Knockout Color! by Rick Sammon

Good color in pictures is subjective. Some people like pictures that pop with saturated hues, while others prefer pictures more subdued. What’s more, we see colors differently at different times of day—even our mood affects how we see colors. In this article, I’d like to touch on the basics of color in digital photography, with the focus on getting the best possible image at the time of capture. To illustrate the techniques, I’ll use some pictures that I took on a recent trip to Panama, where my goal was to take color pictures of the three indigenous tribes: the Kuna, the Emberá and the Ngobe.

Look For Colorful Subjects

The first thing you need for a colorful picture is a colorful subject or background—or both! Seeking out color can be a good starting point to get the photographic ball rolling, especially when you’re traveling and trying to become oriented to a new location. So keep an eye out, as I did when I was in Kuna Yala photographing the women who sew molas.

Shooting Tips: Reverse Your Thinking to Create Stunning Landscapes
By Don Smith

The art of seeing in my opinion is a process which can be learned. I hear from many of my workshop participants that they "don't have a lot of artistic ability." I tell them "try reversing your thinking when in the field." Most amateurs tend to think subject first while most pros think light. Personally I am drawn to quality light and/or great color. In my visual process, subject ranks third on the list. Let's take a look at the two styles and see which category works best for you.

Let's start by examining the traditional way most of us approach photographing a landscape. We usually have a location, or a subject for that matter, which we want to photograph. Many times we are either on vacation or in a location not near our homes and we may simply want to make a record shot. This is thinking "subject first." In other words the old Seals and Croft song: "We May Never Pass This Way Again" plays in our brains and we simply accept the light that Mother Nature is providing - we have no other choice. If we have time in our busy schedules we may think early morning or late afternoon light, but nevertheless, we accept the light that is there, the main intent is recording the subject.

Tamron 17-50 2.8 VC Review

Tamron 17-50 2.8 VC at the Mississippi Gulf Coast

 by Jamey Oser

This summer, I had the chance to use the Tamron 17-50 2.8 VC during my family vacation to the Mississippi gulf coast.  I have had many opportunities to use and learn about this lens in the store, but this was the first time using it somewhere that you would actually enjoy what comes out of the camera.  I truly enjoyed using this lens in every situation I came upon. 

The first night we got there was the only time that I had a chance to use the VC (vibration compensation) and the super bright 2.8 aperture in low light.  When I needed to stop the movement of my daughters walking the beach, I could.  And when it got even darker, the tri-axial VC system worked so well that I could regularly get blur free pictures as slow as 1/13th second exposures hand.