Advanced Photographer 73

PHOTO WINNERS

See the Photo 24 winning shots

SPEED UP TIME

Learn how to capture time-lapses

BOWIE BACK IN TIME

Tony McGee’s previously unseen image

THE MAGAZINE THAT TAKES YOUR IMAGES SERIOUSLY

ISSUE 73

ABSOLUTEPHOTO.COM

HEAD TO CROATIA WITH THE NIKON D500 FOR A FIELD TEST

Flower power

WINNING INSPIRATION

Get the most from macro subjects with our flash tips

Step outside and photograph amazing wildlife, with advice from British Wildlife Photographer of the Year

PLUS:

THE LATEST KIT TESTED

PREVIEW THE FUJIFILM X-T2

BRONCOLOR SIRUS L 800

NISSIN DI700A & AIR COMMANDER

ISSUE 73

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 SHOT: North Atlantic puffin

by Barrie Williams shot with Canon EOS 7D Mark II and EF 100400mm Mark II.

Who doesn’t love the great outdoors; the fresh air, the beautiful scenery and the chance to explore somewhere new. But we’re not just thinking landscapes, this month we’re looking at what’s in the landscapes and by that we mean getting in closer to spot wildlife and nature. In this issue we’ve got top tips from Barrie Williams, the winner of the British Wildlife Photography Awards, to help you capture winning wildlife images.

Whether it’s up close and personal shots or photographing animals in the landscape we’ve got the tried-and-tested techniques. Just remember that a little patience is involved when it comes to photographing wildlife so make sure you’ve stocked up on biscuits, it could be a long day!

If you don’t have the patience to wait and watch for wildlife, our Lighting Academy shows you how to get the most from macro subjects using a burst of flash. If you’ve been gardening recently this could be your chance to capture some stunning images of those vibrant flowers.

We’ve also got a preview of the Fujifilm X-T2, the first camera in the company’s X-series range to offer 4K video capability, as well as a field test of Nikon’s D500 in the beautiful old town of Dubrovnik.

Elsewhere you can see all of the winning images from this year’s Photo 24 event and you won’t be disappointed. Who knows – you might be inspired to attend next year. If you’re up north or fancy a trip we’ve got the low-down on Scotland’s photographic events: St Andrews Festival and Retina Festival.

There’s plenty to inspire you to get outdoors, so make sure you make the most of the unusually warm British summer!

Will Cheung FRPS, Editor

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NIKON D500

WILDLIFE TECHNIQUE

© SUE FLOOD, UK

© JEMMA DODD ISSUE 73 ADVANCED PHOTOGRAPHER

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ISSUE 73 MALLORCA, 1982. © DAVID PEAT ESTATE, COURTESY OF ST ANDREWS UNIVERSITY LIBRARY

CONTENTS PAGE 6

UPFRONT

Scotland has an important place in the history of photography, and we celebrate that with visits to two fantastic festivals: St Andrews and Retina.

PAGE 14

PHOTO 24 WINNERS

This year’s Photo 24 event was a day – and night – to remember. Read all about the highs and lows, and those all-important winning shots.

PAGE 20 PAGE 6

UPFRONT

© KAREEM BLACK

PHOTO 24

© BOB ZWOLINKSY

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PAGE 24

LIFE THROUGH A LENS

Barrie Williams, the winner of 2015’s British Wildlife Photography Awards, shares his secrets for capturing winning wildlife photos.

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PAGE 6

CAMERA CLASS

Each issue, we take you through the basics of a different photo technique. This time it’s using an interval timer for time-lapse shots, plus how to blend your resulting images in Photoshop.

LIGHTING ACADEMY

UPFRONT

Flash and macro are a match made in heaven – but you need the right kit and techniques.

© JASON BELL

PAGE 52

THE STORY BEHIND….

The photographer who put David Bowie on edge.

PHOTO KIT

PAGE 6

PAGE 36

UPFRONT

FUJIFILM X-T2

We put the new X-series flagship through its paces at Le Mans Classic .

PAGE 40

NIKON D500

See how Nikon’s flagship DSLR copes with its first holiday to Croatia.

PAGE 44

PAGE 20

CAMERA CLASS

NOVO EXPLORA T10

This tripod looks the business: but how does it perform?

