DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

If you've been wondering if you should purchase a telephoto lens, here are 7 reasons why, we think, they're a worthwhile investment. Still not sure? Have a read of our lens buying guide and we also have a top list of telephoto lenses that's well worth a peruse. 

 

1. Out Of Focus Background

 

Telephoto lenses are useful for producing shots that have a shallow depth of field which means your backgrounds will be nicely out of focus allowing all attention to fall on your subject.

2. Capturing Portraits

 

Shooting portraits with longer lenses means you still fill the frame with your subject's face without making them feel uncomfortable by invading their personal space. Longer focal lengths also give a more pleasing perspective and the good bokeh they create, as mentioned previously, helps isolate your subject so they 'pop' from the frame. Finally, the compression longer lenses offer, especially when you're using a wide-ish aperture, helps flatter their features – something all subjects want.

3. Shoot Landscapes

If you have distant and foreground interest you should pull out your longer lens from your bag. Just make sure you're using a small aperture as you'll need front to back sharpness in your shot. This works well with interesting rock formations, trees etc. but also consider using an object such as a fence or path that can lead the eye from the front of the image to a point of interest in the distance. The perspective longer lenses create also mean you can almost stack distant and objects closer to your lens so they appear to be much closer to each other than they are, adding impact and extra interest as you do. This can work particularly well on misty mornings when distant hills can be turned into lines of stacked shapes.

If you have a lot of open, boring space between you and the mountains you want to photograph use the longer focal length to pull the mountains to you, removing the empty foreground as you do. You can also pick out detail such as a waterfall, tree or distant structure that a wide-angle lens wouldn't be able to capture in the same way.

 

4. Photograph Buildings

 

Longer lenses will help you highlight patterns and shoot interesting detail you'd miss with a wide-angle lens. It also means that if you can't access the roof to get close to the statues/carvings that sit around the building you're photographing, you can use the longer lens from the ground to bring the detail to you. Do remember though that when longer lenses magnify distant objects the tiniest of movements can create a large amount of blur in your photograph so make sure you stick to quicker shutter speeds when possible and carry a lens that features vibration reduction. For more stability work with a tripod.

 

5. Capture Shots Of Wildlife

 

Try and get close to a lot of wildlife and they'll have ran or flown off before you've got your camera out of its bag. Instead of playing a game of cat and mouse all day, find a spot that you won't scare the wildlife off from and use the pull of a telephoto lens to bring the animal/bird to you. Using a longer lens will also mean you're not putting yourself in danger if you're trying to capture shots of something known to bite!

6. Photograph Action / Sporting Events 

Unless you have a press pass, getting close to the action at many sporting events isn't possible so you'll need your long lens. For tips on shooting action take a look at ePHOTOzine's technique section.

 

7. Shoot For The Moon

 

If you try and photograph the moon without a telephoto lens (you may also need a teleconverter too) it will just like a small bright circle sat against a blanket of black sky. For tips on shooting the moon take a look at our previous articles in the technique section.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

    It's well-known in the photography community that you can go to certain locations and expect to see tripod holes in the floor where photographer after photographer has set-up to capture a popular shot so how can we, as photographers, do something a little bit different? We answer this question, and more, below. 

 

1. What Gear Do I Need? 

1. Zoom lens - it's easier to carry just one lens
2. Support - A support that's lightweight and compact is easier to carry and this could be a tripod or monopod, depending on your preference. 
3. Camera bag - An everyday backpack which is strong, can carry various pieces of kit and is easy to access is perfect for this type of photography. A rucksack style distributes the weight of kit more evenly, which means you'll be more comfortable when walking for long periods of time. 

 

2. What Research Should I Do? 

Having a look through online photo galleries and in travel guides will give you an overall picture of how the landmark(s) you're planning on visiting have been captured before. You'll also be able to find out if there are any costs and the opening/closing times so you can plan your trip around the crowds of tourists that will no doubt flock to your photographic subject. When you arrive at your destination have a look around the tourist information office as you'll find plenty of postcards that feature photos of landmarks and other important buildings which can be a great source for shooting ideas.

 

 

3. Is Clichéd OK?

There are shots that every photographer and his dog have taken of well-known landmarks, but this doesn't mean you should avoid them. A good, postcard style shot of a landmark is something you should try and get early on in your trip then spend the rest of the hour, day or week looking for angles that mean the landmark is still recognisable but the shot you produce is slightly different to what someone would usually expect to see.

 

4. When Should I Plan My Visit For? 

The problem with landmarks is they're popular with tourists so unless you want them in the shot, you'll have to arrive early or stay late to avoid them. Of course, changing your angle or working a little closer to the structure will mean tourists become less of a problem. If it's a really busy day, including them in the shot can add an extra element of interest. Particularly if you use a slightly slower shutter speed to blur their movement around the bottom of the structure you're photographing. Just remember to carry your tripod as you will need it if you plan on playing with slower shutter speeds. Panoramas can work particularly well in busy places too. 

There's probably a couple of local landmarks that may not be as popular with the tourists but are important to the people who live there so consider capturing them too if you want to work somewhere that's slightly less busy.

 

 

5. How Can I Be Different? 

Use your feet and take a walk around to find a unique take on the landmark you're photographing. How does it look from underneath? Can you crouch down and shoot up? Or climb some steps or a hill that's close by to give you a little more elevation. Working from a slightly higher angle can help reduce the convergence you get when shooting tall structures too. When you've finished with the front of the structure have you ever considered photographing it from the back? No? Well, not many tourists do either so you'll be able to capture a unique photo.

 

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Not having the horizon in the right place or focusing so much on other aspects that you forget to check that the horizon is actually straight is an easy mistake that many will hold their hand up to making.

This doesn't mean you can't experiment with horizon angles but if you do, you need to make it obvious as a small tilt will just look like you didn't check the viewfinder before hitting the shutter button. The same goes for the positioning of the horizon as if it's positioned badly, it can distract the viewer as well as spoil the composition of your shot.

 

1. How To Keep Horizons Straight

 

To stop your landscapes looking like they're going to slide out of the side of the frame, consider investing in a small spirit level (if your tripod doesn't already have one) that can be attached to your camera or, if your camera has one, use the grid intended for helping with the rule of thirds as a guide as even though this isn't really what they were designed for, they're made up of straight lines so can be helpful when struggling to tell what level is.

  2. Where To Put The Horizon?

 

It's important that your horizon doesn't cut through the centre of your image If the sky's more interesting move it down and if the land's what the viewer should be looking at move it up. That way, they'll know where their focus is meant to be.

If you're at the coast, shooting the sea and the sky has particularly interesting cloud formations or it's an amazing sunset, lower the horizon so the sky fills most of the frame. But if you want to include some foreground interest or create the sense of distance in your image, move the horizon up. Just remember to use a small aperture so you get front-to-back sharpness.

Of course, there are times when breaking the rules do work, such as when your photo includes an eye-catching reflection in a lake, so don't dismiss putting your horizons in the centre of your images completely.

