Photography News Issue 28

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Issue 28 18 Jan – 11 Feb

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Fujifilm kicks off X-series’ 5th anniversary in style

New flagship X-Pro2 with 24-megapixel sensor takes starring role among a raft of exciting launches Five years after the launch of the X100, Fujifilm has lifted the covers on four additions to the X-series line-up. Top of the tree is the X-Pro2 that, on first glance, looks remarkably similar to the X-Pro1 it replaces, yet in reality has a whole host of under-thebonnet modifications. These include a new 24-megapixel sensor, a faster processor and an enhanced hybrid viewfinder.

The X-Pro2 also comes furnished with a new Film Simulation mode – ACROS –

which is inspired by a Fujifilm Neopan black & white film of the same name, has a weather-resistant body and now offers a maximum shutter speed of 1/8000sec and a flash sync speed up to 1/250sec.

Joining the X-Pro2 is the X-E2S, which replaces the X-E2. Key improvements include the Real-Time Viewfinder from the X-T1, an improved AF system with Zone and Wide/Tracking options and an enhanced body shape that improves handling.

Fans of Fujifilm’s fixed-lens compacts with APS-C sized sensors are sure to find the new X70 appealing. Created as a result of customer feedback on the X100 series, the small, lightweight model offers a 28mm wide-angle lens (35mm equivalent) with digital teleconverter and is the first Fujifilm camera to offer touchscreen functionality.

Finally, the XF lens range now reaches further than ever thanks to the XF100400mm F4.5-5.6 R LM OIS WR super-

telephoto zoom, which delivers the 35mm equivalent of a 152-609mm zoom. The weather-resistant zoom features a five-stop image stabilisation system and is set to further broaden the appeal of the X-series, with sports and wildlife photographers the most likely to become converts.

Turn the page to find full details and images on all these latest launches. The X-Pro2, X-E2S, X70 and XF100-400mm will all be on sale in the UK this February.

Look inside this cover wrap for the latest issue of Photography News

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X-Pro2 – what you need to know Adhering strongly to Fujifilm’s ‘kaizen’ philosophy of constant improvement, the X-Pro2 isn’t a ground-up redesign of the X-Pro1, it’s more of an evolution, which is sure to get a big thumbs up from existing X-Pro users. On first glance, then, you could be tricked into thinking that not a huge amount has changed, but this isn’t the case. We’ve picked out the key specification and cosmetic changes that show the X-Pro2 means business at the top end of the compact system camera market.

24.3-megapixel X-Trans III sensor

X Processor Pro

If you’ve seen results from Fujifilm’s 16.3-megapixel X-Trans II sensor you’ll know how good it is. The same random pixel array technology has been used in this 24.3-megapixel version and, based on the results we’ve seen, it’s a blinder. There’s no optical low-pass filter, while the more random pixel arrangement means moiré and false colours are a thing of the past. The larger resolution also gives greater flexibility when cropping images and ISO sensitivity has been boosted to a maximum of 12,800.

ACROS Film Simulation mode Fujifilm’s unique Film Simulation modes digitally recreate the look and feel of analogue films and have only been made possible by the knowledge and expertise built up during the company’s long heritage as a film manufacturer. Prior to the X-Pro2, the latest Film Simulation mode was Classic Chrome, but now there’s ACROS that offers superior black & white images compared with the existing Monochrome options. Shoot with ACROS and expect smooth tones, deep blacks and impressive detail.

Along with ACROS, the X-Pro2 also has a Grain Effect option, which adds more realistic grain to images. Two strengths can be selected, with the grain structure appearing different depending on whether you’re shooting in colour or black & white.

Using a higher resolution sensor demands more processing power and the new X Processor Pro duly delivers. The most powerful processor yet in a Fujifilm camera, it serves up a performance that’s 4x faster than the EXR Processor II found in the X-T1 and other X-series models, which translates into a start-up time of just 0.4sec, a shooting interval of 0.25sec, shutter time lag of 0.05sec and autofocusing in as little as 0.06sec. Impressive statistics!

Improved AF performance

A whole host of improvements have been made to the autofocusing system, which further cements Fujifilm’s desire to deliver an AF system that can tackle anything. Phase-detection pixels now stretch across approximately 40% of the imaging area to deliver a faster, more precise performance, particularly when capturing moving subjects. This performance is obviously enhanced by the X Processor Pro processor, which ensures the X-Pro2 is the fastest focusing X-series model to date. The number of user-selectable focusing points jumps from 49 to 77, with a new Focus Lever on the rear of the camera, which is effectively a very small joystick, allowing fast access to each one of them.

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Issue 28 18 Jan – 11 Feb

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Canon PowerShot G5 X Will it power its way into your bag? Page 42

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Fujifilm’s X-system goes from strength to strength and its latest X-Pro2 boasts a brand-new 24.3-megapixel X-Trans CMOS III sensor as well as an innovative hybrid multi viewfinder

The Fujifilm X-Pro2’s new 24.3-megapixel sensor uses X-Trans technology so has a random colour array to conquer moiré and false colours without the need for an optical low-pass filter, thus maximising resolution.

Working with sensor is the new high-performance X Processor Pro image processing engine, leading to faster write speeds, start-up time and continuous shooting rates.

The faster processor also gives users quicker autofocus and lower

digital noise, as well as superior tonal and colour reproduction.

The X-Pro2’s hybrid multi viewfinder gives the option of optical and electronic viewfinders with the ability to switch between them instantly and the magnification changes according to the lens in use. There’s also an electronic rangefinder that displays the electronic viewfinder on top of the optical viewfinder.

Add in a 77-point AF system, weatherproofing, a focal plane

shutter with 1/8000sec top speed and flash sync at 1/250sec, and two SD card slots and you have a camera with massive appeal.

We’ve been lucky enough to get our hands on the X-Pro2, so turn to page 40 to see what we think; and we’ll have a full review in the next issue of Photography News, out 15 February. The X-Pro2 isn’t the only new kit from Fujifilm though – find out more on page 6.

Here at last, the Nikon D5 revealed Wait no longer, the Nikon D5 is here! After much speculation and anticipation, Nikon’s latest technology-packed pro flagship has been announced … continue reading on page 5

fujifilm.eu/uk

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News ...Continued from cover

Here at last, the Nikon D5 (and more!) revealed Wait no longer, the Nikon D5 is here! After much speculation and anticipation, Nikon’s latest technology-packed pro flagship has been announced. It’s a full-frame, 20.8-megapixel DSLR which doesn’t sound that impressive, but pros will be beating a path to its door The D5 features a Nikon-designed 20.8-megapixel CMOS sensor with a native ISO range of 100102,400. This can be expanded to an equivalent of ISO 50-3,280,000 (Lo-1 and Hi-5), and that range is available to stills and 4K video shooting.

Image data is handled by the new EXPEED 5 processor, which should ensure high image quality across the native ISO range as well as accurate colour and tonal reproduction.

The AF system has an impressive 153 focus points, 99 of which are cross-type sensors with sensitivity down to -4EV at ISO 100 for spoton shooting in really low light. The user has the option of choosing 153, 72 or 25 AF points in continuous shooting, and of the 153 sensors, 55 AF points/35 cross-type points can be quickly selected while shooting.

A high performance buffer allows a single burst sequence of 200 Raws at 12fps with AE/AF tracking and 14fps with the mirror-up.

The D5 will be available in two versions depending on which type of storage card you prefer. There’s a dual CompactFlash option or, for maximum speed performance, a dual XQD version. XQD cards are up to 35% faster than CF cards.

Body price of the D5 is £5199.99 and stocks will be in the shops from March, subject to final confirmation.

More new releases Sharing some of the D5’s features is the D500, the long-awaited successor to the DX-format D300s.

The D500 offers a 20.9-megapixel resolution and boasts the same 153AF point, 99 cross-type sensors and

EXPEED processor as the D5. It can shoot at 10fps with AE/AF tracking with the buffer allowing 200 14‑bit lossless compressed Raws in one continuous burst. It has 4K video capability, too. Native ISO range is 100 to 51,200 and this is expandable to Hi 5, equivalent to ISO 1,640,000 – only the D5 exceeds this level.

Robust build is a key feature and the D500 has the same weather-sealing as the D810, a front reinforced by carbon fibre, and the shutter has been tested to 200,000 actuations. The D500 is set to sell for £1729.99 body only and £2479.99 with the 16-80mm zoom.

Nikon has also announced its SnapBridge connectivity technology.

This is a low-energy Bluetooth feature which means a SnapBridgeintegrated Nikon camera can be

constantly connected to a mobile device once it has been set up and configured. Seamless image transfer, even during shooting, is possible, and you get automatic syncing of location and time information from the mobile device to the camera.

SnapBridge is going to be a standard feature on all Nikon cameras that are launched from this year onwards.

Also in the announcements are two new standard lens options for the D500. These are the AF-P DX Nikkor 18-55mm f/3.5-5.6G VR, selling at £199.99, and the non-VR version at £149.99.

These are the first Nikon lenses to feature its new Stepping Motor technology for really quiet autofocusing making them ideal for shooting video.

The third flagship Nikon product launched this month is the SB-5000 Speedlight, the first Nikon flashgun with radio triggering. With the optional WR-R10 radio unit there’s an out of line of sight operating range of 30m. A Guide Number of 34.5 (ISO 100, metres, 35mm setting), 24200mm (FX format) zoom range, a cooling system to avoid overheating during heavy continuous shooting and commander and remote, functions round off this unit’s headline features.

The final product from Nikon’s long list of new kit this month is the KeyMission 360, the company's first action camera. It is a rugged 4K video camera capable of recording a 360° field-of-view. nikon.co.uk

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News

Much more from Fujifilm

As well as the top-of-the-range X-Pro2, Fujifilm has announced a premium CSC, extended its reach with a zoom lens and introduced two new compacts The Fujifilm X-E2S is a premium CSC, which presents an upgrade from the popular X-E2 camera.

Many features of the XE-2, such as the key top-plate controls, have been retained, but the handgrip has been improved for more secure handling. Also improved is the electronic viewfinder, which now features a 2.36 million dot organic EL screen and produces a clear and high definition image.

The sensor is an X-Trans CMOS II unit with 16.3 megapixels and it works with the EXR Processor II for faithful colours and low noise pictures. The native

ISO range is 200 to 6400 with expansion possible to ISO 51,200.

Superior AF performance is possible thanks to a new 77-zone AF system for tracking moving subjects. In standard use, it’s a 49 single point system. There’s eye detection and auto macro modes too. Other appealing features for shooting stills include an electronic shutter speed of up to 1/32,000sec, a multiple exposure function and Wi-Fi capability.

Also new to the X-series is the Fujinon XF100-400mm f/4.5-5.6 R LM OIS WR, due to go on sale this February. This zoom is the

equivalent of 152-609mm in the 35mm format.

Construction comprises 21 elements in 14 groups and includes five ED lenses and one Super ED lens to combat chromatic aberration. While the lens weighs in at 1400g, it is designed for handheld shooting and fitted with a powerful image stabilisation system claiming a 5EV benefit.

Two linear motors deliver swift, almost silent AF and a focus limiter option lets you limit close focus to 5m when needed.

Challenging conditions present no problems, as there's water and

dust resistance, courtesy of 13 seals in 12 positions. The front element has smudge and water-repellent fluorine coating too.

Compact cameras Finally, Fujifilm has introduced two top compacts, the X70 and the XP90.

The X70 is the smallest, lightest camera featuring an X-series APS-C sized sensor. It’s a premium fixedlens compact with a resolution of 16.3 megapixels from its X-Trans CMOS II sensor, while the lens is an 18.5mm (roughly 28mm in 35mm format) with a fast aperture of f/2.8

and a minimum focus of 10cm.

Other key features include eight customisable function buttons, an aperture adjustable in 0.3EV steps and a 180° adjustable monitor for easy selfie shooting.

The XP90 is a rugged 16.4-megapixel compact ideal for holidays and outdoor activities, and is available in several colours.

It’s waterproof down to 15m, as well as dust and drop proof (to 1.75m). It features a 5x optical zoom, advanced creative filters and optical image stabilisation. fujifilm.eu/uk

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News

It’s showtime The imaging world will be gathering at the NEC, Birmingham, this March for The Photography Show.

Book your tickets with our code and save money

Over 200 leading imaging brands will be in attendance at this year’s The Photography Show, taking place at the NEC, from 19-22 March. It’s the perfect place to check out the latest cameras, lenses and imaging accessories.

Web hosting services, insurance and training providers will also be on hand as well as leading retailers so there’s the chance to snap up a bargain or two.

Simply, it’s unmissable for photographers of all levels and interests.

Photography News will have a stand there too, so do come along to say hello and pick up your free copy of our special show issue.

The Photography Show is much more than just kit, though, and there is an extensive learning programme of seminars, demonstrations and conference sessions covering a huge range of subjects. Many events are free, while paid sessions are just £10 each. See the website for event details, timings, booking and price details.

Order your Show tickets in advance and you can save £3 per ticket – that’s £10.95 instead of the usual £13.95. Just enter the discount code PNTPS16 when booking on the website.

News in brief Zeiss phone lenses Three Zeiss lenses designed for use on iPhones with customised brackets have been launched. A wide, telephoto and macro lens are available, all offering high optical quality and outstanding edge-to-edge contrast. The macro lens has a zoom function too, making precise framing much easier. zeiss.com

photographyshow.com/homephotography-news DxO adds Apple Photos app DxO OpticsPro for OS X Photos is a paid download from the Apple App Store.

Costing £7.99, it appears as an extension in the editing tools of Photos and you get access to DxO Optics modules as well as features such as Smart Lighting and ClearView to enhance your shots. dxo.com

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News News in brief Sony in action The HDR-AS50 is Sony’s latest action camera. With a resolution of 11.1 megapixels from its back-illuminated CMOS sensor and a 3x Zeiss Tessar zoom, this action cam can shoot high-quality stills and video. The guide price is £170 and it will be available from February. sony.co.uk

Compacts from Canon

New models for the respected PowerShot bridge and IXUS compact ranges Canon has introduced two compact bridge cameras, the PowerShot SX540HS and PowerShot SX420 IS, selling at £299.99 and £219.99 respectively.

The PowerShot SX540HS has a 20.3-megapixel sensor working in conjunction with a DIGIC 8 processor and has Full HD movie capability. The integral optical zoom has a massive 50x range and an ultra wide-angle lens. With the long lens the Zoom Framing Assist feature will help ensure accurate framing and it includes an image stabilisation mode.

The PowerShot SX420 IS has a 20-megapixel sensor and a

DIGIC 4+ processor. The lens is a 40x optical zoom with an ultrawide lens and it features a host of creative filters including fisheye and miniature effects.

As well as the two PowerShot models, three versatile compact models join the IXUS range.

The IXUS 175, 180 and 285 HS are priced at £99.99, £129.99 and £169.99 respectively. These three models are all highly specified, pocket-sized cameras and each one features an optical zoom – 8x, 10x and 12x respectively.

All five cameras are on sale now. canon.co.uk

Olympus go long Olympus’s line-up of pro spec lenses for its Micro Four Thirds system has gained a long telephoto, the M.Zuiko Digital ED 300mm f/4 IS PRO. This is equivalent to 600mm in the 35mm format with the Micro Four Thirds 2x crop factor. Its guide price is £2199.99.

Lens construction comprises 17 elements in ten groups adding up to

a total weight of 1475g which suits handheld shooting; although there is also a tripod adapter if needed. For sharper results its five-axis Sync IS system also claims a benefit of 6EV. Teaming the lens with the latest OM-D models, autofocus is claimed to be accurate, responsive and fast – Olympus states it’ll lock on in just 300ms.

It boasts a robust construction and the body is dust, freeze and splash proof. Minimum focus is 1.4m, which is impressive for such a long lens, and the filter fitting is 77mm. A neat extra function is the L-Fn switch that can be customised to one of 27 different functions. olympus.co.uk

PermaJet launch Fine Art range PermaJet has updated its collection of fine art inkjet papers with five new surfaces to join the existing range.

New technology allows superior coatings to deliver an even better Dmax rating with the latest inkjet printers.

The new papers are Portrait Rag 285gsm and Photo Silk 290gsm in the Smooth Art range, and in the Textured Fine Art series there’s also Museum Heritage 310gsm, Artist Watercolour 250gsm and Gallery Etching 310gsm.

The revised Fine Art range is also available in ten-sheet packs, as well the usual larger sheet packages and roll sizes.

For full availability details and information about the finishes that remain the same or have now have been withdrawn, please see the PermaJet website.

The papers will be launched at the SWPP Convention, 22-24 January, in London. permajet.com

Memory moves from Samsung Electronics giant launches new card and portable drives Samsung’s latest memory card is the PRO Plus 128GB microSD, joining the 32GB and 64GB versions already in the range.

Featuring Samsung’s MLC NAND technology, UHS-1 Class 3 and Speed Class 10 support for highspeed recording, this card is ideal for action cameras and drones, as well as for DSLRs shooting 4K video.

Shooting 4K UHD video, the card has a recording capacity of close to four hours.

The new card has a ten-year limited warranty and features

Samsung’s four-proof features, which include protection from X-rays, magnetic fields, water and temperature – it has an operating range of -25°C to 85°C. The price of the new 128GB card is £85.49 without an SD adapter and £85.99 with.

Samsung has also announced an addition to its range of solid state drives (SSDs). The Portable SSD T3 drives are compact (smaller than the average business card), palm-sized external units, available in 250GB, 500GB, 1TB and 2TB capacities.

With Samsung’s Vertical NAND and SSD Turbo/Write technologies they give super-fast read/write performance with transfer speeds of up to 450MB/secs. Interface compatibility is USB 2.0 and 3.1.

One of the key benefits is durability, as SSDs do not have any moving parts. The T3 drives can withstand up to 1500g of force and a drop from two metres, while an integrated Thermal Guard prevents overheating at high temperatures. samsung.com

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News News in brief Lexar workflow kit Lexar has introduced two portable solid state drives, a 256GB and a 512GB, offering a read performance of up to 450MB per second. The drives feature a simple yet effective LED capacity meter to gauge available space.

Also new is the Plug and Stay JumpDrive S45.

This is a USB 3.0 drive available in different colours with capacities of 16GB, 32GB, 64GB and 128GB. lexar.com

Phase reach 100 megapixels Phase One has introduced its XF 100-megapixel medium-format camera system. The latest back has a CMOS sensor offering 16bit capture and is capable of recording 15EV dynamic range, giving incredible highlight and shadow detail. ISO range is 50 to 12,800.

The camera system features an extensive lens collection and accessories to deal with most subjects, while the highly featured body has a plethora of AF and exposure options.

Go online to book a demonstration. phaseone.com

Storage from Kingston Kingston has added to its SSDNow family with the KC400. It is available in 125GB, 256GB, 512GB and 1TB capacities and comes with a five-year limited guarantee and free technical support.

Also new is an encrypted USB drive with keypad access.

For extra security an auto lock feature kicks in when the device is removed from the host and the encryption key and password are deleted after ten failed log in attempts.

Three capacities – 16GB, 32GB and 64GB – are available. kingston.com

Curious Cameras With the strapline, 183 Cool Cameras from the Strange to the Spectacular, Todd Gustavson’s book Curious Cameras is published by Sterling, price £16.99.

Todd Gustavson is the curator of technology at the George Eastman House, where the featured cameras are showcased, so he’s well-placed to talk about the technology behind the cameras, old and new. It is a very interesting read, not too technical, and a lovely journey, from the early days of photography to the present. eastman.org

Dual skills Metz The Metz 44 AF-2 flashgun is an excellent lighting solution for photographers, and videographers, with high-speed sync options (according to the camera) and a Guide Number of 44, ISO 100/metres. But it also has an integral LED light with a 100 lux output at one metre for video shooting.

For stills shooting the flash zoom head covers from 24mm to 105mm, and with the integrated diffuser enabled wide-angle coverage reaches 12mm.

On sale now, it costs £179.99. intro2020.co.uk

Enjoy the City Top protection with Leica from Sigma

Protecting the front element of your expensive lens is very important and Sigma’s new protection filters are made from Clear Glass Ceramic material. This innovative material has the high levels of transmission quality needed for imaging use, but it offers greater hardness than strengthened glass.

In conventional protection filters only the surface is strengthened.

But Clear Glass Ceramic is made using a special heat treatment that produces crystals through the whole filter for maximum and consistent strength. Sigma says this material has ten times the strength of a conventional protection filter and three times the strength of a chemically hardened glass filter.

The new filters will be available in sizes from 67mm to 105mm.

The 77mm version has a guide price of £84.99. sigma-imaging-uk.com

On the trail of good shots

If you are in the City of London and at a loose end on 20 January, join an interactive photo trail with Leica and QuizTrail. The trail starts at the Bank Tube station and ends at Leica’s Royal Exchange store.

To register go to quiztrail.com and download the iPhone app from iTunes.

When on the tour the app will ask questions along the way with more of the route revealed when you get the right answer.

You can start the trail at any time between 11am and 7pm, and it should take no longer than 30 minutes with photo opportunities on the way.

While the app is free, it costs £2 to join the event and Leica is donating all proceeds to the charity PhotoVoice. quiztrail.com

Have a heart Photographs by Peter Sellers – his first job was as a photographer – are being auctioned in aid of the British Heart Foundation. The auction is being hosted on fundraising platform givergy.com and the auction is open until March this year. givergy.com

bhf.org.uk

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News

Polaroid in a snap Instant photography is growing in popularity once again and Polaroid aims to build on this with its Snap+ camera. This model includes a 3.5in touchscreen LCD for shot-framing as well as navigating the menus and the sensor is a 13-megapixel model for high-quality stills as well as 1080p Full HD video. Images and video are stored on a micro SD card.

The Snap+’s integrated printer produces 2x3in copies and up to ten pics can be queued to print at a time. A self-timer and pop-up mirror makes selfie shooting a breeze. Download the app and this camera also offers Bluetooth remote connectivity too. polaroid.com

Location app Fripito is a photography and travel guide app made by local professionals. It includes technique tips based on selected locations with GPS navigation as well as offline maps.

There are two app types – inspiration and photo – which offer shooting tips and detailed schedules of what to see. Prices vary between $3.99 and $8.99, depending on the version. Currently, available guides include Iceland, Paris, Prague, New York and London.

Upcoming guides will feature the US National Parks, China and Japan. fripito.com

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News

Travel Photographer of the Year results Beating off entrants from more than 110 countries, the overall winner of the Travel Photographer of the Year contest 2015 is Dutch Photographer Marsel van Oosten. Also announced was the Young Travel Photographer of the Year, Chase Guttman, from the USA. In total, photographers from 22 countries scooped awards.

An international panel of judges comprising expert travel photographers, picture directors and the director general of the RPS decided the winners.

You can see all the winners on the TPotY website and a book, Journey 8, will be published this summer. Also in the summer, a major

exhibition will go on show at the Museum of London Docklands. The dates for the exhibition will be announced in due course.

And in case you fancy trying to win, entry to the 2016 Awards will open in the spring. tpoty.com/winners/2015 © Alisson Jonas Cardoso Gontijo/Travel Photographer of the Year

Above Brazil’s Alisson Jonas Cardoso Gontijo got a Special Mention in Travel Photographer of the Year for this shot.

An unmissable show Original prints from Tim Rudman’s latest book, Iceland: An Uneasy Calm, can be enjoyed at the National Trust Fox Talbot Museum at Lacock Abbey until 10 July. Tim’s pictures have been taken over a period of eight years using film and the prints are split-toned in Ilford Multigrade Warmtone FB paper.

