8:35 PM. Senggarang, Batu Pahat. The sky had been overcast for hours, but Desmond Chua remained by the water’s edge, watching.
Slowly, the clouds began to part. Through the gaps, the Milky Way emerged, faint at first, then unmistakable, stretching across the darkness above the quiet fishing village. By 9 PM, the galaxy was clear enough to photograph, its light reflected in the calm sea below.
Desmond Chua, known as Xavierdess in photography circles, had spent two days crossing Johor, Malaysia, with one objective: capture the Milky Way and sunset landscapes using the Tamron 16-30mm F/2.8 Di III VXD G2 for Sony E-mount.
What he found was a lesson in patience and the importance of having the right glass when conditions finally align.
The Destination: Two Nights, Two Outcomes
Day one began in Sedili, Kota Tinggi. Desmond had scouted the location for its dark skies and minimal light pollution, ideal for astrophotography. The plan was simple: shoot sunset, wait for nightfall, then photograph the Milky Way.
Storm clouds rolled in just after sunset, turning the sky into dense grey. No stars. No galaxy. Just the reality of outdoor photography: sometimes, you don’t get the shot.
Day two at Senggarang brought different results. The sky opened with a vibrant pink sunset, bathing the coastline in warm light. Desmond stayed on after dark, monitoring the sky. The clouds that had lingered throughout the evening began to thin.
At 8:35 PM, the Milky Way made its first appearance. By 9 PM, the skies had cleared enough for clean exposures, revealing the galactic core above the silhouettes of village rooftops and fishing boats.
“Standing quietly by the sea after the vibrant sunset, waiting patiently as the clouds slowly parted. Seeing the Milky Way reveal itself over the calm water and village rooftops was a surreal experience,” Desmond recalled.
The Equipment: Built for Night Skies
Desmond chose the Tamron 16-30mm F/2.8 specifically for this assignment. Astrophotography demands width and speed. The 16mm focal length provided the expansive field of view needed to frame both celestial and terrestrial elements in a single composition: sky, water, village, horizon.
The F/2.8 aperture opened wide enough to gather sufficient light without pushing ISO too high or relying on excessively long exposures that would blur stars.
Paired with his Sony A7IV, Desmond used typical Milky Way settings: F/2.8, ISO between 1500 and 2000, shutter speeds from 15 to 20 seconds on a tripod. The lens locked focus easily during blue hour and transitioned smoothly to manual focusing after dark. Corner-to-corner sharpness held up across the frame, even when shooting wide open.
The lens also proved its versatility during sunset. Shooting directly toward the sun as it descended, the lens controlled flare effectively and maintained contrast despite challenging backlit conditions. Colour rendering was clean and natural, bringing out the pink and gold tones without artificial saturation.
“The lens did a great job controlling flare and contrast, even when shooting directly toward the sun. I was especially impressed with the colour rendering and clarity,” Desmond noted.
Patience Rewarded
The second evening at Senggarang unfolded in stages. First came the sunset, brilliant pinks bleeding across the sky and reflecting off the water. Desmond captured the scene, waiting for the colours to deepen as the sun dropped below the horizon. After sunset, the waiting began.
The sky remained cloudy. Desmond stayed by the water, watching the cloud cover and checking weather updates. At 8:35 PM, gaps began to form. Through the breaks, the Milky Way appeared, faint but visible. By 9 PM, the clouds had thinned enough to shoot.
The 16mm focal length allowed him to compose frames that told a fuller story. Rather than isolating the galaxy against empty sky, he included the fishing village in the foreground, the calm water in the middle ground, and the Milky Way arcing overhead. The wide perspective created context, grounding the celestial scene in a specific place and moment.
The F/2.8 aperture performed as needed. At ISO 1600, exposures remained clean with minimal noise. Stars appeared as sharp points across the frame, with no noticeable coma or distortion at the edges.
One of the strongest images from the night shows the Milky Way rising above the village rooftops, with a fishing boat moored in the foreground. The composition balances sky and earth, light and shadow. The lens resolved fine detail in both the galactic core and the silhouetted structures below.
Performance in the Field
Looking back on the trip, Desmond’s assessment was straightforward. The compact form factor proved practical for outdoor work. Astrophotography often involves hiking to remote locations in darkness and working in conditions where every gram of gear counts.
