Photography News Issue 35 by Bright Publishing

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Issue 35 1-25 August

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Fujifilm X-T2 shoots great stills (and movies) The X-T2 joins the X-Pro2 at the top of Fujifilm’s X-series range, giving photographers the choice of DSLR-style handling or a rangefinder camera

The Fujifilm X-T2 is the ultimate mirrorless camera offering premium still and movie image quality from its 24.3-megapixel sensor, outstanding DSLR-style handling and advanced autofocus. The heart of the X-T2 is the 24.3-megapixel X-Trans CMOS III APS-C sensor that is low-pass filter free to enable image quality comparable to full-frame cameras. Working with the sensor is Fujifilm’s X-Processor Pro high-speed image processing engine to deliver excellent quality stills with outstanding colour reproduction, smooth tonal gradation and low noise levels even at high ISO settings.

Fujifilm has worked especially hard on the X-T2’s autofocusing ability with an improved algorithm to cope effectively with low-contrast, fine-detailed subjects like bird feathers and animal fur, and its skills with fast-moving objects have been significantly enhanced. Five presets give the user the option to tailor the autofocus system’s parameters to the subject being photographed and there is a sixth custom preset option too, so you can dial in your own preferences. While the X-T2 with its mechanical shutter is capable of shooting at eight frames-persecond, things can get even speedier. Add the

Working with the sensor is Fujifilm’s X-Processor Pro highspeed image processing engine to deliver excellent quality stills

optional Vertical Power Booster Grip VPBXT2 and this increases to a stunning 11fps. A Boost mode on the grip gives even more responsive performance with shorter shutter lag and blackout times enabling even more accurate tracking when panning with a fastmoving subject. The grip can also house two extra batteries, thus boosting the camera’s shooting capacity to an impressive 1000 frames or more. Turn the page for more details on the X-T2’s exciting key features. fujifilm.eu/uk

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Photography News | Issue 35 | absolutephoto.com

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Stunning image quality

The 24.3-megapixel X-Trans CMOS III sensor, working in conjunction with the X-Processor Pro engine, is capable of excellent quality images with outstanding and accurate colour reproduction. The X-T2’s sensor and processor combination is also very fast, about four times faster than the X-T1’s, giving greater autofocus accuracy as well as keeping shutter release time lag and delays between shots very brief. The shutter release time lag is 0.05sec and shooting interval is 0.19sec – both are improved further with the Vertical Power Booster Grip in Boost mode. The random pixel array of the X-Trans sensor effectively minimises the risk of moiré and false colour without the need of a low-pass filter. That means intricate detail is faithfully resolved giving image quality comparable to a full-frame camera. Fujifilm’s rich film heritage is embraced with its Film Simulation modes that can be applied to in-camera JPEGs. The modes are perfect for photographers wishing to emulate the reproduction of renowned colour films like Velvia, Provia and Astia. For monochrome the ACROS black & white setting gives moody results with great highlights, deep blacks and smooth mid-tones. The native ISO range is 200 up to 12,800 with expansion possible up to 51,200. Low noise is a key characteristic of the sensor even when used at higher ISO settings and images at these levels also exhibit good colour saturation and solid blacks.

High-speed shooting Fast continuous shooting is available on the X-T2. The camera can capture pictures at eight frames-per-second using the mechanical shutter in continuous shooting mode, with the buffer allowing 83 JPEGs or 30 uncompressed Raws in this mode. Switch to the electronic shutter and the continuous shooting rate increases to 14fps, but can still capture up to 42 JPEGs or 28 uncompressed Raws in a single burst. Being able to capture the action at 8fps in its standard form is good enough for many purposes, but the X-T2 is ready for even faster shooting with the addition of the optional Vertical Power Booster Grip VPB-XT2.

Improved handling The Fujifilm X-T2 offers significant handling and design improvements over its predecessor that makes it an even more enjoyable, responsive camera to use. The 2.36 million dot electronic viewfinder has a magnification ratio of 0.77x to give a large viewing image and it provides a particularly bright image with minimal blackout during continuous shooting to allow accurate panning with a fast-moving subject. An Automatic Brightness Adjustment function alters the viewing image to ensure you get the best possible view in changing ambient light conditions. Being able to adjust the focus point or zone selection quickly can mean the difference between getting the shot or missing it and the X-T2 has gained a focus lever to speed this process. This is ideally placed for the right thumb to use and also frees up the four-way control pad for other important functions. The camera’s 1.04 million dot three-inch monitor sits flush with the body when not in use, but for situations when a low or high camera viewpoint is needed it can be tilted into position. The X-T2 is the first X-series camera to have a three-direction tilt monitor so the screen folds out to make accurate portrait format shooting from a low angle feasible. Two SD memory card slots are available. They can be configured for one to behave as backup, to be used sequentially or to save Raws to one card and JPEGs to the other. The X-T2’s ISO and shutter speed dials are both lockable, with just one push they can be freely adjusted; another push secures them in place. A simple but highly effective locking mechanism that definitely improves handling.

Autofocus performance of the X-T2 has been significantly improved over previous models in all areas but particularly with respect to fast-moving subjects. There are 91 AF points (up to 325 points can be selected) available with 49 in the centre with phase-detection AF pixels covering about 40% of the image area. About 85% of the imaging area is covered with contrast-detection pixels and performance has also been improved for faster focusing and superior accuracy in light levels as low as -3EV. For action subjects, the X-T2 has an enhanced AF-C algorithm for high accuracy when tracking or panning with moving objects. Also available are five preset AF settings where Tracking Sensitivity, Speed Tracking Sensitivity and Zone Area Switching are tailored for specific situations. For example, Preset 2 tracks the subject while ignoring any foreground obstacles, while Preset 5 allows for erratically moving subjects, so is perfect for field sports where subjects enter the focusing area from different directions at varying speeds. A sixth custom option lets you set these three parameters to suit your needs.

