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HOW TO ACE YOUR NEXT PHOTO TRIP
Expert shooting tips and inspiring ideas from the world’s best travel photographers FEATURED INSIDE: FUJIFILM X-T1 & X-T10 NISSIN FLASH 4 TRAVEL BAGS CANON EOS 6D NIKON D810 CANON EF 11-24MM F/4L PENTAX K-3 II ap59-001 cover KS cb.indd 1
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ISSUE 59
Welcome
COVER IMAGE: ‘Coastal Cave’ by Thomas Haney, commended in the Natural World Portfolio section of 2014’s Travel Photographer of the Year (tpoty.com).
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Will Cheung FRPS, Editor
PAGE 24 COVER STORY
TRAVEL
PAGE 68 COVER STORY
CANON EOS 5D S
Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!
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KINGSLEY SINGLETON
Will has worked in photo mags for 30 years and has been taking pictures for even longer. His photographic interests are very broad, from landscape and nature to portraits, indoors and out.
DAVID OLIETE / TPOTY.COM
WILL CHEUNG FRPS, EDITOR
Welcome to the issue. Summer is here and you’ll soon be packing for your holidays and looking forward to all the great pictures you’ll be taking. Well the theory is there but of course much depends on the type of holiday you’re going on. Our big feature in this issue has ideas to cover all sorts of photography on your holidays so while you relax and unwind, your shutter finger will be kept active and inspired. Inspiration is the aim of our Wonderful World of Weird feature as we take a look at some of the unusual creative avenues that you can enjoy with your picture-taking. Image-makers have always explored and pushed back the boundaries, and there are so many ways of crafting an image now, whether on a phone, a camera or with the computer, that there is no excuse for not at least trying something different. A fresh technique or a new piece of kit might just give your photography the impetus it needs to make your work stand out from the crowd and we highlight a few ideas for your consideration. Our big test this issue features the much-anticipated Canon EOS 5DS, the first 50-megapixel 35mm-format DSLR. We all know that few of us can actually justify having a camera of such high resolution but that doesn’t stop us dreaming of owning such a machine. Well, without wanting to give the game away, it is certainly one amazing camera, so check out our review. It’s part one this month and the verdict will be in the next issue. Enjoy the issue and see you again very soon.
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ISSUE 59
CONTENTS PAGE 6
LANDSCAPE MASTERCLASS
Imparting his scenic know-how, editor Cheung’s saying it with flowers this issue. PAGE 10
UPFRONT
Isn’t photography just the best thing since sliced bread? We think so, which is why we’ve got our eye on the skies, as well as on the landscape.
PAGE 94
INSPIRED
IAN MCCONNACHIE
PAGE 16
PAGE 24
THE BIG FEATURE: TRAVEL
Who better to show you how to capture the world than the winners of the Travel Photographer of the Year? PAGE 44
PAGE 51
THE WONDERFUL WORLD OF…
Weird photography. While there’s truly nothing new or original in the world of photography anymore, there’s still plenty of unusual techniques and kit to play with.
LIGHTING ACADEMY
Give us a gel – and get creative and striking effects.
PROJECTS
PAGE 51
PROJECTS
Give your photography a boost with a project; it’ll bolster your skills and populate your portfolio.
PAGE 75
LONG-TERMERS
IAN FYFE
LINDA BAKER
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INSPIRED
Fire up your imagination with shots from fellow readers. This month, they all twigged the theme, branched out and went down to the woods. PAGE 98
AND FINALLY…
Editor Cheung’s back in the saddle – photographically speaking, naturally.
PHOTO KIT PAGE 59
GEAR NEWS
Every snippet and story you need to know about the latest photographic kit. PAGE 62
PENTAX K-3 II
It’s being touted as Pentax’s flagship APS-C DSLR, but will the K-3 II fly the Pentax flag proudly? PAGE 66
WILL CHEUNG
PAGE 6
LANDSCAPE MASTERCLASS PAGE 66
FUJI X-T10
PAGE 68
PAGE 75
PAGE 87
MINI TESTS
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The bits and pieces that are guaranteed to improve your shooting experience.
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LONG-TERMERS
Only long-term, day-to-day use can tell you what a camera is really like. So what do the AP team and readers think of their kit? Should you upgrade to the latest version?