You’ve got plenty of time to see the show and the fact that it is at the birthplace of photography makes the effort even more worthwhile. nationaltrust.org.uk/lacock-abbey-fox-talbotmuseum-and-village © Tim Rudman

© Tim Rudman

For your bookshelf The Northern Lights can put on an amazing celestial show and in recent months there have been occasions when they’ve been visible from the UK. But if you really want to enjoy them you need to go much further north.

Alaska, for example, which is where dedicated aurora hunters and authors Daryl Pederson and Calvin Hall went for their book, The Northern Lights: Celestial Performances of the Aurora Borealis.

Published by Sasquatch, it’s £14.99 and will make you want to see the lights for yourself.

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News

Shoot survival to win © Daasanach, Ethiopia, Arturo López

© Mixtec, Mexico, 2015, Eric Mindling, esephoto.com

Entry to Survival International’s 2016 Photography contest is now open. This annual contest aims to raise awareness of tribal people, their ways of life and the factors that threaten their existence.

Amateur and professional photographers are eligible and there are three categories: Guardians, Community and Survival. Please see the website for more details on the themes and the rules of entry.

Enter this year’s Survival contest at the web address below. The closing date for entries is 30 April and the 12 winning images will be published in Survival’s 2017 calendar with the overall winner’s image on the front cover.

The 2016 calendar is still available priced £11.99 from the online shop. survivalinternational.org/ photography survivalinternational.org/shop

Piers Fearick won first prize in the South Downs National Park photo contest 2015-16 and with it a cash prize of £350. His picture features the famous cottages at Cuckmere Haven and it is the unusual treatment of

the much-photographed subject that attracted the judges.

Second prize of £150 went to Martin Offer and third prize went to Rhian White. The winning pictures plus four commended images will

© John Paul Evans

South Downs winners now go forward to the people’s vote on the website. The winner of this vote (it ends 28 January) receives a prize of £100. southdowns.gov.uk © Piers Fearick

Hasselblad winners announced Ten new Masters revealed in prestigious annual competition

With the chance of being called a Hasselblad Master and a new camera to be presented at a lavish ceremony, you can see why the Hasselblad Masters contest is one of the world’s prestigious photo competitions. Check out the ten winning images on the Hasselblad website – John Paul Evans won the wedding category with the above image. hasselblad.com

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Tell us your club’s latest news, email: clubnews@photography-news.co.uk

Clubs

Camera club news

How to submit

We need words and pictures by 4 February for the next issue of Photography News, which will be available from 16 February. Write your story in a Word document (400 words maximum). Please include contact details of the club, exhibition or event – website, meeting times, opening times, whatever is relevant. Images should be JPEGs, 2000 pixels on the longest dimension, any colour space, and image credits should be included. If the story is an exhibition or event, please send a picture from the exhibition (not the publicity poster) or one from the event. If it includes people please identify them.

Attach the Word document and JPEGs to an email and send to clubnews@photography-news.co.uk.

If your club has any news that you want to share with the rest of the world, this is the page for it. Your story might be about your club’s success in a contest, or a member’s personal achievement; it could be about a group outing you had recently or when the annual exhibition is on show. Any news is eligible for inclusion, so club publicity officers please take note of the submission guidelines and get your stories in

David in Droitwich On 9 April, David Noton is visiting Droitwich Camera Club with his Chasing the Light roadshow. The event is at Droitwich High School, at 7pm. Tickets are £12 and are available from the club’s website or 07580 602474. droitwichcamera.co.uk

Closing 2015 in style, Farnborough CC hosted a local interclub competition. The annual Interclub Cup involved Aldershot, Farnham and Fleet CC, Bracknell CC, North Hampshire PS, Windlesham and Camberley CC and Yately CC. Each of the six clubs submitted ten PDIs, which were judged by Roy Lambeth DPAGB, AFIAP, BPE2. The scoring was tight, with only 0.5 points

separating first and second place.

Bracknell CC won the Cup with a score of 89.5, beating Windlesham and Camberley into second place.

And to kick-start 2016, Farnborough CC is holding its annual exhibition in the town’s Princes Mead Shopping Centre, 30-31 January. farnboroughcameraclub.org

© Lesley Taylor

Cheltenham ISP The 4th Cheltenham International Salon of Photography opens for entry on 1 February. This year’s categories are Open colour, Open monochrome, Experimental/Creative, Natural history and Travel. cheltenhamcameraclub.co.uk

Six clubs vie for Cup

© David Robinson ARPS

News in brief

Deadline for the next issue: 4 February 2016

A great action shot, worthy of being shown at the IDPS exhibition.

Ipswich’s annual exhibition Ipswich and District Photographic Society is holding its annual exhibition in March. The exhibition of prints and projected images will be at the Council Chamber, in Ipswich’s Town Hall Galleries from Tuesday 1 until Saturday 12 March. It is open 10am-5pm, but closes at 4pm on the 12th and is closed Sunday and Monday. Admission is free. idps.org.uk

Photo2016 open for entry

eveshamphoto.net

© Kathryn Graham

It’s time to enter Photo2016, the annual national exhibition organised by the Vale of Evesham Camera Club. The competition is open for entry until 29 February, and entry details are on the website. There are four digital categories: Colour, Monochrome, Experimental/ Creative and Natural history.

Part of the BPE and with PAGB patronage, the national exhibition is enjoying its 18th outing. Last year, Photo2015 attracted 4592 entries, with 927 images accepted; you can still see them all on the website. Every entrant receives a copy of the A4 printed catalogue.

This year the selectors are Graham Hodgkiss, Malcolm Kuss, Peter Siviter and Ian Whiston. Selection takes place 12-13 March, and accepted images will be available on the exhibition website from 10 April.

Above Singing Wren, one of the images scoring a 10. Below Roy Lambeth presenting Jon Sawyer from Bracknell Camera Club the cup.

Above Ain hoa by Fred Barrington ARPS, AFIAP is just one of the photographs in Beckenham Photographic Society’s Annual Exhibition. It’s at Beckenham Public Hall from Thursday 18 to Saturday 20 February, 10am to 8pm weekdays and to 5pm Saturdays. Entrance is free.

Saturday Night and Sunday Morning Iconic film commemorated by new book from local club member Skegness Camera Club member, Ron Disney has produced a book documenting the areas of Nottingham where the film Saturday Night and Sunday Morning was shot in the 1960s. The book, with the

tagline Then and Now, charts the changes in the city since.

As well as his photos, the book also includes stills from the film and memories of those who lived or worked in the area. Ron used a

period Ordnance Survey map to pinpoint where the camera was placed to film the scenes so he could recapture the shots.

Saturday Night and Sunday Morning, Then and Now by Ron

Disney costs £9, and all proceeds go to British Film Institute and the National Animal Trust. To order a copy, call 01754 766587. skegnesscameraclub.co.uk

Photography News Issue 28 absolutephoto.com

Photography News Issue 28 absolutephoto.com

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Photography News Issue 28 absolutephoto.com

Profile Biography

Before the Judge

Chris Palmer FRPS Each issue, a respected judge or exhibition selector shares their thoughts and experiences. This month, we hear from judge and tightrope walker Chris Palmer Words by Chris Palmer

Chris Palmer Chris has been judging for many years at local, national and international levels. He acknowledges that judging and helping fellow photographers is very rewarding but also flags up that it’s not an easy job with so many people to keep onside.

Years in photography I was introduced to photography by my father when I was about seven years old, and I have been taking photographs ever since!

My photography really got going seriously when I joined Field End PS (Middlesex), in about 1975.

Home club Amersham PS, and the RPS where I am privileged to serve on the Visual Art (Creative & Pictorial) Distinctions Panel.

Favourite camera My current Nikon D700, although I had a lot of affection for my old (film) Nikon FE. Favourite lens A Nikkor 70-200mm f/2.8 (although it’s very heavy!)

Favourite photo accessories My Giotto’s tripod Favourite photographers Freeman Patterson, Christopher Burkett and Sebastião Salgado

Awards An RPS Fellowship was my most significant achievement, but I have had good success in international exhibitions around the world while gaining my AFIAP and subsequent EFIAP distinctions.

I try not to look AT a photograph, but to look INTO it, and thereby involve myself in the image Image Icelandic Horses.

the work of other photographers, and thereby feed your own creativity, raise your standards, and realise what is achievable.

Judging in panels with fellow photographers, it is possible to get frustrated by your fellow members; I like to think I manage not to. I respect my fellow judges for their own personal views and we work as part of a team. Hopefully we combine to assess consistently and produce a satisfactory result.

Rarely have I been lost for words when confronted by an entry.

My favourite way of judging is to comment and mark as I go, but hold back anything I feel is particularly worthy. This allows me to also hold back a problematic image and then have another look at it before I make any decision. It’s important to state at the hold-back stage why you are doing so, and that the image might not subsequently meet with success.

When you see the shortlist at the end I invariably then find it easier to make a considered comment about a puzzling image.

I sometimes see outstanding images, particularly in internationals. When selecting an international we normally mark between two and five, with five being a potential award winner. When an outstanding entry is presented I will hit the five and wait to see if my fellow judges feel the same way.

There is a certain reluctance for some to ‘hit the five’, so one really needs to concentrate all the time, but to not be frightened to give top marks to a deserved entry. I also pay particular attention to the following image, because it just might be another 5, or I could be tempted to mark it more harshly because it follows a really good image.

The biggest failings I see are images shot at the wrong time of day, or in poor or inappropriate light. Photographers travel to some amazing places but don’t necessarily place an importance on being in a location at the right time.

Impatience and time pressures are normally incompatible with good photography. I regularly suggest that if only the photographer had spent five more minutes at the taking stage they’d have produced a better shot.

There seems to be a relaxation of what I call camera craft, in the mistaken belief that any technical or aesthetic deficiencies can be corrected on the computer later. Far better to get it right in the first place.

As a judge, what I think of as an ordinary snapshot the photographer may love. Within each photograph

is often a clue as to what provoked the entrant to raise the camera to their eye and take a shot. I try not to look AT a photograph, but to look INTO it, and thereby involve myself in the image. Placing myself in the photographer’s position makes it much easier to provide a helpful response for the author.

There are some techniques and styles that you can tire of, so yes, I too am tired of HDR. It is a valuable tool in the photographer’s armoury that, when used carefully, can facilitate great detail in an image and solve problematic exposures that might otherwise fail. Unfortunately, I see far too many images where HDR has been used to try to make a silk purse out of a sow’s ear, or when it was not necessary in the first place.

I also tire of formulaic predictable images, where photographers get on the competition bandwagon, then they see a successful image and attempt to replicate it. I always try to encourage originality.

The trend of highly manipulated and constructed images seems to be fading now, while portraiture and studio photography is enjoying a resurgence. When judging I have found so many potentially good images have been spoiled by over manipulation and excessive processing. Aim for quality, simplicity, originality and good aesthetic appeal.

Judges have a poor reputation among club members, but it’s a tough task! I was invited to talk at a judges’ seminar to aspiring trainee judges.

I called my talk Walking the Tightrope, because judging is a balancing act.

One is invited to a club as a guest, yet it is often the judge’s responsibility to manage the evening and to time things responsibly.

A judge is invited to comment or critique the work, yet not upset anybody, to be fair to all, reward the good and help the less successful. In addition often 50% of the audiences haven’t entered at all, so they are looking for entertainment, or at least an interesting evening. Of course, all judges have off days, when the words perhaps don’t flow so easily, and there are some poor judges on the circuit too. But we should remember that there are not enough good judges around, and that irrespective of the decisions made, the visiting judge has given up a fair chunk of their time and is doing their best. When most club members are already back home, the judge is normally still at the wheel, regularly obstructed and frustrated by the Highways Agency’s latest game of ‘Let’s close the motorway’!

We all see the world differently, and I would encourage aspiring entrants to try and follow their own individuality of vision. Take pictures that please you. Follow your own path in photography, take lots of pictures, build your confidence, identify what you enjoy, and then hone your technique. If the judge likes it too then it’s a bonus! chrispalmerphotographer.co.uk © Chris Palmer FRPS

Favourite subject or technique Primarily I am a landscape and location photographer. Rather than shoot a big picture I often hone in on an important feature or detail within a scene and represent that strongly, mindful of the importance of using an appropriate light too.

I first started judging way back in 1986. Since that time I have been fortunate to climb the ladder of judging experience and acceptance, through regional and federation events to national and international exhibition level. I am delighted to be included in the Photographic Alliance of Great Britain judges list.

I’ve judged many BPE and FIAP Internationals in the UK and Ireland, notably Edinburgh, Southampton, Smethwick and Tallaght. I also had the pleasure of judging both of the PAGB National Club Championships – Connah’s Quay (prints) in 2009 and Warwick University (PDI’s) in 2010.

Although I love my own photography, I genuinely like reviewing, assessing and judging other people’s work too. I’m deeply aware of the responsibility placed upon me, but I always enjoy the process, searching out the gems, discovering great images, and appreciating the work of others.

I have heard it said that a good judge sees more in the picture than the photographer saw themselves.

The most important judge of any picture is the photographer, and in the amateur world I always encourage people to produce pictures that primarily please themselves.

However, many of us can become too close to our own work. A good judge can hopefully give an unbiased and dispassionate view of the image, and when necessary provide advice that will allow a photographer to improve and take better pictures.

Through the RPS, and a special interest group that I run within Amersham PS, I have been fortunate to assist and encourage many towards distinction or personal photographic success.

In my time judging I have had many wonderful experiences, but my favourite is selecting the Edinburgh International. The system of selection allowed us judges the freedom and, more importantly, the time, to really appreciate the work.

The hospitality was also wonderful!

Standards of photography do vary widely across the UK, and it is noticeable that certain regions have their own tastes and styles. I am often pleasantly surprised by the wonderful work that I am invited to comment upon, and the imagination, skill and technical proficiency always impress me.

Where the standard is lower, it is invariably a product of club members who only see the work of their own fellow members. It is vitally important to get out and see as many exhibitions as you can, and look at

What do you think?

Have you seen a photographic judge at work who you’d like to see profiled in Photography News? If so please drop us a line to opinion@photographynews.co.uk with the judge’s name and, if possible, their contact details.

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Photography News Issue 28 absolutephoto.com

Camera Club of the Year

IN ASSOCIATION WITH

Round 3: Patterns & textures Closes: 08/02/2016

Camera Club of the Year 2015-16

How to enter First, your club’s competition secretary (or whoever is going to enter each month) must sign up at absolutephoto.com.

Next, click on Members’ Area in the menu bar, then choose Camera Club of the Year 2015-16 from the drop-down list. Simply register your camera club and follow the upload instructions.

Two clubs have already qualified for the final but there are three berths left so still plenty of opportunities to win. Get your club’s entry in now Dorchester Camera Club and Harpenden Photographic Society have both qualified for the final photo shoot-out to win the first prize of the Canon imagePROGRAF PRO-1000 and the prestige of being our Camera Club of the Year 2015-16. You can see the winning images from Round 2 opposite, and all the entries can be viewed on absolutephoto.com.

We’ve teamed up with Canon and this year’s Camera Club of the Year promises to be bigger and

better than ever, and it is easy to enter too.

To start, every club must register on absolutephoto.com.

Once registered, go to the Member’s Area tab and click on Competitions and then Camera Club of Year. Follow the instructions from there to upload images. Each month we’ll set a theme and we want to see five images from five different club members on that theme.

Any club or group is eligible to enter so long as there are at least five

members. Online groups, internal company clubs and those clubs not affiliated to the PAGB can enter.

After the closing date, the images will be judged by the experts at Photography News and the topscoring club from that month will qualify for the grand final and win a Canon PIXMA PRO-100S A3+ printer worth £499.99.

Once a club has qualified for the grand final they needn’t enter again – they can if they want but they are not eligible for the monthly prize.

The Camera Club of the Year wins… … a Canon imagePROGRAF PRO-1000. This brand-new professional quality A2 printer is worth £1199.99. It uses a 12-colour Lucia PRO inkset that includes four blacks for excellent monochrome output. On appropriate media, Lucia PRO inks have impressive lightfast qualities. … an exclusive day with renowned professional landscape and travel photographer David Noton, enjoying a workshop and an illustrated talk.

Overall winner prize:

CANON imagePROGRAF PRO-1000 Five izes monthly pr

Overall winner prize:

N CANMO A PIX PRO-100S

DAVID NOTON exclusive day

Monthly winners The five monthly winners each get a Canon PIXMA PRO-100S worth £499.99. This is a professional quality A3+ printer, featuring an eight colour inkset with excellent lightfast qualities.

Its built-in Wi-Fi capabilities means wireless connection is possible so prints can be made from tablets and phones as well as the computer. canon.co.uk

Clubs can enter at any point, even at the fifth and final round.

After the five monthly rounds, we’ll have five finalists and they will be asked to submit more pictures on a theme yet to be revealed. It is from these images that the overall winning club will be decided.

The overall winners earn the accolade of the Photography News Camera Club of the Year 2015-16 and win a Canon imagePROGRAF PRO-1000, a professional 12-ink A2 inkjet printer worth £1199.99

Canon HD Photo Books Every photographer loves to see their work in print and Canon offers that opportunity with its hdbook service.

A wide range of book sizes, formats and paper finishes is available so it is easy to produce your own personalised tome that is professionally printed and bound – and all at great prices. An A4 landscape book starts at from £59.99 The process is simple. Select your pictures and then visit the website of one of the participating dealers. You have the option of working online with the Online Creator or you can download the Desktop Designer Software. The online creator means you can work from your tablet or mobile phone as well as the computer and offers a simple way of creating your book. Projects can be saved too. For more design options and the option to work offline, the software option is the way to go and it is available for Windows and Mac.

With the Desktop Designer Software, you can simply flow the pictures in, letting the app do the work for you, but you can also get creative with layout.

Drag and drop layout templates, background styles and frames are available or you can just import your pictures and resize or crop to your tastes. Adding text is simple too.

Once you are done, click on the shopping basket, complete your purchase and upload the book, which will be printed on the state-of-the-art Canon DreamLabo 5000 printer.

So whether for special family occasions, a record of your latest photography trip or simply your favourite images, check out the hdbook service, powered by Canon.

Go to the Canon website for more details of hdbooks and retailers who offer the service. canon.co.uk

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Photography News Issue 28 absolutephoto.com

Camera Club of the Year

IN ASSOCIATION WITH

© Will Cheung

© Will Cheung

Round 3: Patterns & textures You’ll find possible subjects for this month’s theme everywhere so be selective. Enter images that demonstrate excellent vision and great creativity

© Will Cheung

Make sure the light is great, the composition beyond reproach

Above Start looking and you will find patterns & textures everywhere, so all you need to do is get creative.

Round 2: Results

Round 3’s theme is Patterns & textures, so it’s very broad and a good challenge for your ‘seeing eye’. There are shots everywhere, from drystone walls across the landscape to the intricate detail of a spider’s web. Patterns & textures are, literally, all around us.

However, while the theme sounds straightforward, you’ll need to work hard to make your club’s entry stand out from the crowd. So, if you do want to send in a close-up of a spider’s web and you want a good score it needs to be truly exceptional, pictorially and technically. Nothing less will do.

And don’t forget, all five entered pictures are scored so the club entry needs to be of a consistently high level too. With competition so

The second round was all about winter shots, so who came out on top this time around? © Trish French

Well done to all the clubs and societies who tackled Camera Club of the Year’s Round 2 theme of Brr, it’s cold! Although the images were chilly, the quality brought a warm glow to the judges’ hearts, but while there were some great entries across the board, of course there could only be one winner. That honour fell to Harpenden Photographic Society, which now qualifies for the final and you can enjoy its winning entries here. Harpenden can also look forward to receiving a Canon PIXMA Pro‑100S professional A3+ printer very soon. Honourable mention goes to Cannock Photographic Society which came a very close second. © Paul Johnson

Freezy does it! Harpenden’s Trish French impressed the judges with her shot of ice on the shore of the Jökulsárlón lagoon, Iceland.

intense, one comparatively weak image can make the difference between winning the round and qualifying for the final or just missing out. You only have to look at scores from the first two rounds to see how little separates the leading contenders.

Your club’s entry does not have to comprise five landscape entries.

Close-ups, studies of the human body, patterns on the road are all eligible. Just make sure the light is great, the composition beyond reproach and technically every shot is absolutely perfect. That is the way to maximise your score, so when your club entry is being finalised, cast a critical eye over the images and only choose the best you possibly can.

Scores Harpenden Photographic Society

91

Shiver me winners!

This month’s winning club, Harpenden Photographic Society, entered a range of subjects, but all stuck to the winter theme like a tongue to an ice cube.

Cannock Photographic Society

90

Macclesfield Camera Club

89

Smethwick Photographic Society

89

From top left Horizontal Snowstorm in the Quiraing by Paul Johnson; The Intrepid Photographer by Brian Cooke; Coming Through the Blizzard by Graham Jones; and Mind the Step

by Peter Stevens.

Wisbech and District CC

89

Chapel Camera Club

88

Ayr Photographic Society

85

Deal & District Camera Club

85

Peterborough Photographic Society

84

Stirling & District Camera Club

84

Cymru Monochrome

83

Dorchester Camera Club

83

Earl Shilton Camera Club

83

Fraserburgh Photographic Society

83

Harlow Photographic Society

83

Beckenham Photographic Society

81

© Peter Stevens

© Graham Jones

© Brian Cooke

Buckingham Camera Club

81

Parkwood Camera Club

80

Wokingham & East Camera Club

80

City of London & Cripplegate

79

Halstead & District PS

79

Wakefield Camera Club

79

Blandford Forum Camera Club

78

Park Street Camera Club

78

Skegness Camera Club

77

Tonbridge Camera Club

77

Amersham Photographic Society

76

Bath Photographic Society

76

Newent & District Camera Club

76

Photography News Issue 28 absolutephoto.com

22

Camera Club of the Year David’s patterns & textures kit Canon EF 100mm f/2.8L IS USM Macro

The polariser filter It’s the single most versatile filter a photographer can own and ideal for pattern work.

Whether it is cutting down glare off foliage or eliminating scattered light in a blue sky, the polariser is often worth its weight in gold. The important thing is to rotate it and look for the effect that works best for the composition – don’t assume that you need the strongest effect for every shot. High-quality polarisers are available from Cokin, Lee, Hoya and Vue among others.

The skill with this theme is in seeing patterns & textures in the world around you and isolating a great composition. Canon ambassador David Noton is an expert so we asked him for his top tips It is all too easy to get obsessed with capturing the big picture and ignore the exquisite shapes, textures and patterns in the landscape, both within the scene or in miniature right in front of us.

The biggest challenge is actually seeing those patterns. It’s all about tuning our photographic eye to the potential of these subjects, and that means ignoring all the distracting clutter that surrounds us and just concentrating on the graphic elements of the image.

The best pictures are always the simplest, no matter what the subject, but that’s especially true when photographing textures and patterns. Photography is after all the art of knowing what to leave out. We have the potential to make perceptive, bold, graphic compositions using nature’s patterns and textures, if we can see them. And, of course, it goes without saying that the right light on our chosen pattern will lift it from the ordinary to the sublime.

As soon as we peer through the camera’s eyepiece we start to isolate detail. Often, although not always, long lenses are just the job for isolating detail. My two telezooms, the EF 70-200mm f/2.8L IS II and the new EF 100-400mm f/4.5-5.5L IS II, have done sterling service in this regard, but the ubiquitous 2470mm f/2.8L II is handy for details too. For real close-up texture work however, you can’t beat the EF 100mm f/2.8L IS USM Macro.

To make the most of patterns and textures you need to study the compositions carefully. Really use the viewfinder to explore the margins of the frame to hone the composition down to its simplest and most striking arrangement.

Tight framing allows the viewer to imagine what lies beyond the margins of the frame. I then doublecheck my composition using the

two-dimensional representation of live view, and I often find myself zooming in even tighter.

