Issue 4 · Summer 2017 Token charge: €2.50
ALWAYS AT THE LIMIT
WIN MEG AZOOM 18-400mm NOW Survey ins
ide
Tamron with pro photographer Thomas Rauhut at the DTM race at the Hockenheimring. Cover image by Thomas Rauhut Taken using Tamron SP 70-200mm Di VC USD G2
NEW MEGA-ZOOM 18-400mm
LADYBIRDS IN FOCUS
Extend into ultra-tele range with Tamron’s latest mega-zoom
Discover the fairytale world of insects with the SP 90mm f/2.8 macro lens
PORTRAIT CONTRE-JOUR The morning sun brings the fresh green of the forest to life. The perfect backdrop for an atmospheric portrait shot. The photographer lights up the man’s face with a warm gold reflector to suit the lighting in the photo. The picture comes from a series created for Tamron in Norway by pro photographer Philip Ruopp with the new SP 24-70mm f/2.8 G2. One of the stand-out features of this fast standard zoom lens is its excellent imaging performance - even in challenging backlit photos - along with its harmonious background blur (bokeh). www.philipruopp.de
HIGHLIGHT
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SPECIAL
PRO TIPS FOR GREAT TRAVEL PHOTOS Photography and travel - they just belong together. The most beautiful days of the year deserve to be captured in the best photos. Our pro tips will help you do just that.
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SPECIAL
PHOTO: TAMRON PHOTO: EAT THIS!(4), VLADIMIR SAZONOV/SHUTTERSTOCK
“BE INSPIRED BY THE LIGHT OF FARAWAY PLACES. A PICTURE MAKES WHAT YOU EXPERIENCE UNFORGETTABLE.”
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“WAIT FOR PERFECT LIGHT. YOUR PATIENCE WILL BE REWARDED WITH FABULOUS PICTURES.” TOP: There’s
barely 30 minutes between the two shots above. But the colours only light up once the sun is high enough in the sky. FAR RIGHT: The golden ratio and the rule of third will help you compose your pictures and arrange the elements in an attractive way RIGHT: A light travel tripod, like the Manfrotto Befree, is ideal for your holiday. It weighs just 1.4kg and is just 40cm long when folded up.
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SPECIAL
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Use the picturesque light in the morning and the evening
TOP LEFT:
Playing with sharp focus and blur is one of the most important composition techniques in photography. Use it to guide the viewer’s gaze to the central element of the picture.
Shortly after sunrise and in the late afternoon, the sun is lower in the sky. That makes the light significantly warmer (the “golden hour”) and more friendly - ideal for great photos. The rays of sunlight fall sideways onto the subject, creating more plasticity in the picture.
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BELOW:
Choose your photo equipment carefully
No one wants to drag around more luggage than they need to on holiday. Take only the equipment you really need for your photography. Mega-zooms like the Tamron 16-300mm f/3.5-6.3 or the Tamron 18-400mm f/3.5-6.3 are practical, offering a very wide range of focal lengths in a compact and light lens - letting you capture a large variety of subjects.
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Image above taken with the new Tamron 18-400mm, which can also be used as a tele-macro.
Travel as light as possible on holiday. A medium-sized shoulder bag (shown here is the Manfrotto Bumblebee M-10 PL11) has enough space for an SLR plus zoom lens and any accessories you need.
Use the rule of thirds to compose your picture
Rules of composition help you achieve harmonic results in your photography. The golden ratio roughly corresponds to the rule of thirds, according to which the picture is divided into nine equal squares with two horizontal and two vertical lines. Position the central elements on one of the points of intersection and this will create a balanced and visually attractive composition.
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Target your focus! Use the bokeh effect
Along with the choice of image detail and the lighting, sharpness is the third design tool available to photographers. Always focus on the main subject (in portraits, on the eyes). Allow the rest of the photo to blur, so that the viewer’s gaze is unconsciously guided to the important elements of the picture.
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Use diagonal lines to create a dynamic picture PHOTOS: THOMAS KETTNER (1), TAMRON (5), MANFROTTO (2)
Develop an eye for the lines in a picture. These lend structure to the subject and guide the viewer’s gaze. While horizontal and vertical lines give stability, diagonals contribute to a dynamic composition.
