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    Today’s Photo Of The Day is “Through the Morning Mist” by Andrew Thomas. Location: Lake Burrumbeet, Victoria, Australia.
    Photo By Andrew Thomas

    Today’s Photo Of The Day is “Through the Morning Mist” by Andrew Thomas. Location: Lake Burrumbeet, Victoria, Australia.

    “A family of swans takes an early morning cruise at Lake Burrumbeet on a foggy morning at the start of summer,” describes Thomas. “I visit Lake Burrumbeet all through the year, and it always amazes me how often I come home with a few keepers. Though not looked upon as a landscape photographic icon, it’s a place that once you get to know all its nooks and crannies, it always offers something worthwhile.”

    The post Photo Of The Day By Andrew Thomas appeared first on Outdoor Photographer.

    Photo Of The Day By Andrew Thomas

    http://www.outdoorphotographer.com/?p=568725
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    Today’s Photo Of The Day is “Through the Morning Mist” by Andrew Thomas. Location: Lake Burrumbeet, Victoria, Australia.

    Today’s Photo Of The Day is “Through the Morning Mist” by Andrew Thomas. Location: Lake Burrumbeet, Victoria, Australia. “A family...

    The post Photo Of The Day By Andrew Thomas appeared first on Outdoor Photographer.

    Thu, 18 Jan 2018 15:03:07 +0000

    Today’s Photo Of The Day is “First Snow” by Stuart Gordon. Location: Sparks Lake, Deschutes National Forest, Oregon.
    Photo By Stuart Gordon

    Today’s Photo Of The Day is “First Snow” by Stuart Gordon. Location: Sparks Lake, Deschutes National Forest, Oregon.

    “One of the most photographed lakes in all of Oregon, Sparks Lake is located in the Cascade Range near the city of Bend,” says Gordon. “This image was taken the morning after the first snowfall dusted the mountain peaks visible from the alpine lake. That is South Sister on the left and Broken Top on the right.”

    See more of Stuart Gordon’s photography at chasingthelight.zenfolio.com.

    Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

    The post Photo Of The Day By Stuart Gordon appeared first on Outdoor Photographer.

    Photo Of The Day By Stuart Gordon

    http://www.outdoorphotographer.com/?p=568715
    https://www.outdoorphotographer.com/568715-2/

    Today’s Photo Of The Day is “First Snow” by Stuart Gordon. Location: Sparks Lake, Deschutes National Forest, Oregon.

    Today’s Photo Of The Day is “First Snow” by Stuart Gordon. Location: Sparks Lake, Deschutes National Forest, Oregon. “One of...

    The post Photo Of The Day By Stuart Gordon appeared first on Outdoor Photographer.

    Wed, 17 Jan 2018 15:35:52 +0000

    Photographing a lunar eclipse at Trona Pinnacles, California
    Lunar eclipse sequence, April 14th and 15th, 2014, Trona Pinnacles, California.

    In case you haven’t heard, there’s a total lunar eclipse coming up on January 31, 2018. The total eclipse will be visible in central and western North America, Australia, and much of Asia. It will also be a “blue moon,” (the second full moon of the month), and a “supermoon,” (with the moon closer to the earth than normal, so it will look slightly larger). This page at timeanddate.com shows where the eclipse will be visible, as well as the timing of the event.

    In North America the eclipse will occur as the moon is setting in the west just before sunrise. The further west you go, the higher the moon will be during totality, and the longer the eclipse sequence you can see. People in the mountain states should be able to see the entire one hour and sixteen minutes of totality, while those of you in the northwest could see (with clear skies) all of totality plus all of the partial eclipse phase afterwards. Unfortunately, the total eclipse will not be visible on the east coast of the U.S. and Canada.

    Since the eclipsed moon will be low in the sky to the west in North America, there should be some great opportunities to juxtapose the moon with natural or manmade features. I’m sure we’ll see photos of the eclipsed moon next to the Space Needle if there are clear skies in Seattle. And the same goes for the Golden Gate Bridge. But any spot with an interesting view to the west could work, so there are tons of possibilities.

