Learning Center

Michael Campbell is a master photographer of the first rank who has worked, studied, and hobnobbed with some of photography’s all-time greats. He is also a fascinating and multi-talented individual with a background and knowledge base so remarkably diverse that his astounding photographic versatility is the inevitable consequence of who he is, namely a 21st century renaissance man.

Born in the UK, Campbell studied physics, math, and chemistry at a top private school, worked at the Kodak Research Lab, earned a Masters in Geology at Leicester University, and, from 1968-1972, was a graduate lecturer in photographic technology at the renowned Kodak Photographic School in Harrow. In 1973, he shot his first portrait, a compelling image of former British Prime Minister Sir Anthony Eden that Eden used for his best-selling book, A New World.

In 1979 Campbell came to the USA to work with the world-renowned photographic artist and teacher Paul Caponigro on Caponigro’s acclaimed book, The Megaliths, which included iconic images of Stonehenge and other European stone circles, then traveled to California where he stayed with Ansel Adams. As a result of this inspirational visit, Campbell wrote a major article on Adams, and later another piece on the American photographic master, Brett Weston, for the influential British Journal of Photography. What followed were stints as a portrait photographer, university professor of photography, and manager of a major portrait studio. All during this time Campbell was continually creating outstanding and profound images in genres ranging from portraiture, fine art photography, advertising, sports, landscapes, and equestrian photography.

What is this irrepressible spirit up to now? Since he is, among many other things, a formidable raconteur, here’s the answer in Campbell’s own words: “Basically I’ve operated my own portrait studio for 20 years. I photograph children, executives, dancers, actors, authors, public speakers—you name it—for personal and publicity use. During the same period I’ve taught countless workshops around the US and Europe, and I also have tutorials on CDs. I also shoot product and commercial jobs from time to time, but my other abiding passion is photographing sports—tennis, track and field, and equestrian. Based on my experience, Tamron lenses are really superb for sports shooting because they’re light, well-balanced, fast operating, and deliver excellent image quality even under adverse conditions. Another challenging subject area where I use Tamron lenses almost exclusively is landscape photography, in color, black and white, and infrared. I teach workshops on lighting, Photoshop, and Painter, so I am well aware that you can accomplish a lot before you take the shot and in post production, but when you get down to it there is really no substitute for starting out with sharp, clean images shot with high quality glass.”

“I use a full frame (24x36mm sensor) Nikon D3 and a Fuji S5, a Nikon-mount digital SLR with an APS-C-format sensor. That’s why I am in love with the new Tamron 28-300mm VC lens. It covers both formats brilliantly and provides lightning fast auto-focusing along with amazing framing flexibility. I haven’t counted lately, but I think I own 10 or 12 Tamron lenses in Nikon mount. The ones I use most frequently are the aforementioned 28-300mm VC, the 28-105mm F/2.8 which can’t be beat for delivering great image quality in low light, the 200-500mm super telephoto zoom, my tried and true 75-300mm, and the versatile 28-75mm F/2.8, which is a great walk-around lens. In the single focal length department, I think the Tamron 14mm F/2.8 ultra-wide is unsurpassed for interiors and scenic vistas and the 90mm F/2.8 is a superlative for both close-ups and portraits.”

“If I had to carry one lens with my Nikon D3 it would be the Tamron 28-300mm VC because of its outstanding versatility and its effective VC image stabilization system that lets you get crisp images shooting fast action handheld even at long telephoto settings. I used it last summer to shoot tennis great Maria Sharapova at the Acura tennis tournament. All that the press guys shooting with their 600mm and 800mm cannons (no pun intended) got was facial expressions, but I was able to capture full-length images of her magnificent serve that really convey the essence of the action. Best of all, I could zoom wide and capture the whole venue without having to change lenses. That’s why this lens is also the absolute best for shooting polo where the action is extremely unpredictable. Don’t get me wrong—the Tamron 200-500mm super zoom on the Nikon D3 is a fantastic combination for covering the race track from the grandstands—you can shoot it handheld, or with a monopod if you want to use faster shutter speeds. But if I had to have one lens permanently mounted on my camera for the rest of my life, the 28-300mm VC would be the one. It’s lighter than the camera, which contributes to its fine handling, its zooming action is very smooth so you can fine-tune the focal length, and the zoom mechanism doesn’t ‘creep’ when you point it downwards or upwards. Best of all, it provides maximum reach in a hand-holdable zoom, and the VC lets you shoot sharp even at 1/15 and 1/20 sec so you don’t need to use a tripod to achieve impressive image quality.”

“Of course, I wouldn’t feel quite right if I didn’t put in a good word for the phenomenal Tamron 28-105mm F/2.8, which was my standard portrait lens for nearly a decade. It’s a great lens in the studio as well as outdoors, and its wide aperture lets you soften the background so the subject really ‘pops.’ A lot of serious amateurs and pros are just now rediscovering this technique, but the photographic greats I’ve worked with have used it forever.”

Of course, Campbell’s timeless and poignant images have an iconic quality and an identifiable style that are impossible to capture in words, but are evident when you see them for yourself here. Indeed, scores of photographic critics including the late great photographic guru Monte Zucker have heaped praise on Campbell’s work. To quote Zucker, “His images transcend time. His style is so unique; one feels exhilaration from peering into his mind’s eye. I urge everyone to enjoy his extreme talent.”

For the record, Michael Campbell is self-taught as a photographer, Photoshop expert, and as an accomplished painter. He was the UK record holder in the high jump during the ‘60s and ‘70s, and is currently a part-time high school track and field coach. A single dad, he lives with his 15-year-old son in Scripps Ranch near San Diego. As we said, he’s not only a great photographer and a Tamron fan, but a true renaissance man.

 

Taken in a studio with the Fuji S3 and 28-300 VC at 35mm F/11

Taken with the Fuji S3 and 28-300 VC

 

Taken with the Fuji S5 and 28-300 VC at 180mm F/5.6

Taken with the Fuji S5 and 28-300 VC at 75mm F/11

Taken with the Tamron 200-500mm

Taken with the Tamron 200-500mm

Taken with the Tamron 200-500mm