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Include the foreground in the composition
There’s a saying in German about how the foreground makes the picture - it’s a bit trite, but nonetheless, there’s some truth to it. When taking landscape photos, choose a deep perspective and show part of the foreground as well (e.g. plants or rocks). This way, you’ll give the picture more depth and lead the viewer’s eye in the picture. Tamron Magazine
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SPECIAL
“PRACTISE YOUR STORYTELLING. A VARIED SERIES OF PHOTOS IS MORE INTERESTING THAN A SINGLE PICTURE.”
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Find a common thread to run through your photo story
Tell stories with your photos instead of just shooting a random series of individual photos. Stick to the themes of your trip in pictures that are as different as possible: Consciously change the location, perspective and shooting distance. This will give you a large number of different pictures that you can use later to tell your personal story about your trip.
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Pay attention to the contrast in the picture! It makes it more exciting Opposites don’t just make life more interesting - they improve your photos as well. It doesn’t always have to be the well-trodden light/dark contrast; complementary colours (e.g. red/green, yellow/blue) and pairings that are interesting to look at (small/large, old/ young, near/far) will make your picture more exciting.
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Photography after nightfall
Don’t stop taking photos just because it's getting dark. In cities, the ‘blue hour’ after sunset is an opportunity for great twilight shots. Switch on the VC image stabiliser or use a tripod to avoid blur from the camera shaking.
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Let small details blossom into the starring role
It’s not for nothing that people say the devil is in the detail. Sharpen your eye for the smaller visual nuances. A small flower on the edge of a path, a hand-painted sign, a nicely decorated front door - these details often tell a better story than a vague overview shot.
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Don't let the camera set the settings for you
Trust is good, but sometimes control is better. Switch the camera to manual mode. When you choose the aperture and shutter speed yourself, you're photographing in a more conscious way and you can control the lighting better.
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You can use a series of pictures to tell a whole story. When you build this story, it's best to follow the action using a zoom lens. Change the perspective and focal length to add variety.
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Don’t be afraid to take spontaneous snapshots
Your photos don’t always have to follow all the rules of art. Sometimes, a spontaneous photo is better than one that’s perfectly put together. If you find an exciting situation, don't hesitate - get your camera to your eye and let loose. These snapshots are seldom perfect, but they are authentic - and add variety to your portfolio.
Wait until the golden hour before you start taking photos. The light is warmer at that time and will flatter the subject. The large photo was taken at an ideal time; in the smaller photo, however, the light is too harsh and the shadows too dark.
“EARLY IN THE MORNING AND LATE AFTERNOON ARE THE IDEAL TIME FOR REALLY ATMOSPHERIC HOLIDAY SHOTS.”
RIGHT:
PHOTOS: THOMAS KETTNER (3), DANIEL WOHLLEBEN (1), TAMRON (2), MANFROTTO
An outdoor rucksack, such as the Offroad 30L from Manfrotto, offers plenty of space for your things, as well as a protected camera pocket and an attachment for tripods. Practical: When you're not taking photos, you can just take the camera pocket off. FAR RIGHT:
Tamron’s 10-24mm wideangle zoom lens offers an extra-large imaging angle for spectacular landscape and architecture shots.
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TOP FEATURES OF THE 18-400mm f/3.5-6.3 Di II VC HLD The new mega-zoom lens from Tamron contains the latest technologies, starting from the optical construction, through the precise mechanics to the electrical components.
Splash-proof lens construction
22.2x optical zoom
Zoom-lock function
lot has happened since Tamron presented the world's first mega-zoom interchangeable lens for SLR cameras 25 years ago. In 1992, the zoom range of 28-200mm made for a mini-sensation in the photography world: For the first time, photographers wouldn’t have to change the lens to go from wide-angle to tele. Today, this convenience is expected and a compact mega-zoom is part of many photographers’ standard equipment. No other lens lets you change from panorama to close-up shots in just a few seconds. Tamron’s 18-400mm f/3.5-6.3 Di II VC HLD sets another milestone in the mega-zoom journey. It is the world's first interchangeable lens for SLRs with 22.2x zoom. Converted to 35mm format, the effective focal length corresponds to 28-620mm and therefore reaches the ultra-telephoto range. Usually, lenses with this enormous focal length range are significantly larger and heavier. In
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Modern design, high-grade materials
VC image stabilisation
ZOOM POWER: WIDE-ANGLE TO ULTRA-TELEPHOTO
18mm
50mm
200mm
addition, the lens even has real macro qualities. The nearest object distance of 45cm means the lens achieves a maximum imaging ratio of 1:2.9.
