COMPACT SHOWDOWN CAMERA CLUB OF THE YEAR PORTRAIT INSPIRATION
G7 X v RX100 III v X30 v LX100 v DP2 Get involved to grab a share of a £5000 prize pot Brilliant ideas for getting creative indoors
THE MAGAZINE THAT TAKES YOUR IMAGES SERIOUSLY
ISSUE 53 £4.95 ABSOLUTEPHOTO.COM
Vote now for your favourite gear
Master
OPEN FLASH Turn feeble flashguns into lighting leviathans
16 PAGES OF SNOW-NONSENSE ADVICE
Thermos? Check. Woolly hat? Check. Unmissable winter landscape advice? Check FEATURED INSIDE: SAMSUNG NX1 & 50-150MM CANON EOS 7D, G7 X & EF 24-105MM NIKON D800 MAMIYA C220 PANASONIC LX100 SONY RX100 III FUJIFILM X-T1 & X30 SIGMA DP2 ap53-001 cover subbed.indd 1
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ISSUE 53
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.
ENHANCTEENDT
Welcome to our first issue of 2015. I hope we find you in fine fettle ready for the year’s photo adventures ahead. This issue should get you well on the way as we focus on the wonderful opportunities the landscape offers at this time of year. Wrap up warm and it is a great time for being out and about, especially when the weather’s bad. Yes, that’s right I enjoy the inclement weather because ordinary scenes can suddenly be worth photographing, providing you and your camera are well protected. In Photo Kit, we review five top-end premium compacts, which are perfect for winter shooting, particularly when you’re travelling light. Pocket-sized, so easy to carry and look after, yet capable of image quality comparable to that of your usual CSC or DSLR. We’re announcing the final categories in our Awards nominations too; it’s your chance to vote for what you consider to be the best imaging kit available. Please get voting as it’s your opportunity to recognise great products, innovation and services. Thank you. See you next time.
Will Cheung FRPS, Editor
IPAD CON LE AVAILAB
PAGE 67 COVER STORY
PAGE 68 COVER STORY
PREMIUM COMPACTS SAMSUNG NX1
PAGE 76 COVER STORY
PAGE 6
LANDSCAPE MASTERCLASS
Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!
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ISSUE 53
CONTENTS PAGE 6
LANDSCAPE MASTERCLASS
Imparting his scenic know-how, editor Cheung shows us how it’s done. This issue, he’s wading right in. PAGE 10
UPFRONT
Excited about photography? You bet! This issue we’re overcome by the beauty of Mother Nature and gearing up for The Year of the Project.
KONSTANTINOS KATSIANIS
PAGE 16
PAGE 110
COVER STORY
INSPIRED
CAMERA CLUB OF THE YEAR
Make your new year’s resolution to sign your club or photo society up for this stunning contest. PAGE 18
SAMSUNG IN THE CITY
Take eight AP readers, add the brand-new Samsung NX1 and a bunch of lenses, then let them loose in the city – turns out it’s the recipe for some great photography.
THE BIG FEATURE: WINTER
PAGE 22
Brr, it’s cold outside. The perfect time to get out with your camera so don your base layer and charge your batteries.
LIGHTING ACADEMY
PAGE 44
LIGHTING ACADEMY
PAGE 51
PROJECTS
KINGSLEY SINGLETON
PAGE 44 COVER STORY
Open flash, bang, wallop – create a whole load of impact. PAGE 51
PROJECTS
Practise with a project. Whether it’s small or grand, it’ll fire your imagination and polish your skills.
EXCLUSIVE SHOOT TO BE WON!
PAGE 59
Land yourself a trip to the seaside with AP and the NX1. PAGE 110
INSPIRED
Great images spark yet more great images. Stay indoors this issue for your monthly dollop of inspiration. PAGE 114
AND FINALLY…
Snow big deal, but editor Cheung’d like some white stuff.
PHOTO KIT PAGE 63
PAGE 22
ALEX NAIL
COVER STORY
BIG FEATURE: WINTER LANDSCAPES
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 98
PAGE 67
PAGE 76
MINI TESTS
PREMIUM COMPACTS
Good things come in small packages, right? But which of these five small packages is the right compact for you?
THE AP AWARDS
This is your chance to acknowledge the top kit, best service and outstanding innovators of 2014. You’ve got until 20 February to nominate your faves. PAGE 91
LONG-TERMERS
Find out what it’s like to use a camera day in, day out as the AP team and readers share their kit experiences.
SUBSCRIBE AND SAVE SEE PAGE 60 Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!