A solid support is really important and a good steady tripod is a photographer’s best friend, especially when shooting patterns and textures with long or macro lenses at smaller apertures. Not only does it allow you to extract the very best image quality and sharpness, its use also encourages us to be more disciplined, analytical and measured with our compositions.

One filter I use a lot is the polariser, which can really help to saturate the colours by cutting down glare, particularly of wet vegetation. It absorbs light so again the tripod is really important.

My best advice is to spend time looking for patterns. I have been

known to spend a whole afternoon on a beach captivated by the beauty of the rocks. I try to make pictures as close to graphic art as possible with the bold use of colour, shape and form. There are worse ways to spend an afternoon.

In truth pattern and textures play a role in most compositions. The art of photography is all about making appealing patterns out of the complexity of the world around us, and that applies to virtually every genre of the craft, whether it be wildlife, nature, landscape, travel, sport, reportage, still life or even food. No photographer can afford to ignore the potential of textures and patterns in a subject. And besides, it’s fun.

The art of photography is all about making appealing patterns out of the complexity of the world around us

davidnoton.com

© David Noton

A practical and inspirational guide from behind the lens of an internationally recognised landscape and travel photographer, Photography in the Raw examines the fundamentals of how to improve as a photographer; how to read the light, be in the right place at the right time and make the most of a situation to produce the best picture possible.

David Noton

© David Noton

Photography in the Raw by David Noton

Masterclass: Patterns & textures

© David Noton

Exploring miniature landscapes is great fun and very rewarding, especially if you use a macro lens. Such lenses focus very close to give life-size reproduction, making them ideal for this subject. Of course, the medium telephoto focal length is also handy for isolating patterns in the broader landscape too. The EF 100mm f/2.8L IS USM Macro is an L series lens so topquality optical performance is assured, and it has the benefit of IS technology, so if you don’t have a tripod available shooting at relatively slow shutter speeds for sharp images is still possible.

IN ASSOCIATION WITH

Images Study your composition carefully before releasing the shutter to make the best of patterns is David Noton’s advice – which is how he got these beautiful shots from Buckinghamshire, Iceland and South Africa.

Photography News Issue 28 absolutephoto.com

Photography News Issue 28 absolutephoto.com

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Photography News Issue 28 absolutephoto.com

Interview Profile

Alan Walmsley Bowens may not have had many new releases on the market recently, but it’s set to make a big impact in 2016-17. We talk with sales and marketing director, Alan Walmsley, to see what’s new

Biography Years in the photo industry?

Eight years with Dixons Stores Group in the 80s. Four years with Hanimex-Vivitar in the Series 1 days, first in product development then as assistant general manager.

Current location Gorgeous mid-Suffolk, wouldn’t move for anything!

Last picture taken Of a Bowens merchandise display in Germany earlier this week.

When you were younger, what did you want to be when you grew up?

Rich and retired by 30! So when I realised that was unrealistic (I came out of uni at 23 and joined Dixons as a management trainee due to my love of photography), I just decided I wanted to enjoy my career, ‘travel a lot and do deals’.

I got what I wanted and have enjoyed my career ever since.

Dogs or cats?

Cats. They are more independent and appear to be more cool and intelligent than dogs. I read that on average, cat owners have higher IQs than dog owners! Of course, I don’t believe that…

Toast or cereal?

Cereal Email or phone call?

Emails leave trails and reminders and I can type quickly. Phone calls take too long talking about ‘stuff’.

I’ll call when I need to understand, discuss or negotiate.

Can you tell our readers a little of your imaging background and how you became sales and marketing director of Bowens?

I enjoyed my time at Dixons, but as a major retailer, you don’t generally hang around doing one thing for long. I went to work in Hong Kong and ended up in TV and video before moving to electronics. I got a call from my former Dixons boss who had left to work for Hanimex-Vivitar.

I joined as his product development manager and developed a whole range of products, from camera bags to binoculars, lenses and compacts.

Our market share went from 5.4% to 10% of the UK market in less than three years. I was then asked by the chairman of Gestetner (the then owners of the company) to take over general management, together with my former Dixons boss, as well as become the director of European product development.

I think John Gobbi, the new MD of Bowens International, saw my mix of manufacturing, distribution and retail, as well as buying, marketing and sales experience as vital in a company like Bowens. He invited me to chat about the opportunity. I liked the sound of the challenge as well as the idea of getting back into the photography world.

You have had a few changes at Bowens recently, can your briefly explain the key moves?

All companies experience the challenge of commercial turbulence from time to time – and Bowens is no different. We recently completed a major relocation to a new purpose-built site in Colchester and now, with new management in place, things are pulling around nicely. The market has not seen anything new from Bowens for a while, but we are all set to change that. We now have a new technical director and with myself as head of both sales and marketing, we can make sure that everything we do is geared to our customers. We are one team and we’re going to make a big impact in 2016-17.

How’s business at Bowens at the moment?

It’s getting better. Last year and early 2015 was probably the most challenging time in Bowens’ history. The second half of this year has seen a much more positive trend, however, and we will be entering 2016 on the front foot with our eye firmly on the ball.

Nothing gives as good a return on investment as a Bowens studio light

With modern cameras’ amazing ability to work in almost no light without the need for artificial lighting, do you think the studiolighting market is in decline?

If young photographers are being taught that, then they are being taught by the wrong people!

I guess that camera manufacturers have to shout about their features and advantages.

I do realise that we have an educational job to do to ensure that pro and amateur photographers understand how important good lighting is to the end result. Snapping in low light is not a creative method of operation, but is obviously advantageous if you are a photojournalist, which is not what studio lighting is about.

But then again, Vivitar’s original Series 1 flashgun was the standard for photojournalists during the 70s and 80s, so I understand that market as well. Horses for courses…

Bowens is best known for its flash kit, with continuous lighting a recent addition to the brand. Is flash the mainstay of Bowens’ business or has that changed with video?

Flash lighting is what we are known for and I think if photo-lighting brands ensure that they educate the user to understand the need for photo lighting, there will always be a future for it. Video is a growth market and we’ve had a growing presence in that area over the past few years; however, flash lighting is still our mainstay.

What are your most popular product lines?

They are all popular, but the lowest-priced products in any brand’s range will always be the highest volume. Photographers either buy into a brand at the lowest price and move up over time or they are pros and buy in at the higher level. For larger professional studios, the Bowens Pro series is the most popular, but for smaller studios, the 500R is the leader.

From your own perspective, what is the product or feature in Bowens lights that excites you most?

The next product and the product after that!

I am about constant change and I don’t want the company to stand still, so I will always be most excited about the next product or feature.

How do you develop new products? Have you got a team working on new launches?

We have a substantial R & D department and highly-talented engineers. We have knowledgeable and experienced sales and marketing personnel, a great team of wellknown and highly acclaimed professional photographers (#TeamBowens), all of whom use, love and evangelise Bowens lighting. Together we comprise a seriously compelling new product development line-up. I am very excited about what we can achieve in the future.

As a long-established lighting provider, are you finding your customer base to be very loyal? What are you doing to attract customers who are new to imaging and perhaps aren’t aware of Bowens’ long heritage?

We have a very loyal band of ‘Bowenites’ and unbelievably, some of them are still asking us to service equipment we made 30 years ago!

The fact that this equipment is still ‘used and abused’ regularly and yet still functions to spec, underpins that brand loyalty. Like M&S, we need to appeal to the next generation whilst taking our current customer with us and we believe we can do that in the coming years.

What do you think encourages customers to buy Bowens products?

We know it is quality build, reliability, ease of use and great value for money that drives professional photographers to buy Bowens. You don’t want to buy cheap products that might go wrong on assignment, so you invest in reliability and serviceability. Nothing gives as good a return on investment as a Bowens studio light.

In recent years, have you seen any changes in your customers’ behaviour when they are buying Bowens products? For example, are

customers buying online or do they prefer face-to-face interaction with a retailer?

Interestingly, I have done a lot of research on channel buying. I recently asked a London dealer if he had noticed any changes in customer profile and he said that more customers were coming into the store wanting to talk to someone who actually knew what they were talking about!

Expertise. Seeing the whites of the sales person’s eyes. Seeing how the studio light works, how easy the accessories are to fit, how easy they are to get hold of, etc. That is really still the only way to know if you are buying the right item.

Bowens mains flash units like the Geminis can be used on location with a portable Travelpak, but do you feel Bowens has missed the opportunity for truly portable location flash like that offered by products such as a Profoto B2 and Elinchrom Quadra Ranger?

Bowens has been seen by some as losing its ‘laserbeam focus’ on industry innovation over the last few years, but that paradigm has shifted now.

Watch this space.

IGBT technology has enabled studio-style flash units to have very brief flash durations, but at the moment Bowens doesn’t offer lights with IGBT technology. Again, is this a market that Bowens is looking at?

Bowen has always delivered what its consumers expected. In future, we will not just deliver what they expect, but what we know they will want tomorrow as well. Again, watch this space!

Bowens opened a new showroom facility in Colchester fairly recently. Can you tell us about what the venue offers?

We have a photographic studio there, plus excellent office facilities and warehousing. The position is perfect from a logistical point of view; close to the A12; 30 minutes from the M25; 30 minutes from Felixstowe; 15 minutes from the A14. It’s far more convenient than the old site at Clacton-on-Sea, which was not purpose-built.

There is only so much ‘olde world character’ you can entertain and absorb as a modern business!

If our readers want to try Bowens products they can check your website for a local retailer, but do you have any upcoming events or shows that people can visit to see your offerings?

We’re sponsoring the SWPP conference this month and the BVE show in February, and I hope everyone will want to come and see what we are doing at The Photography Show in March. We are one of the main sponsors, with a stage show and lots of demos from well-known #TeamBowens photographers, as well as exciting new kit to show. There will be a lot to talk about.

Looking to the future, what are your shortterm aspirations for Bowens? And what about your long-term aims?

Short term, we need to update our ranges; medium term, educate photographers on the need for quality lighting; and mid- to long-term, launch innovative new products that take Bowens back to the very top of the light tree, where it belongs. bowensdirect.com

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Photography News Issue 28 absolutephoto.com

Interview Pro focus

All pics © Jo Rutherford

The force is with you!

Leave the Dark Side of your day job and follow the dream as a full-time pro. Jo Rutherford did just that in 2013 and hasn’t looked back – here she tells Professional Photo all about it...

Sometimes, just a push is needed to turn an enthusiast into a full-time working pro. In Jo Rutherford’s case that was the sad loss of her mum, but in less than three years she’s become a multi award-winning photographer with a booming business. In the latest issue of Professional Photo mag you can read all about her journey.

PP: What prompted you to make the leap to full-time being a full-time pro?

Jo Rutherford: I was working as a university lecturer (I’d previously been a physiotherapist) and the job was very stressful so I took up photography as a hobby – stress relief. It gave me a reason to head outdoors away from computers and marking assignments.

Then the usual happened: I was asked to photograph family and friends and the occasional wedding and I also organised a number of photography get togethers, inviting make-up artists, models and photographers to come together for informal workshops. There was an idea that maybe I could be a photographer part-time so I took redundancy from my lecturing and went back as a physiotherapist part-time. Then a combination of events made me make the leap. My mum died very suddenly and I went back to working in a hospital. I also knew my temporary contract was not going to be renewed so I decided to become a full-time photographer.

PP: How did you choose your specialism?

JR: I always wanted to photograph people, I love getting a connection with the client and soon realised that young people were my favourite subject to photograph.

Children come without hangups, fears or preconceived ideas of how they should look in a photograph.

PP: What initial set-up costs did you have?

JR: They were minimal, I had bought my camera kit while I was still working and so the studio just needed painting and laminate flooring, and obviously rent and bills – I set a budget of £1000 and stayed within it.

There was even money left for props. I already had a

website, and lots of the initial work for the business had been done while I was still working – that really helped.

Having a regular income while setting up was brilliant, though with hindsight and in different circumstances I would have waited another year before going full-time.

PP: Tell us about the Alter Ego idea. We love the results.

JR: I have always valued personal projects, they allow me to try new ideas and practice new skills. Last year I was looking for a new project with the aim of working towards my Fellowship – I wanted a theme, and asked on Facebook if there was anyone who used costume and would they like to be photographed. The response was overwhelming; Vikings, first world war soldiers, cosplayers all got in touch and after completing a large number of sessions for the project I now offer this as part of the business. Next year I’m going to start attending events to promote it. People love the idea of coming in for a formal portrait in character.

PP: What are the mechanics of making the Alter Ego shoots work?

JR: I keep the portraits very simple – often one light and always on a dark grey seamless paper. The key part of the session is getting to know the character, the person who has come for the session, I really appreciate the fact that this is not ‘dressing up’, the people bring the characters to life, the attention to detail on their kit is incredible.

The film characters do huge amounts of research to ensure their clothing is as realistic as possible and the re-enactors look to history and archeological finds to ensure authenticity. I never thought my skills would include helping a stormtrooper get dressed! jorutherfordphotography.co.uk You can read more about how Jo became a professional in the latest issue of Professional Photo, on sale now. Use the voucher below and you’ll save £1 from WHSmith.

Above From R2D2 to Darth Vadar and Hermione Granger, Jo Rutherford’s project Alter Ego includes characters from the worlds of film and fiction.

I never thought my skills would include helping a stormtrooper to get dressed!

You’ll find more insight in the latest Professional Photo – the UK’s best magazine for full-time and aspiring pro photographers

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Technique Lighting academy

Slow-sync portrait effects Combine flash with streaks of light for fabulous portrait backgrounds

Slow-sync refresher If you missed last month’s Lighting Academy (for shame!) and you’re wondering what slowsync flash is all about, here’s a quick refresher.

Slow-sync combines a burst of flash with a long exposure. Typically it’s used in low-light to balance dim ambient light sources, like a sunset or nightscape, with flash used on the subject. The long exposure records the ambient light, while the flash power is lowered to match, creating a balance. In contrast, a regular flash exposure uses a much faster shutter speed, which is too quick to pick up ambient light, so while the subject might look well lit, backgrounds are too dark. A by-product of this slower-than-normal shutter speed is that any movement in the subject, background or camera position is also recorded.

Above Firing the flash at the camera’s regular sync speed (for instance 1/160sec) means Amber is well lit but the backdrop is too dark.

Above When using a long exposure (5secs here) and lighting Amber with a lamp, even small movements will be picked up as blur.

Words and pictures by Kingsley Singleton Though principally used to balance flash exposure with low-level ambient light, slowsync flash effects can be used to show movement in the subject or in the background (or both). In this month’s Lighting Academy, it’s background movement we’re focusing on, combining a slowsync flash exposure with a moving light source to make an exciting portrait. In the main image we used spinning wire wool, but also employed a laser pen for an alternate look later in the technique. In both cases the aim was to freeze our subject, Amber, with the flash while using a long enough exposure to record the movement of the lighting behind. In principle, the same technique works with any moving light source in the background.

Setting up and positioning Unlike most slow-sync effects we’re not actually interested in the ambient light here; in fact it’s easier for this technique if the only sources picked up are the flash and the light we’ll be adding to the background. The reason is that if the ambient light and flash mix on the subject there’ll be some movement picked up during

the long exposure and results won’t be as sharp as desired. But if it’s the flash alone lighting the subject they’ll be crisp and clear.

Therefore, we waited until after dark and found a spot well away from any street lighting or other sources. Even a bright moon will be troublesome if it’s striking the subject, so avoid that, too. As we were planning to use a wire wool spinning technique that throws out sparks, it was also vital to shoot somewhere well away from flammable undergrowth or anything else that might be ignited. The concrete and brick confines of the railway arch we found were fine for this. If you’re spinning the wool, rather than a helper, protect yourself, too, with gardening gloves, non-flammable clothing, a hat and safety goggles or glasses. Shooting from a tripod is also vital if you want to keep any background elements and the light trails from the burning wire wool or any other source sharp and clear; keeping the camera still also helps to prevent any ‘bleed’ of the subject’s outline, which we’ll come onto in due course.

Exposure settings for the background lights As described, a long exposure is vital here, allowing enough time to create the background lighting effects. But how long exactly? That

It was also vital to shoot somewhere well away from flammable undergrowth

Above But if you combine a long exposure with a burst of flash (slow-sync), you get the best of both worlds.

will vary from one effect to another, but 10-15 seconds is a reasonable length of time for the wire wool spinning we used. In manual mode, I dialled in 10secs for shutter speed and set a middling aperture around f/11 and a lowish ISO, something like 200 or 400. A couple of test shots confirmed that the frame was dark, but the sparks from the wire wool were clear, so these settings would be fine for that part of the set-up; the next thing was to set the flash power to suit the exposure settings used.

Flash power for the subject Positioned on a stand around 10ft from Amber, to the camera’s right, and directed slightly downward, I used an Elinchrom ELB 400 One Head Pro To Go kit for this set-up (see panel).

Above For safe wire wool spinning, wear gloves, glasses or safety goggles, a hat and a thick coat.

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Technique

Misaligned and too few sparks Here, the fire spin effect is too weak, caused by PN editor, Will, spinning the wool too slowly. The circle of sparks is also misaligned, and looks better directly behind Amber. After a stiff talking to, Will increased the speed.

Too much subject movement With the sparks behind Amber, the light from them is blocked by her body. Despite being frozen by the flash, here she has moved during the spin, which makes the sparks show up her previous position as an outline.

Moving the spin There’s no reason why you need to keep the spin still, and here Will moved toward the camera slowly throughout the exposure, changing the look. You can see the way this has turned the static ring into more of a swirl.

Only a spill-kill reflector was used to direct the light, keeping the contrast high to match the background effect. At the aperture (f/11) and ISO settings used (200), I got a good exposure at around 1/16th flash power. If you reach the lowest flash power and it’s still too bright on the subject, just move the flash back. Alternatively you can close the aperture or lower the ISO further, but this will make the overall exposure – that for the background –darker, too.

by a bulldog clip or packed into a steel egg whisk, with the latter attached to a rope or a chain. The wool is then lit with a regular cigarette lighter and as soon as it glows you can start spinning it; at a sufficient rate of turn, the increased airflow will send the sparks flying. Don’t pack the wool too tightly, or it will struggle to burn, but done right it will burn through quickly – 10 seconds at the most. The sparks won’t look like much at the time, but like all long exposures, the effect will build up during the time the shutter is opening.

the start, the subject will be lit, and if they stay in the same spot throughout, they’ll block any light from behind them; if they move after the flash, the streaks of light will continue to be recorded and will show through the position they were in. This gives a kind of double exposure effect, which can be fun, but isn’t always desirable.

Finally, as you’ll see from the example images above, the effect looks great when it’s directly behind the subject, so make sure your alignment is spot on.

Timing and fine-tuning When it comes to recording the spin, it’s best to start the exposure as soon as the wool is lit and moving, but before it starts sparking, which means you’ll get nice smooth streaks. Of course, this presents a problem if you’re working alone, so it’s better to either have someone trip the shutter or do the spinning for you. If you are working alone, using the camera’s self-timer set to its longest (usually 10secs) should give you time to fire the shutter, get in position and start spinning, but it’s still a bit hit-and-miss.

As mentioned before, it’s important that the subject doesn’t move after the flash has fired.

The reason for this is the way that light is picked up during the exposure. With the flash firing at

Using other types of light With the basic technique nailed you can experiment with other light sources, or variations on the wire wool spinning. We tried the latter first, by walking slowly towards the camera while spinning and this created a pleasing a tunnel effect.

Next we switched the set-up to use a laser pen on the background. This meant we needed something to shine it on, so repositioned Amber about 8ft in front of the tunnel wall. The flash was positioned and powered similarly to the first set-up, but we had to be careful not to let it spill onto the background; any light from the flash falling there would lessen the effect of the laser due to the conflict in brightness.

Spinning and shooting With the flash at the correct power and the long exposure working, all that’s left to do is focus on the subject and get shooting. For the former, due to the darkness, you’ll need to lock the focus, then switch to manual so you don’t have to focus each time. To do this, shine a torch on the subject, then autofocus, before switching to manual focus. Of course it’s important you don’t move the camera or the focusing ring, and the subject doesn’t move after this either (you might have some depth-of-field to play with at f/11, but better be safe than have them wandering out of focus).

When it comes to the wool spinning itself, it’s a lot simpler than you might think; the wire wool (which needs to be of a thin, fine grade) is pinched

Above A laser pen with a kaleidoscope lens costing £5 from a street trader was used for these portraits. Below Too much flash can drown the laser effect.

Reach of the sparks In this wider framing you can see the spread of the effect. We shot in a railway arch and the sparks easily make it to the roof and the walls. This can look good on its own, but make sure you’re well away from anything flammable for safety.

Start the exposure as soon as the wool is lit and moving, but before it starts sparking The kit we used

Although you can use any flash head or speedlight to light the subject in this technique, a location flash kit will make your life a lot easier. We used Elinchrom’s ELB 400 One Head Pro To Go Set (£1269), which consists of a flash head and a rugged rechargeable flash generator. This is a nice compact head, equally at home in the studio or on location, and at under 4kg it’s light enough to be easily transportable. It can also be fitted with a carry strap for working on the move. The flash has a maximum output of 424Ws, which is enough to overpower the sun if required, but it can also go as low as 7Ws for lots of control. On a full charge, the kit will provide 350 flashes at full power, but many thousands more at lower settings. It also comes with a Skyport Transmitter for wireless triggering. theflashcentre.co.uk

Above It is worth experimenting with how you move the laser pen around and for how long. The different patterns provided by the laser’s kaleidoscope lens are worth playing with too.

Next month More creative lighting set-ups to enjoy as well look at spotlight effects.

Thanks to... This month’s model was the wonderful Amber Tutton. To see more of her work, or enquire about a booking, visit amber-tutton.co.uk.

Photography News Issue 28 absolutephoto.com

Photography News Issue 28 absolutephoto.com

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Technique

16 for 2016

Kick-start a year of great photography with the PN team’s pick of creative ideas, new kit & photo projects…

We all start the new year wanting to learn new skills, get more creative with our photography or better organise our photographic lives, but how exactly do you do that?

There are so many things you could to try that deciding how to take your skills forward or improve your workflow can seem like an insurmountable job in itself. Do you need new gear? If so, what kind? A new camera body or lenses? A new tripod or new lighting equipment? And what about pushing yourself creatively? You’ve probably already thought of setting yourself some projects this

year, like taking a photo every day in a 365 project or following something more specific, such as sticking to a particular type of landscape or a certain style of portraits.

All those things can help, and more besides – that’s why this month we’re bringing you some top ideas that will propel you into a phototastic 2016.

Next to each entry you’ll find a tick box, so you can tick it off the list when you’ve done it – by the end of the year, or a few months if you’re a really fast worker – we’re sure you’ll feel like a brand-new photographer.

2. Shoot like it’s 1966 says Will Cheung:

Get published in 2016 1. Make a photo book

“Despite all the advantages that digital photography has brought us, film cameras are still hanging in there, and companies like Lomography (lomography.com) make it easy to get involved with this most retro of trends.

There’s a real joy in taking the time to shoot film again, whether it comes from the thrill of viewing a set of prints for the first time, the realisation that you have only limited chances to nail what you’re shooting, or simply the way that images shot on film can have an authenticity that digital sometimes lacks. I’ve rifled through the attic for some old cameras to play with, but have also decided to go the whole hog and picked up a ‘new-old’ model – Lomography’s Belair X 6-12 City Slicker. At just under £200, this is a medium-format body that comes with lots of customisable features and has an electronic shutter system that makes exposure much easier, but there’s also a Bulb setting for low-light and long-exposure work. Using 120 film the camera’s 6x12 framing creates striking panoramas, but it can also shoot in 6x6cm and 6x9cm formats. Its bellows system allows it to collapse into a very portable package, and it also offers interchangeable lenses with a standard 90mm and wide-angle 58mm on offer (this is mediumformat remember!).”

