Advanced Photographer 32

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Advanced THE MAGAZINE THAT TAKES YOUR IMAGES SERIOUSLY

PHOTOGRAPHER INSPIRATION

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FACE FACTS Top tips for people images with punch

SCENIC TECHNIQUE

Sea sharp Wave after wave of stunning images

TOP SPOTS

23 great landscape locations to enjoy with your camera COMPARISON TEST

FULL REVIEW EW W

GREY GRADS

NIKON A

We try 30 ND graduated filters and name the best

£999 for a compact mpa act c iiss hard to justify, b but ut tthi this his Ni Niko Nikon iko kon ge kon get gets ts cclose ts lose los

GROUP TEST

CARD READERS C

1 of the latest models get 11 the bench-test treatment

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© JOHN OWEN

Welcome WILL CHEUNG FRPS, EDITOR Will has worked in photo mags for over 25 years and been taking pictures for even longer. His photographic interests are very broad, from nature to portraits

Thank you for buying the magazine and welcome to the issue. As you’d expect it has very much an outdoor theme including a 16-page pull-out location guide featuring 23 photogenic hotspots. It’s very easy to take what you have for granted and that’s certainly true of the wonderful places we have on these small islands. We had such choice that getting down to 23 locations was a real challenge, but we hope you enjoy exploring them.

Our two big portfolios this issue couldn’t be more different. Roger Charles is a relative newcomer to photography, but he has come on a long, long way in a very short time. Enjoy his highly stylised portraits. Then we have some amazing seascapes by Christoper May. The big craze is for blurry water, but Chris takes the opposite approach and uses actionstopping shutter speeds. You can hear the roaring ocean in his images.

Awesome stuff!

One small accessory that can improve your landscapes instantly is the grey graduate filter and in Photo Kit this month, we tried no fewer than 30 of them to see if they deliver what they promise. See page 91 for the sixpage review.

We’ve got quite a few products in Photo Kit, including a hands-on report on the new Olympus PEN, a user test of the Nikon D800, 11 card readers and a preview of two new Canon DSLRs. It’s been a busy but good month.

We hope we’ve set you up for a good and busy June.

Will Cheung FRPS, Editor

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Contents

The cover story...

40 INSPIRE: Making a splash

36

GO SHOOT: Perfect poppies

“I’ve shot Horsey Mill at all different times of the year but this time I slept out in my VW camper van to make sure I caught the 5am light,” says Rod Edwards.

“It was in June around the summer solstice so I was grateful for the sunshine, though it was just half an hour after sunrise and I had actually expected mist.”

Wista 45DX Rosewood, 150mm Schneider lens, 1sec at f/22, Fujichrome 400, polariser & 81A warm-up WWW.RODEDWARDS.CO.UK

SEE PAGE 56 FOR DETAILS

78

LIGHTING ACADEMY: Mixing it up

Inspiration, technique, opinion 6 UPFRONT All the latest news and gossip from the world of photography, including kit from Canon, Nikon and Lowepro.

35 EXPOSED Photoshop

10 BEAUTY PARLOUR: INSPIRE In under two years,

36 GO SHOOT: POPPYTASTIC They’re bright,

Roger Charles has gone from newbie DSLR user to full-time photographer, crafting highquality, alluring portraits.

colourful, prolific and they should be in front of your lens. Poppies are perfect photographic fodder so get focusing now – or at least once you’ve read this!

18 FLASHY PEOPLE: CAPTURE Praying for good weather isn’t the only prerequisite for a great outdoor photo shoot. You also need the right kit and good technique, which is where this article will help.

24 TOP SPOT: LONDON

SEE PAGE 62 FOR DETAILS

4 ADVANCED PHOTOGRAPHER ISSUE 32

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If you’re already wondering about an itinerary for our Photo-24 shoot, read this.

And if you’re not, read it anyway and be inspired.

might be 25 years old, but filters are even older – and they’re still weighing down editor Cheung’s kitbag.

40 SEA CHANGE: INSPIRE Chris May is certainly making waves with his seascapes since he moved to the coast of Eire.

48 WIN THE CHANCE TO SHOOT OUR FRONT COVER Show us your best portraits and you could join us for an exclusive photo shoot in a professional studio with top models.

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Contents

102 OLYMPUS E-P5: 50 years after the PEN F

110 NIKON COOLPIX A: The real deal?

10

INSPIRE: Portrait pro

Photo Kit: the latest gear tested 50 GET YOUR SEA LEGS: CAPTURE This issue we’re on the sharp side of water, looking at using fast shutter speeds to freeze the flow and land some stunning sea shots.