Special glass elements To prevent image faults effectively over the entire range of focal lengths, special optical glasses are used. The 18-400mm has three new LD (Low Dispersion) glass elements with particularly low refraction. In combination with a hybrid-aspherical lens, they correct the imaging faults such as chromatic aberrations (colour fringes) to which mega-zoom lenses are often prone. The lens surfaces are treated with a high-grade BBAR (Broad-Band AntiReflection) coating that guarantees high light transmittance and also prevents reflections and scattered light inside the lens. Making sure that such a complex mega-zoom lens works correctly requires not just high-quality optical design, but also precise mechanical
400mm
construction. Tamron has years of expertise in this area as well, without which it would not be possible to manufacture the 3x extension of the 18-400mm precisely enough not to negatively affect the optical performance of the lens. There are also electronic components like the new, high-performance HLD autofocus motor (High/Low Torque Modulated Drive) and the VC image stabiliser. These components become more and more compact all the time, contributing significantly to how easy Tamron’s mega-zooms are to handle.
HIGHLIGHTS IN FOCUS: 18-400mm f/3.5-6.3 Di II VC The new 18-400mm offers the photographer a whole series of advanced features. It’s not just the first megazoom for SLR cameras whose focal length reaches into the ultra-telephoto range; it’s also the first of its class that can be configured using Tamron’s TAP-in Console (ill. above).
Top optical performance 16 elements in 11 groups for sharpness and details in wide-angle and tele.
MEGA-ZOOM: TAMRON ALL-IN-ONE LENSES COMPARED
Reliable mechanics Precision tube with three extension settings. Zoom lock prevents unwanted extension.
NEW 18-400mm f/3.5-6.3 Di II VC HLD
16-300mm f/3.5-6.3 Di II VC PZD MACRO
18-200mm f/3.5-6.3 Di II VC
Focal length (35mm) ....... 28-620mm Aperture ..............................f/3.5-6.3 Minimum object distance ........45cm Max. image ratio .......................1:2.9 Length × Ø ...............121.4 × 79mm Weight ......................................705g
Focal length (35mm) ....... 25-450mm Aperture...............................f/3.5-6.3 Minimum object distance ........39cm Max. image ratio .......................1:2.9 Length × Ø ................ 99.5 × 75mm Weight ......................................540g
Focal length (35mm) ..... 28-300mm Aperture ............................. f/3.5-6.3 Minimum object distance ...49-77cm Max. image ratio ..........................1:4 Length × Ø ................ 94.1 × 75mm
Weight .............................. 400g
Compact dimensions 121mm long and 79mm in diameter. Weighs just 705g (Nikon version). Tamron Magazine
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SURREAL NIGHTS IN ICELAND
PHOTO: PHILIP RUOPP
When Philip Ruopp found the ice chunks on a beach in Iceland, he knew straight away that this would be one of the subjects for his new night-time photo series. Philip shot the pictures themselves traditionally using a tripod, but he sent a drone into the night sky for support. The experiment with lighting was a success; the results are breathtaking - but the project was not easy to put together, as Ruopp explains in the interview.
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EXCURSION
30mm · 30 sec. · f/2.8 · ISO 320
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15 mm · 303 sec. · f/2.8 · ISO 640
ABOUT: PHILIP RUOPP
PHOTOS: PHILIP RUOPP
Philip Ruopp, born in 1982, has been working as a sports and advertising photographer for more than 15 years. He is based in Laichlingen, Alb-Donau-Kreis. From there, he travels around the globe for action-packed shoots for a variety of clients. www.philip-ruopp.de
30mm · 183 sec. · f/2.8 · ISO 400
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30mm · 183 sec. · f/2.8 · ISO 400
EXCURSION ust a few years ago, aerial photos were still esoteric curiosities; now, they’re part of every photo series as standard. Drone photography has not been considered an expert niche for a long time. That means that to surprise the viewer, the photographer needs to do a bit more; this was Philip Ruopp’s approach when he was preparing his annual free project. He always chooses a country and thinks about what kind of project he can complete there in the space of two weeks. It occurred to him and a colleague to take a drone for a short trip to Iceland. The plan: The drone would have to be capable of a bit more than just snapping the usual aerial photos; it would light up his night-time photos from the air as well, creating a new, surreal effect. No sooner said than done: Ruopp tested three different LED spotlights and finally fastened a particularly high-performance model to a DJI Inspire multicopter.