Vertical Power Booster VPB-XT2

The X-T2 on its own is a high performing camera with the ability to shoot continuously at eight frames-per-second with the mechanical shutter. The optional Vertical Power Booster Grip (VPB-XT2), which retails for £299.99, increases the camera’s performance to 11fps in Boost mode, but that’s not all. This setting also offers reduced blackout time, shorter shooting interval time (0.17sec from 0.19sec) and a briefer shutter release time lag (0.045sec from 0.05sec). This grip holds two NP-W126S li-ion batteries so, together with a third battery in the camera, gives enough capacity for over 1000 frames. It also doubles as a battery charger, and two cells can be charged in about two hours. The VPB-XT2 duplicates several key features of the camera body including the shutter release, focus lever, the Q and Fn buttons and command dials.

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Issue 35 1-25 August

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

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Every tweet & chirp about Birdfair, page 29

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The X-T2 has landed

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Fujifilm’s celebrating the fifth anniversary of its X-series in style. First we had the X-Pro2, now the much-anticipated X-T2 Fujifilm’s X-series now has two flagships with the X-T2 joining the X-Pro2 launched earlier this year. So whether you prefer to use a DSLR-type or rangefinder-style camera, you’ll have the choice when the X-T2 becomes available in September. Its body price is £1399 and £1649 with the XF18-55mm f/2.8-4 lens. The X-T2 sees several significant improvements over the X-T1, its popular predecessor, most notably in its autofocus performance, and the 24.3-megapixel CMOS III X-Trans sensor that supports, for the first time in an X-series camera, 4K video recording. Its improved AF algorithm, increased number of AF points and continuous AF presets offer a high level of focusing performance that makes the X-T2 is a very viable camera for action. This is enhanced by the camera’s ability to shoot at 8fps which becomes 11fps (14fps with the electronic shutter)

Nikon’s new arrival with the optional Vertical Power Booster Grip VPB-XT2 that sells for £299.99. This grip accepts two batteries which increases shooting capacity to over 1000 frames and offers a Boost mode for even shorter

shutter lag and minimal blackout time in continuous shooting. Turn to page 3 for more news and to page 44 for a hands-on preview.

Nikon adds to its fast lens range with an AF-S 105mm f/1.4E ED … continue reading on page 3

fujifilm.eu/uk

Photography News | Issue 35 | absolutephoto.com

The X-T2 has landed

Fujifilm’s latest CSC is designed to cope with all subjects including fast action and it’s its first 4K-video capable camera The Fujifilm X-T2 is a mirrorless CSC with a centrally positioned viewfinder for DSLR-style handling. That is enhanced by its design and layout with control dials playing a large part in camera usage. Two key dials, the ISO and shutter speed, have been redesigned to feature one-push locks for more assured, improved handling. The X-T2 is based around a 24.3-megapixel CMOS III X-Trans sensor (the same sensor is used on the X-Pro2) that delivers excellent image quality even at high ISO settings and gives the option of shooting 4K video using the camera film simulation modes. The X-T2’s AF system represents a significant step up from its predecessor. The phase detection AF sensor is now larger with 91 (switchable to 325) AF zones and uses an improved algorithm to cope with tricky subjects like those featuring delicate or indistinct textures. The AF system is also capable of dealing with fast action too and its continuous focusing mode features five custom Presets or ‘case studies’ to suit different subject types. With these settings the tracking sensitivity, speed tracking sensitivity and zone area switching are tailored to deal with different situations. For instance, Preset 4 is for suddenly appearing subjects and Preset 5 is for erratically moving subjects. There is a sixth custom setting so that you can set up your own parameters to suit the movement characteristics of your subject.

The AF system benefits with the inclusion of an AF lever or joystick which makes moving the active AF point in the frame a quick and more convenient process. Key to the X-T2’s handling is its electronic viewfinder. Its 2.36 million dot EVF is said to be twice as bright as the X-T1’s and has an auto brightness function to help you see the image in all lighting conditions. Compared with the X-T1, the X-T2 has a reduced blackout time making it easier to track moving subjects as you pan. The basic camera body has a shooting rate of 8fps with the mechanical shutter (14fps with the electronic shutter), but add the optional Vertical Power Booster VPB-XT2 grip (£299.99) and you increase this to 11fps. In Boost mode, this grip also reduces shutter release lag and gives a shorter blackout time. The grip also houses two batteries and with the third one in the camera, there is shooting capacity of over 1000 frames. An important innovation is the camera’s dual SD slots. Card failure is rare, but when it does happen you don’t get any warning and having that option for peace of mind is very welcome. The X-T2 is expected in the shops in September at £1399 body only, but meanwhile you can read more about it in our hands-on preview later in this issue. fujifilm.eu/uk

Nikon’s new arrival Nikon adds to its fast lens range with an AF-S 105mm f/1.4E ED It’s a good day for portrait, fashion and low-light photographers with the announcement of Nikon’s new AF-S Nikkor 105mm f/1.4E ED. It joins Nikon’s fleet of fast f/1.4 primes, and is currently the only 105mm AF lens available with the f/1.4 aperture. Its huge lightgathering capabilities allow you to work in available light or in the studio with ease, while the optical construction claims to produce unrivalled edge-to-edge sharpness and clarity even when shooting wide open thanks to its three extra-low dispersion (ED) elements. A nine-bladed aperture design should decrease diffraction and provide rounded bokeh and smooth transitions with no rough edges. The ‘E’ in the lens’s title means an electromagnetic aperture mechanism is on board to give more stable autoexposure control. Nikon’s tried and tested Silent Wave Motor is used for brisk, quiet and accurate autofocus. Nikon’s engineers have apparently paid particular attention to the edges of the picture frame, so that distortion and flare are minimised and light sources are rendered as fine rounded points. The Nikkor 105mm f/1.4E ED will be available from the end of August at a suggested price of £2049.99. nikon.co.uk

... continued from cover

News

Fujifilm adds a flash The EF-X500 is a dedicated hotshoe flashgun for Fujifilm X-series cameras. Priced at £449.99, it will be available from September. It is a powerful, weather-sealed unit with a GN of about 50 and the auto zoom head covers lenses from 16mm to 65mm, wider is possible with the supplied diffuser. Features include TTL functionality and FP flash which pulses flash rapidly for correct flash sync at high shutter speeds. The EF-X500 also supports multiple flash set-ups. Power is supplied by four AA cells and an optional EF-BP1 is available for £169.99 and this accepts eight cells for faster recycling. fujifilm.eu/uk

