Advanced Photographer 37

Lighting academy Use brollies for impact

beautiful city go shoot the of edinburgh

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full test

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MAKE HISTORY

Get out and document your town right now

MONO special Expert advice to inspire your black & white images GROUP TEST

Lens PREview

We name the best all-in-one lens money can buy

Why its 200-400mm telezoom is a bargain

SUPERZOOMS

CANON’s £12,000 zoom

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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.

Welcome to the issue. Despite all the vibrant colours of autumn, the issue has a distinctly monochrome feel. Well, it is a medium for all seasons and perfect for documentary and reportage images.

Jim Mottram was looking for a photography project and ended up documenting people in his home town with some powerful and inspirational results. If you fancy trying your hand at this sort of photography, we have plenty of ideas in our Capture feature.

Our other big mono feature focuses on landscapes and the images of Tony Hanrahan. They are bound to get you thinking in shades of grey rather than bright colours.

Photo Kit tests the new Canon EOS 70D, a £1100 DSLR with innovative focusing technology that really speeds up AF in Live View mode. There’s much more besides so if you want to know if it’s worth buying, check out our review.

We also have part 1 of a major lens test. Superzooms cover a very wide focal length range and could potentially save you carrying an extra lens or two. This issue, we take a close look at four leading 18-200mm superzooms for APS-C format cameras; next month, it’s the turn of superzooms for full-frame as well as APS-C cameras.

Thanks for your support and see you again next issue.

Will Cheung FRPS, Editor

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Contents

34

INSPIRE: A whole new world

The cover story...

Our cover image this month comes from Tony Hanrahan, a keen landscaper who loves working in black & white. See page 10 for his portfolio.

24

“For this shot at Spurn Point I got down low with the wide lens to magnify the nearest groyne, and achieve a triangular shape with the other two and the lighthouse.”

TOP SPOT: Landscape love-in

Canon EOS-1Ds Mark II, Canon 17-40mm at 17mm, 1/40sec at f/14, ISO 50

www.hanrahanphotography.co.uk www.tripodandwellies.co.uk

See PAGE 64 For details

56

LIGHTING ACADEMY: Brollies

Inspiration, technique, opinion 6 UPFRONT There are plenty of trendy launches, innovative updates and new arrivals to get your trigger finger twitching – and your bank manager worried!

29 EXPOSED Playing cards

10 blacken the landscape: INSPIRE

the Athens of the North and you’ll find more photo opportunities than the ancient Greeks had togas.

Armed with his tripod and wellies, Tony Hanrahan is often to be found out on the Yorkshire hills creating some monochrome magic.

18 conversion plans: CAPTURE Raw or JPEG?

Channel Mixer or Desaturate?

Just what is the best way to get a magic mono shot in this digital era?

24 TOP SPOT: llyn Gwynant A still, calm,

autumnal and misty morning by a mirror-like lake – sounds like the perfect destination for a landscape lover.

4 advanced photographer ISSUE 37

– that’s what was on editor Cheung’s mind as he packed for his Canadian adventure.

30 go shoot: edinburgh Head for

34 reality check: INSPIRE Documenting the

lives of people in his home town has opened doors and won acclaim for Jim Mortram.

42 on the record: CAPTURE Whether you

follow Jim Mortram’s example or document buildings or streets, we’ve all the advice you need to record the world.

47 win! Shoot a stunning street scene and find yourself en route to Brussels. www.advancedphotographer.co.uk

Contents

10

INSPIRE: Yorkshire in mono

66

REVIEW: Canon EOS 70D

30

GO SHOOT: Edinburgh magic

74

PREVIEW: Canon EF 200-400mm f/4L 1.4x

Photo Kit: the latest gear tested 48 reaDer challenge

Chapter and verse from five members of the York Photographic Society on their Minster masterpieces.

56 LIGHTING academy

Although there were no April showers forecast, editor Cheung still took his brollies along to his most recent shoot. Check out his advice on this most portable and versatile of light modifiers.

60 RAW MASTERCLASS

What better way to create (50) shades of grey than using Lightroom’s contrast control options?

