Enewsletter
June 2010

I shoot with different cameras because that’s my job. I do not have a bag of gear that I can grab and go to an unspecified site because I’ve learned over the past several years that every destination is different, and that it’s possible to coax the best images out of a given location simply by taking the right equipment and applying it to the best of my creative ability. In other words, I pack a different, carefully considered assortment depending on where I’m going, even if it’s just to the city park with my nine-year-old, or a bicycle trip to my favorite local nature preserve.

Despite my preference for Tamron “all in one” lenses (like the 18-270mm VC that’s almost always in my bag) there are times when the conditions demand a different approach. I get better results at museums and art galleries, for example, when I use my Tamron 17-50mm f2.8 VC.

By the way, the VC stands for Vibration Compensation. Camera shake is the number one cause of unsharp pictures. Tamron VC lenses have technology that compensates for the slight camera movement that can otherwise rob you of a clear, sharp image.

In one respect, the easy way to get the best possible pictures would be to carry every Tamron lens with you at all times—but that’s as impractical as wearing all of your clothes at the same time, just in case the weather changes. I sometimes deliberate for an hour or longer, pondering the right assortment of gear that will allow me to get the best shots without being overburdened by excessive weight or bulk.

To save you the time that I’ve already invested, I’ve condensed my experience into the following recommendations. One caveat: every person is different, with different taste and shooting style. Use my suggestions as a time-proven starting point, but adjust the advice to match your personal preferences.

We’ve identified the six most popular photo destinations—based on warranty card info from Tamron lens owners—and created three recommendations for each. The first recommendation is the Tamron lens that you absolutely, positively need to pack. The second is the lens you really should have along on the trip, but you might be able to live without it if you must. The last suggestion is the “nice to take” lens. I generally take all three plus one more, unless I know that the venue contains a wildcard scene (a dark cavern in a National Park, for instance) that requires something special.

There are 392 National Parks in the US, and they welcomed more than 285 million visitors in 2009. While each park has its own personality and offers different attractions, you will always want to take a Tamron 18-270mm VC zoom. The ability to zoom seamlessly to capture a mountainside at the 18mm wideangle setting—and then zoom in with the 432mm equivalent telephoto to frame wildlife—is a great advantage. You’ll also need a Tamron 10-24mm wideangle zoom because most parks offer breathtaking scenic vistas. It performs as the equivalent of a 15-36mm on my Nikon, and that range is wide enough to cover most landscapes, as well as the insides of a cave and other “close quarters” subjects.

My “nice to have” recommendation is the 60mm f2 Macro. I never fail to find small things—bugs, plants, rocks—that entertain me for hours. The 60mm Macro is the best lens for those sorts of subjects. If you’re a camper, and stay in the park overnight, you probably enjoy shooting at dusk and dawn. If so, you’ll appreciate having the 60mm Macro’s fast f2.0 aperture, too.

Tip: Pack a couple large plastic garbage bags—use them to protect your camera and lenses if it rains or snows.

When it’s more than just a casual visit—or even when it is—you want to create memories of the happy event with some great photos. There could be a couple things working against you—besides the six hour home videos and Uncle Charlie’s cayenne potato salad. Often the scene—whether comfy family room or the backyard deck at sunset—is dimly lit. That’s why the Tamron 17-50mm VC zoom always goes with me to family gatherings. The fast f2.8 aperture—which remains available throughout the entire zoom range instead of shrinking to f6.3 like many “kit” zooms—allows me to keep shooting when the lights go low. And the VC—Vibration Compensation—is a sure cure for the shakes.

You also need a 60mm Macro, but (surprisingly) not to take close-ups. The 60mm focal length translates to 90mm on my Nikon DSLR, and 90mm is the most-favored focal length for portraits. Combine the ideal portrait focal length with a fast f2.0 aperture and you’re ready to shoot distinctly good portraits of family and loved ones.

I also recommend a wideangle Tamron 10-24mm zoom. I pack one, even though I may use if for only a few dozen shots, because it’s a must-have lens when a crowd of six or more show up and you’re trying to get everyone into a group picture. It even works in tight living rooms, but make sure you keep parallel walls straight, otherwise the laws of physics take over and your images will appear distorted.