There may be a time when you're shooting a landscape where the shapes and patterns of the land are enough to hold the viewer's attention so removing the horizon completely from the shot would work, too. 

 

3. How To Adjust The Horizon's Position

 

You can either tilt the camera, move its position higher or lower or take your shot as normal and crop the image later when you're in front of your computer.

If you have lots of vertical shapes such as trees and tall buildings in your shot, tilting the camera can cause perspective problems. However, if you're at the coast without a building in sight you should be fine.

To give your camera more/less height adjust your tripod's legs. Just make sure the locks are secure before you start taking your shot as you don't want your camera to start sliding down while you're trying to frame-up. If you need more height you can adjust the centre column but do adjust the legs first before doing this as the legs offer a more stable base to work with.

 

4. How To Fix Horizons In Old Photos

 

If you do take your shot and get home before you realise it's slanting to one side or you look back at landscapes you've taken previously and notice the horizon's not quite right don't worry; a simple crop in Photoshop will have your image back upright. You can also crop your shot to shift the position of the horizon, too.
 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to mmart (Day 28 - 'Hot-Air Balloon').

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 24

Holiday Memories

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Day 25

Garden Macro Shots

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Day 26

Summer Landscapes

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Day 27

Historic Buildings

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  Day 29

Pond Life

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Day 30

Travel Shots

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Day 31

Sunrise

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

 

1. Gear Suggestions

A long zoom lens will be handy as you'll be able to get close to the animals without having to climb into the enclosures. Something around the 70-300mm mark or bigger would be good. Also, consider taking a macro lens along as most zoos have enclosures where you can get close to insects.

A camera with a tilting LCD screen is perfect for zoo photography and you could take a monopod along to raise your camera up above the fences but leave your tripod at home as they don't mix well with crowds.

Pack a brolly as it will most likely rain at some point during your visit and have a lens cloth handy to wipe off raindrops that will blur your shot. As you have limited angles to work with you may have to shoot into the sun so a lens hood would be handy.

A polarising filter will be good when you're shooting through glass as it reduces reflections it will also reduce the amount of bounced light so the textures and tones in fur will stand out.

 

 

2. Weather

Pay attention to the weather forecast. When it's raining you'll get drenched kit and most animals will head indoors where you can take photographs, but you'll have glass and crowds in a small space to contend with. If it's gloriously sunny is maybe too bright and you'll get very harsh shadows. You can use fill-in flash but check before you do as it's often not allowed. You're better off sticking with natural light and increasing the ISO instead. Rain's too wet and the sun's too bright but an overcast day's just right. A slight covering of cloud acts like a softbox so you'll have images that have even tones and are well balanced.

 

3. Plan And Research

Before you set off, go on the zoo's website, find a map and make a plan. Arrive early to beat the rush and try walking around the opposite way to the crowds to give yourself chance to capture shots without the crush. Feeding times are great photographic opportunities but they're popular with visitors so arrive early.

 

 

4. Cages And Glass

Unfortunately, zoos are full of cages and there's nothing worse than shooting through wires and bars! Sometimes the gaps are just big enough to poke your lens through but if they're not, get as close to the fence as possible, position your lens so it's pointing through one of the gaps or, when the fence has small gaps, make sure that the face of the animal you're photographing is in a gap, use a wider aperture setting and wait for the animal to move back from the cage. This way the fence will be thrown our of focus so you, hopefully, won't even notice it. If you venture indoors you won't have fencers to contend with but glass full of greasy smudges will certainly be in your way. To minimise reflections attach a lens hood or hold your hand to the side or above the lens. If there's a lot of people touching the glass switch to a slower shutter speed to minimise shake. You may also need to switch to manual focus as cameras can be fooled by glass.

 

5. Find Good Shooting Spots & Angles

Make sure you take a walk around the edge of the enclosure before you take your photos to find shooting locations that won't leave your image with a distracting background or posts sticking out of the animal's head. Try to avoid shooting down as this can distort features instead get down low, to eye level if possible, to create a more dynamic shot. Use a wide lens setting and crop in later to make sure you don't amputate any limbs by accident – a shot of a monkey missing its tail is very can be very annoying to look at. Don't be afraid to fill the frame with your subject as this will give your shot more impact and it won't be so obvious that you took your photo at a zoo.

 

 

 

6. Focus And Shutter Speeds

Most of the animals won't stay still so use focus lock to prefocus on a certain point and take the shot as the animal enters the zone that's focused. Always focus on the eye and try using continuous shooting mode if you don't manage to get your subject in frame the first time. Try freezing their movement with a fast shutter speed and if you're panning, use a speed between 1/8sec to 1/30sec to blur the background but leave the animal sharp.

 

7. White Balance

Keep an eye on your white balance when going from indoor and outdoor enclosures and watch out for condensation when moving from the cooler outdoors into the tropical climate of a butterfly house. You'll need to give your camera time to acclimatise otherwise you'll end up with hazy, dream-like shots.

 

 

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When you're enjoying the sand, sea, sun and sangria chances are, you won't be thinking about getting up during the 'golden hours' to shoot some portraits. Instead, you'll be trying to snap photos of your kids while they're dashing in and out of the pool and eating ice cream as the sun's beaming down. However, shooting at midday, when the light's directly above can cause heavy shadows to be cast on your subject's face. To solve this, it's tempting to switch positions so the sun sits behind you but this can cause your subject to squint which doesn't make a particularly pleasant holiday portrait. But don't fear, there are a few steps you can take to stop funny faces and deep shadows spoiling your shots.
 

1. Use Fill-In Flash

If you notice shadows appearing under your subject's nose and eyes try using your flash as a fill-in light. The extra burst of light can make the background appear slightly darker which helps make your subject 'pop' out of the frame. It also creates catchlights in the eyes and if the sun's behind your subject, the natural light can create an almost halo effect around them while the flash ensures the face is well lit.

2. Look Out For Red Eye

The problem with using flash is that it can cause red-eye, a problem which plagues many family holiday snaps. Many compacts have an anti-red-eye mode or if you're using off-camera flash try bouncing it off something rather than firing it at your subject directly. You can also correct the image in post-production when you get home, too.

3. Shoot In A Shaded Spot 

When we say shade we don't mean somewhere with no light, just a space that's evenly lit where no pockets of bright light can shine on your subject's face. Palm trees have big leaves but they often have gaps in the leaves that let light through so look for areas such as outdoor eating and drinking places or hotel entrances where taxis pull up instead as these will have a solid cover overhead. Just remember to double-check your white balance and adjust your exposure for the slightly darker conditions. If you're by the pool or on the beach a sun parasol will work just as well, just watch your backgrounds to make sure there's nothing distracting or any clutter in the way. If there are no brollies but your subject's wearing a floppy hat this will shade the face, and help create the shade you need. Positioning them so they're side on to the sun can help, too.
 

4. Add Extra Light 

Not everyone will pack reflectors but you'll find plenty of objects at your holiday location that can work as one. Any white surface - patio tables, walls, white t-shirts...etc. will reflect light onto your subject. You could even use aluminium foil if you can get your hands on some!

