Mix­ing it up

No longer con­strained by 35mm film, Delno LA Tromp shoots any­thing that catches his eye

NPhoto - - Over To You… -

I’ve owned a cam­era since my early teenage years, back in the days when we would take pic­tures us­ing 35mm film and pray the shot was a good one! I grew up in the Dutch Caribbean, and we had to send the film to another is­land and wait a week or two for it to be de­vel­oped. I’d al­ways be filled with such sus­pense to see how they’d turn out.

These days I take most of my photos around my home in Malahide, a coastal town near Dublin. But when­ever I re­turn home to the Caribbean I take the op­por­tu­nity to im­prove my pho­tog­ra­phy by go­ing out shoot­ing with my friend Su­san, who is a very good pho­tog­ra­pher and has been my men­tor.

My sub­ject mat­ter varies be­tween still life, wildlife and land­scapes, and this keeps things in­ter­est­ing, so I never get bored. I’ll pho­to­graph any­thing that catches my eye – it can be a tree, a build­ing, rocks, flow­ers, an­i­mals or one small de­tail on an ob­ject. I’d like to im­prove in all gen­res of pho­tog­ra­phy, as I switch be­tween so many dif­fer­ent types.


You’ve cer­tainly got a port­fo­lio as var­ied as your history, Delno! Your shots show a great eye for de­tail, and some in­ter­est­ing an­gles at­test to your ease be­hind the viewfinder.

Your 18-105mm kit lens and 70-300mm zoom are fairly stan­dard fare, so in or­der to get higher-qual­ity re­sults you might want to look at up­grad­ing to lenses with a con­stant aper­ture. The Nikon 24-70mm f/2.8G is an ex­cel­lent choice for both por­trai­ture and land­scape pho­tog­ra­phy, giv­ing you the abil­ity to shoot in a wide va­ri­ety of light­ing con­di­tions. Your 70-300mm could be re­placed by the Nikon 70-200mm f/2.8G (see page 98) – the Vi­bra­tion Re­duc­tion would come in handy for shoot­ing wildlife hand­held.

It’s worth adding a solid tri­pod to your kit list, too. As a roam­ing pho­tog­ra­pher, a lighter car­bon fi­bre op­tion such as the Man­frotto 190Cx would be a good choice.

Your fram­ing is a touch tight on oc­ca­sions, which can re­sult in a lack of ‘breath­ing space’ around the sub­ject. Neg­a­tive space can help em­pha­sise sub­jects, so don’t be tempted to re­move too much of it, oth­er­wise all con­text will be lost. In a few of your macro shots you’re also play­ing it a touch safe with your aper­ture. Don’t be afraid to re­duce the depth of field, to lift a sub­ject out of the frame and re­move dis­tract­ing el­e­ments.

01 Salt Hills, Bona ire Nikon D7100, Sigma 70-300mm f/4-5.6 APO DG Macro HSM, 1/750 sec, f/6.7, ISO200

02 Gi­ant ’s cause­way Nikon D7100, Nikon AF-S DX 18-105mm f/3.5-5.6G ED VR,

1/250 sec, f/8, ISO100

03 aban doned car Nikon D7100, Nikon AF-S DX 18-105mm f/3.5-5.6G ED VR, 1/250 sec, f/8, ISO100

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