64 SUBSCRIPTION OFFERS Bargain prices and

66 canon eos 70D

114 NEXT issue Our Christmas issue, out 21 November, is chock-full of goodies to keep you away from the shops and out there with your camera – or in front of the computer. Plus we have a full test on the latest Olympus sensation, the OM-D E-M1 and the final part of our superzoom lens review.

74 CANON EF 2004OOMM F/4L 1.4x With

home delivery – sounds to us like the kind of offer you should snap up immediately!

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Who would have guessed that a new 20-megapixel APS-C sensor from one of the big two wouldn’t be the headline feature? Grabbing its limelight is Canon’s Dual Pixel AF. We find out if it really deserves top billing.

a huge focal range available at the flick of a switch, this could be all the zoom you ever need.

77 kingston card reader Should this gadget

be downloading your photos?

79 superzooms

Part one of our test features four starring 18-200mm optics. Watch out for the sequel next issue when we reveal which one deserves the red carpet treatment.

88 PHOTODIRECTOR 5

Could this workflow package snatch the leading role from award winner, Lightroom?

93 permajet titanium paper Will our tester take

a shine to this media’s subtle metallic finish?

94 nissin flashguns

We weigh up three contenders, from low budget to fully featured, to see which merits the title of top gun.

ISSUE 37 advanced photographer 5

inspiration

Majestic mono

10 advanced photographer ISSUE 37

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inspiration

Majestic mono

WORDS WILL CHEUNG PICTURES tony hanrahan

Tony ‘Hanners’ Hanrahan has come a long way since he first picked up a digital compact camera over a decade ago.

Today, his black & white landscapes of the South Pennine countryside have won him acclaim

“Malham is a much-photographed location, but I wanted something a little different, so I used the 10stop filter. The clouds look as if they’re moving around the tree giving it a natural frame.” Canon EOS-1Ds, Canon 17-40mm at 17mm, 1024secs at f/22, ISO 50

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ISSUE ISSUE3737advanced advancedphotographer photographer 11 11

inspiration

All there in black & white

sharing Social documentary photographer Jim Mortram explains the thinking behind his acclaimed photo essays charting the lives of people in an East Anglian town, and how the genre can be used to draw attention to important issues that are often misunderstood in mainstream media WORDS tim mccann PICTURES Jim mortram

DAvid at home, 2013 “He was blinded in a freak cycling accident.� Nikon D700, f/2.8, ISO 800

34 advanced advancedphotographer photographerISSUE ISSUE37 37

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inspiration

All there in black & white

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ISSUE ISSUE37 37advanced advancedphotographer photographer 35

Lighting A c a d e m y

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Lighting A c a d e m y

Part 37

Lighting umbrellas are comparatively cheap, portable and very versatile light modifiers, available in different finishes and sizes. Here are some techniques that work well with brollies Words & pictures will cheung

Lighting umbrellas, or brollies, do not always get the best press. They usually come as standard with lighting kits and are the preferred modifier for many photographers because they give decent results with no fuss.

It is probably because of this that they are perceived to be rather boring.

The truth, however, is that brollies do give great results with broad, even lighting and good eye catchlights when used in the very safe ‘45° to the model’ formation. Deviate from this set-up and you can get more creative effects without too much effort.

The usual pairing of brollies supplied as standard in a kit is a white translucent, often called a shoot-through brolly, and a silver brolly, both opening up to 30in diameter or so.

Nothing wrong there and these are perfectly serviceable for portraits.

Remember, though, two core principles of lighting modifiers. One, the smaller the modifier, the more contrast in the light – conversely, the larger the modifier the softer the lighting. And two, the closer the light unit is to the model, the greater the wraparound effect; the effect gets more directional as the light is moved away from the subject.

One brolly we had fun with here is the Lastolite 86in parabolic Mega brolly. This is available in translucent white (£90) or silver (£110) or as a kit (£160) with both covers so with a few minutes work you can change the lighting effect.