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Remote locations Ruopp found most of the spots in the day while driving past them. In the day, however, it looked a lot different: “In the sparsely populated seclusion of the north, it is absolutely pitch dark at night. The ice block, for example, was just 300 metres from the road, but it took forever to find it again at night.” Of course, they had to wait for dusk on-location before they could start taking photographs, which this ruined
the schedule because the weather only allowed Ruopp and his colleagues two nights for photography as planned. For the rest of the time, the tail-end of a hurricane was pelting the island - not great flying conditions for a drone. Once he had found the location again, Ruopp had to set up the picture in pitch darkness; there was nothing to be seen in either the Live View or the viewfinder on his Nikon D800. So that he could judge the image composition, the sensor had to show what it could and light up some test photos with the highest possible ISO values: “Image noise wasn’t a consideration for this, we just wanted to set up the picture,” Ruopp explains of the procedure. The drone was started while he was doing this, since a few things had to be ascertained about this as well: whether the illumination from the drone is visible was fairly easy to find out in the viewfinder, but whether the LED lamp was causing scattered light and other unwanted effects was a bit more difficult. The final pictures were then saved with moderate sensitivity, between ISO 320 and 640. Despite the additional light from above, Ruopp still needed exposure times between two and five minutes: “That meant we could only take ten pictures per hour, maximum. There aren’t many experiments with the drone lighting in the series for that reason.” With all the preparation that was required, an hour or more could go by before they had
taken a single picture - often followed by an hour's drive to the next location. Ruopp used the SP 15-30mm f/2.8 from Tamron for his impressive night-time photos. Because he wanted to work with about a 20mm focal length for this series, this lens was the ideal tool: “The sharpness in particular is unbelievable,” says Ruopp. “Even in these lighting conditions and exposure times, the detail is excellent. I haven’t found many alternatives."
Surreal colours The surreal colour palette was exactly the look Ruopp was going for: “I wanted the scene to look a bit like it was taken on another planet.” This wasn’t a result of over the top postprocessing, however. Photoshop was used very sparingly for this project. Instead, thanks to the long exposure, the weakly-shining northern lights almost invisible to the human eye - had the opportunity to fight through the clouds and into the picture. The weak light of a faraway town also finds its way into the pictures as a soft orange glow on the horizon. It was only with subjects like the aeroplane that several shots were later combined, since the drone had to light up such a wide area and this would not have been possible with one photo.
SP 15-30mm F/2.8 Di VC USD Focal length ........................ 15-30mm Angle of view ...................... 110°- 71° Aperture .......................................f/2.8 Minimum object distance ...........28cm Image ratio ......................................1:5 Elements/groups ........................ 18/13 Aperture blades..................................9 Length....................................142.5mm Weight.......................................1,100g
19mm · 30 sec. · f/3.5 · ISO 640 (composite from several photographs)
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Quick snapshot out and about? You are free to use the photos shown here for private purposes. The problems come about when you try to publish them. If you want to do this, you should play it safe and get permission from the people in the pictures.
PHOTOGRAPHY LAW IN A NUTSHELL In part 2 of our series, Dierk Kowalke explains what to look out for when it comes to photography and the law using a few specific issues.
EXAMPLE 1: CHILDREN AND WARDS Where photos are taken of children under fourteen years old, their parents must consent. If the children are not the main subject of the photo, but ‘accessories’, the parents cannot prevent publication, but taking photographs of children is still a legal balancing act. If children and young people between fourteen and eighteen years of age are in the photograph, the photographer needs permission both from the young person and the parents - but this only applies if they form a significant portion of the photo.
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EXAMPLE 2: BRANDED PRODUCTS, LOGOS AND NAME TAGS IN THE PICTURE If the photos are used exclusively in private, this category of use does not present any problems. Commercial use is also not a problem if the branded product is not a subject in the foreground, but is part of the scenery. A model holding a Coca Cola bottle can be problematic, however, because if the product has advertising value and is in the foreground, this is no longer permitted. Similar rules apply to logos and name tags.
PHOTOGRAPHY AND THE LAW
EXAMPLE 3: PHOTOS OF COPYRIGHTPROTECTED OBJECTS?
EXAMPLE 5: PHOTOS OF BUILDINGS AND WORKS OF ART ALLOWED?
EXAMPLE 6: THE PLACE WHERE THE PHOTO IS TAKEN IS CRUCIAL
For photos of buildings and public works of art, ‘freedom of panorama’ usually applies. Taking and distributing these pictures is generally allowed. However, you should be aware of these rules: • You are only allowed to take photographs in a public place and without any special equipment (e.g. ladder, tall tripod). • Outdoor photographs are permitted, but indoor photographs need permission. • Only photos of established works of art (e.g. statues) can be used; temporary installations cannot.