    Equipment for Photographing a Lunar Eclipse

    Moon Position and Timing

    When the partial eclipse begins the moon will become a smaller and smaller crescent as the earth’s shadow seems to take a bite out of the moon. During the total eclipse the moon will look much dimmer, and turn orange or even red-orange in color. The sky will be full of stars, as if on a moonless night. Just after the total eclipse the moon will return to a slender crescent and then get larger and larger, until the eclipse ends and the moon becomes completely full again. (You won’t be able to see this last partial phase in much of North America during the January 31st eclipse.)

    With most nighttime images you want to get away from city lights and light pollution. You don’t necessarily need dark skies for a lunar eclipse, as the moon should be clearly visible even in urban areas (and even during the maximum eclipse). Having said that, the moon will stand out more clearly with darker skies away from city lights.

    To calculate the moon’s position accurately — if you want to line it up with a building or mountain, for example — you’ll need an app like The Photographer’s EphemerisThe Photographer’s Ephemeris 3D, or PhotoPills. And you’ll need to know the timing of the eclipse, so here are the important moments:

    Partial eclipse begins: 11:48 UT, 3:48 PST
    Total eclipse begins: 12:52 UT, 4:52 PST
    Maximum eclipse: 13:30 UT, 5:30 PST
    Total eclipse ends: 14:08 UT, 6:08 PST
    Partial eclipse ends: 15:11 UT, 7:11 PST

    Knowing the timing of the eclipse, you can use one of the aforementioned apps to figure out exactly where the moon will be from a given location at each stage of the eclipse. For example, from my house in Mariposa, California, at 5:30 a.m. (the maximum eclipse), the moon will at an azimuth (compass direction) of 277 degrees, and an altitude of 18 degrees. I won’t be able to see the end of the partial eclipse from here, as according to The Photographer’s Ephemeris the moon will be at an altitude of -0.4 degrees at 7:11 a.m. — just below the horizon. (It will also be getting pretty light by then, since sunrise will be at 7:04 a.m.)

    Photographing a lunar eclipse in Yosemite, California
    Lunar Eclipse Sequence, 1:23 a.m. to 4:49 a.m., August 28, 2007, Yosemite National Park, California.

    Focusing

    Since most modern lenses focus past infinity, you can’t just crank the focusing ring all the way to the end and expect to get sharp photographs. The most accurate way to focus in the dark, by far, is to use live view, magnify the image to zoom in on the moon, and focus manually. Autofocusing on the moon should also work if the moon is bright enough (like before the total eclipse begins) — but be sure to then turn autofocus off so that the camera doesn’t accidentally focus on something else when you press the shutter button.

    Exposure

    Light meters are useless for getting good exposures of the moon, because even a one-degree spot meter can’t read just the moon, but will also include some of the surrounding black sky. So here are some suggestions based on past experience, including making the accompanying photographs. You’ll need to use manual-exposure mode, and check your camera’s highlight alert (the blinkies) to make sure you’re not overexposing the moon:

    Full moon, or moon more than half visible: 1/60 sec. at ƒ/11, 200 ISO
    Half to one-quarter of the moon visible: 1/30 sec. at ƒ/11, 200 ISO
    Less than one-quarter of the moon visible: 1/15 sec. at ƒ/11, 200 ISO
    Just the edge of the moon lit: 1 sec. at ƒ/11, 200 ISO
    Fully eclipsed at the beginning and end of totality: 8 sec. at ƒ/11, 800 ISO
    Fully eclipsed, deepest totality: 8 sec. at ƒ/11, 1600 ISO

    In these examples I’ve kept the aperture constant at ƒ/11, but if you need more depth of field you could use ƒ/16 and either double the ISO or the length of the exposure. But you want to keep the exposures relatively short, otherwise the moon will move and blur. You can get away with eight or maybe even fifteen seconds with a wide-angle lens, but with a telephoto lens you need to use shutter speeds of four seconds or less. To find the maximum exposure time for your lens before movement appears, divide the focal length into 400. So 400 ÷ 25mm = 16 seconds, or 400 ÷ 100mm = 4 seconds. Bracketing exposures is a good idea.