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This modifier is obviously large and it might be too big in some environments. You might have an impossible job to use it in a small, lowceiling living room, for example. With a bit of space, particularly height, this modifier gives lovely results. It’s perfect for an even light spread over a large area and the silver version is efficient too, making the most of the flash unit's output. It should enable mid to small

LEFT & ABOVE Using a lighting brolly like an umbrella in an upright position is unconventional, but it works well with the Lastolite Mega brollly with its parabolic shape.

You need a good ceiling height, though, if the model is going to stand up.

ISSUE 37 advanced photographer 57

Photo Kit

canon eos 70d

Canon EOS 70D

Canon’s chosen its latest enthusiast DSLR to introduce its new APS-C sensor with Dual Pixel AF technology. This might transform the Live View experience, but what else does the EOS 70D have to offer?

WORDs ian fyfe PICTURES ian fyfe & will cheung

KEY FEATURES £1079 body only 20.2 megapixels 19 cross-type AF points 7FPS ISO 100-25,600 (extended) www.canon.co.uk

Touch focusing The three-inch variangle monitor is a touch screen, and in Live View and movie recording you can place the focus area with your finger.

This is particularly good in movies, where you can simply touch a new subject to refocus while recording or track a moving subject by dragging your finger.

As with all touch screens though, you need to be careful the focus point isn’t being moved inadvertently so it’s in the wrong place at the critical time.

66 advanced photographer ISSUE 37

AF options While Dual Pixel AF has improved Live View focusing, the mirrorbased focusing system in the EOS 70D is also more advanced than the EOS 60D’s. It includes three AF area selection modes, easily accessible with a button behind the shutter release. There are also focusing microadjustment options in the custom functions that allow you to make changes globally for all lenses, or to finetune focusing for specific lenses.

Wi-Fi The EOS 70D has integrated Wi-Fi, letting you connect it to your smartphone or tablet using the Canon EOS Remote app. Once the device is connected, you can take pictures remotely in Live View and transfer images over the airwaves.

Unlike the EOS 6D though, the EOS 70D doesn’t have GPS, so there’s no geotagging of your images – you’ll just have to remember where you took them.

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Photo Kit

canon eos 70d While the principal of autofocus in singlelens reflex cameras has pretty much been perfected, it’s a different matter when it comes to Live View and movie recording.

Even though these have become standard DSLR features in the last few years, no manufacturer has really addressed the problem of slow and unreliable onsensor focusing. Sony fiddled with the traditional SLR mechanism to sidestep the problem, while compact system camera manufacturers have had no choice but to develop better sensor-based focusing.

Until now, traditional mirrored cameras from the ‘big two’ have lagged behind in this respect, but now Canon thinks it’s cracked it.

The EOS 70D features a brand new 20.2-megapixel APS-C sensor. It’s Canon’s first advance on the trusty 18-megapixel version it’s been using for several years, but that’s not the most interesting thing about it. Grabbing the limelight away from the pixel count is never-before-seen technology that provides a new on-sensor phase-detection system: Dual Pixel AF. On-sensor phase-detection AF isn’t a new concept, but it’s never before taken this form. Usually, it uses dedicated pixels spattered sparsely across the sensor.

They’re generally kept to a minimum because they don’t contribute to image formation, so information from the surrounding pixels must be interpolated to fill the gaps. As such, the benefit is usually minimal. Dual Pixel AF is more sophisticated.

While each pixel site usually consists of a single light-sensitive photodiode, Canon’s new sensor has two photodiodes at each pixel site. For focusing, the information from the two photodiodes is read separately, but for image formation, they’re read together so they act as a single pixel. The result, in theory, is faster focusing without compromising image quality. It’s a clever idea, but does it work?

Taking just one picture with the EOS 70D in Live View is enough to know that it does – focusing in Live View has been transformed. In any other previous EOS DSLR, Live View focusing can need several seconds of hunting, and it often fails completely. With Dual Pixel AF, movement to the correct focus point is direct, and it locks on fast. That’s not to say we should get carried away. It’s not as fast as reflex mirror AF, and it struggles in low light levels that’s still no problem for mirror-based phase-detection AF, but it’s an infinite improvement in Live View and makes it genuinely useable.

