Photography News Issue 34 by Bright Publishing

News Tests Clubs

Exhibitions

Techniques

Interviews

Competitions

Reviews

Photography Produced by

Issue 34 4 July – 28 July

news

Lens special

Your FREE newspaper packed with the latest news, views and stories from the world of photography

First tests

Three gadgets to improve your shooting, page 18

Technologies, users & optics from 11 brands, from page 22

Hasselblad go mirrorless

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The X1D from Hasselblad is as real game changer, a medium-format mirrorless camera with 50 megapixels

Pentax K-70 First it revealed its groundbreaking new flagship H6D, now Hasselblad has unveiled its smaller and more affordable sibling, the X1D, a medium-format CSC that weighs in at less than half the size. It costs £7188 (includes VAT) body only and yet still has at its heart the same 50-megapixel CMOS sensor. Compact, stylishly designed and highly portable while still delivering

all the benefits of medium-format capture, such as exceptional resolution and 14 stops of dynamic range, the X1D is seen by Hasselblad as having the potential to be a real game changer, a camera that will encourage those using the top 35mm cameras to migrate upwards. Accompanying the X1D are two new integral central shutter lenses specifically designed for the

camera – a 45mm and 95mm – with a third, a 35mm, set to follow later this year. The optics are said to be capable of rivalling the quality of lenses designed for full size H-series cameras, while an optional adapter will also allow all 12 lenses and lens accessories from the H-Series to be used with the camera as well. Read the CEO on the X1D, page 3

Head for the outdoors. Hot on the heels of its first full-frame DSLR, the K-1, comes Pentax’s all-weather DSLR, the K-70. Priced at £599.99 body only, it’s a very competitively priced all conditions DSLR … continue reading on page 3

Photography News | Issue 34 | absolutephoto.com

News

Hasselblad go mirrorless

News in brief Samsung’s latest card Samsung’s newest memory card has the highest capacity in its class. The Evo Plus micro SD card has a capacity of 256GB and a write speed of up to 90MB/s. This large capacity means you can record up to 12 hours of 4K UHD video or 44 hours of full HD video. samsung.com Flexible light panels from Westcott Flex LED light panels are pliable, weather resistant and dimmable, and produce a flicker-free light for video makers and photographers. The panels can be rolled or folded so they are very portable too. Panels are available in daylight or bicolour options, and in sizes from 10x3in to 24x24in. fjwestcott.com

The X1D was launched to the world’s imaging press at a special event in Hasselblad’s home town of Gothenburg in Sweden, close to the factory where the model will be put together on a brand-new production line, and Terry Hope (pictured top) was there for Photography News. The company’s CEO Perry Oosting was enthusiastic about the new model, describing it as “a pivotal moment in Hasselblad’s rich 75-year history, a camera that makes medium-format photography available to a new generation of Hasselblad users.” Speaking to PN, Perry made it clear that the arrivals of the H6D and the X1D collectively signalled the start of a new direction from Hasselblad, which will see the company tap into its rich heritage to bring new models to market that cement its position at the top of the medium-format pile. “The launch of the camera is a great moment for us,” he said, “and we’re very proud of the fact that it’s handmade here in Sweden. Now it’s been announced we intend to have it available by the end of August or the start of September, so there should be no frustrating wait for anyone who wants one. We’ve also tried to make the price competitive as well, at £7188 body only (VAT included). It’s a very different camera from the H6D, which is a complete system backed by a line-up of 12 lenses, while the X1D is smaller and mirrorless, so it’s less complicated inside. This has made it possible to have a big price differentiation, and we’ve already got a lot of pre-orders in from dealers. We’re confident that it’s going to be a big success and that it will create a new segment in the market.

“Form and shape is important: if you feel comfortable with a camera then you’ll take good pictures with it. We were looking for something that featured high-quality technology and yet which still looked good, and we wanted it to be a complete stand-alone system with its own family of highquality lenses.” Addressing the need for new lenses to partner the camera, Perry commented: “While the camera is made in Sweden we’ve partnered with Nittoh to create the new lenses: it’s our design and our concept but they’re manufactured in Japan, and they’ve been designed to be very high quality indeed. We’ve got two lenses available already and a third on the way and they all feature integral centre shutters. It takes around 12-14 months to design and bring a new lens to market and we’ll be looking to develop the line-up into the future. “The camera is aimed not just at professionals but also the dedicated amateur, who might be looking to trade up from a DSLR to medium-format. The X1D gives them the opportunity to do that and it comes with lenses that are spectacular in terms of their performance: there is absolutely no skimping on quality and they are every bit as good as the H-system lenses. “Overall the Hasselblad X1D is a product that we see ourselves going forward with for years to come, while we’re also promising a few more surprises at this year’s Photokina show in September.”

Peterborough goes wild From 11 July to 16 August, visitors to Peterborough’s Queensgate Shopping Centre can enjoy the very best of the 51st Wildlife Photographer of the Year with more than 100 outstanding pictures on show at this free exhibition. It is the first time that this prestigious exhibition has been to Peterborough. A popular shopping centre, Queensgate is open all week so check the website for opening times. queensgate-shopping.co.uk

hasselblad.com

Pentax K-70 heads for the outdoors Pentax’s latest K-70 DSLR has the perfect attributes to cope with the typical British summer – and winter. It is weather resistant, dust proof and works down to temperatures as low as -10°C. To accompany its rugged qualities, the body is designed for comfortable handling in challenging outdoor conditions with a newly design handgrip, mode dial and control buttons. Its outdoor shooting credentials aside, the K-70 is also pretty well endowed in other areas. Its APS-C sensor is anti-alias filter free to make the most of its 24.2 megapixels and works with Pentax’s PRIME MII imaging engine that’s said to deliver low noise images right up to its top ISO 102,400 setting. It has an advanced AF system with 11 sensors (nine

are cross type) that works in light as low as -3EV but it is in live view where there is serious innovation. Here, AF is handled by a new hybrid system, which uses a contrast-detection sensor and a phase-matching sensor on the imaging sensor’s surface to give fast, accurate live view AF. Other notable features include a top shutter speed of 1/6000sec, body integral shake reduction with a 4.5EV benefit, 77 zone metering system, Pentax’s Pixel Shift Resolution mode and an AA filter simulator to reduce moiré. The K-70 body only costs £559.99 and with an 18-135mm f/3.5-5.6 WR zoom, £799.99. Availability of the K-70 is yet to be confirmed. ricoh-imaging.co.uk

Photography News | Issue 34 | absolutephoto.com

News

Pentax adds lens Pentax has added a new lens to its range that will suit its latest DSLR, the all-weather K-70, as well as other K-fit cameras. This is the HD Pentax-DA 55300mm f/4.5-6.3 ED PLM WR RE, a £399.99 telephoto zoom for APS-C cameras. The initials in the lens’s name tell us it has a multilayer coating, HD; ED reveals there is an extra low dispersion element; PLM stands for pulse motor for faster, quieter operation; WR is weather resistance; and RE means this is a retractable lens. This compact telezoom in 35mm terms gives a focal length range of 84.5 to 460mm so it’s well suited to subjects such as action, wildlife, travel, landscape and people. It weighs 442g and measures 89mm at its minimum so it is very portable. Availability of this lens is to be confirmed.

Rogue go soft and silvery If you want to make more of your flashgun there are plenty of light modifiers on the market to help. The Rogue FlashBender 2 XL Pro Super Soft Silver version, inspired by photographer Frank Doorhof, joins the Natural White option in the range. The Super Soft Silver fabric gives more light and contrast when compared with the white version, yet it won’t give you the hotspots that you might experience with shiny silver finishes.

It costs £52.99 and is designed to securely fit most speedlights with a belt and buckle system. Its rib design means you can flex the reflector to direct light where you want it. It is designed for use off camera primarily, but we have tried it and there is potential to use it on camera too. See this issue’s First Tests for an in-depth look at the Rogue. xpdistribution.com expoimaging.com

ricoh-imaging.co.uk

News in brief 40 years and going strong Canon UK recently celebrated its 40th anniversary. Back in 1976 Canon Business Machines was established and the company’s focus was on products such as photocopiers and calculators. In 1982 it merged with a separate camera sales operation to form Canon UK. Happy 40th from all at Photography News. canon.co.uk Nikon ambassadors Nikon has expanded its ambassador programme with nature photographer Richard Peters and film and TV stills photographer Helen Sloan joining its line-up. nikoninframe.co.uk/ ambassadors

Samsung get Smart

Elinchrom Hi-Sync for Sony

Samsung has introduced its SmartCam PT, an easy to set up wireless camera for home surveillance. It offers full HD 1080p recording and automatic object tracking with its pan and tilt head. It works in low light too, recording up to five metres away using its Night Vision mode. It’s ideal for security but also great for peace of mind. With its two-way talk capability you can use your smartphone to have a conversation with your family at home. It suits use for elderly relative care or reassuring the kids. Images are recorded onto a micro SD card, but you can record to a smartphone with

The Elinchrom El Skyport Plus HS transmitter was one of the big innovations of 2015 – it won Best Innovation in the PN awards. Canon and Nikon users have been enjoying the ability to use the HiSync feature (with compatible heads) for high-speed flash sync up to 1/8000sec with useful amounts of power for a while, and now Sony users can join the fun. The recently released Sony version costs £199.

WhiteWall adds books Well-known printing lab WhiteWall has added a premium photo book service to its product line-up. There is a wide choice of cover style, paper types and sizes with softcover books starting from £9.90 – this is for a 24page small landscape book with glossy paper. For something like a Large square hardcover book with prints on premium silk matte paper and 60 pages, the cost is around £73. You can create a book from a PDF or upload pictures (or import them from your Facebook, Flickr or Picasa account) and do it online with the bespoke software. If you need help the website’s Photo Assistant is on hand. To get really creative with your book design for something truly special, WhiteWall’s Photo Book Editor Software is also available. Delivery time in the UK, from picture upload to the book arriving, is approximately six days. uk.whitewall.com

elinchrom.com

the SmartCam app (available for iOS and Android). Using the smartphone or computer you can adjust the camera’s view for privacy too. Guide price of the SmartCam PT is £139. samsungsmartcam.com

Photography News | Issue 34 | absolutephoto.com

News

LED light from Bowens

News in brief New DxO photo software Dx0 OpticsPro 11 is now available and features new Raw processing innovations. There’s Dx0’s PRIME 2016, an incredibly effective noise reduction feature which is better and faster than previous versions. A new feature to the OpticsPro Smart Lighting tool is Automated Spot Weighted Correction. This uses face detection to apply an intelligent tone map on the whole image and then extends the dynamic range, adds fill and improves contrast on faces automatically. Dx0 11 Elite edition costs £159 and the Essential version is £99. A fully functional, month-long demo download is available. dxo.com

Limelite by Bowens has introduced Mosaic2 LED lighting panels with ultrahigh light output for studio or location use (with optional battery mounting accessories). The daylight version costs £654 and the bicolour model £834. These metal-bodied lights are suitable for small and large studio use and are an ideal choice for photographers working with babies, children and pets where flash can upset the subject. The lights are fully dimmable and user programmable, have an output up to 4000lux at one metre and outstanding colour fidelity. bowens.co.uk

A Plus for PocketWizard Renowned for its wireless triggers, PocketWizard has the Plus IV auto-sensing transceiver to its range. Mounted on the camera, fit a TTL-compatible flashgun on the Plus IV’s hotshoe you have TTL control – although remote flash units have to be on manual. There are 32 channels, four groups, the option of setting receiving, transmitting or automatically switching the two and it is compatible with other PocketWizard products. Guide price is £150. pocketwizard.com

Bron modifiers

Bron has added to its extensive collection of light modifiers. The Focus 110 is a parabolic lighting brolly with 12 segments and a silver reflective coating. It is 110cm across and 40cm deep. Price is £150. For rectangular softboxes with a Velcro fitting there is the Edge Mask available in four sizes: 35x60cm, 60x100cm, 90x120cm and 120x180cm – prices start from £42. It’s suitable for portraits and objects. The subject should be positioned directly in front of the central opaque area of the mask and the translucent frame around the mask allows light to pass through to give a rim lighting effect. broncolor.com

Kodak Film app Kodak has created a free Professional Film App for iPad (through iTunes) and Android (Google Play). There is an updated version to support iOS9.x for iPhones. The app helps you pick which film to use in different situations, where to buy film and how/where to process film. There are home darkroom tools and a sun calculator to determine sunrise/sunset times around the world. kodak.co.uk

Measuring light Sekonic has released two new lightmeters, the L-478DR-EL and L-478DR-PX, both priced at £350. The new models are basically the same as the existing L-478 meter but the two new variants have Elinchrom (EL) and Phottix (PX) compatibility using the EL-Skyport and Phottix Strato II protocols respectively. So in the case of Elinchrom EL Skyport products you’ll enjoy features such as power control and flash triggering from the meter. Both meters use Sekonic’s DTS (Data Transfer Software) which automates meter calibration to the camera in use. sekonic.com

Photography News | Issue 34 | absolutephoto.com

News In association with

Photo 24 Our annual marathon photographic shoot in one of the world’s most visited cities took place in June, starting at noon on 17 June and ending 24 hours later

Photo 24 is a free photography event and this year’s was the fourth outing for the event. 250 photographers started and more than 150 managed to keep going for the whole 24 hours. The event is not designed to be an endurance test and we invite readers to stay for as long as they want, but those who do stay the course receive an ‘I survived Photo 24’ T-shirt. When it comes to the British summer weather, the only thing you can rely on is its unreliability and that was certainly the case with this year’s Photo 24. We experienced four seasons in a day and while it was generally warm we did enjoy several intense and prolonged showers. Thankfully the rain wasn’t as consistent as forecast and it certainly didn’t dampen the enthusiasm of our Photo 24-ers. Shelter was available throughout the event at the Nikon School in central London. Not only was this a great spot to seek shelter or perhaps dry out, free refreshments were also available – and the chance to recharge the camera batteries. For this year’s Photo 24, we organised some optional paidfor experiences for participants to enjoy with their camera. A trip up Tower Bridge, sunset at the top of the Shard or the London Eye, an early morning boat trip to Greenwich and a classic bus photo tour in the early hours gave the event an added dimension and yet more chances to take pictures. Those who decided not to take up these optional events walked the streets of the capital in their search for great pictures to enter into our contests. We set five contest themes to challenge our readers with a Nikon COOLPIX P900 bridge camera going to each category winner, plus for the best overall picture taken during Photo 24, we had a prize of a Nikon D500 with a 16-80mm f/2.8-4 VR lens, worth £2479. For a full report of the event and to see the winning images, see issue 35, available from 1 August.

Best overall image prize The D500 is Nikon’s DX-format flagship camera, and with a resolution of 20.9 megapixels, an EXPEED image processor and some key features including the same AF system from the top-end Nikon D5, it is a DSLR well worth winning. You’ll see the results of our contests in the next issue.

Photography News | Issue 34 | absolutephoto.com

News

Instant fun from Fuji Fujifilm’s latest printer lets you create instant credit card sized prints from your smartphone as well as compatible Fujifilm cameras. The instax SHARE Smartphone Printer SP-2 costs £164.99 which includes a ten-shot pack of instax film and will be available from the end of August. It is a portable unit and is powered by a rechargeable battery so it’s ideal for social gatherings to share pictures. The free instax SHARE app has also been updated with new filters and templates. fujifilm.eu.uk

Kenro add lights Kenro has added four NanGuang LED lights to its product line-up. There are two light panels, the CN-T340 and the CN-T504, selling for £209.94 and £263.94 respectively. Both have 5600K output, LED life of 50,000 hours and stepless dimmer control. The T340 has 340 LEDs and the larger T504 has 504 LEDs so offers more output. The two other lights are fresnel units. The compact CN-20FC can be used on-camera or on a tripod and features adjustable colour temperature, spotlight adjustment from 15-55° and built-in barn doors. It runs off six AA batteries and costs £71.94. The LED Fresnel Light CN-30F is designed for studio use. It focuses light to a narrow to wide beam (12-35°) and costs £239.94. kenro.co.uk

News in brief

Latest Sigma The Sigma sd Quattro will be on sale from July at a price of £799.99. Buy it with the Sigma 30mm f/1.4 DC HSM Art lens for £999.99. The sd Quattro is a 30-megapixel APS-C format camera based on the Foveon X3 direct image sensor that records all colours of light at each pixel site. Processing is handled by Sigma’s Dual TRUE III engine that can deal with the large high-resolution files at high speed. This helps the camera to shoot at 3.7fps for 12 consecutive full-size 14-bit Raws. It features the new Super-Fine Detail exposure mode where the camera (mounted on a stable tripod) takes seven individual exposures and creates an X3I Raw file and that can processed in Sigma’s Photo Pro software for very low-noise, wide dynamic range images. The body features a high-resolution EVF and it is dust and splashproof and there’s a dust protector and additional sealing on the lens mount to prevent debris getting inside the camera body. Sigma has also introduced a new flashgun, the EF-630. This is priced at £399.99 and there is an optional Flash USB Dock FD-11 available at £59.99 – this accessory is used to update the flashgun’s firmware. It has a quoted Guide Number of 63 (ISO 100 in metres), high-speed sync (depending on the camera model) and rear-curtain sync. sigma-imaging-uk.com

Capture updated Phase One has introduced the second edition of Media Pro SE. For Mac and Windows, this software supports photo and video files from over 100 cameras and is built to manage large, high-quality files in photo libraries. It costs €189. phaseone.com ColorMunki cash back Buy a X-Rite ColorMunki Display calibrator before 1 September 2016 and you can claim £25 cashback. xritecashback.com WD improve workflow The Western Digital My Passport Wireless Pro WiFi is available in sizes up to 3TB and has a built-in SD card reader and an USB 2.0 port. Prices start from £189.99. For home storage WD has the My Cloud Pro series NAS drives. With capacities up to 32TB, this series of hard drives is optimised to import from cameras. Prices start from £379.99 and go to £1899.99. wdc.com

Photography News | Issue 34 | absolutephoto.com

News

International Retina festival

Get along to Edinburgh and enjoy Retina’s festival of photography The third annual Retina Scottish International Photography Festival is happening until 30 July in Edinburgh. Taking place over five weeks, at eight venues and featuring the work of 54 photographers, the Retina Festival will have something for everyone.

As well as an exhibition of emerging talent, there’s also the chance to see the UK Picture Editor's Guild award winners and a Photomarathon on 16 July. The aim of the Photomarathon is to shoot 12 topics over 12 hours in 12 shots using a single-use camera. Entry to this

fun event is £20 and pictures will be exhibited at Edinburgh’s Ocean Terminal on 23 July with prizes for the best shots. Tickets were still available at the time of writing but hurry if you want to have a go. retinafestival.com

Scottish photo festival St Andrews to host a six-week festival The home of golf becomes the home of the St Andrews Photography Festival from 1 August to 11 September. Over the six weeks, there will be events including seminars, tours, talks from guest photographers and workshops including those on old processes such as calotype. There will also be exhibitions including a 40th anniversary retrospective of Edinburgh’s Still Gallery, 175 years of Scottish photography and a show of press and documentary pictures. See the Festival’s Facebook page for the latest news, venues and details of events. facebook.com/StAndPhotoFest

Great maritime images wanted Terence Donovan: © Rory Trappe

Speed of Light

Don’t miss this major retrospective in London © Terence Donovan, Twiggy, Woman’s Mirror, 27 August 1966 Courtesy of the Terence Donovan Archive

The Shipwrecked Mariners’ Society has launched its annual photo contest and you have until 5 August to get your entries in. The entry requirement is for pictures, from enthusiast to professional photographers, that best sum up Britain’s reliance on, and relationship with, the sea. This includes merchant ships, fishermen, harbours, wrecks, ports and the coastline, through work, recreation, art or sport. For full entry details see the website and please read the terms and conditions before entering. shipwreckedmariners.org.uk

Creative Connections: South of the River Portraits of Adele, David Bowie and Rio Ferdinand are on show alongside a giant photograph by artist Simon Terrill of 180 students, who’ve been inspired by the images. GCSE art students from two Southwark schools and Terrill have used the Lerner Galleries’s Contemporary Collection of famous south Londoners to develop a series of works culminating in the group shot. The show runs until 6 September, in rooms 37 and 37a at the Galleries. npg.org.uk/creative connections Image David Bowie by Brian Duffy, 1973

Opening 15 July until 25 September at The Photographer’s Gallery in central London is a major retrospective of the work of Terence Donovan, one of the UK’s most acclaimed photographers. “Speed of light” is one of Donovan’s best known expressions, “every one a Bruegel” was another. The show, in partnership with Ricoh, will take over two floors of the Gallery and includes vintage and previously unpublished work, as well as films and videos he produced. Most definitely worth a look if you are in London. thephotographersgallery.org.uk

Photography News | Issue 34 | absolutephoto.com

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

Camera club news 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

Clubs

How to submit

Deadline for the next issue: 21 July 2016

We need words and pictures by 21 July for the next issue of Photography News, which will be available from 1 August. 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.