PAGE 87
or call
CANON EOS 5DS
In the first part of his big test with Canon’s megapixel monster, editor Cheung gets to grips with ISO, HDR, ALO, BBC, NR and ITV*.
PAGE 82
01778 392497
FUJIFILM X-T10
The latest X-series camera, the X-T10 looks set to carry the mantle of popular X-Trans CSC well.
And search iTunes for Advanced Photographer to get the enhanced interactive version.
*No prizes for spotting the odd one out.
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WORDS & PICTURES WILL CHEUNG
Our woods are full of chances to exercise the shutter finger and in late spring the woodland floor can be carpeted with delicately coloured bluebells that are irresistible subjects for the camera The common bluebell is one of the nation’s favourite flowers and is often found in gardens, but it’s in the wild that it most appeals to landscape photographers. When they appear for a few weeks in spring, woodland floors are vibrant with this violet-blue flower and they make great subjects for the camera, whether you go for individual specimens or look for a backlit carpet of flowers. Photographically it is a challenging plant to shoot. It used to be even more challenging with film because some films could not reproduce their subtle hues accurately, much to the annoyance of nature photographers. With digital, colour accuracy is much easier to get right and if the colour is not quite right it can easily be tweaked in post-production. Given where bluebells grow, low light levels mean a tripod is essential for a decent amount of depth-of-field.
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There is also a physical challenge with bluebells and that is getting down to their level. A tripod that splays its legs or has a reversible centre column for a very low position is advised, but failing that a mini tripod or even a beanbag would work nicely. Live view will make composing and focusing shots at ground level much easier and, if you have one, a camera with an articulating monitor is an even better option. A bin bag to kneel on or knee pads will make life more comfortable as well as keep your trousers clean. Finally, before we discuss some of the techniques to try it should be noted that the plant is a protected species under the Wildlife and Countryside Act 1981, which among things means it is a criminal offence to remove the bulbs of wild common bluebells.
@advancedphotog
info@advancedphotographer.co.uk
absolutephoto.com
18/06/2015 17:02
LANDSCAPE MASTERCLASS
Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!
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@advancedphotog
info@advancedphotographer.co.uk
absolutephoto.com
18/06/2015 17:24
WILL CHEUNG
WORDS & PICTURES WILL CHEUNG & KINGSLEY SINGLETON
Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!
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There is probably nothing truly original or new in the world of photographic techniques and almost everything has been done in some way, shape or form. Nevertheless, the opportunity to take a technique or a piece of kit and really explore it to give your images an individual look or style has never been greater. Here are just a few ideas for you to ponder to make your images stand out from the crowd ISSUE 59 ADVANCED PHOTOGRAPHER
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TRAVEL SHOOTING
GREAT TRAVEL PHOTOGRAPHY HAS TO BE MORE THAN A SIMPLE RECORD YOUR TRIP – TO GET IT RIGHT YOU NEED TO TAKE YOUR VIEWERS ON A JOURNEY OF THE IMAGINATION. THIS MONTH WE’VE TEAMED UP WITH THE ORGANISERS AND PREVIOUS WINNERS OF THE TRAVEL PHOTOGRAPHER OF THE YEAR COMPETITION, TO FIND OUT EXACTLY HOW IT’S DONE...
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@advancedphotog
info@advancedphotographer.co.uk
absolutephoto.com
19/06/2015 10:35
TRAVEL SHOOTING
JINO LEE / TPOTY.COM
WORDS KINGSLEY SINGLETON PICTURES VARIOUS
Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!