This improvement also transfers to movie recording. Contrast-detection AF systems are useless for movies because the necessary hunting makes films go eyecrossingly in and out of focus. The direct

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Anatomy of...

Canon EOS 70D FROM THE TOP The EOS 70D retains the overall design of the EOS 60D, and that includes the slanted top LCD 1 . The mode dial 2 has been redesigned, and now rotates continuously, but still has a lock at the centre. The on/off switch 3 sits underneath this dial. Another change is the addition of the AF mode selection button 4 , which was absent in the EOS 7D but sits in the same position as the M-Fn button on the EOS 5D MkIII. The position is fantastic for quick AF changes, and with the other controls alongside the LCD panel, you have most of what you need within reach of your shutter finger.

4 1

2 3

FROM THE FRONT The body of the EOS 70D isn’t all aluminium like the EOS 7D, but instead includes polycarbonate resin. Despite this, it feels high quality, and the advantage is that it’s considerably lighter. Interestingly, it’s essentially the same size as the fullframe EOS 6D and exactly the same weight – they feel very similar in the hand.

The handgrip houses the remote release sensor 1 , and just inside the grip is the red-eye reduction/self-timer lamp 2 .

Unlike Canon’s full-frame DSLRs, the EOS 70D keeps a pop-up flash 3 , which acts as an integrated Speedlite transmitter for off-camera lighting set-ups.

3

2 1

FROM THE BACK As on the EOS 60D, the LCD screen 1 is hinged, but it’s now also a touch screen.

There’s no increase in resolution at 1040k dots, but it is Canon’s more advanced ClearView II type. The Live View button 2 is well positioned and doubles as the movie record button when the surrounding switch is set to video. Below this is the Q button 3 , which activates the on-screen quick menu, although this can also be done by touch. While the large thumb grip 4 is fantastically comfortable, I would have sacrificed some space here for a slightly larger control wheel and D-pad 5 , although these still offer excellent control.

AT A GLANCE SPECS Street price £1079 body only Contact www.canon.co.uk Sensor 20.2-megapixel CMOS with DIGIC 5+ processor Image dimensions 5472x3648 pixels ISO range 100-12,800 (100-25,600 extended) Autofocus modes 19-point AF, single point AF, zone AF Exposure compensation ±5EV in 1/3 or

2

1

3

4

5

1/2EV steps, autoexposure bracketing 2, 3, 5 or 7 frames in at +/-3EV in 1/3 or 1/2EV steps Shutter 30secs-1/8000sec Metering patterns Evaluative, partial, spot, centre weighted Shooting speeds Single, continuous L, continuous H 7fps, self-timer 2 or 10secs Storage media SD, SDHC, SDXC, UHS-I compatible Dimensions (WxHxD) 139.0x104.3x78.5mm Weight (BODY ONLY) 755g with battery and memory card

ISSUE 37 advanced photographer 67

Photo Kit

SUPERzoom LENSES

KEY FEATURES

SHARPEST 18-200MM ZOOM FAST AUTOFOCUSING 4-STOPS IMAGE STABILISATION STREET PRICE £400

Canon EF-S 18-200mm f/3.5-5.6 IS Originally manufactured in Japan, this lens is now made in Canon’s Taiwan factory.

Many of the big Japanese names have other East Asian plants to reduce costs but apart from the fact that it’s written on the lens mount, there’s no way of telling – quality control and performance is exactly the same.

Cost-wise, the Canon 18-200mm sits in the middle of this group. With a street price of around £400, it’s a couple of hundred less than the Nikon, but a lot more than either the Sigma at £260 or the bargain £160 Tamron.