PAGE 46

BRONCOLOR SIROS L 800

© KEVIN SAWFORD

With plenty of power and great colour consistency, this studio light lives up to Bron’s legendary reputation.

ILFORD GALERIE PRESTIGE PAPERS

PAGE 48

Is this selection of inkjet papers the finishing touch your photos deserve?

NISSIN FLASH DI 700A AND AIR COMMANDER

PAGE 50 PAGE 24 COVER STORY

WILDLIFE TECHNIQUE

Off-camera flash has never been so easy with this radio-based flashgun.

ISSUE 73 ADVANCED PHOTOGRAPHER

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In association with

THE FOURTH PHOTOGRAPHY NEWS PHOTO 24 EVENT WAS THE BEST AND BIGGEST SO FAR WITH RECORD NUMBERS LASTING THE WHOLE 24 HOURS The fourth Photography News Photo 24, in association with Nikon and Nikon School, took place on 17 and 18 June with 250 photographers from all around the country attending. The aim of this free event is to share the experience of photographing London with like-minded folk and people could stay with us for a few hours or enjoy the whole 24 hours and basically photograph whatever they wanted.

We had organised meet-ups, photo walks and several optional events that people could enjoy too.

These included sunset meet-ups on the London Eye and at the top of the Shard, enjoying the city skyline from Tower Bridge, a morning boat trip down the Thames and a photo tour of the city on a classic London bus during the early hours of the morning.

Most of these events sold out very quickly and it certainly added an extra dimension to the already massive picture potential of Photo 24.

Nikon School, in central London, stayed open all day and night, offering refreshments, technical support and the chance for photographers to put their feet up for a while. It proved to be a very popular and useful facility, and its location made it the ideal base.

The event kicked off at noon 17 June with a short briefing by AP’s editor Will Cheung before the photography began in earnest with those inexperienced in such events offered an accompanied photo walk to get them into the swing of things.

The weather forecast promised a mix of showers and sun, but the showers were torrential and prolonged which made life challenging. Most notably,

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there was an hour-long heavy downpour at midnight during our night-time photo walk around the city that saw more than 50 photographers huddled under the Gherkin trying to keep dry.

On the upside, the rain and standing water produced plenty of photo opportunities and gave popular scenes a fresh look that our photographers eagerly exploited. Also, the ever-changing sky gave some photogenic cloud formations and great light particularly as the sun dropped lower in the sky.

Sunset itself was good in some locations and less good in others. For those photographers at the top of the Shard or on the London Eye, unfortunately there wasn’t a great deal of colour to enjoy but there was still plenty to shoot.

The biggest challenge of Photo 24 is staying motivated and occupied during the early hours and for this year’s event we hired two classic London buses to tour the city, stopping at strategic spots to offer the chance of some unique pictures. It was also a great experience and much enjoyed by the 60 photographers who managed to book a coveted place.

Noon 18 June saw a record number of over 150 photographers, tired and footsore but happy, back at the starting point. As you can see from the winning pictures overleaf, they had a productive time shooting thousands of great images.

Thanks to everyone who came along and made Photo 24 2016 such a massive success. The 2017 event will be launched next spring so keep a look out for that if you want to join the fun. @advancedphotog

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PHOTO 24 CONTESTS There were five themed photo contests running for Photo 24 participants with a long-zoom Nikon COOLPIX P900 for the winner of each category. This is a 16-megapixel compact worth £449 with an integral 83x optical zoom to help you capture the most distant action.

For the image judged to be the best overall, the photographer receives a Nikon D500, the brand’s DX-format flagship and in the shops at £1729 body only. It is a 20.9-megapixel resolution DSLR, has a 3.2in tilting monitor and an extended ISO range to 1,640,000 – the native range is ISO 100 to 51,200.

The D500 also has a large buffer and uses the high performing EXPEED 5 image processor so if you need to shoot 200 consecutive Raws at 10fps, then this camera can do it.

Add 4K video shooting, a typically rugged Nikon build, SnapBridge connectivity and XQD/CompactFlash storage card compatibility and you have a hugely impressive and capable DSLR. A great prize for any photo fanatic!