Private sphere: If you, for example, happen to take some photographs on the beach or in an outdoor swimming pool, this is more problematic than if it happened in front of a tourist attraction in town. The beach or swimming pool are considered to be in the private sphere. So: Ask for permission or stop! Householder’s rights In enclosed spaces, permission must be sought from the owner of the premises before photography commences. Even if the photos will only be used privately, it is advisable to have the conversation beforehand to avoid unnecessary disputes.
Copyright-protected objects like handbags, paintings or architecture are often found in photos. The following applies for this situation: If these objects are photographed and used as an ‘insignificant accessory’ (§ 57 UrhG [German Copyright Law]), then you are not in violation of copyright law. However, if the object is in the foreground in such a way that it constitutes a significant part of the picture, if this is used commercially then this is a violation of copyright law or the property rights of other people acknowledged by the copyright holder.
EXAMPLE 4: ARE NUDE PHOTOGRAPHS ALLOWED IN PUBLIC? The answer to this question can be found in paragraph 118 of the Law on Regulatory Offences. In each individual case, it must be evaluated whether the behaviour is ‘grossly indecent’ and likely to disturb or endanger the public. You must always bear in mind that anyone can notify the regulatory agency and its employees will then decide whether this is the case. If they decide that it is, you may be fined up to 1000 euros.
Can you just photograph other people? Generally speaking: In itself photography is generally allowed, but if the photos are to be published (e.g. on social media), permission should be sought. Written permission is best, but verbal with a witness is OK as well.
EXAMPLE 7: DOES THE PHOTOGRAPHER HAVE TO SEND CUSTOMERS THE FILES?
PHOTOS: DIERK KOWALKE
Unless expressly agreed that the photographer is releasing the files as well, nothing has to be released. Prices for subsequent use and whether the files are to be archived are also subject to agreement. However, according to paragraph 60 of UrhG, the customer has the right to make copies of the pictures and to distribute them free of charge. Publication on the internet must be specifically agreed upon. Tamron Magazine
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INTERVIEW
MOMENTS OF HAPPINESS Between art and journalism - Cologne photographer Le Hai Linh talks about his passion for weddings and explains why he only uses prime lenses.
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PHOTO: LE HAI LINH
Capturing unique moments and emotions with his camera is the goal that motivates Le Hai Linh always to innovate and produce his best work. “Making a historic document that has real value for the couples and families is what fills me with pride,� says the wedding photographer.
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INTERVIEW e Hai Linh is at his best from mid-May. Until autumn, the wedding photographer from Cologne will have to give it his best every single weekend. He finds time for an interview with Tamron magazine despite his tight schedule. We meet in his beautiful ground-floor flat in Cologne-Ehrenfeld, which can be repurposed as a spacious photo studio when he needs it. A light breeze blows through the patio door and mixes with the soft jazz music in the background.
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Linh, as a wedding photographer, there are demands made of you from all sides. What's the best thing about your job? Le Hai Linh: Capturing the most beautiful day in the life of anoth-
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er person in photos is very fulfilling. Of course, there’s also a certain amount of pressure and intensity that comes with the job. But for me, that mixture is precisely what I love about it. I’m really proud that couples and their families want me to accompany them with my camera on this day that’s so important to them. Do you see yourself as a more of a documenter or as an artist? Le Hai Linh: I move between those two worlds as a wedding photographer. I need a journalistic eye to recognise moments that will never happen again in life. But it's not just about creating a document of the event. You also have to be able to set stories and objects in the scene in an artistic way. When that
works, the photos gain special value for the couple and they feel a tingle when they look at the photo later. You photograph around thirty weddings a year. Doesn’t that get a bit tedious? Le Hai Linh: Every wedding is different, so it’s never boring. There are certain things that are always the same and you develop a certain routine during these parts of the day as a photographer after a while. But the people are always unique. Every couple has their own personality, style and emotions. My job is to reflect this individuality in pictures that don’t just show authentic moments but also radiate a certain aesthetic. This is the new challenge for me at every wedding.
INTERVIEW
“EVERY COUPLE HAS ITS OWN PERSONALITY, ITS OWN STYLE. THESE ARE REFLECTED IN THE PHOTOS.” How many photos do you take at an average wedding? Le Hai Linh: That has changed over time. I took more photos earlier in my career, but nowadays it's rarely more than about two thousand. I choose about six to seven hundred of these to give to the couple. As I've gained experience, the number of rejected photos has got much smaller, which makes the selection process a lot quicker.