One of the biggest criticisms levelled at digital photography is that people just don’t print their pictures any more. That’s somewhat ironic considering printing can be achieved more easily and at a higher quality than ever before. Nowhere is this truer than in the sphere of photo books – bespoke collections of your photos that you can put together with a professional finish. In fact, until you’ve seen a book containing your work, it’s difficult to gauge how seeing it beautifully presented and bound in a collection can improve its impact. Some great photo book examples can be found at Aperture Books (aperturebooks.com).

Whether you’re planning a book for a loved one, a client or even as an archival record of your own work like the culmination of a project in 2016, there’s loads to choose from. One of our favourites is the A3 Deluxe landscape coffee table book; at a basic £109, this tome is hand produced in the UK with a standard 60 easy-turning pages (you can add or subtract from that number), and it allows you to feature shots in full panoramic format across the spreads while the covers are printed on 4mm board and laminated in a matte finish. Then there’s the very cute A5 sized, softcover portrait books, starting at £45, which can hold up to 150 pages and slot right into your bookcase with a colourful perfect bound spine.

3. Shoot in a proper studio Have you ever shot portraits in a studio environment? If not, it can seem pretty scary.

Not only do you have the complexities of flash lighting to master, you could be working with highly-strung models, and all of it with the spectre of the studio’s meter running. Well, 2016 is the time to explode those myths by diving into studio photography, where you’ll soon find it’s a lot easier and more enjoyable than you’d ever have expected. In reality, studio time can be very affordable; take Paul’s Studio (pauls-studio.co.uk) in Reading for example, where the hourly rate for studio hire is £25 per hour (with reductions available for longer and repeat bookings) which includes use of lights, props, backdrops, advice and ideas (there’s even free tea and coffee if you ask nicely).

Studios like Paul’s can also be very helpful in picking models for you, and if you don’t want to deal with it direct you can hire regular subjects through the studio. Give it a try and you won’t look back!

Take pro-style portraits

Go retro!

4. Make more use of filters One of the easiest and least expensive ways to upgrade the look of your pics in 2016 is to make more use of filters. But which ones should you be investing in, and why would you even need physical filters when so many effects can now be replicated digitally?

Well for one thing, there are some jobs that filters do which simply can’t be replicated digitally. For instance, there’s no substitute for a high-quality neutral density (ND) filter to block the light giving you access to slower shutter speeds or wider apertures in bright light. Just the same, the effect of a polarising filter in removing reflections from glass or water can’t be faked. And of course, there’s also the enjoyment of doing things ‘properly’ and getting things right at the moment of capture.

The first step is to decide on a system, and they don’t come much better than those from Lee Filters (leefilters.com). A great place to start is the

aptly named 100mm DSLR Starter kit at around £230. This includes a 100mm filter holder, a Lee ProGlass 0.6 standard ND filter, a 0.6 ND Hard Grad filter, a soft cleaning cloth and a Tri-Pouch, which holds three filters, a holder and adapter rings. All you need in addition is to pick an adapter ring to suit your lens’s filter size, and the world of filters will be ready and waiting to explore.

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Technique 5. Spring clean your camera says Kingsley Singleton “OK, it’s not the most exciting of resolutions, but if you spend as much time Hoovering black specks off your images as I do, why not start 2016 by giving your camera a well-earned service, beginning with the sensor? Dirt and dust are a big problem for many photographers, especially when shooting landscapes – the commonplace small apertures makes any blobs a lot more obvious, especially in the sky.

And while most cameras now come with a sensor cleaning system built in, it’s rare that running a clean will shake everything off. The longer you go without cleaning them the harder they can be to remove, as well.

Fortunately, there are lots of ways to clean your sensor and the process is simpler than you’d initially think.

I’ve been trying to get around to using an Eyelead SCK-1 sensor and lens cleaning stick (from ukhighland. co.uk) on my D800 and D700 for ages. Pressed lightly against the sensor, the SCK-1 uses an adhesive rubber head that picks up the dirt, then you simply dab it on sticky paper to remove. Apparently this is the same system as professional services use, and the stick works on Canon, Nikon, Panasonic, Pentax, Olympus, Leica, Fujifilm and Samsung cameras – though Sony users require a different version.“

6. Take a trip

Say goodbye to sensor dirt

7. Let there be light!

Adding artificial light can improve almost any shot. Portraits, still lifes, architectural shots, interiors… even landscapes can benefit from a spot of well-placed illumination, particularly when you’re shooting in low light. The thing is, it’s not something that you’ll realise unless you actually try it and see the extra dimension and polish the lighting can bring. So why not make 2016 the year of learning to light? You can get started and produce amazing results with just an accessory flashgun, like the Metz 44 AF-1 at around £120. Used manually or with TTL metering on or off the camera, the benefits will be immediately obvious. If you need something more powerful for studio use, how about treating yourself to the Bowens Gemini 500R twin-head kit? At £960, it’s a top-quality package and comes with all you need to improve your portraiture; two Gemini 500R heads, a radio trigger and receiver, a 90cm umbrella, a 60x80cm softbox, two lighting stands, a trolley case and more. You can also get some amazing effects with continuous LED lighting. These clusters of bright lights can be used to add some kick to regular shots or moved around during long exposures to literally paint the subject light, and are also especially useful for video work. A great LED to try is the Rotolight Neo, at around £300. Easily fitted to lighting stands, used in your camera’s hotshoe or freehand, the Neo’s powerful LEDs are highly adjustable, both in terms of brightness and colour, and thanks to the removable front cover, diffusers and coloured filters are easily fitted.

New Year is often a time for planning holidays, and while a change of scene is always inspiring, trips with the family can lead to frustration; commitments mean you won’t have all the time you want or need for shooting. But there is a better way – why not take yourself on a dedicated photo holiday this year? Of course, this is something you can organise on your own, so if there’s a beauty spot or a city you’ve been longing to photograph, treat yourself to a few days away

Build a better website in 2016

and make the most of your time with your camera.

That really is the best way to get the shots that you want. But if you want the added bonus of a guide who’ll show you the best spots to shoot and pass on valuable tuition at the same time, consider booking a trip with a photo tour company. From UK-based excursions to trips overseas, and the heat of African safaris to ice-clad landscape trips, there are packages out there to sort all tastes and budgets.

8. Get your pictures online There’s no doubt that the way we consume photography has changed – these days the main place we see images is online, whether it’s via mobile devices like phones and tablets, a desktop PC or Internet TV. So if your pictures aren’t on the web, you stand very little chance of people seeing them. Therefore, why not make 2016 the year you get your pictures online by building a new website (or refreshing the one you already have)?

Although the process can seem complicated, there are many websites that make building your site easy; you don’t need to know a thing about coding.

Zenfolio.com, which specialises in websites for photographers and won TIPA’s Best Photo Service in 2015, offers a simple Theme Designer allowing you to slot pictures into a ready made format or customise the layout yourself. Storage is unlimited so you don’t have to worry about how many pictures you’re putting online, and perhaps best of all, your Zenfolio site can be easily formatted to fit on phone and tablet screens. Social media links and easy to use blogging tools are included, too.

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Technique

Keep your pics safe and sound

9. Back up your stuff Losing your images is one of digital photography’s true horror stories; we all know someone who’s had a hard drive fail, exterminating a trove of precious shots. It’s horrible, but if you’re smart, you’ll have a backup, and you’ll make sure it’s updated as often as possible. That probably means investing in a second hard drive to mirror what’s on the first, so why not start 2016 by doing exactly that? Can’t decide what type to get? Well, they don’t come much more fully featured than LaCie’s Rugged RAID drive. With a cavernous 4TB capacity it’s protected against dust and water, drops of up to 1.5m, pressures of 1000kg, and even lightfingered image-stealers, thanks to its password protection and encryption features. With that level of protection and a small, light build (it’s only 560g and 148mm long), you can make it your day-today drive and retire your chunky desktop version to the attic or, preferably, somewhere away from home to increase the safety element. The LaCie Rugged RAID comes with Thunderbolt and USB 3.0 connections allowing speeds of up to 240MB/s and because the drive is RAID format you can choose to mirror data across its two drives for further redundancy or use the whole capacity.

10. Buy a new lens says Jemma Dodd “If you own a DSLR or CSC, the easiest way to expand your creative horizons in 2016 is to invest in a new lens. And you certainly don’t need to spend a lot if you’re looking at third-party lenses from the likes of Sigma and Tamron. Of course, the options are numerous, so the best way to pick what you need – and avoid buying randomly or in error – is to examine what’s lacking in your current set-up. For instance, if you’re struggling to fit expansive views into the frame, look to get something wider than the current focal lengths you have; it might not sound like a big change, but adding the stalwart Sigma 10-20mm f/3.5 EX DC HSM (at around £375) to the options provided by an 18-55mm kit lens will show an enormous difference at the wide end. What if you want more magnification to pick out distant subjects? Then try a superzoom like Tamron’s impressive 150-600mm f/5-6.3 SP Di VC, costing around £800, but easily paying that back in the added reach for wildlife and sports shooting. I’m after faster lenses for my gig photography this year, and I’m homing in on Sigma’s beautiful 50mm f/1.4 DG HSM, or Tamron’s versatile 24-70mm f/2.8 Di VC USD SP, both wonderful performers and, at £700 surprisingly affordable.”

11. Get a new monitor As a photographer you’re always seeking the highest quality images, but to get them you need every link in your workflow chain to be tip-top.

The thing is, while we all spend lots of time selecting the right camera body, lens, software and printer, inks and papers, one of the most important elements often gets forgotten: the monitor. Think of it this way, all the decisions you make when editing an image are based on

what you see on the screen, so if it’s not up to scratch nor will your pictures be; poor monitor performance means that colours can be too warm or cool, under or oversaturated, and contrast could be way off, leading to lost detail in the highlights and shadows. So, if your prints are way off what you’re seeing on screen and you’ve had no luck calibrating your existing set-up, it could be time to upgrade.

As well as improved performance, modern monitors also offer more extensive calibration features and if you’re thinking that upgrading means that you’ll need to offload your old model, think again; you can easily chain two monitors, giving you all the desktop real estate you’ll ever need. Start your search with this month’s review of three top-class, wide-gamut 27in monitors available from colorconfidence.com.

Go wider, longer or faster!

12. Join your local camera club If you’re reading this copy of Photography News having picked it up at your camera club, just tick this one off straight away. But for all our thousands of readers who get their news and technique via copies of PN in Jessops and other retailers, why not make 2016 the year that you reach out and get to know other photographers? After all, while photography is often a lonesome hobby for good reason, none of us benefit from working in a vacuum. In fact, throughout history, artistic people have always produced better work when surrounded with like-minded types, and at a camera club, that’s just what you’ll find. Most clubs feature regular contests to get the creative juices flowing and you’ll also receive constructive feedback and expertise from other members. If you want to find your local club, a good place to start is The Photographic Alliance of Great Britain (at thepagb.org.uk). In their About Us section, you’ll find a list of regional Federations which will help you find a club near you. Or you could just Google it!

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Technique 13. Try new editing effects One of the great things about digital photography is the range of effects that can be applied to your images, and of course you’re not limited to processing a photo just the once; part of the fun is also trying out different looks on the same picture.

If you’d like some new effects to try in 2016, check out DxO’s Film Pack 5 (dxo.com), a collection of film-inspired digital filters which can breathe new life

into old images. In Film Pack 5, which can be run as a stand-alone package or as a plug-in for Photoshop, Elements or Lightroom, there are over 80 analogue looks to try, many of which replicate much-loved film stocks like Kodak Portra 400 and Fujicolor Pro 400h, which are new to version 5. As you’d expect, each effect can be adapted using a range of sliders, so you can tailor them to your own needs and make

your images unique. Over 40 monochrome film effects are also included and there are other creative presets like light leaks, frames, vignettes and a new Blur tool to try, plus you can work on files straight from Raw format (as well as JPEGs and TIFFs). That’s a lot to play with for just £59. Try using the same effect over a series of images and see how the consistency turns them into a pleasing collection.

Inject some FX

14. Out with the old, in with new says Roger Payne “When it comes to how much photo gear you keep in your collection, sometimes you need to be brutal. Let’s face it, unless a lens has sentimental value, or is actually rare and appreciating in value, if you’ve not used it for a few years, you might as well cash it in and put the money towards something you will actually use. That’s what I’m planning with my Canon EF 100-400mm f/4.5-5.6 L IS USM – it having not seen the light of day since Cherie Blair took the curtains down at number 10. But I’m not just talking about nipping down to the local pawn shop here, where some guy will rip me off between roll-ups, and I can do without the hassle of putting kit on eBay for time-wasters to bid on; no, if you want the best service and the best return, go for a respected dealer. Naturally it’s well worth canvassing a few to find the best price for your unwanted kit, but try Mifsuds (mifsuds.com), London Camera Exchange (lcegroup.co.uk), Ffordes (ffordes.com) and MPB Photographic for starters, where you can expect a good price and helpful service.”

15. Get some inspiration Though many people feel they’re not learning without a camera in their hand, that only applies to the technical aspects of photography. In fact, the most important elements – inspiration and ideas – often come when you’re not shooting.

So if you feel like your pictures are stuck in a rut, set aside some time this year to find inspiration.

Of course, this can come from anywhere, but if you’re lacking ideas and feeling flat from a creative point of view, a good way to start is by immersing yourself in others’ photography; get yourself to a gallery, whether it’s a big one like the Royal Portrait Gallery (free!) or a pop-up exhibition like The Landscape Photographer of the Year 2015 that runs until 7th February in London’s Waterloo Station, and absorb some great imagery. Analyse why the pictures work, and try to apply those facets to your own shooting. It doesn’t end with stills though, try approaching films and TV with a critical eye to see how shots are lit and frame, too.

16. Get yourself covered says Lisa Clatworthy “How many photographers have their gear properly insured? Sure, home insurance covers you to a certain degree, but check the maximum cost of single items and you might be surprised (in a bad way). The solution is dedicated photo insurance. And that’s what I’ve decided to get some this year. The reason? My two main photographic interests are swimming pools (an ongoing project to shoot the nation’s lidos) and shooting on my hill walks.

“These involve the perils of water and falling from great heights, both of which my DSLR is

allergic to. So, no more risks for me.

Shopping around is a good idea, of course, but the specialist photographic cover provided by Aaduki (aaduki.com) is a good place to start; with premiums beginning at £96 (which covers up to £3000 worth of kit), you can be covered against all sorts in no time.

“There’s extensive cover available, of course, and all packages include up to £2 million public liability in case your camera lands on a litigious American’s head.”

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Photography News Issue 28 absolutephoto.com

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Photography News Issue 28 absolutephoto.com

Awards Gear of the year

The Photography News Awards 2015 Never ever have we had it so good. Whether it’s cameras, lenses or something smaller but equally essential like filters or triggers, we are blessed with great kit. That’s that our Awards recognise – and it’s you who decides the winners. Get involved and have your say Nominations ADVANCED DSLR Canon EOS 7D Mark ll Canon EOS 5D Mark lll Nikon D750 Nikon D810 Pentax K-3 ll CONSUMER DSLR Canon EOS 760D Nikon D5500 Nikon D7200 Pentax K-S2 Sony A77 II PROFESSIONAL DSLR Canon EOS 5DS/5DS R Canon EOS-1D X Nikon D4s PROFESSIONAL CSC Fujifilm X-T1 Leica SL Panasonic Lumix GH4 Olympus OM-D E-M1 Samsung NX1 Sony A7R II PREMIUM COMPACT Canon PowerShot G1 X Mark II Fujifilm X100T Leica Q Ricoh GR II Sigma Quattro dp0 Sony Cyber-shot RX1r II CONSUMER CSC Fujifilm X-T10 Nikon 1 J5 Olympus OM-D E-M10 Mark II Panasonic Lumix GF7 Samsung NX500 Sony A6000 ADVANCED CSC Canon EOS M3 Leica T Nikon 1 V3 Olympus OM-D E-M5 Mark II Panasonic Lumix GX8 Sony A7S II

Over the next pages are our nominations in key product categories, and from these we want you to vote for the kit that you feel deserves to win. You can vote in as few or as many categories as you want – it’s entirely up to you. But everyone who votes will be entered into a prize draw after voting closes and the

first name picked out at random will win a free 12-bottle case of wine.

Voting is open now and will close on Wednesday 24 February 2016, so you have plenty of time to consider what you vote for. Go to absolutephoto.com and follow the Awards 2015 link to vote. We have kept the

voting process as simple as possible and you don’t have to register or log in.

If you prefer to vote by post, nominate your products by ticking the appropriate box and sending the pages from the issue to Bright Publishing, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ.

ZOOM COMPACT Canon PowerShot G5 X Fujifilm X30 Nikon COOLPIX P900 Olympus TOUGH TG-4 Panasonic Lumix LX100 Sony Cyber-shot RX100 IV

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Photography News Issue 28 absolutephoto.com

Awards TELEPHOTO ZOOM Canon EF 100-400mm f/4.5-5.6L IS II USM Fujifilm XF50-140mm f/2.8 R OIS WR Nikon AF-S 200-500mm f/5.6E ED VR Pentax 70-200mm f/2.8 ED DC AW Sigma 120-300mm f/2.8 DG OS HSM S Tamron SP 150-600mm f/5.6-6.3 Di VC USD

TRIPOD: ALUMINIUM Benro Mach3 TMA37AL Manfrotto MT055XOPRO3 Mefoto Globetrotter A2350Q2 Nest NT-6294AK Slik Pro 700 DX Velbon SUB-65

PHOTO BACKPACK Lowepro ProTactic 350 AW Lowepro Pro Trekker 450 AW Manfrotto Pro Light MultiPro-120 PL Tamrac Anvil Slim 15 Tenba Shootout Backpack 24L Think Tank StreetWalker Pro

WIDE-ANGLE ZOOM Canon EF 11-24mm f/4L USM Fujifilm XF10-24mm f/4 R OIS Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro Sigma 24-35mm f/2 DG HSM Art Sony Vario-Sonnar T* 16-35mm f/2.8 ZA SSM II Tamron SP 15-30mm f/2.8 Di VC USD

TRIPOD: CARBON-FIBRE 3 Legged Thing Evolution 3 Brian Benro FTA28CC Giotto’s YTL 8353 Induro GIT203 Manfrotto 290 XTRA Carbon Vanguard VEO 265CB

SHOULDER/SLING BAG Billingham Packington Lowepro Slingshot Edge 150 AW Manfrotto Agile II Sling Tamrac Stratus 8 Tenba Shootout Sling Bag LE Medium Vanguard Up-Rise II 43

STANDARD ZOOM Canon EF 24-70mm f/2.8L II USM Fujifilm XF16-55mm f/2.8 R WR Nikon AF-S 24-70mm f/2.8E ED VR Pentax 24-70mm f/2.8 ED SDM WR Sigma 18-35mm f/1.8 DC HSM A Tamron SP 24-70mm f/2.8 Di VC USD

MAINS FLASH: POWER PACK Bowens CREO 2400 Broncolor Scoro S 1600 RFS Elinchrom Digital 2400 RX Profoto Pro-8a 2400

ROLLER/HARD CASE Lowepro Pro Roller X100 AW Manfrotto Professional Roller 50 Nest Odyssey 10 Tenba Roadie Universal Think Tank Airport 4-Sight Vanguard Xcenior 48T

SUPERZOOM Fujifilm XF18-135mm f/3.5-5.6R OIS WR Nikon AF-S 28-300mm f/3.5-5.6G ED VR Olympus M.Zuiko Digital ED 14-150mm f/4-5.6 II Sigma 18-200mm f/3.5-5.6 DC Macro OS HSM C Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro Tamron 28-300mm f/3.5-6.3 Di VC PZD MEDIUM-FORMAT Hasselblad H5D-50c Leica S007 Pentax 645Z Phase One XF with IQ3 PRIME: WIDE-ANGLE Fujifilm XF16mm f/1.4 R WR Nikon AF-S 24mm f/1.8G ED Olympus M.Zuiko Digital ED 8mm f/1.8 Pro Samyang 21mm f/1.4 ED AS UMC CS Sigma 24mm f/1.4 DG HSM A Zeiss Milvus 21mm f/2.8 PRIME: STANDARD Canon EF 35mm f/1.4L II USM Leica APO-Summicron-M 50mm f/2 ASPH Sigma 50mm f/1.4 DG HSM A Tamron SP 35mm f/1.8 Di VC USD Tamron SP 45mm f/1.8 Di VC USD Zeiss Otus 55mm f/1.4 PRIME: TELEPHOTO Canon EF 400mm f/4 DO IS II USM Fujifilm XF90mm f/2 R LM WR Nikon AF-S 300mm f/4E PF ED VR Samyang 135mm f/2 ED UMC Sigma 85mm f/1.4 EX DG HSM Zeiss Otus 85mm f/1.4 MACRO Fujifilm XF60mm f/2.4 R Macro Pentax D-FA 100mm f/2.8 Macro WR Samyang 100mm f/2.8 ED UMC Macro Sigma APO 180mm f/2.8 EX DG OS HSM Tamron SP 90mm f/2.8 Di VC USD Macro Zeiss Milvus 50mm f/2 VIDEO LENS Samyang 21mm T1.5 ED AS UMC CS Samyang 50mm T1.3 ED AS UMC CS XEEN 50mm T1.5 XEEN 85mm T1.5 Schneider FF-Prime 50mm T2.1 Zeiss Loxia 50mm f/2 TRIPOD: TRAVEL Benro Travel Flat FTF18CIB0 Gitzo GT1555T MeFOTO Roadtrip C1350Q Nest Traveller NT-6234AK Vanguard VEO 204AB Velbon Ultra 455

ON-CAMERA FLASH Canon Speedlite 600EX-RT Metz 64 AF-1 Digital Nikon SB-910 Nissin Di700A + Air 1 Phottix Mitros+ Pixapro Li-ION580 ETTL PORTABLE FLASH Elinchrom ELB 400 Interfit S1 Monolight Lencarta Safari 2 Phottix Indra360 TTL Profoto B2 MONOBLOC FLASH Bowens Gemini 500R Broncolor Siros 400 Elinchrom BRX 500 Lastolite Lumen8 Pixapro Storm 400 Profoto D1 Air 250 CONTINUOUS LIGHT Bowens Mosaic Daylight LED panel Elemental CRYO 600 Manfrotto Spectra900F LED Rosco LitePad HO+ Rotolight NEO LED Westcott Skylux LED STUDIO/LIGHTING ACCESSORY BounceLite modifier Elinchrom EL-Skyport Plus HS Hähnel Captur Lastolite Urban backgrounds Magmod modifiers Phottix Varos Pro BG Umbrella Holder FILTER Cokin Nuances Formatt Hitech Firecrest ND Hoya ProND family Lee Filters Super Stopper Marumi DHG Super Circular Polariser Vu Sion Q ND Graduates MEMORY CARD Delkin Black SD Lexar Professional 2000x SDHC/SDXC UHS-II PNY Elite Performance SDXC UHS-III Samsung SDXC Pro Plus UHS-1 SanDisk Extreme PRO SDHC/SDXC UHS-II Transcend SDXC/SDHC Class 3 UHS-II SD EXTERNAL STORAGE DEVICE Drobo 5D G-Technology 4TB G-Dock ev Lacie d2 3TB Samsung Portable SSD T1 Seagate Backup Plus Desktop Drive Western Digital My Passport Ultra Metal Edition

INKJET PRINTER Canon imagePROGRAF PRO-1000 Canon PIXMA Pro-100S Canon PIXMA MG5700 Epson SureColor SC-P400 Epson SureColor SC-P600 Epson SureColor SC-P800 INKJET MEDIA: PHOTOGRAPHIC FINISH Canson Infinity Photo Lustre Premium Resin Coated 310gsm DaVinci Fibre Gloss Silk 310gsm Epson Traditional Photo Paper Fotospeed Photo Smooth Pearl 290 Hahnemühle Photo Rag Baryta PermaJet FB Gold Silk 315gsm INKJET MEDIA: FINE ART FINISH Canson Infinity Rag Photographique 310gsm Epson Hot Press Bright 330gsm Fotospeed Smooth Cotton 300gsm Signature Hahnemühle William Turner 310gsm Innova Soft Textured Natural White 315gsm PermaJet Museum 310 MONITOR Apple 27in Thunderbolt BenQ SW2700PT Pro 27in IPS LCD Eizo ColorEdge CX271 27in LCD LG Digital Cinema 4K 31MU97Z 31in NEC SpectraView Reference 272 LED Samsung 28in UHD COLOUR MANAGEMENT DEVICE DataColor Spyder 5 Elite DataColor SpyderCHECKR 24 ExpoDisc 2.0 White-balance filter X-Rite ColorMunki Display X-Rite ColorMunki Photo X-Rite ColorChecker Passport INNOVATION DxO ONE Elinchrom EL-Skyport Transmitter Plus HS Hähnel Captur Leica SL EVF Olympus High Res Shot mode Phottix Indra360 TTL

Leica SL system Olympus OM-D E-M5 Mark II Tamron SP 35mm f/1.8 & SP 45mm f/1.8 Zeiss Milvus lens family BEST RETAILER Whether you shop for your photo kit online or in store, nominate the photo retailer that has you going back time and time again.