Adrian Clarke, senior vice president, electronic imaging Fujifilm Europe

“We launched the X-T1 in March 2014 and it’s been a very successful product for us. Users loved the design, the new electronic finder, the intuitive operation, but most of all the image quality. At the same time, we introduced the XF56mm f/1.2 and XF10-24mm f/4 lenses. That expanded the shooting field of X-series to portrait, wedding and landscape. We think expanding the shooting field was the one reason that X-T1 was so successful. “Since then we have been working on the X-T1’s successor. Developing such a sophisticated camera with such processing power is a huge task. The processor alone took two years to develop and program. This has culminated in the birth of the X-T2. “With the X-T2, we hope to expand the usage of X-series to almost any subject you care to try to shoot. “We’ve also tried very hard to cover every requirement of today’s photographer, and we realised that our video functionality and quality was one of our weaker points. The XT-2 doesn’t just give 4K resolution, but really excellent image quality in 4k. We have HDMI output and new video standby mode. We also have Film Simulation in video, which is particularly fantastic in ACROS black & white mode. “The Vertical Power Booster Grip can house two additional batteries, helping increase capacity to around 1000 frames between charges. It also adds a headphone socket and a Boost switch that improves responsiveness and ups the frame rate to 11fps. “So in summary, we are very pleased to launch a second flagship camera alongside the X-Pro2. Some may prefer the rangefinder or optical style of the X-Pro2, some may prefer the SLR and large EVF-style of the X-T2.”

fujifilm.eu/uk

Photography News | Issue 35 | absolutephoto.com

News Specs Price Body only £7188, XCD 45mm f/3.5 £1788, XCD 90mm f/3.2 £2148 Sensor 16-bit CMOS, 43.8x32.9mm, 50 megapixels Sensor format 8272x6200 pixels ISO range 100-25,600 Shutter range 60mins to 1/2000sec, flash sync at all speeds Drive modes 1.7-2.3fps Metering system Spot, centre-weighted and centre spot Exposure modes PASM Monitor 3in 920k with touchscreen functionality. EVF with 2.36 million dots Focusing Contrast-detect AF, instant manual override Video HD 1920x1080p Connectivity Wi-Fi, mini HDMI, audio in/out, GPS, USB 3.0 type-C connector Storage media 2x SD card slots Dimensions (wxhxd) 150.4x98.1x71.4mm Weight 725g body with battery Contact hasselblad.com

The clarity and reproduction of fine detail was really impressive and the X1D was very clearly superior

Above Photography News editor Will Cheung got to spend some time with the Hasselblad X1D.

Hands-on Hasselblad

Will Cheung gets to enjoy an exclusive experience with the latest camera sensation, the Hasselblad X1D, the world’s first mirrorless medium-format digital camera Words by Will Cheung Hasselblad is the name in mediumformat photography and in recent times has added three new cameras to its range, the latest being the X1D, a mirrorless medium-format camera, which we covered in the last issue of Photography News. “We are really excited with this product and there is the potential for new markets and new business,” says Hasselblad UK’s managing director Simon Coleman. “The X1D will make a big impact on our business and our brand, and give users a unique imaging experience.” Last month, I got to spend some time with pre-production samples in London and while the firmware was some way off final, it was a chance to take some pictures using this revolutionary product. The X1D will retail at £7188 (all prices quoted include VAT) and is being launched with two lenses, the XCD 45mm f/3.5 and the XCD 90mm f/3.2 priced at £1788 and £2148 respectively. In 35mm format terms these lenses equate to 35mm and 71mm. A wide-angle lens is on the way soon and more lenses, including a zoom, will be introduced into the system. In my average-sized hands the X1D fitted perfectly. To be frank, the handgrip could not have been a more comfortable fit if it had been custom-made for me. It really was that good, but that is a personal viewpoint. Speaking of which the X1D’s feel reminded me of the Mamiya 7, a 6x7cm film rangefinder camera. The X1D’s body is slimmer and less tall, though. With either lens it is useable onehanded if that is a consideration but obviously stability is better if the left hand supports the lens. The lenses are not especially compact and the integral shutter fitted in each lens does mean that is no wriggle room here in terms of making, for example, a pancake lens for greater portability. No matter, the camera/ lens combination felt very good in

the hands and more compact and lighter than, say, a full-frame DSLR with a standard zoom lens fitted. The X1D’s layout is conservative and isn’t overpopulated with buttons and dials. The EVF and monitor are excellent and there is a sensor so when you put the camera to the eye the monitor switches off. The fixed three-inch monitor is touch-sensitive and it’s from here that many of the X1D’s settings are adjusted. As with any menu system, finding your way takes a little time, but the clear layout and large icons make it easy on this camera. Also to preview images you can move from shot to shot by swiping or pinch to magnify into the image, gestures we’ve grown used to on our phones. Push the shutter button and you get three distinct sounds as the camera closes the lens, makes the exposure and opens up the lens for viewing the next shot. Despite that, the camera is quiet, shutter lag is minimal and the preview image appears very quickly. Autofocus seemed swift and quiet. The sample I had only had the central AF working so that was used along with manual focus. The 2.36 million dot EVF helps with

accurate manual focusing. The exposure system proved competent in the limited indoor situation I used the X1D in. Our early sample didn’t have AWB to test so I used a manual Kelvin value or a preset. In comparison The X1D’s 43.8x32.9mm CMOS sensor is anti-alias filter free and boasts a resolution of 50 megapixels – it’s the same sensor as used in the H6D-50C. This sensor also offers 16-bit capture which compares with 14-bit for the top 35mm DSLRs. I shot a set of ISO range images in natural daylight and did a number of shots with Bron studio flash lighting. Because the shots were taken on a pre-production camera we are unable to show them here. I did some comparison shots with the X1D alongside a 36-megapixel full-frame DSLR. The resulting Raw files were processed in Lightroom and Hasselblad’s own free software Phocus and then compared on screen at 100% and also at the same magnification in Photoshop – this meant at 100% on the X1D and 126% on the 35mm image. It’s early days but I couldn’t help but be impressed with the quality of the X1D shots.

