construction and dirt-repellent fluorine coating
TECHNICAL DATA 100-400 mm F/4.5/6.3 Di VC USD
100%
Impressive imaging performance: 100-400 mm f/4.5-6.3 Di VC USD
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The optionally available tripod clamp makes the lens more versatile
Focal length....................................................................... 100-400 mm Angle of view (35 mm format) ............... 24°24' – 6°12' Largest aperture ................................................................................f/4.5 Aperture blades............................................................................................ 9 Elements/groups ............................................................................17/11 Minimum focusing distance ..............................................1.5 m Max. image ratio............................................................................. 1: 3.6 Image stabiliser.........................................................................yes (VC) Filter diameter................................................................................ 67 mm Dimensions (L × Ø) ........................... 196.5 mm × 86.2 mm Weight* ............................................................................................... 1,115 g * Model for Nikon mount
TECHNOLOGIE
The minimum focusing distance is 1.5 metres, which allows for close-ups with a maximum image ratio of 1:3.6 – a feature that will please anyone who likes to blow up the small details so that they're visible in the picture. The powerful dual-MPU (micro-processing unit) technology additionally guarantees powerful image stabilisation that will prevent motion blur with slower shutter speeds.
Weatherproof and best in class Thanks to the lens barrel, which is mainly made of magnesium, it weighs just 1,115 grams, which is the lowest weight in its class. This makes it the ideal lens if you want to photograph free hand for longer periods. A matching tripod clamp (Arca-Swiss compatible) is available as an optional accessory. The housing splash-proof so it can be used even if it's raining, or in dirty environments. Practical, and not just for nature photographers: A fluorine coating protects the front lens against moisture and dirt (e.g. fingerprints). But at 100-400 mm, it's not only the exterior, but the internal values as well that will win you over. The optical structure includes 17 elements in 10 groups, including three LD glass elements (Low Dispersion). Their special characteristics minimise chromatic aberrations (colour fringes). In addition, Tamron's eBAND coating (Extended Bandwidth & Angular Dependency) prevents reflections on the inside of the lens that can negatively impact the sharpness and clarity of the image. In short: This is where mobility meets precision. This ultra-telephoto lens sets new standards and is ideal for any photographer who wants to stay as flexible as possible on their photography trips but who still places value on high image quality.
* Compared with other 100-400 mm f/4.5-6.3 lenses for full-format mirror reflex cameras (as of: October 2017, source: Tamron)
POWERFUL ZOOM, HANDY DESIGN Pro photographer Stephan Wiesner on the 100-400 mm f/4.5-5.6 For Stephan Wiesner, a nature and travel photographer from Bern, Switzerland, more than anything else, good photography needs a clear message. “That,” says Wiesner, “is where the photographer’s personal style comes through.” For him, this means the shooting process always begins in his head. Even before he has reached for his camera, the pro photographer decides what the picture is going to show and what message he will connect with it. In this case, it's the Old City of Bern at twilight. “On the one hand, I wanted to show the architectural details of illuminated Münster; on the other, I also
wanted to have its striking tower in a dialogue with the smaller Nydeggkirche in the foreground,” says Wiesner, summarising his thoughts. The shop lights on Gerechtigkeitsstraße, one of Bern’s biggest streets, are intended to connect the two churches optically. “These perspectives can only be realised from some distance away and from a high-up location. I used the telephoto focal length to compress the depth, which gave the subject the density I wanted. The final picture was composed of two overlapping telephoto shots.” The 100-400 mm f/4.55.6 offered Wiesner extreme flexibility when choosing the section of picture he wanted to use.
“It offers me very high resolution at practically every zoom setting, which is a basic requirement for professional image quality,” he says enthusiastically. As an outdoor photographer, however, the size and weight of the lens is always a concern for him as well. “The 100400 mm offers the best compromise of shutter speed and manageability. It is light enough that I can always have it in my bag while at the same time offering impressive imaging performance.” The image stabiliser is the icing on the cake that allows him to take animal photos with the super telephoto lens free hand. Tamron Magazin
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LET’S FIGHT
Pro photographer Oliver GĂźth ventures into the boxing ring. Along for the ride: the new, powerful Tamron 24-70 mm f/2.8 G2.
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PRAXIS
Exciting dynamics: The fast 24-70 mm f/2.8 G2 is ideal for journalists. The large wide-angle makes dynamic shots from close up a success.