BEST HIRE CENTRE Perhaps you’ve hired an expensive exotic telephoto for an air show or lighting kit for a location shoot, whichever, nominate the hire company that has fulfilled your wishes, with a wide product range, punctuality and good customer service.

BEST INSURANCE PROVIDER If you insure your photo outfit with a specialist photographic policy, or you do the odd photography job so need public indemnity insurance, has your provider gone the extra mile?

PROCESSING LAB Which processing lab do you trust with your photos, albums or stationery? If they offer highquality and utterly reliable service at competitive prices, are they worthy of a PN award?

BEST BOOK SERVICE Creating your own high-quality photographic book has never been easier, but there are so many online services. In your experience, which book service offers the best choice of papers and finishes, ease of use and quality product?

PHOTO WEBSITE PROVIDER For gallery websites or full-service sites, with clientproofing and a blog, which provider offers the best range of templates and customisation options together with top-notch customer service?

TRAINING PROVIDER From basic photographic knowledge through particular tips and techniques to camera specific training, in the classroom, studio or out on location, which provider offers the best learning experience, in your opinion? Nominate your preferred provider.

LAUNCH Canon EOS 5DS/5DS R Fujifilm X-T10

The details How to vote Go to absolutephoto.com or fill in and post these pages to Bright Publishing, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ. Closing date is Wednesday 24 February 2016.

The results We’ll announce the results in issue 30 of Photography News and present the awards to their deserving recipients at The Photography Show, at Birmingham’s NEC, 19-22 March 2016.

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Previews Specs Price £1349 body only Sensor 24.3-megapixel X-Trans CMOS III, no optical low-pass filter. Through X Processor Pro processor with ultrasonic vibration cleaning Sensor format 23.6x15.6mm, 6000x4000 pixels ISO range 200-12,800 (extendable to 100, 25,600 and 51,200) Shutter range 30secs to 1/32,000sec with flash sync at 1/250sec, Bulb mode up to 60 minutes (mechanical and electronic shutter combined) Drive modes Single, continuous up to 8fps Metering system TTL 256-zone metering, multi, spot, average and centre-weighted Exposure modes PASM Exposure compensation +/-5 stops Monitor 3in fixed with 1.62 million dots OVF Reverse Galilean viewfinder with electronic bright frame display, approx. 92% coverage EVF 2.36 million dot TFT, 100% coverage, eye sensor Focusing Intelligent Hybrid AF with Single and Continuous AF, manual focusing Focus points 77 or 273 points, single point AF. Zone AF, Wide/Tracking AF Video MPEG-4 format, Full HD (1920x1080) and HD (1280x720) at 60, 50, 30, 25 and 24fps Connectivity Wi-Fi, USB 2.0 (High Speed), micro USB, HDMI output, microphone socket 2.5mm Storage media Dual SD, SDHC, SDXC card slots, UHS-II compatible (card slot 1 only) Dimensions (wxhxd) 140.5x82.8x45.9mm Weight 495g (including battery & memory card) Contact fujifilm.eu/uk

In many ways, the body sums up what Fujifilm has done with the rest of the X-Pro2. It doesn’t look that different, yet it is very different

First look: Fujifilm X-Pro2 Fujifilm’s new flagship model is as different as it is familiar. Find out what’s changed – and what hasn’t – in our hands-on preview Words by Roger Payne 2016 marks the fifth anniversary of Fujifilm’s X-series so it’s very fitting that the company has kicked off the year by launching a new flagship model for the increasingly popular range. The X-Pro2, which you’ll be able to pick up in the shops from February, may look similar to the X-Pro1 it replaces, but there are far-reaching changes. The most notable of these has to be the new sensor and new processor, which combine to offer some significant advances over any other model in the range.

Before we get into the X-Pro2, it’s worth pausing to look at how Fujifilm has changed the camera world in the past five years. When the original X100 was launched in March 2011 it was radical departure for the company which had previously been expending great energies selling low-priced compacts, bridge cameras and the occasional re-badged and re-sensored Nikon DSLR. Despite having a few quirks, the fixed-lens X100 gained an immediate following by virtue of its looks and the quality of results from the unique APS-C sized sensor, and as the range expanded rapidly into interchangeable lens models, the following grew exponentially.

Today, Fujifilm is a force to be reckoned with and now has a range that’s worthy of consideration whether you want a quality compact camera or a mirrorless model with an enviable suite of lenses to support it.

The original X-Pro1 arrived just shy of four years ago in March 2012. It’s perhaps a little surprising that we’ve had to wait so long for its successor to arrive, especially when you consider that there has been bags of innovation and development within the range during that time. But it’s also testament to the fact that Fujifilm got that first model so right. There are still many satisfied X-Pro1 users around the globe, although a number may well have added an X-E2 or X-T1 to their kit, just to satisfy their ‘Gear Acquisition Syndrome’ needs.

Put the X-Pro2 next to the X-Pro1 and the uninitiated may struggle to pick out differences.

There are plenty, of course, both internally and externally, but the form factors of the cameras are virtually identical, even down to the type of paint used to coat the magnesium alloy body.

This familiarity is a good thing in my book. If you’re an existing X-Pro1 user, you’ll be instantly at home with the X-Pro2, whereas if you’re looking at the system afresh with the launch of this new model, you can be confident of buying a tried-and-tested design.

In many ways, the body sums up what Fujifilm has done with the rest of the X-Pro2. It doesn’t look that different, yet it is very different.

Take the body shell, which is now made of four pieces of magnesium alloy as opposed to three in the X-Pro1, while the whole camera is weather resistant to the same level as the X-T1 and the growing number of WR lenses in the XF line-up.

The 61 seals at vulnerable spots around the shell mean it’s dust and splash proof and will work in temperatures as low as -10°C.

The viewfinder has also been changed, with the technology from the X100T completely reengineered to fit into the X-Pro2 body. Fujifilm has always been one for a whizz-bang ’finder and the X-Pro2’s is whizzier and bangier than most.

A lever on the front of the camera allows you to switch between an optical viewfinder (OVF) and a 2.36 million dot electronic viewfinder (EVF), but you can also superimpose an electronic rangefinder (ERF) onto the OVF, which displays a small EVF in the corner of the frame, allowing you to preview camera settings in real time.

It sounds a little distracting, but it isn’t. In fact, it’s a real godsend if you don’t like shooting with an EVF, but do like the functionality such a finder brings.

Sensor issues Fujifilm has been equally innovative with its sensors in the X-series, with the unique X-Trans light catcher cocking a snook at the Bayer sensors in every other digital camera out there. The X-Trans principle is relatively simple. Whereas Bayer sensors arrange pixel in groups of four, the X-Trans arranges them in groups of 36. In turn, this more random array negates the need

for an optical low-pass filter and delivers more accurate colours that are refreshingly moiré free. Up until now, Fujifilm has been confident that the 16.3-megapixel APS-C sized X-Trans II sensor has been more than enough to give fullframe DSLRs a run for their money, but the X-Trans III sensor in the X-Pro2 sees the pixel count jump to 24.3 megapixels. Technologically speaking, nothing has markedly changed on the sensor, but the resolution hike gives more flexibility in terms of cropping images as well as being able to deliver a professional Shangri-La of an A2 print with negligible quality loss.

Resolution aside, the sensor does offer further enhancements. High ISO sensitivity is now 12,800, with expansion options down to 100 and up to 51,200, plus there’s also a new Film Simulation mode called ACROS. Named after a Neopan emulsion, ACROS is claimed to deliver better monochrome images with smoother tones, deeper blacks and richer textures than other black & white shooting options.

Boosting the size of the sensor means a meatier processor is required and Fujifilm has duly delivered with the new X Processor Pro, which is claimed to be four times faster than the

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Previews

40% of the imaging area is covered by fast and responsive phasedetection AF pixels

Above As well as a redesigned menu, the X-Pro2 also has combined the ISO and shutter speed settings into one top-plate dial.

existing EXR Processor II found in most other X-series models. As a result, the X-Pro2 has heightened responses with minimal delays in start-up time, shooting intervals and, probably most crucially, focusing.

Fujifilm is always refreshingly honest when it comes to the autofocus performance of some of its earlier X-series models. It was the most obvious issue with the original X100 and was also something of a headache for X-Pro1 users.

Many users didn’t need rapid AF, but there would undoubtedly be some who would have looked elsewhere after experiencing the X-Pro1’s often ponderous AF performance.

Firmware upgrades have made big improvements, but Fujifilm has clearly wanted to improve things still further in the X-Pro2.

Now, around 40% of the imaging area is covered by fast and responsive phase-detection AF pixels with the number of user selectable points jumping from 49 to 77. Contrast AF is also still present, so the X-Pro2 has a hybrid AF system that, hooked up to the new processor, is claimed to deliver the fastest AF in any X-series model so far. I didn’t have time to test this extensively, but early signs are very positive. I also really like the new selection point lever; a tiny joystick on the back of the camera that offers direct access to focus point selection.

While we’re around the back of the camera, let me finish by telling you briefly about the rear LCD, which remains a fixed, three-inch affair, but benefits from a new interface. If, like me, you’ve thought that Fujifilm menus look a little ‘8-bit’, you’ll be much happier with the X-Pro2’s GUI which offers a far more pleasant viewing experience. There’s also an extra line on each menu, fitting more options on each screen, and an improved tab design for scrolling through options. These tabs now include a new My Menu feature, which allows you to add up to 16 frequently used functions in your own custommade menu. Combined with the familiar Q Menu and the six function buttons around the body you can dial in an impressive amount of user customisation.

Initial verdict

Above With a step up in resolution, an all-new processor and expanded ISO range, the X-Pro2 looks set to follow in the X-Pro1’s footsteps – producing sharp shots, with accurate colours. Sample images provided by Fujifilm.

If you were expecting the X-Pro2 to be a ground-up rethink of the X-Pro1, you’ll be disappointed by the new model. There’s no revolution here, more a very considered evolution for which each aspect of the original model’s performance has been looked at and subsequently tweaked or left alone. In reality, you won’t find many key components that haven’t been heavily breathed on. The sensor, processor and viewfinder are obviously the headline changes, but the transition to a weatherresistant body while maintaining the form factor, for example, must have taken many painstaking hours of design chicanery.

There are many aspects of the X-Pro2 that I haven’t touched on here: the subtle changes to the design, the increase in the maximum shutter speed and a faster flash sync speed, the dual card slots for the first time in a mirrorless camera... It all adds up to a very strong package and if the autofocusing improvements are everything Fujifilm claims them to be, the X-Pro2 can only add substantially more grist to the company’s mirrorless mill.

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Camera test Specs Price £579 Sensor 20.2-megapixel CMOS (3:2 aspect)

Canon PowerShot G5 X This compact has a larger than average one-inch sensor and a wealth of manual inputs designed to appeal to creative photographers

Sensor format 13.2x8.8mm (1in), 5472x3648 pixels Lens 8.8-36.8mm (24-100mm equivalent), 4.2x optical zoom (f/1.8-2.8) IS Minimum focusing 5-40cm (Wide/Tele) Viewfinder EVF, 2360k dot ISO range 125-12,800 Shutter range 30-1/2000sec and Bulb (accessed via manual exposure mode) Drive modes 5.9fps (in One-shot AF mode), 4.4fps (in Tracking AF) Metering system Evaluative, centre-weighted average, spot Exposure modes PASM, plus Auto/Hybrid Auto, Creative Shot and Custom Exposure compensation +/-3EV in 0.3EV steps

Right There are numerous manual inputs on the G5 X, and while there’s a pop-up flash the hotshoe allows accessory flashguns to be used.

Monitor 3in, 1040k dot, adjustable-angle touch-sensitive LCD Focusing Contrast-detection AF with multiarea, centre, selective single-point, tracking, single, continuous, touch, face detection Video AVC/H.264; format 1920x1080 (at 59.94fps) and lower Connectivity USB (Micro-B), HDMI (Type D), NTSC/PAL and wireless Storage media SD/SDHC/SDXC and UHS-I Dimensions (wxhxd) 112.4x76.4x44.2mm Weight 377g (including battery and memory card) Contact canon.co.uk

The G5 X lends itself to DSLR users wanting a small, light backup…

Right The G5 X is the only model in the current lineup with a fully articulating screen, which helps with high and low compositions.

Review by Kingsley Singleton The G5 X sits within Canon’s lineup of premium compacts, its main sells being a one-inch sensor and a plethora of manual inputs, neither of which you’ll find on most compacts.

The 20.2-megapixel sensor is twinned with a DIGIC 6 processor and it uses a retractable 24-100mm f/1.8-2.8 equivalent zoom, giving it lots of versatility. Unlike many compacts, the lens also has optical image stabilisation for improved sharpness at slower shutter speeds.

The fifth in the current range, the G5 X brings two new features, an integrated EVF and a tilting and rotating LCD screen (not seen since the original G1 X). The one-inch sensor is of the backside-illuminated type, and the same as in the G3 X, G7 X and G9 X, but is smaller than the flagship G1 X Mark II’s). As always when looking at a new camera, you’re forced to think: ‘who is it for?’ and the G5 X lends itself to DSLR users who want a small, light backup camera.

The manual controls suggest it could be tempting for upgraders, too.

I was immediately impressed by the G5 X’s build quality. Although

the body is primarily plastic, it feels solid, and while by no means heavy, at 377g, it’s got a reassuring chunkiness.

The styling, including the pseudopentaprism, is pleasingly brutal, and with the screen able to flip right over against the body there’s a measure of protection there. Is it pocket-sized?

That really depends on the size of the pocket you’re using; at 44.2mm thick, it’s never going to slip into anything but the most voluminous of trousers, and the pentaprism, hotshoe and projecting rubber eyecup cause further obstruction, but it’s certainly more portable than even the smallest DSLRs and CSCs. Handling wise, the G5 X mostly performs well, and there were no problems with extended use; it’s comfortable, with your middle finger sitting in the groove of the front grip and thumb on the generous pad at the rear. But it is hamstrung in places by including so many manual inputs on such a small body.

There are four input dials (plus the main mode dial), three of which can be customised, which is helpful.

The large ring around the lens is excellent; made of knurled metal, it’s well weighted and turns with a click, falling naturally under the fingertips

when cradling the camera, just like a traditional aperture ring. The front dial, which sits nicely under the index finder is just as positive, but the rear dial, which surrounds a four-way controller is, for me, too small and light, and while it’s got a grippy feel, it’s too plasticky to fit with the rest. The back of the camera, dominated by the three-inch screen, feels at once sparse and cramped; consumers expect large screens, but it seems that dropping the size here would have improved handling, here, giving more space to the rear controls. With the movie-rec button sunk into the rest itself, it’s too easy to trigger a recording (unless you’re always making video, in which case, it’s probably a benefit as it can be used just by tightening your grip).

In shooting, despite all the manual inputs, it’s common to need the screen, but fortunately, the G5 X’s Quick Menu is very simple and easy to navigate. The options here are blessedly streamlined and because the LCD is touch-sensitive you can get to settings faster than using the four-way controller. The performance of the EVF is also good, and certainly among the best I’ve used. Its high resolution (2.36 million dot) brings lots of detail and the eye sensor that switches it on/off works quickly. It’s also smooth, thanks to a maximum 120fps refresh rate, giving quite a natural view and this only starts to stagger in very low light, which is to be expected. That comes at a cost though; I was using the more power-hungry Smooth viewfinder mode, and only managed between 160 and 180 shots (specifications state 210) on a full charge. That’s not great, although several of these were long exposures and I was shooting in cold conditions, both of which sap performance; there is an Eco mode which drops the EVF’s frame rate and screen brightness to

extend shooting time and that boosted performance to over 300 captures.

Zoom speed is a bit laid-back though not unusually slow for a compact, but as there’s no physical connection it moves in jumps, so isn’t as precise as a manual ring. As you’d expect from a compact, there’s no manual focusing ring on the lens either, so MF is handled via the touchscreen. This works well, and when you switch to MF, it defaults to a zoomed-in view where critical sharpness is easy to achieve; great for still-life and macro shots. There’s also focus-bracketing option – a neat touch that shoots three pictures at slightly different focus points, useful for either moving subjects, to guard against errors, or for short focus stacking.

AF performance is solid but getting to the various options is more complex that it needs to be. While the main focus options (MF/AF/Macro) are found by hitting Left on the fourway controller, the AF Mode (Oneshot or Servo) is grouped with the Drive modes via Up. The AF Area, which is split into Face Recognition/ Tracking and 1-Point, is accessed via the touchscreen’s Quick Menu. Given the range of input options, you feel all could have been grouped in one area.

Speed isn’t the fastest, but it’s sure and Face Detection mode was keen.

Image quality wise, the G5 X’s sensor performs pretty much as expected. Its greater physical size than typical compacts’ 1/1.8in or 1/2.3in adds resolving power, but if you’re thinking of the G5 X as a backup to a DSLR or instead of a CSC, results will look a little muddy in comparison.

Comparing unprocessed Raws and JPEGs, there’s obvious sharpening and defringing applied, and the 24100mm lens’s best performance was found towards its long end; shooting wide was a little softer.

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Camera test Built-in ND filter One of the neatest features of the G5 X is its built-in neutral density (ND) filter. I love this feature, which is common on camcorders, and you have to wonder why more cameras don’t use it. The strength of the ND on the G5 X is three stops, which is rather handy when it comes to controlling the amount of light entering the camera and therefore allowing more choice in shutter speed and aperture. For instance, if you’re in bright light and hoping to use a wide aperture to create a shallow depth-of-field, or want to use longer shutter speeds to blur movement without overexposing the image, it makes a big difference.

The filter can be manually set to on or off, and there’s also an Auto setting which brings it into play when the camera deems necessary, such as when the shutter speed tops out at 1/2000sec. As on some other compacts, in Av mode, the shutter speed is limited to 1sec at the slowest, so these shots were taken in manual mode.

Button customisation The G5 X lets you remap the input for individual exposure modes using the Function Assignment option in the Shooting Menu. So in terms of customisation, you could set the aperture control to the ring around the lens, which feels natural. However, in aperture-priority (Av), the small front dial can’t be changed, defaulting to controlling the aperture, too, which is rather odd. Controls which can be mapped to the dials also include ISO, white-balance, zoom and manual focus.

But the zoom control only moves in steps from 24mm, 28mm, 35mm, etc, so it lacks precision and using any of the clicking dials for manual focus didn’t work very well in our test. Finally, the large exposure compensation dial that sits above the thumb rest is very handy in shooting, but sadly this one can’t be remapped, which is a strange choice considering the other adaptations.

Function assignment The G5 X makes it easy to customise its manual inputs, but options could have been more extensive.

Above The G5 X’s built-in ND filter has a strength of three stops allowing more latitude in your choices of shutter speed and aperture. Here a 1/2sec exposure becomes 4secs.

JPEG, 125

JPEG, 200

Raw, 125

Raw, 200

JPEG, 1600

JPEG, 3200

Raw, 1600

Raw, 3200

ISO performance To illustrate the G5 X’s ISO performance here you’ll see a lowlight shot, that was taken in Raw + JPEG mode to observe both the native noise produced by the sensor and the extent of the camera’s default noise reduction.

With its small sensor and highresolution, it’s no surprise that the G5 X produces obvious digital noise quite soon in the scale, but overall its performance is good and, it only becomes problematic from around ISO 3200 onwards where the interference starts to downgrade the fine details more obviously.

Even then, the grain is natural looking, and not unpleasant.

The amount of processing applied is clear from these 300% enlargements, again from relatively early in the scale. Noise reduction is well applied in the JPEGs, the G5 X doing a good job of reducing both the colour and luminance noise, with the emphasis on the former, so detail isn’t lost too badly from oversmoothing. You can also see the work it’s doing to reduce fringing and sharpen the image, these examples being taken at the 24mm setting and f/5.6.

JPEG, 400

Raw, 400

JPEG, 6400

Raw, 6400

Verdict I enjoyed using the Canon G5 X, and if you understand its advantages and limitations, it won’t disappoint. It’s got a lot more to offer than most compacts, and the design is good, but for me it could have gone further toward the manual route. For example, given the emphasis on manual shooting, I’d have liked larger controls on the rear and a smaller screen – trying to fit both leads to problems. In a range with numerous models like Canon’s X lineup, there’s room to target more specific needs. Image quality is a significant jump from point-andshoot versions and I was pleased with the results, but there are better performing compacts out there, and size-wise it’s not much smaller than a CSC. Features 24/25 There’s very little lacking here. Lots of physical inputs and creative shooting modes 20/25 Performance Not the fastest AF, processing, or battery life, but the EVF is very nice.

22/25 Handling Mostly good, with a few quirks, like the customisation features 21/25 Value for money Plenty for your money here, although you could pick up a CSC and lens for less.

JPEG, 800

Raw, 800

JPEG, 12,800

Raw, 12,800

87/100 Overall A good option as backup for your DSLR, or when you want creative shooting but need to travel light, but not a classic as it tries to cover too many bases. Very nice build quality and lots of features, while handling, performance and image quality are good, but not outstanding.

Pros Excellent build, lots of features and good image quality Cons Some sluggish areas of performance and minor handling problems

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First tests

First tests Accessories

We get our hands on the latest kit and share our first impressions – so you know whether or not to add it to your wish list Reviews by Kingsley Singleton & Will Cheung

Specs Sensor CMOS 2.26 megapixels, giving images 1504x1504 pixels Recording H.264 video format, 1504x1504 pixels resolution at 27.97fps Audio Built-in microphone, mono, 48kHz, 64kbps AAC Lens 0.88mm f/2.5, 8-element ultrafisheye, 240° field of view Minimum focus 30cm Storage 32GB internal memory Connectivity USB2.0, built-in Wi-Fi, Bluetooth Body build Dust, shock and water-resistant Power Built-in Li-Polymer rechargeable battery with life of around 2 hours.

Recharge time of 2.5 hours via supplied cradle and supplied USB cable Dimensions 61mm sphere Weight 138g Contact intro2020.co.uk

360Fly £399 You probably know that action cameras are hugely popular right now, finding their way into all sorts of situations, fun, creative and professional. With their compact bodyforms, usually housed in a rugged case, they are used for action, sports, in drones... and in last year’s Rugby World Cup – the referees had them strapped to their chests.

The 360Fly is the latest such model to surface in the UK. It’s a camera, a little bigger than a golf ball, in a spherical body that is dust, shock and water-resistant.

