Advanced Photographer 52 Sampler

CAMERA CLUB OF THE YEAR INSPIRATIONAL PROJECTS TESTED: SAMSUNG NX1 £5000 of Canon prizes up for grabs Photo ideas dried up? We’ll rehydrate you

Hands on the world’s most advanced CSC

THE MAGAZINE THAT TAKES YOUR IMAGES SERIOUSLY

ISSUE 52 £4.95 ABSOLUTEPHOTO.COM

Vote for your favourite kit

Samsung NX1 + AP reader =

THIS IMAGE Revealed! The formula for front cover success

36 PAGES OF TECHNIQUES & TIPS

Portraits, landscapes, still life – we’ve got your cold weather options covered, inside and out

CANON EOS 7D MKII FULL TEST: FLAGSHIP PERFORMANCE AT A BARGAIN PRICE ap52-001 cover subbed.indd 1

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ISSUE 52

Welcome WILL CHEUNG FRPS, EDITOR Will has worked in photo mags for 30 years and been taking pictures for even longer. His photographic interests are very broad, from landscape and nature to portraits, indoors and out.

Welcome to the last issue of 2014. This year has flown by and we hope you have enjoyed all the photo opportunities that have popped up along the way. In this issue, our thoughts turn to the great pictures that can be had at home, and more specifically with still-life photography. While shooting still life is not going to give you an adrenalin rush, it is creative, technically demanding and difficult. It’s also immensely satisfying when it all goes well. Don’t take my word for it, try it for yourself – but perhaps before you do have a read of this issue’s Big Feature. That should fire you up with ideas and inspiration.

It may never cross your mind that the cover image of every issue is from a reader. This issue is no exception although on this occasion it was photographed at a special shoot organised by us in association with Samsung where six readers were given the challenge of creating an image worthy of our cover. Find out how they got on in this issue.

In Photo Kit we have a major test of the much-anticipated Canon EOS 7D Mark II and the conclusion of our Samsung NX1 review, probably the best CSC of 2014. Plus there is the chance to vote for the best kit in your opinion in our inaugural Awards, which kick off this issue.

From all of us at Advanced Photographer, we wish you all the best for the festive season and look forward to your company and more exhilarating photo adventures in 2015.

ENAHDACONNCTEENDT IP

AVAILABLE

Will Cheung FRPS, Editor PAGE 80 COVER STORY

AWARDS 2014

PAGE 68 COVER STORY

SAMSUNG NX1

PAGE 6

LANDSCAPE MASTERCLASS

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ISSUE 52

CONTENTS PAGE 6

LANDSCAPE MASTERCLASS

Imparting his scenic know-how, editor Cheung shows us how it’s done. This issue, he’s mining for gold.

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UPFRONT

Excited about photography? You bet! This issue we’re gawping over scenics and shielding our eyes from bling.

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PAGE 30

CAMERA CLUB OF THE YEAR

In a camera club? Member of a photographic society?

Think it’s the best since sliced? Better enter this then.

COVER STORY

THE BIG FEATURE: STILL LIFE

ARON CZAPIEWSKI

PAGE 18

WHO SHOT THIS ISSUE’S COVER?

One of six competition winning AP readers, that’s who – and with the top-notch Samsung NX1 too. Read on to find out who’ll be framing their copy of this issue.

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THE BIG FEATURE: STILL LIFE

Take complete control of your (still) life and perfection is yours for the taking.

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INSPIRED

ANDI CAMPBELL-JONES

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LIGHTING ACADEMY

Two lights and two techniques: time to practise your butterfly and kick(er).

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PROJECTS

Practise with a project. Whether it’s small or grand, it’ll fire your imagination and polish your skills.

PAGE 110

INSPIRED

Great images spark yet more great images. Get your monthly dollop of inspiration from this season.

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AND FINALLY…

When is a specialism not special?

PHOTO KIT PAGE 67

GEAR NEWS

If it’s new, it’s here; if it’s hot, it’s here. This is your monthly round-up of all the latest kit – wish list to hand…

PAGE 53

COVER STORY

LIGHTING ACADEMY

KINGSLEY SINGLETON

PAGE 70

PAGE 76

SUBSCRIBE AND SAVE SEE PAGE 50 Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!

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THE AP AWARDS

Which bit of kit deserves recognition? Whose tripod is the best? Who launched a stand-out lens this year? Here’s your chance to nominate the brands that impressed you.