    Eclipse Strategies

    Trying to include a foreground makes things more complicated, so the simplest way to photograph a lunar eclipse is to take a long lens and zoom in on the moon. If you photograph the eclipse from beginning to end you can even use Photoshop to assemble your images into a montage showing the whole sequence.

    A more evocative approach — but a more complicated one — is to use a wide-angle lens and capture the eclipse sequence with a foreground, as I did in the accompanying images. To do this you’ll first need to figure out the exact path the moon will take so you can compose your photograph accordingly. The apps I mentioned above, PhotoPills, The Photographer’s Ephemeris, and The Photographer’s Ephemeris 3D, are invaluable for this. And you’ll want to get to your chosen spot early enough to capture the entire eclipse sequence, from full, to partially eclipsed, to fully eclipsed, and (if possible from your location) back through the partially-eclipsed stages.

    Once you’ve composed, make sure your tripod is solidly planted and locked tightly. If your composition includes a foreground you’ll want to focus at the hyperfocal distance, which will be somewhere between the closest object to the camera and infinity, but closer to the foreground. (If you don’t know how to find the hyperfocal distance, just focus on the foreground.) Then use a small enough aperture to get both foreground and moon in focus. (A bright flashlight and live view are helpful for focusing on the foreground.)

    Then make a series of exposures to capture the eclipse sequence. In the three photographs here the interval was ten minutes between each moon capture, but you could make it fifteen or twenty minutes if you want to space the moons farther apart. Just make sure you keep the interval the same throughout the sequence. You can use an interval timer for this, or just use a watch and trip the shutter manually (using a remote or cable release, of course). You’ll need to adjust the exposure times (and possibly the aperture or ISO as well) as the moon dims and brightens.

    In the accompanying photographs I used electronic flash or a flashlight to light-paint the foreground in between making exposures of the moon. Light painting is a complex subject that I won’t get into here, and if this is the first time you’ve ever tried photographing an eclipse I’d suggest you keep it simple, and don’t try light painting. Just try to capture single images of the moon itself, or perhaps a sequence with silhouetted trees or other objects in the foreground.

    You might also capture a frame to use as the base (background) layer in Photoshop. For example, in the sequences from the Trona Pinnacles (first image, above) and Yosemite (second image, above), during the total eclipse I made an exposure for the stars, and used that starry sky as the background for the eclipse sequence. For the sequence with the oak tree from the Sierra foothills (below) the background is an exposure made as the sky was beginning to lighten and turn blue at dawn:

    photographing a lunar eclipse
    Oak tree and lunar eclipse sequence, December 10th, 2011, Mariposa County, Sierra foothills, California. This was a also a winter eclipse that occurred just before sunrise, so the moon’s path was quite similar to the path the moon will take during the upcoming eclipse on January 31st in North America. The moon’s path will curve to the right as it descends, and in most of the continent the sky will start to lighten during the total eclipse, as it did here.

    Assembling A Sequence

    If you get ambitious and try a sequence, the final step is to assemble the images in Photoshop. From Lightroom you can select the images and choose Photo > Edit In > Open as Layers in Photoshop, and Photoshop will stack the images into one document as separate layers. Or you can do this by hand using the Move tool to drag one image on top of another; just make sure you hold down the shift key while dragging so that the images align properly.