NIKON.CO.UK

ISSUE 73 ADVANCED PHOTOGRAPHER

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CAMERA CLASS WORDS & PICTURES KINGSLEY SINGLETON

EVERYONE HAS TO START SOMEWHERE, EVEN PROS, SO EVERY ISSUE WE LOOK AT THE CORE SKILLS EVERY BEGINNER NEEDS. THIS MONTH, HOW TO USE AN INTERVAL TIMER FOR TIME-LAPSE PHOTOGRAPHY, AND HOW TO CREATE TIME-LAPSE PICS IN PHOTOSHOP…

I

n its most basic form, a photographic interval timer (or intervalometer) is a device or function that automatically triggers exposures over a set period of time. The number of images and the time between each of them can both be decided by you, depending on the subject or scene you’ve chosen to shoot. So, why would you want to do this? Well, there are many creative techniques in photography for which using an interval timer is vital; pretty much any situation that requires you to shoot the same view for an extended period, for instance, with time-lapse photography.

Time-lapse photography covers many types of image, but differs from long-exposure photography in that it requires multiple frames to be captured, rather than one extended shot.

Depending on the subject and style, you could shoot a lot of pictures during a short period, for instance when dealing with a fast-moving subject travelling through the frame; or you might shoot over a much longer time, like many hours, as when shooting star trails.

You can also use an intervalometer to shoot dimly lit subjects, like stars or nebulae, and stack the multiple exposures recorded in specialist software like StarStaX without

showing excessive digital noise. Then there’s video, where you turn the separate frames into a short time-lapse movie. So, loads you can try!

Many DSLRs now have intervalometers built into their menu settings, and this includes most Nikon and Pentax DSLRs, as well as the Canon EOS 7D II and 5DS/5DS/R. If your camera doesn’t have one, they’re also commonly found as part of remote releases or wireless triggers. If you’re looking for a separate intervalometer remote you’re spoilt for choice; there are options like the corded Canon TC-80N3 Remote Controller (£120), and wireless versions, such as Hähnel’s Giga T Pro II Remote Control (£75) among others.

In-camera, the intervalometer functions will be found in the shooting menu, either as a standalone sub-menu, or as part of the drive functions where you’ll also find things like the self-timer. Before shooting also consider the number of shots you’ll need and whether there’s enough space on your memory card.

The basic functions of using an intervalometer remain the same, and are outlined in the step-by-step guide on the right.

NEXT MONTH: More essential skills.

INTERVALOMETER AND TIME-LAPSE EFFECTS Once you get to grips with shooting using an intervalometer there are lots of exciting images you can create; for instance showing movement through the frame or multiplying long-exposure effects like moving clouds and traffic.

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@advancedphotog

info@advancedphotographer.co.uk

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In association with

HOW TO SHOOT TIME-LAPSE SEQUENCES WITH AN INTERVALOMETER

STEP 1: TRIPOD AND FOCUS

Alignment is usually vital for time-lapse shots, so first you’ll need to secure the camera’s position on a tripod (or other mount). See that the tripod has a solid footing and won’t be disturbed throughout the shooting sequence, which could last several hours. Finally, compose the photo, making sure that you can predict any movement of the subject through the frame, lock the focus and switch to manual focus so the camera doesn’t need to refocus between shots.

STEP 2: SET UP THE EXPOSURE.

Before setting the timer, you need to decide on the exposure mode and settings. For the greatest consistency, it’s best to use manual mode (M) for time-lapse sequences, but this is more convenient for low-light images than it is for rapidly changing lighting conditions where aperture-priority (A or Av) can be more useful. The white-balance should also be set manually, to whatever conditions you’re in so that you avoid shifts in colour.

STEP 3: SET THE INTERVAL TIMER

Either from the camera’s main shooting menu or using an external intervalometer, you can now set the timing between frames and ultimately the overall number of pictures you want to take. This will of course depend on the shutter speed you’re using (the timing can’t be shorter than the length of each exposure). Next, dial in the total number of frames that you want to shoot, giving the grand total of shots required and the total length of the operation. Now trigger the shutter and the interval timer will take over.