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TRAVEL SHOOTING
ravel photography is a curious yet familiar thing; an umbrella of almost every photographic style, it covers a huge range of subjects from still-lifes to portraits and candid street scenes to sweeping landscapes. It’s shot at night and in the daytime, at sea and on land, indoors and out. It’s unmistakably exotic, and yet it can be made closer to home than you would expect. And while it’s not so easy to define what turns a regular shot into a travel image, it's immediately clear what is travel photography and what is not. Travel photos are broadly defined as those which document an area’s culture or history. But anyone who has experienced some family member or next-door neighbour’s interminable holiday snap slideshow will tell you it’s not just about location. There is some subtle seasoning that distinguishes great travel photos from photos simply taken while travelling. It could simply be where excellent composition and exquisite timing meet in a foreign place, but even more than that is an indisputably exotic atmosphere – one that, even in your own land, can make you feel like you’re there with the photographer. Great travel photography creates a very definite sense of time and place, so really it’s the viewer’s imagination that travels, not necessarily the photographer. To open the lid on travel photography, this month we’ve gone straight to the top; the organisers and winners of the prestigious Travel Photographer of the Year competition. So, what do the competition’s co-founder and organiser, Chris Coe, and some of the winning photographers, think defines travel photography? For starters, it’s important not to get too preoccupied with any labels which can fight your creative urges and get in the way of shooting. Chris
says, “the genesis of travel photography was simply in replacing the sketch as a way of recording what people saw on a journey. In many ways, the subject was less relevant than seeing something different; an insight into a different culture or place. For me, it’s still the same today.” Grand winner of 2014’s Travel Photographer of the Year, and numerous other accolades, Philip Lee Harvey, agrees that good travel shots should inspire a taste for adventure, stopping you in your tracks with the picture’s visual appeal, “but leaving you wanting to know more and inspiring you to go those places”. Tim Taylor, commended in TPotY 2013’s Wild Stories section, echoes this: “it’s about trying to transport the viewer into another world, another place... and if you can create that feeling in an image, then you’ve succeeded.” This approach requires some level of storytelling, a hook into the narrative of the image, and Simon Morris, runner up in 2013’s Vanishing and Emerging Cultures category, says part of this is achieved in trying to capture the unique atmosphere of a place; “whether you’re shooting a landscape image in Tuscany or a portrait of a Herdsman in Rajasthan, it must be steeped in that culture.” Peter Karry, who was runner up in 2014’s Natural World Portfolio section, meanwhile feels that “it’s the originality and creativity of the photographer which is key in communicating the feel of the place.” Atmospheric pressure How you get that atmospheric feel is certainly an important concern, and partly it comes from getting the things that first struck you about a place into your photography. That means not shooting straight away and immediately recording the scene in front of you – which is what a security camera would do, not a photographer with a brain. Stop and take note of your first impressions: what draws
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@advancedphotog
info@advancedphotographer.co.uk
absolutephoto.com
19/06/2015 10:35
DAVID OLIETE / TPOTY.COM
BRIAN MCCREADY
TRAVEL SHOOTING
Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!
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TIM TAYLOR / TPOTY.COM
IGNACIO PALACIOS / TPOTY.COM
TRAVELS OF THE IMAGINATION Great travel images come in a huge variety of styles, from landscapes and portraits to documentary and still-life shots. But it’s not the genre that’s important – it’s the picture’s ability to take the viewer on an atmospheric journey of discovery, that creates memorable and winning shots.
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PHOTO KIT PENTAX K-3 II