The XID’s ISO range is 100 to 25,600 and even at the top speed noise levels were low and it had a filmic appearance. There seemed little noise impact on fine detail. In the X1D/35mm DSLR comparison, the clarity and reproduction of fine detail was really impressive and the X1D was very clearly superior to the already excellent full-frame shot. Of course, the reason film photographers used to migrate from 35mm to medium-format was primarily for quality and that still applies. The degree of benefit and whether you need it are different arguments which will be worth delving into when working X1D samples arrive later in the summer. The X1D with two lenses will cost over £11k so it’s not exactly a budget system. Yet from a medium-format perspective it’s very competitively priced and it does appear from this preview to offer the quality benefits of the larger format without the bulk. It could be a tempting proposition for quality-conscious photographers whether enthusiast or professional. hasselblad.com

Photography News | Issue 35 | absolutephoto.com

News

Six have a grand VIP day out

Samsung and Photography News hosted a VIP shoot for six competition winners at Painshill Park in Surrey recently. Here’s a story of the day

In Photography News issue 33 we ran a competition with six prizes of a a Samsung 32GB SDHC Pro Plus memory card, a VIP day out and photo shoot at Painshill Park and a panoramic print from LumeJet. On the day itself, our six winners then had the chance to win further prizes, a package comprising a Samsung 250GB T3 SSD drive, a £250 voucher to spend at lumejet.com and a family ticket to Painshill. This fabulous prize went to the photographer who shot the best image of the day with Photography News’s editor Will Cheung the judge. The judging was to take place at the end of the day of JPEG shots straight out of the camera so the emphasis was very much on good technique and accurate composition. Having to get it right in-camera did mean that art filters and features such as multiple exposure were available for our readers to exploit. Painshill Park has plenty of photographic potential even on changeable days like we experienced. Our winners, in search of the prize-winning shot, had the option of using the two buggies provided by Painshill to get around the historic site or walk – or both. The shoot kicked off with an introduction to Painshill from CEO Mike Gove and a photographic briefing by PN’s editor and then it was off to the buggies for some photography. Much of the time it was cloudy but we did have occasional bursts of bright sun and blue sky, and then the odd shower

Samsung Pro Plus memory cards Samsung’s latest generation of SD storage cards are very highly specified and ideally suited for use in top-end highresolution DSLRs as well as smartphones, tablets and cameras shooting 4K video. The Pro Plus SD range comprises 32GB and 64GB capacity cards and satisfies UHS-1 Class three and Speed Class ten performance levels. In practical terms, read speed is 95MB/s and write speed is up to 90MB/s. Reliable fast read/write performance is important but there’s more with Samsung’s five-proof features. The Pro Plus SD cards are waterproof, temperature proof, X-ray proof, magnetic proof and shockproof. Drop one of these latest Pro Plus cards in seawater and it can withstand 72 hours’ submersion. While we were unlikely to encounter adverse shooting conditions during our special event, you never know when the Samsung Pro Plus’s SD five-proof features will come in very useful.

Above Our readers clutching their Samsung SD 32GB prizes. From left to right: Frank Robinson, Paul Graber, Steve Lissemore, PN editor Will Cheung, Alan Cooper, Diane Le Count and Peter Winter. Below The overall winner, Diane Le Count, receives her prizes from Photography News editor Will Cheung. She won a Samsung T3 250GB SSD, £250 to spend on LumeJet products and a family day ticket to Painshill. Right Diane Le Count’s shot of the Crystal Grotto interior won her the overall prize which includes the Samsung T3 250GB SSD.

too. Key scenic features of Painshill including the Ruined Abbey, Gothic Tower and the Turkish Tent were on the itinerary with plenty of time allowed at each spot for everyone to get their shots. We also had exclusive access to the Crystal Grotto, a man-made feature dating back to 1760 featuring thousands of crystals and restored to its original glory by volunteers.

In the short time we had and in the mostly cloudy conditions our six winners did a great job and between them shot over 500 pictures of Painshill on their Samsung 32GB Pro Plus SD memory cards capturing the wonderful follies, the overall landscape and the plentiful wildlife. Thanks to them for their time and enthusiasm and congratulations to Diane for winning the overall prize.

What our readers thought about Samsung Pro Plus SD memory cards Diane Le Count: “I really liked the memory card particularly from the point of view of multiple exposures where I was impressed with the speed between one image to the next.” Steve Lissemore: “Great card, very fast at saving images. I was shooting Raw and JPEG at the same time and had no lag at all. I highly recommend this card.” Paul Graber: “Six of us took the Samsung memory cards out with us to shoot; none of us had any problems. Cleary very reliable.” Frank Robinson: “First impressions, the card seemed very fast at saving images.” Alan Cooper: “When on JPEG and Raw at full size the card is fast and I did not have to wait for the next shot.” samsung.com

Photography News | Issue 35 | absolutephoto.com

News News in brief Leica’s standard The Apo-Summicron-M 50mm f/2 ASPH is claimed to be Leica’s sharpest ever standard lens. It is said to resolve the finest details from corner to corner at all aperture settings including f/2. The guide price is £5900. uk.leica-camera.com Fujifilm update New firmware is available for the Fujifilm X-Pro2. Benefits include a new AF algorithm (as featured on the new X-T2), compatibility with the EF-X500 flashgun, auto power off and improved parallax correction. fujifilm.eu/uk Fight for your rights DACS is a not-for-profit visual artists’ rights management organisation and this year its Payback campaign saw £5.5 million of royalties made available for visual artists whose work has been published in print or on TV. The scheme has been running for 15 years and distributing over £43.5 million, and from now until 30 September 2016 you can apply for your share in collective licensing royalties. dacs.org.uk/for-artists/ payback G-Whizz Good news for photographers who don’t throw anything away: G-Technology’s range of hard drives are being treated to higher capacities as well as improved performance. Among others, there’s a new 10TB G-Drive with Thunderbolt (up to 245MB/s transfer) at £650, and a titanic 20TB G-RAID with Thunderbolt and USB 3.0 connections at £1375. g-technology.com