PHOTOS: LE HAI LINH
You work with prime lenses exclusively. Why is that? Le Hai Linh: I always want to do my best and I’m an avowed perfectionist. So photo quality is more important to me than convenience. That means zoom lenses are out of the question. I concentrate much harder on what's happening when I have to move towards my subject. Photos are more intuitive to compose. It's also much simpler to achieve uniform, consistent visual imagery with prime lenses. The pictures just fit together better than when I shoot using lots of different focal lengths. I usually have either the 35mm or the 85mm on the camera, so all the pictures
Photographers are challenged from all sides on the wedding day: They have to observe like a reporter and photograph like an artist. Tamron Magazine
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INTERVIEW
“I USUALLY WORK WITH JUST TWO PRIMES, THE 35MM AND THE 85MM. THAT GIVES MY PHOTOS UNIFORM, CONSISTENT VISUAL IMAGERY.”
are taken with the same angles of view and there aren’t any unnatural breaks in depth or perspective. What do you like about the new prime lenses in the Tamron SP series? Le Hai Linh: The SP lenses are very sharp and their resolution performance is good. The colour reproduction fits my style of photography very well. I was excited about the short minimum focusing distance of the SP 35mm because it lets me take all the detail shots that every wedding photo album needs; it means I don’t need an extra macro lens. For the SP 85mm, it's mostly the sharp/blur effect; the bokeh is very soft, which I like. Some of your pictures are in black and white. What role does image editing play for you? Le Hai Linh: I usually limit my image editing to the important things like cropping, brightness and contrast. That means the pictures get the look typical of my style. I love black and white photography and I usually know when I’m taking a picture that I’ll be developing it in black and white later. Alongside wedding photography, you teach at the University of Cologne. What made you want to do that? Le Hai Linh: Working with students is so much fun for me. I teach the basics of photography with an emphasis on portraits. I’m always astounded at the great results we get after only a short period of time. It’s great to share knowledge with others and then to see the new ways they put it to use. What do you do when you’re not taking photos professionally? Le Hai Linh: I think it's important to take time out. We’re born to live and not to work. If I didn't take breaks, I’d probably lose my passion
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“I TAKE PROBABLY TWO THOUSAND PHOTOS ON A WEDDING DAY. THE COUPLE GET ABOUT A THIRD OF THOSE.” ABOUT: LE HAI LINH The wedding photographer (*1983) from Cologne says his favourite moments are the ones that make you long for love and protection. His photos combine authentic vitality and artistic ingenuity. Linh studied German studies and worked as a media designer before he became an independent photographer in 2013. He also passionately teaches photography at the University of Cologne.
PHOTOS: LE HAI LINH
for photography. After wedding season, I love to hike alone. In the last year I did part of St James’s Way. Walking gives me the opportunity to look back and refuel with energy and motivation. For me, the exertion of walking has an almost allegorical meaning: When you look back at a difficult leg of the journey, your perspective changes and you see that it was actually worth doing even though it was difficult.
www.lehailinh.com
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PRACTICE
LITTLE BUG MADE BIG
The marvellous world of ladybirds appealed to Olivia Michalski. She has a special passion for the little creepy-crawlies and here gives her best tips for successful macro shots. aking photos of ladybirds isn’t as easy as you might think. I had to learn that the hard way. When I tried to hunt down the little rascals, suddenly they were nowhere to be found. I learnt that our spotted friends mostly like plants that attract aphids, like tomato plants, brambles and roses. You can see that that’s where they're happiest. You’ll find them there from March to October, peak ladybird season. If you're interested in macro photography, then you’ll have heard the advice to get up early in the morning. Butterflies are still stiff and sluggish from the cooler night air, so they don’t fly away and you can photograph them more easily. Unfortunately, this tip doesn’t get you very far with ladybirds because they look for hiding places at night and, at least for me, were almost impossible to find in the morning. I usually look for them in the warmer hours of the afternoon. Around noon would work too, but the light can be too harsh at that time, which tends to create shadows that don't look as nice.
90mm · 1/400 sec. · f/3.5 · ISO 500 ∙Colours have been post-edited
PRACTICAL TIPS:FROM OLIVIA MICHALSKI
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Avoid blur from camera shake! Fast shutter speed and the VC image stabiliser are the beginning and end of a razor-sharp picture. The exposure time when shooting by hand should be, at minimum, the inverse of the focal length, so at 90mm no longer than 1/90 of a second.