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LONG-TERMERS
CHAS BEDFORD
PAGE 98 PAGE 91
MINI TESTS
The bits and pieces that are guaranteed to improve your shooting experience – every time.
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WINTER LANDSCAPES
GET INSPIRED AND SHOOT YOUR BEST EVER LANDSCAPES THIS YEAR!
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ALEX NAIL
WINTER LANDSCAPES
WORDS KINGSLEY SINGLETON PICTURES VARIOUS
You’ve walked miles through the pre-dawn gloom and now you’re perched on a freezing, isolated hillside… then the sun breaks through and sets fire to the morning. That’s when you realise: this is what landscape photography is all about. This month, discover how winter scenics offer some of the purest highs a photographer can find, and how to achieve them you must combine motivation, effort and technique
s a landscape photographer, certain skills are easier to master than others. You can nail the basics fast: making sure you have some foreground interest, getting the right aperture settings for the maximum depth-of-field, using filters to slow the shutter or control the light… that’s Year One stuff. The fine-tuning of composition, the rendering of a scene with depth and with balance comes more slowly through experience, and it’s actually the latter that’s the most valuable and least technical skill of landscape photography – the experience; the being there. Once you reach a certain level of understanding, it’s the effort and the motivation to get into good shooting situations that will evolve your photography and produce the kind of landscape pictures that you’re really satisfied with. Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!
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SPONSORED BY
Model: Ferguson TE20 tractor, kindly supplied by John and Lance Charity
LIGHTING ACADEMY OPEN FLASH
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FL AS
H TECHN
IQU
OPEN FLASH LIGHTING ACADEMY
E
S
OP
EN
SPONSORED BY
WORDS & PICTURES KINGSLEY SINGLETON
Add impact with flash Use open flash techniques to bring the best out of any subject Open flash, also called free flash, simply describes a method of using your flash gear unlinked to the camera’s shutter. This sounds random, but actually gives you a lot of creative control. The most important factor is that you can fire the flash as many times as you like during the exposure, and that allows lots of different lighting effects to be achieved using just one flashgun. In this technique, we’ll use open flash to add dramatic lighting to a scene, shooting at twilight and using a long exposure and multiple bursts of flash to build up the lighting effect. One note of caution: this involves running around in the dark with a flashgun, but if that’s not your cup of tea, you can get a similar look using multiple flash heads placed around the subject on stands and triggered from your shooting position.
NO FLASH
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First, the exposure is calculated for the ambient light. This needs to be long enough for you to move around the subject with your flash, but if you’re shooting outdoors, this should be reassessed every few minutes as the light levels fall or rise.
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PROJECTS SOCIAL HOUSING MIKE CHOPRA-GANT | FLICKR.COM/PHOTOS/50275406@N02
Utopian modernism
Mike Chopra-Gant has made it his mission to capture the best of London’s social housing and aims to put together an ARPS panel with his project
INSPIRATION London’s innovative post-war solution to social housing AIM To capture enough images of a good enough standard to submit for my ARPS DURATION Ongoing
I took up photography in the late 1980s and took a few courses in darkroom practice at Camerawork photographic studios in Bethnal Green and at Central Saint Martins. For various reasons photography had to take a back seat for several years and was revitalised by the arrival of digital. I joined the RPS and achieved my LRPS in March last year; I then started to look for projects to progress to the next level. I began to photograph a local council estate which was being prepared for demolition. I found the derelict spaces where people had once lived haunting and melancholic. The project was cut short when I returned from a summer holiday to find that the demolition crews had been busy, leaving only rubble to photograph. However, an idea was planted and I wanted to continue with social housing as a subject. But rather than focus on the decay of many estates, I would concentrate on some of the celebrated buildings that provide a more uplifting sense of social housing as a utopian ideal; a desire to improve post-war British society through well-thought out architecture. I knew Lubetkin had designed many of London’s
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SOCIAL HOUSING PROJECTS
most aesthetically pleasing council estates, so my research started with him. I realised I had struck gold when I found pictures of Lubetkin’s Bevin Court online; the geometric central stairwell cried out to be photographed and I headed there as soon as I could. I was nervous about this first step. What I wanted to see was within the building and I had no guarantee of access. But with all the estates I have visited I’ve found the residents extremely obliging in providing me access to the interior features that truly capture the aesthetic ambitions of the buildings. They were designed to be beautiful places to live, thankfully they remain so, and are appreciated as such by those who now inhabit them. At some point I will pluck up the courage to ask to see the interior of some of the flats, but for now the lobbies and stairwells provide plenty of opportunities. The beauty of these buildings lies in clean, geometric lines; primary colours; and an atmospheric interplay of light and shadow. I have tried to photograph them with a crisp, saturated look that does justice to the original intentions of the architects. Many of the interior photographs test the dynamic range of digital technology and I spend a lot of time working on the balance of light and shadow in Lightroom to retain detail at both ends of the range and control noise. Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!