56 SUBSCRIPTION OFFERS Guarantee your monthly dose of photo fun with a subscription.

77 WIN A £350 TRIPOD It’s dead easy to enter and the prize is well worth having.

78 LIGHTING ACADEMY Join pro John Denton for the first in his series of illuminating masterclasses and learn how to harness light outdoors.

88 WIN Enter this competition and you could be saying bonjour to a free photographic weekend in Paris.

130 NEXT MONTH 59 FREE 16-PAGE LOCATION SPECIAL PULL-OUT SECTION We’ve been to the four corners of the UK to find no fewer than 23 top photographic spots for you to train your lens on, that are guaranteed to get you inspired.

91 GREY GRAD FILTERS

106 ONE YEAR LATER

It’s a megatest all right, with five manufacturers each offering up six of their best.

Which one should you be putting on your lens?

Has reader Ian Gale made a friend in the Nikon D800E, or is he already looking for a brand new shooting partner?

98 MEMORY CARD READERS So we tested,

Hidden inside that compactsized body is a DX format CMOS sensor. So is it a great pretender or the real thing – a compact with DSLR-quality images?

timed and trialled SD and CF cards until our stopwatch fingers were sore. Now we’re subjecting memory card readers to our examinations…

102 OLYMPUS PEN E-P5 Its launch was timed to celebrate 50 years since the PEN F’s release. Is the E-P5 in itself a reason to party?

Want to read Advanced Photographer on your iPad?

82 RAW MASTERCLASS Handling contrast is a real challenge. Luckily, software can help us regain control.

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110 NIKON COOLPIX A

114 CANON EOS 100D & 700D We got a detailed first look at Canon’s latest, lightweight launches. To find out if good things really do come in small packages, read on.

116 LENCARTA SF300 & 600 What a flashing time we had testing this IGBT studio flash kit – we also explain what it stands for it and why it’s a good thing.

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INSPIRATION

People posers

“The concept behind this image was to make the model look as if she was made from gold. My 18in beauty dish with a silver reflector removed shadows.

The image was retouched, and the eye colour was changed to match the gold.”

Nikon D7000, 17-55mm f/2.8, 1/200sec at f/13, ISO 100

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INSPIRATION

People posers

In just 18 months, Roger Charles has discovered his own photographic style and is creating dynamic beauty images WORDS LYNNE MAXWELL PICTURES ROGER CHARLES

Roger Charles’s photographic journey has been a short one (he bought his first DSLR in November 2011), but in that time he has come a long way. You might even call him a professional photographer. “I’m trying to make photography my full-time career,” he says. “I don’t have another job so I guess that makes me professional, although I am still learning. This is a craft and, like many other creative pursuits, you never stop learning. I just try to make every photo and idea better than the last.”

And he does learn from his mistakes.

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INSPIRATION

People posers 1

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INSPIRATION

People posers

2

I like the intensity of beauty, the way you can focus on the model’s features, particularly the eyes; I like the challenge of making dynamic and creative images “When I bought my Nikon D7000 I needed to earn some money and thought I could do some paparazzi and press work.

You can guess how that went... I was totally outclassed and learned a valuable lesson – having a good camera does not a photographer make!”

Since then he’s started freelancing for local press and doing corporate work, but his heart lies in beauty photography and that’s where he’s honing his skills. He began by working with local models and make-up artists (MUAs) and started to find his own style. Without a studio space or equipment and only a couple of Nikon Speedlights to his name, he had to shoot outdoors before investing in some cheap strobes off eBay and using a spare room as his studio.

Family portraits, baby shots – he did them all, but knew that he really wanted to do the kind of photography he’s shooting now. Inspired by the work of Rankin, Matthew Jordan Smith and Yulia

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Gorbachenko, he converted his garage into a studio, taught himself to use Photoshop (“Thank goodness for YouTube”) and spent hours taking pictures and sitting in front of a computer getting them to look how he wanted. In May 2012 he packed in taxi driving to concentrate on his photography.

“I really like the studio environment,” he says, “because I am in total control and can create whatever light I like, which lends itself nicely to the kind of work I like to do.

On location it’s a different ball game – there are far more variables such as ambient light and the surroundings you’re shooting in.

“I am just getting as much experience as I can working with professional MUAs and models. I really want to specialise in beauty and creative beauty photography, that’s what I enjoy shooting more than anything. I like the intensity of beauty, the way you can really focus on the model’s features, particularly the eyes, and I like the challenge of making dynamic and creative

1 “A fun shot. I asked my MUA to flick makeup over the model’s face for the splash effect.

In Photoshop I edited the skin with a beauty retouch and slightly increased saturation to make the colours really pop.” Nikon D7000, 17-

55mm f/2.8, 1/200sec at f/13, ISO 100 2 “This was me being daft again. I had some Crunchies in my fridge so thought I’d use one. The make-up was created to match the chocolate and I added the bubbles in Photoshop.” Nikon D7000, 17-55mm f/2.8,

1/200sec at f/14, ISO 100

images. My dream shoot would be for a major magazine with Kate Moss… not much to ask, really.”

