Advanced Photographer 60

CITY SECRETS EXPOSED GET GRITTY WITH FLASH FUJI X-T10 UNCOVERED

Enjoy a 24-hour urban safari with expert advice

Create dramatic portraits at any location

Great value + superb images = your next CSC

THE MAGAZINE THAT TAKES YOUR IMAGES SERIOUSLY

ISSUE 60 £4.95 ABSOLUTEPHOTO.COM

ON TEST

The landscaper’s dream come true? Find out on page 60

Hit the coast Get inspired and create your best-ever seascape shots

15-PAGE PANORAMIC MASTERCLASS

Bigger. Broader. Better… Go wild for wide this month with our expert guide to pano shots FEATURED INSIDE CANON EOS 6D FUJIFILM X-T1 NIKON D800 PERFECTLY CLEAR SOFTWARE NIKON 20MM F/1.8G VÜ FILTERS ap60-001 cover KS wc.indd 1

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ISSUE 60

Welcome WILL CHEUNG FRPS, EDITOR 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.

COVER IMAGE: Buchaille Etive Mor

by Dave Bowman; see page 46 for more of Dave’s work.

It is time to be out and about enjoying the great outdoors, and what better way than to enjoy the wide world of panorama shooting. It used to be that specialist cameras were needed to properly explore this subject, but now any digital camera will do. You don’t even need a tripod, provided you capture correctly. All is explained in Widen Your Eyes.

Photographing for 24 hours more or less non-stop is a physical and mental challenge but that’s what many readers managed in our annual Photo 24 shoot in London. 250 readers started the event, and while shooting for 24 hours is not the aim of the day, about a third managed it which is very, very impressive. What’s more, as you can see from the results, the quality of images produced was very amazing.

In Photo Kit, we have the concluding part of the Canon EOS 5DS review, the first 35mm-format camera to break the 50-megapixel barrier. The debate whether you need that high level of resolution will rage for ages, but there is no denying this camera has excited a great many people, and rightly so. It’s very impressive and worth a look even if it’s just for interest.

At the other end of the price scale but no less impressive is the Fujifilm X-T10, an entry-level X-series camera selling at £499 body only. At that price, it is sure to stir up the CSC market.

All the best for your photography and see you soon.

Will Cheung FRPS, Editor

KRIS WILLIAMS

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PANORAMIC SHOOTING Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!

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ISSUE 60

CONTENTS PAGE 6

LANDSCAPE MASTERCLASS

Imparting his scenic know-how, editor Cheung shows us how to get a new angle on a much-photographed place.

PAGE 10

UPFRONT

Isn’t photography just the best thing since sliced bread?

We think so, which is why we’ve got stars in our eyes and we’re admiring portraits with character(s).

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PHOTO 24 PAGE 43

MARK STIMPSON

PAGE 16

PAGE 6

PROJECTS

PAGE 24

THE BIG FEATURE: PANORAMAS

It’s time to broaden your horizons and widen your eyes as we bring you top tips for tip-top panoramic photos.

PAGE 43

LANDSCAPE MASTERCLASS

PHOTO 24

What exactly do photographers get up to when let loose in the capital city for 24 hours of photo fun? Find out here as we reveal the winners from this year’s Photo 24.

PROJECTS

Give your photography a boost with a project; it’ll bolster your skills and populate your portfolio.

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LIGHTING ACADEMY

WILL CHEUNG

MALCOLM ENGLISH

True grit. That’s what it takes to get dramatic, hard lighting – well, not really, you just need this advice.

PAGE 94

INSPIRED

Fire your imagination with shots from fellow readers.

This month, they all loved being beside the seaside.

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AND FINALLY…

On his third Photo 24, editor Cheung tries something new – and no, we don’t mean staying awake!

PHOTO KIT PAGE 57

GEAR NEWS

Every snippet and story you need to know about the latest photographic kit.

PAGE 60

CANON EOS 5DS

CALVIN TAYLOR LEE

It’s the big reveal. Part 2 of editor Cheung’s review discloses his verdict on the 50-megapixel monster.

PAGE 94

INSPIRED

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FUJIFILM X-T10

Although its specification doesn’t shout entry-level, that’s where this X-series camera is pitched. Could it be the entry point for those considering a move to Fujifilm’s popular CSC line-up?

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MINI TESTS

The bits and pieces that are guaranteed to improve your shooting experience.

PAGE 81

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?

PAGE 68

FUJIFILM X-T10

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BEACHED WORDS & PICTURES WILL CHEUNG

Dungeness, on the Kent coast, is a much-photographed spot, and it is easy to see why.