    Drag your background layer to the bottom of the stack in the Layers Panel. Then change the blending mode of every layer except the bottom one to Lighten. This makes light areas override dark areas, so the moon from one frame will override dark sky from another frame. As you do this you’ll see all the moons magically appear and complete your sequence. If you light-painted a tree or other object, that too will appear when you change the blending mode for that layer. And if you used a telephoto lens to capture the whole eclipse sequence, you can use the Move tool to drag each layer around and arrange the moons on your canvas.

    Upcoming Lunar Eclipses

    Photographing a lunar eclipse takes planning, and a willingness to lose some sleep, but it can be a tremendously rewarding experience. And if your photographs don’t turn out as well as you hoped, you might get another chance soon. There will be another total lunar eclipse on July 27th this year, visible in Europe, Africa, and much of Asia. And on January 21st of 2019 a total lunar eclipse will be visible in all of the Americas, Europe, and some of Africa.

    Good luck!

    Read more articles like this on Michael Frye’s blog at michaelfrye.com.


    Michael Frye is a professional photographer specializing in landscapes and nature. He is the author or principal photographer of The Photographer’s Guide to YosemiteYosemite MeditationsYosemite Meditations for WomenYosemite Meditations for Adventurers, and Digital Landscape Photography: In the Footsteps of Ansel Adams and the Great Masters. He has also written three eBooks: Light & Land: Landscapes in the Digital DarkroomExposure for Outdoor Photography, and Landscapes in Lightroom: The Essential Step-by-Step Guide. Michael has written numerous magazine articles on the art and technique of photography, and his images have been published in over thirty countries around the world. Michael has lived either in or near Yosemite National Park since 1983, currently residing just outside the park in Mariposa, California.


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    The post Photographing A Lunar Eclipse appeared first on Outdoor Photographer.

    Photographing A Lunar Eclipse

    http://www.outdoorphotographer.com/?post_type=how-to&p=569137
    https://www.outdoorphotographer.com/tips-techniques/nature-landscapes/photographing-lunar-eclipse/

    Photographing a lunar eclipse at Trona Pinnacles, California

    Equipment, planning and exposure techniques to successfully photograph a lunar eclipse.

    The post Photographing A Lunar Eclipse appeared first on Outdoor Photographer.

    Tue, 16 Jan 2018 23:40:23 +0000

    Congratulations to Erick Castellon for winning the recent Close to Home Assignment
    Photo By Erick Castellon

    Congratulations to Erick Castellon for winning the recent Close to Home Assignment with the image, “Lone Cypress.”

    “My original plan was to make a two-and-a-half hour drive to Big Sur to Pfeiffer Beach and do some shooting there,” explains Castellon. “Halfway there, I noticed the clouds were beginning to become thicker at the horizon, so the possibility of getting anything good was diminishing quickly. I drove another 10 minutes, and I was debating if it was going to be worth the drive. At the next turnout, I pulled over and headed back to Pebble Beach, as this was my fallback plan in case I couldn't make it in time to Big Sur. As I arrived at this location, a fellow shutterbug had given me directions of a new spot to shoot from that I hadn't been to before. As I arrived, I headed to the location he mentioned and got my gear ready and hoped that the weather would cooperate. I was glad I changed my plan, as the colors were very beautiful.”

    See more of Erick Castellon’s photography on Instagram.

    Canon EOS 5D Mark IV, 16-35mm F4 @ 31mm, 2-STOP ND Hard Grad. Exposure: ISO-100, f/8, 1/5 sec.

    Need some photography inspiration? Check out our current assignment here.

    The post Close To Home Assignment Winner Erick Castellon appeared first on Outdoor Photographer.

    Close To Home Assignment Winner Erick Castellon

    http://www.outdoorphotographer.com/?p=569053
    https://www.outdoorphotographer.com/close-home-assignment-winner-erick-castellon/

    Congratulations to Erick Castellon for winning the recent Close to Home Assignment

    Congratulations to Erick Castellon for winning the recent Close to Home Assignment with the image, “Lone Cypress.” “My original plan...