Education, education, education Northolt & District Photography Society is undergoing some changes for the new season. It’ll be holding fewer competitions and placing a greater emphasis on workshops and education to help members improve their photography, whether that’s learning about their camera and getting the most from it or their preferred genre. A small, vibrant society, Northolt welcomes new members and offers the first few meetings free. Membership is £35 per annum for adults. Meetings

are on Wednesdays from 8pm at the Village Community Centre on Ealing Road; parking is available and buses stop nearby. The club will start for the new season in September, and during the summer they are organising a number of walks intended to provide practical help for photographers. northoltcameraclub.co.uk

News in brief

Three-in-one exhibition Newbury Camera Club is holding an exhibition at the West Berkshire Museum. It is in effect three exhibitions, as the prints displayed will be changed twice. The first change takes place on 26 July, and the second on 31 August. Entry is free and the Museum is on The Wharf in Newbury. newburycameraclub.org.uk All in black & white Not only is Cymru Monochrome holding its annual exhibition, it will also be hosting the Only Mono 2017 battle. The exhibition is on 13 August at Creative Bubble on Swansea’s Craddock Street. The Only Mono 2017 battle is in May next year and is open to all UK clubs. If your club hasn’t already signed up to the Battle and would like to participate, email Gareth Martin on cortez34@ virginmedia.com or visit the group’s website. cymrumonochrome.com

Summer exhibition Visit Earl Shilton Camera Club’s second display Enjoying their second week-long exhibition, Earl Shilton Camera Club is inviting you to visit the Atkins Gallery to see a display of its members’ images. The exhibition runs from Monday 22 until Saturday 27 August. Admission to the gallery is free, and it is open from 10am to 3pm, and then 6.30pm to 9pm most days. At 7.30pm on the Wednesday, the club is also holding its meeting at the gallery and everyone is welcome to come along and ask questions about

the club and photography. The Atkins Gallery is on Lower Bond Street, Hinckley, Leicestershire LE10 1Q4. The club is proud that the Town Council is supporting the summer exhibition with a community grant, and that Bill Ward Photography (Bill is known for his roles in programmes such as Coronation Street and Emmerdale) is sponsoring the event. earlshiltoncameraclub.org.uk

Yet Moore exhibitions Moore Camera Club’s annual exhibition takes place on the weekend of 30/31 July. The display will feature more than 100 photos from club members, and many of the prints will be on sale, with the proceeds going to charity. There is free parking and refreshments for all visitors. The exhibition is open 11am to 7pm on Saturday and 11am to 4pm on Sunday, at Moore Rugby Club on Moss Lane. moorecameraclub.org … and Keynham’s exhibition Head to Bath’s Guildhall between 5 July and 16 August to see Keynsham Photographic Society’s print exhibition. Although the society had many exhibitions, this is their first in the city. keynshamphotographic society.co.uk

Photography News | Issue 34 | absolutephoto.com

Interview Profile

Richard West

Datacolor’s marketing and sales manager for the UK Richard West talks colour calibration and the need for accurate colour management regardless of whether your images end up online, in print or even on an app

Biography Years in the photo industry? 20ish (Oh strewth how did that happen!) Current location? Oxfordshire (near Henley – so handy for the Regatta) Last picture taken The sing-song at Royal Ascot… am I sounding pretentious? When you were younger, what did you want to be when you grew up? Still young… Dogs or cats? Cats Toast or cereal? Coffee Email or phone call? FaceTime

If you can trust what you see then there’s no surprises with the output later

The images For correct colours throughout your picture-taking and making process, you need calibration devices like Datacolor’s.

We hear you were the Photo Manager for Apple and also ran Nik Software, can you tell us about your photographic journey? I started out working for what is now part of Kodak, so I’ve always been involved in imaging of a sort. Working at Apple was great fun. I was there for ten years so digital cameras went from being rare high-end solutions to something everyone has on their phone. It was great helping people move from film to digital as I think the ubiquity of cameras and the lack of worry of a finite number of shots opened up peoples’ interest in taking photos and also their creativity and willingness to experiment. That’s part of the reason Nik Software was such a great place to work as we had some cracking retouching products just when the interest in it exploded. When we launched the Snapseed app, it was like a perfect storm. With the quality of phone cameras improving to such a good standard, Snapseed was ideal for retouching but even I was surprised when I got Snapseed included in Apple’s 12 Days of Christmas promotion – 3.8 million downloads in a day… that was something! Now I’m back with Datacolor and some more groundbreaking products. Can you briefly sum up what Datacolor offers? Datacolor is the maker of the Spyder range of colour calibration equipment. Spyders have been synonymous with colour calibration for decades and they’re innovating all the time. Last year saw the introduction of the fifth iteration of Spyder for calibrating your screens. They also make print and camera calibration devices like the SpyderCUBE and SpyderCHECKR. Together their range means that photographers, videographers and graphic designers can see their images’ correct colours on screen, matching to what they were when they were originally captured but also making sure you get what you are expecting when in print or other outputs like the web or apps. Just how important is colour management? Do our readers really need to engage in the subject, for instance, if they never print but only post pictures on social media? Colour calibration is essential if imaging is your profession. If you are retouching or just viewing photos, first and foremost you want to see what your are looking at on screen come out the same in print. For that you need to have calibrated your screen and profiled your printer.

No one paying for any photo work wants a hotchpotch of images that make the same subjects look like they are sunburnt in one set of shots and washed out in another just because the lighting has changed. This means you need to have a means of controlling your colours at capture and that’s exactly what the SpyderCHECKR does. This gets your colours correct so it’s invaluable whether your images are in print or on the net. I was surprised to see that colour management is also evidently very important to anyone who is into photography or creating videos as a hobby too. Whether you are paying someone else to print your images or print them yourself, no one wants to waste ink and paper trying to get the result you saw on-screen. Likewise even if it’s just pics of the family you certainly get a lot more praise if auntie Dot doesn’t look bright red or your prize shot of a kingfisher doesn’t look like its escaped from a cartoon. How easy it is to understand colour management? What is involved? Nowadays that’s the joy. Spyders have evolved drastically from needing to understand what a profile is and where to put it. Calibrating a screen is as simple as plugging your Spyder into a computer, running the software for a couple of minutes and your screen is calibrated and you can trust that what you see is what you get. If printing yourself the process is equally simple. The SpyderPRINT just needs you to scan a couple of print charts from your printer and then programs like Lightroom automatically pick up the calibration and allow you to see what your end print will look like before printing it. My favourite part is capture calibration. The SpyderCUBE and SpyderCHECKR just need to be photographed once in the lighting conditions you are in and then the rest of the shoot can be automatically corrected with the touch of a button. Compared with the complexity of the menus in your average camera, colour management is simplicity itself… well, with a Spyder anyway! Where is the best place to start with colour management? The key part of colour management is to have a calibrated screen. If you can trust what you see then there’s no surprises with the output later – whether that’s in print, online or wherever. Far fewer people need to worry about calibrating printers as most now send their images away to printers rather than print themselves and far more simply share images

via the web. Calibrating your screen so you know what’s being sent to wherever the end goal might be is the most important part. For those who really need to capture exactly the colours of their original subject (eg. sports, wedding and wildlife photographers) having something that calibrates capture is also extremely useful. Likewise we have a lot of customers who are colour-blind using SpyderCHECKRs to calibrate their images at capture as this means the colours are corrected in software rather than you even needing to be able to see them correctly.

Is there an ideal monitor? What should readers look for when buying one? Not wishing to get too technical but the bigger the colour gamut the display can show, the better (ie. more colours). Most displays are only sRGB capable at best. sRGB has around 75% of the colour capability of Adobe RGB hence looking for a display that can show as much of Adobe RGB as possible is key. I prefer EIZOs when it comes to displays as I like the build quality but I love the 27in Wacom Cintiq, which shows most of Adobe RGB and is also a touch-sensitive tablet.

There are so many colour management devices on the market, what would you recommend for someone looking for their first colour management product? The new range of Spyders (version five) would be my recommendation as I believe that they are unique in two aspects. Firstly you can start with the entry-level device and later upgrade the same device to the more professional and expert versions via software downloads. Secondly the version five was specifically redesigned for use in today’s ‘on the move’ society. The whole unit has been made far more robust and bang and bash resistant with encapsulated optics and a built-in sensor cap ensuring you can carry your Spyder wherever you go and always have true colours on-screen. If you think about moving your laptop from a light room into a dark one, we all know the screen will seem brighter and more colourful. That’s why you need to recalibrate whenever you go somewhere new and your lighting changes. Every other calibrator on the market before the Spyder5 was aimed at being fixed in a lab so Datacolor’s latest version has really made calibrating your screen possible wherever you are.

Is there anything readers should look for in a printer? Most printers give great results but Canon and Epson seem to own the market for price, quality and build. Many readers complain of the final print not looking like the image they’ve seen on-screen. What advice do you have to get colour correct prints? As mentioned, calibrate your screen. Then get the profiles for the printer (and paper and ink) and make sure you examine the soft proof (view a digital mock-up of your end result) in your imaging software. Lightroom makes this as easy as anything that I’ve seen. If you need more guidance on this come to one of Datacolor’s free live webinars (online tutorials) at spyder. datacolor.com/webinars or check out the Nexttek channel on YouTube (Search YouTube for Nexttek) for free how-to videos. If you had to give just one piece of colour management advice to our readers, what would that be? Get a Spyder, take it out of the box, plug it in and actually use it! datacolor.com

Photography News | Issue 34 | absolutephoto.com

Profile Biography

Before the Judge

Andy Beel FRPS Each month, a respected judge or exhibition selector shares their thoughts and experiences. This month we speak to Andy Beel FRPS Words by Andy Beel

Andy Beel FRPS Andy Beel is a professional photographer who offers workshops, masterclasses and tours specialising in monochrome including digital lith and printing. With Prof. Bob Ryan FRSA ARPS he has co-authored The Master Photographer, the journey from good to great, out in September. For more information go to g2gphoto.co.uk. Years in photography I first joined the British Rail Staff Association Camera Club in 1982. Home club I am a founding member of the Avon Valley Photographic Society. I am also a member of the RPS’s Digital Imaging Group and was a committee member until this year. Favourite camera After going through a series of Canons, I decided to reduce the weight of my camera bag and plumped for the Fujifilm X-T1 camera body. For me, it has all the benefits of excellent handling in a body that is not too big or small. Favourite lens The Fujifilm 10-24mm f/4 lens, which is a 15-36mm in 35mm fullframe terms. Favourite photo accessories The Peak Design Sliding Camera Strap and the Peak Design Capture Clip. With this system, I can have one body on the sliding strap and another body on the Capture Clip. Favourite photographer There are far too many to mention here but the stand-out photographer for me, who is currently working, is Sebastião Salgado. I also greatly respect the work of André Kertész and Bill Brandt – strange bedfellows, I know, but true. Favourite subject I have found adding grain, slow handheld shutter speeds, digital lith style work and infrared photography give me satisfaction. Awards I possibly hold a record for becoming a Fellow of the RPS through the usual route in the quickest possible time when I achieved Licentiateship, Associateship and Fellowship within 18 months. I am also proud to have won a London Salon medal at my first attempt. I was invited to have an exhibition at Fenton House, the RPS headquarters in Bath presenting my work in Ethiopia to much acclaim and I have a print in the RPS permanent collection.

For a long time, my attitude to competition judging was quite straightforward. My view was, why is my opinion more important than anybody else’s? Over time, my opinion softened, and I attended a Western Counties Photographic Federation judging seminar. I feel privileged to see such a wide range of work at all levels of amateur photography. It is a humbling experience to realise this stimulating, inspirational work feeds into my own avenues of thought and discovery. When looking at the work of those who have not yet gone far in their photographic journey, it is always a worthy reminder of where I started. To all those who want to progress their competition photography, you only fail if you give up the battle to get recognition for your vision and style. It is a truism that you learn by initial failure and trying to improve your technique or artistry. Praise only boosts the ego, but as visual artists, we live off the oxygen of praise. Constant encouragement is everything. In the cold One of my stand-out judging experiences was in Dorset. The club asked me to judge their monochrome competition cold. There were two classes of prints to be assessed, and the total number of prints was 90, each to be commented on in 90 minutes. My job was to pick first, second, third and highly commended. It was a case of eliminating one by one until I was left with five or six that were going to be given a place or be highly commended. I like cold judging because it gives the audience a sense of the drama of the competition. Quite often the winner jumps out at me the very first time I see it, and sometimes it happens that the places between first and third get allocated to different prints in the decision-making process. In any club, there will be a range of work from excellent to could do better and some clubs are more suited to competition photography. The standard of amateur competition photography is improving. To win, you have to make the judge’s job as easy as possible. Photography is about taking and making a photograph. Pictures are taken, but photographs are made. The standards for taking or seeing a picture in, say, street photography need to consist of more than just people walking around, try adding a little humour or juxtaposition of ideas. At local competitions, I think the most common failing is not to appreciate and understand what the subject matter is and how to present it with dominance. A term I use is

‘attraction’. Why did you take the shot in the first place? What is the essence of the attraction you want the judge to see? The judge must not be left guessing the picture’s subject. Sometimes one can become lost for words to give a positive, constructive assessment of the picture. A judge will be trained to say three positive things before adding constructive criticism, and sometimes this becomes a little tricky. In a poor picture, if an unpromising subject matter is accurately focused and exposed then these qualities will be praised. In black & white I am proud to say that I am well known for my black & white photography. The genre is highly interpretive and adjustable in its tonality and in many cases an image will not be presented to its greatest potential. The postprocessing for many black & white pictures lacks vision, intent, global and local contrast. The genre, black & white photography, is about light, texture and contrast, not colour. The making of a picture, or making a print from a digital negative, is a separate skill. Those working in colour have fewer controls to consider than those working in black & white. Making a black & white picture is, in my view, a far more difficult skill to master. Colour photographers coming to mono should seek advice from experts. Many people say to me: ‘I love black & white, but my mono pictures don’t look anything like yours.’ This gives me the opportunity to explain how standards of taking and making mono images can be improved. I have an interest in traditional photography, meaning the picture presented comes from a digital negative with limited postprocessing. For me, this is the essence of photography. A picture made up of various elements taken from different continents around the world is graphic art, not photography. Composition Composition is the art of leaving things out – it is a subtractive process. A maxim I tell clients and workshop participants is ‘use it or lose it’ when composing. If an element of the picture is not adding to the overall impact then why is it there? This is predominantly true of bald skies. In a landscape, the sky will have the biggest bearing on the mood and atmosphere. For me, there are no rules of composition, only aspects to consider. These include appropriate lighting, proportion, tone, colour palette, lines, texture, base, shapes, negative space, diagonals, form and scale. Think about how you’re going to use these to

express your message with impact to the judge. The purpose of narrative intent is to tell a story, and the purpose of creative or interpretive intent is to make pictures about the subject. Once the impact and intent have been assessed by the judges all the other components such as composition and use of light etc. can be evaluated as to how well they assist the message. In an ideal world Each judging panel will be selected by the organising committee for the judges’ knowledge and experience. On some occasions, there are disagreements between judges, but at the other end of the scale, it has been necessary to offer advice to other judges when they are indecisive about which entries should be awarded a medal or ribbon. In an ideal world, every picture will be judged on its merits, but all judges have pet hates. Familiarity with an overdone subject or style can cause recency heuristics. I would suggest your scores may be better if you try a talented model whose face isn’t so well known rather than using the same model as everybody else. If you follow the crowd, you will be treated like the crowd. If your picture is the 20th of the same subject in the same style, then it has to be truly outstanding in every respect. Many judges will not recognise the merits of your picture if they have seen 19 before yours. To improve the quality of judging, training is required with feedback on performance. I know many federations have put these skills in place. One is not necessarily a good judge just because one has been doing it for a while. Indeed, I know an

excellent judge with only three years’ experience. Longevity does not equal quality and experience does not equal expertise. A good judge rigorously assesses what they see from any genre and is consistently objective. The internationally agreed components useful for judges to consider when making an assessment can be broken down into focus, exposure, technical – noise reduction and sharpening, depth-of-field, use of colour, tonality in mono work, use of light, composition, narrative intent or creative intent and impact. The accuracy of focus is important because it has prepotency which means if it isn’t accurate every other part of the process has no value. It is possible to rescue most aspects of a Raw file in post-processing apart from inaccurate focusing. The key to competition and salons is instant impact. You have to get your intended message over to the judging panel within ten seconds. Aim for simplicity without distractions and communicate as directly as possible. Enter pictures of excellent quality in their artistic and technical aspects, be different from winning trends. If a single judge is known for a style or genre of photography, don’t enter work in the same genre as their expertise. The judge may know more about their specialist subject, giving them more material with which to examine your entry. Enter work outside of their safe sphere of knowledge. In that way, a good picture with no noticeable distractions or reasons not to give it a good placing could potentially do well. andybeelfrps.co.uk

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.

Photography News | Issue 34 | absolutephoto.com

Interview

Rising Star

Pro focus

Each issue Professional Photo magazine talks to a photographer just making their name, about their journey into photography and where they hope it’ll take them. This issue, Tom Calton talks about his move from words to pictures Interview by Jemma Dodd With a love of film from a young age Tom Calton has always been about producing creative work. His initial interest in film saw him take media studies at college and after finishing his A levels he decided to buy his first DSLR to take on holiday with him. A nudge from his girlfriend Lucy (now his wife), who told him to take his new-found interest in photography further, led him to apply for a National Diploma in photography at college. It was through his diploma that Tom got into portraiture, but it was his passion for music and eagerness to learn that helped him break onto the scene. “I’ve always been interested in music and bands so I started shooting band promos on the side of my college diploma. As I was really into off-camera flash I taught myself by watching videos

on YouTube. Nobody else was doing that around the Peterborough area so I got quite a bit of business from it. Being in a band myself at the time meant I got to know all the local bands, so it was really easy to contact friends and ask if they wanted promo shots. They already knew me, so the ice was broken.” Shooting bands in urban scenes seems like a world away from the romantic side of weddings he also shoots now, but when asked to shoot his first wedding Tom, although nervous, took up the offer. “I cacked myself at the thought and I actually didn’t like doing weddings because of that experience, all the pressure and stuff, but you build your confidence and get used to the day and the schedule and meeting new people. I actually fell in love with it! I view it as a privilege, you get to meet these people and take on the responsibility of capturing their day and you only get one chance at it.” © Tom Calton

Above “I’m a sucker for lens flare – I love the hazy glow it creates.”

Above “Some of my favourite wedding shots were taken on the spur of the moment.” After completing his diploma Tom’s job search found him working for a photography publication for three and a half years as a writer. “It was a steep learning curve when I got that job, I really appreciate my time there because it taught me a lot, but after a while I wanted a bit more of a challenge and wanted to be outside taking photos rather than being in an office writing about it,” he says. “Lucy had quit her job to go self-employed doing nails and beauty and I helped her through that, so I thought if she’s done it, then I’ve got to do it.” Through the work on the magazine, Tom had built up a number of contacts within the industry so aimed to continue some of his writing work. “It was kind of a whim, I was fairly confident that I could get some written work, but it’s always a gamble. I saved up for about a year before I quit and made sure that I had enough money in the bank that if I got absolutely no work for six months, I could still pay the bills and eat. If at the end of six months I still wasn’t making any money then I could get a part-time job to tide me over. As it happens I didn’t even take a penny out of my savings so it all worked out,” says Tom.

It’s not just weddings that Tom shoots; his portfolio includes family portraits and corporate headshots, and he’s shot for the likes of National Express, the NHS and Big Society Capital. “Most of my corporate work comes in via my website. I have two websites – one for my corporate and personal work and one for my weddings. This was done intentionally to separate the two very different streams of online traffic. The family stuff is a natural progression from weddings; couples settle down and have kids and want photos of them. The first person they think of is the person they’ve already worked with and trust.” Since going freelance Tom has also brought his video skills to his business. “I’ve always done video stuff, from stop animation to filming music videos. One of my wife’s clients asked if I did wedding videos so I decided to give it a go. Rather than filming traditional two- to three-hour wedding videos I create six- to eightminute highlight reels and they’ve gone down really well. Last year I ended up doing more video work for weddings than I did photography, it’s one of those things that has just snowballed,” Tom tells us.