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All the images are shot handheld with ISO set as high as is necessary to get a steady shot. Almost all my photographs are taken with a Pentax K-3, with either the Pentax 15mm f/4 or the brilliant Sigma 30mm f/1.4 Art lens. I always carry a Sony RX100, which I have used for some images, and occasionally an Olympus E-P1 and 17mm f/2.8 Zuiko lens. My project is still ongoing, with many locations yet to shoot and several to revisit to get that ‘just a little better’ angle. At some time these images will be the basis for my ARPS submission.
ABOVE Jerome Tower on South Acton Estate. BELOW Winchester House, Hallfield Estate. BOTTOM LEFT Golden Lane Estate. LEFT Spa Green rain shelter. CENTRE LEFT Exeter House, Hallfield Estate. LEFT TOP Lenin bust plinth in Bevin Court.
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ADVANCED PHOTOGRAPHER AWARDS 2014
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ADVANCED PHOTOGRAPHER AWARDS 2014
It’s time to get your voting head on as we announce our final nominations in the inaugural AP Awards. So, what do you think is the best gear of 2014?
M
ost photographers enjoy quality kit and are happy to embrace the latest innovations in imaging. If we weren’t, we’d still be using plate cameras and iron braces to keep portrait subjects as still as possible during the required lengthy exposures. It is probably fair to say that the developments in imaging over the past decade have been greater than at any time since William Henry Fox Talbot recorded his latticed window in 1835. It has been amazing and the journey has only just started. Who knows where we will be 100 years from now? Probably taking pictures by blinking!
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Anyway, the aim of our Awards is to recognise the stupendous advances and the outstanding products we have at our disposal now, and we need your help to do it by voting for what you think are the best products around. Have a look through the nominations made here and in last issue, then cast your votes. You can vote in as few or as many categories as you see fit, and you can vote via the post or by logging onto our new website, absolutephoto.com. For full voting details see page 87. Voting closes Friday 20 February 2015. We look forward to your votes and thank you in advance for your help.
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ADVANCED PHOTOGRAPHER AWARDS 2014
ADVANCED CSC Compact system cameras, also known as mirrorless or interchangeable lens compacts, are big business nowadays, offering DSLR functionality and performance in a compact and lightweight bodyform.
NIKON 1 V3
OLYMPUS OM-D E-M10 E-M10
OLYMPUS PEN E-P5
PANASONIC LUMIX GX7
SAMSUNG NX30
SONY A6000
PROFESSIONAL CSC The latest CSCs are built for serious use and this category is full of excellent cameras that have their own unique appeal. They are feature rich too, with impressive top ISO settings, EVFs, high resolutions and, in several cases, 4K video capability.
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FUJIFILM X-T1
LEICA M-P
OLYMPUS OM-D E-M1
PANASONIC LUMIX GH4
SAMSUNG NX1
SONY A7S
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ADVANCED PHOTOGRAPHER AWARDS 2014
MEDIUM-FORMAT BEST VALUE For the ultimate image quality, you need to consider mediumformat digital capture – and prices are coming down. We have two digital medium-format categories for you to consider. PENTAX 645Z
HASSELBLAD H5D-40
MEDIUM-FORMAT LEICA S LEICA S-E HASSELBLAD H5D-50C
HASSELBLAD H5D-60 MAMIYA 645DF+ WITH LEAF CREDO 80 BACK
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INSPIRED INDOOR PORTRAITS
Creative indoor portraits 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 For some photographers, shooting portraits indoors can set alarm bells ringing. The amount of light and space they’ll have to work in can suddenly feel restrictive, but there’s really no reason it should do – if anything, shooting indoors, away from the vagaries of the weather and natural light gives you more creative control than ever.
In this month’s Inspired we’ve gathered a range of very different portraits, all shot indoors and each giving just a taste of what’s possible when you let your creativity loose. As all the pics show, there’s certainly no need to worry about light when you have flash at your disposal and lamp lighting can easily be used with the right settings, too.