    The post Close To Home Assignment Winner Erick Castellon appeared first on Outdoor Photographer.

    Tue, 16 Jan 2018 17:12:36 +0000

    Today’s Photo Of The Day is “Foggy Morning” by Tracy Brown. Location: Sacramento National Wildlife Refuge, California.
    Photo By Tracy Brown

    Today’s Photo Of The Day is “Foggy Morning” by Tracy Brown. Location: Sacramento National Wildlife Refuge, California.

    “A primping Egret in the early morning fog,” describes Brown.

    Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

    The post Photo Of The Day By Tracy Brown appeared first on Outdoor Photographer.

    Photo Of The Day By Tracy Brown

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    https://www.outdoorphotographer.com/photo-day-tracy-brown/

    Today’s Photo Of The Day is “Foggy Morning” by Tracy Brown. Location: Sacramento National Wildlife Refuge, California.

    Today’s Photo Of The Day is “Foggy Morning” by Tracy Brown. Location: Sacramento National Wildlife Refuge, California. “A primping Egret...

    The post Photo Of The Day By Tracy Brown appeared first on Outdoor Photographer.

    Tue, 16 Jan 2018 15:08:45 +0000

    Today’s Photo Of The Day is “Sonoran Winter” by Valerie Millett. Location: Oak Creek Canyon, Sedona, Arizona.
    Photo By Valerie Millett

    Today’s Photo Of The Day is “Sonoran Winter” by Valerie Millett. Location: Oak Creek Canyon, Sedona, Arizona.

    “Snow in the high desert can be fleeting but certainly beautiful,” says Millett.

    See more of Valerie Millett’s photography at valmillett.blogspot.com.

    Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

    The post Photo Of The Day By Valerie Millett appeared first on Outdoor Photographer.

    Photo Of The Day By Valerie Millett

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    Today’s Photo Of The Day is “Sonoran Winter” by Valerie Millett. Location: Oak Creek Canyon, Sedona, Arizona.

    Today’s Photo Of The Day is “Sonoran Winter” by Valerie Millett. Location: Oak Creek Canyon, Sedona, Arizona. “Snow in the...

    The post Photo Of The Day By Valerie Millett appeared first on Outdoor Photographer.

    Mon, 15 Jan 2018 15:14:37 +0000

    A person on border patrol protects the boundaries of a given area. The guard’s job is to keep items found within contained or to keep invaders out. He or she protects the perimeters from objectionable intruders. With this in mind, guarding your photographic borders should be high on your list. It’s important to realize that when objectionable items appear on the edges of your composition, they detract from the rest of the image. “Edit Before Pressing the Shutter” and go on border patrol. Carefully scrutinize the edges of your frames to make sure the perimeter is clean.

    Alert The Border Guard

    Direction of Movement: When a subject is in motion, provide space in the frame for it to move without “bumping” up against the edge. If the flow of motion is close to the edge, the viewer experiences discomfort. Leave room for implied motion. The same holds true for the direction in which a subject looks. If it faces to the right, more room should be provided on the right side as opposed to the left. This way the “gaze” doesn’t collide with the border. In the image of the leopard, I left more room on the left and below as that was the direction in which it was walking, and note the borders are free of distractions.

    Alert The Border Guard

    Leading Lines: Leading lines are best placed toward the bottom of the composition so the viewer enters from down low and is brought throughout the rest of the photo. If the leading line is placed on the right or left, position it near the bottom of the frame for the same reason. An alert border guard will be sure the line is clean and there are no distractions that interfere with its flow. Carry out due diligence and check the remaining parts of your borders to make sure no other elements hinder the quality of the photograph.

    Alert The Border Guard

    Tight But Breathable: The pixel count in today’s cameras continues to rise, which allows cropping with excellent file quality. This is a luxury, but there’s no sense in throwing away image information. If you have to crop, leave space around objects that live close to the borders. Provide breathing room for all subjects. At the time of capture, include only what’s necessary. Move the camera to exclude items that infiltrate the fringes. Whether your subject matter is a landscape, people, still life, architecture, photojournalism or other, be a good border guard and check your composition before every press of the shutter.

    Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

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    Alert The Border Guard

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    https://www.outdoorphotographer.com/tips-techniques/photo-tip-of-week/alert-border-guard/

    A person on border patrol protects the boundaries of a given area. The guard’s job is to keep items found...

    The post Alert The Border Guard appeared first on Outdoor Photographer.

    Mon, 15 Jan 2018 08:01:14 +0000

    Today’s Photo Of The Day is “Focus Point” by Bert de Tilly.
    Photo By Bert de Tilly

    Today’s Photo Of The Day is “Focus Point” by Bert de Tilly.

    Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

    The post Photo Of The Day By Bert de Tilly appeared first on Outdoor Photographer.

    Photo Of The Day By Bert de Tilly

    http://www.outdoorphotographer.com/?p=568327
    https://www.outdoorphotographer.com/photo-day-bert-de-tilly/

    Today’s Photo Of The Day is “Focus Point” by Bert de Tilly.

    Today’s Photo Of The Day is “Focus Point” by Bert de Tilly. Photo of the Day is chosen from various...

    The post Photo Of The Day By Bert de Tilly appeared first on Outdoor Photographer.

    Sun, 14 Jan 2018 15:03:43 +0000

    Today’s Photo Of The Day is “Alpamayo—Perfect by Nature” by Harry Lichtman. Location:Cordillera Blanca, Peru.
    Photo By Harry Lichtman

    Today’s Photo Of The Day is “Alpamayo—Perfect by Nature” by Harry Lichtman. Location: Cordillera Blanca, Peru.

    “While trekking in Peru's Cordillera Blanca portion of the Andes, I was able to capture the 4,000-foot face of 19,511-foot Alpamayo, one of the world's most beautiful mountains,” says Lichtman. “The triangular portion of the summit is ominous yet beautiful at the same time. The early morning sidelight helped bring out the textures of the glacier and blowing snow.”

    See more of Harry Lichtman’s photography at www.HarryLichtman.com.

    Photo of the Day is chosen from various OP galleries, including AssignmentsGalleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, FacebookTwitter and Instagram. To get your photos in the running, all you have to do is submit them.

    The post Photo Of The Day By Harry Lichtman appeared first on Outdoor Photographer.

    Photo Of The Day By Harry Lichtman

    http://www.outdoorphotographer.com/?p=568324
    https://www.outdoorphotographer.com/photo-day-harry-lichtman-3/

    Today’s Photo Of The Day is “Alpamayo—Perfect by Nature” by Harry Lichtman. Location:Cordillera Blanca, Peru.

    Today’s Photo Of The Day is “Alpamayo—Perfect by Nature” by Harry Lichtman. Location: Cordillera Blanca, Peru. “While trekking in Peru's...

    The post Photo Of The Day By Harry Lichtman appeared first on Outdoor Photographer.

    Sat, 13 Jan 2018 15:58:55 +0000

    Snake River sunrise taken with the Tamron SP 24-70mm F/2.8 Di VC USD G2
    Sunrise on the Snake River, Grand Teton National Park. Nikon D750, Tamron SP 24-70mm F/2.8 Di VC USD G2 @ 24mm. Exposure: 2 secs., ƒ/22, ISO 100.

    In the fall of 2015, Tamron began introducing new versions of popular lenses with upgraded construction and ergonomics. It began with several primes (35mm, 45mm85mm and 90mm) and then zooms as well, starting with the SP 150-600mm F/5.6-6.3 Di VC USD G2, followed by the SP 70-200mm F/2.8 Di VC USD G2 and now the newest G2 lens, the Tamron SP 24-70mm F/2.8 Di VC USD G2 (Model A032).