PHOTO: OLIVER GÜTH
SP 24-70 mm f/2.8 G2 · 29 mm (35 mm) ∙ 1/160 sec. · f/4 · ISO 200
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PRAXIS
lear the ring! During his action photoshoot, Oliver Güth doesn’t linger in the boxing ring for long – instead, he goes straight into striking range. Jab, jab, jab. Capturing exciting moments with high frequency, that is the Cologne sports photographer’s speciality; in the ring, he trusts completely in his new workhorse, the SP 24-70 mm f/2.8 G2. High resolution and quick autofocus – Güth is enthusiastic about the precision of the universal lens. “The zoom from 24 mm to 70 mm offers me exactly the range of focal lengths I use the most in my everyday routine,” he explains. “That means both dynamic reportage shots from a short distance away and close-up portraits are a success, with great background blur.” It is in sports and action photography that Güth really values the variable focal length. “Unlike in fashion or advertising, here I have to react lightning-quick to unpredictable movements. It helps enormously with this if I can adjust the focal length and capture every moment.
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Universal reportage wizard But it was the imaging quality of the SP 24-70 mm G2 that was the deciding factor for Güth. “The image quality is absolutely comparable with that of a prime lens and that’s really cool. Before, I would have had to change the lens to change from 28 mm to 50 mm – that was risky because the shooting could lose dynamism that way. Today, I do everything with the 24-70 mm and only have to turn the zoom ring to change the focal length.” The high optical quality is not the only argument for Tamron’s new standard zoom, however. “The combination of the high-speed f/2.8, quick autofocus and VC image stabiliser over five stops is just unbeatable,” says the professional. “In situations without a flash, the stabiliser is indispensable. It gives me more creative leeway. It means I can use the entire zoom range including the telephoto range to realise various subjects. I just have much more freedom with this lens and can concentrate better on the subject.”
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SP 24-70 mm f/2.8 G2 · 48 mm (35 mm format) ∙ 1/160 sec. · f/4 · ISO 200
“THE COMBINATION OF HIGH SPEED, QUICK AUTOFOCUS AND THE IMAGE STABILISER IS UNBEATABLE.”
PRAXIS
SP 24-70 mm f/2.8 G2 29 mm (35 mm format) · 1/160 sec. · f/4 · ISO 200
SP 24-70 mm f/2.8 G2 55 mm (35 mm format) · 1/60 sec. · f/2.8 · ISO 200
“FOR REPORTAGE, I ONLY NEED ONE LENS: THE SP 24-70 mm G2.”
SP 24-70 mm f/2.8 G2 · 55 mm (35 mm format) ∙ 1/200 sec. · f/5 · ISO 250
The SP 24-70 mm f/2.8 G2's short minimum focusing distance of just 38 cm is useful to Güth as well: “It means I can get right up close to the details – I’d have had to change the lens for that before. So I can shoot a whole story with just one lens.” But it's not only the sports photographer who is happy with the performance of the fast standard zoom. His customers are more than happy with the results too. They can magnify sections of his photos much more because they are so sharp. “The focal length I have gained gives my customers more flexibility in choosing the right format,” says Güth. “In the end, we’re both happy.” SP 24-70 mm f/2.8 G2 · 26 mm (35 mm format) ∙ 1/160 sec. · f/4 · ISO 200
ABOUT: OLIVER GÜTH Born 1992, people, sports and lifestyle photographer in Cologne. His focuses include sports and action, advertising and industrial photography. Güth passes on his extensive knowledge to interested photographers in workshops.
PHOTOS: OLIVER GÜTH
The SP 24-70 mm f/2.8 Di VC USD is the fast universal zoom for professional demands. With its classic focal range, it is suitable for a variety of challenging photography situations.
www.oliver-gueth.com
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PHOTO: THOMAS KETTNER
SPECIAL
TAMRON SP SERIES
BUILT TO INSPIRE Outstanding imaging performance, advanced technologies and handy design – these are the stand-out features of the Tamron SP Series. It was developed to meet the quality requirements of professional photographers. Below is the current line-up.
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PRACTICE
SEVEN PRO TIPS
FASHION PORTRAITS The Cologne photography duo Sallyhateswing work regularly for fashion and lifestyle brands. Here, they reveal their best tricks for impressive portrait shots
he portrait is considered a high form of art. It’s true that in photography it is relatively easy to reproduce realistically the facial features and proportions of the person in the portrait. However, the concentration on the short moment of the photograph requires a special kind of sensitivity from the photographer. They also want to capture the person’s personality in a photo that is as authentic as possible. While in classic portrait photography the personality of the person is in focus, in fashion or beauty photography, the setting is more important. In this kind of photography, the photographer takes on the role of a stage or art director. That means they don't only make sure the lighting is attractive and the composition appealing, but also give clear instructions on facial expressions and gestures. Make-up artists and stylists make sure the make-up, hair and clothes are perfect. No detail can fall to chance in the implementation of the idea for the picture, which will usually be specified by a client.