Jet power Xeen stealer printing LumeJet is a brand-new digital printing service aimed at photographers who want highquality, natural and accuratelooking prints. The company is offering a huge range of print sizes and options including whopping one-metre long panoramic prints, premium lay-flat photobooks, bespoke wedding albums, hospitality keepsakes, professional photographic portfolios and mounted and framed prints. Whatever product, a faithful print reproduction is promised, matching what you see on your screen and staying true to your intentions. Paul Anson, Co-Founder of LumeJet identifies the company’s process as an “ultra-high quality, true 400dpi continuous tone resolution, with much reduced flare and pixel cross talk.” The service has been emphatically endorsed by a number of pro photographers, and Paul adds that “of the print output so far, some have commented that it is the highest quality photo printing they have ever seen.”

New from Samyang Optics is the Xeen 135mm T2.2 cine lens, which brings the company’s range of Xeen lenses to six models. The 135mm T2.2 is designed to offer the top image quality required for 4K and higher resolutions, and is optimised to work on full-frame DSLRs, as well as Super 35, APS-C and APS-H cameras. At 135mm it’s a very useful telephoto option and allows impressive shallow depth-of-field effects. The Xeen 135mm T2.2 is released this month at £1799.99 and available in Canon, Nikon, Sony E, Micro Four Thirds and PL mounts. intro2020.co.uk

Ordering should be refreshingly simple, too thanks to LumeJet’s online service which has been developed to provide a “flexible, tailored and simple user experience, allowing the customer to complete their journey through the photo print design and buying experience with minimum fuss.” lumejet.com

Samsung at top speed Samsung has launched the most powerful card in its class, the highcapacity EVO Plus 256GB MicroSD. With a read/write speed of 95 and 90MB/s respectively it”s currently the only 256GB microSD card to reach such speeds. The huge amount of storage combined with the blistering transfer speeds allows you to capture plenty of very highresolution images at a fast frame rates; and if you’re a heavy video user, you can pack in up to two hours of 4K UHD video (or 33 hours at Full HD). All this performance comes from the use of Samsung’s latest V-NAND technology, putting the EVO Plus 256GB on par with the PRO Plus cards. And in case you’re accident-prone it’s also water, temperature-, X-rayand magnetic-proof, and comes with a limited ten-year guarantee.

Lighting guang The use of LED lighting is on the rise and NanGuang has a range of products to cover every need including handheld, on-camera, stand mounted devices and lighting cases. The Portable LED Light (£198) packs in high-efficiency LEDs, can be used handheld or on a stand and is supplied as a kit with case, filter and diffusers. It’s also available in a larger size, the LED Studio Light (at £396). Also in the range are the Portable Photo Light (£150), supplied with a table-top tripod which doubles as a hand grip and there are two lighting panels; the camera-mounted LED Luxpad 22 (£45.54) and larger LED Luxpad 43 (£155.94) both of which run off mains or battery packs. Finally, for product photography, there are two lighting cases, the LED NGT4730 (£150) measuring 47x47x53cm and the larger sized NGT6240 (£200) at 62x62x67cm, both of which measure only 9cm deep when folded.

samsung.com kenro.co.uk

Make a Digital Splash Wilkinson Cameras is running the biggest specialist photography show in the UK. Digital Splash 16 takes place 15 and 16 October at the Liverpool Echo Arena. This year’s show is hosted by Damien Demolder and speakers across the two days include acclaimed fine-art photographer Jonathan Chritchley, one of the world’s most widely published photographers Michael Freeman, award-winning portrait and fineart nude photographers Faye and Trevor Yerbury, iconic-brand photographer Tim Wallace and

husband and wife wildlife team Ann and Steve Toon. Visitors will be able to see the latest products and talk to experts from Canon, Fujifilm, Nikon, Olympus and more. Live shoots, demonstrations, photo walks and exhibitions are also on offer. Entry is free if you register in advance on the website before 7 October and you’ll also be sent a 25% discount code to use against talks and workshop bookings. Turn up on the day and entry is £5 per person. digitalsplash.tv

Photography News | Issue 35 | absolutephoto.com

News News in brief

Shadows and silhouettes Fancy a challenge for your photo skills? Photocrowd.com is a global, independent online community for photographers, which as well as hosting galleries, images sales and e-learning, runs regular inspiring free-to-enter contents many of which have great prizes. One of the most recent was ‘Shadows and silhouettes’, which revealed a range of stunning efforts from all over the world. For the latest contests, of which there are many, head to the link below. photocrowd.com/challenges ‘Miroir d'Eau' by Verity Milligan/Photocrowd.com

Cloud Face (Bradford, 2016) © Shinseungback Kimyonghun courtesy National Media Museum

Polar Bear’ by Peter Orr ARPS/Photocrowd.comcom

Wolf Haven is a brand-new photography book by American photographer Annie Marie Musselman, whose work has appeared in National Geographic and The New York Times. Musselman was given rare access to shoot at the titular sanctuary near Mt Rainier National Park in Washington State, USA. The rescued wolves – injured animals found in the wild and those liberated from illegal breeders – have very limited human contact so there’s a wild spirit to Musselman’s images. Wolf Haven is published by Sasquatch in hardback, spans 144 pages and available from September at £16.99.

