Ultra-Telephoto Elevation

Lisa Langell discovers new creative possibilities with the Tamron 50-400mm VC VXD zoom lens.

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By Jenn Gidman
Images by Lisa Langell


When Lisa Langell recently had the chance to test-drive the new Tamron 50-400mm Di III VC VXD ultra-telephoto zoom lens, capturing stills and video of hummingbirds and the wildlife of Alaska, she was excited to put it through its paces. The Arizona photographer knew she wouldn’t be disappointed in the image quality she’s consistently achieved with Tamron lenses, but she remained a bit skeptical on what advantages the 50mm end of the lens would offer her. “As a wildlife photographer, I typically use the zoom end of my longer lenses, so I was wondering what this particular lens could do for me,” she says.


50-400mm (400mm), F/9, 1/2000 sec., ISO 500
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50-400mm (195mm), F/6.3, 1/1250 sec., ISO 1250
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After just a couple of weeks with the 50-400mm, this skeptic became a believer. “Once I started really using the lens, my brain shifted and began seeking out photo opportunities I’d never considered at those wider angles,” Lisa says. “I realized how much we tend to overlook when we shoot with primes or are locked in to shooting with the longer end of our lenses. I could zoom in to take my signature-style photos of the animals, but then zoom out to capture landscapes or tap into the 50-400’s macro capabilities to incorporate the wildlife in entirely new ways.”


50-400mm (50mm), F/9, 1/2000 sec., ISO 400
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50-400mm (50mm), F/8, 1/3200 sec., ISO 800
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For one, Lisa found herself shooting more landscapes than she usually does. “I literally doubled my creativity during this trip, and the diversity in my portfolio, thanks to the 50-400mm,” she says. “I really enjoyed capturing compression-style landscapes, where I was able to pull more of the layers out of the scenery.”


50-400mm (400mm), F/8, 1/1600 sec., ISO 1000
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With the 50-400mm’s maximum magnification ratio of 1:2 (half-macro) and a Minimum Object Distance (MOD) of 9.8 inches at the 50mm end (10.6 inches at 70mm, 59.1 inches at 400mm), Lisa experienced flexible shooting options not typically offered in ultra-telephoto lenses. “When I was photographing the hummingbirds, I was able to switch from taking pictures of them to taking some macro-style photos of the flowers they were feeding from,” she says. “Plus, at super low tide, you can head onto the docks in Homer, Alaska, and photograph sea stars. The macro capabilities of this lens for capturing the tiny tentacles on these creatures was amazing. I was able to tell a whole new story I hadn’t previously been able to.”


50-400mm (50mm), F/6.3, 1/640 sec., ISO 4000
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Lisa found she wasn’t sacrificing photo quality at the wider end, either. “In many cases, telephoto lenses have a reputation for being sharp on the far end, but not as sharp on the wider end,” she says. “The 50-400mm was incredible from end to end. I was astonished. I also found that this lens was terrific for creating multistitched panels for capturing panoramic images that are beautifully sharp and clear.”

The 50-400mm’s VXD advanced autofocus mechanism allows for fast and accurate focusing from the MOD all the way through infinity. “I took photos of birds in flight, using slow-motion panning, and the lens was so good at picking up focus and tracking with the birds,” Lisa says. “That’s no small feat, as some of the birds move really quickly, and with a lot of variability with their twists and turns.”

The Vibration Compensation (VC) image stabilization feature on the lens proved invaluable when Lisa was shooting handheld, especially for images taken during her boat expeditions in Alaska. And at just 7.2 inches long and with a weight of only 40.7 ounces, the 50-400mm proves to be the perfect travel lens. “I can have the lens around my neck all day and it doesn’t weigh me down,” she says. “It’s also not so long that it’s obtrusive.”

For Lisa, the 50-400mm lens enhanced her photo experience in ways she didn’t anticipate. “I was able to experiment with all different types of photos, quickly and fluidly, without having to run back to get another lens from the car,” she says. “It was delightful to have the range that lens offers, with that level of image quality. It’s a genuinely fun lens to now have in my gear bag.”


50-400mm (50mm), F/4.5, 1/2000 sec., ISO 125
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50-400mm (400mm), F/6.3, 1/2000 sec., ISO 320
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