The 0.88mm ultra-fisheye lens is under glass and this gives a 360° field of view in the horizontal axis and 240° in the vertical axis. It’s this remarkable view that gives the 360 its unique appeal and in the right environment or situation provides amazing results.

In the box with the camera is a collection of accessories to get you going, including a charger cradle with USB cable and an action camera adapter. So if you already own a GoPro with a selection of mount accessories, the 360Fly will mesh in perfectly.

Put the camera on the charger and a red LED shows on the camera, which changes to green when

Verdict

charged. The camera itself has only one control, and that’s the on/ off switch, which is so discreet it’s easily missed – it looks like one of the body panels.

You can just fix the 360Fly in position and start shooting, but you need your phone or tablet with you to view what’s going on, take control and edit the footage. Apps are available for iOS and Android, and desktop software is also available for Mac OSX and Windows.

I tried the 360Fly through a Samsung tablet and Apple mobile devices. I did have an initial problem with the app on an iPad mini. It was not showing the full interface so I could not see the record/playback controls. I sent a query via the 360Fly website to the help desk and

the issue was quickly resolved after a couple of re-installs.

Pairing the camera up with the app via Bluetooth is simple enough (by following the various screen prompts) and soon you’re enjoying a live view with a reasonable-quality image. The extreme wide view means including yourself in shot is easy and for action sports people that is the appeal, with lots of the surrounding environment in the frame too.

Footage can be downloaded, via Bluetooth to your device for viewing and editing. Being able to scan around the recorded footage is neat to give that immersive experience and I can see users mixing 360Fly video with regular action camera video to great effect. WC

The 360Fly is a fun gadget and you’ll certainly capture some great footage with it. Scanning around the recorded footage with your mobile device is amazing. I think it is fair to say that the 360Fly will appeal to people into action sports or those who have the chance for interesting footage. The brochure has an example of a pilot self-portrait flying in formation. Priced at £399, the 360Fly is more expensive than the GoPro HERO4 (which costs £320), but it offers something different for those looking for a fresh, unusual view.

Features 20/25 Ultra-wide view is exciting, tough bodyform, HD only 20/25 Performance Capable of decent image quality and fun to use Handling 21/25 Camera and app easy to use once they’re set up Value for money 19/25 Its price is at the top end of the action camera market 80/100 Overall Just the thing for the creative action camera user, but it comes at a price Pros Field of view, rugged build, easy to use, 32GB internal memory Cons Not Full HD

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First tests

Nikon AF-S NIKKOR 24-70mm f/2.8E ED VR £1849 When a lens arrives that’s larger and heavier than its predecessor, it’s always a little surprising. The 24-70mm f/2.8E ED VR, which supersedes the 24-70mm f/2.8G as Nikon’s pro-spec workhorse standard zoom, is one such beast. Being over 2cm longer and 150g heavier than its forebear doesn’t sound like much, but stand them up together and the difference is obvious. The new lens is also wider in diameter, but with the same focal lengths and aperture range, so what’s with all the extra heft?

And how does it compare against the older version in a hands-on test?

There are two main additions to the design; the first being a hybrid Aspherical Extra-Low Dispersion (AS/ ED) element used alongside regular AS and ED glass, to improve optical quality. The second is that the lens now features Nikon’s Vibration Reduction (VR) image stabilisation system.

Though heavy, the lens handles exceptionally, and, as you’d expect at this price point, feels very sturdy. Away from the zoom and focus rings, the barrel now has a mottled plastic finish, which feels a little more grippy, and the set-up is well balanced when twinned with a D810, D4 or similar sized body.

A downside of the increased girth is that the filter size has increased to 82mm, so while there was a helpful (and money-saving) commonality between lenses like the 16-35mm f/4, 24-70mm f/2.8G and 70-200mm f/2.8G at all 77mm, you’ll need a new set of filters if you upgrade.

24mm

The zoom ring is deeper and feels more grippy, the benefit being that it fits more naturally under the gripping position of your left hand; making the longer, heavier lens easier to support.

The zoom ring takes a little over a 90° turn to shift from one end of the zoom to the other, which I achieved in just over one movement, though it might take longer if you have small hands.

The focal length markings have now been moved above the zoom ring, making them easier to see from your shooting position and the focusing ring is excellent, as before, with a light, accurate feel and a slightly shorter travel than the zoom. You can go from near to far in a single turn.

Autofocus is excellent and, while the 24-70mm f/2.8G was no slouch, is noticeably faster with a very snappy feel. Twinned with a D800 body I noticed no problems locking on in lowlight, and it performed in near silence with Nikon’s Silent Wave Motor. Like the older version, adjustments can be made using the manual focus ring without decoupling the AF. The use of VR in this lens presents a massive advantage. A 24-70mm f/2.8 is meant to be a versatile zoom, capable of shooting in any situation, and image stabilisation only strengthens that position. Using Nikon’s second generation VR, the lens offers up to four stops of compensation, and when shooting at 70mm, I achieved sharp shots all the way down to around 1/15sec and even slower; my hit rate at

50mm

Specs Format Full-frame and APS-C Mount Nikon Construction 20 elements in 16 groups Special lens elements One HRI, three Aspherical, two ED glass elements Coatings Nano Crystal, Super Integrated and Fluorine coating Filter size 82mm Aperture range f/2.8-f/22 Diaphragm 9 blades (electromagnetic)

1/4sec was about 50%, which is very impressive. Through the viewfinder, you get a tangible feeling of the VR, and when it kicks it feels as though an extra hand is supporting the lens.

Optically, performance is very good and at 24mm and f/2.8 sharpness only fell off in the corners slightly.

The best results were seen at f/8 and there it was also was sharpest in the corners, outperforming the older lens throughout. At 50mm and f/2.8, sharpness is again very good, but it’s not quite as crisp as the older lens at this setting, nor at its sharpest f/5.6, although the performance in the corners is better on the new model. At 70mm and f/2.8, the lens displayed a good sharpness level, and while it was outperformed by the f/2.8G in the middle, it was better across the frame as a whole. This pattern held until f/16 when results evened out. Centre sharpness at 70mm was best at f/5.6.

The new lens did a better job overall controlling fringing and flare – there

70mm

Internal focus Yes Manual focus Yes Minimum focus 38cm (at 35-50mm), 41cm (at 24, 28, 70mm) Focus limiter No Maximum magnification 0.27x Distance scale Yes Depth-of-field scale No Image stabiliser Yes Tripod collar No

was little or none detected. And while distortion was minimal, the vignetting is quite noticeable when shooting wide open; this was true of the f/2.8G, too, but it’s more pronounced here. KS Left Optically, this standard zoom is very strong and consistently good across the frame. Vignetting is obvious at f/2.8 but this goes with stopping down.

Lens hood Yes, (HB-74 bayonet hood included) Weather-sealed Yes Dimensions (lxd) 154.5x88mm Weight 1070g Contact nikon.co.uk

Verdict F/2.8

F/2.8

F/2.8

F/8

F/8

F/8

Yes, the 24-70mm f/2.8E VR is a large and heavy lens, but so are the camera bodies it’s designed for, and it balances well with excellent handling, so that shouldn’t take prospective users by surprise or put them off. It’s not cheap and extra outlay will likely be required in equipping users with 82mm filters – but again, that’s unlikely to offend the target market. Bargain hunters, though, should be on the look out for the older lens when it’s reduced in the wake of the new model. Image quality is very good overall, and the VR and focusing speed are exceptional.

Features It adds VR to the potent mix of the fast maximum aperture and SWM

24/25

Performance AF speed and VR are impressive and it’s optically very good, too

23/25

Handling 22/25 Smooth controls, effective VR both plus points; bigger filter size a slight minus

F/16

F/16

F/16

Value for money 22/25 You certainly get what you pay for – excellent build and great performance 91/100 Overall An excellent lens, but not a vital upgrade from the old model, unless you want the minor increase in overall image quality and (admittedly brilliant) VR. Pros Image quality, focusing speed, handling, Vibration Reduction Cons Size and weight may offend some, vignetting wide open, large filters

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First tests

Sigma 20mm f/1.4 DG HSM A £799 Sigma has a great reputation for its high-quality lenses, but it has upped its game in recent times with its Art range, most notably the 50mm f/1.4 DG HSM A. The 20mm f/1.4 DG HSM A is the latest lens in the range and a very impressive one it is. It’s also the first-ever full-frame, 20mm with this super-fast wide aperture.

It is certainly imposing physically but balanced nicely on our test camera, the Nikon D800, and despite its short focal length, it looks like a telephoto in size. Engineering quality and finish are first-rate and it looks and feels fabulous.

The bulbous front element and the permanent petal lens hood means that using screw-in filters is not an option.

Keen filter users will have to wait until Lee develops an adapter ring for its SW150 system.

The broad focus barrel features full-time manual focus override and takes you from infinity to the 27.6cm minimum focusing distance in about one-quarter of a turn. There is an AF/ manual focus switch too, but that’s the only control on this optic so there’s no image stabilisation.

The short focus throw and internal focusing system really make for fast AF, assisted in no short measure by the lens’s HSM system. Sigma’s Hyper Sonic Motor technology has been around for a few years now and in this lens you can see why it is so highly thought of. Infinity to minimum focus is achieved in a fraction of a second and with great accuracy too.

Of course, the lens’s short focal length means extensive depth-of-field even at mid apertures, but critical focus is important especially when you’re shooting close subjects.

Optically, the lens is no let-down.

Using a magnified live view image and manual focus with the camera mounted onto a tripod and released

Specs Format Full-frame and APS-C Mount Canon, Nikon, Sigma and Sony Construction 15 elements in 11 groups

The first ever fullframe, 20mm with the super-fast wide aperture with the exposure delay mode showed that the lens was excellent at maximum aperture.

Wide open sharpness is very good in the centre of the frame with the edges being slightly less impressive but still good. It is only in the extreme corners where sharpness tails off, but essentially this wide-angle is perfectly useable at its maximum aperture for high-quality images.

Stopping down improves overall quality and by f/2.8 fine detail across the image frame is very well resolved.

F/4 produced even better quality, but the highest level of performance is achieved at f/5.6, where even in the far corners detail is very crisp with plenty of contrast. This high level is maintained at f/8 and then starts to tail away from f/11, although it is true that this isn’t too major and the smallest apertures can be used with confidence when maximum depth-offield is needed.

Vignetting is evident with the lens wide open and the corners are very clearly much darker than the centre.

This is lessened a little at f/2, but you need to stop down to f/4 to get an evenly lit image.

Barrel distortion, common with wide-angles, is present but not terrible and easily corrected in post-processing. There are signs of chromatic aberration but levels are low and again readily resolved in software. WC

Special lens elements 2 aspherical, 5 SLD, 2 FLD glass Coatings Sigma Super Multi Layer Filter size Not applicable Aperture range f/1.4-16

Above Sharpness is very good in the centre of the frame at f/1.4. It tails off in the far corners, but overall this Sigma gives consistent high quality.

F/1.4

F/2

Diaphragm 9 blades Internal focus Yes Manual focus Full-time manual override, AF with Hyper Sonic Motor Minimum focus 27.6cm Focus limiter No

F/2.8

F/4

Maximum magnification 1:7.1 Distance scale Yes Depth-of-field scale No Image stabiliser No

F/5.6

F/8

Tripod collar No Lens hood Built-in Weather-sealed No Dimensions (lxd) 90.7x129.8mm

F/11

F/16

Weight 950g Contact sigma-imaging-uk.com

Verdict The Sigma 20mm f/1.4 DG HSM A is a classy lens and totally deserves to be part of Sigma’s premium lens collection. It’s a fast ultra-wide lens than can be used at every aperture, confident in the knowledge that you get very sharp, high-contrast images. Its downsides are few and what you would expect with a fast, wide lens – it is heavy and filter use isn’t straightforward.

These pale when its benefits are considered and for under £800, it is very good value for money.

Features Fast aperture, HSM and lots of exotic glass

23/25

Performance Impressive, especially at the centre of the frame

22/25

Handling Good despite being a bulky lens

21/25

Value for money There is no direct competitor from Canon or Nikon

23/25

89/100 Overall A bulky wide lens but the very fast maximum aperture gives it a strong appeal Pros AF speed, optical performance, very useable at f/1.4, good balance on a full-frame DSLR, short focus throw Cons Heavy, big, filter use an issue, not weather-proofed

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Photography News Issue 28 absolutephoto.com

First tests

Nikon AF-S 24mm f/1.8G ED £629 Nikon’s family of f/1.8 prime lenses continues to grow with the arrival of this fast aperture wide-angle that joins a line-up of 20mm, 28mm, 35mm, 50mm and 85mm optics. All we need is a 100mm or 135mm of the same aperture and this very appealing set would be complete.

Priced at £629, this wide-angle is surprisingly the most expensive in the collection, even more pricey than the 20mm at £539.

Cosmetically, it looks the part and it feels and handles like its close relations too.

It’s a light lens weighing in at just 355g and balances very nicely on our test cameras, the Df and D800.

Only one control features on the lens and that is an A/M and M focusing control. On the more recent Nikon bodies, you get full-time manual focus override in the A/M setting so the control is redundant.

The focus ring itself is smooth with enough resistance to stop any creep and one quarter turn takes you from infinity to the minimum setting during manual focus.

Autofocus is swift and effectively silent with nothing audible apart from to the person with their eye pressed up to the viewfinder eyepiece. It is precise too, with focus being achieved with minimal hesitation and without any searching.

Filter size is 72mm which is a popular size. However it is a pity that the lenses in this f/1.8 prime family don’t manage to share a common filter thread size. If you are a filter user

Specs Format 35mm and APS-C Mount Nikon F Construction 12 elements in 9 groups

At f/8 and f/11, centre and edge quality is very impressive then you will need filters, adapter rings or step-up rings in order to deal with the 58mm, 67mm and 77mm as well as the 72mm fittings, which isn’t especially convenient.

Optical quality is generally of a high order once you stop down from f/1.8. Images wide open lack the bite and contrast you get from f/2.5 onwards. From f/4 and f/5.6 the lens is really into its stride and turning in first-rate images. This doesn’t mean that maximum aperture is not worth using but don’t expect to see the lens at its best. Of course, relatively weak wide aperture performance isn’t unusual and here, stopping the lens down one stop has a serious benefit.

At f/8 and f/11, centre and edge quality is very impressive so if you want great all-round sharpness in your landscapes this is lens delivers.

Flare is well controlled, but the slightly bulbous front element does mean it can be struck by light from an oblique angle even with the lens hood in place. Even shooting towards the light with the sun just out of the frame was not a problem, though, with no ghosting or contrast loss evident. WC

Special lens elements 2 ED and 2 aspherical elements Coatings Nano Crystal Coat Filter size 72mm Aperture range f/1.8-16

Above Overall performance of the Nikon 24mm f/1.8G ED is of a high standard. Its showing at its maximum aperture is comparatively less impressive and stopping down does pay dividends.

F/1.8

F/4

Diaphragm 7 blades Internal focus Yes Manual focus Yes, full-time override Minimum focus 23cm Focus limiter No Maximum magnification 0.20x

F/5.6

F/8

Distance scale Yes, feet and meters Depth-of-field scale No Image stabiliser No Tripod collar No

F/11

F/16

Lens hood Supplied Weather-sealed No Dimensions (lxd) 77.5x83mm Weight 355g Contact nikon.co.uk

Verdict 24mm is a really useful focal length and having the option of a fast aperture version is very welcome. It is slightly disappointing that the optical quality at f/1.8 is modest and it needs stopping down by one f/ stop in order to produce critical image sharpness.

Features 23/25 The fast aperture is the big sell 21/25 Performance Impressive when stopped down but less good wide open Handling 23/25 No complaints here – a smoothoperating lens Value for money 23/25 Competitive if you need a fast maximum aperture Overall 90/100 It’s a decent, capable lens Pros Excellent quality from f/4, good handling, lightweight Cons Maximum aperture performance, price could be better

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Photography News Issue 28 absolutephoto.com

First tests Specs Prices Printer £1199, ink cartridges £41.99, maintenance cartridge £16.99 Compatibility Windows Vista, 7, 8, 8.1, 10, 32 and 64-bit.

Mac OS 10.7.5 and later Supported mobile systems iOS, Android Interface USB 2.0, Wi-Fi, ethernet Inks Lucia Pro ink. 12 80ml cartridges: matte black, photo black, grey, photo grey, photo cyan, cyan, photo magenta, magenta, yellow, red, blue, chroma optimser. MC-20 maintenance cartridge Printer head type Canon Bubble-jet on demand Nozzles 1536 nozzles x 12 colours Droplet size 4 picolitre per colour Media feed Rear tray, manual feed slot Media width Rear tray 89-432mm, manual feed slot 203-432mm Media thickness Rear tray 0.1-0.3mm, manual feed slot 0.1-0.7mm Maximum printable paper length 594mm Dimensions 723x433x285mm Weight 32kg with print head and inks Contact canon.co.uk

It is so substantially made that it should withstand heavy and frequent use

Right Initial set-up is a joy but takes a little while. Start by making sure the printer is level. If it isn’t, you get a warning message and you can’t go any further until it is correctly positioned. Once that is done the monitor guides you through the process including ink cartridge loading.

Canon imagePROGRAF PRO-1000 £1199.99 If you enjoy seeing your pictures in print form (and who doesn’t?), it is worth considering investing in a desktop A2-capable unit. Of course, it’s a greater outlay than an A3+ printer but in terms of footprint, the difference is little, given the extra potential and the lure of doing exhibition-size prints at home. Your options are limited to an Epson SureColor P-800 at £899 or this Canon imagePROGRAF PRO-1000.

Order the Canon and it would be a very good idea to have someone on hand to help when it’s delivered. It weighs in at 32kg so not something you can manoeuvre easily (if at all!) on your own. One thing is for sure, it is so substantially made that it should withstand heavy and frequent use.

When you are organising a home for it, remember to allow extra space behind the unit to allow for the rear paper support that folds out from the printer body.

Set-up is simple enough, although I did get a warning message that the printer was not level and I could go

no further until I sorted this. It is quite sensitive.

The supplied quick-start guides and the large LCD panel in the printer itself graphically guide you through the process of installing cartridges and the print head. The 12 Lucia Pro ink cartridges simply slide and lock into position and there is no way you should go wrong. After set-up the ink levels are a little under half full, so you’ll need to pay out for ink refills sooner than you might think.

The initialisation process takes about 25 minutes. In the meantime you can load the printer software onto the computer, and then you’re ready to print.

I was using a Mac (the supplied CD is Windows only so Mac users have to download the driver from canon.com/ijsetup) laptop running Yosemite OS and a range of media from Canon, Epson and PermaJet. We had an early test sample and stock of printers had not yet reached the shops, so ICC profile support at the time of writing was limited.

That meant that third-party papers were used with the printer looking after colour reproduction. There’s a menu of paper finishes available on the printer accessed via the LCD – obviously not for Epson and PermaJet materials – so I selected the nearest finish and used that. For example, on Epson Traditional Photo Paper, I selected Plus Semi Gloss.

However, despite this way of working I was getting brilliant results from the outset. The comparison images from files I had printed previously with various printers looked spot on. Colours looked vibrant, contrast was impressive, intricate detail was well reproduced and tonal gradation was lovely. The same high level of performance was seen on black & white prints. I like contrasty monochrome and this printer certainly delivered in this

respect on gloss but it was also good with more subtle images packed with delicate midtones on fine art media.

Print speed is good too, with an A3 print emerging in 4.5 minutes and an A2 in just shy of ten minutes.

Switching between glossy and matt paper finishes does not require a black ink changeover which saves time and ink.

After the print has emerged, the printer continues to whirr away for a minute or so and several menu items are greyed out during this period.

The unit is quiet in operation and any noise it generates is low-pitched.

The only mechanical problem I had was head strike on A2 sheets of a baryta-type paper with gently curling corners. In the paper related settings menu the printer head height can be adjusted so instead of standard I set high and that sorted it. WC

Verdict If you are looking for an A2 desktop photo printer, your options are limited and it is true that the Canon imagePROGRAF PRO-1000 and the Epson SureColor P-800 are exceptional units that are capable of long-lasting, excellent quality output acceptable to the most discerning photographer.

Cost-wise, the Canon at £1199 is more expensive than the Epson selling at £899, but already one UK retailer has the Canon at £999 so price is possibly less of a factor. The extra cost can be justified on the grounds that the Canon’s robust build means it is built to last.

Ultimately, buying a printer of this level is a decision to be made only after you have seen both in the flesh and tried printing out images of a known quantity. Visit your local photo dealer and get a demo with your own files.

Whichever way you jump, you won’t be disappointed.

Pros Output quality, no black ink switch needed for gloss and matt papers, LCD and menu, build quality, quiet Cons No roll option, heavy

Photography News Issue 28 absolutephoto.com

Photography News Issue 28 absolutephoto.com

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Software test

Software round-up If you think the world of camera and lenses is fast-moving, just consider the software market where new programs and updates are very common. In this round-up we take a look at the latest arrivals and assess how they can take your image-making to new, higher levels

Corel AfterShot Pro 2.3 £58.99

Specs Prices £58.99 currently, normally £69.99. 30 day money back guarantee. Trial version available Compatibility JPEGs, TIFFs, Raw formats including ARW, CR2, DNG, NEF, ORF, PEF System requirements Windows: Windows 10, 8.1, 8 and 7; Intel Pentium 4 or later, AMD Athlon 64 or later; 2GB RAM; 400MB of hard disk space; 1024x768 screen resolution Mac: Mac OSX 10.7.3 or later (32-and 64-bit); All Intel Macs supported; 2GB RAM; 250MB of hard disk space; 1024x768 screen resolution Linux: Ubuntu 12.04 or later, Fedora 16 or later; Intel Pentium 4 or later, AMD Athlon 64 or later: 2GB RAM; 250MB of hard disk space; 1024x768 screen resolution Contact corel.com

Corel Aftershot Pro is a workflow software that offers a range of cataloguing, editing and output features, and which rivals the market leader in that area, Adobe Photoshop Lightroom, at a competitive price. It’s available for Windows and Mac and costs £58.99. This is for an outright purchase, ie. it’s subscription-free, an important consideration as subscriptions-based software is becoming more common. Corel made a point of this when it launched this version of AfterShot and also said it would be the ideal workflow partner for Photoshop CS6 users who are no longer eligible for Raw updates from Adobe. That does make sense, and in AfterShot, you can link Photoshop as an external editor for one-click access.

Raw formats, JPEGs and TIFFs are compatible with AfterShot 2 and processing is non-destructive so original files are left untouched and you can make virtual copies.

The interface is clean with three viewing options of the active catalogue: thumbnails, a film strip running vertically or horizontally with the selected image shown large or just one large image. Toggling between the three options is possible with function keys.

To the left and right are tool palettes. The left side has tabs for the library, output and file system and to the right are the editing functions. Both tool palettes can be locked to the interface or left floating, which is a good way of working in a two screen set-up.

In both palettes, favoured functions can be ‘pinned’ for quick access to them. It is a neat feature. So, for example, under the Detail tab is Sharpening and if you want that item showing all the time, click on the pin icon and it then becomes part of the Pinned menu which sits top of the list.

If you prefer to work from the six individual menus, the order can be rearranged to suit your needs. The Standard

menu includes Histogram and Basic Adjustments so I had this at the top followed

by Detail and Color.

There is plenty of control in the editing menus and in a selection of the menus are items by Perfectly Clear which offer single click enhancements. It took a short while to remember that while the tools and sliders appear greyed out they are active.

In the Detail menu there is Perfectly Clear Noise Removal. For applying noise removal you can see a preview and you get that shortly after adjusting the slider or selecting the tool. There is a one-click button for viewing the image at 100 percent and next to that is a fit-to-screen icon. A slider is available for up to 800% magnification should you want to get into that level of detail.

