By Bryan Goh | Event & Documentary Photographer
The Johor Bahru Chingay is one of the most energetic and visually rich cultural processions in the region. Dragon dances, lion dances, stilt walkers, deity processions on sedan chairs, crowds pressing in from every side, and lighting that shifts constantly from bright neon to near-darkness. It is the kind of event where you need to make fast decisions, stay mobile, and trust your gear to keep up.
For this shoot, Tamron Singapore loaned me two lenses: the Tamron 35–100mm F/2.8 and the Tamron 16–30mm F/2.8. I used them across two camera bodies, a Nikon Zf and a Sony A7R IV, and they stayed on both cameras throughout the entire procession.
The Assignment
My goal for this project was documentary in nature. I wanted to capture and preserve the spirit of the Johor Bahru Chingay, its energy, its devotion, its celebration, in an authentic way. This is a living tradition with strong heritage and emotion, and I felt a responsibility to do it justice through visual storytelling.
That meant shooting everything: wide environmental frames showing the scale of the procession, tight compositions isolating a single performer mid-motion, quiet moments of prayer among the crowd, and the chaos of dragon dances in the thick of it all. The focal range I needed was broad, and the conditions, hot, humid, crowded, and increasingly dark as the evening progressed, demanded lenses I could rely on without second-guessing.
The Lenses
I covered the entire shoot with two lenses:
- Tamron 35–100mm F/2.8 for tighter action frames, portraits, and mid-range event coverage
- Tamron 16–30mm F/2.8 for wide environmental shots, immersive crowd scenes, and getting close to the action
Both lenses share a constant F/2.8 aperture, which was the main reason I chose this combination. Night shooting at a street procession is demanding, and I needed to maintain faster shutter speeds without pushing ISO too high. Having F/2.8 consistently available across both lenses gave me that flexibility without having to think about it.
The focal range combination also worked well together. When I needed to step back and show the environment, the 16–30mm handled it. When I needed to compress the frame and isolate a performer, the 35–100mm was the right tool. I did not need to change setups often, which mattered a lot during a fast-moving event like this.
Shooting in Low Light and Changing Conditions
As the procession moved into the evening, the lighting became more challenging. Stage lighting, fire, coloured neons, and the ambient glow of the street mixed together in ways that are difficult to predict or control. Autofocus can struggle in these conditions, particularly when you have high-contrast lighting and fast-moving subjects.
Both lenses handled this well, and honestly beyond what I expected. Autofocus remained fast and reliable even in low-light and high-contrast scenes. I relied on continuous AF with subject tracking throughout, and the hit rate was consistently high. For event and documentary work, that consistency matters more than peak performance in ideal conditions.
Shooting wide open at F/2.8 throughout the evening also delivered strong results. Sharpness across the frame held up well, colour rendition stayed natural and consistent, and the subject separation was pleasing without being overdone. When you are photographing performers in vibrant costumes against busy backgrounds, the ability to isolate a subject cleanly is practical, not just aesthetic.
Moments That Stood Out
The Dragon Dance at Night
One of the most memorable frames came during a dragon dance performance. The lighting was uneven, the performers were moving fast, and the crowd had pushed in close on every side. I was using the 35–100mm, and I was able to zoom in quickly, frame tightly, and shoot at F/2.8 to freeze the action. The autofocus responded immediately, and I got the shot cleanly. That responsiveness under pressure is something you only fully appreciate when you are in the middle of a situation like that.
Wide Coverage with the 16–30mm
For the wider moments, I used the 16–30mm to get physically close to the action and include more of the surrounding environment. Shooting at 16mm in a dense crowd gives you an immersive quality that longer focal lengths cannot replicate. It also forced me to stay engaged and present in the scene rather than shooting from a comfortable distance.
Handling and Portability
Both lenses are lightweight and compact, which made a significant difference over the course of a long, physically demanding shoot. A street procession is not a controlled environment. You are constantly moving, repositioning, ducking under obstacles, and navigating crowds. Heavy gear becomes a problem quickly.
I did not feel fatigued by either lens throughout the shoot. The combination of two lightweight F/2.8 zooms meant I could stay mobile and react quickly without sacrificing optical quality or low-light performance. That balance is difficult to find, and it is what I appreciated most about this pair.
Photo Gallery
Usage Tips
With the Tamron 35–100mm F/2.8
- Shoot wide open in low-light situations. The image quality at F/2.8 is strong, and you will benefit from the faster shutter speed and subject separation.
- Use continuous AF with subject tracking for unpredictable motion. Do not switch to single-point AF in a crowd, it slows you down.
- Use the zoom range to adapt to the scene rather than repositioning every time. In a crowded space, moving your feet is not always possible.
With the Tamron 16–30mm F/2.8
- Get close to the action. The wide end rewards proximity, and you will get more immersive, dynamic frames than you would shooting from further away.
- Pay attention to what is happening at the edges of the frame. Wide-angle lenses pick up more of the environment, and busy backgrounds can distract from the subject if you are not careful with composition.
- Stay patient. Wide shots of crowd scenes look best when there is a clear focal point. Wait for the right moment rather than shooting continuously and hoping something works.
Final Thoughts
What stayed with me from this shoot was how rarely I had to think about the lenses themselves. In event and documentary work, the best gear is the gear that gets out of the way and lets you focus on what is in front of you. Both the Tamron 35–100mm F/2.8 and the 16–30mm F/2.8 did exactly that.
The sharpness at F/2.8, the autofocus consistency in difficult light, and the portability of both lenses made for a combination I would reach for again without hesitation, not just for cultural events, but for any documentary or street work where mobility and reliability matter.
Lenses Featured in this article
Model A078 | 35-100mm F/2.8 Di III VXD
| Angle of View (diagonal) | 63°26′- 24°25′(for full-frame mirrorless format) |
|---|---|
| Optical Construction | 15 elements in 13 groups |
| Minimum Object Distance | 0.22m / 8.7in (WIDE), 0.65m / 25.6in (TELE) |
| Maximum Magnification Ratio | 1:3.3 (WIDE) / 1:5.9 (TELE) |
| Filter Size | Φ67mm |
| Maximum Diameter | Φ80.6mm |
| Length* | 119.2mm (4.7in) for Sony E-mount 121.5mm (4.8in) for Nikon Z mount |
| Weight | 565g (19.9oz) for Sony E-mount 575g (20.3oz) for Nikon Z mount |
| Aperture Blades** | 9 (circular diaphragm) |
| Minimum Aperture | F22 |
| Standard Accessories | Flower-shaped hood, Front cap, Rear cap |
| Mount | SONY E MountNIKON Z Mount |
| Release Date | March 26, 2026 (SONY E Mount)March 26, 2026 (NIKON Z Mount) |
Model A064 | 16-30mm F/2.8 Di III VXD G2
| 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) |
About Bryan Goh
Bryan Goh is a Singapore-based photographer specialising in wedding, portrait, pre-wedding, commercial, and architectural photography. His journey evolved from a travel enthusiast to a dedicated professional, capturing special moments for couples and supporting businesses with brand photography. Bryan aims to provide high-quality, well-composed images, setting him apart from casual photography. His work reflects his passion for storytelling through visuals, making him a go-to photographer for various events and commercial needs.
For more information on Bryan Goh, visit
Website: Bryangraphy Studio.
IG @_bryangraphy/