Persuading models he is a serious photographer has never been an issue: “I am happy for any model I work with to bring people with them, be it a friend, mum or dad. In fact I welcome it, as it gives me an extra pair of hands to hold a light or help me on the shoot.”

He uses social media such as Facebook as well as sites like Model Mayhem to contact models and MUAs, and often they approach him. “I tend to give the MUA an idea of the looks I need or the theme of the shoot and we work together to get the result. I’m a firm believer in the saying ‘there’s no I in team’. It’s a team effort

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INSPIRATION

All at sea

“A photo of lines: wave, land and cloud emphasise the elements as I was trying to evoke the mythological aspects of the western islands.” Canon EOS 5D Mk III, EF 70-200mm f/2.8 at 105mm, 1/640sec at f/4.5, ISO 640

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WAVES Where the land meets the sea is Chris May’s favourite place to be, capturing the drama of the encounter WORDS LYNNE MAXWELL PICTURES CHRIS MAY

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INSPIRATION

A

All at sea

lmost 40 years on from getting his first camera – a shiny new, blue-topped, all-plastic Diana – Chris May can still remember the thrill he felt when framing and shooting through its blurred viewfinder.

The camera has changed (several times) and is now a Canon EOS 5D Mark III with both a viewfinder and 3.2in screen through which to frame the image, but the thrill is the same. And about 18 months ago, armed with a decent camera and passion, plus the confidence provided by some good print sales, Chris turned professional.

“It was quite scary,” he says, “but my print sales gave me confidence and the arrival of a baby gave me the impetus.” Before, he was working with a theatre company, where taking photos of performances and gigs was part of the job. But at weekends he took on any freelance photographic work that paid. “But I also indulged in my real passion, landscapes, which for me includes the sea. And I found that people actually wanted to buy these. I found out what sold,

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INSPIRATION

All at sea 1

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INSPIRATION

All at sea

2

I know that to really take a landscape you have to know it intimately over a long period of time what people liked, and deliberately worked my style around this, ruthlessly junking anything that didn’t sell. Magazines such as Advanced Photographer were invaluable in keeping me up to date on cuttingedge techniques.” Chris also used social networking to market test his photography, getting feedback on sites like Photobucket, Flickr and, particularly, Deviant Art. “The results were surprising; some of my favourite shots proved to be non-starters, whilst others were very popular. The results were always confirmed in my print sales.”

He couldn’t have chosen a better place to hatch his fledgling business. In 2002 he moved to Dingle, on the western edge of Ireland and from his studio window he looks out onto the Atlantic and Mount Brandon, the second highest mountain in Ireland.

His gallery is a purpose-built conservatory that he shares with his partner, a potter.

More than a million visitors a year pass through Dingle, many of them carrying expensive cameras. Far from seeing them as competition, Chris is reassured.

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“If they’ve taken the trouble to carry a large camera around, they are likely to be keen on photography and therefore happy to visit a photographic gallery and indulge the work of a local photographer. I know that to really take a landscape you have to know it intimately over a long period of time. I suspect that location plays a huge part in my ability to make the business work.”

And it’s a location he loves exploring. “I get a huge kick out of going on a shoot and love the way I can explore the area around me in detail and in all weathers and moods.

I think it is this pleasure above all else that comes through in my work. Having set out to make a living from selling my work, the part that gives me the greatest happiness is landscape photography. It is an intensely passionate affair, and I want to push the boundaries of this art form and to express the incredible beauty that surrounds me using this new medium of digital light.”

Chris ‘went digital’ when he dropped his SLR into the Wye Valley. His entry ticket to this new world was a one-megapixel Kodak

1 “There are only two times a year when this alignment takes place. I had been trying for two years to get this iconic shot. Three filters were used, 0.9 ND graduated, 0.6 ND grad and a polariser.” Canon EOS 550D, Tokina 11-16mm f/2.8

at 11mm, 0.8sec at f/14, ISO 100 2 “A pastel soft sunset came through the storm clouds and the swell had whipped the water to cream as it exploded against the cliff edge; I just managed to catch this sudden explosion.” Canon EOS 550D, Tamron 70-300mm

f/5.4 at 228mm, 1/250sec at f/8, ISO 200

camera. In four years, he went from pointand-shoot to DSLR, learning on the way that while film lets you explore the limits of what chemicals can do, digital allows you to play with light. But, he says, it’s only in the last five years that the resolution of digital photography has exceeded that of film.

“For me, a photograph is all about contrasts – in colour, tone, composition and subject matter, in the weather and lighting and, most importantly, contrasts in the narrative. For this reason, the shoreline, where the fluidity of the sea meets solid land, is my favourite subject.”