‘In the Shadows’ by Elena Paraskeva /Photocrowd.com

In your face Want to see something weird? Of course you do. The In Your Face exhibition at the National Media Museum in Bradford (open now and running until 30 October) includes a series called ‘Cloud Face’, which was commissioned by the museum and created by Seoul-based artist duo Shinseungback Kimyonghun. The pictures, shot using a CCTV camera on the Museum’s roof, used facial recognition software to pick out faces in the clouds, and explore the phenomenon of 'pareidolia', where amongst other things, humans tend to pick out faces in random textures. The rest of the exhibition includes more than 20 exhibits and activities in all, plus there’s the rest of the NMM to enjoy. nationalmediamuseum.org. uk

Wolf parade

sasquatchbooks.com

Estuary English © Simon Fowler

Fancy winning a £100 John Lewis voucher? All you need to do is enter a photograph that makes you smile into Café du Monde's competition. By entering you’ll also be helping fundraise in aid of Macmillan Cancer Support. All proceeds are going to the charity, so take part, email your photo to kay@cafedumonde.co.uk, then donate £5 to Café du Monde’s page at justgiving.com/fundraising/ Cafe-Du-Monde-Ltd. The closing date is 1 September and the winner will be announced on 24 September.

cafedumonde.co.uk

Best of British This autumn, the Lumas Gallery celebrates the works of selected British photographers across its portfolio, including at its London gallery, 57 South Molton Street, Mayfair, W1K 5SJ. Works by celebrated artists such as Jane Bown, Justin Barton, Peter Adams and Jonathan Andrew are to be supplemented by a series of events in September and October, to coincide with the Frieze London art fair. For instance, the exhibition of Bown’s portraits will be supported by an exclusive event with Guardian Live, including a talk by Luke Dodd, who was responsible for archiving he photographs when she passed away in 2014. If you’d like to know more about the events as well as the chance to purchase exclusive prints by the featured artists check out the link below. uk.lumas.com/events

Winning smiles

Student Digs The 2016 Fujifilm Student Photographer of the Year has been announced and it’s none other than Gemma Astbury of Norwich University of the Arts. Gemma was also the Curator's Choice Winner in February and her winning image, Happisburgh Fences, was shot on Fujichrome Vevia 100 transparency film and cross-processed. Director Steve Macleod of sponsors Metroprint said of the winning pic: “This photograph has really stuck with me… it evokes feelings of past times, memories and loss.” You can check out other winners at…

Estuary 2016 is a new arts festival which takes it lead from the spectacular Thames Estuary, and which has inspired artists for generations with its unique cultures, industries, wildlife and desolate beauty. Running from 17 September to 2 October, it features plenty of contemporary photography alongside literature, film and music, and takes place across a range of historic venues along the Essex and Kent shorelines. Featured photographers' collections to look out for include Bronwen Buckeridge’s ‘Creatures of the Mud’, Chloe Dewe Mathews’ Thames Log (2016) and Gideon Mendel’s ‘Drowning World’ and Iain McKell’s ‘Infinity’. What’s more, artist Anne Lydiat will be turning her barge, docked at Tilbury Passenger Terminal, into a camera obscura for the duration of the festival weekend. estuaryfestival.com

fujifilmstudentawards.co.uk

Photography News | Issue 35 | absolutephoto.com

Clubs

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

Camera club news

How to submit

Deadline for the next issue: 18 August 2016

We need words and pictures by 18 August for the next issue of Photography News, which will be available from 29 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.

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

Flying the flag at Farnborough

News in brief

Celebrating its 75th season, Farnborough CC has a busy season lined up Originally Farnborough and RAE (Royal Aerocraft Establishment) Camera Club, Farnborough was formed during the Second World War – with its first meeting interrupted by an air raid! In 1983, RAE withdrew as none of its staff were members any more, and the club has since continued to flourish, even linking with PhotoCirkel, in Germany’s Oberursel. The club also holds annual competitions with clubs in Australia and New Zealand. Farnborough Camera Club’s 75th season will be no less busy than previous ones. Already planned is a visit by David Noton on 25 October and

Gosforth’s exhibition Visit Gosforth Camera Club’s annual exhibition at Newcastle’s Central Library between 26 August and 6 September. The club aims to display at least one image by each member. The Library is open seven days a week. gosforthcameraclub.org

the 75th Anniversary Exhibition in January 2017. Non-members are very welcome to attend both events; see the website for details. Before then, the club will be holding a display at Princes Mead Shopping Centre in Farnborough on 13 August, which will also be a great opportunity to find out more about the club. Visitors can vote for their favourite image, and the photo with the most votes wins the Exhibition Cup. farnboroughcameraclub.org © Richard Jenkins

Day display Bungay Camera Club’s annual exhibition and fair is on 3 September, at Bourne Village Hall, and entry is free. As well as offering the chance to view the members’ photos and to ask them questions, the day also includes practical demonstrations and craft stalls. Refreshments available. bungaycameraclub.co.uk Season starts Beeston Camera Club starts its new season on 1 September. The club meets every Thursday at the British Legion Club in Beeston, September to April. Friendly and welcoming, the club offers a varied programme with competitions and guest speakers. beestoncameraclub.co.uk

facebook.com/THEPICOGROUP/

2016.guernseyphotography festival.com

Not content to hold a conventional exhibition, PICO (Photographic Imaging Co-operative) is combining its exhibition at Thorpe Hall, in Longthorpe near Peterborough, with lots of photo opportunities. On 14 August, for a £2 entry fee, you can photograph four models, as well as dancers from Tu Danse studios, and 1940s style Lindy Hoppers picnic; take part in Q&A sessions; and enjoy product demonstrations and workshops. There will also be trade and craft stands, plus refreshments. Find out more on their Facebook page.

Enjoy island life with a visit to the Guernsey Photography Festival, running 8-30 September. The fifth outing for the festival, this year’s theme is FICTION/NON-FICTION. The festival features exhibitions by international and local photographers, both indoors in venues such as the Guernsey Museum and outdoors; talks and workshops; an extensive education programme and the launch of the International Student Competition. Making a return is the popular Photomarathon. This family event encourages everyone to get involved, to shoot 12 images on 12 themes in just six hours, using any digital camera or device.

Opportunities Island life at the exhibition

Above Local photographer Aaron Yeandle is exhibiting as part of the Guernsey Festival, alongside the likes of Bruce Gilden.