If you fancy a scenic day out with the camera, though, it’s a great place to go

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Dungeness, a headland on the Kent coast, is a popular spot offering a selection of subjects for photographers. Its mostly shingle beach offers opportunities for keen landscapers but for most people the attraction is the remnants of a fishing fleet, old huts and the rusting tracks of a long abandoned fisherman’s railway. It is really easy to spend an enjoyable several hours not moving a great deal but still shooting plenty of worthwhile pictures.

It is worth pointing out that Dungeness is a private estate so while hobbyist photography is fine you do need to get permission for commercial shooting. Also people live there so you should respect their privacy. Finally, there is a nuclear power station on site and setting up a tripod nearby is almost guaranteed to attract unwanted attention.

The good thing is, there’s no need to go anywhere near the power station if you are concentrating on the old fishing paraphernalia.

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The thing with popular locations is finding a new or fresh approach that will give your images a different vibe. That might be through lens choice, what you do in post-processing or it might be with what you use to shoot in the first place. For example, this was shot with a Nikon D700 DSLR converted to infrared by Advanced Camera Services. The original capture was done with a 16-35mm zoom at 16mm using an exposure of 1/125sec at f/11 and ISO 200. During processing in Lightroom, the Contrast and Clarity sliders were pushed way over to the right during mono conversion to give a punchy infrared effect redolent of infrared film. A good amount of grain was also added to give the image a filmic feel.

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PHOTO 24

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In association with

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PANORAMIC SHOOTING

WIDEN YOUR

WORDS KINGSLEY SINGLETON PICTURES VARIOUS

EYES

GREAT PANORAMIC IMAGES TAKE ENORMOUS SKILL TO PRODUCE BECAUSE YOU NEED TO THINK OUTSIDE OF THE VIEWFINDER, PLANNING AND PLOTTING A SEQUENCE OF SHOTS THAT WILL REALISE THE SCENE AS YOU IMAGINED IT. GET THEM RIGHT AND YOU CAN MAKE IMAGES LIKE NO OTHER. THIS MONTH, BRUSH UP ON YOUR PANORAMIC TECHNIQUE AS WE BREAK THE PROCESS DOWN INTO TEN STEPS, COVERING EVERYTHING FROM BETTER COMPOSITION AND FRAMING TO IMPROVED SHOOTING AND CREATIVE IDEAS. PLUS, WORLD-RENOWNED LANDSCAPER CHARLIE WAITE GIVES US THE LOW-DOWN ON WHAT MAKES GREAT PANORAMIC PHOTOGRAPHY BRIGHT IDEAS As you’ll find out in this month’s guide, panoramas aren’t limited to the horizontal. Think outside a single frame and stitched views can give your pictures extra detail and depth, like Kris Williams’ sunset stitch of South Stack in Anglesey. Eight frames were combined for the shot, allowing a better view of the cliff face and lighthouse than a standard wide-angle shot would allow.

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17/07/2015 09:13

KRIS WILLIAMS Advanced Photographer is also available as a fully interactive magazine – go to iTunes now!

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17/07/2015 09:16

PHOTO KIT CANON EOS 5DS

WORD & PICTURES WILL CHEUNG

CANON EOS 5DS PART TWO Welcome to the concluding part of the Canon EOS 5DS review, the first 35mm-format camera to sport a 50-megapixel resolution. It’s time to look at the image quality it produces as well as its exposure and AF performance

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CANON EOS 5DS PHOTO KIT

SHOOT AT MEDIUM ISO SPEEDS, USE HIGH-CLASS OPTICS AT THEIR BESTPERFORMING APERTURES AND FAST SHUTTER SPEEDS OR A TRIPOD AND THE QUALITY IS A JOY TO BEHOLD The 24-105mm f/4 is not on Canon’s recommended list but it still did fine.

Exposure 1/5sec at f/22 and ISO 200, camera tripod-mounted.

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PHOTO KIT FUJIFILM X-T10

SPECS PRICE £499 body only, X-T10 and XC16-50mm kit £599, X-T10 and XC18-55mm kit £799, with black and silver available

FULL TEST: FUJIFILM X-T10 WORD & PICTURES WILL CHEUNG

Its features list doesn’t read like an entry-level model and at £499 for the body, the latest X-series CSC is designed and priced to attract newbies to Fujifilm’s quickly growing system

CONTACT fujifilm. eu/uk SENSOR 4896x3264 pixels, X-Trans CMOS II, 16.3 megapixels, 1.5x crop factor, APS-C 23.5x15.7mm ISO RANGE 2006400, extended settings to 51,200 in JPEG only SHUTTER RANGE 1-1/32,000sec (electronic shutter), 30-1/4000sec, B (max 60mins), T (301/4000sec), flash sync 1/180sec DRIVE MODES Up to 8fps METERING TTL 256zone, spot, average EXPOSURE MODES PASM EXPOSURE COMP +/-3EV in 0.3EV steps, AE bracketing up to +/-1EV FOCUSING Single, continuous, manual.