He finds photographing the sea truly challenging, and exciting. His approach is dictated by the severity of the weather, the storms, swells and wild waters.

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23 Must-shoot locations

2

LOCH MAREE, WESTER ROSS

Not as famous as its more southerly counterpart, Loch Ness, the rather remote Loch Maree is all the better for it – fewer tourists equals more photo opportunities.

With the 980m Slioch on its eastern side and the 1010m Beinn Eighe on the

west, there are plenty of spots for dramatic sunsets/rises over the hills. You could also try your water blurring/freezing skills at Victoria Falls, on the south side of the loch.

Although the tourists don’t flock to the loch, wildlife most does certainly

– another good reason to visit. You can expect to see black-throated divers from spring through to autumn and golden eyes during the winter. In autumn, bring your deerstalker – the red deer will be bellowing their presence.

CANON EOS 5D MARK II | 24-105MM LENS AT 28MM | 1/20SEC AT F/8 | ISO 100

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IN ASSOCIATION WITH

3

CATTERLINE ROCKS, ABERDEENSHIRE

While nearby RSPB Fowlsheugh might get the headlines for the seabird packed sheer cliffs, the rocks at Catterline, 25 miles south of Aberdeen, are every bit as worthy of your focus. Wander on to the beach and you’ll be wanting your macro lens to focus on the colourful lichen and teeming rock pools. Don’t forget the rest of

your kit though, because this fishing village boasts plenty of boats in and around its sheltered bay and a picturesque whitepainted cottage on the shoreline. Beware the narrow steep road down to the beach.

There’s lots more to explore nearby too, such Stonehaven’s Art Deco open air heated pool and fortified Dunnottar Castle.

© IZABELA JANUSZ

CANON EOS 5D MARK II | 16-35MM LENS AT 16MM | 30SECS AT F/16 | ISO 100 | +2/3EV

© CHRISTOPHER DAY

4

BEDRUTHAN STEPS, CORNWALL

This is a popular tourist destination on the north Cornish coast, but don’t let that put you off. Because Bedruthan Steps offers a wealth of photo potential, and you’ll most likely be there before the tourists arrive or after they’ve rolled up their beach towels.

The surrounding coastline is dramatic and the stacks themselves are mightily impressive. These massive rocky outcrops

are supposedly the stepping stones of Giant Bedruthan, hence the name. The beach is stunning, but only accessible at low tide, so check the tide times because you don’t want to get cut off. And don’t be tempted to swim; the currents are strong.

The cliff staircase down to the beach, recently rebuilt by the National Trust, is steep, so don’t overload yourself with kit.

Lowepro Rover Pro 45L AW

www.lowepro.com

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© GARY KING

This spacious rucksack is ideal for protecting your kit against the elements, and it’s large enough to hold a good-sized DSLR outfit.

CANON EOS 5D MARK II | 16-35MMM LENS AT 19MM | 1/10SEC AT F/11 | ISO 100 | +2/3EV

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23 Must-shoot locations 5

DUNWICH, SUFFOLK

Not so very long ago, this was a bustling seaport and you can still spy traces of its old life down by the shingle beach. Now this sleepy village is a popular spot with walkers, nature lovers and photographers alike – it’s part of the Suffolk Coast and Heaths Area of Outstanding Natural Beauty and on the Suffolk Coast Path.

You can spend hours on the shingle, capturing serene seascapes, details of fishing boats and dramatic, moody skies.

If that’s not enough, move on to Dunwich Heath. There you’ll find a patchwork of pink and purple heather and yellow gorse from July to September. The National Trust manages the Heath, looking after the habitat to ensure the continued presence of rare flora and fauna. There are plenty of facilities: toilets, tea room and car park.

© WILL CHEUNG

KODAK DCS SLR/N | 28-70MM LENS AT 50MM | 15SECS AT F/8 | HOYA R72 IR FILTER

6

HERRINGFLEET MILL, NORFOLK

Built in 1820, this Grade II listed building has been fully restored and makes a great subject, both at sunrise and sunset – this picture was taken at sunset.

If you like windmills and big skies, the Broads is the national park for you but

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you need good sky conditions to make the most of your subject. It’s worth using filters too, especially the polariser and the ND graduate filters to intensify what’s there. If the sky is changing fast, try an extreme long exposure filter.

This image was bracketed, processed in Photomatix and put through Nik Software Color Efex to beef up the colours and sky.