MARK CARLINE

PROJECTS

TO CSC OR NOT TO CSC

Should you gamble and risk it all, ditching your DSLR kit to invest in a CSC? How about if before putting your hardearned at stake you could tap into a pro’s experience of using said CSC? PAGE 80

PAGE 59 COVER STORY

SAMSUNG NX1

Part two of our super test and editor Cheung reveals his verdict on this top-of-the-range CSC.

PAGE 90 PAGE 90 COVER STORY

CANON EOS 7D MARK II

CANON EOS 7D MARK II

The EOS 7D might be five years old, but it certainly wasn’t broken. Canon appears to have fixed it anyway though; Roger Payne finds out if the fix was worthwhile.

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WORDS WILL CHEUNG PICTURES VARIOUS

Six readers, each using a Samsung NX1, were given the challenge of shooting images good enough to grace the cover of Advanced Photographer. Join us for the story of a great day’s photography in a beautiful location

F

inding images that are good enough to put on the front cover of Advanced Photographer is not easy. The image has to be eye-catching, obviously, and has to stand out from all the other imaging titles in the newsagents, but it also has to ‘fit’ the various design parameters too.

Look at our cover and you will see that it’s an almost square image and there are cover lines running across the lower third of the page as well as up the left side. Many truly brilliant pictures do not make the front cover simply because they do not allow the cover lines to fit or to read out; both are huge considerations.

So right at the start of our cover shoot at Wrest Park featuring six Advanced Photographer readers the sort of image we were looking for was discussed in some detail.

After that there was a briefing on our chosen camera, the Samsung NX1, and about the lighting, kindly loaned to us by broncolor UK. Flash lighting kit from bron is renowned for its build and design quality but also for its consistent colour output regardless of its power setting.

Completing the line-up of gear for the shoot was a bunch of studio kit from Lastolite including reflectors, backgrounds and various supports.

We were set for a great day of shooting…

WHAT WE USED: THE SAMSUNG NX1 The NX1 is Samsung’s exciting new flagship mirrorless camera, designed not just to compete with products like those from the Fujifilm X-series, the Sony NEX family and the Micro Four Thirds cameras from Olympus and Panasonic, but also APS-C and full-sized DSLRs from Canon, Nikon and Pentax.

The impressive BSI sensor boasting 28 megapixels does a great job of capturing the finest details so a perfect choice for this special reader shoot to produce an image for our front cover.

For this exclusive shoot we had six NX1s and these were supported by a range of Samsung NX lenses including two Premium S lenses, the 16-50mm f/2-2.8 and 50150mm f/2.8, plus the 60mm f/2.8 macro and the 85mm f/1.4 among many others.

The cameras were set to manual mode and flash white-balance to work with the broncolor studio flash, which was fired using a radio trigger, and to shoot Raw and super-fine JPEG files simultaneously. The Raws were processed in Lightroom 5.7. samsung.com

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SHOOT THE COVER ED ENIPAHDACNONCTENT LE

AVAILAB

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STILL LIFE AT HOME

ARON CZAPIEWSKI

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STILL LIFE AT HOME

WORDS KINGSLEY SINGLETON PICTURES VARIOUS

If you love experimentation and discovery, then still life is the perfect subject to fire your imagination, so stay in and go crazy with your camera this winter…

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PROJECTS STEAM TRAINS EDDIE HYDE | EDDIEHYDEPHOTOGRAPHY.ZENFOLIO.COM

All aboard!

In need of a project to submit for his ARPS distinction application, Eddie Hyde discovered that a steam train journeyed near to his home, making for the perfect subject

INSPIRATION A steam train that runs locally AIM To put together a project for my ARPS application DURATION Ongoing

BELOW Eddystone on Corfe Common, Swanage Railway taken on a TimeLine photo charter. CENTRE Union of South Africa crossing the Ribblehead Viaduct. RIGHT View from Fen Bog alongside the North York Moors Railway.

I’m constantly on the lookout for photographic inspiration. A chance discovery early in 2014 that a regular steam train excursion takes place a short drive from home in the Surrey Hills, an Area of Outstanding Natural Beauty, screamed photo opportunity. That was it. I was hooked. The sight of the magnificent locomotive Clan Line pulling a rake of Pullman carriages roaring past at a fairly close but safe distance was awe-inspiring.

Having gained an LRPS distinction earlier this year I was keen to look for an ARPS project. One key criterion the RPS recommends is the ability to revisit the subject. So whilst I love taking images in a wide variety of genres, my love of African wildlife for example makes for a somewhat less easy and more expensive subject to revisit.

I quickly found out that the opportunity to photograph steam was amazingly available.