You can choose to make the location part of your image, adding to the character of the portrait, or go for a more simple and striking approach, in which case all you need is a blank wall for your background. Read on for some inspirational people pictures, and then get cracking on your own indoor portraits.
LEFT
ALANA MERCER
There’s no rule book that says a portrait has to be just one image, and you’ll often find that character studies are at their most revealing when several shots are combined into a collage, montage or just a simple series of pics. Alana Mercer created this collage of herself and her husband, shooting from a tripod and using a remote to fire the shutter. The multiple images, each with a different pose or expression, were combined into a grid using Photoshop, making a picture that’s as fun to view as it obviously was to shoot. FLICKR.COM/PHOTOS/ALANAWOODS/
RIGHT
MIKE MARTIN
1
st
Many of the best creative portraits come from a combination of seemingly disparate shooting and editing effects. In Mike Martin’s shot, the semisilhouetted profile is both iconic and mysterious and the image is literally given an extra layer of intrigue with the use of textures. Taken at a studio evening, Mike noticed the potential of his subject Dakhari’s profile against an umbrella and shot using just the light from its modelling lamp. He cropped and reduced noise in Lightroom before using OnOne Perfect Effects to add two texture layers, one with a grungy blue look and the other with a warm light leak. MIKEMARTINPHOTOGRAPHY.SMUGMUG.COM
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INDOOR PORTRAITS INSPIRED
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And finally… EDITORIAL TEAM
Editor Will Cheung on his photographic month
THERE WAS A TIME WHEN MANY PHOTOGRAPHERS PUT THEIR CAMERAS INTO HIBERNATION FOR THE WINTER. MAGAZINE PUBLISHERS KNEW THAT AND THAT’S WHY THE PROMOTIONAL GIFTS (COVER-MOUNTED FREEBIES) DRIED UP UNTIL SPRING I think camera hibernation happens much less now and photographers are active all year round. It also helps that while older mechanical SLRs could suffer in freezing temperatures, modern cameras are much less liable to stutter in the cold and wet. So, while the days are depressingly short, the light and conditions you get at this time of year can be truly awesome and it’s a brilliant time to shoot landscapes. In fact it’s pretty good around town too. Of course, the conditions and the situations are very different so you have to think in a fresh way. In autumn, for example, you have the turning trees adding colour to the landscape, but in winter it’s making the most of bare trees and much more about exploiting the opportunities that come with the weather. One weather phenomenon we seem to be seeing less of is that pretty white stuff, snow. Before everyone who lives in snow-prone areas (as I write this, snow has already fallen in some parts of the country) fires off a snotty email to me, let me put it more accurately: in the region I live, East Anglia, snow seems to be more rare than when I was a child. It might be a trick of the memory and no doubt someone will put me straight, but I think it has been two years since we had any significant quantities of the white stuff. And that is disappointing. I appreciate it’s slightly selfish and I recognise snow does make life downright difficult and even life-threatening for a great many people, but I am rather partial to the stuff. That is perhaps because I haven’t had much experience of it – not just in the
recent years, but in my whole lifetime. Those for whom snow is a regular occurrence probably don’t feel the same affection for it, and that is fair enough, but it is still a wonderful, exciting novelty to me. Of course, I like snow, not to toboggan on (you try to find a suitable hill where I live!) or to build snowmen with, but to take pictures of. There’s a big problem, though. I live in a part of the country that for me lacks inspiring landscape. So if it snows here right now, I’m still going to moan because I would want to be elsewhere. So I will either have to be lucky and be in a good location when it snows or travel there during the bad weather and risk being one of those poor folk who get mentioned on the evening news. You know, people who get stranded in their vehicle or end up spending the night in a random church hall after being rescued. Of course you might be lucky and get stranded in a pub as some folk have in the past. I wouldn’t want to take the risk or be a burden to the emergency services just because I wanted to take a few snaps – it’s hardly an ‘essential journey’. Not only that but the irony is I hate driving in the snow – it freaks me out. The only car accident I have ever had was in snow. I had a spin and smacked into a crash barrier. Not going fast, no one hurt, no road closure, no police call-out, just a dented front to the company Ford Cortina. That accident happened a lifetime ago, yet when the snow starts falling I want to be safely home which is hardly the platform for great winter pictures. Ho hum!
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 Richard Hopkins, Matt Emmett, Ian Cook, Mike ChopraGant, Chas Bedford, Paul Lawrie
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 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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SNOW FUN White stuff falling from the heavens is great to photograph but it can be an inconvenience too.
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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. Street pricing at the time of writing is quoted for products.
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