NIKON D700 | 14-24MM LENS AT 14MM | 1/60SEC AT F/11 | ISO 100 | TONE-MAPPED IN PHOTOMATIX

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© ROD EDWARDS

IN ASSOCIATION WITH

KNOYDART PENINSULA, INVERNESS-SHIRE 7

If you want remote, set your satnav for Knoydart, then dump the car and approach on Shanks’s pony or take the ferry – we’d advise the sea route as the walk is one of the toughest in the UK. This peninsula, often described as Britain’s last wilderness, is definitely wild, remote and beautiful to boot. Think dramatic skies and harsh landscapes. It’s surrounded by four Munros, and for those hardy enough to make the ascent, Ladhar Bheinn offers the chance to capture a shot of the Isle of Skye.

A visit isn’t complete without a drink in the village’s only pub, the Old Forge Inn at Inverie – the remotest pub on mainland Britain according to the Guinness Book of Records.

NIKON D80 | 18-135MM LENS AT 18MM | 1/80SEC AT F/20 | ISO 200

Lightweight, rugged, comfortable and allows quick side access to your kit. Roomy enough for a pro DSLR, several lenses and cards.

www.lowepro.com

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© IZABELA JANUSZ

Lowepro Flipside Sport 15L AW

LOCATION GUIDE ADVANCED PHOTOGRAPHER 7

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Photo Kit ACCESSORIES

CARD READERS After our massive test of 56 memory cards over the last two months, we’re testing 11 card readers. They’re useful accessories, whether you work from a desktop or laptop WORDS & PICTURES WILL CHEUNG

Once you have shot them, there is a number of ways you can move photographs (or any data) around.

Eye-Fi SD cards are available that enable wireless transfer as you shoot; you can shoot tethered – ie. the camera is physically connected to the computer – and some of the latest cameras have Wi-Fi so images can be uploaded immediately.

These are options that offer image transfer at the time of shooting or soon after. If you just want to get images over to the computer later, then all you have to do is plug the camera into the computer using the supplied lead or perhaps your computer has a suitable slot. Yet another option, of course, is to use a card reader.

There are pros and cons for every method. For example, for shooting tethered, you need a computer with suitable software on hand, while Wi-Fi networks are okay for small files and EyeFi cards aren’t that quick either – yet!

There’s no denying that card readers are convenient, flexible, portable and DELKIN USB 2.0 PRO EDITION £12

inexpensive too, but there are the cons of card readers too. To my mind there are fewer cons, one of which is just remembering to take it with you if you are shooting away from home. Another couple of cons are cable failure and also the pins of the CompactFlash slot can be bent out of shape during transit or with clumsy use.

There are definitely more pros. I have cameras that use CF and SD media so a multi-format card reader is invaluable – some of the readers in our test claim compatibility with a great many formats.

I also have a laptop that does not have a card slot of any description. A card reader means I can upload to any computer with a USB interface if I am travelling around and having the hardwire connection means you don’t have to find somewhere with Wi-Fi. To be fair, Wi-Fi networks are easy to find nowadays but checking emails is one thing, moving 100 45MB files is something else.

All round, card readers are very much a good thing and they are readily available in a wide range of prices, to accept any

DELKIN USB 3.0 EDITION £24

HAMA USB 2.0 35 IN 1 £9

KINGSTON USB 3.0 £16

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LEXAR USB 3.0 £22

FUJIFILM MULTI CARD USB 2.0 £7

HAMA USB 3.0 £17

number of formats and sport various interfaces. So many options means that it’s easy to cover every eventuality. You can have a card reader sitting next to your computer for the whole family and one in the laptop bag when you want to travel light. Given the relatively low prices, it makes sense to have several which helps to obviate the risk of a forgetful memory.

For example, I have one reader by the main computer, one in my work bag, one in the car and one in my travel bag. I was never a boy scout, but I do like to be prepared.

When you are shopping for a card reader, card compatibility and interface are the important things to look at.

Readers with FireWire 400 or 800 and Thunderbolt interfaces are relatively rare and most are USB 2.0 or 3.0.

Speed is not too much of an issue for many people, especially if you are working at home, but if it is and you have the appropriate port in your computer, a USB 3.0 reader is definitely worth the extra investment.

HAMA USB 2.0 £7

INTEGRAL USB 3.0 £13.90

TRANSCEND USB 3.0 RDF5 £10.89

TRANSCEND USB 3.0 RDF8 £11

www.advancedphotographer.co.uk

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Photo Kit

ACCESSORIES

DELKIN

DELKIN

USB 2.0 Pro Edition

USB 3.0 Edition

SPECS PRICE £12 CONTACT www.delkin.com INTERFACE USB 2.0 ACCEPTED CARDS CF Type I/II, SD/SDHC/SDXC, micro SD, MS Duo/MS Pro/ MS HG

IN THE BOX USB 2.0 cable DIMENSIONS (WXDXH) 100x58x17mm WEIGHT 53g GUARANTEE 5 years OTHER FEATURES UDMA, SDHC and SDXC enabled, USB 1.0 and 2.0 compatible