There are so many fantastic preserved railways across the country in addition to regular mainline steam excursions. There are also photo charters organised by outfits such as TimeLine Events.

These gain exclusive use of a train for a day or night and arrange for multiple runs past at a variety of locations for the sole benefit of the photographers.

THERE IS SOMETHING INDEFINABLE ABOUT THE SIGHT OF SO MUCH METAL IN MOTION, BREATHING SMOKE AND STEAM

This gets around the difficulty of getting shots at the more popular public events because the participants are harmonised.

On virtually any UK-based holiday there will be a preserved steam railway or the prospect of a mainline steam excursion. Fortunately, my wife is very understanding. She has even joined in with the photography on occasion though she has misjudged the wind direction and disappeared in a cloud of steam and smoke before getting the shot.

So, within the space of a year I have visited preserved railways and mainline excursions from Yorkshire, Gloucestershire and Leicestershire to Shropshire and closer to home in Hampshire, Sussex and Surrey.

There is something indefinable about the sight of so much metal in motion, breathing smoke and steam travelling through the countryside or past an industrial landscape. Even stationary, the

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THE SHARD PROJECTS

component parts are highly photogenic. There is, of course, a large helping of nostalgia. All of these emotions are there to be captured.

As a professional photographer I do own some good quality equipment, in particular my Canon EOS-1D X used with either the excellent Canon L series 24-105mm or 70-300mm zoom lens will deliver the images I’m looking for. I shoot in Raw and mostly use Adobe Camera Raw to process, with the occasional intervention in Photoshop to remove stray line-side photographers in hivis jackets. I’m not snobbish about using postprocessing. It’s all good as far as I’m concerned.

Whilst I use filters for landscapes I do not use them for steam photography as it is mostly action.

A significant part of my professional activity is in running workshops and I have recently started to incorporate steam into my motion capture photography sessions.

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MEN D

FULL TEST: SAMSUNG NX1

OM

DE

PART TWO

WORDS & PICTURES WILL CHEUNG

REC

PHOTO KIT SAMSUNG NX1

Last month, we took a close look at the handling and extensive features list of one of the year’s most exciting camera launches. Now it’s time to dig into the nitty-gritty of how the Samsung NX1 performs in the real world The Samsung is an APS-C format compact system camera bristling with exciting features and the very latest innovations. It can rip through shots at an incredible 15fps even in Raw quality mode, the sensor is the first APS-C sized sensor with BSI technology to maximise image quality when the light levels are low, and its 28.2-megapixel resolution means you can make almost A2-sized prints without any software interpolation.

On paper at least there is no denying that the NX1 is an impressive machine so here we take a closer look at how it performs in practice.

PERFORMANCE JPEG V RAW JPEGs out of the Samsung NX1 are full of detail and very sharp, as you would expect, and no problem when used for critical applications immediately. I made A2 prints with out of the camera JPEGs. Raws processed with default settings in Lightroom 5.7 looked soft by comparison and benefitted from some sharpening, either in Lightroom (Sharpening slider set at 50) or in JPEG

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Photoshop using Smart Sharpen. Once sharpened, detail levels surpassed those of the JPEGs and images looked very good indeed as you can see here.

With JPEGs at high ISO settings the camera’s processing accentuated the effect of noise slightly so here if the images are for critical use, shooting Raw and being more gentle with the sharpening tools is a good way to go.

RAW

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SAMSUNG NX1 PHOTO KIT FUNGI The NX1’s articulating monitor came in very useful for this groundlevel shot. The AF sensor was placed on the fungi’s front gills and a meter reading made from the background.

16-50mm f/2-2.8 at 30mm, exposure 1/50sec at f/2.5 and ISO 100.

BAA! Shot with the 50-200mm f/4-5.6 at 145mm with the AF point moved over the creature’s eye. The OIS system helped to get a sharp shot – 1/50sec at f/5.6 and ISO 400. WREST PARK CEILING Shot using a 16-50mm f/2-2.8 at 18mm, exposure 1/60sec at f/2.2 and ISO 400.

PERFORMANCE RESOLUTION With 28 megapixels the NX1 has the highest resolution rating yet seen on an APS-C camera and I was looking forward to seeing how the camera would perform.

I shot most of the time in super-fine JPEG and Raw, switching to JPEG only when shooting prolonged bursts using the camera’s 15fps continuous shooting rate.

Lightroom 5.7 is compatible with NX1 files and that was the software used for this review – mostly with zero or default noise reduction and sharpen settings.

