Here are some tips I discovered when researching this month’s column. One was from my wife who uses this technique all the time—smile! And you know what, people smile back, making you appear friendly and non-threatening. The other was from Michael Archambault, who suggests you “acknowledge that street photography is not perfect.” Or as my grandfather once told me, “If you spend your whole life looking for happiness, it’ll make you miserable.”
Every company that makes lenses usually designs a few that are ideal for portraiture. The trend these days for studio and boudoir portraits is toward fast prime lenses, while zooms remain popular for location and wedding photography. Wide-angle lenses may get you closer to the subject but perspective distortion exaggerates a subject’s nose and ears.
While the main body of my work has been with lenses such as the 24mm fixed, wide angles, and mainly my trusty 16-35mm zoom, I have often found myself wanting a long zoom for the scenes that present themselves along the way. It’s not that I am unwilling or just plain lazy to get closer—a long zoom, like the recently released Tamron 100-400mm, simply changes the way I see and helps me explore other visual options.
Tamron’s 14-150mm Di III is the company’s first lens designed for the mirrorless Micro Four Thirds camera system. When originally announced, this lens was supposed to feature built-in VC (Vibration Compensation) image stabilization but over the course of its development—there’s lots of in-body stabilization in this format—this feature was removed.
Tamron just released their new 150-500mm f/5-6.7 zoom and we received one of the first samples for review. Where would you take such a lens? We went to the NJ Audubon Center, a Somerset Patriots baseball game (they’re the NY Yankees’ Double-A minor league farm team), a nearby nature preserve and the patch of bee-attractant flowers in my back yard. Here’s our review and lots of pictures from these four venues.
Tamron just announced the world’s first f/2.8 lens in the 17-70mm zoom range for Sony mirrorless cameras. Focusing as close as 7.5 inches and measuring just 4.7-inches long, the new zoom features advanced image stabilization that is AI-enhanced when shooting video. We tested the Tamron 17-70mm f/2.8 on Sony cameras with APS-C sensors and with Full Frame sensors. Here is what we found.
Tamron recently released a fast, super-compact 28-200mm f/2.8-5.6 zoom lens for Sony mirrorless full-frame E-mount cameras. Unique among all-in-one type zooms because the maximum aperture is f/2.8 (at the wideangle 28mm setting) the lens has other attractive features that we evaluate in this review.
The Sony FE 24-70mm F2.8 GM and Tamron 28-75mm f/2.8 Di III RXD lenses share a similar focal length, and both can be used with Sony's full frame mirrorless E-mount cameras. But they differ dramatically in price.
Tamron has a long history of producing versatile, do-everything lenses and the Tamron 35-150mm F/2.8-4 Di VC OSD (Model A043) continues with that heritage. I received the Canon EF-mount version of the lens for testing, but a Nikon F-mount version is also available at the same price. While designed for Canon’s full-frame EF-mount cameras, the Tamron 35-150mm lens can also be used with their APS-C models where it produces a field-of-view equivalent to 56-240mm.
Tamron recently released a fast, compact 70-180mm f/2.8 zoom lens for Sony mirrorless full-frame E-mount cameras. It’s billed as the most compact and lightest f/2.8 telephoto zoom lens in its class. We had a chance to test this lens on a Sony Alpha a7RII camera. Here is what we found.
There is nothing more invigorating for a zealous photographer than putting a brand new lens on a familiar, reliable DSLR body. The world looks different through a new lens, and the tableau of photo opportunities hits the reset button, refreshing all of the possibilities. My experience with Tamron’s new Tamron 70-210mm F/4 Di VC USD tele zoom brought this realization into focus, no pun intended.
Just introduced, the compact Tamron 70-300mm f/4.5-6.3 Di III RXD zoom for Sony full-frame mirrorless cameras has an affordable ($549) price tag. It’s eighth in the series of Tamron lenses made specifically for Sony E-Mount cameras, and it’s the world's smallest and lightest telezoom in its class.
Tamron has always been a pioneer in the do-everything zoom lens category and their new AF18-270mm F/3.5-6.3 Di II VC PZD lens is no exception. Don’t be intimidated by those initials—it’s all good stuff—and I’ll get to them shortly. The 18-270mm F/3.5-6.3 is part of Tamron’s Di II family of lenses that are engineered specifically for digital SLRs with image sensors measuring 24x16mm, typically referred to as APS-C. The sensor size of the Canon EOS 50D I tested the lens with measures 22.3x14.9mm so I guess that’s close enough. The 15x zoom range of the lens provides a 35mm focal length equivalency of 28.8-432mm with the Canon EOS 50D’s 1.6x multiplication factor, but that will be slightly different for the Nikon and Sony versions that are also available. Shooting full frame? Check out Tamron’s Di lens series for 35mm film cameras or digital SLRs featuring larger (24x36mm) sensors.
The Tamron 20mm f/2.8, 24mm f/2.8 and 35mm f/2.8 prime lenses have a lot in common. All three are fast, compact and designed for full-frame Sony mirrorless cameras. And all focus as close as just a few inches.
Tamron just announced an 8X lens for Sony full-frame mirrorless cameras that starts at 50mm and zooms to 400mm, widening the range of creative applications compared to telephoto zooms that begin at the 100mm focal length. In addition to beginning at 50mm (the established “normal” or “standard” focal length for full-frame cameras) the new ultra-telephoto zoom focuses as close as 9.8 inches, rendering a magnification ratio of 1:2 (one-half life size).