RESULTS TEST 1 33.18MB/s TEST 2 25.62MB/s TEST 3 19MB/s TEST 4 18.4MB/s

SPECS PRICE £24 CONTACT www.delkin.com INTERFACE USB 3.0 ACCEPTED CARDS CF Type I/II, SD/SDHC/SDXC, MMC, micro SD, MS Duo/ MS Pro/MS HG

RESULTS TEST 1 104.00MB/s TEST 2 71.73MB/s TEST 3 81.47MB/s TEST 4 63.33MB/s

FUJIFILM

HAMA

Multi Card USB 2.0

USB 2.0

SPECS PRICE £8 CONTACT www.fujifilm.co.uk INTERFACE USB 2.0 ACCEPTED CARDS CF Type I/II, SD/SDHC/SDXC, MMC, xD, micro SDHC, mini SD/SDHC. MS Duo/

MS Pro/MS HG IN THE BOX USB 2.0 cable DIMENSIONS (WXDXH) 68x40x12mm WEIGHT 23g GUARANTEE 1 year OTHER FEATURES

RESULTS TEST 1 4.56MB/s TEST 2 4.4MB/s TEST 3 17.66MB/s TEST 4 12.24MB/s

www.advancedphotographer.co.uk

AP32-090-100 (STORAGE - CARD READERS)hb.indd 99

IN THE BOX USB 3.0 cable DIMENSIONS (WXDXH) 100x58x17mm WEIGHT 64g GUARANTEE 5 years OTHER FEATURES UDMA, SDHC and SDXC enabled, dynamic hot swappable card slots

SPECS PRICE £7 CONTACT http://uk.hama.com INTERFACE USB 2.0 ACCEPTED CARDS CF I/II, SD/SDHC/SDXC, xD, micro SD/SDHC, MMC, MS/MS Pro/MS Select, MS Duo/

Pro Duo, MS Pro S/Duo HG IN THE BOX Cable built in DIMENSIONS (WXDXH) 55x55x17mm WEIGHT 36g GUARANTEE 2 years OTHER FEATURES Allows card-to-card writing, blue LED

RESULTS TEST 1 12.37MB/s TEST 2 9.91MB/s TEST 3 18.97MB/s TEST 4 17.64MB/s

ISSUE 32 ADVANCED PHOTOGRAPHER 99

24/5/13 09:17:59

Photo Kit

TWO FROM CANON

Canon EOS 100D & 700D Canon kicked off the summer with not one but two DSLRs. We got hands-on with both models at a recent press event WORDS & PICTURES WILL CHEUNG

C

anon’s new marketing strategy is “Power To Your Next Step”. No doubt over the coming months you’ll be hearing more about this campaign in the press and on TV. The premise and thinking about it is clever and applies to every camera user regardless of expertise, ie. we all have a next step.

These two DSLRs fit into this marketing concept and are aimed at the compact user keen to move up to DSLR photography. The EOS 100D is the lightest, smallest APS DSLR on the market and is ideal as a take everywhere camera. Its small size and long list of

user-friendly features mean this model is perfect for the DSLR newcomer.

The EOS 700D has a fundamentally identical feature set, including the same sensor, as the EOS 100D, but it has a slightly faster continuous shooting rate and gains the extra versatility of a variangle monitor and with that comes a slightly larger and heavier body. By any measure, however, the EOS 700D is still a lightweight DSLR. Both cameras are well specified for their respective prices. Speaking of guide prices, the EOS 100D and EOS 700D are priced at £579 and £629 respectively –

AT A GLANCE SPECS

Canon EOS 700D (EOS 100D) PRICE £839 (£819) with 18-55mm f/3.55.6 IS STM, body price £579 (£569) RESOLUTION 18 megapixels SENSOR 22.3x14.9mm CMOS with EOS integrated cleaning system AF SYSTEM 9 points EXPOSURE SYSTEM 63-zone, compensation ±5EV, AEB, AEL METERING Evaluative, partial, spot, centre-weighted

114 ADVANCED PHOTOGRAPHER ISSUE 32

AP32-110-111 (100D & 700D)ljc.indd 114

ISO RANGE Auto 100-6400, 100-6400 in 1EV steps, expandable to 25,800 SHUTTER RANGE 30secs-1/4000sec, B MONITOR Vari-angle touchscreen, 3in 1040k dots (Fixed touchscreen 3in 1040k dots, touch screen) SIZE 133.1x99.8x78.8mm (116.8x90.7x69.4mm) WEIGHT (body only) 580g (407g body only)

however, the difference in street price is much less than £50.

A new kit lens, the 18-55mm f/3.5-5.6 IS STM, has been introduced alongside both cameras. This lens has IS, offering a 4EV benefit, and STM (Stepping Motor) technology for smooth focusing that suits video shooting.