5. Capture Shots Of Your Kids

As children don't really sit still for very long switch your compact to Sports mode to give you the higher ISO and faster shutter speeds needed to help freeze their movement. If you're using a DSLR you can do this manually. Using the continuous shooting mode will also increase your chances of capturing a good portrait and you could always use several frames to create an action sequence.

 

 

6. Shoot Some Candids

Not all your portraits have to be posed shots. Try capturing your kids splashing in a pool or playing games on the beach.
 

7. Tighten Your Framing

For a more intimate shot fill the frame with your subject. This could be a shot that captures them waist up or for more impact, fill the frame with their face. This technique's particularly useful when you're in busy places where backgrounds can be distracting.
 

8. Get Creative

When you have your basic shots in the bag try shooting different angles, create silhouettes or add a touch of lens flare to your portraits. It's easier to create lens flare earlier in the day but it is possible in the afternoon, you just have to work from a lower angle. Make sure you're working in manual as if you trust the camera's meter, it'll turn your subject into a silhouette. You may need to manually focus too as your camera may try to focus on the brightest part of the image which won't be your subject. Don't overlook close-ups either as shots of hands playing with buckets and spades or feet paddling along the shore will look just as great in an album.
 

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Gunshot punctures, from the series Guilty Grounds, 2023 © Steffi Reimers, courtesy Contour Gallery

 

Nikon is delighted to announce that the Photo London x Nikon Emerging Photographer Award has been awarded to Steffi Reimers. The announcement was made during a special ceremony which took place in the Nikon Gallery, Olympia, during Photo London 2026.

Steffi Reimers is a Dutch photographer whose work explores themes of transience, history, and loss — narratives that often remain hidden from view. Through long-term projects, she is establishing herself as one of the new voices in contemporary Dutch photography. Reimers’ series asks the question: What memory does a landscape hold when it witnesses a crime? In Guilty Grounds, Steffi Reimers investigates the landscapes of Calabria, Southern Italy, revealing  them as silent witnesses to the unsettling crimes and pervasive influence of the ‘Ndrangheta’.

Reimers’ work engages not only with landscape but also with forensic traces, employing

specialised lighting to reveal subtle marks, textures, and traces left behind, echoes of human violence that the eye might otherwise miss. Through this forensic approach, the photographs capture hidden details: scars on the earth, remnants of past activities, and the silent testimony of spaces that have witnessed crimes.

Launched in 2015 during Photo London’s first edition, The Emerging Photographer Award was set up to nurture and champion the career development of up-and-coming artists, helping to elevate the profiles of new, young lens-based storytellers. 

Photographers who enter are shortlisted by the Photo London 2026 Curatorial committee, comprised of some of the field’s most esteemed curators, critics and museum directors. This year’s final shortlist included: Sebastián González, Edward Rollitt, Steffi Reimers, Sal Taylor Kydd, Baud Postma, Devin Oktar Yal, Akshay Mahajan and Ci Demi.

The winner will be awarded a Nikon Z camera and a choice of two NIKKOR Z lenses, with specialist training from Nikon School to help take advantage of the capabilities that Nikon’s Z range has to offer.

Lucy Brice, Head of Marketing for Nikon Northern Europe says: “We are thrilled to announce Steffi Reimers as this year’s Photo London x Nikon Emerging Photographer Award winner. Her forensic approach to landscape photography reveals stories that might otherwise remain unseen, highlighting the impact imagery can have on our understanding of the world. Championing emerging talent is central to Nikon’s mission: by equipping and training the next generation of visual storytellers, we hope to amplify bold new voices and help them push the boundaries of craft and conscience. Congratulations to Steffi and all of this year’s shortlisted artists on their remarkable work.”

Sophie Parker, Fair Director of Photo London says: “A huge congratulation to Steffi Reimers on winning the 2026 Photo London x Nikon Emerging Photographer Award. It is incredibly important to us at Photo London to champion the work of every artist, from those who are established household names to artists just starting their careers. Previous winners of the award have gone on to make outstanding contributions to photography, and the future looks no different for Steffi, we are very excited to witness the trajectory of her career.”

Find out more about the winners here.

 

A superb action shot of two personal watercraft racers has won TheShaker this week’s ‘Photo of the Week’ title.

The image, "Battle of the Buoy" by TheShaker, is a fantastic capture from the jet ski championships at Crosby Lakeside Adventure. Both riders are caught at just the right moment at the buoy, with two watercraft leaning into a sharp turn and carving through the water, creating a great burst of spray all around. The detail is impressive throughout, from the helmets and race gear down to the water droplets still hanging in the air. The monochrome treatment suits the shot perfectly, bringing out the raw energy and intensity of the race.

One member describes it as "Caught at the perfect moment and works very well in monochrome" and that really sums it up well. The timing and sharpness speak for themselves, and that is exactly what makes this photo our POTW.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we’ll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

 

When the sun's out us Brits pack the car up with buckets, spades, the dog and family members and head to the beach. But as well as eating ice cream and playing the odd game of cricket or rounders take some time out to take a few beach photos. It doesn't even have to be a gloriously sunny day for photography either as waves crashing against the sea wall will look just as good as a family snap on the front.

  1. Gear Suggestions

You won't need a huge bag full of your fancy gear - you'll have enough to carry with all of the cool boxes and beach gear anyway! Your interchangeable lens camera and a zoom lens are fine or even a point-and-shoot camera will be enough if you're really lacking on space. Make space in your bag for a hotshoe flash for when the sun begins to set and if you're worried about saltwater or sand getting into your camera put it in waterproof housing or if you're using a point-and-shoot make it a waterproof one. Pack a blower to gently remove grains of sand that will land on your lens and have a microfibre cloth ready to wipe away sea spray.

 

2. Capturing Portraits

It's most likely that your number one subject at the beach will be your family but you don't always have to take shots of them grinning like Cheshire cats at you. Candids of them resting, playing in the sand, swimming or eating ice cream will work just as well, if not better than a posed, family portrait.

 

3. Lighting Tips 

Make sure you pay attention to where the sun is. It may work well for the sun to be behind you but this will only make your subject squint. Instead, move your subject into the shade of a brolly or have the sun behind them and use flash to fill in the shadows. Also, if you can, avoid taking photos at midday as the light's harsh and causes long shadows.

 

 

4. Check Your Backgrounds

Keep away from distracting backgrounds and make sure you take a good look around the viewfinder before you take your shot as the odd bit of rubbish, which can spoil a shot, is easy to miss when you're surrounded by so many interesting things. Make sure your subject fills the frame to stop attention going elsewhere and even though it may sound a little clichéd, silhouette shots of people do work well. Try using a telephoto lens to help you compose tightly and have your tripod to hand for those longer, evening exposures.

