Q&A: Tony Shepherd

By Jenn Gidman
Images by Tony Shepherd

Photographer Q&A: Tony Shepherd

For the past several years, Tony Shepherd has been deeply immersed in the street photography scene in Nashville, putting his own spin on the often-ordinary objects around Tennessee’s capital. “Since moving here two years ago, I’ve enjoyed the inspiration that comes from seeing the city with fresh eyes,” he says. “And while I’ve taken on some color projects, like graduation photos, my passion for black-and-white photography has only grown. I’m working on a B&W photo book called Walking in the Light, which explores the idea of honesty through images of people walking in various types of light. On a personal note, I recently became a pastor here in Nashville, and street photography has become a fun and creative way for me to stay connected with the community.”

Here is a photographer Q&A with Tony on his recent B&W work with the Tamron 50-400mm DI III VC VXD ultra-telephoto zoom lens.

Last time we chatted, we talked about the Tamron 35-150mm F/2-2.8 all-in-one zoom lens. This time, let’s talk about what you’ve been able to do on the street scene with the Tamron 50-400mm VC.

The 50-400mm VC has quickly become one of my favorite lenses. I love capturing details, and this lens excels with its sharpness and speed. It feels like it turns my imagination into reality—if I can see it, I can capture it. The versatility of its range is incredible—at 50mm, it’s perfect for my street photography, like during a recent trip to New York City, where I used it extensively. It’s great for portraits and street shots. Extending to 400mm, it can make scenes feel larger than life, with remarkable clarity. This lens is definitely in my top three of all time.

50-400mm (400mm), F6.3, 1/500 sec., ISO 640

What’s your eye looking for when you’re seeking out subjects for your black-and-white photography?
I usually look for either intentionally ordinary subjects or exceptionally rare ones. On Nashville’s Broadway, I keep an eye out for unique outfits or features like beards or rings. I also aim for subjects with nondistracting backdrops so I can isolate the focus on them. I love capturing subjects that are easily recognizable, allowing viewers to appreciate the unique perspective I bring to familiar scenes.

50-400mm (400mm), F6.3, 1/800 sec., ISO 2000

50-400mm (394mm), F6.3, 1/800 sec., ISO 640

What lighting do you prefer for your moodier photos?
One of my favorite photographers, Alan Schaller, said that no light is bad light, and I’ve embraced that philosophy. I shoot in various lighting conditions, from harsh to low light. However, my preferred lighting is after it rains, when there’s a natural diffusion that creates a soft, unique atmosphere that’s hard to replicate. I love and often create soft light for my photos.

50-400mm (400mm), F6.3, 1/1000 sec., ISO 640

What’s a common mistake that photographers could make when shooting black-and-white photos?
One is not understanding how you want the shot exposed. Although shooting in RAW provides flexibility, it’s crucial to have a clear vision of the exposure. For example, if I want silhouettes, there’s a specific way to expose for that. Whether aiming for harsh contrasts, overexposed highlights, or different exposure effects, understanding and planning your exposure is key, as black-and-white photography relies heavily on contrast rather than color.

50-400mm (282mm), F6.3, 1/90 sec., ISO 12800

Ultimately, what’s the appeal of black-and-white photography for you. Why do you think you’ve gravitated toward it?
B&W photography is a stylistic choice that I lean toward simply because I love it. While some moments are better in color, I’m dedicated to black and white as my primary form of expression. It has a unique ability to tell a story while leaving room for the viewer’s imagination. In color, the scene is fully described; in black and white, viewers have the freedom to interpret details like colors. This interactive aspect makes the art more personal. Creatively, black and white focuses on light, shadows, and composition, highlighting the essence of the moment.

50-400mm (400mm), F6.3, 1/750 sec., ISO 5000

To see more of Tony Shepherd’s work, check out his website and Instagram.

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