SPECS PRICE Body only £770, £849 with DA 18-55mm f/3.5-5.6 AL WR. HD Pentax-DA 18-50mm f/4-5.6 DC WR RE £230 CONTACT ricohimaging.co.uk SENSOR CMOS with no AA filter, 24.3 megapixels, APS-C 23.5x15.6mm with Shake and Dust reduction system ISO RANGE 10051,200, auto SHUTTER RANGE 30secs to 1/8000sec, Bulb, flash sync at 1/180sec DRIVE MODES 8.3fps on continuous high, M 4.5fps, L 3fps METERING SYSTEM Multi-segment using 86k pixel RGB sensor EXPOSURE MODES PASM, green mode, hyper program, sensitivity-priority, shutter- and aperture-priority EXPOSURE COMP. +/-5EV MONITOR 3.2in LCD, 1037k dots FOCUSING SAFOX 11 modes – spot, selected, expanded area, zone select and auto (27AF points) FOCUS POINTS 27, 25 cross-type VIDEO Full HD 1920x1080 CONNECTIVITY USB3.0, HDMI STORAGE MEDIA 2xSD, SDHC, SDXC DIMENSIONS (WXHXD) 131.5x102.5x77.5mm WEIGHT 785g body
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FIRST LOOK: PENTAX K-3 II WORD & PICTURES WILL CHEUNG
The K-3 II is Pentax’s flagship APS-C DSLR and it shows tremendous promise with an impressive specification at a very competitive price Pentax, now under the Ricoh Imaging banner, has been making significant introductions of late, notably the medium-format Pentax 645Z as well as the promise of a full-frame DSLR later in the year. The K-3 II sits at the top of its APS-C DSLR collection, replacing the current incumbent the K-3, and sells for £770 body only. The current Pentax line-up includes the K-50, K-S1 and K-S2, which are available in various colours and finishes to appeal to younger or more fashion conscious users. The K-3 II comes in any colour you like so long as it’s black. As befits a flagship model it’s highly featured. Starting from the ground up the stainless steel chassis and magnesium alloy body features
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92 protection seals at key points for a dust- and weather-resistant body. Our pre-production sample certainly felt solidly made and comfortable to hold. The K-3 II’s AF system uses 27 points, 25 of which are cross-type, and an updated algorithm to give swift AF and better AF tracking. The supplied DA 18-50mm f/4-5.6 lens wasn’t ideal for testing AF speed on moving subjects, but the combination did snap into focus very quickly and its responsiveness in a wide variety of different lighting conditions was good. Overall, at this early stage, we can say that the AF is accurate, decisive and responsive, but we will be trying the K-3 II with a wider selection of lenses to get a more accurate assessment when we do a full test. @advancedphotog
With continuous shooting at 8.3fps, you can rattle through frames pretty rapidly and while this shooting rate is modest by comparison with some models, it’s good enough for most users. The camera’s low noise and vibration levels also means it isn’t too loud. In fact with the damped reflex mirror action and the low pitch of the shutter noise, the K-3 II is commendably quiet. At the camera’s heart is a CMOS sensor with a resolution of 24.3 megapixels. The sensor maximises image resolution by doing away with an anti-alias mirror but there is an AA filter simulator to reduce false colours or any moiré effect. With the AA simulator on, the camera applies a microscopic amount of vibration and info@advancedphotographer.co.uk
absolutephoto.com
19/06/2015 08:52
PENTAX K-3 II PHOTO KIT
ABOVE Shot on a pre-production sample Pentax K-3 II with a DA 18-50mm f/4-5.6 at 18mm. No compensation was applied nor has the DNG Raw been adjusted in any way, ie. no highlights or shadows have been recovered in Lightroom and as you can see despite the full-on backlighting the K-3 II delivered a file with plenty of shadow detail.
ONE THING PENTAX HAVE ALWAYS DONE WELL IS EXPOSURE AND IT WAS NO DIFFERENT HERE. CONSISTENCY IS THE KEYWORD. POINT THE K-3 II AT A SUBJECT, DARK, LIGHT, BACK OR FRONT LIT, AND IT SEEMED TO GIVE A SPOT-ON EXPOSURE two levels are available. The AA simulator has a bracketing option too. When shooting on a tripod with static subjects, the K-3 II has Pixel Shift Resolution mode, which uses the camera’s in-body shake reduction to move the sensor four times, one pixel at a time. Four shots are taken very quickly using an electronic shutter and merged together to give a higher definition image with superior colour reduction. A similar feature is on the Olympus OM-D E-M5 Mark II, although on that model the sensor is moved eight times, 0.5 pixel at a time. For more details on this Advanced Photographer is also available as a fully interactive magazine – got to iTunes now!
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The K-3 II’s control layout is conducive to good handling. The LCD is large and informative while the exposure mode dial is locked in position. Above the LCD are the exposure compensation and ISO buttons, so perfectly placed for quick use even when the camera is up to the eye.