For the money, the specification is good, only missing out to the Nikon’s (theoretically better) ultrasonic autofocusing. At 200mm

CANON 18-200MM STREET PRICE £400 CONTACT www.canon.co.uk FORMAT APS-C 1.6X OPTICAL DESIGN 16 elements in 12 groups PREMIUM ELEMENTS 2x UD, 2x aspherical APERTURE RANGE f/3.5-22 to f/5.6-36 DIAPHRAGM 6 rounded blades ANGLE OF VIEW 1.5x N/A; 1.6x 74° to 7.7° (diagonally) MINIMUM FOCUS 0.45m (from sensor) MINIMUM WORKING DISTANCE 0.15m (front of lens) MAX REPRODUCTION RATIO 1:4.2 AUTOFOCUS Micro-motor MANUAL FOCUS AF/M switch FOCUSING SCALE No DEPTH-OF-FIELD SCALE No IMAGE STABILISATION 4 stops, single mode ZOOM LOCK Yes FILTER SIZE 72mm non-rotating WEATHER RESISTANT No LENGTH AT MAX ZOOM 162mm DIMENSIONS (WxL) 79x102mm WEIGHT 595g ACCESSORIES None supplied MADE IN Taiwan FITTINGS Canon only

80 advanced photographer ISSUE 37

ABOVE This Canon lens is a sound performer at all focal lengths and deserves to awarded Best in Test. Compared with its rivals it’s especially good at 200mm and it can be used with confidence at this setting.

the aperture is held to f/5.6 rather than dropping to f/6.3 like the Sigma and Tamron, though there’s only one-third of a stop difference and f/5.6 is hardly fast, but at least the Canon has image stabilisation.

The Canon 18-200mm has a quality feel, it’s well made and finished, with a smooth zoom action as the barrel extends by a lengthy 60mm towards maximum focal length – as they all do. When zoomed out, there’s very little flex in the extended barrel, and in fact there’s slightly more movement at mid-range, but overall the construction is quite solid. To prevent zoom-creep, there’s a lock at 18mm – and it’s needed.

One thing to bear in mind when using the pop-up flash, these superzooms are quite a bit longer than say a kit zoom, especially with a lens hood fitted (that’s a £27 extra on the Canon). Basically, at closer distance, the end of the lens can get in the way of the flash beam and cast a shadow over the subject.

At 595g, it’s the heaviest of these four superzooms and also the longest, if only by a few grams and millimetres from the Nikon, but there’s not a huge amount of difference between any of them. Overall size and weight is pretty much dictated by the very similar optical specifications, the Canon having 16 elements in 12 groups, including two of UD glass and two with aspherical surfaces.

In performance terms, the Canon offers the best 18-200mm package. It’s the sharpest of the group overall, though running nip and tuck with the Nikon. It shows typical superzoom characteristics – very sharp at the wide end in the centre, with the edges lagging somewhat, and performance gradually decreasing with focal length.

It’s very sharp in the centre at 18mm, as they all are, well into the Excellent zone right from f/3.5 to past f/11. Where the Canon scores particularly well is with sharpness that never dips below Very Good at any focal

It’s well made and finished, with a smooth zoom action as the barrel extends by a lengthy 60mm www.advancedphotographer.co.uk

Photo Kit

SUPERzoom LENSES

Canon 18-200mm % MTF at 36 lines-per-mm (APS-C)

7850+7951+8152+7753+735264+46 7159+7264+7368+6760+5855 7250+6852+6355+5849+ 50

51

52

f/3.5

f/4

f/5.6

f/8

52

f/11

64

46

f/16

71

72

59

64

f/5

f/5.6

73 68

67

60 58 55

f/8

f/11

f/16

100 090 080 070 060 050 040 030 020 010 000

Centre

72

68

50

52

f/5.6

f/8

63

55 58

f/11

Edge

ANALYSIS USING IMATEST SOFTWARE (WWW.IMATEST.COM)

73

53

200mm

GOOD V. GOOD EXCELLENT

77

100 090 080 070 060 050 040 030 020 010 000

POOR FAIR

81

79

78

60mm GOOD V. GOOD EXCELLENT

100 090 080 070 060 050 040 030 020 010 000

POOR FAIR

POOR FAIR

GOOD V. GOOD EXCELLENT

Sharpness 18mm

49

f/16

ABOVE Centre sharpness is mostly well into the Excellent zone. Edge sharpness is a different story, always lagging somewhat, but at no time does sharpness drop below Very Good. In particular, performance at 200mm is the best of the group, and peak resolution, too – measured at an impressive 122 lines-per-mm (18mm f/5.6, centre, at 20% MTF). Chromatic aberration is prominent, rating Poor at 18mm and 60mm and only rising to Fair at 200mm. vignetting 18mm f/3.5