49 focus points on a 7x7grid in single zone, wide/ tracking AF from 77 on 11x7grid, zone AF with 3x3/5x3/5x5 areas from 77 on 11x7 grid VIDEO Full HD 1920x1080 60p/ 50p/30p/25p/24p, 14 mins continuous STORAGE SD, SDHC, SDXC (UHS-1) DIMENSIONS (WXHXD) 118.4x82.8x40.8mm WEIGHT 381g body

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The Fujifilm X-series has struck a chord with camera users and in a relatively short time the system has built a significant, devout and fastgrowing following.

This success has been due to several factors. Fujifilm have started from the ground up with an innovative X-Trans sensor to avoid moire so no need for an optical low pass filter. To maximise this potential for detail-rich images Fujifilm set out with the intention that X-series lenses with high spec, fast aperture primes at the system’s core.

And let’s not forget the cameras themselves with the original X-Pro 1 and X-T1 leading the way. The retrolook of the X-T1 and the ongoing firmware updates for that camera have definitely helped it gain respect as well as many fans.

Selling at £499, the X-T10 is an entry-level X-series camera in the style of the X-T1 and many aspects are

ADVANCED PHOTOGRAPHER ISSUE 60

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common to both models, including the latest X-Trans II sensor. With the latest v4 firmware for the X-T1, both cameras also share identical AF systems. Also, despite its entry-level price, the X-T10 has an EVF and it is a significant improvement in terms of brightness and contrast when compared to the X-T1’s EVF. Enough comparing a £499 camera with one that’s twice its price and let’s focus on the X-T10. It sports a resolution of 16.3 megapixels with a native ISO range of 200 up to 6400 with speeds to ISO 51,200 available in JPEG only. The shutter has speeds from 30secs to 1/32,000sec which is the electronic shutter’s top speed.

B (bulb) allows a maximum of 60 minutes while T (time) extends from 30secs to 1/32,000sec when the Mechanical/Electronic shutter option is selected. To be honest, I can’t see the point or benefit of T as interpreted by @advancedphotog

Fujifilm. Although I can see the point of the traditional T setting, ie. one push of the shutter button opens the shutter and another one closes it which means long exposures are possible without a cable release. This you can’t do on Fujifilm’s T setting.

The exposure system boasts the usual PASM modes with three light measuring methods plus there is a selection of subject modes like sport, beach and snow, and art filters.

The exposure system acquitted itself very well on this test. Shooting 1500 frames mostly in aperture-priority with multi-segment metering, the number of poor shots was remarkably low.

Shooting directly into the sun, white subjects against a blue sky, gloomy interiors and general high-contrast scenes were handled remarkably well.

Exposure compensation was needed on occasion but usually the first shot was still salvageable in Raw. info@advancedphotographer.co.uk

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FUJIFILM X-T10 PHOTO KIT

FUJIFILM X-T10 ANATOMY FROM THE FRONT Control-wise there is little from the front.

Below the shutter release is the front input dial and next to that is the AF illuminator/self-timer countdown LED. There’s the lens release button at seven o’clock and opposite the lens throat is click-stopped focus mode selector with singleshot, continuous and manual focusing options.

The moulded right-side handgrip, together with the thumb-grip on the rear, provides a secure grip so no problem carrying the camera singlehanded although there is the risk of the thumb pad activating one of the rear buttons. The X-T10 does have a small pop-up flash which can be handy for a spot of fill-in, but with a GN of 7 (ISO 200, metres) its use is limited.

FROM THE BACK The 3.2in tiltable monitor is excellent providing a fine-quality image. A problem can be pulling the monitor out if a tripod plate is attached to the camera base. Push the DISP/BACK button and you can scroll through different viewing options. Bring the camera up to the eye and the LCD switches to the EVF – or you can set just the EVF or just the monitor if preferred. The view mode button is too easily used, though.

What’s shown on the display or through the EVF can be customised to suit your needs. Pushing the Q button brings up the Quick menu which lets you access commonly used features quickly. This menu can also be changed to show fewer items if desired. In the menu there are seven buttons around the top and back of the X-T10 that can be customised.

FROM ABOVE The top-plate is dominated by three large controls, the exposure compensation dial, the shutter speed dial and the drive dial.

None have any form of mechanical lock and there is no menu lock option either. The drive has two Adv and Bkt positions so you can assign your favoured settings. The lever at the base of the shutter speed dial switches between the option of using PASM modes and Auto SR+ mode which is like a green square mode or fully auto on other cameras. The lever protruding from the drive dial activates the pop-up flash. Note the shutter release is threaded for a traditional screw-in cable release which seems out of place on an entrylevel camera. An electronic cable release, the Fujifilm RR-90 or equivalent can be used.

