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Camera House : Better Pictures 9
Released to coincide with Tamron’s 60th birthday, this EISA award- winning lens serves up a professional quality build with an Ultrasonic Silent Drive (USD) AF motor, Vibration Compensation (VC) stabilisation plus full time manual focusing. Ideal for everyday use, it delivers great resolution across all focal lengths and is fast and responsive. Designed as an all-in-one solution this 15x zoom (APS-C compatible lens) delivers a focal length of 28-419mm (35mm equivalent). The Piezo Drive (PZD) provides fast auto focus and Vibration Compensation (VC) enables slow shutter speeds without camera shake. Designed for use with full frame DSLRs, this fixed focal length telephoto zoom lens is a great choice for the serious landscape shooter. FLD glass elements prevent chromatic aberrations and multi- layer lens coatings reduce flare and ghosting. A Hyper Sonic Motor (HSM) provides smooth fast auto focus. Landscape Lenses Tamron SP 70-300mm f/4-5.6 Di VC USD SiGma aPo 70-200mm f/2.8 EX DG oS HSm prefers more inclement weather, something he finds is perfectly suited to black and white photography. “I love black and white – it’s perfect for capturing the mood of a stormy sky – blue skies in black and white are flat and bland. I love the mood you can create in black and white – I love the deep rich blacks you get. Now the software has caught up, we can map those moody blacks that we used to be able to capture in a dark room.” Still, Oliver does realise that with the ubiquitous nature of camera phones and the rise in popularity of digital photography, many newbie shooters are unfamiliar with, or even a little scared of, the black and white image. Indeed many think if they just add a B&W effect on their image they have a usable print. “You can’t work that way,” says Oliver. “You almost have to see in black and white. See the picture first and think ‘that will work really well in black and white’ – it’s a pre-visualisation. Dark room knowledge also does help. When we were working in film, you didn’t have that much latitude. If you had a dodgy negative there was no way to rescue it. So you have to put the thought process in place beforehand. Compose the image so the shadows are in the right area. Really think about your composition, light and shade. You shouldn’t be adding things. You want to create a pretty straight print that captures the essence of what you see, not try to artificially layer it later on.” Sound advice, but what other suggestions would Oliver give photographers wanting to tackle a black and white landscape? “I would study the great black and white photographers, the Bill Brandts, the David Baileys, the Lewis Morleys – photographers of that genre. Studying the work of other photographers will help you develop your eye.” Oliver also says to be unafraid of experimenting. He suggests, “Late afternoon is great, for nice long shadows,” adding that “this time of year is perfect”. And if you’re serious about capturing some unique and moody landscapes, set your alarm clock. “Early mornings... You need to catch the early morning light. The light especially at this time of year is fantastic and it really does darken down your image,” says Oliver. “Head to the country – look at valleys and riverbeds – you get the mist off the water, it’s fantastic.” He is also a big proponent of exploring new landscapes. “I think going anywhere new is inspirational. If you are always in your own environment you’ve seen it all before. Sydney is a beautiful city, but it doesn’t grab me that much anymore because I’ve lived here for 45 years. So it doesn’t do it for me.” David emphasises that if you do want to shoot those urban landscapes you need to get up early. “It’s important to capture the right light. There’s no Tamron af 18-270mm f/3.5-6.3 Di ii VC PZD Feature winTEr lanDSCaPES 17 016_Bpics9_davidOliver_v2_corrected.indd 17 4/06/12 2:57 PM
Better Pictures 8
Better Pictures 10