One very useful tool in the top toolbar is the magnifier that lets you check images at high magnification very quickly. It works in thumbnail view so it does mean you can speedily check image sharpness and flag or rate shots without having to enlarge each individual image. The strength of the magnifier can be varied so you can very critically check quality. The only slightly annoying thing with the tool is that if you want to change an adjustment parameter, the magnifier follows the cursor as you go to the tool palette rather than stay in position.

This means you have to find the same spot after any changes and rely on memory to compare the before and after effects.

Nevertheless, a very useful feature that I used a lot.

Another a great feature is the option of layers for image adjustment and cloning/ healing. The great thing, for cloning/healing, for example, is that you can do much more than transcribe a circle which is what you are limited to in Lightroom. The Polygon and Curve tools let you draw around the

One very useful tool in the top toolbar is the magnifier that lets you check images at high magnification very quickly area you want to work on so you can be quite precise. You can add 10 adjust layers and one Heal/Clone layer and access each one individually with the drop-down menu.

It means you can do quite complex editing or cloning/healing within AfterShot.

Corel claims AfterShot is faster than Lightroom and that does seem to be true, even with larger catalogues comprising several thousand Raws – images refreshed quickly when scrolling through the images. Image export was quick too – 3.5 minutes to export 25 Sony A7R II Raws to uncompressed 16-bit TIFFs. On the downside, during processes like image export there is no indication that I could see to tell me something was happening until it happened – a process bar would be nice. Also, the cataloguing and printing sides of AfterShot were okay but nothing special, with limited keywording and print options. The software could be clunky with some processes slow.

Finally, I also had more than my fair share of crashes and the need to force quit but that could have been for any number of reasons.

In all cases, though, it was after I asked the software to do something. WC

Above far left Interface design is clean, with the central area reserved for images and the two sides for tool palettes. The main tool palette is to the right, although both can be floating rather than docked. In this image you see the magnifier in action.

It’s an excellent tool and makes checking sharpness fast and simple as it works with the thumbnail view.

Above near left AfterShot Pro 2.3 offers a full range of editing tools including layers and a versatile cloning/healing feature. In the tools palette interface, your favourite features from individual palettes can be pinned so they are on constant show and placed at the top of the palette.

Verdict AfterShot 2 Pro is a capable software with lots of potential. I really liked the magnifier, even though I’d like it not to follow the cursor once off the image, and the versatile cloning/ healing tools are very useful. It is certainly quick too so no complaints there.

If you are not committed to a workflow software or are disenchanted with Adobe’s subscription drive or Adobe in general, Corel AfterShot does offer a viable and low cost option so it is well worth a look.

Pros Price, magnifier, layers, clone/heal tool, Windows and Mac, good slide show option Cons Can be a little clunky, limited cataloging and print options

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Software test

Capture One Pro 9 €279 (£210) The makers of Capture One Pro 9 is Phase One, well known provider of medium-format digital cameras and backs, so you may think that the software is dedicated to its cameras.

But nothing could be further from the truth and Capture Pro 9 is a fully featured workflow software that supports more than 400 camera models. It’s cross platform so Windows and Mac users can enjoy its benefits of an excellent Raw processor and asset manager, too. Version 9 has a new processing engine and extra adjustment tools.

It has two ways of working, depending on your needs and you are not confined to one or the other.

Catalogue-based file management is for large collections of pictures. In this case, image previews and settings are stored in a catalogue database. So if you want to build a database of all your images taken in the coming year, use a Capture catalogue and upload images into it as the year progresses. It is easy then to look back whenever you want and output images you worked on previously. It is very similar to working with a Lightroom catalogue.

Session file management is ideal if you want to keep all the shots from a day’s shoot in separate workflow folders, ie Capture, Selects, Output and Trash. Each folder can be viewed independently and albums can be made from the session folders. In tethered shooting this means you can assess and rate images very soon after exposure.

Importing existing images into a catalogue/ session folder and generating previews isn’t especially fast. From an existing collection of files, it took over 45 minutes to import 1100

images but of course, you can set things going and disappear for dinner.

Both the catalogue and session interfaces are broadly similar. The difference is the number of folders but the tools are all in the same place and there are plenty of them.

The top tool bar, which can be customised in terms of what’s available, has plenty of features including a loupe that can be used on thumbnails. It’s worth noting that the loupe in AfterShot Pro is faster giving a sharp preview.

There is another row of tools running below the top toolbar. Here are 12 icons, taking you from the library view to the modules for adjusting exposure, colour, lens corrections, detail adjustments and finally to output and batch output.

The order of these module tabs can be rearranged (or tabs can removed entirely) to suit how you prefer to work. Plenty of options are available for floating menus (51 are possible) and these tools can also be added to any of the modules too. In fact, you could just have one ‘super’ tab with all your usual adjustments in one place.

Raw processing quality is first rate, obviously helped by the vast range of controls on offer, and certainly comparable with Adobe Camera Raw and Lightroom. To complete Capture Pro 9’s workflow credentials, the keyword and library function is very powerful and the print module has lots of versatility.

There is a good selection of templates and the option to create your own. WC

Specs Prices €279 (or €12 a month subscription for 12 months, €19 a month for three months) System requirements Windows: Windows 7 64-bit, 8 64-bit; Intel Core 2 Duo or later; 4GB RAM; 10GB of free hard drive space; 1280x800 monitor Mac: OS x 10.9 or later; Intel Core 2 Duo or later; 4GB RAM; 10GB of free hard drive space; 1280x800 monitor Contact phaseone.com

Verdict Capture Pro 9 is a powerful workflow software and while it is not cheap, it is very, very good with huge potential in terms of what it can do and how it can be done. Whether you buy it or take the subscription option, if you want an excellent workflow package with very good tethered shooting features and a high quality Raw processor, this could be the package for you.

Pros So many editing options including layers, Raw processing quality, workspace options, tethered shooting Cons Lots to learn

Macphun Aurora HDR Pro v1.1.1 £79

Specs Prices Aurora HDR Pro £79 (current offer price), Aurora HDR £29.99 from iTunes System requirements Processor Core 2 Duo late 2009 or later 4GB minimum RAM OS X 10.9.5 Mavericks or later Contact macphun.com / stuckincustoms.com

Brilliant at dealing with very high contrast scenes, HDR processing has great creative potential too. However, it is true that the technique is also seen to be gimmick thanks to the garish, cartoon-like, highly detailed images that some photographers like to produce.

Aurora HDR Pro is a Mac only software (a Windows version is on the way), developed in collaboration with Trey Ratcliff, a leading HDR image-maker, and the aim was to produce the world’s most powerful HDR editing software.

A basic version, Aurora HDR, is available through iTunes for £29.99, but it does not offer Raw compatibility, no Photoshop or Lightroom plug-in support and fewer editing features.

Has Macphun succeeded in its aim? Yes, it probably has. There is a huge amount of control possible with Aurora HDR Pro but that creative flexibility does not come with complexity and it’s an easy software to work with.

Open the software and an image upload folder appears with the options to align exposures if the camera is handheld, sort ghosting with moving subjects and to cure

chromatic aberration. A five image bracket took about 40 seconds (without any initial setting options used) to appear as a HDR preview with the effects of the many presets appearing in a thumbnail strip. With the Alignment, Ghosts Reduction and Chromatic Aberration Reduction options engaged loading took around 90-100 seconds.

There are collections of basic, realistic and subject-based presets plus a set of Trey Ratcliff’s presets with titles like ‘First Time I Did Mushrooms’ and ‘Party in my HDR pants’.

In total, there are 59 presets with the option of creating and saving your own. Click on any preset and the preview refreshes very quickly.

Down the right side are 14 sets of controls with sliders used to alter the effect. Of special note is HDR Denoise, a quick, very effective way of getting rid of the vivid noise that can afflict the shadows in HDR images.

Aurora HDR also has the option of layers with similar blending modes as those in Photoshop (Soft light, Overlay, Screen etc) and there is an opacity slider too. Further flexibility

is provided by a masking mode where localised areas can be edited. There is a very versatile gradient mask and a copy mask is available too.

There is plenty of potential for more obvious HDR effects should you want them but it’s very good for subtle results. I think where this software has an extra appeal is its ability to produce quite normal-looking pictures from extreme lighting conditions. It works very well with hand-held brackets and the alignment option readily and effectively deals with very slight movement in between bracketed shots.

Export time is fast, with a five-shot bracket exported as a finished 16-bit TIFF taking around 12 seconds. The export dialogue box has plenty of options with Facebook, flickr and Twitter among them. Images can also be opened in an external software at this point.

Finally, if you want to save projects for future editing, that is easy enough too.

The degree of creative control is very impressive so while the software is really easy to use to get a basic result, there is a lot to learn when to comes down to fine-tuning results. WC

Left Once the bracketed images (Raws, TIFFs or JPEGs) have been selected and preprocessed, you are presented with a preview and many preset options – many tasteful, many less so – as well as tools for further adjustment. The final adjustments can be saved as your own preset.

Verdict Aurora HDR Pro is an impressive, highly capable software. The benchmark HDR software for many is Photomatix and the Pro 5 version, available for Mac and Windows, costs £72. Aurora HDR Pro costs £79 (an offer price, correct at the time of going to press) and you get more features with layers being top of the list.

Windows users currently don’t have the option, but Mac-based HDR users do and Aurora HDR Pro deserves a serious look.

Pros Offers great control, handling, layers, mask tools, denoising feature Cons Mac only (at the moment)

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Software test

PortraitPro 15 £42.25 PortraitPro has been in many a portrait photographer’s armoury for many years and now in v15 there are even more options.

Probably top of the list is the collection of make-up tools followed closely by improved skin colouring controls and an enhanced mode for child portraits. As a sign of the times there is a wide-angle correction mode for selfie portraits. Add the new extras to the existing face sculpt features, facial enhancement tools and lighting control options and you have a potentially indispensible tool for every portrait worker.

PortraitPro has always been an easy software to use and v15 is no different. The Studio and Studio Max versions can work as a standalone software or as a plug-in in Photoshop or Lightroom and are compatible with Raws as well as JPEGs and TIFFs. Getting a preview to work on is really simple. Just load the image, select whether the subject is male, female, girl or boy and click OK. The only thing you may have to do is modify the facial outline that the software provides. If needed, this is quick to do and a matter of clicking and dragging the editing points around.

With couple or group shots you have to go back to the original and if no face is detected you have to do it manually so the process is slower. Here you just follow the onscreen prompts and click on various facial features. Then you have to work on each face individually. It’s quick to do, but it all takes time which is a consideration if you have a whole bunch of family groups to work on.

Once you have a preview, ranged down the right of the interface are all the controls Before

If it your first time using the software it is worth taking a few minutes and having a play with the sliders you need and these are neatly grouped. Click on Eye Controls, for example, and you can whiten eyes, darken pupils, alter reflections or even add coloured contact lenses.

To appreciate the vast range of parameters you can adjust, if it is your first time using the software it is worth taking a few minutes and having a play with all of the sliders. It’s a very impressive range.

Under the new Makeup Controls there are options for lipstick, mascara, blusher and much more. Knowing a little about make-up might help you apply realistic effects but the important thing to remember is not to overdo it if you want natural-looking results.

The great thing with this software is that all the effects are applied with sliders and the ‘after’ preview is instantly refreshed so working speedily is not an issue.

If you have a big portrait sitting to work through, that is important. The Studio and Max versions have batch processing options – Max having a full batch mode. As these versions are also Raw compatible the extra outlay is readily justified. WC

Above Load the image for working on and the software automatically detects features.

Below There’s a extensive menu adjustments on offer with make-up the latest addition

After

Specs Prices PortraitPro Standard edition £29.95, Studio edition £42.25, Max edition £92.45 (sale prices correct at the time of printing). Regular prices are £59.90, £84.90 and £184.90 respectively.

Features Studio and Max editions support Raw files and can be used as a plug-in in Lightroom and Photoshop System requirements Windows: Windows 10, 8,7, Vista and XP, with the latest updates installed; 2GB RAM, 4GB or more recommended for high resolution images; 1024x600 minimum display Mac: OSX 10.6 or later: 2GB RAM, 4GB or more recommended for high resolution images; 1024x600 minimum display Contact portraitprofessional.com

Verdict I’ve used PortraitPro for many years and its skills have proved invaluable time after time especially its skin smoothing feature. It just needs restrained use because it can give results that look artificial and do carefully check the ‘before’ and ‘after’ images before exporting the image.

The improvements in version 15 are totally worthwhile and for the money, this software deserves to be in the armoury of every portrait photographer.

It is very easy to make all sorts of significant changes including the face’s structure and lighting to the final portrait so it depends on the effect you want. We did go slightly over the top with our changes to model Amber Tutton here so they would show in print. Used with consideration, it is true that PortraitPro 15 does a great job and your subject is likely to be very grateful.

Pros Easy to use, powerful, versatile Cons Needs self-discipline to avoid over the top results

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Photography News Issue 28 absolutephoto.com

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Monitor test

Screen test Monitors are a vital part of every photographer’s set-up, but they often don’t get the consideration they deserve. Let’s have a look at three 27in models – at three different price points – all of which are aimed at discerning photographers Review by Will Cheung When it comes to the home digital set-up, most keen photographers will probably spend more time researching their next computer than their next monitor. Yet a monitor is an important link in your imaging workflow and deserves serious consideration given the variety of models available.

To be fair, there is a great deal of techno-babble to wade through. So what exactly should you look for in a photo-quality monitor?

Size does matter so, unless desk space or budget is at a premium, you should aim for a 24in screen with a native resolution of at least 1920x1200 pixels. In this test, we’ll look at three 27in LED backlit monitors with 2560x1440 resolution.

A 27in screen lets you enjoy your images at a decent size with room for tool palettes to one side. If you

already have a decent monitor you may also be able to form a two-screen set-up, with the new monitor used as the main screen and your old one for other windows and palettes.

You may also be considering going for a 4K (or even 5K) screen, but even if your computer’s graphics card supports 4K, and you buy a very large monitor so you can see what’s on your screen, it is early days for this technology. You might be better off waiting for the rest of the world to catch up first.

For imaging, buy an IPS (In Plane Switching) screen. TN (Twisted Nematic) screens are cheaper than IPS models but are more suited to gaming than imaging. An IPS model will also show a larger number of colours, which will not distort when viewed at different angles.

The latest imaging monitors feature wide-gamut IPS screens so you’ll see around 99% of the Adobe RGB colour space.

What should you look for in a photoquality screen?

Finally, don’t forget a monitor’s physical characteristics – not just size but also how much height, tilt and lateral adjustment is available, and whether the screen can be rotated upright. Also consider what connections it has – are there enough to mesh in with your peripherals?

The monitors on test here are at three key price points. All are wide-gamut IPS-type monitors with 2560x1440 pixel resolution and allow horizontal or vertical use.

Testing was done using an Apple Mac Mini computer using its miniDP and HDMI outputs.

BenQ SW2700 PT £499

Specs Type AHVA (IPS), backlight LED

Viewing angle 178° vertical/178° horizontal

Inputs DVI-DL, HDMI 1.4, DP1.2, USB 3.0 (2x downstream, 1x upstream)

Aspect ratio 16:9

Height adjustable 130mm

Native resolution 2560x1440

Brightness 350cd/m2

In the box DVI-DL, miniDP to DPI, USB 3.0, Palette Master Element CD, hood

Viewable image size 596.7x335.6mm

Contrast ratio (typical) 1000:1

Dimensions (wxhxd) 653x445.x323mm (landscape)

Pixel pitch 0.2331mm

Wide gamut coverage (typical) 99% Adobe RGB

Weight 8.3kg

Pixel density 109ppi

Typical power consumption 65W

Contact benq.com

Display colours 1.07 billion

Power saving mode 0.5W

It might be the cheapest of the three screens tried here, but don’t be fooled by the price. The SW2700PT is very good and so certainly impresses on the value-for-money front. The price also includes a viewing shade to block light and Palette Master Element calibration software.

It’s not as robust as the other two models on test – being much lighter you can see where some money saving has been made as you adjust its height. Sliding the screen up and down is not as smooth as it could be, but it works and the monitor stays put once in place. The height adjustment range is 130mm, from 45mm to 175mm (when measured from the work surface to the base of the screen in horizontal format).

Adjustment controls are tucked under the bottom edge of the screen with no indication what they do, apart from a small on/off icon on

the far right. Some random button pushing reveals all though, and the on-screen display is simple enough to navigate. There are plenty of options to fine-tune the image too, including colour space, colour temperature and gamma settings, plus a black & white mode. Three custom keys are available to dedicate functions for one-click access.

In use, the BenQ showed no problems at all. Image sharpness and colour rendition were impressive, with no glare or reflections seen on the screen. In fact, in this test, the BenQ’s image sharpness seems to be the best of the trio by a tiny margin.

Using a reflected lightmeter to take readings across the screen showed that there is a 0.3EV difference between the centre and the edges – more variable and noticeable than the other two screens, but not significant.

Verdict For the money, this screen is an absolute bargain. It has enough control features for many photo enthusiasts and image quality is very good, particularly in terms of sharpness. This is a monitor that will certainly stand up to critical use, despite its extremely affordable price.

Pros Price, comes with hood Cons Underside buttons a little awkward, but not much else

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Monitor test

EIZO ColorEdge CG277 £1428

Specs Type IPS, backlight wide-gamut LED

Viewing angle 178° vertical/178° horizontal

Inputs DVI-D 24pin, DP, HDMI, USB2.0 (2 upstream, 2 downstream)

Aspect ratio 16:9

Height adjustable 150mm

Native resolution 2560x1440

Brightness 340cd/m2

In the box DVI cable, miniDP to DPI, USB 3.0, hood, utility software CD

Viewable image size 596.7x335.6mm

Contrast ratio (typical) 1000:1

Dimensions (wxhxd) 646x576x281.5mm (landscape)

Pixel pitch 0.2331mm

Wide gamut coverage (typical) 99% Adobe RGB

Weight 14.7kg

Pixel density 109ppi

Typical power consumption 43W

Contact eizo.co.uk

Display colours 1.07billion (HDMI, DP), 16.7million (DVI)

Power saving mode 0.5W

From a leading name in monitors comes the ColorEdge CG277, aimed at imaging pros. It’s the most expensive in our test, but it’s also the most substantial and offers the best control. A hood and ColorNavigator software are included.

The monitor comes set up and ready to go, and you can’t help but be impressed with its build quality. Screen height adjustment is impressively smooth and without creep, ranging over 150mm, from 20mm to 170mm above the desk.

Adjusting the Eizo’s screen is done with the front-facing buttons along its bottom edge. Push Enter to show a six-item menu that includes colour, gamut and self-calibration.

One of CG277’s key features is its internal colour sensor that swings up onto the screen to self-calibrate.

This process takes 25 minutes, and

the arm returns to its resting position when complete. Self-calibration can also be scheduled, if preferred. If you use an external calibration device, the screen’s sensor will recalibrate according to those settings.

The screen is an IPS panel that reproduces 99% of the Adobe RGB colour space and features EIZO’s own Digital Uniformity Equalizer (DUE) technology that keeps colour and brightness consistent across the screen. Certainly, illumination across the screen was very, very even with our lightmeter reading showing a difference between the centre and the edges of 0.1EV – barely perceptible to the naked eye.

Overall, image reproduction is very good, with no glare. Images have excellent depth, even if you are not viewing face-on. A very impressive performance indeed.

Verdict Without doubt this is a very fine, highly specified screen – but at a price. If accurate colour is your business then this is definitely a monitor for your shortlist, but it’s perhaps too pricey for many enthusiast photographers.

Pros Build quality, height adjustment range, built-in calibration, good on-screen display Cons Price

NEC MultiSync PA272W-BK £950

Specs Type AH-IPS, backlight GB-R LED

Viewing angle 178° vertical/178° horizontal

Aspect ratio 16x9

Height adjustable 149mm

Native resolution 2560x1440

Brightness 340cd/m2

Viewable image size 596x336mm

Contrast ratio (typical) 1000:1

Pixel pitch 0.23mm

Wide gamut coverage (typical) 99.3% Adobe RGB

Pixel density 109ppi

Typical power consumption 73W

Display colours 1.07 billion

Power saving mode 1W

Inputs DP, miniDP, HDMI, DVI-D Dual Link, USB hub (2 upstream/3 downstream) In the box DVI cable, miniDP to DPI, USB 3.0 Dimensions (wxhxd) 640x396x235mm (landscape) Weight 12.9kg Contact nec-display-solutions.com

NEC markets this screen, with its AH-IPS LCD panel, for colour accurate use and claims that it reproduces 99.3% of the AdobeRGB colour space.

The unit comes assembled ready to go and the box includes a copy of MultiProfiler software. Of the three screens on test, this unit is the only one that doesn’t come with a shade as standard.

No complaints about the NEC’s solid quality build. It’s easy to adjust too, gliding up and down the upright support without any slippage. There’s plenty of height adjustment available, down to 17mm at the bottom and 166mm at full extension – enough for tailoring to anyone’s individual requirements.

Navigating the menu is very easy, thanks to separate up/down and left/right rocker controls,

together with on-screen prompts.

There are many features to explore, including some unusual items like Picture-in-Picture and Pictureby-Picture (available when using two inputs) as well as the usual image adjustment features. In the Advanced section, you’ll find items like Auto Brightness, where the screen dims or brightens according to ambient light levels, and plenty of other options that you will probably never use.

Image quality is very good indeed, and illumination is even from one corner of the screen to the other – within 0.1EV. Sharpness is also good, in fact it’s just about the best of the three screens when used at the default settings. I found no issues with colour variation either: everything looked faithful and nicely saturated from a variety of viewing angles.

Verdict There is no doubting the quality of performance available from the PA272WBK, particularly its sharpness. And at £950 it’s decent value for money too. This is a monitor with lots of features and it’s solidly made, so should withstand constant use for a number of years to come.

Pros Controls, features Cons Not much

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Photographic holidays

Stunner holiday Buyers’ guide

© John Gravett

© French Photographic Holidays

© Antti Pietikainen

ENJOY THE UK’S BEST VIEWS

© John Gravett

CAPTURE FLAVOURS OF FRANCE

© John Gravett

© Antti Pietikainen

© French Photographic Holidays

© John Gravett

SHOOT THE NORTHERN LIGHTS Artisan Travel’s Aurora Zone

French Photographic Holidays

Lakeland Photographic Holidays

Although not the only destination it offers, Artisan Travel has long specialised in winter holidays to Northern Scandinavia and the Arctic Circle. Realising the popularity of that most photogenic phenomenon, the Northern Lights, the company now offers a special service focused on experiencing the Aurora Borealis, aptly called Aurora Zone.

Having run for over four years now, Aurora Zone is the UK’s only dedicated Northern Lights holiday service, with trips to Finland, Sweden, Norway, Iceland, Greenland and Canada. Employing an extensive range of trusted guides and photographers, “this is”, says Artisan’s Ashleigh Blackburn, “quite simply your best chance for seeing the Northern Lights.”

There’s no substitute for local knowledge, so Aurora Zone’s trips are devised with help from weather experts, locals, and “born and bred Laplanders”, and only take you to areas of Northern Europe and north America where the Aurora Borealis appear most frequently.

Trips range from three nights to more than a week and you can either join a small group or create a fully tailored itinerary yourself. ”Some are happy to speed off into the Arctic chill on a snowmobile” says Ashleigh, “others find that prospect somewhat less appealing; it’s all about personal preference so we offer Northern Lights holidays on four levels ranging from Leisurely to Very Active.”