The 16-30mm F/2.8 delivered professional-grade optical performance without the bulk of older wide-angle zooms.
The lens covered two distinct shooting scenarios with equal capability. During sunset, it handled high-contrast scenes with controlled flare and accurate colour. After dark, it gathered light efficiently and maintained sharpness across the frame for astrophotography.
“It’s compact, sharp, fast, and reliable. Perfect for travel and outdoor shooters who want both flexibility and quality,” Desmond said.
His advice for other photographers planning similar shoots?
“Always scout your locations in advance and keep checking weather apps. Sometimes, even a short break in the clouds can give you the shot you’re waiting for.”
Made for Outdoor Storytellers
The Tamron 16-30mm F/2.8 Di III VXD G2 is built for photographers who work in variable conditions and need reliable optical performance.
Landscape photographers shooting from golden hour through blue hour will appreciate the fast F/2.8 aperture for maintaining clean exposures without excessive ISO.
Astrophotography enthusiasts need the combination of width and speed for capturing expansive star fields. The 16mm end provides room to frame foreground and sky together, while F/2.8 gathers light efficiently for night shooting.
Travel shooters prioritising portability will find the compact design practical for multi-day trips where every item in the bag needs to justify its weight.
Outdoor photographers working in unpredictable conditions benefit from the lens’s consistent performance across varied lighting scenarios.
Final Thoughts
After two days chasing starlight across Johor, Desmond returned with images and a reminder that outdoor photography, particularly astrophotography, is as much about patience as it is about equipment.
The first night at Sedili taught him that even the best gear can’t guarantee results when nature doesn’t cooperate. The second night at Senggarang rewarded his persistence, offering a clear sky and a moment worth the wait.
The Tamron 16-30mm F/2.8 didn’t guarantee clear skies, but when the clouds parted, it delivered. Sharp across the frame. Clean colour rendering. Fast enough for low light. Compact enough for travel.
For photographers planning their own night-sky adventures, Desmond’s advice stands: scout your locations, monitor the weather, and stay patient. When the sky finally clears, make sure your lens is ready.
“The biggest challenge was the weather. Cloudy skies are always the gamble with night shooting. But this trip reminded me of an important lesson: patience is everything in landscape and astro work.”
– Desmond Chua (Xavierdess)
Desmond Chua (Xavierdess)
Desmond Chua is a landscape and astrophotography enthusiast based in Singapore. His work focuses on capturing natural phenomena and celestial events, from Milky Way panoramas to coastal sunsets. With a patient approach to outdoor photography, Desmond seeks out moments where light, timing, and composition converge.
His photography emphasises technical precision balanced with creative vision, documenting the beauty of dark skies and natural landscapes across Southeast Asia.
Connect with Desmond
📍Instagram: @xavier_dess
📍Facebook: Xavier Dess
Lens Featured in this article
A064 | Tamron 16-30mm F/2.8 Di III VXD G2 for Sony E / Nikon Z
| Angle of View (diagonal) | 107°2′- 71°35′ (for full-frame mirrorless format) |
|---|---|
| Optical Construction | 16 elements in 12 groups |
| Minimum Object Distance | 0.19m / 7.5in (WIDE), 0.3m / 11.8in (TELE) |
| Maximum Magnification Ratio | 1:5.4 (WIDE) / 1:7 (TELE) |
| Filter Size | Φ67mm |
| Maximum Diameter | Φ74.8mm |
| Length* | 101.8mm (4in) for Sony E-mount 103.9mm (4.1in) for Nikon Z mount |
| Weight | 440g (15.5oz) for Sony E-mount 450g (15.9oz) for Nikon Z mount |
| Aperture Blades** | 9 (circular diaphragm) |
| Minimum Aperture | F16 |
| Standard Accessories | Flower-shaped hood, Front cap, Rear cap |
| Mount | SONY E MountNIKON Z Mount |
| Release Date | July 31, 2025 (SONY E Mount), August 22, 2025 (NIKON Z Mount) |
* Length is the distance from the front end of the lens to the lens mount face.
** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.
Specifications, appearance, functionality, etc. are subject to change without prior notice.
This product is developed, manufactured, and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.
This product is developed, manufactured, and sold under the license agreement with Nikon Corporation.