T
TIP 2 Background colour TIP 1 Look to the side (as if at something out of the picture) “Have the model look sideways out of the picture. That instantly lends the picture more tension and depth because the viewer can’t help but wonder what the person is looking at.”
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“Choose a background whose colour goes with the model's clothes – i.e. creates harmony or a contrast. The colour effect can be reinforced even more with appropriate make-up.”
TIP 3 Include hands in the composition “Bring the hands into play! The fingers create lines that can guide the viewer’s gaze. Use this to frame the face, for example, or – like in this example – create a visually attractive diagonal line.” Tamron Magazin
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PRAXIS
Fashion and beauty photos allow the photographer to exhibit their creativity. One the one hand, this gives greater freedom, but it creates more pressure at the same time. The more parameters the photographer can control themselves, the more thought they will have to put into the photos. In these pages, you will see a few examples of portrait shots that were taken as part of free projects. The goal was to put the three models in completely different settings and to take their character into account when photographing them. All the pictures were taken in a studio with the SP 85 mm f/1.8 and the SP 90 mm f/2.8 macro. Both lenses are ideal for portrait photography thanks to their high picture quality. The angle of view of both focal lengths results in the ideal working distance of around two metres between the photographer and the model. This means the camera is far enough away to avoid any unsightly distortions, but close enough that the photographer can communicate well with the model during the shots.
TIP 4 Don't be afraid of symmetry! “Strict symmetry can be really boring – but if you use it in a self-conscious way, it can give the picture an artistic, constructed aura. In the picture above, this effect was boosted by the even, soft lighting, which emphasises the natural asymmetry of the face in an attractive way.
TIP 5 Radical cropping “Drama, baby, drama! Tight cropping can automatically create a feeling of closeness and intimacy. The side-on perspective here intensifies this effect. Pay attention to the focus! It should always be on the eye that is closest to the camera.”
PRAXIS
TIP 6 Portrait or landscape? “Portraits are usually taken in portrait format as standard. But why? Landscape format can be a welcome alternative and add variety to a series of portraits. Don’t be afraid to cut out part of the model's head if necessary and – even more importantly – position their face according to the golden ratio."
TIP 7 Lighting a sideways profile picture correctly “A profile makes for variety and opens up an interesting perspective that we rarely see day to day. When do we ever look intensely at someone from the side? When you’re arranging the model's and the camera’s line of view, pay attention to the lighting. It should pick out the contour of the face (contrast to background) and the structure of the hair (hair light).”
“THE SP 85 mm F/1.8 AND THE SP 90 mm F/2.8 MACRO ARE IDEAL FOR PROFESSIONAL PORTRAIT SHOTS.” Tamron Magazin
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YOUNG TALENT: NINA WILD
THE SOULS OF ANIMALS For Nina Wild, photography is a way to look at the world from a different angle. In her romantic photos, the student feels out the deep connection between human and animal. 34 Tamron Magazin
INTERVIEW
or Nina Wild, photography is a way to look at the world in a different, more personal way. Her speciality is harmonic portraits of people and animals. In this interview, she reveals how she takes her atmospheric photos.
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Nina, what makes the relationship between humans and animals so interesting for you artistically? Nina Wild: You can probably only understand the deep connection with an animal if you have animals yourself or have spent time with them. Animals aren’t just ‘animals’ to me – they're beings with their own individual personalities, preferences and quirks. Animals are more than just props that you put in a picture to make it interesting; they are co-models and equals. I try to focus in my photography on the harmony and the relationship between people and animals. I’d like the viewer to feel this intimacy and closeness. What do you pay attention to in particular when you’re shooting? Nina Wild: If possible, I work in the golden hour with backlight. I also try to make sure the lighting is soft and to shoot in a shadow. That's not always
possible, of course, and in the end, I have to work around the animals. The posing usually arises from the interaction with the animal. What camera settings do you use? Nina Wild: I usually take pictures with the aperture open, stopping down once or twice at the most. The shutter speed and ISO value I adjust to the light conditions I have. When I’m doing that, I make sure the shutter speed is fast enough to capture any of the animal’s sudden and quick movements. Do you have a favourite focal length? Nina Wild: I've taken most of my pictures with the SP 70-200 mm f/2.8,
“YOU FIND BEAUTY IS SO MANY THINGS THAT YOU WOULD OTHERWISE HAVE JUST OVERLOOKED.”