ISSUE 73 ADVANCED PHOTOGRAPHER

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TECHNIQUE WILDLIFE

LIFE THROUGH A LENS

FOR A UNIQUE PERSPECTIVE ON WHAT MAKES WILDLIFE SHOTS WORK, AND HOW AN ENVIRONMENTAL APPROACH CAN PAY OFF, WE CAUGHT UP WITH BARRIE WILLIAMS, WINNER OF 2015’S BRITISH WILDLIFE PHOTOGRAPHY AWARDS, JUST BEFORE THIS YEAR’S BIG BWPA REVEAL… WORDS KINGSLEY SINGLETON

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TECHNIQUE WILDLIFE © KRIS WORSLEY ISSUE 73 ADVANCED PHOTOGRAPHER

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PHOTO KIT FUJI X-T2 PREVIEW

FUJIFILM X-T2 The launch of the X-T2 gives Fujifilm a two-pronged line-up at the top of its CSC collection. We got the chance to check out its credentials at a classic car festival WORDS & PICTURES WILL CHEUNG

The launch of the Fujifilm X-T2 was no surprise to anyone who read the (very accurate) rumours on the internet. I’m happy to admit that I couldn’t wait to get my hands on one so it was a great pleasure to get to spend a few hours playing with an X-T2 at Le Mans Classic.

Please note that the sample I used was pre-production and the images shown here or the comments made about the camera’s handling might not apply when the X-T2 reaches the shops in September.

The X-T2’s design is fundamentally similar to the X-T1 with its DSLR, central

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viewfinder styling but there have been several significant and worthwhile tweaks. Both the shutter speed and ISO dials now have single-push locks so you have the option of locking them or rotating normally. I am always twiddling with ISO and the X-T2’s dial is taller and larger than the X-T1’s. The locking mechanism makes the process of speed changing so easy and positive yet a push of the central button locks it in place. I liked this simple change.

The shutter release has gained a screw-in cable release option while the exposure compensation dial is still easy

to move unintentionally. Having a C setting does mean that you can set that and it is less likely you will engage exposure compensation by mistake.

The rear monitor is still tiltable but there is the added option of folding it out sideways that has been achieved without adding any bulk to the monitor so it still sits flush to the body.

While this is slightly fiddly to use and you certainly can’t use it with gloved hands it means lowlevel, upright format shooting is made much easier. How the tilt/ swivel mechanism withstands frequent use only time will tell.

The addition of an AF lever or

WITH THE X-T2’S AF LEVER IT MEANS ONLY MOVING THE THUMB SO IT SPEEDS UP THE PROCESS NOTICEABLY AND FEELS MUCH MORE INTUITIVE

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FUJI X-T2 PREVIEW PHOTO KIT

SPECS PRICE £1399 body only, £1649 with XF18-55mm lens, VPB-XT2 £299.99 SENSOR 24.3 megapixels SENSOR FORMAT 23.6×15.6mm (APS-C) X-Trans CMOS III, 6000x4000pixels ISO RANGE Native 200-12,800, expanded 100-51,200 SHUTTER RANGE Mechanical shutter 30secs to 1/8000sec. Electronic shutter 30secs to 1/32,000sec. Bulb up to 60mins. Flash sync 1/250sec DRIVE MODES 8fps mechanical shutter (11fps with optional VPB-XT2 grip), 14fps with electronic shutter METERING SYSTEM 256-zone metering with multi, spot, average and centre-weighted EXPOSURE MODES PASM EXPOSURE COMPENSATION +/-5EV in 0.3EV steps, AEB available MONITOR 3in, 1,040,000 dots FOCUSING Intelligent hybrid AF – TTL phase and TTL contrast AF VIDEO 4K, full HD CONNECTIVITY Wi-Fi, USB 3.0, HDMI, microphone STORAGE MEDIA Two SD slots DIMENSIONS (WXHXD) 132.5x91.8x49.2mm WEIGHT 507g (body with battery and card)

joystick is a godsend. It means that moving the AF zone around is so much easier. On the X-T1 I have to adjust my grip on the camera to move the AF zone about and that can mean missing the crucial moment. With the X-T2’s AF lever it means only moving the thumb so it speeds up the process noticeably and feels much more intuitive.

Having this lever also frees up the four-way control pad to engage other features.

A big, big change is the X-T2’s AF system and using it alongside the X-T1 reveals the benefits of the newer model to be significant. The X-T2 is much

faster, has more focus points and the algorithm has been improved to cope with low-contrast or finely detailed subjects. During this preview I did find the AF more responsive as a whole and it coped with a wide variety of subjects. To be honest, the sun was shining brightly and most scenes I photographed had plenty of contrast or bold detail to latch onto, so I would need more time to say for certain if the AF system is better in demanding situations.