The EOS 700D is essentially an upgrade of the EOS 650D that was announced last June. Both models feature the same sensor, AF system and vari-angle monitor.

There are three changes in the new model: a redesigned mode dial that can rotate 360°, a different body finish and real-time preview and application of the creative filters in Live View mode. To be honest, the changes are not hugely significant but taken as a whole, the EOS 700D makes an appealing package to the compact user keen to upgrade.

Resolution is 16 megapixels with an CMOS sensor that works with Canon’s 14bit DIGIC 5 processor to give a continuous shooting rate of 5fps. The native ISO range is 100-12,800, with the option of using Hi1 to give the equivalent of ISO 25,600. The vari-angle monitor is lovely to use. It gives a bright image and it’s touch sensitive – it’s capacitance not resistance so works on touch not pressure.

www.advancedphotographer.co.uk

23/5/13 18:25:49

Photo Kit

TWO FROM CANON

NOISE

Canon EOS 700D C ISO 100

ABOVE Both new Canons are delightfully petite. The EOS 100D is claimed to be the world’s smallest DSLR and it actually might be too small depending on your hand size. I found it handled well, except my last two fingers had nothing to grip.

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

ISO 6400

ISO 12,800

ISO 25,600

IMAGES A flat spring evening was not too challenging for the EOS 700D, so we didn’t learn much in terms of how the camera would deal with contrast and delivering good exposures in awkward lighting conditions.

While the EOS 700D is a minor if worthwhile tweak of an existing model, the EOS 100D is a fresh new model.

However, it is true to say that its key features are principally identical to its marginally bigger brother.

Size is the big selling point of the EOS 100D and to allow this the shutter mechanism, sensor module and circuit boards have been slightly shrunk to fit into the smaller bodyform.

Of course, one consequence of downsizing a camera is that handling for some photographers will be less comfortable. With my average sized hands, I did find the body less

comfortable to hold, with my third and baby fingers not having anything to grip. This wasn’t a serious issue and obviously it’s a very subjective one.

After only a short acquaintance with both cameras, I think it would be fair to say that they are welcome additions to the EOS family and offer the prospective Canon DSLR buyer more options.

However, it’s also fair to say that the EOS 700D is such a minor upgrade from the EOS 650D that you can’t help but wonder why it’s appeared. The reasons for the EOS 100D are clearer and this tiny DSLR will definitely appeal to those who want to travel light.

Excellent image quality at ISO speeds of 1600 and 3200 are to be expected nowadays and the EOS 700D does not disappoint in this respect.

Incidentally, both cameras share the same sensor.

NEXT ISSUE: WE’LL HAVE A FULL REVIEW OF THE CANON EOS 700D IN ISSUE 33

www.advancedphotographer.co.uk

AP32-110-111 (100D & 700D)ljc.indd 115

ISSUE 32 ADVANCED PHOTOGRAPHER 115

23/5/13 18:26:36

AP.indd 1

24/5/13 12:36:43

3 LEGGED THING

Advertisement feature

WIN YOURSELF A BRIAN!

Ordinary in name, extra-ordinary in nature – the award-winning Brian tripod from 3 Legged Thing could become yours to keep When it comes to choosing a travel tripod, there’s a lot to consider – but ultimately it’s important that your support of choice is lightweight, robust and compact for easy transportation and use on the move. The award-winning Brian X1.1 tripod from innovative manufacturer 3 Legged Thing (3LT) ticks all those boxes: designed to fold down to a teeny 42cm and comfortably fit into your suitcase, Brian’s unique triple-section ten-core carbon fibre centre column provides functionality not seen in other travel tripods.

For starters, the central column enables extension of the tripod to the maximum height of just over 2m – which is great for use with off-camera flash – and when used in what the company calls ‘Tri-Mono Mode’, where the central column is fully extended while the three legs are retracted, photographers working with larger lenses can use Brian’s legs to easily stabilise their equipment when it’s not in use, without having to prop it up as you would with a traditional monopod.

Prefer working nearer to ground level? Brian can be employed to get your camera just 120mm from the floor – and when Brian’s being used with the central column inverted, you can lower your camera right down low for true close-up macro photography. You can even attach a

platform or iPad holder to the tripod’s legs so you can work tethered to a screen and avoid scrabbling around on the floor to see what’s in your shot.

Those who enjoy super-long exposures will be interested to hear that the central column can be completely removed and the head or your camera can be mounted directly on the tripod furniture itself for ultimate rigidity and stability – essential when capturing longer exposures.