but with animals, I obviously can’t be scared to be a bit flexible when it comes to focal length. But I liked the SP 85 mm f/1.8 a lot as well, especially the great bokeh effect. I really like the speed and sharpness of Tamron lenses. The pictures we’re showing here were taken for an animal shelter. How did you get in contact with them? Nina Wild: I photographed these subjects in cooperation with Malkia Park in Slovakia. I had the idea of photographing a calendar for the park so that I could donate the profits. I like working with rescue stations because the animals’ wellbeing is the highest priority there. I prefer never to stress the animals – I try to make the whole experience as positive as possible for them.
ABOUT: NINA WILD Nina Wild (25) started as a portrait photographer alongside her degree in “American Studies and Business Administration”. She was one of the participants in the Tamron TakeOff Award 2017. www.fourcornersphotography.de
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GALERIE
READER GALLERY Photographer: Stephanie Koras Lens: 18-200 mm F/3.5-6.3 Di II VC We think: “A few blades of grass, taken above the Playa de las Teresitas in Tenerife, capture the holiday mood perfectly. Tip: Some foreground is usually good for a picture. However, the stones don’t look so good in this photo because of the blur.”
In every issue, Tamron Magazine presents the best reader photos it receives. Are your photos here in this issue? Do you find that great photos look so much better in print? Do you want to see your picture in Tamron Magazine? Then send us your best Tamron shots now! The only requirement: The picture must have been taken with a Tamron lens. The editorial staff will comment on a selection of the best submissions in each issue. Just upload your photo with a short description of the content and the story of how it was taken to the following Tamron website: www.magazin.tamron-fotorallye.de
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GALERIE
“A GOOD PHOTO IS A PHOTO YOU LOOK AT FOR LONGER THAN A SECOND.” Henri Cartier-Bresson (1908–2004)
Photographer: Markus Hutter Lens: SP 15-30 mm f/2.8 Di VC USD We think: “Perfect symmetry. This atmospheric morning photo was taken on an icecold Thursday shortly after sunrise on the Plansee in the Tyrol. Tip: The central structure of the picture works. The sky, however, could have been very slightly darkened with a grey graduated filter.”
Photographer: Florian Goppold Lens: AF 18-270 mm f/3.5-6.3 Di II VC PZD We think: “Wow! Everything fits together in this photo. The photographer titled his picture ‘Golden Goal’; it was taken during a trip to Brazil near Salvador da Bahia. The roaring waves and the rising mist serve as minor elements that add atmosphere, allowing the viewer’s gaze to wander across the picture. Tip: If you could see the feet of the boy on the right, the picture would be (almost too) perfect.”
Photographer: Oliver Neumann Lens: SP 70-200 mm f/2.8 Di VC USD We think: “A dog and his owner in the morning mist. Strong silhouette, effective composition. Tip: In these moments, the continuous shooting function comes into its own to catch the perfect moment.”
Photographer: Bernd Rous Lens: SP 24-70 mm f/2.8 Di VC USD We think: “Full speed ahead! The panning technique allows the speed of this moped in Ho-Chi-Minh City, Vietnam to be shown. Brilliant: the passenger looks in the direction of the photographer just at the moment the shutter closed – and pulls the viewer’s gaze into the photo.”
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GALLERY
Photographer: Burkhard Schlee Lens: SP AF 28-75 mm f/2.8 XR Di LD Aspherical We think: “A classic! We’ve seen it a thousand times but it’s still an eyecatcher: the famous Horsehoe Bend of the Colorado River in the Arizona, US. Tip: The symmetrical composition fits the subject. Because the sky is a bit boring, you could have given it a little less space in the photo.”
Photographer: Janita Webeler Lens: SP 24-70 mm f/2.8 Di VC USD We think: “This photo was taken quite high up in Northern Europe, in the Norwegian Annijoki on the Varangerfjord. The light of the setting sun douses the small harbour in splendid colours. The still water underlines the serene, relaxed atmosphere. Tip: The boat on the left edge of the picture distracts from the main subject, the three boats in the middle. Closer detail might have needed a longer telephoto focal length though.” Photographer: Patrick Feldhusen Lens: SP 90 mm f/2.8 Di VC USD Macro We think: “The portrait of Janina was taken on the beach in Denmark. The harsh lighting makes the photo shine and creates a dramatic effect, while the macro lens picks out countless details. Tip: The light is quite simple. If it was less direct, you could have created a more atmospheric photo.”