“I’ve had quite a lot of people ask if I could do both on the day and I’ve been reluctant to do it because it’s a lot of work and I don’t really feel like I could focus on one aspect enough. Next year I’m going to start offering both, I’ve made friends with some videographers through weddings so we’re going to team up. They’ll film the video and I’ll edit it.” When setting up your business it’s important to consider what you want to focus on; do you choose one subject or open up the doors to a range of genres in order to be able to take on more jobs? While Tom shoots more than just weddings he keeps his work under one umbrella. “I think you can fall into the category of a ‘jack of all trades’, but I’m quite lucky in that the three genres that I do are all portraiture and dealing with people – it’s not like I’m shooting landscapes and weddings, I’m doing the broader scope of dealing with people, and if anything the more you work with people, the more you understand how to make them feel comfortable.” Read more of Tom’s story and plenty more in the latest issue of Professional Photo, on sale now!

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

Photography News | Issue 34 | absolutephoto.com

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 Will Cheung and Kingsley Singleton

ExpoImaging Rogue FlashBender 2 XL Pro reflector £52.99 There are any number of light modifiers to fit directly onto speedlights but I reckon this is the biggest one I’ve come across. It’s seriously large and on a windy day would make a very effective kite. Joking aside, this is a fine offcamera modifier that works really well and is simple to use. There is a Natural White finish version of this model already but this is Super Soft Silver, created in conjunction with photographer Frank Doorhof. This finish gives a more contrasty light compared with the white version. Incidentally, Rogue also offers a System kit featuring the white XL reflector for £84.95 and that includes a soft box diffuser, grid attachment and a carrying bag. Fitting it to a speedlight is quick and very secure with a Velcro strap and once on it’s not going to drop off. I’m not suggesting you do this, but you can mount the flash on the camera and pick the lot up by grabbing onto the Rogue which gives you an idea of how secure the attached unit is. One thing: do make sure the speedlight is in its locked upright position before attaching – the flashgun’s in-between click-stops won’t hold it.

Once on, you can adjust the three supporting ribs to give the effect you want. So you can, for instance, fold in the sides to give a more selective lighting effect, or fold the sides back and bend the top over for bounce flash for shooting groups. A couple of speedlights with two of these units means you can deal with sizeable groups and you get decent lighting. This XL reflector is designed for off-camera use but just to see how it would work, I tried the Rogue fitted to an on-camera flashgun. Actually, it works fine (at least for horizontal format shooting) in TTL mode and the unit is light enough not to compromise handling. Use it to shoot a few happy guests at a wedding and you don’t even have to say ‘smile’. Whether you shoot TTL or manual is up to you, but I used the Rogue with manual flash. To assess power loss, I took flash meter readings with a Nissin Di700 in manual mode aimed directly at the meter and then with the light bounced into the Rogue. At 3m, ISO 100, a full-power flash recorded f/16 while with the Rogue with the top folded over for bounce, the reading was f/5.6, a three stop light loss but the light is nicely spread and softer for portraits. WC

Specs Price £52.99 Finish Super Soft Silver Dimensions 41x32cm overall, 34.2x29cm reflective area Weight 272g Contact xpdistribution.com expoimaging.com

Images The adjustable rib system used by Rogue with its modifiers is excellent and gives great flexibility.

Verdict This is a fine modifier that works well, is versatile and is an attractive price. It fits securely without any fuss and delivers fine results. There is much to like about it and its flat-pack qualities mean you can stow it in the camera bag with minimal fuss. Also it’s an integrated unit with no extra straps or fittings to forget or leave behind so that is an added bonus. Pros Flexible, light, folds flat Cons No fun when it’s windy

Photography News | Issue 34 | absolutephoto.com

First tests

Pixapro CITI600 TTL Speedlight £600 Speedlights are portable, highly automated and provide very brief flash durations so are well suited to many occasions. If there is any drawback it might be a lack of outright power, especially when shooting outdoors. In this situation, the Pixapro CITI600 TTL could be ideal. It costs just £675 if you include the TTL trigger with the head, and you get a 600W/s portable studio light with the functionality of a speedlight. This includes IGBT technology for brief flash durations and flash sync up to 1/8000sec on suitable cameras. If you prefer you can use it as a manual head too, although in this case you could buy the manual-only version of the head for £450. This is a solidly made flash unit that I found easy to use thanks to push button controls and a simple menu to negotiate. If I had any complaints about the build quality, it’s simply that the flash adjustment bracket is a little stiff, and adjusting the angle of the head takes a bit of effort. One positive aspect of the design is the protruding flash tube. This helps to emit light sideways, as well as forwards, which will result in a more even spread of light when fired through a large softbox, for instance. Fitted with a standard S-bayonet metal reflector, I was getting flash meter readings of f/45.6 (at ISO 200) at 3m at full power in normal mode. Set to its minimum output of 1/256, you get a meter reading of f/2.8.6 which equates to f/3.5. Personally, I’d prefer power adjustment to be marked in figures rather than fractions. But you soon get used to it, and output can be altered in 1/3EV steps using the command wheel. Setting up the unit, selecting a mode and linking it with the trigger are all really straightforward. I was using a Nikon-compatible TTL trigger with Nikon DSLRs, the D810 and D3s.

The trigger has 32 channels and five groups. Setting manual or TTL is achieved by simply pushing the Mode button to scroll through the options. Just remember that the active group is the central row of the small LCD display. The scroll wheel is then used to adjust output or the active group. To assess flash duration I photographed a domestic fan with a test chart alongside to see if colour temperature changes when output is varied. For this part of the test I used the D810’s flash white-balance preset. At 1/256 output in normal mode the t0.1 figure is 1/10,000sec, which goes down to 1/220sec at full power. It’s difficult to be precise, but comparing a shot of the fan taken at minimum output with one taken under ambient light at 1/8000sec, definitely shows flash duration is brief, and certainly shorter than 1/8000sec. Accuracy as power is adjusted incrementally is very good, with variances of around EV0.1 between full EV steps, so nothing at all to be concerned about. Colour temperature consistency was very good. To the naked eye the lower outputs were marginally cooler but not by much. This was confirmed by using Lightroom’s Color Picker on one of the white squares. For 1/256 this read R92.9, G92.5 and B91.5 output. At full power, the same square read R93.4, G92.7 and B91.7. In high-speed sync mode, a custom WB reading is good idea if you want out of the camera JPEGs to be correct. On the D810 and D3s correct highspeed sync, even at a manually set 1/8000sec, was not a problem and coverage was even across the frame with no top to bottom gradation. This does depend on the camera model so worth a check. Diffusing output with a shoot-through white brolly and the head placed two metres from a colour test chart, the Pixapro in TTL mode

Specs Price Pixapro CITI600 TTL head £600, Pixapro Pro ST-III TTL trigger £74.99 (Canon or Nikon). Remote head kit £100 (40% off with head) In the box Head, tube, standard reflector, lithium battery, charger, lamp cover and mains cable Maximum power 600W/s Colour temperature 5600K +/-200K Flash duration 1/220sec to 1/10,000sec Flash modes ETTL, ITTL, manual, multi Recycling times 0.01-2.5secs Manual power range 1/256 to full power High speed sync Up to 1/8000sec Radio frequency 2.4GHz Working range 100m with ST-111 transmitter, 32 channels, 3 groups Slave modes Canon and Nikon optical slave modes, manual slave S1 and S2 Modifier fitting S-bayonet

gave enough output at the camera shutter speed to allow the use of f/2.8 with a tweak of the exposure slider during processing. You get a better straight-out-of-camera result at f/2.8 by going down to 1/4000sec, and if you want to use f/4 you’ll need to drop down to 1/2000sec for a decent exposure. This aperture/shutter speed relationship continued, so at 1/500sec you get f/8. Venture into the world of highspeed sync and you don’t get heaps of power. But with the high quality of fast ISOs on many cameras if you need to shoot at 1/8000sec at f/5.6 or f/8, assuming the subject isn’t too distant and an efficient modifier is fitted, that is a possibility with this unit. WC

Battery 8700mAh Lithium-ion, four recharge time

A solidly made flash unit that I found easy to use with push button control

Capacity 500 full-power flashes approx. Dimensions 220x245x125mm Weight 2.66kg Contact essentialphoto.co.uk

Above The Pixapro CITI600’s protruding tube help gives even light spread with big modifiers. Below Using the lowest output of 1/256 the Pixapro CITI600 gave a very, very brief flash duration.

Verdict A portable battery flash with lots of features, even coverage with high speed sync at 1/8000sec and plenty of power for £675 makes the Pixapro CITI600 TTL and trigger really excellent value. There is a great deal to like and it’s easy to use, whether you prefer manual or TTL control.

Top The info LCD is good and key info is easily legible while working in fractional power settings is quick to get used to. Above Control layout rates highly and buttons are clearly labelled.

Overall An excellent unit and recommended for location shooters Pros Great value, high power output, brief flash durations Cons Light adjustment bracket stiff, fractional output settings.

Photography News | Issue 34 | absolutephoto.com

First tests

Nest Traveller NT-6264CK Tripod/ Monopod kit £249 Here’s what you really need from a travel tripod; it should pack up small, be light in weight, easy to use and sturdy. Without wanting to make the this the shortest review ever, Nest’s Traveller NT-6264CK does pretty much all that and more. I took it on a week’s shooting in Crete and found it to be an excellent tripod throughout. Let’s start with the size and weight; in its folded position, the tripod is only 41.5cm long, including the NT-630H ball head, and weighs just 1.52kg. This makes it a good fit for carry-on luggage, and with its included case it can be strapped to your bag if required. The shortness when packed is thanks to the NT-6264CK’s folding design; to pack it up, the centre column is raised, the leg angle locks released and the legs themselves folded upwards, so that they close around the head. This basically saves the length of the head, meaning you don’t need to take it off to save space. It also provides some protection for the ball head, and for a snug fit between the legs, it’s a simple case of slackening the pan control and turning it. It works well; my only minor complaint being that the action of sliding the leg locks horizontally, then lifting the legs feels like you’re trying to push in two directions at once and causes a bit of a strain. The tripod’s low weight is thanks to its carbonfibre construction, and it really is surprisingly light in the hand. The four leg-section design also helps keep the folded length down, but four-

section designs generally mean a less stable platform. Not so in this case, it seems; the legs were very rigid thanks in part to the thickness of the sections (a chunky 2.6cm at the top). The specified load-bearing weight of the legs is up 15kg (the head is 10kg), but pushing down and twisting the legs saw very little flexing or movement. When using slow shutter speeds, I was impressed with the sharpness of the results from this pod. The rubberised twist locks open and close quickly and securely, and their grooved surface provides an excellent grip. They unlock with just a ¼ turn, but unlike levers I did find I needed to be more vigilant in making sure they were fully locked to avoid slipping. Faster still, because of the spacing, it’s possible to release all of them with a single turn, and while like most locks, they could be overpowered with a good push, in testing with a Nikon D800 and 1635mm and a Fujifilm X-Pro2 and 1014mm, they were rock-solid. The legs have rubberised feet, which add to the solid feel; I tested them on rough and smooth surfaces and they gripped well, though it would be nice to have had the option of spikes, too. There are three leg angles possible, and as these can be locked independently, it makes setting up on uneven terrain easy. Thanks to the speed of the leg-locks, the tripod can be stuck at its full height of 150cm in well under ten seconds. At its lowest, you can shoot at around 26cm, which is plenty low enough for

Specs Price £249 In the box Traveller NT-6264CK carbon-fibre tripod, NT-630H ball head, quick release plate, carry case, shoulder strap and tools Leg sections Four Material Legs 8x carbon fibre with aviationgrade aluminium and twist leg locks Max height (with head) 150cm, centre column extended 125cm, centre column retracted Min height 26.5cm Max load 15kg (NT-630H head 10kg) Closed length 41.5cm Weight 1.52kg

most circumstances; the centre-column can be removed and inverted if you want to go lower. Adding to the versatility of the kit, one of the legs can be unscrewed near the top, just under the main joint, turning it into a monopod. The centre column is then removed and screwed onto the top. It’s not a particularly quick process, but then it doesn’t need to be, and if you tend to shoot off a monopod for sports, action or wildlife it means you’ve got the option without bringing extra gear. The monopod leg, and one of the others, have foam rubber wraps, making them more comfortable to carry, but a shoulder strap and soft case (with handles and facility to attached the strap) are also included. The case seems durable enough and offers a little

protective padding, plus a side pocket, which is ideal for storing the included tool, but while the strap is welcome, its fabric top surface was beginning to split after little more than a few weeks use, so don’t expect it to last a lifetime. Conversely, the legs and head are very well built, and during my extended testing, not once did they stop being smooth and responsive. The NT-630H ball head included in the kit matches the legs for strength at a low weight. It’ll accept up to 10kg of camera and lens (and probably more), and operated very smoothly on test. The head uses an Arca-Swiss compatible quick-release plate, although I found the locking mechanism on the head a bit fiddly. KS

Contact nest-style.com

The legs and head are very well built and not once during my extended testing did they stop being smooth and responsive

Top The Nest Traveller NT-6264CK has four leg sections, each controlled by a rubberised twistlock. This means makes it quick to set up, while the folded height is kept to a very short 41.5cm.

Verdict

Left The NT-6264CK’s legs fold over the head to save space. Above Thanks to its four leg sections, we had no problems setting up the tripod on uneven ground and it still gave a rock-solid performance.

Testing the Traveller NT-6264CK on a typical shooting holiday, it didn’t disappoint. The kit is light, easy to use and fast to set up. I used it with Nikon D800 and Fujifilm X-Pro2 bodies neither of which is lightweight, and had no problems at all. There are some fiddly aspects, such as the ‘legs in the air’ closure and the included head’s locking mechanism, but it doesn’t take long to get used to them, and what you’re left with is a versatile and reliable set of legs. Pros Light, quick, sturdy and very well made Cons Some fiddly aspects, and not the cheapest out there

Photography News | Issue 34 | absolutephoto.com

Review

Welcome to our Lens Special. We’re catching up with all the leading brands to find out about their lens ranges, but first we look at the questions you should be asking when you’re buying your next lens

Standard

Which optic?

Telephoto

Lens special

Wide-angle

Words by Will Cheung

Macro

world of detail appeals, then a macro lens makes the tiny much bigger. This is being very general because wide-angles are great for sports too, and telephotos work for all manner of subjects. Much depends on the person behind the camera. Give three photographers the same scene, one will fit a wide-angle and get in close, another will take a telephoto and retreat several metres, while the third will stay put. Assuming you’re a relative newcomer you probably bought your interchangeable lens camera with a standard zoom kit lens. A standard lens is a great start to your kitbag and covers the most used focal lengths – from wide-angle to moderate telephoto, and includes the approximate field of view of the human eye (around 45mm). With an APS-C format DSLR such as the Canon EOS 80D or Nikon D500, a standard zoom will have a focal length range of around 18 -55mm. All those numbers that relate to focal length can be confusing

There is no one-size-fits-all answer when it comes to what lens to buy next, simply because individuals have unique demands, expectations, needs and, of course, budgets. Indeed, many people happily enjoy their photography with nothing more than the lens that came with the camera, and there is nothing wrong with that. So, let’s start at the beginning and assume that you already own a camera with an interchangeable lens and are on the brink of exploring the world through the great many optional lenses that are available. Every camera brand has optics to cover almost every area of interest. There are also independent lens makers whose products are compatible with different camera brands. Sigma and Tamron are possibly the best known. If you enjoy landscapes and interiors, a wide-angle can make the most of them. For action and sports, a telephoto brings the subject right up close and personal. While if the

for the less experienced. But we’re here to help (see the panel All about focal length). The essential thing to remember is that if the image fills the viewfinder or monitor with what you want, the actual focal length figure is not important. The thing with some kit lenses is that they are not always the best you can get. The makers want to sell you a camera, and, of course, adding a lens raises the initial cost, so it makes sense for them to supply a lens of a lower specification. That doesn’t mean kits lenses are poor – it’s simply not the case – but it does mean a similar but better specified lens is usually available in the maker’s range at a higher price. By better specification, we mean higher quality glass, metal construction instead of plastic and more features such as a shake reduction system. More expensive lenses often have ‘faster’ maximum apertures. This is not an indication of how fast a lens can focus, but a reference to its lightgathering properties. Every lens has a maximum aperture, which is defined as an f/number that’s usually quoted in a lens’s name. The lower the f/number (f/1.4, f/2), the wider the lens aperture and the more light the lens can gather. The higher the f/number (f/3.5, f/4), the smaller the aperture and the less light the lens can gather. A fast lens is one that has a wide maximum aperture. A faster lens does mean that the image through the optical viewfinder is brighter, but the key benefit comes when shooting in less than perfect light. It means you can shoot at higher shutter speeds to avoid camera or subject movement, and use lower ISO settings for high image quality. Photographers who often shoot in low light or action subjects will benefit from a faster lens. But for many, the extra cost might not be worthwhile. Faster

aperture lenses are often also bulkier and heavier than their slower aperture counterparts. Kit lenses are usually zooms, which have the benefit of being flexible, allowing you to alter the size of the subject in the viewfinder without moving position. So you won’t be surprised to learn that zooms are more popular than fixed focal length lenses – also known as prime lenses. While primes only have a single focal length they have many advantages. They’re more compact, lighter, have faster maximum apertures and can be optically superior, especially at wider aperture values. Prime lenses have enjoyed a renaissance in recent years as many camera users have discovered (or rediscovered) their joys. The big attraction for most is the benefit of their fast maximum apertures and there are plenty of optics on offer. In the last issue of Photography News, we tested four Voigtländer primes for Micro Four Thirds cameras, and they have super-fast maximum apertures of f/0.95. What to buy next So if you own a camera with a standard zoom, what lens should you buy next? If you have a specific interest this is easy. If you want to make the most of your prize blooms, buy a lens that will let you focus very close, such as a macro. If you enjoy sports buy a telephoto for a larger view of your distant subject. Thing is, most people like to shoot a diverse range of subjects so it’s not so clear cut. As a starting point, however, for most keen camera users a telephoto zoom is the next sensible step. Telezooms are great for architecture, portraits, scenics, sports and much more. In the APS-C format, this means a lens with a focal length

All those numbers that relate to focal length can be confusing for the less experienced photographer, but we’re here to help

Images If you have specific interests such as wildlife or sports photography you need to invest in a telephoto that lets you make the most of them. If your photographic interests are broader, a selection of lenses covering wide-angle to telephoto would suit you better, and don’t forget about macro.

Photography News | Issue 34 | absolutephoto.com

Review Depth-of-field explained While you are framing the picture, think about what you want sharp within the scene © Will Cheung

After correction

Above Converging verticals can be corrected in-camera using a perspective control lens, also called tilt and shift lens. Sadly, such lenses are very expensive – the exception is the Samyang T-S 24mm f/3.5 ED AS UMC at £625. If you want one, consider hiring.

Depth-of-field is defined as the amount of acceptable sharpness within a picture and, you as the photographer can directly influence how much depth-of-field you get with, for instance, your aperture choice. But you should be aware that this influence is not total so, for example, if you want sharpness from 1m to infinity and you have a 200mm telephoto lens set at f/4, you’re just not going to get it. How much or how little depth-of-field you have in a picture has technical considerations, and there are pictorial ones too, so you need to think about the final result. For example, landscape enthusiasts generally like to have a great deal of depth-of-field so everything from near the camera to a distant subject (effectively infinity) is pin-sharp – more on this aspect of depth-of-field very shortly. So, while you’re framing the picture, think about what you want to be sharp within the scene and then set the camera up accordingly bearing this in mind. But as we’ve already mentioned, it might not be possible to achieve the effect you envisage in your mind’s eye. Depth-of-field is affected by three key factors, which are interlinked, so they need to be considered simultaneously when assessing your picture. The lens aperture used The smaller the lens aperture, the greater the depth-of-field. So for landscapes when you want everything sharp from near to far, apertures like f/11 and f/16 are used. In portrait work where you want some separation between the subject and the background, wide lens apertures such as f/4 and f/5.6 are best employed.