 

5. Don't Forget Your Basic Beach Shots 

As well as people shots try a sweeping shot of the sea and beach, stretching out for miles. Early morning or later in the evening after all the tourists have gone will give you an empty beach to work with. However, not everyone has kids who will get out of bed early so if the only shot you can take is full of brollies and windbreakers in the afternoon do it. A busy beach, particularly if there's not even standing room left, will always get a smile or you could try to clone them all out if you prefer a more natural shot.

 

6. Capturing Sunset Scenes 

Sunsets are, of course, a holiday snapshot favourite but as the sun's not setting until late on you may want to head off for some food then return to the beach later once your stomach's full.

If you do plan on photographing the sun as it sets DO NOT look at it through the camera lens and wait until it's very low in the sky and diffused by the haze caused by pollution or clouds. If the sun's your main focus, have it slightly off centre to make your final image more compositionally pleasing and don't forget that having foreground as well as background interest works well in sunset shots.

 

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Many sports take place some way from the spectators which makes taking decent pictures without long lenses a challenge. However, accessible sports photography comes in the form of road running events. Something which can be captured right up and down the country. Plus, good action shots can be captured with modest gear at local events because you just stand by the roadside – often there are no barriers or anything to get in the way.  

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1, Do Your Planning

If an event is local to you, walk/cycle/run/drive the course beforehand to find the best vantage points for the day itself. You could check light direction and backgrounds if you have the time. Get to your chosen location early – only relevant at big events – to ensure a good spot. Have all your gear ready the night before so you're not rushing on the morning of the race and take a camera bag that's big enough to carry your gear but won't weigh you down or prevent you accessing lenses quickly. 
 

2. Get Your Group Shot Early 

If you want shots of a large group of runners, these are usually best done at the start because once a race was started runners will soon be strung out. Only in big events will this not be the case.

 

3. Shutter Speeds & Focus Tips 

For sharp pictures keep shutter speeds 1/250sec and above and set the camera to continuous focusing so that the camera tracks focus as the subject gets closer to you. Many continuous AF systems will cope fine with the closing speed of a runner - though you might have to try your camera in different AF sensor configurations to see which works best to suit your shots.

 

 

4. Choose The Right Lens

A telezoom will be perfect for frame-filling shots at a local event, but also try a wide-angle lens from a low viewpoint.
 

5. Set The Right Exposure 

If the sun's shining you might find that underexposure will occur. If silhouetted figures are what you need, that's fine. However, if you want some shadow detail set a + exposure compensation value or set manual metering, taking a reading from the road. That should give good shadow details. If your camera has LiveView, use that to help with composition although, depending on your camera, you might find that the autofocusing is less than brilliant so manual focusing is advised.
 

6. Capture Detail Shots 

As well as shots of the athletes, there will be plenty of detail shots and candids to be had. In road races, you will often get drinks stations and they are great places to try something different. You could try to grab shots of cups of water as they are being grabbed, or runners jostling for position to collect their drink.

After the event, you may get runners draped with survival sheets and that can look good for pictures too. The thing is to keep your wits about you and don't pack up shooting and wander off when the leading runners have finished. The fun runners and joggers often make for better pictures.

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Kev8990 (Day 13- 'Birds Of Prey').

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 9

Rust Close-Ups

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Day 10

Sunny Days

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Day 11

Silhouettes

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Day 12

Diagonal Lines

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  Day 14

Fountains

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Day 15

Desserts

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Day 16

Sunsets

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I know the first thing some people will ask: 'why?' Well, to be fair, that is a perfectly sound question and yes, why bother standing in a stream and shoot water bubbles. To me, it is because you can and with digital there is no cost. It is also a nice break from the usual blurred water shots that many of us love. So, while you are out there doing waterfalls, spend a few minutes afterwards trying this subject.
 

"It is fun, challenging and you may even like the results. In fact, if you want some abstracts to hang up, this technique is worth trying", ePHOTOzine.

Of course, you can shoot water bubbles in the bath, should you feel that way inclined. However, this idea is water bubbles in a babbling brook or at the foot of a waterfall. Health and safety point here: Please take care on slippery rocks and obviously take care of your kit.

  1. Take A Support

You could, of course, use a tripod and position the camera so it is pointing down. Tripods that have a centre column that can be swung round to horizontal make it easier to shoot down onto the water's surface as well as offering more support than working hand-held will. Do make sure your tripod is secure and balanced so it won't fall over, camera first into the stream or river you're photographing.
 

2. Pick The Right Lenses

Lens-wise, try your lens's macro feature or use a macro lens. A macro lens used close up is perfect, but there won't be a great deal of depth-of-field at such fast shutter speeds. Setting a high ISO is an option, but that depends on the noise performance of your camera.

3. Dress Appropriately

Wear sturdy boots, making sure they are waterproof if you're planning on standing in a stream. Wellies or waders mean that you have more freedom regarding camera position but you can just find a suitable spot by keeping your feet dry and standing on a rock or something. You'll also need a warm, waterproof jacket, particularly at this time of year when a rain shower is a common thing. Various jackets and photographer's vests are available on the market.
 

4. Choose The Right Shutter Speeds

Find yourself a good spot in the stream. This can be in a sunbeam or it can be in the shade. However, very fast shutter speeds are the order of the day, so check the lighting and if you are getting 1/1000sec or more, great. It is an opportunity to explore those speeds of 1/2000sec and 1/4000sec. As with blurring flowing water, try different shutter speeds. Flash is worth a try too.

  

5. Let's Talk About Focus And Exposure

Exposure and focusing are technical challenges. Your camera is not going to manage to autofocus – water bubbles do not hang around waiting for your AF to kick in. The best thing is to focus manually and then change the camera position to get sharp focus. The reject rate will be high.

Exposure can be tricky because you have a bright, sunlit bubble against a dark background, and the scene is constantly changing. Like focusing, taking the manual option is worth serious thought. Meter manually, shoot some frames and make adjustments. Once you have metered for a particular lighting situation, it is time to start shooting.
 

6. Don't Stop Shooting

Shoot lots. You are not going to get the perfect picture in a couple of frames. You will find that the micro landscape in front of you is never the same twice – miss a shot and you are not going to get another identical shot. Put in a positive way, every shot you take will be unique – no question. You can also play around with your images in Photoshop, flipping images to create interesting patterns etc. 

 

 

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  Natural light is often the only light available to us when we are out shooting. But far from being an untameable beast, there are several ways that you can control it to achieve your desired photo.   1. Pay Attention To How It 'Looks'

A scene can look very different depending on what time of day you're looking at it. For this reason, when possible, it's worth visiting a location at various points a day or so before you want to take your photos as this will give you the opportunity to judge when it looks at its best. Of course, this isn't always possible but a little research on the internet may uncover some information on your chosen location you can use to your advantage.

Don't always think you have to shoot in the 'golden hours' either as you some subjects, such as close-up work for creating textures, look better when photographed at other points during the day. Having said that, early morning or late sun can transform a scene which appears flat and not very inspiring during the middle of the day. 
 