Brian was the first tripod dreamt up by the 3LT gang, but this new version is part of the Evolution 2 range that boasts use of a purer carbon fibre in the leg construction, 10-core, three-section columns for smoother operation and reengineered leg mechanisms for greater stability in use. New Evo 2 Friction Locks offer a safety double break-point and easygrip rubbers, making Brian easier to adjust when working in slippery conditions – and the retoned bronze coating offers better camouflage when used in the field.

Plus, each Brian comes with a five-year warranty – so you can be sure your new tripod will withstand the adventures you’ve got planned for it...

To be in with a chance of winning this fantastic tripod (worth £359!) for your very own, just enter the competition below by answering our simple question.

What is Brian’s folded length?

Write your answer on the entry form below and send it to: 3 Legged Thing competition, Advanced Photographer, 82 High Street, Sawston, Cambridge CB22 3HJ by the closing date of Thursday 4 July. The first correct entry out of the hat after this date wins the kit.

3 LEGGED THING COMPETITION ENTRY FORM Q: What is Brian’s folded length?

Answer: Name: Address: Postcode: Email: Telephone: Return to: 3 Legged Thing Competition, Advanced Photographer, 82 High Street, Sawston, Cambridgeshire CB22 3HJ Unless you have ticked the relevant box/es below to indicate your objection to receiving such information, ormatio from uss and our o partners. Please tick if you do you are also consenting to receive marketing information g Third partiess 3 Legged Thing not want to be contacted by: y: Bright Publishing

ISSUE 32 ADVANCED PHOTOGRAPHER 77

AP32-117 (3 LEGGED THING COMP)ljc.indd 77

24/5/13 14:44:59

Advanced PHOTOGRAPHER

FREE 16-PAGE PULL-OUT

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EDITORIAL TEAM Editor Will Cheung FRPS ( 01223 499466 willcheung@bright-publishing.com Technical Writer Ian Fyfe ( 01223 499456 ianfyfe@bright-publishing.com Sub Editors Lisa Clatworthy and Hannah Bealey

Great urban locations

CONTRIBUTORS THIS ISSUE Lynne Maxwell, Roger Charles. Chris May, Del Barrett ARPS, Richard Hopkins, Kris Griffiths, Charlotte Griffiths ADVERTISING TEAM Business Development Director Dave Stone ( 01223 499462 davestone@bright-publishing.com Key Accounts Maria Francis ( 01223 499457 mariafrancis@bright-publishing.com Key Accounts Mike Elliott ( 01223 499458 mikeelliott@bright-publishing.com Sales Director Matt Snow ( 01223 499453 mattsnow@bright-publishing.com DESIGN TEAM Design Director Andy Jennings Design Director Dean Usher Senior Designer Alan Gray Design & Production Manager Grant Gillard WEB TEAM Flash Developer Ashley Norton

ISSUE 33 SHOOT

STUNNING SILHOUETTES How to go bold for impact

GARDEN SAFARI

LIGHTING

ACADEMY RAW MASTERCLASS

Bug hunting with your macro lens

PHOTO KIT

© NIC DAVIES

CANON EOS 700D FUJIFILM X100S V NIKON A

LIGHTROOM 5 BETA

ISSUE 33 ON SALE 4 JULY 130 ADVANCED PHOTOGRAPHER ISSUE 32

AP32-130 (NEXT MONTH)ljc.indd 130

© JERRY WEBB

PUBLISHING TEAM Publishing Director Andy Brogden Publishing Director Matt Pluck Editorial Director Roger Payne Head of Circulation Chris Haslum CONTRIBUTING TO ADVANCED PHOTOGRAPHER Advanced Photographer is always looking for photographic talent so if you feel your pictures are worthy of being featured on the magazine we would love to hear from you.

In particular we want creative pictures showing the use of popular and innovative camera techniques.

BY POST: Send us a CD with 12 images or fewer, together with a contact print of images, and a brief covering letter outlining your ideas and photographic credentials. In terms of file size, please ensure that the image is at least A4-size (21x29.7cm) and 300ppi resolution. If you prefer, up to 12 unmounted A4 prints can be submitted. Please enclose a stamped SAE if you want the CD/prints returned. ( Advanced Photographer, Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ.

BY EMAIL: Please email us at info@advancedphotographer. co.uk. Attach no more than six low-resolution JPEGs (1000pixels on the longest dimension) and a brief, 100-word email outlining your ideas and key photographic credentials.

We will contact you for high-resolution files if your images are chosen for publication.

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When you have finished with this magazine, please recycle it ■ Advanced Photographer is published on the third Thursday of every month by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge, CB22 3HJ. ■ No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ■ ISSN number: 2045-3892 ■ Advanced Photographer is a registered trademark of Bright Publishing Ltd. ■ The advertisements published in Advanced Photographer that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. ■ The content of this publication does not necessarily reflect the views of the publisher.

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23/5/13 18:14:54