Camera to subject distance Depth-of-field, regardless of aperture, lessens as you get closer to the subject. So with macro photography depth-of-field is limited even with small apertures. A 100mm macro lens at f/16 focused at a subject 30cm away gives depth-of-field of less than 1cm. Focus at 10m and you get depth-of-field from 7m to 12m. The lens focal length Shoot the same subject from the same spot and a wide-angle lens provides a greater depthof-field than a telephoto lens. A 24mm lens at f/11 focused on a subject 10m from the camera will give you sharpness from 1.5m to infinity, while a 200mm lens at f/11 from the same spot only gives depth-of-field from 9m to 11m. While it’s unlikely you would use lenses in this way, a 24mm and a 200mm produce the same depth-of-field if the image size in the viewfinder, ie. the magnification, is identical. If you took a frame-filling full face portrait with a 200mm

Before correction

F/8

F/4

F/56

F/2.8

Such lenses do need using with a little care; get in too close to a subject, and you will see some distortion. Try a wide lens on a portrait and you might find the nose is all out of proportion with, say, the ears. The effect can be dramatic so it’s worth using, but you do need to be aware of its potential pitfalls because the effect is not flattering. Wide-angle lenses can also be challenging in that there is too much space left around the subject, and the composition looks rather empty. Always check before taking the shot that the composition is as powerful as you can make it. Use your feet and get in closer if needs be. With your three-lens outfit you are now perfectly equipped to push back your photographic boundaries. But you should be warned that once you start exploring these lenses further you might find the urge to upgrade irresistible. You might yearn for faster apertures, decide to work with primes or the idea of more specialist optics like macro or perspective control lenses might take hold. One extra lens could be just the beginning of a very exciting lifelong journey.

F/11

range of 55-200mm or so. In the 35mm format, this means 70200mm or 70-300mm. Many modern telezooms are equipped with image stabilisation to deal with picture-ruining factors such as camera shake. Because you get a greater magnification, it can mean even the slightest camera movement can spoil your pictures. This is what features such as Image Stabilisation (IS) from Canon, Vibration Reduction (VR) from Nikon and Vibration Compensation (VC) from Tamron are designed to combat. Some brands such as Olympus and Pentax have shake reduction features built into the camera body rather than the lenses. Once you’re equipped with a two-lens outfit you can cover a huge subject range. And it may not be too long before you find that the shortest end of your standard zoom isn’t quite wide enough to cope with interiors or cramped conditions. That’s when your mind will turn to the wide-angle zoom. In the 35mm format this means around 16-35mm, while APS-C users will be looking at a 10-24mm. These lenses are known as ultra wide-angles.

F/16

lens, swapped to the 24mm and moved in close (very!) to get the identical head size, the depth-of-field will be the same. Learning how to use depth-of-field is a key skill so bear the above three factors in mind to start with. Then consider where you focus. Wherever you focus in the scene you get more depth-of-field behind where you have focused than in front of it. So if you’re shooting a landscape with near and distant elements, don’t just focus at infinity and hope the foreground will be sharp. Focus about one third of the distance into the scene so the zone of sharpness extends beyond where you focus and back towards the camera too. To do this, switch to manual focus or use the single AF point to focus at that spot rather than letting the camera decide. While landscapers want a large depth-of-field, portrait workers usually want less, particularly when shooting outdoors where there’s limited control over backgrounds. Positioning the subject so that the background is a little way behind and selecting a wide aperture is the best technique to use, and that way the background’s impact is minimised. You may have noticed that a selling point used by many lens manufacturers is something called ‘bokeh’. This is the effect or look of an out-of-focus background. The effect varies from lens to lens – some lenses give smooth circular highlights, others give more defined octagonal shapes. Lens construction such as the number of diaphragm blades impacts on the shapes you get – the greater the number of blades, the smoother the circles, generally – but so does the actual aperture used and the distance between the subject and the background. If you want to get technical about it, the ideal distance to use for maximum depth-of-field for any given aperture and focal length is called the hyperfocal distance. As most modern lenses don’t have a depth-of-field scale, the easiest way to determine this on location is with a smartphone app such as Depth of Field Calculator (79p) or DOFMaster (£1.49) but there are plenty more available. Many cameras have a depth-of-field preview feature that lets you check how sharp the scene is. Use it and the camera closes the lens aperture to its set value (you normally view the image at the lens’ maximum aperture) and that’s why the viewfinder gets darker – less light is coming through the lens. Let your eye get used to the darker image and you’ll get a better idea of what is sharp within the scene. The preview feature is very much a feature for film cameras where you don’t know what you’ve got until the film is processed. With digital, just take a picture and study it to make sure what you want sharp is sharp.

Images These portraits were taken from the same spot with a 70-200mm zoom at 105mm and the focus on the girl was not altered between shots. The only thing changed is the aperture to vary the amount of depth-of-field – the difference is very evident in the background. Of course, adjusting the aperture changes the shutter speed and shooting at smaller apertures means slower shutter speeds. On a bright day this isn’t an issue and on these sunny day shots the shutter speed at f/16 was 1/200sec at ISO 200. On a dull day, a tripod would be needed.

Photography News | Issue 34 | absolutephoto.com

Review All about focal length Every lens has a focal length expressed in millimetres or mm. The focal length is, very basically, the distance from the optical centre of the lens to the sensor/film plane when focused at infinity. The focal length is not a measure of the lens’s physical size. The focal length tells you the whether it’s a wideangle, standard or telephoto, but this depends on the image format, ie. the size of the camera’s sensor. As a guide, the standard focal length for an image format is the diagonal distance across the format, so with 35mm full-frame, the diagonal is 43.2mm so that is the focal length that gives pictures with a normal perspective similar to that of the human eye. Focal lengths that are shorter than this give a broader view and lower magnification, and are classed as wide-angles. While lenses longer than this give a narrower view and a higher magnification, and are called telephotos. Defining a fixed focal length lens is easy, but classifying zooms is more tricky because there are so many options. Typically, a standard zoom covers 2885mm, a wide-angle zoom has a range of 16-35mm and a telephoto zoom around 70-200mm. We also have lenses that start from 28mm and go as long as 300mm, covering wide-angle, standard and

telephoto focal lengths. These convenient ‘all-in-one’ lenses are referred to as superzooms. Thus far we have only discussed focal lengths in relation to the 35mm format. This long-established format remains very popular. But there are many more formats on the market, especially smaller ones. However, the 35mm format’s history and popularity means it’s treated as an industry standard, so when focal lengths are quoted for other formats they’re often shown with the 35mm format equivalent figure too, just to give an idea of the effect. Of course, this is not much help if you’ve never used a 35mm format camera. The key thing to remember is that the same focal length has a different effect across formats. This is often summed up as the crop factor, and uses the 35mm format as the starting point. So a 50mm lens on a 35mm format camera behaves as a 50mm lens, ie. a crop factor of 1x. But with a 50mm lens on an APS-C Canon camera the crop factor is 1.6x, so the optical effect is as if an 80mm lens is used (50mm x 1.6 = 80mm). Similarly, a 50mm focal length lens on a Micro Four Thirds camera (2x crop) gives the effect of 100mm on a 35mm format camera (50mm x 2 = 100mm). See the table to the right.

Name

Format size

Crop factor

Format diagonal (standard focal length)

35mm full-frame

36x24mm

43.2mm

APS-C (Canon)

22.3x14.9mm

1.6x

26.8mm

APS-C (Fujifilm, Nikon, Pentax)

23.5x15.7mm

1.5x

28.2mm

Micro Four Thirds (MFT) 1

13x7mm

21.4mm

Nikon Series 1 and 1in sensor

13.2x8.8mm

2.7x

15.8mm

Note – actual sensor sizes can vary fractionally from the figures quoted above. For example, the Nikon full-frame FX format is 35.9x24mm and Fujifilm’s X-series sensor measures 23.6x15.6mm.

Images These shots were taken from the same position to show the effect of different focal lengths. They were taken with a full-frame (FF) 35mm DSLR at the quoted focal lengths, and the equivalent focal lengths needed for a Micro Four Thirds (MFT) or an APS-C 1.5x camera are also supplied.

FF 14mm MFT 7mm APS-C 1.5x 10mm

FF 20mm MFT 10mm APS-C 1.5x 13mm

FF 28mm MFT 14mm APS-C 1.5x 19mm

FF 50mm MFT 25mm APS-C 1.5x 33mm

FF 85mm MFT 43mm APS-C 1.5x 57mm

FF 100mm MFT 50mm APS-C 1.5x 67mm

FF 135mm MFT 67mm APS-C 1.5x 90mm

FF 200mm MFT 100mm APS-C 1.5x 133mm

Photography News | Issue 34 | absolutephoto.com

Review Buying used If you want to buy second-hand there are plenty of specialist used photo dealers, and those that sell new will often have a sizeable selection of pre-owned products. There’s always a risk when buying used products, so it’s ideal to get your hands on the kit to physically check it over. If geography precludes this, then a close look at some detailed pictures will have to do. If you do get to see the lens in the flesh, start with a close inspection. If the lens looks well worn, then it has been used hard, but that’s not a problem if it’s optically sound. If the lens has been fitted with a protection filter, then the front element should be fine. If not, a close look under an oblique light will show up any scratches. After the front element, look at the rear element. This is less likely to be scratched, but might need a clean. Taking the lens off the camera and looking at a bright light through it will show up dust on internal elements, and while the odd tiny fleck isn’t a problem, see mould and you should consider moving on. If there’s a layer of dust sitting on inside surfaces it’ll need professional cleaning to avoid soft shots.

If you’re happy at this point, fit the lens onto your camera and take a few pictures. The joy of digital is that you can quickly check that the lens autofocuses and delivers sharp, correctly exposed images. A good test is to focus on something close which has plenty of detail. Set the maximum aperture and take some shots. If the lens has focusing issues or a poor wide aperture, these problems will be readily apparent. If open aperture performance is not good, close down two stops and try again. If the result is still soft, move on. At this point, also check that the manual focus, aperture and zoom barrels are working smoothly without any grating or coarseness. If the lens has an image stabilisation feature then make sure this is working too. Look through the viewfinder, partially press down the shutter release and gently jig the camera up and down – the image will seem to float when it is working correctly. So, you’ve checked out your prospective lens’s appearance, mechanical soundness and its optical qualities. If you’re happy thus far and the price appeals then it’s time to get your credit card out and do the deed.

Jargon buster Aperture Every lens has an adjustable diaphragm or iris to control how much light reaches the sensor/film. The lower the number (f/2, f/2.8), the wider the aperture. The higher the number (f/11, f/16), the smaller the aperture. APO (apochromatic) An APO lens can focus all colours of visible light at the same point to avoid chromatic aberration where red, blue and green light wavelengths focus at different points. Aspherical element This is a special lens element with a complex surface profile that doesn’t form part of a sphere. It reduces lens size and help to eliminate optical aberrations. Autofocus (AF) Most lenses are autofocus and AF speed, accuracy and effectiveness can vary between brands. Each brand has its own focusing motor, and the latest are almost silent in operation. Canon has USM (ultrasonic motor), Fujifilm LM (linear motor), Sigma HSM (hypersonic motor) and Tamron USD (ultrasonic silent drive).

constant aperture throughout. A lens that’s quoted as f/2.8-4 means it has a variable maximum aperture, ie. f/2.8-f/4. Constant aperture zooms are usually more expensive. Depth-of-field The amount of front to back sharpness in a picture. See the depth-of-field panel. Depth-of-field scale Many older and some current primes have a scale etched on the lens barrel to give you an idea of how much depth-of-field is available at specific apertures. Filter thread Also called accessory thread, a filter thread can be found on most lenses to screw filters and other optical accessories in front of the lens. Some long telephotos have rear-fitting filters because the front element is so big.

Optical construction A camera lens is a complex piece of optical design with each lens made up of a number of individual glass elements. These are sometimes grouped together.

Hyperfocal distance Focus the lens to the distance if you want the maximum depth-of-field for the set aperture. You need a lens with a depth-offield scale or a smartphone app.

Macro ratios This indicates the maximum possible magnification with the lens at minimum focus. A 1:1 magnification means the subject will be reproduced life-size on the sensor. Image stabilisation system Camera makers have their own systems to eliminate blurred pictures caused by camera movement or shake. Canon: IS

Prime lens See Fixed focal length lens. Tripod mount Telephoto lenses are heavy. Mount a camera fitted with a long lens onto the tripod or monopod using the mount underneath, and you’re likely to strain or even damage the mount. The combination will also be front heavy. A lens collar mount provides a better centre of gravity and reduces risk of damage. Zoom A lens with a variable focal length allowing you to achieve different compositions without moving camera position. Zoom lock A lens feature that locks the zoom barrel so it does not alter when the lens is being carried.

There are many reasons to hire a lens rather than buying it outright. It might be that you’re interested in a specialist lens, like a perspective control optic, but you’re not totally convinced that you will use it enough to justify a purchase. Or it might be that you are thinking of an upgrade, say to a newer version of the lens you already own, and you want to check out the potential benefits before committing. Then there’s the situation where you have a great photo opportunity coming up that you can enjoy more photographically with a particular lens. This can range from a day at an air show to a wedding to a once in a lifetime African safari. Whatever the situation, hiring could be the most cost-effective way to go. We caught up with Stewart Robertson, the director of lensesforhire – one of the UK’s biggest hire businesses – and asked him how things are going. “Lensesforhire is a family business and we focus on three brands, Canon, Nikon and Fujifilm. About 95% of our business is currently Canon and Nikon while Fujifilm is growing. Olympus and Micro Four Thirds is an area we are looking at, and Pentax too. “About 60% of our customers are enthusiasts and with the rest semi-pros and pros. Many of our customers shoot weddings and hire kit for the job in hand rather than make the massive investment in gear. “It’s our busy time right now. It normally starts to pick up after Easter and we stay very busy through to October. Basically, it’s busy when people are out doing things. We have a lot of customers who like to photograph planes or racing cars at the weekend and many customers are wildlife enthusiasts off on safaris, or going to the Farne Islands or Skomer. And there are a lot of people who are just going on holiday and want a high-quality ultra-wide lens to shoot Tuscan street scenes. “We also get a lot of customers who want to try before buying. For example, they may own the original Canon 24-70mm f/2.8 and are considering the Mark II, but it’s a £1500 lens so to make sure it is the right lens for them they hire it first. Our three most popular Canon lenses are the 24-70mm f/2.8, the 70-200mm f/2.8 and the 100-400mm. “We aim to make hiring a lens as easy as possible. Pick the lens and it goes into a basket and the website takes you through the process – it’s between Internet shopping and booking a hotel room. Our prices include VAT, insurance and carriage and, for UK customers, there is no deposit required. “If someone is interested in lens hiring and not sure of their needs, give us a call – that is what we are here for.” lensesforhire.co.uk © Will Cheung

Low (or extra low) dispersion glass Special types of more expensive glass used to minimise certain optical aberrations.

Constant aperture A lens that is quoted as a f/2.8 means it has a

Lens elements A camera lens is comprised of elements.

Fixed focal length lens A lens with a single focal length. Also called a prime lens.

Lens hood Stray light striking the front of a lens can cause flare. A lens hood can help avoid this problem by stopping any non-image forming light reaching the lens front.

Bokeh The visual quality of the out-of-focus areas in the background. Portrait photographers like ‘attractive’ bokeh. The shape and smoothness varies, and is influenced by the number of diaphragm blades.

Image Stabilization; Fujifilm: OIS, Optical Image Stabilization; Nikon: VR Vibration Reduction; Sigma: OIS, Optical Image Stabilization; Tamron: VC Vibration Compensation. Some lenses have a mode for normal shooting and another for panning with a moving subject.

The hiring option

Photography News | Issue 34 | absolutephoto.com

Review Lens special

Canon We hear from product marketing manager, Daniel Benjamin, and Canon ambassador Danny Green, to find out more about Canon’s lens range and the technologies involved in their build Words by Jemma Dodd Over the last 12 months Canon has received ten awards just for its lenses, these awards include the Photography News Gear of the Year awards in which our readers voted the EF 24-70mm f/2.8LII USM as the best standard zoom lens and the EF 35mm f/1.4L II USM won the award for best prime standard lens. We caught up with Daniel Benjamin, Canon’s product marketing manager to find out a little more about the Canon’s lenses. Can you tell us which lenses in the Canon range are most popular? One of our lenses that has been consistently popular is the EF 50mm f/1.8. This lens is a really good starting lens for fast aperture photography. You can be very creative with this lens using control of depth-of-field and as it’s a fixed lens it makes you think about your composition differently. The EF-S 10-18mm f/4.5-5.6 IS STM has also been popular since it launched, offering photographers a versatile wide-angle lens at a competitive price, perfect for travelling.

What lens technology are you most proud of? We were the first company to use optical image stabilisers in our consumer lenses, which I feel was a real game changer. This allowed more shooting situations and flexibility. We now have Hybrid Image Stabilisation (IS) systems that work in different axis’ to compensate for different types of movement. We also recently announced the EF-S 18-135mm lens with Nano USM Technology, which means it’s smooth, fast, quiet and an ideal lens for those shooting video on their DSLR, something which is becoming increasingly popular. What makes Canon lenses different from other brands? All of our lenses are made to our own designs and by machines that we build in-house. This allows us to have full control right the way through the process from concept, design and prototype to the final manufacturing. We are always looking at ways to improve image quality and have developed coatings

to combat flare and diffraction (light bending round the edge of an object). One of the most interesting coatings is the Subwavelength Coating, this has a variable thickness that stops light bouncing off the coating and causing diffraction, something that is very important on wide-angles.

What can we expect next? We are always looking at ways of improving technology to give people the best shooting experience possible. There are advances in lens design and coatings all the time, not to mention improvements in lens motors and image stabilisers.

The most recent lens you launched was the EF-M 28mm f/3.5 Macro IS STM with built-in Macro Lite, what sort of reaction from Canon users did this lens get? It’s still early days for this lens as it hasn’t been widely reviewed yet, although the feedback so far is very positive. It’s the first mirrorless super macro lens with a built-in light, which really does make a difference when shooting macro. It’s a great way to get started in macro photography, but let’s not forget that it can be used for other types of photography as well.

What type of lenses are Canon users calling out for, and could their needs be met? We have well over 90 EF lenses in our range and this is growing every year. Customers are always pushing us to bring out faster, lighter lenses with increased zoom ranges. I feel portability is one of the most important factors at the moment, but without sacrificing image quality. Lenses have to be able to get the best out of the camera sensors, so image quality is always our top priority.

Featured lens EF-S 18-135mm f/3.5-5.6 IS USM £449 Canon’s EF-S 18-135mm f/3.5-5.6 IS USM lens offers a wide focal range, making it great for a variety of subjects. It features Nano USM technology, which provides a fast and smooth autofocus and also has an optical image stabiliser to counteract for camera shake with up to a fourstop benefit.

canon.co.uk

All of our lenses are made to our own designs and by machines that we build in-house. This allows us to have full control right the way through the process...

Photography News | Issue 34 | absolutephoto.com

Review © Danny Green

Canon user: Danny Green Having first picked up a camera over 25 years ago, Danny Green has always been interested in nature and the outdoors. He has won numerous awards for his work including Wildlife Photographer of the Year, Nature’s Best and the European Nature Photographer of the Year. In 2012 he was chosen as an ambassador for Canon to represent nature photography. What appeals to you most about Canon’s lenses? Most of my work is done in remote environments and I love shooting in adverse weather conditions. I shoot in some of the most challenging environments like in mountainous areas and the high Arctic so my kit has to be reliable and also be able to withstand what the elements can throw at it. Canon’s pro lenses certainly do this and can more than cope with what I put them through. I treat my equipment like tools and never wrap them up in cotton wool, they are designed to do a job and they do it.

