Nick Kanakis uses the Tamron SP 150-600mm VC G2 lens to pique people’s interest in conservation through bird photography.
Nathan Allen uses his Tamron SP 24-70mm VC G2 and 70-210mm VC lenses to show new perspectives on landmarks and landscapes.
Jessica Drossin uses the Tamron SP 24-70mm G2 and SP 85mm VC prime lenses to create portraits that connect with her viewers.
Joe McDonald doesn’t miss a shot in Tanzania and Kenya with the new Tamron 150-600mm G2 VC lens.
Aaron Reed captures the surprising colors, contrasts, and textures of one of the hottest spots on Earth with his Tamron SP 70-200mm VC G2 lens.
Greg Piazza captures the angles, colors, and shadows of some of the Southwest’s most stunning structures with his Tamron 28-300mm VC PZD.
Justin Keys uses his Tamron SP 24-70mm VC and SP 15-30mm VC wide-angle lenses to capture the sexiest, sportiest automobiles in Northern California.
Don Mammoser heads to Southeast Asia to photograph native wildlife with his Tamron SP 150-600mm VC G2 lens.
How to Shoot Fireworks
- Use the bulb setting available in manual (M), see tip 17 for the finale’!
- Use a low ISO 100-200
- No long exposure noise reduction, high ISO NR can stay on, but it’s not needed
- Use auto white balance
- No mirror lock up
- Use infinity focus, switch to manual focus, tape the lens focus ring @ infinity. Some lenses are not marked. Test focus in manual at farthest subject your lens can resolve sharply.
- O D lighting or auto lighting optimizer, these control contrast and brightness.
- Vivid color mode, leave saturation at normal, landscape (picture style) for Canon uses.
- IS-VR off, since you will be on a tripod.
- Metering: use matrix or evaluative
- Note: you will not have to meter anything for shooting (F11, ISO 100, bulb = done)
- Tripod, short zoom lens 18-70mm, 24-70mm, 18-105mm and a cable release (no need to lock)
- Tripod will possibly need to be repositioned (tilted etc) once the show starts. I’ll shoot vertical more often than horizontal.
- Vary zoom length for composition
- Fire the shutter (with a cable release) hold rather than lock. Hold for multiple bursts 2-8 or maybe more. Check the monitor, exposures should average 2-4 or 4-7 seconds, and can even be as long as 8-15 seconds. Disregard the histogram.
- Finale’ shots need to happen quickly in manual mode, burst or continuous 1 second, ½ second, ¼ second, 1/8 second, 1/10 second, 1/25 second, 1/30 second. These shorts can be blown out if taken for longer time periods (such as with bulb). Still maintain the F number 8-11.
- JPEGS or Raw? Raw is not necessary unless you feel a need to recover highlights. Shoot JPEG or raw together, or JPEG alone. Use a fast card for recovery of write speed times. Raw will offer a bit more color information too.
- Bring extra cards, batteries, and a mini flashlight. The show may be 30 minutes to an hour long. Be careful about inserting memory cards in the dark.
- Add an element of scenic interest in your picture. Bridges, skylines, crowds, etc