2. Light Direction

By changing your shooting position or moving your subject (if possible) you can alter the direction the light falls. The relationship between the direction of light and your subject is important as it can change your image from a good shot to a great one. Think about light direction when setting up and decide if front, side or backlight is perfect for the scene. Side lighting often produces the best highlights and shadows which is key for giving shots a dimensional feel. 

 

 

3. Reflect Light

Reflectors come in many shapes, sizes and colours. Predominantly though they are white, silver or gold and each type of colour will reflect light slightly differently. White reflectors are a safe bet but if you want a brighter light, use a silver reflector, while gold ones produce a warmer light. 

Why do you need to use a reflector? Well, it's a simple and reasonably inexpensive way to bounce light where it's needed. Try not to hold the reflector too low and remember that light will bounce back off a reflector at the same angle it hit it at. Also, the closer the reflector is to your subject, the stronger the light reflecting off it will be. 
 

4. Diffuse Light 

When working indoors with window light, curtains can be used as barn doors or flags to control the 'spill' of the light and a net or something similar can be used to diffuse and soften the light.  

If you're working outdoors ask your subject to move into a shaded area where the light will be more even and as a result, your portrait will be more flattering. 

 

 

 

5. Post Processing

Even though we strive to get everything right in camera, often shots need a slight tweak during post-production to balance the tonal range. We know this isn't about working with natural light when out in the field but it's about making the natural light balance correctly throughout the image. 
 

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A day out at the coast gives you a good excuse to get your camera out of its bag. It doesn't matter if you're going on a family day-trip or with a group of fellow photographers as you'll be able to capture a decent amount of imagery with whoever you go with, although your family probably won't want to see you looking down your view-finder all of the time!

In this article, we list 10 popular photography tutorials which are all about taking photos at the coast as well as offer some advice on what gear you might want to consider packing next time you head for the beach.

 

1. Beach Photography Tips - 5 Top Ways To Shoot Beach-Themed Images

 

2. Photography Tips For Shooting At The Coast  As And After The Sun Has Set 

 

  3. Tips And Kit Suggestions For Photographing Piers At The Coast 

 

4. Edwin Brosens Shares His Top Tips On Capturing Seascapes

 

 

5. Coastal Compact Camera Close-Up Photography Tips

 

6. Step Down Onto The Sand And Under The Pier For A Spot Of Pier Photography

 

7. How To Capture Lighthouse Landscape Shots On Your Coast Visit

    8. Top Flotsam Photography Tips For You To Read

  9. Five Tips To Improve Your Coastal Landscape Shots

 

10. Ten Top Tips To Help You Improve Your Seaside Photography

 

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As we dream of jetting off to warmer climates in search of sea, sun and some scenic shots to photograph, we thought we'd put together a collection of top travel tutorials you really should have a look at before you head off with your case packed and photographic gear ready.

 

1. How To Improve Your Travel Photography Portraits Instantly

We share our tips on how to successfully photograph the people who live in the place you're travelling to with kit advice, tips on framing and more. 

  2. Six Awesome Travel Food Photography Tips For That Perfect Instagram Shot

As well as portraits and shots of beaches why not take a few photos of the plates of food you purchase? After all, getting your smartphone out before you chow down is the normal thing to do nowadays, isn't it?

 

3. How To Photograph Ruins in 5 Easy Steps

Historical ruins such as churches, castles and abbeys decorate our countryside and seaside towns but you'll also find a few smaller, but still impressive ruins closer to home. Walls, arches and columns are still dotted around a few towns and villages which are still photogenic even if there's not much of the structure left to photograph. If you're off on your travels, have a look online and at local tourism centres to find out what ruins are near to where you're staying.

 

 

 

4. How To Keep Shooting During Those Hot, Sunny Days

If you're heading off on holiday here are a few tips to help you keep taking photos when it's hot outside. Plus, as well as looking after your gear, don't forget to look after yourself. It may seem obvious now, but it's easy to get away with taking photos and the small things such as reapplying sunscreen and having a drink of water can be forgotten.

 

5. Ten Safety Tips For When Traveling With A Camera 

Here's a quick list of quick but essential tips to help you keep your camera safe while on holiday. 

 

6. Learn To Convey A Sense Of Place And Culture With Your Travel Shots

When shooting travel images, as well as showing people back home that you had a really great time and that it was sunny every day, try capturing shots that convey a sense of place and culture as well. 

 

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In most cases, when manufacturers moved from DSLRs to mirrorless cameras, this also meant a new mount to accommodate the reduced back focus distance. No longer did lenses have to be designed with the DSLR mirror box in mind. The main consequence is that we might be left with an impressive collection of fine DSLR lenses with a dwindling supply of new bodies to use them with. As technology developed further, we would need new lenses along with the resulting expense. The answer is, of course, a lens adapter, enabling the old lenses to be used on the new cameras. Ideally, that would include transmission of data and full operation of AF and exposure information.

The Canon solution is the EF-EOS R AF Mount Adapter, at a price as we might expect. Enter Meike, with their own version of the adapter range, plus quite a few additional filters of their own. The Meike adapter range is much more affordable, and Meike has a growing and impressive reputation for efficient, well made kit, so this makes a very interesting proposition.

Armed with the 26MP Canon EOS RP body plus the very fine Canon EOS EF 50mm f/1.8 lens, let's see how the Meike adapter brings these two together.

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Handling and Features

The version of the adapter provided for review is the MK-EFTR-C, with a drop-in filter facility and two drop-in filters provided. These are the V-ND, a variable neutral density filter, plus a clear filter. Including the V-ND, the adapter weighs in at a featherweight 136.8g. Dimensions are a trim 73.0mm x 24.7mm. 

There are electronic connections and AF is fully supported. It is quite clear that the adapter is very well made, from the look and feel of the components to the smooth action when bayoneting either lens to the adapter or the adapter to the R body. Although tempting perhaps to think an adapter contributes little of its own and is just an interface, in fact, there is much more to it than that. Apart from the need for precision in manufacture, of which more in a moment, there is the need for rapid AF performance and correct transmission of EXIF and other data.

 

 

To ensure absolute precision in the connection of the lenses, a couple of shims are provided and these can be used if the tolerances should happen to be slightly out. There was no evidence of that, so they were not needed, but it's good to know that should it be necessary, the point is well covered.

There are several versions of the Meike adapter. The one provided for the review is the MK-EFTR-C, which includes a drop-in filter V-ND plus a clear filter. V-ND is a variable neutral density filter ND-3 to ND-500 mounted in a beautifully designed drop-in system that is compatible with the original Canon version. There is also available an MK-EFTR-B, which is a version with the control ring. A third option is MK-EFTR-CPL, with a drop in polarising filter. The plastic case for the storage of filters not in use is another design gem. This all adds up to a very efficient way of storing and changing filters. This is so much easier than using screw in front filters and, of course, also means just one set of filters regardless of the lens in use. 