Which Canon lenses do you use? I have a variety of lenses in my kit bag, which are all designed to do a specific job. My larger lenses like my EF 300mm f/2.8L IS II USM and EF 500mm f/4L IS II USM prime lenses are mainly used for my closeup portraits and for capturing action. They are both super sharp and are so fast for autofocus. I also like to capture the landscape and the environment where my subjects live and so I have a number of lenses ranging from 14mm to 200mm. The one lens I always have in my bag is the versatile EF 24-70mm f/2.8L II USM. I also own an EF 180mm f/3.5L Macro USM lens, which I use for my close-up work. This is a great lens for photographing dragonflies and butterflies because you have a little bit more reach as it is a 180mm telephoto. Essential for nervous insects. If you could only use one lens what would it be? The one lens in my bag that I couldn’t be without is my trusty EF 500mm f/4L IS II USM lens. I shoot with this lens 80% of the time. Most of the time I am either trying to capture action or shooting in very low light and this lens works so well for both situations. The low-light capability is outstanding and most subjects I tackle are active at dawn or dusk. It is considerably lighter than my older version and that makes a difference. Is there a specific lens you would like to see Canon introduce? Canon brought out the EF 200-400mm f/4L IS USM lens a couple of years ago. This lens is a very clever piece of engineering and one of the major attractions for me was the built-in 1.4x converter. I would love to see this feature added to some of the larger lenses like my 500mm. I sometimes miss images because I am attaching my converter and so to be able to do this by just a switch of a button would be great. dannygreenphotography.com

Danny Green’s kitbag © Danny Green

1 2

4 5

6 1 EF 180mm f/3.5L Macro USM

4 EF 500mm f/4L II USM

2 EF 14mm f/2.8L II USM

5 EF 70-200mm f/2.8L IS II USM

3 EF 300mm f/2.8L IS II USM

6 EF 24-70mm f/2.8L II USM

Photography News | Issue 34 | absolutephoto.com

Review Lens special

Fujifilm Just five years old, the Fujifilm X series has made a significant inroads among pro and enthusiast photographers. We catch up with general manager Theo Georghiades for a quick chat Words by Roger Payne It’s hard to think of another manufacturer that’s been introducing lenses at the same rate as Fujifilm in recent years. Currently celebrating its fifth anniversary, the X series has proved to be hugely popular among photographers who like their camera gear small, light and retro. Products like the X-T1 have really struck a chord and Fujifilm celebrated the anniversary with the launch of the X-Pro2. The lens range has swelled from an initial three primes to a current count of 22 optics if you include teleconverters and XC kit lenses. The range does feature some cutting-edge technologies – you’ll be hard-pressed to find a more effective OIS than the one in selected XF lenses – but there’s one simple defining characteristic that has seen new users flocking to the brand, many abandoning their DSLR kits en route, and that’s image quality. “We have made a name for ourselves over recent years because pretty much every lens we bring out has done amazingly well purely because of the quality it offers,” enthuses Theo Georghiades, Fujifilm UK’s general manager for Electronic Imaging. “The team working on the line-up is the same team that works on our broadcast lenses and other high-end applications. They’ve taken their experience and wealth of knowledge and brought it down to the XF range. “The lenses look great, perfectly complementing the cameras, and I think the value for money is very good as well,” Theo continues. “We’re not the cheapest, but we’re not here to make a cheap range of lenses, we’re here to make the best quality lens we can for the most affordable price. Pound for pound our lenses stack up with any other manufacturer’s optics.” Fujifilm’s X series philosophy seems to have struck a chord with a particular group of photographers and the company has always prided itself on the constant dialogue it maintains between itself and the photographic community. “The system is predominantly built with photographers in mind and I feel that puts us apart from other brands,” explains Theo. “We talk to photographers a lot and, from a product planning point of view, we discuss what the photographer

We felt that offering prime lenses would attract photographers who really think about how they shoot wants from the system. This means we’re always producing lenses that fit within the existing range and that consumers will want to buy.” Recent additions to the range have seen Fujifilm answer one of the key issues for the line-up; the lack of telephotos. The XF100-400mm f/4-5.6 joined the existing XF50140mm f/2.8 to put wildlife and sporting action well within reach, especially if coupled with either the 1.4x or 2x teleconverters. But this is a range that remains true to its prime lens roots with more than half of the range having a single focal length. “We wanted to differentiate ourselves away from traditional DSLR and we felt that offering prime lenses would attract photographers who really think about how they shoot,” says Theo, explaining the company’s prime-centric offering. “Zoom lenses are very functional, but primes make you think more carefully and help you enjoy photography more – something that had been lost for many years. I was lucky enough to be on the X series product planning panel from an early stage and there was lots of discussion about the X100 having a prime lens. To launch a camera with a fixed lens was a bold move, but it was the right foundation and when we started discussing the X-Pro1, we were confident about going after fast aperture prime lenses.” Fujifilm’s drive to deliver the right products for its ever-growing following shows no sign of abating, either. “We will always look to innovate and push the boundaries on our lens technology,” Theo confirms. “We have a lens road map update coming out very soon.” fujifilm.eu/uk

Featured lenses XF35mm f/1.4 R £429 The 35mm f/1.4 was one of the original X series lenses when it was introduced alongside the X-Pro1 body. It might be five years old but with a focal length of 53mm in the 35mm format, it remains one of Fujifilm’s most popular sellers, being fast, compact and suitable for a wide subject range. Of course, it is optically still in the top drawer with an impressive performance from maximum aperture onwards. The only key feature lacking is weatherproofing, a feature that is getting more common on X series cameras.

XF10-24mm f/4 R OIS £769 This wide-angle zoom has the equivalent focal length of 15-36mm in the 35mm format so it is a lens well suited to scenics, interiors and pictorial use where dramatic foregrounds are required. Its minimum focusing distance is 24mm so no problem if you want to fill the frame with a dominant foreground subject. With a maximum aperture of f/4, this isn’t the fastest lens around but it does feature Fujifilm’s OIS (Optical Image Stabilization) system for shake-free results at slow shutter speeds.

XF56mm f/1.2 R £769 This lens (equivalent to 85mm in the 35mm format) has proved immensely popular among portrait and social photographers, not just for its incredibly fast maximum aperture but also for its beautiful background bokeh and shallow depth-of-field at wide apertures. Its advanced optical design that includes two ED (extra-low dispersion) and one double-sided aspherical element delivers high optical quality with minimal spherical and chromatic aberrations.

XF50-140mm f/2.8 R LM OIS WR £1159 Encompassing a very popular selection of telephoto focal lengths (76-213mm in the 35mm format) with a fast constant f/2.8 aperture, this lens has proved essential for a broad range of subject matter, from portrait and nature to action and street work. The WR designation means the lens is weatherproofed so makes an ideal partner to the Fujifilm X-T1 and X-Pro2 when shooting in challenging weather conditions. Other headline features include the AF system using a triple linear motor for the swiftest, near silent focusing even in poor lighting and Fujifilm’s OIS for handheld shooting at slow shutter speeds.

Photography News | Issue 34 | absolutephoto.com

Review © Derek Clark

Fujifilm user: Derek Clark Professional photographer Derek describes portraiture as his bread and butter, but he also does a lot of music photography; primarily jazz. He’s recently shot a cover and all the images for a new album by Tommy Smith and the BBC Symphony Orchestra. His first love, however, is documentary, which is how he got involved with Fujifilm in the first place. Which Fujifilm camera first got you hooked on the system? The original X100. I was a Nikon guy looking for a decent digital rangefinder that wasn’t Leica prices and when the X100 came along I ordered one straight away. From there, I bought the X-Pro1 and now have the X-Pro2, two X-T1s, and the X100T and the X-E2. Are you primarily using prime lenses? Whenever possible. I like primes and I always go for the faster lenses. When I was shooting Nikon, I had all the G lenses and when I moved to Fujifilm I found the lenses were far superior and nowhere near as expensive. I held on to my D800 for concert photography because I needed a 70-200mm, but as soon as the XF50-140mm f/2.8 was released, I sold all my Nikon kit and made the 100% switch to Fujifilm.

What’s your current Fujifilm lens line-up? I have the XF16mm f/1.4, XF18mm f/2, XF23mm f/1.4, both XF35mm lenses, XF56mm f/1.2, XF18-55mm f/2.8-4, XF16-55mm f/2.8 and the XF50-140mm f/2.8. I used the XF90mm f/2 and loved it, I thought at the time the XF50-140mm covered it, but lately I’ve been thinking of adding that one to my kit too – it has a special look. My go-to lens is the XF35mm f/1.4 because it covers everything. I have both that and the newer f/2 version because I have two kits. What would you like to see in the future from Fujifilm? The XF35mm f/1.4 could do with a refresh along with the XF18mm f/2, but I’d really like to see a wider prime. The XF16mm f/1.4 is one of the best lenses there is, but I’d like to see a 10mm or a 12mm – the XF10-24mm is a little too slow for me. derekclarkphotography.com

Photography News | Issue 34 | absolutephoto.com

Review Lens special

Nikon Nikon has been making lenses for over 80 years, many of which were the first of their kind. We talk to Zara Livingston and photographer Jeremy Walker about the current wide range Words by Jemma Dodd Since 1932, Nikon has been making lenses under the Nikkor name and it now boasts a broad range of DX (APS-C format) and FX (full-frame) lenses. We spoke to junior product manager Zara Livingston who tells us of some of the company’s proud achievements: “Many Nikkors were the first ever of their type. For example, the OP 10mm f/5.6 fisheye was the world’s first orthographic projection lens, the UW-Nikkor was the world’s first lens dedicated to underwater photography, and we were pioneers in offering the first perspective control (PC) lens.” Zara listed the most popular Nikkors for its APS-C format DSLRs as the AF-S DX 35mm f/1.8G, AF-S DX 55-300mm f/4.5-5.6G VR and the AF-S DX 18-300mm f/3.5-6.3G ED VR). “The AF-S DX Nikkor Micro 40mm f/2.8G ED is an incredibly popular lens for macro and portraits,” she says. When it comes to full-frame FX lenses Zara told us the f/2.8 range has always been highly popular. “It’s referred to as the mah-jong hand – (three big dragons). In their third generation now these three key Nikkor lenses are the AF-S 14-24mm f/2.8G ED, AF-S 24-70mm f/2.8G ED VR and the AF-S 70-200mm f/2.8G ED VR II. Additionally, one of the most popular lenses is the AF-S 50mm f/1.8G, a ‘must-have’ for portraits as well as everyday use. These lenses can be commonly found in the FX user’s kit; they receive glowing reviews and are often users’ favourite lenses.”

Nikon lenses boast a Nano Crystal Coating, which is unique to the brand, and was invented by its semiconductor manufacturing division. “The Nano Crystal Coating allows unrivalled image quality in terms of minimising ghosting and flare. As a brand, we are exceptionally proud of the versatility of this glass coating and it is testament to our optical excellence that we are able to use this glass not only in our interchangeable camera lenses, but also in other areas across the business (specifically in projection lenses in integrated circuit steppers and scanners),” says Zara. “Whilst not ‘different’ from other brands, it is worth noting that an increasing number of Nikkors also use ED (extra-low dispersion) glass elements, which help to eliminate axial chromatic aberration. Additionally, more and more of our lenses use a fluorine coating on the front element. The coating repels dust, water, grease and dirt and leads to high durability, without compromising the clarity of images. Many of our popular lenses deploy this function including the 16-80mm f/2.8-4, 24-70mm f/2.8, 300mm f/4, 400mm f/2.8, 500mm f/4, 600mm f/4 and 800mm f/5.6.” Nikon’s most recently launched lenses are the AF-P DX 18–55mm f/3.5–5.6G VR and the AF-P DX 18– 55mm f/3.5–5.6G and they received a great reaction from the public. “Given the lenses are DX format and used primarily in entry-level

Featured lenses AF-S Nikkor 200-500mm f/5.6E ED VR £1179 With an exceptional reach this super-telephoto lens is ideal for sports and wildlife photography. Built-in Vibration Reduction offers a benefits of up to 4.5 stops, while the Sport VR mode is ideal for tracking subjects. AF-S Nikkor 300mm f/4E PF ED VR £1470 As the first F-mount Nikon lens to feature a Phase Fresnel (PF) element, this telephoto lens has a compact build and a fluorine coating on its front element, which repels water, dust and dirt.

kits (D3000 series and D5000 series), many of the consumers who bought the new lenses would arguably not have been fully aware of the advancements. Nonetheless, these lenses are faster and quieter than their predecessors and we have seen a number of positive reviews acknowledging not only that, but also their aptness for video recording. We were also pleased to hear positive feedback on the compact size and lightweight build of the lenses.”

“Building on our optical heritage, Nikon is continuously working on identifying gaps in the market and areas in which we can improve our lens technology. We have an excellent product line-up and a passion for growing and improving our Nikkor range. The Nikon customer is always at the forefront of new designs and innovations, and we will continue to listen and respond to our valued customer base.” nikon.co.uk

The Nano Crystal Coating allows unrivalled image quality in terms of minimising ghosting and flare. As a brand, we are exceptionally proud of the versatility of this glass coating

Photography News | Issue 34 | absolutephoto.com

Review © Jeremy Walker

Nikon user: Jeremy Walker An ambassador for Nikon, Jeremy Walker specialises in location and landscape photography. Although mainly known for his landscapes and panoramas, he also shoots architecture and portraits. What is it about Nikon lenses that appeals to you? Nikon lenses appeal to me because of their quality, both the optical quality and also the build quality. Nikon lenses feel right and are nicely balanced when you hand-hold them. The longer telephotos are perfectly balanced when on a tripod thanks to the built-in tripod collar. Nikon’s lens technology such as the Nano Crystal Coating, the use of ED glass, the fluorine coat that helps repel dust and water droplets, and the introduction of the Phase Fresnel (PF) lens, make Nikon world leaders when it comes to lens technology, which as a pro is what I need and demand. Which lenses do you always have and what do you use them for? I have quite a range of Nikon lenses and I should emphasise that I do not carry them all with me at the same time. I will select the right lenses for the job in hand. My widest lens is the 14-24mm f/2.8, which is simply stunning and gets used for interiors and the big landscapes such as the Northern Lights. I also have the 24-70mm f/2.8, 70-200mm f/2.8 and the 200-400mm f/4 – all of them get used for landscape work. Of the more specialised lenses I have a 16mm fisheye, a 105mm micro and a 45mm tilt-shift lens. I also have a 50mm f/1.4, which I use if I want to travel light and wander around a city shooting hand-held. I will usually carry the 24-70mm and 70-200mm as a default kitbag setting, as I think you can achieve most things with these lenses. © Jeremy Walker

Which is your favourite? Currently it’s the 45mm PC-E Tilt Shift because of its versatility. The unique design of the tilt-shift lens makes it indispensable for architectural work with its rise and fall movement, and for landscape work the tilt mechanism allows for increased depth-of-field while still at large apertures – check out the Scheimpflug principle! The 45mm tilt-shift also works as a macro lens with a 1:2 reproduction ratio, which is really useful for nature details and close-ups, think frosted leaves and frozen puddles! If I was limited to carrying just one lens it would be the 24-70mm f/2.8 zoom for its all-round performance and incredibly versatile zoom range. What lens would you like to see introduced by Nikon in the future? If I could have a wish list I would like to see Nikon introduce a wider tiltshift than its current 24mm offering. Somewhere in the region of 17mm to 19mm would be ideal for architecture, interiors and landscapes. I would also like them to bring out a rangefinder body based on the old S series of cameras, made to an incredibly high spec with its own range of Nikkor lenses… I can but dream. jeremywalker.co.uk © Jeremy Walker © Jeremy Walker

Photography News | Issue 34 | absolutephoto.com

Review Lens special

Olympus We speak to Olympus’s marketing manager Georgina Pavelin and Olympus user Robert Pugh to find out more about the Olympus Micro Four Thirds and Four Thirds lenses Words by Jemma Dodd The Olympus lens range boasts more than 70 Micro Four Thirds and Four Thirds lenses, which includes the Premium and Pro lens range for Pen and OM-D systems. Olympus lenses are known for their compact and lightweight designs while still offering top-grade optical performance. Marketing manager Georgina Pavelin named Olympus’s most popular lenses as the ultra wideangle zoom and macro lenses. “It is apparent in photographers’ images that the lenses are proving to be very popular at the moment, as people are becoming more confident in them,” says Georgina. “It very much depends on what people are shooting but the importance of portability is definitely reflected,” she tells us. When it comes to lens technology Olympus lenses offer an advanced ZERO (Zuiko Extra-Low Reflection Optical) coating and a high-grade construction with solid metal or metal-like finish. “This coating cuts the reflectance of wavelengths between 450 and 650nm in half to ensure clear imaging performance even under unfavourable conditions, such as when shooting against the light.

“The ZERO coating is an application of the thin film control technology that Olympus originally developed for the multilayer film deposition technology for microscopes. As well as offering clear images, this technology also helps maintain the lens’s low reflectivity by preventing scratches and degradation due to the enhanced strength and durability made possible by vacuum deposition. “There are more great features and technology built into the lenses; from their robust construction though to quiet AF, but for me, it’s how such complexities can be housed so compactly. Weight is crucial, especially when travelling and shooting for longer periods – I love the freedom and flexibility our M.Zuiko lenses bring without compromising on performance and power. The edge-to-edge sharpness you get with M.Zuiko lenses is also a key factor,” says Georgina. The most recent lens launch was the M.Zuiko Digital ED 300mm f/4 IS Pro, which offers a 35mm equivalent focal length of 600mm and it seems it’s gone down a storm with Olympus users. “It was extremely well received – so much so that it is still on back order!”

I love the freedom and flexibility our M.Zuiko lenses bring without compromising on performance “Several of our photographers have tested the 300mm and the results are fantastic, we also try to arrange to make it available for events so that customers can test it out – you really do need to see it in the flesh to appreciate just how compact it is and the quality of the shots it can achieve. It really emphasises the portability demand and supports the Micro Four Thirds system,” Georgina tells us. When asked what type of lenses Olympus users are calling out for, Georgina tells us it’s fast prime

lenses and fixed aperture zooms that are top of the list. “Olympus listens to its users and we hope that the series of lenses currently available demonstrates this. Technology and demand is ever evolving and our aim is to meet the needs of our customers. There is a focal length for any situation, photographers can get to know what’s available via our events or even try a selection with our Test & Wow campaign.” olympus.co.uk

Images Olympus user Robert Pugh is a great fan of the classy prime lenses available for Olympus Micro Four Thirds cameras.

Featured lens M.Zuiko Digital 45mm f/1.8 £179 Stylishly designed at an affordable price, this high‑power prime lens is ideal for capturing portrait shots with nice background blur and vivid contrast, thanks to its fast aperture. Apart from being compatible for shooting top‑quality video with extremely fast focus capability, it is packed in a compact body featuring a metal‑like finish and interchangeable decorative rings to perfectly fit your camera.

Photography News | Issue 34 | absolutephoto.com

Review

Olympus ambassador Robert Pugh is a Berkshirebased wedding photojournalist and portrait photographer who has a background in press photojournalism. Robert likes to capture everything as it is, focusing on the emotions, mood and connection between people. What is it about the Olympus lenses that appeals to you? This is a no-brainer. They’re small, light and sharp! In just my small camera bag I can fit two bodies and all my lenses, with no strain carrying them around all day at a wedding and when you think that’s for an average 16 hours. What Olympus lenses do you have? If I was going to list all the lenses I own you’re in for a long read. I’m a great lover of manual lenses for the look they produce, and with Micro Four Thirds cameras via an adapter it’s possible to use almost every lens made. I love my primes and have my favourite ones with me always so let’s break this down. The M.Zuiko Digital 17mm f/1.8 is my go-to lens and used everyday, the M.Zuiko Digital 25mm f/1.8 is my portrait lens for half-body shots from just above the knee to over the head – and a good lens for street photography. The M.Zuiko Digital 45mm f/1.8

is definitely my headshot and portrait lens, while my M.Zuiko Digital ED 8mm f/1.8 Pro fisheye is my evening lens at weddings, which I use to cover all the dancing shots

Olympus user: Robert Pugh

If you could only use one what would it be? If I could only pick one lens to cover every shot it would have to be the Olympus M.Zuiko Digital 17mm f/1.8 as this is how we see the world. In full-frame terms it’s a 35mm and my go-to lens for street and wedding photography. I use this lens a lot and I’ll go so far as to say I could cover a full wedding with just that very lens living on my camera. When I start the day covering a wedding this is the lens sitting on my camera and to be honest it only comes off when I’m covering bride and groom portraits. What lens would you like to see introduced by Olympus in the future? As I’m a lover of prime lenses I’d have to say a 42.5mm f/0.95 giving me the perfect portrait lens at the 35mm format equivalent of 85mm. I know Olympus has its Pro range of zoom lenses, but I’d love to see a professional set of prime lenses with super-fast f/0.95 or f/1.2 apertures and this would complement the Olympus Pro line-up perfectly. rpphotographybydesign.co.uk © Robert Pugh © Robert Pugh

Photography News | Issue 34 | absolutephoto.com

Review Lens special

Pentax With almost a century of rich and successful heritage in optical design, Pentax lenses offer some exciting features that you won’t find anywhere else…

This is the kind of location where Pentax gear really comes into its own… Featured lenses

Words by Kingsley Singleton

make the most of the wonderfully shallow depth-of-field that the 645Z’s medium-format sensor produces. There are also telephoto options, such as the smc FA 645 300mm f/4 ED IF for those shooting sports and action. The range also includes teleconverters, the Rear Converter A645 1.4x and 2x. Finally, the K-mount is where the largest number of Pentax lenses are to be found; 44 in the current line-up, though some are very similar options on the same design, varying mainly in coatings. Of these, the latest is Pentax’s HD (High Definition) coating, which improves light transmittance and produces sharper images free from flare and ghosting. K-mount lenses can be fitted to any current Pentax DSLR, but with the advent of the K-1 full-frame body, the split between those designed for fullframe use and those engineered for APS-C sensored bodies like the K-3 II is important. ‘ D-FA is the designation for fullframe glass, like the new HD D FA 15-30mm f/2.8 ED SDM WR. D’ is for smaller sensors, like the smc DA 12-24mm f/4. If the lenses have an ‘*’ it generally means they’re top of the line with fast maximum apertures (such as the DA* 50-135mm f/2.8 ED IF SDM), while the Limited line are compact primes with metal housings (like the 20-40mm, right).