Photography News | Issue 35 | absolutephoto.com

Profile Biography

Before the Judge

Richard Speirs Each month, a respected judge or exhibition selector shares their thoughts and experiences. This month we speak to Richard Speirs who has over 25 years experience Words by Richard Speirs

Richard Speirs Richard’s been a member of Morton Photographic Society for nearly 40 years and has been judging and lecturing for over 25. Years in photography I blame my father for giving me a Kodak Autographic 120 roll film camera when I was around 11. I still treasure the memory of the first successful prints emerging in the dim red glow of the darkroom. I studied environmental science and my then camera, an Exa 1A, was used to record many natural history subjects on slide film. Home club Morton Photographic Society in Carlisle. I have twice been chairman and held most of the committee positions at Morton. I’m on the executive of the Northern Counties Photographic Federation and the executive of the Photographic Alliance of Great Britain as well as sitting on its Awards sub-committee. Favourite camera I’ve been with Sony since the demise of Minolta and currently use the Sony Alpha 6300, which is wonderfully portable, accurate and a delight to use. Favourite lens Sony Zeiss 16-70mm f/4, which is incredibly sharp. Favourite photo accessories I must admit to not using a large number of accessories. That said, I find my set of Lee Filters ND grads invaluable for landscape work and I use polarising filters. Favourite photographers I enjoy the perfection of Joe Cornish, the artistic subtly of Irene Froy, the creativity of Christine Widdall, Adrian and Jane Lines and Dianne Owen. If I had to pick one it would be Tony Ray-Jones whose street photography is astounding. Favourite subject I started out with natural history, which is still a mainstay but I am equally at home with most subjects. There are so many wonderful things out there to inspire photographers. Awards I gained my DPAGB many years ago achieved a BPE2* rating, and was awarded the APAGB. Although I regularly enter contests and achieve a fair number of acceptances, striving for awards doesn’t feature greatly in my life. My greatest reward is knowing a judging session or lecture has gone down well in a camera club and that I get return invitations.

I hadn’t been at Morton Photographic Society for too long when I received an invitation to judge at a local club. I recall the initial fear of standing up in front of photographers who may have been taking pictures for longer than I, but something must have gone down well as I soon began to receive further invitations. Eventually I found myself on the Northern Counties Photographic Federation (NCPF) judges list and over time reached its A-list of judges who could be expected to handle anything. Subsequently, having gained a lot of experience in judging local and regional competitions, I found myself selected for the PAGB list of judges. It is this position that I value most as it allows me to sit on some the best competitions in the UK. I have no unique qualification to judge other than an appreciation of what makes a good picture and how to offer helpful critique without hopefully upsetting the author. I always try to inject some humour into my judging or talks, but never at the expense of any of the competitors; life is too short to run the risk of a lynch mob in a club car park. Through years of experience I hope I have refined whatever skills I might have to encourage and motivate photographers in their hobby. Again blaming my father, I suspect that I may have inherited some of his qualities such as having the gift of the gab which certainly helps to communicate effectively with an audience. In the NCPF we run annual events to recruit judges and for many years I’ve been the principal speaker aiming to give basic communication skills to prospective judges. Body language is crucial as is the ability to avoid relying solely on criticism, which is the easy option for many beginner judges and, sadly, some well-established ones too. My communication rule of thumb is 55% body language – facial

expression, gestures and posture; 35% vocal – tone of voice, monotones are an insomniac’s best friend, pacing, using sentences and pauses; and ten per cent verbal – choose your words carefully, avoid jargon and be accessible not clever. A good judge should... Good communication skills can be learned and are essential if a judge is to be a hit with an audience. I encourage prospective judges to avoid being hidebound by the socalled 'rules of photography' which are there for guidance. That said there is often a benefit for taking advantage of the human preference for images which are based around thirds and, certainly in the UK, read from left to right. I believe that judges should concentrate more on why someone took a particular shot and if their knowledge and use of appropriate technique added to the initial concept. It is up to a good judge to identify the initial element that inspired the photographer and if need be suggest

ways in which it could be improved. Likewise I think it is important for judges to avoid writing off a picture of a popular location just because they’ve seen the view or subject dozens of times before. Every shot is different and subtle nuances of interpretation should be looked for and recognised. I also believe that it is important for judges to participate in competitions themselves, preferably not just at club level, but in the wider arena. Fashions do change and nothing turns off an audience more than listening to someone who hasn’t kept up to date with what is happening. I think it is essential that judges are aware of modern processing techniques rather than second-guessing what has been done to a picture and making a fool of themselves in the process. The work in many camera clubs is of a far higher standard than it was just a decade ago and the better judges should be aware of that moving standard and be capable of assessing it accordingly. Reassuringly many club photographers are realising that their work looks better by use of subtlety in whatever technique they happen to hit on, whether it be HDR or one of the many available plug-in filters. Sadly that doesn’t apply to all clubs and I must admit to being bothered by the current fashion for oversaturation. If I was to advise on what simple things to do to improve an image I would say delicacy in technique and treatment, avoid over sharpening and

ensure that the final histogram has adequately brought out the best in the highlights and shadows. I suppose my biggest bugbear with club competitions is with those clubs who insist that all their internal contests have to be marked out of 20 or 30 or whatever top score they choose. Frequently when asked why they have marks the response is that the members like to know if they are getting better or not. A weird reason considering each competition is largely a matter of ranking the best to the worst picture that night and gives no idea of how an individual improves contest by contest. My advice to any photographer interested in developing their work is to join a camera club, visit as many exhibitions as you can, go to see the judging at one or more of the various PAGB competitions held each year and have a go at entering competitions outside the security of your own club. That way you’ll be aware of what works and what doesn’t and how attention to detail in photographic quality certainly pays dividends. Photography is a wonderful art form and we are privileged to be living in an age where the camera quality, even in mobile phones, is phenomenal and post-processing software, used with sympathy and skill, can produce arresting pictures. richardspeirs.photos mortoncarlisle.photography

