Hip, Mad, Beat and Gone.

Camera: Sony SLT-77V. Lens 50mm.  Lighting: Yes.

Marketing photo for play. Lit and lit.

Model with FujiFlim S5. On the Pfluger Pedestrian Bridge in Downtown Austin.

Man up and own a half stop silk diffuser. You'll need it if you want to do nice images outdoors. Oh hell, be a real hero and get a set. 1/2 stop, 1 stop and 2 stop. Then you'll look like you know what you're doing...

Lou. Large light source in the studio.

Lou. ©2016 Kirk Tuck. All rights reserved.

Collaboration. Not direction, collaboration.

Having too much fun with a solid camera and an "ancient" lens. Let's go wide!

I was so wrapped up in the idea of how cool it would be to buy the Sigma 24-35mm f2.0 Art lens that I almost forgot that I have a lens that pretty much covers those focal lengths. Oh, how am I kidding, my current lens covers a full frame of silicon from 20-40mm; and it's already paid for. 

I never thought of myself as a wide angle lens user but lately I've been pushing the wide limits a bit more than I did in years past. In fact, one of my favorite projects from last year was an annual report from an electrical utility that was done predominantly with the wide end of my old, Nikon 25-50mm f4.0 lens, with a splash of Rokinon 14mm f2.8 tossed in for good measure. 

I had just about convinced myself that I "needed" the Sigma zoom to "up my game" in the new year. I had the money put aside but everything changed when the CFO stepped into my office and requested (demanded) yet another check for the IRS, effectively draining my slush fund for new toys for at least the better part of the first quarter.

I was pacing glumly around the studio wondering, "What in heaven's name will I do if I suddenly "need" a cool, wide angle lens for a vital client project??" I fretted. Then it dawned on me that I should look in the crowded Nikon drawer in the studio tool chest and take a quick inventory of the "solutions" available to me at a moment's notice. 

That's when I noticed the "sleeper" lens lurking in the back right corner of the drawer. It was the Tamron (yes, Tamron) 20-40mm f2.7 to 3.5 SP Aspherical zoom lens. A screwdriver drive, early AF lens that hit the market back in 1994. It was on the market until 2000. I had remembered it being considered pretty good in the film days so when I saw one in good shape for around $100 at my favorite used shop I bought it. I shot with it once or twice on my downtown walks and the defaulted to using the 24mm end of the 24-120mm or the 25mm end of the Nikon 25-50mm when I found myself in need of moderately wide angle focal lengths. Occasionally I needed a really wide lens and the Rokinon 14mm (in conjunction with a custom len profile in PhotoShop) handles those situations nicely. I bought into the general stigma about older, third party lenses and as result I've previously sentenced the 20-40mm to a life of lost potential...Until yesterday. 

Bereft of discretionary funds needed to buy the Sigma Art zoom I took comfort in putting the almost orphaned 20-40mm on the front of a Nikon D810 and went out for a therapeutic walk through the old town. 

I finally gave the Tamron 20-40mm lens it's chance to prove that it was more that tool kit drawer ballast. And I must say that I liked everything I saw. Wide open it's not perfect but at f8.0 it struts around like an "L" lens or a gold banded Nikon lens. There's a bit of complex distortion but I'll build a profile for the lens at 20mm and give up worrying about distortion anywhere else. 

Most of the images here are shot at 20mm and at f8.0. The lens is sharp and the colors are really great. I've almost given up pining for the Art lens. Almost. But I am fairly confident that I can use this lens for lots of stuff. It's one I've overlooked. But not anymore. 

Denver Grafitti. 2013.

I'm heading to Denver for the weekend of Jan. 22-24 for a conference of Craftsy.com instructors. I expect to learn much more about marketing. My upcoming trip reminded me of this graffiti I saw (and liked very much) on previous trip to the "mile high city." I photographed it with the eccentric (and quite capable) Pentax K-01.

Sadly, I won't have any free time to spend with Denver area friends but I hope to be back soon for some personal time off. We'll see what the CFO says...

On another note, our television commercial shoot last Saturday was quite successful and I hope to be able to share the spot with you later this month. All the footage is currently in the hands of a capable editor.

The year is off to a good start. We've already completed our first four assignments and have three more booked for next week, before the conference in Denver. Commercial photography and video production are alive and well in 2016.

Swimmer. USMS Short Course Nationals. 2008.

While it is nice to have a state of the art lens and camera I'm thinking that standing in the right spot is at least as important.

I'm slow to think things through. But I think I've figured out why dedicated sports shooters get the best shots and make shooting sports look easy, but feel damn hard for the rest of us. It's the same reason the best architectural photographs seem to have a magic touch in doing their work. We may buy the same tilt/shift lenses and the same cameras but there's something a bit better, a bit more pleasing about the way their work always seems to turn out. Same thing with landscape photographers. There are legions of retired businessmen and engineers, accountings and certainly doctors and dentists, who can afford gear that's even better than the stuff a full time landscape artist might be able to afford but for some reason the committed artists always seem to get the shot everyone else wishes they'd gotten.

After 25 years of shooting theater I think I understand the missing link! It's not the gear, it's knowing where to stand with the gear, that makes all the difference in the world. Work in sports photography long enough and you learn the stuff you cover forward and backward. The intimate knowledge, coupled with years and years of trial and error, eventually lead you to anticipate where the action will end up. This means you can get ready with the right focal length and settings. You can line up the right background and the wait for all the moving pieces to pull themselves into position. You get it because you've tried it all before and you were smart enough to