Above Whether you’re shooting on Pentax mirrorless, DSLRs or mediumformat cameras, there are wide-angle options in abundance, such as the smc DA 12-24mm f/4 ED AL IF. Below Many of Pentax’s K-mount and 645-mount lenses offer protection from water and dust (look out for AW or WR in the name), so if you’re adventurous like Matt Emmett, you can shoot in places like this cave. © Matt Emmett

As one of photography’s most historic names, you’d expect Pentax to offer a huge range of lenses, catering to photographers of all levels and interests. And you’d be right. The line is broadly split into K-mount, Q-mount and 645-mount lenses, but as with any line-up there’s lots to differentiate, too. Pentax (which since 2011 has been a brand within the Ricoh Imaging Co.) was originally founded almost 100 years ago as the Asahi Optical Joint Stock Co. The company made lenses for spectacles, which it still does, but over the years, it diversified into camera lenses, binoculars and telescopes, then cameras themselves. Back to the lenses. There are eight models in the Q-mount range to complement the mirrorless Q-S1; these comprise standard primes, zooms, wide-angle options and also creative lenses like the 03 Fish-Eye 3.2mm f/5.6 with its huge 160º angle of view and 05 Toy Lens Telephoto 18mm with its fixed f/8 aperture. At the other end of the spectrum is Pentax’s fleet of 19 lenses for its 645D and 645Z medium-format cameras. These, many of which offer weatherresistance (WR) to complement that of the cameras, include everything you’d expect from a pro range; a full suite of focal lengths from wideangles such as the HD Pentax-DA 645 28-45mm f/4.5 ED AW SR, to fast standard lenses like the HD D-FA 645 90mm f/2.8 ED AW SR that

HD DA 20-40mm f2.8-4 ED Limited DC WR £660 This wide-angle zoom for Pentax DSLRs with APS-C sized sensors is a versatile lens that’s equally as at home shooting landscapes as it is group shots, architecture and low-light subjects. Made of highgrade, hand-machined aluminium, the lens is weather-sealed to prevent intrusion of water and dust, and Pentax’s Super Protect (SP) coating repels moisture and grease from the front element. Optically, the lens uses Extra-low Dispersion (ED) glass and a superlow dispersion glass element alongside HD coatings to deliver clear, high resolution images.

ricoh-imaging.co.uk

Pentax user: Matt Emmett Matt Emmett specialises in documenting modern ruins and heritage locations around the UK and Europe; a photographic theme widely known as dereliction these days. His association with Pentax cameras and lenses goes way back to travelling Asia with a Pentax ME Super SLR, and now he shoots for them professionally with both the K-3 II and the medium-format 645Z. So what does he shoot and what is it that makes Pentax lenses appealing for those subjects? “I have an ongoing obsession with abandoned industrial remnants; steel plants, power stations and factories mostly but I’ll shoot just about any kind of crumbling architecture or building with an interesting story to it,” says Matt. Crumbling is the operative word there, because where there’s crumbling there’s dust. Pentax’s fleet of weather-sealed lenses – those which carry the WR and AW designations – and camera bodies must be a huge benefit then? “Yeah,” Matt agrees, “they have to have the ability to withstand dust, dirt and moisture with ease, because these abandoned locations are wet and

grubby at best. The lenses I use are not particularly fast but I normally shoot long exposures on a tripod in manual or bulb mode anyway so it’s not an issue, However what my lenses lack in speed they make up for in IQ; the image quality is always excellent.” Matt’s last shoot wasn’t his typical fare, but it’s a great example of how Pentax’s tough lenses can let you shoot in inhospitable places. “Before I got into architecture I was obsessed with caving,” he explains, “exploring some of the bigger systems in the hills above Crickhowell in South Wales. I broke two DSLRs in quick succession doing it, so decided I needed a new subject that wouldn’t so readily kill my kit. But recently I had a chance to shoot a cave I’d never seen.” Access to the location was the trick he goes on to say, and involved abseiling halfway down vertical sea cliffs on a remote section of coastline. “This is the kind of location where Pentax gear really comes into its own,” he says, “the rugged build and weather sealing of body and lenses gives you real peace of mind when dragging your kitbag though some of the tighter

rocky passages, and setting up a shot and seeing the dripping of water from the cave formations above onto the camera just isn’t an issue.” Matt travelled light for this trip, taking his K-3 II and two lenses, the Pentax 20-40mm f/2.8-4 DA ED WR Limited and the SMC DA 12-24mm f/4 ED AL IF. “The money shots for this cave are mostly within a small, fantastically decorated chamber and so it’s mostly wide-angle glass that you need. I used my two 1500 lumen Scurion lamps to illuminate the chamber using their wide beam settings and let the awesome image quality of the K-3 II do its work.” Matt certainly counts the 20-40mm f/2.8-4 DA ED WR Limited among his favourites. “It’s my most used lens for sure,” he glows, “the resolving power is stunning and it’s almost totally free from fringeing even under harsh lighting conditions. The build quality is excellent, it’s weather-sealed… basically it does the job for me again and again.”

forgottenheritage.co.uk

HD-D FA* 70-200mm F2.8 ED DC AW £1850 As a D FA lens, this model is equally at home on the full-frame Pentax K-1 body or DSLRs with cropped sensors like the K-3 II, where it gives an equivalent focal length of 107-307mm. On either, it’s an ideal lens for a range of subjects, from sports and action to portraiture, thanks to the wide maximum aperture of f/2.8. As an HD lens it also benefits from Pentax’s High Definition coating for crisp clear images. It’s also weather-resistant (WR) with 13 separate seals, and autofocus is brisk and accurate thanks to the built-in DC motor.

Photography News | Issue 34 | absolutephoto.com

Review

Samyang Lens special

Featured lenses

Samyang has a range of optics available for both photographers and cinematographers and the company is focused on innovation and exciting lens options Words by Kingsley Singleton Samyang Optics might be considered by many as one of the new kids on the block when it comes to DSLR lenses, but the company has been crafting lenses for over 40 years from its base in South Korea. There’s now a very creditable 18 models in Samyang’s photo lenses range (and more in its Cine and T-Mount fleets), including two autofocusequipped arrivals, the 50mm f/1.4 AS IF UMC and 14mm f/2.8 ED AS IF UMC. Samyang lenses come in a wide range of fits, including Nikon, Canon and Pentax DSLRs, as well as for Fujifilm, Micro Four Thirds and Sony CSCs. We caught up with David Ryu, Sales Manager at Samyang to find out all about the brand, its technologies, and what Samyang lenses can bring to your photography. Like most manufacturers operating in a market crowded with dominant brands, Samyang, says David, has been keen to chart its own course. They’re not looking to emulate, but innovate and offer something fresh and exciting. “In recent years,” he says “we’ve tried to comprehend what users around the world want from lenses.” Samyang went to those in the know – working photographers and cinematographers – for advice. “We had many meetings with professional and enthusiast photographers and cinematographers,” David says, “and that research has guided our development, which you can find in our autofocus lenses and professional cinematography lens series, XEEN.” Before the latest lenses, Samyang burst into most photographers lives with a series of fast manual focus prime optics. This was “a strong product line-up”, says David,

“which created great satisfaction for users at a desirable price point”. The range now features lenses with full autofocus functionality including the new 50mm f/1.4 AS IF UMC, a Sony E-mount lens, of which the company is very proud: “It is the first autofocus lens in Samyang’s 40 years of creating optical technologies,” beams David, adding that it is the “brightest in its class, and brings the maximum amount of light into the lens so photographers can be at their most creative.” Of these new AF lenses, which also includes the 14mm f/2.8 ED AS IF UMC, he adds, “we’ve taken all the technological know-how and developments in image quality from creating our leading manual focus lenses and reinterpreted it into the autofocus models. The optimised optical design makes the most of full-frame mirrorless cameras, so these lenses offer photographers prime lens image quality and credible AF performance combined with ergonomic design; they help you to really experience the phototaking moment.” This commitment to quality hasn’t gone unnoticed, and Samyang was nominated in four lens categories in 2015’s Photography News Awards, Prime: Wide Angle for the 21mm f/1.4 ED AS UMC CS, Prime: Telephoto for the 135mm f/2 ED UMC, Macro for the 100mm f/2.8 ED UMC Macro and also in the Video Lens category where its 21mm T1.5 and 50mm T1.3 lenses were recognised. Mentioning the Samyang 100mm f/2.8 ED UMC Macro, David is especially proud of that lens’s achievements. “The 100mm Macro is a unique opportunity to experience Samyang’s well-known

image quality,” he enthuses, “in the 1:1 reproduction ratio the image quality is superior and sharpness is from the centre to corner; in Korea it is called a ‘heavenly macro’!” Part of Samyang’s varied wideangle range of lenses, David is also keen to highlight the impact of the 14mm f/2.8 ED AS IF UMC; “this is one of our bestsellers in the global market. The lens has a delicate optical design integrating high refractive, hybrid-aspherical, aspherical and extra-low dispersion elements. The freedom this wideangle view provides has mesmerised photographers globally.” So what’s next for the company? “Samyang,” says David, “will continue to pursue a path in consumer-centric product development, and that means designing and creating diverse and desirable stills and movie optics all around the world.”

T-S 24mm f/3.5 ED AS UMC £625 The only current third-party tiltshift lens, Samyang’s T-S 24mm, opens up perspective control in landscape and architectural photography for Fujifilm X, Four Thirds, Micro Four Thirds, Pentax, Samsung and Sony A and E mount users (as well as Canon and Nikon fans who don’t want to pay so much). Its optical design comprises 16 elements in 11 groups, including two aspherical and two extra-low dispersion (ED) lenses. Multilayered, anti-reflective UMC coatings provide superb light transmission, high contrast and natural colours.

100mm f/2.8 ED UMC Macro £319

These lenses offer photographers prime lens image quality and credible AF performance combined with ergonomic design

samyanglensglobal.com

With its 1:1 reproduction ratio, bright f/2.8 maximum aperture, close focusing distance and use of high refractive (HR) and extra low-dispersion lens (ED) elements, the manual focus 100mm Macro is an excellent partner for close-up photography. Its circular, ninebladed iris gives soft out-of-focus areas, and the 15 elements, 12 group construction uses Ultra Multi Coatings to optimise the light transmission and minimise flare and ghosting. It’s available in an impressive ten lens mounts, including Canon and Nikon DSLRs, and CSCs from Fujifilm, Samsung, Sony and Olympus.

14mm f/2.8 ED AS IF UMC £269 © Kyungyang Koh please

Above This image was shot on the Samyang 100mm f/2.8 ED UMC Macro, nominated for the best Macro Lens award in the 2015 Photography News Awards. Left The Samyang 14mm f/2.8 ED AS IF UMC lets you combine wideangle views with shallow depth-offield effects.

Samyang’s bestselling lens is a great combination of features and price. The ultra wide-angle of view and fast aperture make it a superb partner for landscape and low-light shooting, like astrophotography. Available in Canon, Nikon, Fujifilm X, Four Thirds, Micro Four Thirds, Pentax, Samsung and Sony A and E versions, the lens has excellent build quality, with a built-in petal shaped lens hood to block flare and a wide, ribbed manual focus ring. Optically, the lens has 14 elements in ten groups with three HR and two ED elements, an aspherical hybrid and aspherical glass element along with antireflective coatings.

Photography News | Issue 34 | absolutephoto.com

Review Lens special

Sigma

Featured lenses

Want to know what makes Sigma lenses special, and how the new Global Vision range will revolutionise your photography? Find out all about it as we sit down with Sigma’s top man in the UK…

150-600mm f/5-6.3 DG OS HSM Contemporary/Sport £750/£1200 The perfect partner for sports, action or wildlife photography, the 150-600mm gives you bags of reach in a versatile package, while the built-in OS keeps images free from camera shake. Using a builtin Hyper Sonic Motor, AF speed is improved, and image quality is first class.

Words by Kingsley Singleton Starting out as a small ‘thirdparty’ lens manufacturer, Sigma is now, in no uncertain terms, part of the mainstream. The company has an amazingly rich heritage of innovation and performance – in fact it’s the world’s largest independent lens manufacturer. Sigma was founded in 1961 by Michihiro Yamaki and continues as a family-owned business to this day under the present CEO, his son, Kazuto Yamaki. The company started as a research institute, but quickly moved into manufacturing and, to this day, its lenses are produced in the company’s own Aizu factory in the Fukushima prefecture of Japan. “That’s actually one of the many things that makes Sigma special,” says Graham Armitage, general manager of Sigma Imaging (UK) Ltd; “the fact that it’s a family owned business with a true understanding and love of photography. It’s not simply a consumer electronics company, and while many firms have outsourced production, Sigma believes in the quality that’s ensured by its Japanese designers and engineers. It’s also about social conscience and environmental issues, as Sigma is the largest employer in the area and many families depend on us.” Graham cites Sigma’s spirit of innovation as being writ large across the company’s history, dating back to Michihiro’s invention of the modern teleconverter and the company launching its very first ‘standard zoom’ lens in 1975, a 3980mm model that’s the precursor of all those 18-55mm kit lenses that photographers now start on. This was followed by a 21-35mm in 1985, and 18-35mm and 17-35mm zooms in 2003. “Those latter lenses,” says Graham, “show how Sigma embraced the digital age, developing DSLR specific models while the main camera manufacturers were still concentrating on older lenses designed for 35mm film cameras. We saw the potential of digital and invested in it, creating a line of lenses designed specifically for cropped sensors and giving DSLR users what they wanted.” This trend continued through revolutionary lenses like the 10-

20mm f/4-5.6 EX DC HSM wideangle zoom, which was an instant hit among landscape photographers, the 18-50mm f/2.8 EX DC, at the time the only affordable option for those who wanted a fast standard zoom, and the 150-500mm f/5-6.3 DG OS HSM, a telephoto zoom that bought professional sports and wildlife focal lengths into the reach of enthusiasts. Today, nothing has changed when it comes to that innovative approach, and Sigma’s range glitters with what Graham calls “a combination of unique focal lengths and specifications. We look for gaps in the market and make them our own, rather than duplicating what others are doing – although there are the standards that we also cover. Innovation can be seen in the likes of the 18-35mm f/1.8 DC HSM Art, 1835mm f/1.8 DC HSM Art, 24-35mm f/2 DG HSM Art, 8-16mm f/4.55.6 DC HSM, 50-100mm f/1.8 DC HSM Art, and 150-600mm f/5-6.3 DG OS HSM, which comes in both Contemporary and Sport versions.” Those Art, Contemporary and Sport designations mean the lenses are part of the Sigma Global Vision (SGV) range, something that is very much at the core of the company’s output in 2016 and beyond. So, why was the decision made to create these different kinds of lenses, some of which have the same focal lengths? “It’s part of Yamakisan’s influence since taking over the CEO role in 2012,” Graham explains, “firstly he believed that lenses are actually more important to photographers than cameras, for instance because people tend to change camera bodies more often than lenses, preferring to stick to tried-and-tested glass; you’ll find many eulogise on particular lenses far more than they do cameras. To back this up, each SGV lens has its birthdate engraved on the barrel to define its importance.” Yamaki-san also saw confusion in the lens market, so the decision was made to divide Sigma’s models into categories based on their usage. The newly designed range was launched at Photokina in 2012 and now forms about a third of Sigma’s catalogue: the Art lenses prioritise optical performance above all else, so as Graham says, “they may be

Lenses are actually more important to photographers than cameras… because people tend to change camera bodies more often than lenses, preferring to stick to tried and tested glass big, heavy and more expensive, but they guarantee the ultimate in image quality for artists.” Sports lenses on the other hand, “while still offering great optical performance, and durability, balance this with keeping the weight and dimensions at a level where they can be used more easily by wildlife and action photographers”. Finally, the Contemporary range is aimed at “balancing size, performance and price. These lenses are really at home for travel and everyday use; if you’re backpacking or climbing mountains you have to make some sacrifices to aid mobility,” Graham says. The Sigma Global Vision line provides further innovation with its unique USB dock. This allows easy upgrades to a lens’s firmware, but that’s not all; there are also methods of fine-tuning performance, such as altering the AF speed. “Everyone thinks that lenses come out of the factory at maximum AF speed; that’s not the case with Sigma,” explains Graham. “Basically, there’s a debate between designers and managers over maximum speed or maximum smoothness; different users have different preferences, so for example, videographers might want smoothness whereas sports photographers might rather have speed. Now they have the choice.” The OS function (Sigma’s Optical Stabilizer) can also be adjusted, so that the amount of steadying you

see through the viewfinder can be tailored to prevent it interfering with composition, or, as Graham puts it “making you feel seasick, as some brands do. It’s really a matter of giving photographers more choice.” On some of the longer telephoto lenses you can even limit the AF distance depending on what you’re shooting and preferences can be kept in separate sets, so different users can enjoy the same lens, or use it for disparate purposes, “just like having memory seats and mirrors in a car”. Lenses can be converted to different mounts, too, so you can keep your glass if you swap bodies. “We’re very proud of the SGV range,” finishes Graham, “and especially facets of it such as the way each lens is individually tested with our A1 Micro Four Thirds machine, rather than in batches. It’s part of a commitment to quality that’s bringing the very best young designers to Sigma – people who are passionate about optical development. In the past, they might have gone to bigger companies, but now they come to us.” And the future? “We’ll continue to expand the SGV range. There are four new lenses to be revealed at Photokina this year, and more new products at CP+ in January. Plus, there’s a very confidential project in the pipeline which you will find out about in September.” sigma-imaging-uk.com

105mm f/2.8 Macro EX DG OS HSM £319 A classic in its own right, the 105mm macro is equally at home on full-frame and croppedsensor DSLRs, giving a full 1:1 reproduction ratio for stunning close-ups, whatever the subject. The Optical Stabilizer allows easy handheld shooting, too, so it’s also a great portrait option.

Sigma 35mm f/1.4 DG HSM Art £599 Fast becoming a favourite of fine-art photographers around the world, the 35mm f/1.4 Art lens sits perfectly with a range of subjects. The ultra-wide maximum aperture lets you generate a very shallow depth-of-field, as well as enjoy low-light subjects like astrophotography or gigs.

18-300mm f/3.5-6.3 C DC Macro OS HSM £336 The versatility of this lens makes it excellent for travel, and you can shoot an amazing range with its 16.6x zoom range. Backing that up is Sigma’s Optical Stabilizer, which compensates for camera shake, and at 585g and just over 10cm long it’s highly portable.

Photography News | Issue 34 | absolutephoto.com

Review Sigma user: Karl Holtby

karlholtby.smugmug.com

As a landscape photographer, Karl Holtby knows the value of good lenses, and that’s where his association with Sigma began. “Starting out in 2012 I decided I needed a proper wide-angle lens, and bought the Sigma 1020mm f/3.5. I posted one of the first images that I took with this lens to the Sigma Facebook page, not really expecting anything at all. It seems Sigma really liked what I was doing and a few years later I use most of their kit, cameras and lenses – as a landscaper it’s a very privileged position to be in, I can tell you.” What is it that he enjoys about Sigma lenses, then? “Overall, the lack of distortion and vignetting is helpful, but above all it’s the sharpness and clarity. The Art lenses I use now (part of the Sigma Global Vision range) have this kind of brightness to them that all the best lenses do. But they’re affordable, too; I’ve recently used lenses costing at least double, and the Art lenses are right up there with those. I’m not looking at technical data to come to this conclusion, I’m going by what my eyes are telling me, and the final result – the prints – which look amazing!” Sigma produces several wide-angle Art lenses, and if he had to choose one, Karl says it would the 24mm f/1.4 DG HSM, a model he describes as having “amazing sharpness, no distortion, and superb rendition of outof-focus areas. Then there’s the build quality, which is very important to me; the Art lenses just ooze quality.” Along with the 24mm f/1.4, Karl’s most recent shoot also involved the 20mm f/1.4 DG HSM Art, at a location on Anglesey: “As my style’s evolved, I’ve found 24mm is wide enough for most of my work. You get a nice field of view but it’s also wide enough to include a bit of foreground should I need to, which most of the time is what happens. I do like to have the 20mm with me too, just in case I need something a little wider though, and the quality from that lens is just as good.” Karl also makes use of the Sigma MC-11 Converter, an adapter which allows the use of Canon or Sigma fit lenses on the Sony FE mount: “This lets me use my prized lenses like the 24mm f/1.4 Art on my Sony S7R. It’s my combination of choice at the moment and I’m getting amazing results.”