Its ability to track moving subjects is definitely superior to the X-T1, though, and this has been helped with custom

preset modes for continuous AF shooting. The latter are akin to the case studies topend Canon DSLRs offer. In each mode, the parameters of tracking sensitivity, speed tracking sensitivity and zone area switching are tailored to the situation. For tracking cars on a track I stuck with the Preset 1 Basic mode and that seemed to work fine – when it didn’t it was more user than camera error.

Another big benefit of the X-T2 is apparent as soon as you put the camera up to the eye.

The EVF is so much brighter than its predecessor – Fujifilm claims that it’s twice as bright

IMAGES The X-T2, compared with its predecessor, the X-T1, has enjoyed a few design tweaks that include the addition of a focus lever and one-touch dial locks

ISSUE 73 ADVANCED PHOTOGRAPHER

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PHOTO KIT NIKON D500

NIKON D500 Taking a camera out and shooting in real-life situations is the best way to really get to know it and see how it deals with a wide variety of challenging conditions. For this review, contributing editor Jemma Dodd and the Nikon D500 went to Croatia WORDS & PICTURES JEMMA DODD

The D500 is Nikon’s APS-C format flagship DSLR which I tested back in issue 71. In the short time I had to test the camera, I have to say that I was really impressed, in particular with its autofocus performance and its ability to shoot noise-free pictures at high ISO settings. I appreciate that it is pricey for an APS-C DSLR and that a full-frame Nikon, the D750, is available at a lower price, but I rated it highly.

I was keen to give it a more thorough going over, though, and in June, I had the chance to visit Dubrovnik with it.

With its beautiful old town, Dubrovnik offers plenty of photo opportunities from its old architecture and popular Game of Thrones filming locations, to

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interesting characters and cats (no, really, there were a lot of cats about).

With bright sunshine throughout the trip I mainly shot at ISO 100, switching to ISOs of between 1000 and 2500 when shooting during the evening. Noise was very minimal at these ISOs and I would be happy to use them for big enlargements with some small noise reduction adjustments in Lightroom.

The bright sun and high contrast did mean the D500’s exposure system got a great workout. I knew from my test that the D500’s Raw files have good exposure latitude, about +/-2EV, and I’d be able to recover highlights and boost shadows in post-processing, so I

left the camera mostly in Matrix metering. For a couple of very contrasty scenes, I did engage the spot meter and used the exposure lock to take readings from a mid-tone.

Generally, the Matrix meter did impressively well especially bearing in mind the huge contrast range I was dealing with, although I did find there were occasions where it struggled. Predominantly dark scenes would come out lighter than I expected but as this seemed a consistent trait, I knew to set some minus exposure compensation even before I raised the camera to the eye.

With the exposure system performing well I decided to try my hand at some street

I COULD EASILY TAKE STREET PORTRAITS UNOBTRUSIVELY AND WITH THE TOUCHSCREEN I WAS ABLE TO TAP TO AUTOFOCUS

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NIKON D500 PHOTO KIT

SPECS PRICE £1729 body only, £2479 with 16‑80mm f/2.8-4 VR SENSOR 20.9 megapixels effective, 21.51 megapixels in total SENSOR FORMAT DX, CMOS, 23.5x15.7mm ISO RANGE 100-51,200 expansion to 50-1,640,000 SHUTTER RANGE 30secs1/8000sec, flash sync at 1/125sec DRIVE MODES Single, continuous low, continuous high, quiet shutter release, self-timer, mirror up, quiet continuous shutter release METERING SYSTEM TL exposure metering using RGB sensor with 180k pixels. Matrix, centreweighted, spot and highlightweighted EXPOSURE MODES PASM EXPOSURE COMPENSATION –/+5EV, in 1/3, 1/2 or 1EV steps MONITOR 3.2in, 2359k dot, tilting TFT touch-sensitive VIEWFINDER 2.36 million dots, 100% view FOCUSING 153 focus points of which 55 or 15 are selectable.

Single-point 25, 72 or 153-point dynamic AF, 3D-tracking, grouparea AF, auto‑area AF VIDEO 3840x2160 (4K UHD) 30p, 25p, 24p. 1280x720 photography to test out other aspects of the D500 including the AF system.