 

 

Rotating filters are especially easy to use, as a small wheel is provided that enables adjustment. The obvious application would be the polariser, or as in the case of the version provided, a variable ND. This also extends to a whole series of filters from Meike and the leaflet provided in the box lists some 22 options. Admittedly, these are mostly various ND filters, plus the variable ND, the clear filter and the C-PL. The “Creative filters” include various star, streak and rainbow effects.

However, the basic application is, of course, the ability to use Canon EF and EF-S lenses on the new Canon R bodies, specifically EOS-R, RP, R5, R6, R7, R10, C70 and Red Komodo. Let's now have a look at how the adapter performs in use and see whether we have a viable and reliable alternative to the Canon original product.

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Performance

First job is to align the correct colour of dot with the EF (red) or EFR-S (white) index on the mount, and the lens smoothly clicks into place. The fitting end of the adapter, with its generous seal, offers a moisture and dust resistant interface with the camera body. After that, we can use our EF or EF-S lenses as they were intended, and of course, there are many fine lenses that have long working lives ahead of them yet.

The drop-in filter system is magnificent, so easy to use and such an excellent idea. The filters themselves do not seem to create any CA effects, perhaps the very slightest sign of an increase in fringing at the mid point of the V-ND, but even then very difficult to induce. As we rotate the V-ND, the colour balance does not seem to be severely affected, certainly not in any way that is obvious to the eye, although a slight shift might be expected at high values approaching the maximum.

AF operation is also unimpaired and the camera operates just as it would normally be expected to.

The instructions suggest that the filter should be removed before installing on the camera, something that might easily be forgotten. The idea that a filter should always be installed is a more obvious one. Failing to do this would result in light leaking in to the side of the lens, running the risk of creating flare effects.

 

MEIKE Drop-in Filter Mount Adapter MK-EFTR-C Sample Photos Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

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  Value For Money

The kit as provided, the [AMUK]Meike MK-EFTR-C Drop-in Filter Mount Adapter|Meike+MK-EFTR-C+Drop-in+Filter+Mount+Adapter[/AMUK] with V-ND and Clear filters, is priced at £135.99.

There are other kit versions:

• [AMUK]MK-EFTR-B with Control Ring|Meike+MK-EFTR-B[/AMUK], £79.99
• [AMUK]MK-EFTR-CPL Circular Polarising Filter for MK-EFTR-C|Meike+MK-EFTR-CPL[/AMUK], £55.99
• [AMUK]MK-EFTR-VND Variable ND filter|Meike+MK-EFTR-VND[/AMUK], £55.99

To put this in perspective, some Canon original options:

• Canon mount adapter with control ring, £239
• Canon drop-in filter mount adapter with C-PL filter A, £359
• Canon drop-in filter mount adapter with V-ND filter A, £499

Those figures are pretty dramatic and in terms of pricing the Meike looks very attractive indeed.

 

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Verdict

Meike is pitching in here with an excellent product at a very attractive price point compared to the OEM version from Canon. There may be those who, regardless, will always opt for the manufacturer's original version for any and all accessories, and that's fair enough, although we know it comes at a price. Manufacturers such as Meike compete with keen pricing, but at a quality level that does the job and does it well. The irony is that often the after market items have features that extend and even improve on the original. Meike is a manufacturer that does this very well, and this latest adapter is a great example of a really well designed and manufactured item that can hold its head high, at a price level that brings it into range for many more photographers.

The Meike adapter is Highly Recommended.

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Pros

• Very well designed and made
• Efficient and reliable operation
• Keenly priced
• Enables full use of DSLR lenses on mirrorless bodies
• Moisture and dust resistance

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Cons

• Some slightly fiddly instructions re shims, should they be needed

 

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    It's coming up to that time of year when many families start to think about jetting off to warmer climates or simply heading to the Britsh coast to escape reality for a while. An accessory that's guaranteed to be packed is a camera but instead of just capturing shots of family members in pools and on the beach, why not turn your attention to food photography and capture some mouth-watering images of the plates you're served and stalls you pass on trips. 

 

1. Where Will You Be Taking Your Photos? 

Where you're working can sometimes determine what equipment you can use. If you're in a busy restaurant there's probably not room for a tripod so you'll have to work hand-held or use a smaller support that can fit on the table. But if you're out in the street photographing food stalls and the people who run them, they'll be more room to use a tripod, although if you plan on moving around a lot, you'll probably better taking a monopod with you as they're easier to walk with and take up less room.
 

2. Think About Presentation 

Restaurants want to impress you so food is, generally, presented and displayed well already which means you don't have to play the role of the designer. Do look out for attractive produce though, particularly if you're at a hotel where you can serve yourself. Make sure fruit isn't bruised and colours are vibrant. If you're photographing meat make sure it's not overcooked and lookout for herbs and pepper grinders as a sprinkling of pepper or a few green leaves can make your photograph looking more appetising. Also, look out for crumbs and sauce that may be sat on the side of the plate as this can distract the viewer.

 

 

3. Consider Using Repetition 

If you can pick your own food, repetition works well and three items on a plate will often look better than two. Don't think you always have to centre your subject and if you're working with tall items such as ice creams and coffees in glasses, switch your orientation to portrait.

  4. Backgrounds Shouldn't Distract

Try and keep your background uncluttered but if you're in a busy restaurant where this isn't possible, just use a wide aperture to throw the background out of focus or you could try placing a plain jacket/cloth over a chair and positioning so it sits in the background of your shot. If the chairs are too low use the back of a menu, so long as it's plain, as your background, placing it behind your plate. If it's coloured make sure there's no colour cast on your food/plate, particularly if the crockery is white and a shallow depth of field will help keep all attention on the food in the foreground of your shot.

Don't forget to take some wider shots of the serving area too. In hotels particularly you'll find several buffet carts, chefs preparing food and guests deciding what to eat which can make interesting shots. 

 

 

5. Stick To Natural Light

Use natural light where possible so if you can pick where you sit, choose a window seat or better still, sit outside. You need to avoid using direct flash as your food won't look very appetising so make sure you've switched it off, particularly in low light situations where some flashes will automatically fire.

 

6. Get Out On The Street 

Away from restaurants, you can find small stalls, especially in markets, that make and sell food. If you want to snap a few shots of the stallholder it can help if you actually show some interest in the food they are producing. It's not always advised to eat the food they're cooking but you can ask them questions and spend some time actually appreciating their skill. If you're working close up never shoot without asking permission first and if they say no, just move on to another stall instead of arguing with them. For those who do agree, fill the frame with their face as you'll find they'll create plenty of interesting expressions when concentrating on getting their creation perfect.

If your subject is working under a canopy your camera can get confused by the brighter space that surrounds them and your shot can end up a little dark. If this is the case, just lock your exposure and recompose the shot.

 

If the weather's not playing ball or you're on a street that's shaded from the sun don't be tempted to use your flash as this can destroy the feeling/atmosphere you're trying to create. Just try using a wider aperture or a higher ISO and if you find the higher ISOs make your shot a little grainy, try turning the shot black and white as it can work rather well.