Lenses used for the review included the two optics in the Premium S collection, the

16-50mm f/2-2.8 and 50-150mm f/2.8, plus the older NX 50-200mm f/4-5.6. For the scenics a Gitzo Mountaineer GT2532 tripod was used with the shutter fired using the self-timer.

NX1 files are quite big as you would expect.

JPEGs were in the range of 4-13MB and Raws 32-46MB. Opened in software, 8-bit files were around 80MB and in full resolution measured 54.8x36.5cm or 6460x4320pixels, so big enough to print on A2 paper without any interpolation. I made a batch of A2 prints on glossy paper from edited Raws and out of the camera JPEGS through an Epson Stylus 3880 printer and the results are impressive.

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Scenes with detail looked wonderful.

During my test I shot plenty of woodland scenes and the NX1 did justice to them by recording the finest details. The prints with minimal editing looked excellent but I know that if I worked the file harder there is even more detail to be squeezed out. Image quality is generally excellent.

The NX1 has 4K video capability and that is an increasingly important consideration for many image-makers. I tried the NX1 in 4K and Full HD modes and yes, the images are undoubtedly impressive – on a Samsung 55in curved 4K TV the images looked amazing.

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ADVANCED PHOTOGRAPHER AWARDS 2014

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ADVANCED PHOTOGRAPHER AWARDS 2014

ADVANCED PHOTOGRAPHER

Welcome to the inaugural Advanced Photographer Awards. Over the next two issues we’ll be nominating our favourite imaging products in a huge range of product categories. Then we’ll be asking you to vote

M

ost photographers enjoy the kit that goes with this fascinating passion of ours. Indeed for some photographers it’s all about the gear.

Whatever your relationship with the kit we use, the Advanced Photographer Awards is the chance for you to have your say in deciding what you think is best. Our Awards are the only ones where it’s the customer who decides who wins.

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We have nominated products in most categories but in several, such as Retailer of the Year, you get to make a judgement based on your own personal experiences.

Voting opens next month after the final nominations are announced. Then you can cast your vote online on our website, absolutephoto.com, or by post, but more on that next issue.

Meanwhile, to whet your appetite, turn over to look at our nominations…

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INSPIRED THE WINTER CHILL

Shoot the season Want to get shooting, but need a creative nudge in the right direction?

Then you’ve come to the right place. Every month we’ll bring you a different subject to inspire your next project, challenge your creativity and show how simple themes can be tackled in lots of exciting ways…

Snow and ice are quite rightly thought of as the winter emblems which give your landscapes that instant seasonal feeling, but if you want to create some chillingly beautiful scenes this year, there’s plenty more you can do than sit around and wait for the white stuff.

We may be enjoying warmer, wetter winters in the UK, but the right conditions can still be found in the landscape photographer’s natural hunting ground, the moors

and the highlands. And elsewhere, there are brittle, denuded trees to give a winter shiver, and glittering frost adding texture to foregrounds, and fringing grass and leaves if you set your alarm for an early start. In this month’s Inspired we pay homage to Advanced Photographer readers’ top winter shots, and though they’re all great scenes, the real common thread is that they braved the cold and got out there shooting – make sure you do the same this year!

ABOVE

ABOVE

SUSAN GUY

Just like regular landscapes, picking spots you know well pays off when the conditions are right; you can act faster and not waste time looking for compositions you like while the light fades or the snow melts. Susan shot this at Bradgate Park, Leicestershire, and it features two of her favourite trees in the park: “I love how they appear to erupt from the rock and on that wintry day they seemed to be leaning into the oncoming snow, like people with their heads down.”

CRAIG RICHARDS

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Physical effort pays off when shooting landscapes: going a little further or higher for that special view; getting up earlier or staying out longer for the best light. Craig’s shot is a great example. The Old Man of Storr, overlooking the Sound of Raasay, is a famous scene, but one that requires a steep climb that becomes even more treacherous in deep snow. Fortunately the two-hour hike in knee-deep snow with his Nikon D800E, 14-24mm and Gitzo tripod paid off.

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THE WINTER CHILL INSPIRED

ABOVE

ANDI CAMPBELL-JONES ANDICAMPBELLJONES.COM

Foreground is important in many landscapes, but when you move into a panoramic format it’s less vital – it can even compromise the shot – because the picture becomes more about the grandeur of a scene. And views don’t come much more stately than the Glencoe Pass. All you need is some great light, which fortunately is abundant in the winter, and in Andi’s shot the way most of the foreground is shadowed and cold contrasts beautifully with the warmer highlights in the sunlit patches.

