Apto para fotografar com a "Trindade Tamron

Yvens B takes on commercial shoots in the sports and fitness arena with his Tamron trio.

Autor: Jenn Gidman
Imagens: Yvens B

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Yvens B takes on commercial shoots in the sports and fitness arena with his Tamron trio.

Yvens B enjoys getting to know the subjects in front of his camera, then telling their story through pictures—whether it’s more buttoned-down corporate portraits or a deep dive into his specialty, sports and fitness and activewear. “There’s an incredible tree of opportunity that comes with the latter subject matter,” he says. “I can start with a bit of fashion and end up with high-octane portraits of either the product or the athlete.”

Yvens also appreciates the mutual benefit of having conversations with subjects who are deeply passionate about their chosen sport. “Even having a glimpse into the brains of high-level athletes is a great reflection on what it takes to perform at such a high level,” he says.

To assist in these supercharged sessions, Yvens relies on what he calls his “Tamron trinity”: the Tamron 70-180 mm F/2.8 DI III Zoom telefoto VC VXD G2, o 28-75 mm F/2.8 DI III Zoom padrão VXD G2e o 35-150 mm F/2-2.8 DI III Zoom tudo em um VXD, all for his Sony mirrorless camera system. “This trio covers the entire range of a production,” he says. “I isolate the best features of each lens to pick the right tool for every job.”

DICAS RÁPIDAS DO YVENS

Determine what to highlight.
The first thing I always ask is: Who’s it for, and what’s its purpose? It’s easy to forget sometimes, but in commercial photography, the main goal is to create images that help a business sell. Once I know what’s important, I build the shot around those elements, adding little touches to make them stand out. There are lots of ways to highlight a product, via its positioning, how you light it, or what have you.

Get your subjects into the groove.
The first thing I do is make sure the athletes fit the mold of the shoot. Casting is very important: I won’t make a dancer lift weights, for instance. A true athlete will have repeated the required movement thousands of times if we cast right. By having the athletes perform movements they’re comfortable with, they’ll fall into their own groove and become more confident as they start executing.

28-75mm (75mm), F3.2, 1/800 sec., ISO 2500

Select the right lens.
When I need a versatile, lightweight lens for more mobile productions, the 28-75mm F2.8 G2 comes out of my bag, with enough range to go from wide to telephoto with pristine resolution. For example, when covering a Hyrox competition—a running/CrossFit hybrid event—I had to run alongside the athletes throughout the event. Its lightweight design and versatile range made it ideal for getting close, framing a scene, and avoiding fatigue from holding the camera for extended periods, all while allowing me to move quickly.

The 70-180mm F2.8 VC G2 lens is what I use whenever I need to compress the background, especially when working outdoors. I used that lens for the photo here of the woman in front of that glass pane. As soon as I saw the glass, I knew I had to include it as a compositional element. The long focal length of the 70-180mm helped me isolate my subject from the background while also capturing the reflection.

70-180mm (119mm), F2.8, 1/1600 sec., ISO 100

For less dynamic events, the 35-150mm F2-2.8 is a solid choice. It covers a broad range of focal lengths and eliminates the need to switch lenses in environments where dust and debris are a concern. Plus, it allows me to go from a standard wide shot to telephoto using a constant aperture.

I used that lens to shoot images for Under Armour’s new racing “super shoe.” The shoes are extremely light and bouncy, and we showcased that by making one of the shoes appear to float (it was actually dropped from midair). This was a tricky shot, as I had to perfectly time the drop and frame it just right. The speed at which my Sony camera and the 35-150mm lens locked focus and snapped the shot was incredible. The wider apertures also allowed me to lower my flash power, helping to freeze the motion even more effectively.

35-150mm (105mm), F6.3, 1/200 sec., ISO 250

I also shot the other two Under Armour shots you see here with the 35-150mm. To enhance the effect of the athlete simulating a sprinting start, I placed a constant light behind him to create depth and added some intentional motion blur. Capturing that peak moment was only possible because of how quickly the 35-150mm lens was able to focus.

35-150mm (36mm), F5.6, 1/200 sec., ISO 250

As for the daily trainers shown here, I wanted to highlight both the cushioned ride and the grippy sole. I was able to quickly recompose the shot from 66mm to 129mm in an instant. The range of that 35-150mm lens allowed me to explore creative ideas in seconds instead of minutes.

35-150mm (129mm), F5.6, 1/200 sec., ISO 250

Para ver mais do trabalho de Yvens B, confira o site site e Instagram.

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