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INSPIRED SEASCAPES

SEASCAPES Want to get shooting, but need a creative nudge? 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…

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A few months ago, in issue 58, we dedicated our Big Feature to the pleasures of shooting at the coast, and given the response we had in asking to see how you tackled seaside scenes, it certainly struck a chord. The seaside, it seems, has a special place in the hearts of the AP readership – and probably all landscape photographers – and it’s easy to understand why. It’s a location that’s always changing, thanks to the movement of the tides and the way the light is reflected by the water; its unobstructed horizon lets us enjoy the sun from its first rays to its dying ebb and the waves let us play with motion like nowhere else. That’s why this month, we asked to see your best seascapes and we were really blown away by the quality of shots we received.

Here are the seven pics that impressed us the most…

@advancedphotog

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17/07/2015 11:14

SEASCAPES INSPIRED BELOW

CALVIN TAYLOR LEE

The sea is a wonderful subject, but alone it’s not enough; a brilliant coastal shot needs a lot more than an expanse of water and a few rocks. Shot on his Sony A6000 at 1/800sec, f/11 and ISO 200, Calvin’s image proves the point with exquisite composition and timing. The pin-sharp sun peeps through the fishing shack, framed by the foreground rocks and the colours are a sumptuous mix of warm and cool. Shooting so close to the level of the rocks also lets the light sparkle off them for added depth and texture.

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BEN HARVEY

Long-exposure filters have become standard kit for landscape photographers over the last few years, and this shot is an excellent example why. Captured using a ten-stop neutral density (ND) filter (as well as a two-stop ND grad to properly expose the sky), Ben has created a powerful scene where the roughly textured rocks and the silhouetted island stand out solidly against the mass of blurred movement in the water and sky. The strong filter enabled him to shoot in the middle of the day, using an exposure of 30secs at f/11, ISO 100 on his Canon EOS 5D Mark II, and the vertical framing suits this scene perfectly, with the rocks forming a compelling lead-in line. Recognising that the colours in the original were a bit drab, he converted the picture to black & white using Google Nik Collection’s Silver Efex Pro. BENHARVEYPHOTOGRAPHY.CO.UK

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And finally…

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Editor Will Cheung on his photographic month

EDITORIAL TEAM

OUR THIRD PHOTO 24 WAS A GREAT SUCCESS WITH 250 ADVANCED PHOTOGRAPHER READERS ENJOYING A DAY’S SHOOTING IN LONDON Some shot for a few hours, a great many lasted much longer and an impressive number made it the whole 24 hours, walking huge distances and shooting prodigious numbers of images. Some people walked 45km over the two days – and with rucksacks full of camera kit too.

Speaking of kit, it was interesting how the dilemma of what kit to bring for a long shoot where lots of walking was involved was handled by different people. Some took (the sensible!) approach of travelling light even forgoing a tripod while others literally had a big roller case full of full-frame kit and full-size tripods.

London is full of photo opportunities and even regulars visitors will find things to shoot, whether it’s buildings, people or general views.

One event that has nothing to do with us but proved a wonderful photo opportunity was a massive anti-austerity march from the City to the Houses of Parliament. Due to one thing and another I didn’t manage to shoot it until late in the afternoon when the march had already massed in Westminster listening to the various speakers.

I’ve never shot a demonstration before so I took a cautious approach and didn’t get into the crowds.

There was some excitement when a fire was lit in Parliament Square. It probably been burning for

a while by the time I got on site and at one point we got coloured smoke too. It all seemed a bit surreal with the statue of Winston Churchill and Big Ben overlooking events.

As you’d expect the police were there in force but on the periphery for this peaceful march.

Suddenly, thanks to loads of placards being thrown onto the fire, it rapidly increased in intensity and the police, quite rightly, decided to put it out. They moved in quickly, calmly and efficiently to douse the fire and while there was some provocation from some protestors – several bottles were thrown – I thought they did a great job and kept their humour.

During this, of course, it became a feeding frenzy for photographers. I did loads of above the heads and I spotted several Photo 24-ers doing the same – we were all wearing yellow wristbands that were easy to spot. Most of mine were out of focus and poorly framed but I got a few.

I think my favourite shot of Photo 24 was one I grabbed at 3am of three photographers happily snoozing at the Nikon School, which was open all night long for refreshments. Bless ‘em.

Well done and our thanks to everyone who came along and supported this free event. If you missed out this year, it will be back again in 2016.

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, Malcolm English, Daniela Majic, Dave Bowman, Charlie Waite

ADVERTISING TEAM

Sales director Matt Snow ☎ 01223 499453 mattsnow@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 Design manager Alan Gray Ad production Lucy Woolcomb

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.

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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.

An anti-austerity march certainly presented some interesting photographic opportunities for our Photo 24 attendees.

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