    A Di-series lens, the new 24-70mm is designed to be used with full-frame sensor cameras, but can also be used with APS-C systems, providing an equivalent focal range of approximately 36-105mm when attached to the latter.

    Available in Canon and Nikon mounts, at $1,199, it’s priced very competitively against the options available from those camera makers. Canon’s ƒ/2.8 offering, the EF 24-70mm f/2.8L II USM, retails for about $1,749 and doesn’t include image stabilization. Nikon has two ƒ/2.8 models, the AF-S NIKKOR 24-70mm F2.8G ED that sells for around $1,799 and the AF-S NIKKOR 24-70mm f/2.8E ED VR that includes stabilization for $2,399. Tamron’s Vibration Compensation system is CIPA-rated to provide up to five stops of correction, beating Nikon’s four stops—noteworthy for a lens that’s half the price.

    As we’ve observed in reviews of other G2 Tamron lenses like the SP 70-200mm F/2.8 G2, the material and construction upgrades are very nice. The metallic barrel, rubber grip zoom and focus rings, and generously sized autofocus and Vibration Compensation switches add up to an ergonomic experience that’s satisfying and feels premium. The lens also features six weather seals to protect against the elements, and another nice durability feature is the fluorine coating on the front lens element that repels oil and water, making it easier to clean when needed.

    Fall colors in Grand Teton taken with the Tamron SP 24-70mm F/2.8 Di VC USD G2
    Early fall colors, R Lazy S Ranch, near Grand Teton National Park. Nikon D750, Tamron SP 24-70mm F/2.8 Di VC USD G2 @ 70mm. Exposure: 1/80 sec., ƒ/14, ISO 1000.

    We had the opportunity to bring the lens with us on a recent trip to Jackson, Wyoming, for the Summit Nature Photography Workshop, photographing in and around Grand Teton National Park. We were impressed with both the image quality and the responsiveness of the lens’ autofocus with our Nikon D750. Among the improvements from Tamron’s previous generation 24-70mm is a “dual MPU control system.” One MPU (micro-processing unit) is dedicated to controlling the lens’ Vibration Compensation system, and the other is dedicated to autofocus. The result of providing dedicated processors for these tasks, according to Tamron, is more precise AF and consistent stabilization performance—presumably a key factor in the Vibration Compensation system’s five stops of correction versus four stops in the previous generation of this lens.

    Overall, we found the Tamron SP 24-70mm F/2.8 Di VC USD G2 to be an excellent value, with its fast, constant ƒ/2.8 maximum aperture, advanced stabilization, solid construction and competitive price.

    Image of the Tamron SP 24-70mm F/2.8 Di VC USD G2 lens
    Tamron SP 24-70mm F/2.8 Di VC USD G2

    Key Specs: Tamron SP 24-70mm F/2.8 Di VC USD G2

    Optical Construction 17 elements in 12 groups
    Minimum Focusing Distance 15 in.
    Filter Size 82mm
    Maximum Diameter 3.5 in.
    Length 4.4 in. (Canon)
    4.3 in. (Nikon)
    Weight 31.9 oz. (Canon)
    31.7 oz. (Nikon)

     

    The post Tamron SP 24-70mm F/2.8 Di VC USD G2 appeared first on Outdoor Photographer.

    Tamron SP 24-70mm F/2.8 Di VC USD G2

    http://www.outdoorphotographer.com/?post_type=gear&p=568716
    https://www.outdoorphotographer.com/photography-gear/lenses/tamron-sp-24-70mm-f-2-8-di-vc-usd-g2/

    Snake River sunrise taken with the Tamron SP 24-70mm F/2.8 Di VC USD G2

    This updated wide-to-standard zoom is an excellent value with its fast, constant ƒ/2.8 maximum aperture and advanced Vibration Compensation.

    The post Tamron SP 24-70mm F/2.8 Di VC USD G2 appeared first on Outdoor Photographer.

    Fri, 12 Jan 2018 20:03:16 +0000