Above Thanks to the MC-11 Converter, which is part of the Sigma Global Vision line, you can take Canon and Sigma fit lenses and use them on the cameras with a Sony FE mount, like the Sony A7R. This is a good thing for photographers (including Karl, above right with his own set-up shooting on Anglesey), particularly if you want to use your Canon DSLR body for stills and a Sony body for video, as many are now doing.

Photography News | Issue 34 | absolutephoto.com

Review Lens special

Tamron

Featured lenses

Leading independent lens maker Tamron has been at the vanguard of lens design for many years and its VC, PZD and USD technologies are headline features of its current range. We caught up with Leo Steinberg of Tamron Europe to see how things are going

A very sharp and versatile lens, fast with VC stabilisation, moisture-resistant construction and fluorine coating, The short minimum focusing distance of 20cm and magnification ratio of 1:2.5 makes it a versatile macro lens as well.

Words by Will Cheung Tamron’s reputation as an independent manufacturer of highquality lenses is second to none. Its lens making roots go back over six decades with its first zoom, the 95205mm f/6.3, becoming the world’s first mass produced, affordable zoom that really kick-started the boom in this lens type. Later, in 1992 it produced a very compact 28-200mm superzoom and more recently we saw the 16-300mm f/3.5-5.6 Di II VC PZD Macro, a 18.8x zoom for APS-C format DSLRs. “Tamron is not only another third-party manufacturer but really a long-term player in the field of optical engineering,” says Leo Steinberg of Tamron Europe. Today, Tamron is still making headlines in the lens business with its range offering 28 optics in the most popular camera fittings, many featuring the company’s leading technologies. “Tamron has developed many technologies to deliver outstanding product quality and to enhance lens performance for better shots, but also for versatility and ease of use,” says Leo. The use of aspherical lens elements and low dispersion glass, internal focusing and advanced lens coatings you would expect but there is more, in particular Tamron’s VC (Vibration Compensation) and USD (Ultrasonic Silent Drive). Also, he says: “The fluorine coating which was developed by our company for the car industry. This coating repels dirt and water from the

front lens surface, which makes it very easy to clean. Also with our moisture-resistant construction photographers don’t have to worry too much about their equipment and can concentrate on the image composition to get the perfect shot.” Minimising the impact of camera shake has been at the top of the agenda for most camera and lens makers and Tamron’s contribution ranks alongside the very best. Its VC system features Tamron’s propriety three coil system, actuator and algorithms, giving a smooth viewfinder image and sharp captures at slow shutter speeds impossible to achieve by handholding alone. The three coils adjust the VC lens element according to signals originating from three steel balls and gyro sensors detecting yaw and pitch. The system’s simple mechanical design also results in Tamron’s VC system being very compact so adds relatively little to the lens’s overall size. The VC technology is featured in many Tamron lenses but perhaps the most notable is the SP 150600mm f/5-6.3 Di VC USD. Using any long telephoto lens handheld is a challenge, but the inclusion of the VC system in this optic means handholding and getting pin-sharp pictures at remarkably slow shutter speeds is a practical proposition. As a guideline a 600mm lens handheld needs to be used at 1/600sec as a minimum for sharp shots. In our tests with this lens 1/40sec

Handheld at 600mm, VC on

Enlarged section

Images Tamron’s Vibration Compensation is an impressive system that works really well. The above handheld shot was taken at the 600mm end of the 150-600mm f/5-6.3 zoom on a breezy day at the coast. The shutter speed was 1/40sec, which is way, way slower than the advised shutter speed for a long telephoto, yet sharpness is more than acceptable.

SP 35mm f/1.8 Di VC USD £499

SP 85mm f/1.8 Di VC USD £749 The world’s first fast 85mm for DSLR with optical stabilisation, plus all the other features of Tamron’s new SP series: f/1.8 open aperture, razor sharp, moisture resistance and fluorine coating.

is possible with very acceptable results – that is up to an impressive 5EV benefit. See the image below left to see how well the VC works. Tamron’s USD technology means lenses focus very quickly, with precision and with virtually no noise. In actual shooting conditions, you won’t hear the AF motor at all. If you want to know more about the science of USD, please go to the Tamron website. Earlier this year, Tamron introduced new-look highspecification prime lenses into its renowned and long established SP (Super Performance) series. “Our biggest selling lenses,” says Leo, “are the megazooms, where we can offer lenses in different price ranges and that includes Tamron’s megazoom flagship, the SP 16-300mm f/3.5-6.3 Di II VC PZD Macro, the only lens in its category starting at 16mm wide-angle and offering the world’s largest zoom range of 18.8 times. “But we have found in the past few years, starting with the launch of Tamron 24-70mm f/2.8 Di VC USD, that Tamron was getting more and more attention from semi-professional and professional photographers. We were delivering an outstanding price-toperformance ratio and some of our lenses have unique features. “At the end of last year we renewed our SP series completely and have

since brought out four primes: SP 35mm, SP 45mm and SP 85mm, all with f/1.8 maximum apertures, fast USD autofocus and optical stabilisation; and the recently added SP 90mm Macro, a new version of the legendary macro lens. “Tamron found the shift from analogue to digital cameras ignited a big increase in lens sales, but now we see a more saturated market for cameras and a change in customer buying habits. Market figures showed a decrease in sales quantity, but an increase in the sales value. That means people are looking for high-quality products with unique features, which fit their quality expectations from the latest high resolution cameras. Our new SP primes, and also the latest developments in megazooms, can deliver this requested quality. “Our SP range including the new primes as well as the 24-70mm f/2.8, SP 15-30mm f/2.8, SP 150-600mm f/5-6.3 are showing growing sales figures,” adds Leo, “and Tamron will continue to follow the strategy to bring lenses with a perfect balance of performance, features, compactness and price. “Of course it is difficult to talk about upcoming lenses, but you can be sure that there are some nice lenses heading your way in the future.” tamron.co.uk

SP 150-600mm f/5-6.3 Di VC USD £739 This lens hit the market two years ago in a big way and it has been a great-selling lens ever since. Versatile, it delivers a sharp performance from a compact form and appeals to all wildlife and sport photographers.

SP 16-300mm f/3.5-6.3 Di II VC PZD Macro £399 Tamron’s flagship megazoom with an 18.8x zoom range, the world’s largest zoom range. Features moisture-resistant construction, fast PZD autofocus and delivers great detail shots.

Photography News | Issue 34 | absolutephoto.com

Review Tamron user: Martin Krolop A professional photographer based in Cologne, Martin Krolop primarily works alongside fellow photographer Marc Gerst as a duo. The two mainly focus on people photography, and in Germany Martin also has a reputation as a photography coach. “I was given the opportunity to take the Tamron 35mm f/1.8 and 45mm f/1.8 lenses on a two-week trip to Iceland,” he says. “In total we shot over 7000 images in 14 days all around Iceland, and it was a great opportunity to really test them out.” Martin has been a long-time user of Tamron optics, attracted by both the quality of the products and the affordable price

points the range offers. The SP 35mm and 45mm models open the door to still more opportunities and leading up to the Iceland shoot he was looking forward to seeing what they could do. Ultimately he came away hugely impressed, convinced that these are lenses that really could help photographers to improve the quality of their images. “I really love the 35mm f/1.8 and 45mm f/1.8 lenses,” he says. “In my work I tend to use fixed focal length lenses in any case, so these were ideal. The killer features for me are image quality combined with excellent image stabilisation. I shoot with a Canon EOS 5DS R, and the ultra-high resolution

this offers will show up any shake if I’m shooting below 1/200sec. It will be the same for any photographer working with a high megapixel camera: stability becomes all important and the VC on the lenses was super efficient. This, combined with a very fast maximum aperture of f/1.8, meant that I was able to work in all kinds of conditions and still achieve the results I was after.” Another big plus point for Martin was the light weight of the lenses, useful when serious amounts of trekking and carrying of gear might be called for, and their weather resistance also came in handy in the challenging Icelandic environment.

“A lot of the time it was raining or there was a lot of dust around,” he says, “but both lenses ultimately stood up to everything that the weather could throw at them.” Overall it was a really successful trip, and Martin and Marc returned with a set of pictures to be proud of. “The image quality these lenses offer is astonishing,” Martin confirms, “and the combination of all the features they’re packed with means that both these optics have now officially become my all-time favourite lenses.” krolop-gerst.com © Martin Krolop © Martin Krolop

Photography News | Issue 34 | absolutephoto.com

Review

Voigtländer Lens special

Featured lenses

One of the oldest names in photography is still knocking them dead with a new range of exciting manual focus prime lenses Words by Kingsley Singleton two Sony E mount lenses. “The Micro Four Thirds lenses are groundbreaking, as they are all extremely fast f/0.95 optics, and feature no less than 10 aperture blades for stunningly smooth bokeh,” Hardy enthuses. “In fact,” he continues, “we’re seeing a big increase in sales of these kind of specialist manual focus, fixed focal length lenses; it seems that photographers are much more open minded about using third party lenses, too.” Voigtländer is certainly making great strides in the mirrorless market with its Micro Four Thirds lenses proving increasingly popular. “In the 1990s we sold mainly Leica M mount lenses, but the Micro Four Thirds optics are really catching up, and the start made by the new E Mount optics has been very promising.” One of the reasons he suggests for this is that “the latter optics provide full EXIF data, while manual focus lenses have far less shutter delay than AF lenses.”

The name Voigtländer is almost as old as photography itself, and for many it’s a byword for quality and style that sits in the same revered bracket as brands like Leica. The company was founded by Johann Christoph Voigtländer in Vienna, Austria in 1756 and produced the Petzval lens in 1840, which was the fastest lens at that time with a maximum aperture of f/3.7. Flash forward nearly 180 years and that lens design has recently been revived by Lomography. Funny how things keep coming around, isn’t it? According to Hardy Haase, managing director of Flaghead Ltd, exclusive UK & Ireland distributors for Voigtländer, “we believe that Voigtänder is the oldest name in photography at this moment. In its present form the Voigtländer brand is owned by a German company, and since 1999 lenses have been manufactured by Cosina in Japan.” The range currently consists of 13 Leica M, four Micro Four Thirds and

Nokton 10.5mm f/0.95 £899 This superfast wide-angle prime has a 35mm format 21mm equivalent focal length when it’s mounted on Micro Four Thirds cameras. Combined with the f/0.95 maximum aperture, manual focus and manual exposure, this makes it a superb choice for low-light work. Optically, it features a pair of aspherical elements for improved sharpness and clarity, and there’s a Selective Aperture Control System, which lets you switch from a stepless aperture setting to one with more traditional click stops, the former being vital for video work. The lens is small and light, and also has a ten-blade aperture design for supremely smooth outof-focus areas.

In terms of the E mount lenses he continues; “they’ve really only just been released but have received great acclaim; we have a 10mm rectilinear lens and a 15mm wideangle available now, and there’s a 12mm to follow later in the year. As a wide-angle lens with EXIF data, the 10mm is unique.” All Voigtländer lenses also have depth-of-field scales, which is becoming increasing rare. This customer feedback, Hardy continues, “tells us how clearly photographers associate the name Voigtländer with old-fashioned, top quality optical products, and we’re proud to offer this on the very latest camera bodies. To back up that faith each and every Voigtländer lens is made to very high standards, using metal and glass.” voigtlaender.com flaghead.co.uk

The Micro Four Thirds lenses are groundbreaking, as they are all extremely fast f/0.95 optics Above Robert Pugh uses the Micro Four Thirds system and his preferred lens for bridal portraits is Voigtländer’s 42.5mm f/0.95 Nokton lens, “I absolutely love to use it wide open,” he says.

10mm f/5.6 Heliar £800 Available for Sony E-Mount cameras, the Voigtländer Heliar Hyper Wide-Angle 10mm f/5.6 is claimed to be the world’s first rectilinear 10mm lens for fullframe photography, and has an incredible 130º angle of view. Of course this makes for some amazing opportunities in terms of framing large subjects. As a rectilinear lens it has minimal distortion for such a wide-angle, unlike fisheye optics of similar focal lengths and a closest focusing distance of 30cm. The lens is also small and light for such a wide-angle optic, weighing only 375g, and like the Nokton 10.5mm it features Voigtländer’s Selective Aperture Control System.

Photography News | Issue 34 | absolutephoto.com

Review

Zeiss Lens special

Zeiss user: Drew Gardner As a commercial and portrait photographer Drew Gardner relies on Zeiss lenses for the very best image quality, and has been doing so for a long time. “I started taking pictures aged 14 and in fact my very first lens was a Zeiss Tessar!” he laughs. “37 years later Zeiss lenses are still a big part of my photography.” Drew’s most recent foray with Zeiss was shooting golfer Tom Watson for Sports Illustrated at St. Andrews. “During the shoot I used the small but perfectly formed Zeiss Touit 12mm f/2.8 on a Fujifilm camera, which has excellent sharpness, contrast and control of flare. I also used the simply brilliant Zeiss Otus 85mm f/1.4 on my Canon EOS 6D. The 85mm is a lens that really takes sharpness, contrast and control of distortion to a new level.” Drew speaks highly of the whole range: “They are superior in every respect to any other lens out there.”

Germany’s famous lens maker is certainly primed to improve your shots

drewgardner.com

Words by Kingsley Singleton

Left Golfer Tom Watson, shot with the Zeiss Otus f/1.4 ZE on a Canon EOS 6D. Drew says, “I exposed the shot at 1/200sec, f/2. Although I aimed to shoot at f/1.4 and ended stopping down to f/2, the lens still gave me a beautifully dreamy look, while getting just a little more than just his eyes in focus. The thing about these Otus lenses is they unlock potential in your camera you never knew it had. My favourite is the 85mm f/1.4, but because the Otus range is designed and built without compromise it gives me the biggest thrill to shoot with any of them.”

Otus 85mm f/1.4 Apo Planar T* £3300 It might be costly, but there’s no denying the optical quality of the Zeiss Otus range – available for Nikon or Canon DSLRs, the 85mm is a portrait lens for another planet. The lens’s maximum f/1.4 aperture makes shallow focus a breeze and it uses Zeiss’s T* anti-reflective coating for consistent sharpness and clarity. As one of Zeiss’s Planar concept lenses, the lens has virtually no colour fringing in front of or behind the plane of focus and it uses a floating element design for consistent performance throughout the focusing range. A nine-bladed aperture and all-metal construction complete the picture.

zeiss.co.uk

Laowa

Featured lens

design and image quality”. Also in ZE and ZF fits are the Milvus and Classic lines; the Classic features nine primes running from 15mm to 135mm and between f/1.4 and f/3.5 maximum apertures; the Milvus has six, from 21mm to 100mm and from f/1.4 to f/2.8 in maximum apertures. Zeiss’s CSC fast prime lenses are split into the Batis, Loxia and Touit ranges (all Sony E-mount, apart from the Touit lenses which also support the Fujifilm X-mount). The Batis and Loxia lenses are suitable for fullframe Sony CSCs, and while they cover similar focal lengths, they differ in that the former offers full AF. Zeiss Touit lenses are optimised for APS-C sized sensors, and comprise a 12mm f/2.8, 32mm f/1.8 and 50mm f/2.8. Zeiss also produces a range of Sony/ Zeiss branded zoom lenses.

Founded in 1846 and one of the true big hitters of the imaging world, Zeiss (previously Carl Zeiss after its optician founder) makes all sorts of optical products, from spectacles to cinema lenses, medical instruments and equipment for planetariums. And, of course, there are lenses for DSLRs and CSCs. First there’s the ZM series which sport the Leica M mount, so can be used on Leica cameras, the Ricoh GXR A12 and CSCs via adapters. Then there’s the Z series, which fit several DSLR mounts, including Nikon (ZF), Canon (ZE), Pentax (ZK) and Sony Alpha (ZA). Within the DSLR lenses, the Otus imprint is of particular interest, especially as Zeiss bills it as “the best in the world”. Available in the ZE and ZF fittings, there are three Otus lenses, a 28mm, 55mm and 85mm, all at f/1.4, and each promising “uncompromising

Featured lens

Want some macro-flavoured excitement in your life? Laowa is here to provide it… Words by Kingsley Singleton

60mm f/2.8 2x Ultra-Macro £320 Laowa’s commitment to unique and surprising lenses is clearly shown in this 60mm macro lens. The 2x magnification brings a whole set of new possibilities to close-up photography, as you can reproduce your subject at twice life-size on the sensor without resorting to other accessories, and resulting in masses of unseen detail. This manual focus lens’s closest focusing distance is 18.5cm, but you can quickly switch to using it as portrait lens as it focuses at infinity, too. The lens’s metal construction gives it a durable feel and it also has a rounded 14-blade diaphragm for very smooth out of focus areas.

Laowa is one of the new breed of lens manufacturers offering some very exciting and unique optics. The company was formed by a group of macro photography enthusiasts and optical engineers, so it’s no surprise that two of its first three lenses have been for close-ups. To back that stance up further, Laowa also offers a powerful macro twin flash with flexible arms (the KX800). To get the inside track on Laowa’s stance and what photographers can expect from its lenses now and in the future, we caught up with Tony Edwards from UK Optics Ltd. “Laowa’s objective,” he begins, “is to develop these unique lenses with exceptional quality but at affordable prices. This led to the first lens to be released in the line-up, the 60mm f/2.8 Macro 2:1. That lens, which features a magnification range from 0.1x to 2x (the latter for double life-size reproduction), is ideally suited for rapidly changing macro photography scenes and subjects; for example insects of different sizes. Moreover, for APS-C sensors it also offers a great solution for portraits (it’s macro only for full-frame sensors), and showing Laowa’s commitment to quality, it has a durable metal construction.” Then there’s the 15mm Macro, which is the world’s first lens to offer a wide angle of view and 1 to 1 macro photography with infinity focus ability as well as a shift facility. “This means,” says Tony, “photographers can focus very close to traditional macro subjects and let them dominate the frame, but at the same time include the background, so that viewers get a better impression of their environment.” It’s an intriguing, unique perspective; and the wide-angle specification also makes the lens very useful for landscapers who want big, detailed foregrounds. “A shift system is added at the rear end of the lens with a maximum adjustment of +/-6mm, to help avoid the convergence of parallel lines which will come in handy for architectural or

product photography.” And away from macro, there’s another surprising option in the 105mm f/2 STF. “STF stands for Smooth Trans Focus,” explains Tony, “in reference to its special optical system, which is intended to deliver smooth transitions between crisp in-focus areas and creamy defocused background or foreground areas. This unique manual focus lens has an integrated apodisation filter that provides superior bokeh rendering and crystal clear, tack-sharp images.” Tony sees buoyancy in the sales of Sony E mount, Micro Four Thirds and Fujifilm X lenses and availability grows, with prime lenses especially popular. “These users tend to start off with zoom lenses but due to the everincreasing pixel counts, they turn their attention to primes. The trend is also towards manual focus and specialist lenses; end users really love these and ultimately they learn more about perspective and composition.” “Laowa’s next lens will be looking to capitalise on that trend even further,” says Tony, “and I’m talking about the soon to be released, Laowa Zero-Distortion 12mm f/2.8. Overall, the future looks very good for a small bespoke lens maker like Laowa.” laowalens.co.uk

ukdigital.co.uk

Photography News | Issue 34 | absolutephoto.com

Accessories test From

Buyers’ guide

£11

Best lens accessories

From

£9

It’s not just about the actual lenses you use – simple, affordable accessories can make a big difference to the look of pictures, too. Check out this month’s selection for PN’s pick of what’s hot... 1

Just Ltd Lens Protection gear from £11

Lenses aren’t cheap, so once you’ve committed your hard-earned cash for them, it makes sense to keep them safe. Just Ltd (cameraclean.co.uk) specialises in this, stocking a wide range of products to protect your valuable glass. Two of our favourites are the easyCover lens case and the BRNO dri+Caps for both cameras and lenses. The easyCover system of lens bags comes in six different sizes from 80x95mm to 110x230mm so all but the longest lenses are covered and they’re highly affordable, ranging from £10.96 to £19.96. Each bag has a tough nylon exterior and a padded interior to protect from bumps. Access is via a zip at the top and to make transportation easy there’s a tab with a dual hook and loop lock at the rear for securely mounting to a belt or bag. An additional horizontal strap can be used for webbing. Humidity can also be a problem, causing fogging and fungus to infect your lens’s innards, leaving you with a costly fix. You can protect against this by drying them out with a BRNO dri+Cap. These ingenious lens back caps fit over the rear element in place of the supplied version maintaining the humidity at an optimal 35-45%, via a replaceable desiccant gel sachet and O-ring. The included sachets have an indicator which tells you when a fresh one is required. Aside from storage, it’s also very useful when shifting lenses between warm and cool environments which can cause condensation. Available in Canon or Nikon fit, a single BRNO dri+Cap lens cap costs £17.50, but you can get one in a kit with a DSLR body cap, too, for £27.95. Replacement sachets cost £5.95 for eight. cameraclean.co.uk

LensPen NLP-1 from £9

Many people obsess over image quality, spending thousands on upgrading their cameras and lenses, but what if you could improve sharpness and contrast for next to nothing? The trick is simple; just keep your kit clean of smudges and dust and you’ll see an instant lift. There are lots of lens cleaning solutions on the market, but one of our faves is the LensPen, a simple but effective device used to clean your lens’s front and rear elements. This new version (the NLP-1, as opposed to the original LP-1) has

an improved replenishment cap to guarantee longer life, and is just as safe and easy to use. The LensPen uses a retractable non-liquid cleaning element, which won’t dry out or leave smears, and it also has a built-in dust-removal brush. It can clean any optical item, so if you have binoculars, spotting scopes, or telescope eyepieces, it’s also a good bet. The LensPen NLP-1 can also be bought in a DSLR Cleaning Kit (for around £17) which also includes, a FilterKlear pen for lens filters, a MicroPro pen for viewfinders and a microfibre carrying pouch which doubles as a handy cleaning cloth.