Along with accommodation and meals, many packages, for instance the ‘Photography in the Finnish Borders’ trip, also include cold weather clothing for the duration of your stay as well an introduction to shooting the Aurora. “Of course,” finishes Ashleigh, “There’s never a full guarantee that you’ll see the Lights, but if they are top of your bucket list, then you’re giving yourself the very best chance by booking with the experts”. artisantravelcompany.com info@artisantravelcompany.com 01670 785049

From their beautiful 17th century home near Brantome in the Dordogne, Paul and Pam Edmunds run French Photographic Holidays (FPH), which has been catering to photographers for the last three years. Typically offering a week’s tuition, including up to six half-day trips into the French countryside and villages, workshops cover all skill levels and are tailored to individual needs.

Advice also covers workflow, processing and printing tutorials, with a maximum of four photographers per workshop, and an Apple Mac workstation for each guest to use, so you’ll get plenty of oneto-one advice from Paul.

A professional photographer for the last 21 years, Paul has worked in the graphic arts industry for almost double that time. But his interest started even earlier, at around five years old; “my father worked for a large photographic studio in Vauxhall and I would go to work with him on a Saturday morning, it always fascinated me!”

“For fans of portraiture,” says Paul “there’s also access to our fully equipped studio and a model shoot is offered for an additional €50, which can be divided between guests”. And if you need to persuade your other half, quality accommodation is also at the heart of what FPH offers and with five-star facilities, and all-inclusive breakfast, lunch, and a four-course evening meal provided by culinary expert, Pam; ‘non-participating’ guests can also stay at reduced rates.

“We always help guests get the best results they can from their equipment,” finishes Paul, “and one of our earliest guests said she learned more in one week than the previous two years at college!” frenchphotographicholidays.com frenchphotographic@gmail.com 0033 (0) 5535 47485

Owned and operated by John and Gail Gravett, Lakeland Photographic Holidays (LPH) has been offering residential photo courses since 1999.

Based in Braithwaite near Keswick, LPH’s courses place you right in the middle of one of the UK’s most beautiful landscapes, but the company also offer regular international tours to the likes of Italy, India and the US. John has been a professional photographer for over 30 years, as well as having images and tutorials published in many leading photographic magazines and websites.

Lakeland provides full board, licensed accommodation in comfortable en-suite rooms, and workshops tend to start with what John calls a “camera clinic, where we discuss setting-up and ways that the menus in the camera can be utilised to improve workability.” Most excursions are within the Lake District national park itself, but you’ll also enjoy trips to the nearby Solway coast. Workshops are varied, so there’s plenty to suit a range of interests such as dedicated black & white courses and Photoshop and Lightroom training, while trips are tailored to the amount of walking you want to undertake. There are also special four-night youngpersons’ workshops in the summer for 16-18 year olds, and even younger photographers are welcome with a parent or guardian. “The days are finished of with a delicious dinner in our dining room,” says John, “and there are evening assessment sessions where guests’ photographs are reviewed and constructive feedback offered.”

What will photographers take away from their time with John? “I do my best to teach people to use their eyes better”, he says “and to get as much right at the taking stage as possible, but it’s also about learning how to get the most from the kit that photographers bring with them.” lakelandphotohols.com info@lakelandphotohols.com 01768 778459

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Photographic holidays

This time of the year, you can’t get through a TV ad break without someone trying to sell you a holiday in the sun. But who wants to spend all day in a package holiday pool? Why not splash the cash on something you’ll remember for a lifetime and book a dedicated photo break instead?

Photographic holidays and training experiences can be amazing fun, and there are courses and trips to suit all tastes and wallets. Here you’ll find a few of the best in the UK and abroad... © All Points East

© Knottinfocus

TAKE A ONCE-IN-ALIFETIME TOUR

© All Points East

LEARN NEW LIGHTING SKILLS

TRAVEL THE ETHICAL WAY © A Good Place

© Knottinfocus

© Wild Photography Holidays

Paul’s Studio

Responsible Travel

World Photo Adventure

Paul’s Studio, owned and operated by Paul McLachlan and based in Reading, offers a complete package when it comes to studio photography, of which training is a huge part.

Paul certainly has the experience to do it, having been teaching photographers the finer aspects of lighting with flash, exposure, and model craft for over 20 years. “Although many of my friends were photographers, I constantly found them asking me how to do things, especially when we moved onto studio and studio lighting”, he says.

All courses at Paul’s Studio are bespoke: “I don’t believe in ‘pile them high and train them cheap’, as in my experience that rarely works”, he continues, “in fact I don’t really like to call them courses for that reason, as it sounds too rigid – with this degree of flexibility I am able to structure courses to fit all needs and budgets”.

Paul’s comprehensive, bespoke, one-to-one coaching and skills development service means that all levels of photographer are welcome, from those requiring full attention to enthusiasts making the most of the space and seeking only occasional direction, or how to build a rapport with models. The clean, modern, air-conditioned studio is fully equipped with the latest Bowens lighting kit, so all photographers will need to bring is their camera. He also runs day and weekend events at some very prestigious locations.

“Overall” sums up Paul, “for me, the fun part is working with people and seeing the look of satisfaction on their faces when they realise what they can achieve with their camera.” pauls-studio.co.uk studio@pauls-studio.co.uk 07930 462906

Since 2001, Responsible Travel has been offering a smart service that matches people looking for holidays with some of the best small travel companies in the world – including a large number of photography specialists. There are just under 70 photographic-themed holidays on the responsibletravel.com website, so it’s a great first port of call if you’re looking for trips that get you closer to exotic sights, photogenic cities and unique landscapes. “Our help desk know our member tour operators inside out, and match up our customers with the best holiday company for their needs – whether this is in terms of a particular destination, a tailormade tour or those who want photographic tuition”, says Sarah Faith.

The company’s name comes from its commitment to responsible tourism, which includes supporting communities and conservation. “Our idea is quite simple,” says Sarah, “treat local people and places well, and they’ll often offer experiences and insights into their ways of life that you wouldn’t otherwise get. And as you enjoy a more authentic experience, they in turn benefit from jobs, income and ways to preserve their culture and environments”.

The holidays offered through Responsible Travel range from three days to almost one month in length, and cover destinations all over the world, from photographing the Northern Lights and ice formations in Iceland, to overland trips through Southern Africa. “In our experience,” continues Sarah, “the small companies we recommend are run by interesting people who founded them out of a deep love for locations, cultures, landscapes and wildlife – and photography! Consequently they offer a far richer experience than those offered by multinational package companies or hotel booking sites”. responsibletravel.com rosy@responsibletravel.com 01273 823700

World Photo Adventure (WPA) offers excursions, courses and workshops in the UK, Africa, Europe and Asia. Packages range from two-day ‘streets of London’ workshops to week-plus photo safaris in the Masai Mara with pro-spec telephoto lenses free to use. Attendee numbers for each course are kept low to allow a lots of one-to-one contact and training, but also the freedom to enjoy your trip as a life experience, not just a holiday. Tuition is open to all skill levels and there’s Lightroom tuition on offer alongside the expert shooting advice available.

WPA’s founder, Wilf James, told us; “Our courses are diverse, so there really is something for everyone; there’s everything from ‘get to know your camera’ days to hot-air balloon rides, photographing the ancient temples in Myanmar.”

Wilf’s tuition comes from a lifetime behind the camera, beginning his career working in a photography shop in Sussex, where he explained to customers how their new camera equipment worked.

He then started working freelance, often for the Brighton Tourist board shooting “everything from hotels, politicians, stage shows, and celebrities – a great learning ground.”

“Participating in a WPA course or holiday” he says, “gives clients the opportunity to interact with other photographers as well as their tutors, and the camaraderie they’ll feel is joined by an ability to see anew. Guests realise great images can be had in their local gardens, in nearby cityscapes and landscapes, and suddenly, they feel like they’re seeing with fresh eyes.” worldphotoadventure.com hello@worldphotoadventure.com 01306 230004

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Photography News Issue 28 absolutephoto.com

Technique Photo school

Camera class Everyone has to start somewhere, even pros, and in Photo School we look at the core skills every beginner needs to know. This month, how to improve your focusing on moving subjects and how to sharpen selectively in Photoshop or Elements Words & pics by Kingsley Singleton Focusing on static subjects is fairly straightforward, and once you’ve locked on (in Single or One-shot AF mode), so long as you or they don’t move, there shouldn’t be any problem. It’s moving subjects, that present more issues. Not only will their distance from the camera be changing all the time, they may move erratically, with their position changing in the frame.

Using your camera’s Continuous or Servo AF mode will keep hunting for them, it’s still possible to get more misses than hits, unless you tailor other settings in the right way as the focus may slip to unwanted areas.

Above If focusing is taking too long, try using the focus limiter switch, which restricts the focusing range.

1. Expand the area While it’s tempting to use the camera’s fully auto AF area for moving subjects – the mode in which all AF points are used and the camera basically decides where the picture should be sharpest – this is not always the most accurate route.

Generally, auto AF area looks for the most contrasty parts of the scene, so it may pick up points of the subject you didn’t want it to, or choose something else entirely.

Being selective is better, and limiting the area used to focus is a good idea, but you don’t need to go all the way back to a single AF point, which is tricky to hold on a moving subject – this is where expanded area AF helps.

Expanded area AF is given different names by manufacturers (for instance Nikon’s is called Dynamic AF while Canon’s is called AF Area Expansion), but all systems work pretty much the same.

Essentially, you still pick a single point, but around this, extra AF targets are used (you can decide how many) and this works wherever the point is positioned in the frame. Now, when focusing, if the camera can’t lock on with the chosen point, it will use the others around it as backup.

Priority is usually given to the chosen point, but it’s still a good safety net.

2. Use tracking AF Many modern cameras feature automatic AF tracking, which helps follow the target around the frame.

Again, this goes by different names from one manufacturer to another, but essentially the system uses colour

information as well as contrast as its guide. So if the same readings disappear from one AF point and are then detected on another, the camera knows that’s where the subject has moved to. Accuracy, of course, depends on the number of AF points that your camera has, and it works better if you’re following a subject that contrasts with the background, both in colour and shade.

3. Prefocusing On the fastest subjects, especially those moving towards you, even sophisticated, predictive AF tracking systems can struggle. In those cases it’s best to use prefocusing. This requires focusing on a part of the scene that you know the subject will move past or through; for instance a point of a race track where a vehicle will turn, or a rock that you know and animal will move to. This is different from most other action-focusing techniques, because it’s best done in Single or One Shot AF mode, and you can use a single AF point, too.

Focus where required, then shoot as the subject comes into range; you can either time it yourself, or use continuous Drive mode to rattle off several shots, making sure you don’t miss the action.

4. Increase the depth-of-field Here’s something that’s not a focusing technique in itself, but is still very useful in capturing moving subjects clearly; increase the depth-of-field to keep more of the scene in focus. A small change; say from f/2.8 to f/4 or f/5.6 is often enough to reduce errors, and when shooting with telephoto

AF Areas if your subject is fast moving and tricky to follow, use an expanded array of points, as above. Or, if you’re patient, you can prefocus on parts of the scene the subject will move through, below.

lenses, you’ll still achieve a pleasing blur in the background. As a bonus, you’ll find that stopping down from the maximum apertures improves optical quality, too.

5. Use focus limiting Many telephoto (and macro) lenses have a focus limiter switch and using this can seriously speed up the process of locking on when time is

Next month Manual focusing tips Final image

Photoshop skills Selective Sharpening Just like focusing, sharpening should be aimed at just the part of the pic that you want to be the focal point. In a portrait, this might be the face alone, or the eyes.

In a landscape you might want to sharpen only the foreground elements and avoid the sky.

Certain parts may also need more sharpening than others, so you might sharpen a rock texture more than water in a stream.

All this means you need to learn how to sharpen selectively. In Photoshop that involves selecting the area to sharpen first. For broad areas, the Marquee tools are best, but for detailed parts it’s the Lasso tools which allow greater control.

Next month: Selective sharpening in Lightroom and Photoshop’s Camera Raw.

short – as it usually is with moving subjects. The focus limiter allows you to trim the area over which the lens looks for focus, so while a model like Nikon’s 200-500mm f/5.6 might normally focus from 2.2m to ∞, if you know the subject isn’t coming that close you can reduce the area (to 6m to ∞) stop it hunting for the subjects or accidentally locking on to foreground objects, such as undergrowth.

1. Select the area to sharpen

2. Refine the Selection

3. Apply the sharpening

Pick the appropriate Selection tool – here, as we’re working on the eyes of a portrait, it’s the Lasso tool (press L or Shift+L). Now, in the Options bar, set Feather to 0 and draw around the parts of the image you want to sharpen. You can draw around both eyes together, or make individual selections by completing the first, then adding to it by holding Shift and drawing again. If you need to remove some of the Selection hold Alt and cut into it.

Click Refine Edge in the Options bar and set the Feather amount – this is the softness of the transition between selected and unselected areas; 0px gives a hard edge, which doesn’t look photographic, so use the preview to gauge how much softening looks good. The amount required depends on the pixel dimensions of the image and you can cycle through the previews with F, highlighting the selected and unselected areas. Hit OK when done.

Now the Feather has been added, you can add the sharpening. Go to Filter>Sharpen>Unsharp Mask and use the 100% preview to estimate the level of sharpening required. The level of sharpening required also depends on the pixel dimensions of the image (and how soft the original is). Here an Amount of 125%, a Radius of 1px and a Threshold of 2 Levels adds a crisp look without over-sharpening. Hit OK and then save the sharpened version as new file so you don’t lose the original.

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Photography News Issue 28 absolutephoto.com

Competition

Editor’s letter

I resolve to… WIN!

A Samsung memory card!

Capture life’s special moments across all devices with the ultra-reliable Samsung SD memory cards. Samsung’s latest SD cards can write data at an impressive 50MB/s and read data at an even higher 90MB/s. The cards are also amazingly reliable being water, temperature-, X-ray-, magnet- and shockproof, so shooting in the most challenging conditions isn’t an issue. We have one massive 64GB Samsung PRO SD card to award to one eagle-eyed winner.

Just complete the wordsearch below, and you’ll find one word in the list that’s not in the grid. Email us on puzzle@photography-news.co.uk with that word in the subject box by 15 February 2016. samsung.com and search for memorycards

A belated happy new year to you all. I hope that it is going well so far and that your resolutions are still intact.

I must admit that for me making resolutions is a futile exercise. Nevertheless, every new year I make a bunch of them and 2016 has been no different. Drinking less, eating more healthily and wasting less time in front of the TV always make my list – and no different for 2016 – but I have added a clutch of photographic resolutions too.

So, in 2016 I am going to shoot some film, carry less kit around, sell some of the stuff that I don’t need, use the tripod more, start three new photo projects and, for me probably the most difficult of the lot, shoot fewer pictures while shooting more pictures worth keeping.

With digital I do tend to shoot a lot and have the occasional (okay, frequent) bout of obsession where I linger perhaps too long at a location and over-shoot it. I will continue to obsess because it often leads to better pictures, in my view, but I’m going to be more selective and only linger if it’s truly worthwhile. That, of course, is not an easy judgment to make, but I am going to try.

The film cameras are out, dusted down and primed with new batteries. There's a new one on the way, too. And I've bought some film.

Last year, I sold several medium-format cameras during a massive de-clutter session and managed to keep one by default, a Mamiya 645 with a 45mm lens, simply because it was in a box I didn’t look in. That’s lucky because that is going to be one of the film cameras I intend to use alongside a Leica M rangefinder and a Canon F1N with a 20mm f/2.8 lens I bought cheap off eBay a few years back. I also have several ‘toy’ cameras at my disposal including a Sprocket Rocket and a pinhole.

Setting myself photo projects is something I have done for many years and I have a good many going right now. Most are fun and nothing more than a reason to get the camera out, so I photograph rubbish, umbrellas and selfie shooters whenever I can.

Of the three projects for 2016, I have shortlisted two ideas and have even started working on them. When I say work, I mean I have done some research on the web, although by the time you read this I might have even taken a few pictures too.

One is the Docklands Light Railway – well actually it is not the DLR itself but the immediate areas around its stations, all 45 of them. I’m not sure what aspect I will concentrate on so I need to get on the train to London to work that out.

The other is piers. According to the National Piers Society, there are 58 surviving piers, mostly in the southern half of the British Isles.

As I love the sea and the coast presents myriad additional photo opportunities too, the idea of camera-toting trips to the seaside to shoot piers has massive appeal.

Both ideas have potential whether I shoot with film or digital. Of course, it could be a potent mix of the two so I’m going to keep my options open for now.

Photo projects, of course, do not have to be about taking pictures but can include a broader range of image-related activities. A few ideas worth considering are featured in this issue.

I've just started an A3 60-page photobook of my best shots which will keep me busy until we meet again next month.

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CMOS Colours False Filter

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Photography News is published on the third Monday 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. Photography News is a registered trademark of Bright Publishing Ltd. The advertisements published in Photography News 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.

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Photography News Issue 28 absolutephoto.com

Advertisement feature Advanced Hybrid Multi Viewfinder

XF100-400mm F4.5-5.6 R LM OIS WR

With an electronic viewfinder (EVF), an optical viewfinder (OVF) and an electronic rangefinder (ERF), the X-Pro2 offers photographers every conceivable finder option to make composing images easy.

The EVF offers 2.36 million dots for impressive detail and superb colour accuracy. The faster processor has further benefits too, improving the previous display speed from 54fps to a maximum of 85fps to virtually eliminate image delay when shooting moving subjects, while viewfinder blackout is just 150ms; the equivalent of an optical viewfinder.

The OVF now has a dioptre correction function and a longer eye point for more comfortable viewing, while the ERF is the same as that found in the X100 series. It works by superimposing a small electronic finder in the optical finder, enabling you to check the effect of function settings such as exposure and white-balance in real time.

Weather-resistant body

The body shape may not have changed dramatically, but the addition of weather resistance – by virtue of 61 seals – is a big improvement over the X-Pro1. Just like the X-T1 (the only other weather-resistant X-series body), the use of the seals means the camera body is splash and dust resistant and can work in temperatures as low as -10°C. The body itself is made from magnesium alloy so it’s ready to withstand the rigours of daily use, plus it features the same semi-gloss black finish of the X-Pro1.

On the back of the body, the rear LCD is now three inches in size and uses 1.62 million dots. There’s also a smarter GUI (Graphical User Interface) complete with redesigned menus to give the X-Pro2 a more sophisticated air. The menus have eight lines per ‘page’ and there’s the addition of a My Menu feature that enables you to create shortcuts to the features you use the most.

Combined with the familiar Q Menu, you can quickly access up to 32 features.

Further neat touches Dual SD card slots Allow multiple ways to save files and reduce the risk of data loss. Slot 1 is also UHS-II compliant.

Wi-Fi Wire-free connectivity for easy downloading and sharing of shots via a smartphone or tablet and remote control of the camera for additional versatility.

Interval timer Shoot a time-lapse of up to 999 frames with intervals of between one second and 24 hours.

Integrated ISO dial Like old film cameras, the ISO sensitivity selector is built into the shutter speed dial so you can check the ISO without turning the camera on.

Shutter durability Despite offering a faster maximum shutter speed of 1/8000sec and flash sync at 1/250sec, the shutter unit is now durable for 150,000 shots.

C position on exposure compensation dial +/-3 stops can be accessed directly via the dial, but turning it to the C setting allows up to +/-5 stops to be set with the command dials.

Power management Three modes allow you to extend battery life up to 330 frames per charge.

The XF range of lenses continues to grow and with this latest introduction, X-series users can now reach further than ever before. The weather-resistant XF100400mm brings sports, action, wildlife and any other long distance subjects well within reach thanks to its 152-609mm (35mm equivalent) focal range.

Featuring an optical construction of 21 elements in 14 groups, the supertelephoto zoom has five ED elements and one Super ED element to deliver highquality images and features twin linear motors for a swift, silent autofocusing performance. A focus limiter, which shortens focusing to between 5m and infinity, further speeds up AF if needs be.

Crucially with a lens of this type, the XF100-400mm offers a five-stop image stabilisation system for shake-free results.

Cleverly, it detects a panning movement when it will only make shake corrections in the vertical plane. In other shooting conditions, correction is provided in both vertical and horizontal planes.

Weather resistance is provided by 13 seals and further protection is offered by the fluorine coating applied to the front element, which makes it more water repellent and less susceptible to smudges.

If the 100-400mm range isn’t quite enough for you, the lens is also compatible with the XF1.4x teleconverter, which turns it into a 213-853mm zoom (35mm equivalent), while a 2x converter is set to follow in the summer for even more telephoto power.

Photography News Issue 28 absolutephoto.com

Advertisement feature

See the light The X-Pro2 may be the star of the show, but the other new models have plenty to get excited about, especially if you like to travel light X-E2S: faster and easier to use Sporting a body style very similar to that of the X-Pro2, the X-E2S has some key performance enhancements to make it a great compact system camera for those who want quality without the weight. Arguably the biggest change over the X-E2 it replaces is the Real-Time Viewfinder originally seen in the X-T1. The finder has a magnification of 0.62x and a world’s shortest display lag time of just 0.005sec so it’s both large and fast.

2.36 million dots are used in the electronic viewfinder for a high-quality image and it features a Preview Pic. Effect option to reflect the shooting settings. Just as on the X-T1, the viewfinder display also changes according to the camera’s orientation, switching when it is held vertically or horizontally.

Once you’ve composed your images through the viewfinder, autofocusing is fast and accurate thanks to the addition of Zone and Wide/Tracking options to the existing single shot mode. Zipping into focus in as little as 0.06sec, the system uses up to 77 focusing points to ensure the image is sharp.

Image capture is also made easy with the new Auto Mode Switch that quickly sets the camera to the Advanced SR Auto mode for simple point-and-shoot photography, plus

there are seven custom function buttons enabling you to set up fast access to regularly used functions.

The speedy performance is completed by the APS-C sized X-Trans CMOS II sensor and EXR Processor II that combine to deliver a shutter time lag of 0.05sec and a shooting interval of 0.5secs while images can be captured at up to a very spritely seven frames-per-second.

Top Small and light, an X-E2S-based outfit is perfect for travel photography.

Left Big improvements have been made to the viewfinder, which has 2.36m dots.

Above Wi-Fi connectivity makes it possible to connect the X-E2S to the SP-1 printer.

X70: the first X-series camera with a touchscreen Fans of the X100 series are sure to be intrigued by the new X70, which features the same APS-C sized sensor, but this time coupled to a 28mm wide-angle lens (35mm equivalent). Although the lens is fixed, some extra framing versatility is on tap by virtue of the digital teleconverter, which crops in on the sensor to offer the addition of 35mm and 50mm settings, again as 35mm equivalents.

The back of the camera is the real eyebrow raiser, though. There’s no viewfinder (although you can buy an optical one as an optional extra) but in its place is a three-inch touchscreen LCD that rotates up to 180° for easy selfie shots.

The touchscreen capability offers gesturebased controls when reviewing images, including swipe to scroll through shots and double tap to enlarge images. But

Above The components of the fixed wide-angle lens have all been precisely engineered to deliver optimum results across the frame and aperture range.

you can also use the touchscreen to select a focus point within the frame and then take an image.

Bearing all the hallmarks of the X100 series, the X70 is stylishly designed and beautifully made with aluminium dials on the top-plate and a selection of matching accessories. But beauty is more than just skin deep with a full suite of X-series functions on tap including Film Simulation modes, Advanced digital filter effects, the option to shoot silently thanks to the electronic shutter and full Wi-Fi functionality too.

Weighing just 340g, it’s small and light enough for any photographer to find room in their gadget bag for one!

For full details and specifications on all the latest Fujifilm models, visit fujifilm.eu/uk

Above As well as being touchscreen, the rear LCD can also be flipped through 180°.

Left Dials and switchgear on the X70 will be familiar to existing X-series users.