Street photography isn’t something I do often, but I was open to the challenge and I certainly found the D500’s flip-out monitor a real benefit. I could easily take street portraits unobtrusively thanks to the touchscreen. I was able to tap the screen to autofocus and take a shot without having to press the shutter release at all. The camera’s low pitch shutter sound helps too and it was not really noticeable amid normal ambient street noise.

The D500’s AF system is straight out of the D5, Nikon’s top pro camera, and I already

knew it was swift, accurate and responsive when light and contrast levels are low.

The majority of the time I shot in single-shot mode and used the central focus point to focus and then recompose the image.

Moving the AF point around is easy with the four-way thumb pad so I used that feature too.

I found that the D500 and 1680mm f/2.8-4G AF-S VR ED DX lens that came with the camera produced sharp results that I’m really happy with. Given the contrasty light, I thought I’d get flare on occasion but I didn’t have that problem.

Weighing 1240g, the D500 and lens is heavier than my usual camera, but with so much

to shoot I hardly noticed. I do tend to use a sling strap that goes over the neck and shoulder for more convenient carrying so the weight doesn’t pull on my neck so much. Overall I found handling very comfortable and the D500 has a well designed handgrip too.

With so much to shoot, battery life was something I was quite conscious about so I made sure to have a spare battery on me at all times. One fully charged battery lasted a full day of shooting, while also transferring photos over to my tablet via the Nikon SnapBridge app throughout the day.

As I always shoot in Raw I converted some of my images

CONNECTIVITY USB 3.0 Micro-B connector, HDMI type C, audio in and out, Ethernet STORAGE MEDIA 1x XQD and 1x SD DIMENSIONS (WXHXD) 147x115x81mm WEIGHT 860g with battery and XQD, 760g body only CONTACT nikon.co.uk

ISSUE 73 ADVANCED PHOTOGRAPHER

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On the edge WORDS KINGSLEY SINGLETON PICTURES TONY MCGEE

AN EARLY 90S PORTRAIT SHOWS THE INTENSE SIDE OF DAVID BOWIE

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EDITORIAL TEAM

© TONY MCGEE

Editor Will Cheung FRPS ☎ 01223 499469 willcheung@bright-publishing.com Contributing editor Jemma Dodd jemmadodd@bright-publishing.com Senior sub editor Lisa Clatworthy Sub editors Catherine Brodie & Siobhan Godwood

CONTRIBUTORS THIS ISSUE Kingsley Singleton, Roger Payne

ADVERTISING TEAM Sales director Matt Snow ☎ 01223 499453 mattsnow@bright-publishing.com Key accounts Mike Elliott ☎ 01223 499458 mikeelliott@bright-publishing.com Advertising manager Krishan Parmar ☎ 01223 499462 krishanparmar@bright-publishing.com

DESIGN TEAM Design director Andy Jennings Design manager Alan Gray Senior designer Laura Bryant Designer Katy Bowman 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

David Bowie always had the power to unsettle audiences with his performances and ideas, but in this 1990 portrait by long-time collaborator Tony McGee, it’s Bowie himself who looks on edge. In this case, he was, says Tony, literally on the edge of his seat. The photo seems to mix styles; at once traditional portrait and something more reportage, it shows him off guard during a conversation about Tate Britain.

“David’s intense fascination for the art world is portrayed in this photo,” says Tony, and you can sense that restless enthusiasm straight away.

Meeting at a private cocktail party in 1982, Tony, who was working as a fashion photographer in London and Paris at the time, was introduced

by Bowie’s assistant Coco Schwab. Their first collaboration was for publicity shots for the Serious Moonlight Tour in 1983, and their photographic relationship continued well into the 1990s.

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THE PHOTO SEEMS TO MIX STYLES; AT ONCE TRADITIONAL PORTRAIT AND SOMETHING MORE REPORTAGE This image, as well as other rare and previously unseen stills and contact sheets marked up by Bowie, formed part of a recent exhibition for Cancer Research UK with donations and auctioned prints in his memory. As well as Tony, iconic British photographers Chalkie Davies and Denis O’Regan were featured, with the auction organised by givergy.com.

TONYMCGEE.CO.UK

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 highresolution files if your images are chosen for publication.

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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.