LENSPEN NLP-1

JUST LTD Lens Protection gear

MARUMI DHG Vari ND2-ND400 filter

From

£50

intro2020.co.uk

Lenses for Hire from £22

We all lust after the most expensive lenses but, for most of us, spending thousands on pro-spec glass is something we rarely, if ever, do. But look at the classified pages of your new Photography News. You could hire the lens you’ve always dreamed of from a company like Lenses for Hire. Lenses for Hire offers a superb range of packages, allowing you to rent some tasty glass for a special event or photo holiday. Lenses for Canon, Fujifilm and Nikon fits are available, and prices start from as little as £22 for a three-day rental of a Canon EF 50mm f/1.4 USM (there’s a range of teleconverters for even less). Then there are classy options like the Nikon AF-S 14-24mm f/2.8 G ED (£55), Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR (£59) and Canon EF 70-200mm f/2.8 L IS USM (£66). At the top-end there are truly fantastic opportunities like the Nikon AF-S 600mm f/4 G ED VR (£214). Hire periods can be extended up to three months, no deposit is required (UK customers) and insurance is usually included. Delivery (including return via a prepaid Royal Mail Special Delivery label) is £12, and Lenses for Hire make sure you’ve got the lens the day before your hire starts. Oh, you also need to be 18 or over, but that goes for loads of good things, right? lensesforhire.co.uk

Marumi DHG Vari ND2ND400 filter from £50

Sometimes you want to use slow shutter speeds or wide apertures, but the brightness of the conditions means it’s not possible. To help,

Rental from

£22

neutral density (ND) filters are used to block out some of the light, allowing long exposure effects and shallow depth-of-field techniques to be used. But with regular ND filters coming in set strengths, such as ND2, ND4, ND6 and so on, how do you know which will be best for the conditions? That’s where variable ND filters like the Marumi DHG Vari ND2-ND400 come into their own. The design allows you to set a strength anywhere between one stop and nine stops, and the setting is changed with a simple turn of the knurled bezel, operating just like a polarising filter. So, whether it’s a slight modification you want, or the ability to shoot very long exposures in the brightest part of the day, you’ll be covered. The DHG Vari ND2ND400 uses multi-coated glass and a satin-finished, black aluminium design to minimise reflections and improve image quality. It’s also available in a wide range of sizes from 49mm to 82mm, while the filter’s slim casing provides vignettefree images. If you shoot video, you’ll find it very useful too, as it can even be used to physically add fade-out effects if desired. kenro.co.uk

LENSES FOR HIRE 5

Vanguard Supreme 53D case £229

Whether you have lots of lenses to transport, or just want a secure method of storing your collection, a hard case is an excellent option. This one, the Supreme 53D from Vanguard, is built to withstand lots of different threats, while still being highly portable. The case, which measures 630x520x240mm externally has a roomy inner of 560x450x200mm, and some basic subtraction shows the depth of the protection it gives. It has enough space to swallow a typical pro kit; two large DSLRs with lenses attached and up to eight more lenses plus other accessories; its modular inner includes customisable foam, so you can tailor it to any kit, and it also comes with a soft, removable divider bag, which can be used independently if required. Airtight, thanks to its use of O-rings, the case is waterproof (down to a depth of 16.5ft/5m), can withstand temperatures from -40°C to 95°C, and has steel reinforced lock holders if you want to fit a padlock for extra security. Anti-slip rubber feet and a solid carrying handle round off the tank-like construction. vanguardworld.co.uk

Hoya Pro-1 Digital Circular Polariser Filter from £54

A polarising filter is one of landscape photography’s essentials, improving almost any type of scene thanks to its ability to increase colour saturation, contrast and clarity. Polarisers also reduce reflections in your shots, so glare from non-metallic surfaces can be subdued or removed entirely. In practise, this means a polariser will let you reveal hidden detail and colours when shooting scenes that have open water, and increase the contrast and saturation when shooting blue skies with broken clouds; all of which explains why, for most landscape photographers, a polariser is the first filter they reach for. The Pro1 Digital Circular Polariser uses Hoya’s Digital Multi-Coatings to reduce or eradicate lens flare and ghosting caused by reflections, and this is aided by the filter’s matte black Almite frame. This polarising filter’s glass has a special black rim which reduces reflections further and its ultra thin frame helps avoid vignetting, even on super wide-angle lenses. It’s available in sizes from 5282mm, ranging from £54 to £120. intro2020.co.uk

Photography News | Issue 34 | absolutephoto.com

Accessories test VANGUARD Supreme 53D case

From

£54

HOYA Pro-1 Digital Circular Polariser Filter

£40

£229

LOWEPRO Toploader Pro 70/75 AW 7

KENKO 2x Teleplus HD DGX teleconverter

£169

EXPODISC 2.0 Professional White Balance Filter

£199 10

From

LEE FILTERS Digital SLR Starter Kit

£65 7

Lowepro Toploader Pro 70/75 AW from £65

When you upgrade lenses, it’s also well worth thinking about your choice of bag. Sure, most lenses will fit easily into a variety of shoulder bags and rucksacks, but if you have very long lenses it can be more of a squeeze, so upgrading your bag is a consideration. What’s more, if you want to keep large telephoto lenses attached to the camera for easy (and quick) shooting, you’ll need a specialist bag, such as Lowepro’s Toploader Pro series. The Toploader Pros come in two sizes (70 and 75) and offer a compact and adaptable way of carrying your camera and lens. The Pro 70 bags will fit a pro-sized DSLR body with a typical 24-70mm f/2.8 zoom or a fast wide-angle zoom attached; the Pro 75 is longer, offering a space for a pro-sized DSLR fitted with a 70-200mm f/2.8 or similar. Both bags can be worn on over the shoulder, on the hip, attached to a belt, or as a chest harness, and the shoulder strap is well padded to offset the weight of heavy gear. The Toploader Pro 70 and 75 also have an All Weather cover to protect from rain, sand and sun and have a large, glove-friendly quick-release buckle,

for speedy access. There’s room for other accessories in the top and side mesh pockets, too. lowepro.co.uk

Kenko 2x Teleplus HD DGX teleconverter £169

Kenko has long been known for its excellent teleconverters and extension tubes, and the trend continues with its 2x Teleplus HD DGX. If you’re new to shooting, a teleconverter is basically an accessory that fits between a lens and your camera body, increasing the lens’s effective focal length. Teleconverters come in different strengths, such as 1.4x, 1.7x, and in this case 2x, and that’s the factor by which the focal length will be extended. So, with the 2x Teleplus HD DGX fitted you can quickly turn a 70-200mm lens into one with an effective length of 140-400mm. It’s like a whole new lens for fraction of the cost! Like all teleconverters there’s a trade-off in light loss, and the 2x Teleplus HD DGX will cost you two stops of effective aperture, so a 70-200mm f/2.8 will go longer, but give only f/5.6 at the widest; an f/4 lens will become an f/8. On the plus side, and unlike many teleconverters, the 2x Teleplus

HD DGX is very well built and offers full coupling with your camera, so you can expect uninterrupted AF (so long as your camera’s AF will function at the lower light levels allowed by the smaller maximum aperture), autoexposure and also accurate EXIF info on your files. Perhaps most importantly though this teleconverter has little effect on image quality, thanks to its fiveelement, three-group construction and multi-coatings that allow greater light transmission and less flare visible in images. The 2x Teleplus HD DGX is available in both Canon EF/EF-S and Nikon F fits. Intro2020.co.uk

ExpoDisc 2.0 Professional White Balance Filter £40

The ExpoDisc 2.0 is a superb addition to any camera bag and, for a relatively small outlay, it will pay you back over and over in hours saved from editing. The ExpoDisc’s main role is to help you set white-balance more accurately, and this it does snapping neatly over the end of your lens. White-balance can then be calibrated manually for spot-on colours, though you’ll need to recalibrate when you move into different conditions.

Each ExpoDisc is tested by hand and adjusted to ensure an 18% total light transmission across the visible spectrum (this neutrality is very important because using non-calibrated tools can actually make results worse than none at all, and accurate white-balance is even more important for video than it is for stills). Thanks to its innovative design, the ExpoDisc 2.0 can also be used to meter incident light for perfectly accurate exposures and to dust-map your sensor. It comes in 77mm and 82mm fits, but if your lens filter size is smaller, you’ll just need to spend a few pounds on a stepping ring to make up the difference or hold the filter over the lens manually. As well as the Disc, your £40 gets you four Portrait Warming Filters (Gels), a lanyard and storage pouch, and a quick-start guide. gb.colorconfidence.com

Lee Filters Digital SLR 10 Starter Kit £199

Consistent award winners and relied upon by innumerable pro photographers as well as serious amateurs, Lee Filters is one of the most trusted names in photography. The range of filters from Lee is

massive, with a selection of sizes and types to meet any need that arises, but if you’re after a starting option, look no further than the aptly named Digital SLR Starter Kit at around £200. The highquality kit features Lee’s standard filter holder that accepts 100mm wide filters, letting you slot in up to three 2mm thick resin or glass sheets. The holder (which can be bought alone for around £50) clips onto an adapter ring, which is sold separately, as you’ll need to specify the size required based on the filter size of your lens. True to its name, the kit also gets you going with two 100mm filters: a 0.6 ProGlass ND Standard, which reduces exposure by two stops, helping you to achieve slower shutter speeds or wider apertures, while maintaining trueto-life colour; and also a 0.6 Neutral Density Hard Grad that darkens just the sky (again by two stops), so you can balance exposures more easily. The kit can be kept nice and neat in the included Tri-Pouch, which has belt loops for easy carrying, and which holds three filters (room to expand your set). There’s even a high-quality cleaning cloth included. leefilters.com

Photography News | Issue 34 | absolutephoto.com

Advertisement feature Buyers’ guide

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ampersandtravel.com 020 7819 9770 info@ampersandtravel.com

Photography News | Issue 34 | absolutephoto.com

Advertisement feature

Holidays are great – everyone knows that – but photo holidays are even better! After all, who wants to spend all day by a package holiday pool when they could be splashing the cash on a proper shooting experience. Book the right photo break and you’ll find 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… Paul’s Events Join Paul’s Events on a glamour and nude shoot in an exclusive location. The events are perfect for beginners and experienced photographers. There’s a choice of shooting and booking options, choose to join a small group or an exclusive one-to-one shoot. All the models are experienced professionals, with a creative and fun outlook. MANOR HOUSE DAY EVENT – 12 August or 7 October: Spend the day in a beautiful Grade II listed Jacobean manor house, complete with splendidly furnished rooms and set in 25 acres of classical gardens and parkland in Berkshire. WALES WEEKEND – 2-4 September: An elegant 18th century mansion house estate in Carmarthenshire is the setting for this event. Includes locations as diverse as beautifully furnished interiors, walled gardens and parkland.

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Photography News | Issue 34 | absolutephoto.com

Technique Photo school

Camera class

In association with

Everyone has to start somewhere, even pros, so every issue we’re looking at the core skills every beginner needs. This month, how to control digital noise, both in camera and in software Words & pictures by Kingsley Singleton

It might seem as though digital ‘noise’ in pictures, caused by increasing the ISO sensitivity, is a new problem for photographers to deal with, but anyone who ever shot on ‘fast’ film knows that there’s always been a trade-off between increasing the camera’s sensitivity to light and losing picture quality. When increasing the ISO, you’re basically amplifying a poor signal, so just as when you turn up an FM

radio and the hiss gets louder, so when you amplify the light received by the sensor, the noise grows. But there’s another kind of digital noise unrelated to ISO. This is called long-exposure (LE) noise and it appears as bright specks, and red, green or blue ‘hot’ pixels as well as a glow or ‘fogging’ usually at the edges of the image. LE noise is caused by the sensor being switched on (charged) for extended periods,

Original image

No High ISO NR

High ISO NR (Low)

High ISO NR (High)

but it may only be noticeable when shooting for longer than 30secs, and usually only when you go into the minutes rather seconds. In-camera noise reduction Both high ISO noise and LE noise can be dealt with in camera; but both have drawbacks. Tackling high ISO noise reduction (NR) first, you’ll find it in the shooting menu, or possibly as part of a ‘quick’ menu. The function can usually be set to high, medium and low settings, which relate to the amount of NR applied. Too much NR can make the picture look soft and blurry, with a loss of fine detail, while not enough will leave more grain than you might like. High ISO NR is also only applied to JPEGs, so if you’re shooting Raw, it won’t make a difference. The only way to know what settings to use is practise; shoot a series of test images with the High ISO NR function switched on and off, at a variety of ISO settings, then assess the results on your computer. Compare how much detail is sacrificed in the pursuit of flattening out the grain, and you may find that it’s better left off, or set to Low, as a grainy but sharp image is often preferable to a muddy looking smooth one. It all depends on how you want the picture to look. Long-exposure noise reduction Long-exposure NR is found on all DSLRs and CSCs, and can be

switched on or off. The point at which it kicks in depends on the camera – on a Nikon D800 for instance, if the Long Exposure NR function is employed it’s only applied to exposures over 1sec. On some cameras it may kick in at 2secs, 4secs, or longer. Long-exposure NR works by taking a second, ‘dark’ frame after the first, but of equal timing. On this dark frame, the shutter doesn’t open, so no light is recorded, only the noise characteristics of the sensor. This dark frame is compared to the first and the corresponding noise is removed (a process known as darkframe subtraction). It is applied to Raw files as well as JPEGs, and the only drawback is that your exposure time is effectively doubled, with the dark frame taking the same time as the first. This, of course, means you can’t shoot while it’s working. Like High ISO NR, the effectiveness of long-exposure NR depends on your camera model, and the best way to see what you need is to try it. Shoot some test images with the function on and off, at different shutter speeds; you’ll probably find that it appears to do little up to 30secs or 1min, so can be left off, and only used for very long exposures. Next month: How to use your camera’s interval timer

Long-exposure NR

Noise reduction Above left is a close up of the image after Long Exposure Noise Reduction has been applied; on the right, no NR has taken place, so there’s lots of hot pixels and bright speckling.

Software skills How to reduce digital noise in Lightroom In-camera Noise Reduction (NR) reduces digital ‘grain’ and colour noise, but it’s only applied to JPEGs, not Raws. Therefore, noise must be manually controlled when processing Raw files. NR is actually more controllable in software and using it becomes more important if you’ve made heavy changes to the exposure, such as lightening areas. In Lightroom, NR is added by default from within the Detail tab, but this only applies to Color noise (the kind that causes red, green and blue blotches), and not the Luminance noise, which is the texture or grain. The following steps will show how to remove noise in Lightroom using the Detail tab, but if it’s long-exposure noise you’re dealing with, it’s also worth noting that ‘hot pixels’ can be removed with careful use of the Spot Removal Tool. It’s also possible to hide noise by setting the Blacks slider to a low level, and you can lessen the impact of noise by reducing image size – not ideal, but effective if your print size isn’t large. Next month: How to create timelapse effects in Photoshop

Step 1: Get a good look at the noise.

Step 2: Control the luminance noise.

Step 3: Control the colour noise.

In Lightroom’s Develop module, click the Detail tab to find the Noise Reduction options. If you see an exclamation mark (‘!’) at the top of the palette, it means you’re not looking at the picture with a 1:1 (or 100%) view, which is required to see the effect that any Noise Reduction you’re adding will have. So, either zoom to 1:1, or at the top of the Detail tab click on the arrow which opens a 1:1 loupe view. You can then use the crosshairs to pinpoint specific parts of the picture. Concentrate on shadow areas in particular where the noise will be more pronounced and when you’ve got a good view you can start to remove the noise from the image.

Move the Luminance slider right until the grain flattens out to the extent you want. You can hold the Alt key for a grayscale preview, which makes judging the effect easier. The Luminance Detail slider is used to retain detail and compensate for the flattening effect; a high setting will firm up the details, but at the expense of smoothness, while a low setting will soften detail and compromise sharpness. Applying lots of NR to high ISO images can also leave images looking washed out, which the Contrast slider compensates; high values retain contrast but show more noise, while lower settings will look smoother but can make the picture look flatter overall.

For removing colour noise, the Color slider controls the general amount of reduction and is set to 25 by default. Take it left and you’ll see blotchy colour information return particularly in the shadow areas. Conversely, higher settings can make the picture look a bit washed out, so don’t push it too far. Much like its counterpart for luminance noise, the Detail slider can be used to stop the image softening, particularly around edges; but this is at the expense of a little more colour noise in those areas. The Smoothness control can help reduce any further stubborn blotches and is useful if you’re dealing with JPEGs that have been saved at low quality.

Photography News | Issue 34 | absolutephoto.com

Competition

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Editor’s letter

Photo 24

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 an 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 31 July 2016. The correct answer to PN32’s Wordsearch was Battery and the Samsung 64GB card was won by Kevin Simpson-Woodall from Yorkshire. samsung.com and search for memorycards Being on your feet taking pictures for 24 hours is a serious feat of endurance but that’s what more than 150 PN readers managed last month. Our Photo 24 event in London, in association with Nikon and Nikon School, started with 250 readers so to emerge 24 hours later with 150 still standing is amazing. Well done to everyone who came along and supported the event. I’ll own up and say I didn’t do 24 hours myself. I had a couple of power naps but my excuse – and I’m sticking to it! – was that I was working so I was allowed breaks. During the days building up to Photo 24 I checked the weather forecast hoping for good news. It wasn’t looking promising with rain forecast for much of the first day. I am sure most of our Photo 24-ers had no problem photographing in the rain, but there’s a difference between coping with the odd shower and torrential downpours. While many digital cameras are weather-proofed so can work away in the most inclement conditions the bigger issue is keeping the lens free of raindrops. I got caught up in two heavy showers. For the first one late Saturday afternoon, I ended up sheltering in a Pizza Express doorway which was fortuitous because I am quite partial to pizza so took the opportunity to refuel. For the second, at about 11.30pm, I was with 60 readers walking through the city and the only cover was under that iconic building, the Gherkin. Hmm, a load of tripod-toting photographers standing on private property late at night, I wondered how long it would be until the building’s security team made an appearance. It was about five minutes and to be honest the security chap was very fair so thank you Mr Security Man for being decent. He just asked us to keep the building’s entrance clear and not to point cameras into the building.

Earlier, I’d spent sunset at the top of the Shard with 70 readers. The view is spectacular but taking pictures is a challenge. Firstly, it was busy with other visitors, and then there were the reflections, the dirty glass and later on as light levels fell, hand-holding at slow shutter speeds as tripod use was not allowed. Nevertheless, it was a wonderful experience and one I’d be happy to enjoy again, hopefully with a better sunset next time. Something else I’d be happy to try again was travelling around central London on a classic red bus. We booked two buses with TimeLine Events to take us around London in the very early hours, stopping at vantage points to take pictures of the bus. So we shot around Piccadilly Circus, Victoria Embankment, Horse Guards Avenue and Westminster Bridge. It was brilliant. We all missed one of the potentially best pictures of the bus tour, though. We pulled up opposite the Palace of Westminster. There was the beginning of some colour in the sky, a huge puddle made for a lovely reflection and the Palace made a fabulous background. It was inevitable that a red bus and 30 photographers at 3.30am would attract attention and we got moved on. Pity, but that’s modern life, and we got plenty of shots in other areas. On the whole, this year’s Photo 24, our fourth, was a great success and everyone seemed to enjoy themselves and got some great pictures out of it. We certainly enjoyed meeting everyone. If you couldn’t make it this year, we will start promoting the 2017 event from March next year, so keep your eye on PN.

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