Another option is to use a tripod and slower shutter speeds which will blur the movement of anyone who passes through your shot, however, if you're focusing on someone who is moving between a chopping board and a stove, the blur can emphasise the speed they're working at. The slower shutter speeds can also be used to capture a few closer shots of flames, just make sure you don't burn yourself and don't catch any hot plates and pans by mistake.
 

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Tadpoles tend to be more prevalent at this time of year and, as they take about 12 weeks or so to become froglets, it's a good time to take some photographs.

 

1. What Gear Do I Need? 

A macro lens of 90 to 100mm is perfect, providing you have access to get close to the surface of the water. If not you will need a longer lens with a close focus facility. A tripod is handy to keep the camera steady as you take the photo, but you'll need one that has legs that splay out so you can get the camera closer to the pond's surface when using a macro lens. It's also better if the centre column swivels over 90-degrees to act as a macro arm so you can position the camera over the water's edge and not at an angle. It may be easier to lay down on the floor (use a waterproof sheet to keep you dry) and use your arms as support. A polarising filter will reduce any surface reflections allowing you to see more clearly under the water.

 

2. Follow One Tadpole

Tadpoles tend to be quite active but move around in spurts. One minute they stop to presumably rest and then swim off to another spot. When they're active you need to hone in on one and follow it around, taking shots as it rests. Use a fast shutter speed to prevent tail blur, and increase the ISO if you need a smaller aperture.

Also, watch for tadpoles taking in air - they swim quickly to the surface and gulp air in. At this point, you can get a head-on shot with mouth wide open, but you often have to be quick as it's fast action.

 

3. Make It Easy For Yourself

Look around the edges of the pond for the easiest shots. It's here where the tadpoles will be feeding off vegetation around the side of the pond, especially when they have no legs as they are not yet meat-eaters.  In the shot above the tadpole was slowly pecking away at the edge of the pond causing debris to burst back. This microscopic activity comes to life when a macro lens is at its extended range.

If the sun is out, make sure you don't get the distracting rim where the water touches the side. This will appear as a white burnt out outline. Take the shots slightly away from the edge pointing inwards to conceal this outline. Shoot when the tadpoles are nearer to the surface to prevent the cloudy water making the image look dark.

4. Older Tadpoles

When the tadpoles have legs they become carnivorous (meat-eaters) so you can pop the odd worm, snail or piece of chicken in and watch them gather around in a feeding frenzy.
 

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Tamron are producing some very different and exciting lenses, primarily zooms, that do not necessarily follow the norm for focal length ranges. However, they all make sense when the intended applications are defined. This new 35-100mm optic is indeed an unusual choice of range, however, for arts, sports, people and travel photography, it could just be the compact, fast and efficient companion that is needed. Less expensive and more compact than the well liked 35-150mm, there is considerable potential for especially travel and general photography. There is much to be said for travelling light. Let's couple the new lens up with the 42MP Sony A7R III body and see how it fares across various Yorkshire locations, including Whitby, Pickering and Hutton-le-Hole, both in rain and sun.

 

Tamron 35-100mm f/2.8 Di III VXD Handling and Features

First, our tour of the lens, starting with the provided petal lens hood. This bayonets cleanly into place and remains firmly attached even without any locking catch. Within the bayonet fit for the hood is a standard 67mm filter thread, a size that many Tamron zooms have in common. The front element is treated with a Fluorine coating to help repel dust, grease and moisture. The lens is weather sealed and it stood up well to the usual Whitby rain.

This Sony FE full frame version weighs in at a modest 565g. The Nikon Z version weighs slightly more, at 575g. Dimensions are 80.6mm x 119.2mm (FE) and 80.6mm x 121.5mm (Z). 

 

 

The manual focusing ring has just the right amount of resistance, electronic in operation and so, as might be expected, utterly smooth. Behind this is the focus set button and also a three position switch to allocate three custom settings. Closest focus is 0.22m at 35mm, for a maximum magnification of 1:3.3, and 0.65m at 100mm, for a maximum magnification of 1:5.9. AF is driven via Tamron's VXD motor, which stands for Voice coil eXtreme torque Drive. This is virtually silent and locks on with speed and accuracy.

The zoom ring does extend the lens, but is still impressively smooth and does not upset the balance of the camera/lens combination. There are clear and accurate markings at 35mm, 50mm, 70mm, 85mm and 100mm. Whilst it is no doubt true that the range is somewhat narrower than many options, we gain close focusing, a compact form factor and a fast and constant f/2.8 maximum aperture. If the need was felt, then a small prime wide angle could be the most obvious choice for a companion lens. In use, the need for this was not felt and choosing the shooting position appropriately seemed more than satisfactory.

 

 

Optical construction is 15 elements in 13 groups, including 1 XLD (Extra Low Dispersion), 2 LD (Low Dispersion) and 3 GM (glass moulded aspheric). There are 9 blades to the diaphragm and the result is a very well rounded aperture, even when closed down. Tamron's excellent and well proven BBAR-G2 multi-coating is utilised.

There is also a USB-C connection, and as is increasingly the case, this allows the lens to be customised and operated via the Tamron Utility App, for iOS, Android and PC. The PC version allows firmware updates. As well as a cable connection, the new Bluetooth device TAMRON-LINK can be used to connect remotely. This is unobtrusive and may be a more convenient way to connect.

Although designed for Sony or Nikon full frame mirrorless cameras, the lens can also be used on the crop sensor bodies. The “35mm equivalent” would then be 52.5-150mm. This is arguably not as useful a range, but it is technically possible. As it is, the balance of the lens on the Sony A7R III is excellent and the operation is smooth and faultless. For general shooting, it works well and produces some gorgeously crisp, colourful images. 

Now on to the technical tests to see how the lens performs.

 

 

Tamron 35-100mm f/2.8 Di III VXD Performance

At 35mm, central sharpness is excellent from f/2.8 right through to f/11 and remains very good at f/16 and f/22. The edges are excellent from f/2.8 to f/8, very good at f/11 and f/16 and fair at f/22.

At 70mm, central sharpness is excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and still good at f/22. The edges are likewise excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and good at f/22.

At 100mm, central sharpness is very good at f/2.8, excellent from f/2.8 to f/8, very good at f/11 and f/16 and fair at f/22. The edges are very good from f/2.8 to f/8 and fair from f/11 to f/22.

This is a superb performance that is also well maintained even close up. Kudos to Tamron for producing such a well balanced and high quality optic.

 

Tamron 35-100mm f/2.8 Di III VXD MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Sony A7R III body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is very impressively under control throughout the range and further correction in software is unlikely to be necessary. There is virtually no sign of colour fringing.

Distortion is very close to zero. Some barrelling can be measured, but the figures are very low, -0.24% at 35mm, -0.09% at 70mm and -0.06% at 100mm.

 

Tamron 35-100mm f/2.8 Di III VXD Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Sony A7R III body using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. Here we find really very beautiful, smooth out of focus backgrounds, relaxed and natural with not a trace of raggedness. To combine this smoothness alongside the very high degree of sharpness at the focused plane is a skilled trick to carry off, and Tamron's designers seem to be able to hit the spot with consummate ease.