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Don’t be too impulsive! You do need to be quick, but be as calm as possible as well and avoid touching the ladybirds. Instead, cradle them so they feel safe. The less the animal moves, the easier it’ll be to focus on it.
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Take photos at eye height! From a bird'seye view, your photos will look like boring snapshots. Your pictures will have more depth if the camera is on a level with the animals. This is how you create the feeling for the viewer that they are integrated in the scenery.
PHOTOS: OLIVIA MICHALSKI
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ABOUT: OLIVIA MICHALSKI The hobbyist (22) from Bochum has been a passionate photographer since 2010. The occupational health nurse was especially taken with nature and macro photography. www.facebook.com/ oliviamichalskiphotography
PRACTICE
90mm · 1/800 sec. · f/3.5 · ISO 500
90mm · 1/800 sec. · f/2.8 · ISO 800
90mm · 1/400 sec. · f/4.5 · ISO 800
The fast shutter speed and VC image stabilisation make for optimal sharpness.
90mm · 1/500 sec. · f/4.5 · ISO 800
KEYWORD: MINIMUM OBJECT DISTANCE
SP 90MM F/2.8 Di MACRO 1:1 VC USD Focal length .................................90mm Aperture.......................................... f/2.8 Nearest focusing distance ............ 30cm Max. image ratio ............................. 1:1
• With the SP 90mm f/2.8, you can get 30cm away from an object and still focus. It will then be projected onto the sensor in a 1:1 ratio, which only dedicated macro lenses can achieve. • The small shooting distance gives an especially soft background blur. This ‘bokeh’ is intensified by a larger aperture.
• Stop down one to two stops to get sharpness for greater depth. Otherwise, the picture will be blurry if the ladybird moves even half a millimetre. • Make sure you don't get closer than the minimum focusing distance. Without a tripod, that can happen very easily. It will result in a blurry subject.
• The closer you are to the subject, the quicker you or the camera will cast a shadow in the picture. Position yourself so that enough light falls on the subject.
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SP 15-30mm · 18mm ∙1/800 sec. · f/4.5 · ISO 100
ALWAYS AT THE LIMIT
You need fast reflexes at the Hockenheimring. That goes for the photographers as well. Thomas Rauhut, owner of Rauhut Photography, was commissioned by Audi to photograph the DTM race. These are his tips for successful motor spot photos. 36 Tamron Magazine
PRACTICE
“THE ENGINE NOISE IS EAR SPLITTING. WITHOUT EAR PROTECTION, NOBODY GOES IN THE PIT LANE.”
SP 70-200mm f/2.8 · 170mm ∙1/500 sec. · f/4.5 · ISO 100
PHOTO TIPS: MOTOR SPORTS 1 Include the foreground and background in the composition “Playing with sharp focus and blur gives the shot more depth and tension. Make sure that a blurred fence, for example, protrudes into the foreground.” SP 70-200mm f/2.8 · 200 mm ∙1/1,000 sec. · f/5 · ISO 200
owling engines, the pungent smell of petrol and blistering asphalt - Thomas Rauhut has been fascinated by car racing since he was a child. He thanks his father, a hobby photographer, for his enthusiasm. He got his son interested in cameras and lenses in equal measure. The boy got a qualification in photography and now works as an independent photographer in Cologne. His favourite subject? What else: fast cars.
PHOTOS: THOMAS RAUHUT
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Rauhut was commissioned by Audi to document the DTM race on the Hockenheimring. This was a special experience for the young photographer, who only works with Tamron lenses. “With the ultra-wide angle zoom, it was like I was in the pit lane myself,” he says. “And with the telephoto, I can get the race car on the track filling the frame.”
2 Use more perspectives and angles of view “Make the best of your location and shoot from perspectives at different heights and with different image angles.” 3 Manual white balance for a consistent colour palette “Set the Kelvin value by hand. This will give you a uniform colour palette. Think about adjusting the setting when you move from outside to inside.” Tamron Magazine
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SP 70-200mm f/2.8 · 200mm ∙1/250 sec. · f/5 · ISO 200
“Good motor sports pictures need dynamics and movement,” photographer Thomas Rauhut says. “Slight motion blur and targeting sections of the cars gives a convincing impression of speed.”