60mm f/5

200mm f/5.6

ABOVE At 18mm and f/3.5 maximum aperture, Imatest recorded a darkening at the corners of 0.9EV, and this fell to 0.5EV at 60mm, rising slightly to 0.8EV at 200mm – all within the Excellent standard. Stopping down reduces vignetting further still and at f/8 it’s insignificant at 0.3EV or less. distortion 18mm

60mm

200mm

ABOVE Distortion is one of the things you just have to either accept with superzooms, or work around it and correct in post-processing. At 18mm, there’s +3.8% barrel distortion, rating Poor, and this switches to -2.0% pincushion at 60mm and -1.6% pincushion at 200mm – both rating Fair.

length or aperture, at the centre or edges.

And also, at 200mm it beats rivals with very useable image quality across the frame at f/5.6 and f/8 – where you’ll most likely need it. As expected, some compromises have been made in aberrations control, with very obvious distortion and CA, both rating Poor overall, though vignetting rates Excellent.

For critical work, aberrations correction in post-processing is essential.

The excellent mechanical performance is the best of the group. The AF raced through the near-to-far focus test, even without ultrasonic drive, with a very impressive average time of 0.32secs. Image stabilisation is also first rate, coming close to Canon’s claim of four stops improvement in handholding ability, with scores of 90 per cent success at three stops improvement, and 60 per cent at four stops. This is very much on a par with the best IS systems today.

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THE VERDICT This lens’ astonishing ability to tackle such a wide variety of subjects, and deliver goodquality images, is wonderfully liberating.

Anything from landscapes to sport, from people to flower portraits, replacing two or three regular zooms along the way.

It’s well made, focuses fast, has great image stabilisation, and on the important business of sharpness, most of the time you’d be hard pressed to tell the difference between this superzoom and other lenses in your usual heavy bag. What particularly sets the Canon apart from 18-200mm rivals is better performance at the longer end.

There are compromises for sure, like the limited maximum aperture and generous quantities of distortion and chromatic aberration. These things can usually be worked around though – with rewarding results.

how it rates FEATURES

25/25

HANDLING

23/25

PERFORMANCE

22/25

VALUE FOR MONEY

23/25

F/5.6 at 200mm – every little helps. Good IS, and though AF is not ultrasonic, it’s as good The nicest lens to use, well built, smooth handling, no vices

The sharpest 18-200mm, particularly at the long end. AF and IS both work very well Not cheap, but it delivers on all fronts

OVERALL

93/100

Quality build and handling, large performance envelope. No weaknesses, good value Pros Best sharpness, fast AF, effective IS Cons Nothing major, a well-rounded package

ISSUE 37 advanced photographer 81

Advanced Photographer

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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, Hannah Bealey, Siobhan Godwood Contributors this issue Richard Hopkins, Tim McCann, Jim Mortram, Tony Hanrahan, Simon Kitchin, Anna Henly, Andrew Williams

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Advertising Team Business Development Director Dave Stone ☎ 01223 499462 davestone@bright-publishing.com Sales Director Matt Snow ☎ 01223 499453 mattsnow@bright-publishing.com Key Accounts Maria Francis ☎ 01223 499457 mariafrancis@bright-publishing.com Key Accounts Mike Elliott ☎ 01223 499458 mikeelliott@bright-publishing.com

38

how to win

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 Publishing Team Publishing Director Andy Brogden Publishing Director Matt Pluck Editorial Director Roger Payne Head of Circulation Chris Haslum

© Brian Hopper

We meet a photographer who has enjoyed great success in competitions and exhibitions. plus Technique: how you too can be a winner

fantasy scenics

Amazing images produced from ordinary photos

Part 2 of our megatest with models from Canon, Nikon, Sigma and Tamron

olympus

om-d e-m1

Full test on the latest Four Thirds sensation

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