Tip: Food is always an interesting photo subject, especially if your family has some traditional meals or special recipes.

Here in Jersey we call it “down the shore” but the destination has the same hallmarks: sun, sand, water and zillions of things to photograph. You need an 18-270mm VC zoom, naturally, and for the sweeping shoreline, shots of the boardwalk and covert candids you must pack a 10-24mm. But here’s the dark horse: the 180mm f3.5 Macro.

In the hands of an above average photographer, the 180mm Macro is quite an exquisite lens. It’s a true 1:1 (“Life size”) macro lens, so you can get close to small objects and see them in ways you never have before. But when used on a DSLR with an APS-C sized sensor (i.e., most of the popular models) it behaves like a high-speed telephoto—to be exact, a 270mm f3.5 on my Nikon. That’s an awesome instrument. And it’s razor sharp. You can isolate your subject by using a large aperture and thereby limiting Depth of Field to mere centimeters. That combination produces dramatic, professional-looking portraits with a glorious out-of-focus background which we call bokeh. You can also get close to distant subjects or close-up to small ones. It’s a very versatile lens.

Tip: Sand, water and suntan lotion can ruin cameras and lenses—and void warranties. Use caution when shooting on the beach!

It may seem like I’m cheating on this one, but I’ve photographed enough theme parks to know that you need all three of these lens, and maybe a 70-200mm f2.8 too. The dynamics change significantly between park opening and park closing, and the lens that’s perfect at 9AM doesn’t cut muster at 11PM.

Here’s what I do. I attach the most likely lens—in my judgment, the 18-270 VC zoom—and walk the park. When I get to the end, I change lenses and walk back. What I see through an 18-270 zoom is dramatically different compared to what I see through a 10-24mm wideangle. This doesn’t mean that I don’t stop and change lenses in midstream—I most certainly do. But I’ve learned that I can expand my vision and creativity by making a dramatic lens change, even when I revisit the same subjects. So pack all three zooms. You won’t regret it.

Tip: Study the park map before you venture forth so that you can coordinate your schedule with timed events (like animal feedings, live entertainment, fireworks, etc.).

Museums can be dark, sophisticated and quiet—but that’s just when you’re inside. I’ve made a habit of enjoying what’s outside the museum either before or after I visit the main attraction. Let me explain. I pack a fast, versatile 17-50mm f2.8 VC zoom for photographing the interiors of museums and galleries. I’ve shot exhibits at shutter speeds as slow as 1/3 of a second with incredible results.

But outside the museum—and all museums have outsides—I find hot dog vendors, commuters, weird cars, unique architecture—you get the idea—and for those subjects I take my 18-270mm VC zoom, 60mm Macro or other suitable lens, depending on what I think I’ll find. When my family visits a gallery or museum, we visit the entire area within a five block radius. Think outside the box—and be prepared to take photographs outside the building.

Tip: Check the museum’s website for their policy regarding cameras. For example, some welcome cameras but forbid tripods; others banish accessory flash attachments.

In my family, when we say that we are enjoying a Staycation instead of a more expensive traveling vacation, we mean that we plan to relax at home but also venture off on some all day trips to local attractions. We’re lucky because we could visit different and exciting places in Manhattan every day for the next few centuries. Nonetheless, we often find ourselves instead at less glamorous venues—like local pick-your-own orchards, hiking trails in the Catskills or simply scorching a couple of strip steaks on the Weber and watching Hulu on an iMac.

Tip: Staycation time is a great time to photograph all of the flowers in your garden—and your neighbor’s garden—and the garden down the street—etc., etc.

By now you’ve caught on that I favor what I call the Tamron Triumvirate: the 17-50mm VC, 18-270mmVC and the über-versatile 60mm f2.0 Macro. But there are many other exciting Tamron lenses that could end up becoming your personal favorite. The important thing to remember is that you can improve your picture taking by matching the right gear to your destination. You’ve heard me say it before: great photographs begin with great lenses.

Check out my blog on Shutterbug magazine's homepage. Please comment if you like what you read. http://blog.shutterbug.com/jonsienkiewicz/

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