ABOUT: THOMAS RAUHUT
PHOTOS: THOMAS RAUHUT
Thomas Rauhut (29) works as an independent photographer in Cologne. After he finished his training, he decided in 2015 to set up on his own. He focuses on automotive, portrait and fashion photography. As well as Audi, his clients include car brands MercedesBenz, Volvo, Lexus, Toyota, Land Rover, Opel and Hyundai. www.rauhutphotography.com
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SP 70-200mm f/2.8 200mm ∙1/250 sec. · f/5 · ISO 200
PRACTICE
TAMRON SP - QUICK LENSES FOR BLADING MOTOR SPORTS SHOTS Thomas Rauhut has brought three Tamron lenses to the Hockenheimring in his rucksack: the SP 15-30mm f/2.8, the SP 70-200mm f/2.8 G2 and the SP 150-600mm f/56.3 G2. “This combination is ideal to capture a wide range of different scenes,” says Rauhut. “In the end, the majority of the shots were taken with the fast duo of the 15-30mm and the 70-200mm.” The ultra-wide angle is ideal to photograph in the tight conditions in the pit lane and directly before the start. The large wide angle and low shooting distance let you photograph right up close and still get lots in the frame.
Universal telephoto The 70-200mm is useful as a standard lens for reportage in many situations. Especially when you can't shoot from very close up, this can result in great shots. “With the 200mm, for example, you can capture the drivers before the start of the race without breaking their concentration,” Rauhut says. “You can get the interaction between the team members as well. The large aperture makes the subject pop out of the picture, which is an effect I like.” SP 70-200mm f/2.8 · 200mm ∙1/160 sec. · f/2.8 · ISO 320
PHOTO TIPS: MOTOR SPORTS 4 Do you know what you can take photos of - and what you can’t? “There are unwritten rules in the pit lane. Some technical details are strictly secret and photographers who shoot something they’re not allowed to risk being sacked.” 5 Take ear protection “The engine noise is ear splitting. In the pit lane especially, you just couldn’t work without ear protection. There’s not much you can do about the stench, though.” SP 70-200mm f/2.8 · 86mm ∙1/250 sec. · f/2.5 · ISO 125
SP 70-200mm f/2.8 70mm ∙1/80 sec. · f/2.8 · ISO 125
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MY PROJECT
GOLF
PHOTOS: LEONHARD STEINBERG
Between his drive, pitch and putt, marketing manager Leonhard Steinberg likes to have his eye to the viewfinder.
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SP 70-200mm f/2.8 · 70mm ∙1/250 sec. · f/7.1 · ISO 100
MY PROJECT love golf. Even if the sport has to fight against lots of preconceptions: too expensive, too boring... some people even deny it's a sport at all. But once you get into golf, you won’t escape the spell of that little white ball. I've been addicted to golf since summer 2013 and I've been trying since then not just to improve my swing, but also to show in my photography the many wonderful sides there are to this sport. Golf courses aren’t just fascinating ‘sports fields’. Unlike with other sports, the courses are never the same. Every course is different and offers new challenges - not just for golfers, but for photographers as well. What really appeals to me is the range of subjects for photography that I find here: From sport to landscape and nature, to journalism, I can cover nearly every genre during my rounds. You can capture really magical moments as a photographer on a golf course in the morning, shortly after sunrise. When the first sunlight glitters on the morning dew on the short grass or the morning mist wafts over the water hazards. If you decide you want to swing a club: Almost all gold courses offer cheap taster courses. But don't just fixate on the ball and club. For a bit of variety, pull your camera out of your bag and capture the idyllic scenery in a picture.
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SP 24/70mm f/2.8 · 35mm ∙1/250 sec. · f/13 · ISO 200 Top: The golf course Hofgut Georgenthal shines in the early morning sunshine. Left/right: Impressions from the Solheim Cup 2015 in St. Leon-Rot, the women's continental competition, a big celebration with thousands of spectators and full of emotion. Below: Green in every direction in the golf club Schloss Miel between Euskirchen and Bonn.
135mm · 1/800 sec. · f/2.8 · ISO 100
25mm · 1/400 sec. · f/2.8 · ISO 100
PROFILE: LEONHARD STEINBERG Born: 1985 City of residence: Bergisch Gladbach Profession: Marketing Manager Employer: Tamron Europe GmbH Photography: Landscape, travel, sports, beauty Passion: Discovering new places with the camera - ideally, when I've got lots of time on holiday. Favourite lenses: SP 70-200mm f/2.8 G2, SP 85mm f/1.8 VC and 16-300mm f/3.5-6.3 Di II VC PZD Macro www.soulgolfer.de
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