Photographer: Andreas Fengkohl Lens: SP 24-70 mm f/2.8 Di VC USD We think: “The photo was taken at the EWE Baskets in Oldenburg when Rickey Paulding went for a slam dunk. A great moment to capture – it freezes the movement of the player at exactly the right moment. The image detail is well-chosen – the basket, the scoreboard and the faces of the players on each team bring context. Tip: A bit more floor (and feet) would have lent the photo (even) more depth.”
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GALERIE
Photographer: Katja Wagner Lens: AF 18-270 mm f/3.5-6.3 Di II VC PZD We think: “Evening atmosphere on the beach at Le Conquet in Brittany. Taken with a long exposure that smooths out the water. A carefully composed picture with an attractive diagonal. Tip: The left and right of the picture are a bit empty. A brave crop could help here.”
“YOUR FIRST 10000 PHOTOGRAPHS ARE YOUR WORST. Helmut Newton (1920–2004)
Photographer: Marie Langreder Lens: SP 70-200 mm f/2.8 Di VC USD We think: “Elli the dog completely in her element – and captured tack-sharp in the perfect moment. The composition fits, the water mirrored the pastel colours of the sunset. Tip: If you want to take photos like this, you need a quick autofocus, a telephoto focal length and a quick shutter speed. This ticks all three boxes!”
Photographer: Stephan Laukner Lens: SP 150-600 mm f/5-6.3 Di VC USD We think: “Rutting season in the Ore Mountains. The ultra-telephoto lens allows the ‘King of the Forest’ to be blown up to fill the frame. The stag is looking directly into the camera as if he wants to challenge the photographer to a duel. The moment is well chosen! Tip: The composition is a bit arbitrary, the light a bit too direct. But you don't always have the time to wait for the perfect moment.”
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MY PROJECT
MY PROJECT
THE LIGHT OF NATURE Sarah Hannen likes to spend her free time outdoors. She takes her macro lens on the hunt for the best lighting.
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SP 90 mm ∙ 1/40 sec. ∙ f/2.8 ∙ ISO 100
MY PROJECT
hotography came into my life about eight years ago, when my parents completely unexpectedly gave me a mirror reflex camera as a present. It sat in a cupboard for the first couple of years I had it and I only took it with me when I went travelling. But during my training as a digital media designer, I noticed that I actually really enjoyed photography. Soon after, I developed a passion for it. Macro photography excited me the most. It’s perfect for relaxing. I can walk through the Cologne Flora or the Wahner Heide nature preserve for hours and completely lose track of time. People probably walk past me and wonder what that girl is looking for in the tall grass. A photo is interesting for me if it gives off a certain harmony. The colours and light are crucial for me. In the composition, I make sure there’s a calm background so that the details of the subject can come into their own. Sometimes, it can take what seems like an eternity until the section is finally exactly how I want it. I usually photograph with a fullformat DSLR. With macro shots, I almost always use a tripod because I like to use longer exposures where I can. I also always take a small reflector with me to brighten up my subjects a bit or shadow them if needed.
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Born: 1988 City of residence: Cologne Profession: Chief of Digital Marketing & Photographer Relations Employer: Tamron Europe GmbH Photography: Macro, landscape and food Passion: Photography in peace and quiet and discovering new topics for photography; apart from that, sports Favourite lenses: My absolute favourite lens is the Tamron SP 35 mm, and then the SP 90 mm macro, SP 15-30 mm and, on the APS-C DSLR, the new 10-24 mm ultrawide-angle
SP 15-30 mm ∙ 0.4 sec. ∙ f/16 ∙ ISO 100
For Sarah Hannen, atmospheric lighting and harmonious colours are the key to a successful photo. The Tamron employee likes to forget about the passing time on the search for the perfect composition.
SP 90 mm ∙ 1/1600 sec. ∙ f/3.2 ∙ ISO 500
SP 90 mm ∙ 1/1000 sec. ∙ f/3.5 ∙ ISO 640
PHOTOS: SARAH HANNEN
PROFILE: SARAH HANNEN
SP 90 mm ∙ 1/40 sec. ∙ f/6.3 ∙ ISO 100
SP 90 mm ∙ 1/13 sec. ∙ f/5 ∙ ISO 100
Tamron Magazin
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