The flare performance is also excellent, clearly the design, internal baffling and coatings are all combining to do an excellent job of suppressing internal reflections. 

Vignetting is very well controlled.

 

Aperture 35mm 70mm 100mm f/2.8 -1.6 -1.3 -1.3 f/4 -1.3 -1.2 -1.1 f/5.6 -1.3 -1.1 -1.1 f/8 -1.2 -1 -0.9 f/11 -1.2 -1 -0.9 f/16 -1.1 -1 -0.9 f/22 -1.1 -1 -0.9

 

Tamron 35-100mm f/2.8 Di III VXD Sample Photos Previous Next

 

Tamron 35-100mm f/2.8 Di III VXD Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

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  Value For Money

The [AMUK]Tamron 35-100mm f/2.8 Di III VXD|Tamron+35-100mm+f/2.8+Di+III+VXD[/AMUK] lens is priced at £799.

A few possible alternatives, but with a variety of different specifications. FE lenses are for Sony full frame and Z lenses are for Nikon Z full frame. 

• [AMUK]Samyang FE 35-150mm f/2-2.8|Samyang+FE+35-150mm+f/2-2.8[/AMUK], £854
• [AMUK]Sigma 28-105mm f/2.8 DG DN Art|Sigma+28-105mm+f/2.8+DG+DN+Art[/AMUK], £1399
• [AMUK]Sony FE 50-150mm f/2 GM|Sony+FE+50-150mm+f/2+GM[/AMUK], £3699
• [AMUK]Sony FE 24-105mm f/4 G OSS|Sony+FE+24-105mm+f/4+G+OSS[/AMUK], £899
• [AMUK]Sony FE 24-70mm f/2.8 GM II|Sony+FE+24-70mm+f/2.8+GM+II[/AMUK], £1899
• [AMUK]Tamron 35-150mm f/2-2.8 Di III VXD|Tamron+35-150mm+f/2-2.8+Di+III+VXD[/AMUK], £1599
• [AMUK]Tamron 20-200mm f/3.5-6.3 DG Contemporary|Tamron+20-200mm+f/3.5-6.3+DG+Contemporary[/AMUK], £799
• [AMUK]Nikkor Z 24-70mm f/2.8 S II|Nikkor+Z+24-70mm+f/2.8+S+II[/AMUK], £2299
• [AMUK]Nikkor Z 24-120mm f/4 S|Nikkor+Z+24-120mm+f/4+S[/AMUK], £849

VFM does include price, performance, handling and is not just a question of one of these. Overall, the new Tamron lens looks excellent VFM in all of these different respects.

 

 

Tamron 35-100mm f/2.8 Di III VXD Verdict

The lens acquits itself extremely well as a travel companion and general purpose optic. It can cover events, portraits, small groups, close ups and even maintains its performance when shooting flat text or documents. The offset is, of course, a relatively restricted focal length range, taking us back to the long gone days when 35mm was considered the standard wide angle lens. Wide angle photographers might just look for a different lens, or carry a small, wider prime lens to cover situations where 35mm is just not wide enough. Likewise, at the telephoto end, if it isn't long enough, then perhaps a different choice.

Having said that, as a travel companion that delivers superb quality in a compact package, these things may not in reality be much of an obstacle. This reviewer found the lens to be a very likeable companion and not at all restrictive in terms of focal length. The results were beautiful and obtained without carrying around a mass of kit.

Combining ease of use, value for money, a compact form factor and superb results, the lens has to be an Editor's Choice.

 

Tamron 35-100mm f/2.8 Di III VXD Pros

• Excellent sharpness
• Minimal distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled
• Moisture and dust sealing
• Magnification 1:3.3 at 35mm
• Modest vignetting
• Beautiful bokeh
• Affordable pricing

 

Tamron 35-100mm f/2.8 Di III VXD Cons

• Modest focal length range

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=5|R_overall=5|A_level=5|A_text=Editor's Choice – A high class performance from this versatile, compact and fast zoom lens, perfect for travel, sports and people.|E_id=8027[/REVIEW_FOOTER]

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Public gardens are bursting at the seams with blooms of colour and as most are free it means you can spend a few hours taking great floral photographs with no extra cost.

Public gardens vary in size and some even attract photographers because they are home to a particular species of flower. When's the best time to visit will depend on what flowers you're trying to capture in your images but generally there's something to capture all year round. Don't overlook photographing topiary, water features, ponds and streams too. 

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What Camera Gear Will I Need? 

When you're heading out the door, make sure you have your camera bag because as well your sandwiches and a flask of tea, you'll also need a few lenses. As you could find yourself changing lenses frequently a sling bag with side access could make it easier and quicker to reach for a particular piece of kit but a camera backpack that's designed to carry several lenses, camera body and accessories will also be fine. 

When it comes to lenses, a wide-angle lens will give you sweeping shots of the colourful gardens while your telephoto will get you close and your macro lens even closer still.

Pack a polariser to stop glare and help enhance the colourful blooms and a reflector will bounce light where it's needed. If it's shade you need your own shadow will work perfectly well but a piece of plain card will also do the trick.

Take a notebook and pen along too as once you're back home all those Latin names will be long forgotten and you'll need to know them so you can title your images correctly.

 

Make Sure You Contact The Garden Staff

If you give the public garden a quick call you'll be able to find out what's blooming and when. You'll also be able to check if there are any restrictions such as: do you need to always stick to the path? Or, can you get close to take a shot of a flower head that completely fills the frame? And, are tripods allowed? If not, you'll need a sturdy hand and very still air to stop blur spoiling your shot. You could also pack a beanbag or use a wall, bench or another type of support that you'll find in the garden.

 

 

What's The Best Time Of Day?

Make sure you arrive early as the light's better, there's less chance of breeze and there will be fewer people to get in the way of your shot.
 

What Type Of Images Can I Take? 

It's very easy to be lazy in a public garden and stay in one place but there's lots of space and plenty to see so make sure you take advantage of that.

Change your focal length, create a different angle and move your point of view. Use a wide-angle to establish where you are but then move in closer for frame-filling shots that burst with colour and detail. Think out of the box a little and be different if you can. Set your camera up on a tripod (if allowed) and shoot a time-lapse series of a bud opening or find some plants which are dying to give your flower photography a different slant.

Look for paths that will draw the eye in and gateways that will frame your shot. These patterns and props are fun to look for but if you ask the garden's staff or do a quick search online you'll soon find a few tips that point you in the right direction as well.

 

 

How To Deal With Wind & Shake

As with all types of flower photography, the wind is your enemy (that's unless you want to create blur of course). A tripod will help reduce camera shake when the wind's blowing and a cable release or the camera's self-timer will also help you take a steady shot. If tripods aren't allowed you'll just have to sit and admire the garden until the wind stops blowing. You could hold the flower steady with a piece of wire but this might be frowned upon so check first.

 

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