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PHOTO KIT CANON EOS 5DS
SPECS PRICE EOS 5DS £2999 body only, EOS 5DS R £3200 CONTACT canon.co.uk SENSOR CMOS effective 50.6 megapixels with Dual DIGIC 6 processor SENSOR FORMAT 36x24mm, 8688x5792 pixels. Cropped shooting modes available. Three Raw options (full size, M and S), various JPEG options ISO RANGE 1006400, expandable to 50-12,800 SHUTTER RANGE 30secs to 1/8000sec, B, flash sync 1/200sec DRIVE MODES 5fps in continuous, two self-timer options, single silent and silent continuous. Integral intervalometer METERING SYSTEM Multi, spot, c/ weighted and partial using a 150K pixel RGB sensor, EOS iSA system gives 242zone metering EXPOSURE MODES PASM, 3x custom scene intelligent COMPENSATION +/-5 in 0.3 or 0.5EV steps. AEB 2, 3, 5, 7 MONITOR Fixed non touch screen 3.2in FOCUSING Up to 61 points STORAGE MEDIA 1x CompactFlash, 1xSD/SDGC/SDXC DIMENSIONS 152x116x76mm WEIGHT 922g body
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CANON EOS 5DS PART ONE WORD & PICTURES WILL CHEUNG
Medium-format resolution in a 35mm sized body is the headline attraction of Canon’s latest DSLRs. In this two-part test we get to grips with the EOS 5Ds There had been rumours on the internet of Canon’s very high resolution DSLR for a while – just as there are rumours of 50-megapixel Nikon and Sony DSLRs. What was more of a surprise, in the tradition of buses, was that two arrived at the same time. The Canon EOS 5DS and 5DS R are identical in every aspect except for two. Firstly is price with the 5DS R costing £200 more than the £2999 5DS body. And secondly the 5DS R has an optical low pass filter (OLPF) cancelling feature for optimum resolution. The reality is that both cameras have an OLPF in front of the sensor so the image is ever so slightly softened but the risk of moiré patterns and false colour minimised. What the 5DS R has is a cancelling feature where the modified OLPF has an extra filter to cancel out the effect of the first one for optimum detail resolution. The situation is similar to when Nikon launched the D800 and D800E, with the latter
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having an OLPF cancelling feature and also coming with a little bit of a price premium. So, if the Canon EOS 5DS is on your shopping list, which one do you go for, the S or the R version? Here we have the S on test but we did manage to get a few comparison shots with the R (see part two next month) so you can see for yourself the differences. Interestingly, the Canon website says: ‘The small risk of artefacts as a consequence of this makes (the) EOS 5DS R a good option when shooting outdoors or in controlled conditions, but for other applications the EOS 5DS may be a better choice.” As most shoot outdoors the clear implication is that the 5DS R is the model to go for – but it costs £200 more. Anyway, enough of the theory for now and let’s talk through what we can see for ourselves. The camera body certainly feels reassuringly solid and its shape and size is almost identical to the original
@advancedphotog
EOS 5D that came out ten years ago – the difference in body size is literally a few millimetres. The 5DS body itself features weather-sealed controls to keep out dust and water and is made from magnesium alloy. For any Canon user, navigating around the 5DS will be completely natural because the control design, menu structure and overall layout is just like other Canon DSLRs. This filial consistency can only be admired and it must help loyal users. If the EOS 5DS is your first-ever Canon DSLR handling holds no alarms either with controls clearly marked and great to use. The menu system, however, is extensive so you do need to think carefully about how you want to set the camera up. There are six separate panels of menu options for camera set-up, five for focusing, three for playback, four under the spanner icon and four for custom functions. There is lots of scrolling through them using the top-plate input dial
info@advancedphotographer.co.uk
absolutephoto.com
19/06/2015 11:41
IN ASSOCIATION WITH www.castlecameras.co.uk
CANON EOS 5DS PHOTO KIT
01202 526606
CANON EOS 5Ds ANATOMY FROM THE FRONT There are no design surprises from the front and the EOS 5Ds is clearly a member of the 5D family. The large pad at eight o’clock is the depth-of-field feature and in Custom Control there are 13 other setting options – an improvement from older 5D cameras. Sensor cleaning can be set to take place when the camera is turned on or off. It only takes a second or so but if you prefer a fast start then turn it off. The EOS 5DS/R has two card slots, CompactFlash and SD/SDHC/SDXC and you have various options how you want them to work, ie JPEGs to one, Raws to the another, or as back-ups.
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FROM THE BACK The back of the EOS 5DS/R looks like the back of other Canon enthusiast and top-end DSLRs. There’s the large quick control dial that dominates the back, there’s a row of buttons to the left of the monitor and then important controls like the AF-ON (which could be bigger, in my view) and selective metering buttons at top right. As you’d expect, there is a high degree of button customisation potential and ten buttons/dials can have their default functions changed. Having the multi-controller joystick set to Direct AF point selection makes moving the AF zone around a one-touch function. The Rate button is handy if you have time to go through the preview shots, and the rating you give transfers over to Lightroom/DPP.
FROM THE TOP For current Canon users, the top-plate will look very familiar with the exposure mode dial on the left and a large LCD information panel on the right. The on/off switch is located around the exposure mode dial, so turning the camera on is a two-handed affair. The exposure dial is locked in position and the central button has to be used to change exposure mode. Above the LCD are dual function buttons which work in conjunction with the rear or front command dial. The downside is the small icons on the LCD but that’s nothing new and there are other ways (like the Q menu) of changing key settings.