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And finally…

Editor Will Cheung on his photographic month

EDITORIAL TEAM

I AM A HUGE BELIEVER IN SETTING SELF-IMPOSED PROJECTS AS A WAY OF KEEPING MY PHOTOGRAPHY MOTIVATED, BUT WHEN I WAS ASKED THE OTHER DAY WHAT PROJECT I WAS WORKING ON, I WAS STUCK FOR AN ANSWER. Now don’t get me wrong, I have at least 20 photographic projects going on in my head constantly and I add to them whenever I get the chance, but most of them lack weight, substance, gravitas or whatever.

I shoot rubbish, feral food, brollies and abandoned clothing all the time, but they are not projects that will go any further than my computer. You could say that’s my problem and you would be right and perhaps I should turn my mind to a more ‘serious’ project and produce a book from the results. When I say book, I don’t mean through a reputable publisher, just a Blurb-type book. Mind you, so many illconceived, fringe-interest, poorly photographed books land on my desk that I wonder how some major book publishers ever stay in business.

Perhaps I should dream up some fatuous, nonsensical, pretentious idea with no sales potential whatsoever and hawk it around to the big publishers and ask an obscene amount of money for it. I imagine my arm would be bitten off.

Anyway, back to the idea of a more meaningful project and with 2015 almost upon us, that would be a good time to kick it off. So, what is my new big project? Right now, I haven’t a real clue, just a bunch of eclectic and unoriginal ideas swimming around my head. I suppose originality is less of an issue because that is difficult, and perhaps all that counts is that the idea is new to me.

It doesn’t help that, photographically speaking, I specialise in being a nonspecialist. Hence I dabble in landscape, nature and people photography but don’t focus –

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Editor Will Cheung FRPS ☎ 01223 499469 willcheung@bright-publishing.com Features writer Megan Croft ☎ 01223 499466 megancroft@bright-publishing.com Contributing editor Kingsley Singleton kingsleysingleton@bright-publishing.com Sub editors Lisa Clatworthy & Hannah Bealey

CONTRIBUTORS THIS ISSUE Eddie Hyde, Mark Carline, Stuart Palley

ADVERTISING TEAM

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 Sales executive Krishan Parmar ☎ 01223 499462 krishanparmar@bright-publishing.com

DESIGN TEAM Design director Andy Jennings Senior designer Alan Gray

WEB TEAM Flash developer Ashley Norton Web developer Will Woodgate

PUBLISHING TEAM Publishing director Andy Brogden Publishing director Matt Pluck Editorial director Roger Payne Head of circulation Chris Haslum

CONTRIBUTING TO ADVANCED PHOTOGRAPHER

FERAL FOOD is one of my many current projects that I add to constantly, but it’s not really deep and meaningful – it’s just a bit of fun! excuse the pun! – on anything specific. I do on occasion feel pangs of envy towards photographers who are singleminded enough not to stray from their chosen subject.

My current shortlist comprises a range of options although I ruled out a couple very quickly. I went horse racing the other week and I loved it, especially seeing the characters at the track. It was a National Hunt event rather than a flat meeting and there are definitely more interesting characters in jump racing.

That idea bit the dust simply because I know I would spend more time studying the form and having a flutter than taking pictures. Then the other day on my road bike, I came across a hunt and I stopped to see what was going on. More interesting characters and certainly plenty of photographic potential but I reckoned on a social level I am several strata (above or below, you decide) removed from them, so I don’t think I would feel at ease with that.

The idea of shooting fine art nude has an appeal and

as a subject it would be very challenging and that idea is still at the back of my mind. What is stopping me at the moment is getting models – male and female – but that is an attitude thing so I just have to get over myself. I’d love to do some Brandt-esque (as in Bill) images perhaps putting film through my Sprocket Rocket.

Then also on my radar is landscape. I enjoy landscape photography but I am not devoted to it, but perhaps it’s time to change that. I have had two weekend trips to the Lake District recently and that has obvious potential, but I think I need an angle that is slightly different from the norm.

On landscape, I also fancy the idea of the west coast of Ireland, having seen so many wonderful images of the area. That just needs planning, not to mention time and money.

So the current state of play is yes, I need a more involved project to keep my motivation going, but I need direction or perhaps a bolt of lightning, an epiphany or a road to Damascus moment. Watch this space! @advancedphotog

Advanced Photographer is always looking for photographic talent so if you feel your pictures are worthy of being featured in 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 (1000 pixels 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 first 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. 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. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed.

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