Very usefully, Canon’s Intelligent Viewfinder II feature let you pick what feature you want overlaid on the optical viewfinder.
The camera’s Custom Quick Control lets you personalise items when you push the Q menu button.
Advanced Photographer is also available as a fully interactive magazine – got to iTunes now!
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IN VIEW The 3.2in monitor does not articulate nor is it touch sensitive, and that might be surprising considering how so many monitors offer such features, but Canon obviously feel the typical EOS 5DS/R user is unlikely to need such extras and they might well be right. The images provided are first class so no problem in that regard and are some nice extras. Having a one-touch zoom button for image previewing is not new to Canon and there are several options when it comes to magnification choice. I settled for 16x. The full size was too much for me and meant lots of navigating around the image looking for the subject which I found slow. At 16x it’s easy enough to check sharpness and facial expressions. What I really liked was the option to add or delete and even resize items in the Quick Menu. You can be very minimalist and just choose items that you frequently change or like to check on.
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And finally…
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EDITORIAL TEAM
Editor Will Cheung on his photographic month
AFTER MONTHS OF PERSONAL UPHEAVAL AND BEING IN THE PHOTOGRAPHIC DOLDRUMS, I THOUGHT IT WAS TIME I GOT ON WITH SOME PICTURE-TAKING I started last week with a couple of days at the Appleby Horse Fair. It wasn’t my first trip so I knew what to expect in terms of photo opportunities and decided to travel light. Well that was the plan and my bag was packed with my Nikon Df, a couple of lenses and a Fujifilm X-T1 with the 27mm pancake lens. The Nikon fitted with a telezoom was for shooting people washing their horses in the river Eden and the X-T1 for quick grab street pictures. This plan hit the buffers when the review sample of the Canon EOS 5DS together with three lenses arrived in the office. Despite my best intentions I couldn’t leave one of the most eagerly anticipated cameras in the office when I could be putting it through its paces at Appleby, so I swapped my original bag for a bigger one and loaded up. Knowing that the last time I spent two days at Appleby I shot over 2000 frames and with the Canon producing Raw files of 60-70MB, I packed several extra high capacity cards. I must admit the Canon is an impressive camera and the part one of the full review is in this issue. As for my Appleby shots from this year, my success rate was lower than usual – and it is pitifully pretty low in the first place. I put it down partly to me shooting with a new camera. Inevitably, I missed moments by not being totally familiar with the controls, so in terms of producing good pictures this was a mistake. Or it might have been that the river Eden was higher than normal and I only shot from the
bankside. I was wearing my wellies so I could have waded in and the water wasn’t that deep (plus it is only water), but as most photographers were also shooting from the bank I stayed dry too. A few photographers did wade in and inevitably got in the way of those on the bank. In hindsight, I should have waded in too but I am proud that I was considerate to my fellow togs. My next photo shoot is coming up with this weekend. I met a young dancer, Rachel, at an event last year where she was modelling. Now I don’t know a pique (a ballet stance!) from a hole in the ground but the idea of interesting shapes appealed so I asked whether she would pose for me. She said yes but it has taken me a year to organise a shoot. I’ve booked Rachel and then found a studio to hire (www.studiog-oldham.co.uk) nearby. But as I write this, I haven’t too many clues what exactly I am going to shoot. I have Googled ballet images for inspiration so I have made a start but I think I will end up relying on adrenalin and a creative rush – I hope. Time is money so I’m sure that will definitely focus my mind and I’m looking forward to the challenge. Similarly I am looking to our third Photo 24 on 20 June. I won’t get to shoot as much as I’d like on the event as I’m working but I will try to get a few pictures to be proud of. Not only that but I am looking forward to being inspired by the enthusiasm and commitment of 250 readers in their search for great pictures. Fingers crossed for 24 hours of decent weather for our event.
Being considerate of other photographers, I shot from the bank as horses were bathed in the river Eden instead of wading in with them.
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 & Catherine Brodie
CONTRIBUTORS THIS ISSUE Ian Fyfe, Gill McGowan, Linda Barker, Wojtek Konig, Stephen Maughan, Richard Hopkins, Hannah Bealey, Chris Coe, Philip Lee Harvey, Tim Taylor, Simon Morris
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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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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. Street pricing at the time of writing is quoted for products.
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19/06/2015 09:59