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 35 | absolutephoto.com

Exhibitions

St Andrews Photography Festival North of the border is where you need to be this summer if you want to enjoy photography in the broader sense. Over the next four pages, we take a behind the scenes look at two Scottish photography festivals. We tee off at the home of golf, St Andrews, where we catch up with the Festival’s organiser Rachel Nordstrom Left Mallorca, 1982. © David Peat Estate, courtesy of St Andrews University Library. Below Allan Robertson, 1850. By Thomas Rodger. Courtesy of the University of St Andrews Library: ALB-10-49

Interview by Jemma Dodd Can you tell us about your role and how you ended up being involved in the Festival? I’m the photographic collections manager at the University of St Andrews Library, so when the BID (Business Improvement District of St Andrews) approached me and said it wanted to have a photography festival, and could I organise something, I said ‘yes of course!’ Ken Dalton, a member of the BID steering committee knew the University held the largest photographic collection in Scotland, and was aware of the role St Andrews played in the earliest days of photography. I think BID initially wanted the Festival to take place to earlier in the year, but this was its first year, so trying to get it off the ground was going to be a challenge and needed a bit more time to prepare. Was it around the photographic collection that the idea for the Festival was formed? Also, can you tell us about the collection? The University has been around for quite a long time and given the town and University’s connection to the early foundations of photography and the photographic collections in our care, we do have quite a substantial archive to draw from for the Festival. I think the collections are a great starting point for the

Festival as we have a similar mandate. One of our collection’s strengths is obviously Scottish photography, and it celebrates Scottish photography so it is a logical partnership. What are the aims of the Festival? Photography is unique in that it’s accessible and people understand it more easily than some other art forms, probably because almost everyone has a camera and can take pictures. But people are more reluctant to experience photography as an art form or a social document with a story to tell by going into a gallery or a museum to see a photography exhibition – perhaps they find it intimidating. We’re putting photographic collections, both contemporary and historic, into venues where people go anyway – libraries, cafés, restaurants and bookshops. We want people to see photography in a different way by sneaking it into their lives, but I really just want people to see it as something more than the pics they swipe through on their phones or images that illustrate articles they read online. I’m hoping to give people a taster for all these collections and maybe later they’ll go home and research a bit more on their own, look up on the internet to see who these photographers are and other work they have done. Then maybe if they see that a particular photographer has a big exhibition somewhere they won’t be so intimidated to look around.

How did you decide on the locations? Is it spread across several different spaces? Participation in the Festival was really open to anyone who had some wall space that we could take over for six weeks. We wanted to spread the exhibitions across many different kinds of venues beyond the logical café, office lounge, hotel or library reading room, we were looking for some variety, so there are also exhibitions on iron railings, a nightclub and a gin tasting room. Then we had to think about pairing up venues with shows – for example, Franki Raffles was a student at St Andrews and very much involved in the politics of student life, so a cross-section of her work can be seen at the Old Union Coffee Shop. I thought that the Vic nightclub would be a challenge, but working with Malcolm Dickson of Street Level Photoworks in Glasgow, we decided the rock photography of Harry Papadopoulos seemed like a perfect fit. By the time word got around town that the Festival was happening, we had more venues approaching us than we had time or resources to provide exhibitions for. We were quickly spoiled for choice, but I just hope this bodes well for next year. Is there a specific audience you’re aiming the Festival at? Everybody is welcome. I really just want

to bring photographic arts, documentary photography and photo history into everyone’s lives in one way or another. We’ve tried to open it up to as many people as possible. We have a couple of children’s events and youth workshops. One workshop is run by Carolyn Scott who wants teenagers to stop taking so many selfies and to think about photography as a documentary story to be told through the camera. There is also a walking tour which people can join in for as long as they want. And of course there is a series of lectures which cater to a wide range of audiences. The Festival is six weeks long – was there a specific reason for that time frame? There are a few reasons, but mostly we couldn’t decide on the best time of year to hold the Festival. It’s our first year, and six weeks is a bit long, as most Festivals will last a fortnight or a month so this year is a bit of an experiment. August is the month when lots of people have some time off work and school, and towards the end of August all the school children are back, and then going into September we have the University students back in town. So our thought was to test the waters and reach all those different groups. There is also the Season of Photography, which runs from September to November, and the Institute for Photography in Scotland tries to coordinate all photographic events across

Photography News | Issue 35 | absolutephoto.com

Exhibitions the country into this period of time to help with focusing media promotion. That starts in September, so we wanted to overlap with that to make sure we were included. Looking forward, I don’t think we’ll be doing a six-week Festival – it was definitely a lot to take on for our first year. We’ll have a better idea of what fits best for the town. The town is so busy in August anyway, so maybe next year it will be just be September. What other activities and workshops are running during the Festival? We have a photographer coming up to set up a Victorian outdoor tintype studio so people can come and have their portraits taken as they would have in the 1860s/70s when photography took a leap out of the studio. The tintype was a cheap and fast way to make photographs. Small portable darkrooms were showing up at beaches, town centres, and fairs which opened up photography to more people than ever before. It will be great to get people to see first-hand what photography was like then. It should be really fun for everyone. Many of the photographers are hosting evenings to chat about their work and give visitors a chance to get to know the work and the artists better. There will be many historic process demonstrations and workshops; there’s a really nice community of enthusiasts who practice and teach these processes which most people think died out many years ago with the advent of the digital camera. We have lots of talks, including scholars and academics to talk more on the academic side of things, but also to give a bit more context to the world of photography.

We will even have a whisky-tasting evening with Sean Dooley who worked on a photobook with Craigellachie’s Distillery a few years ago; and we have a literary reading with writer Ali Bacon, who uses some the earliest portraits as inspiration for her stories. Is everything free? We’ve tried to make everything free. All the talks and demonstrations are free. The workshops are paid for, but are subsidised by a grant from Fife Council so are less expensive than they would normally be, and we’ve tailored them to be shorter, taster events. For example, we have collodion workshops that are single days, if people like it and want to learn more they can sign up for longer ones which are regularly offered across the UK. Are most of the events bookable ahead of time, or do you turn up on the day? It depends on the event. All that information for the Festival is on the Facebook page or in the printed programme. For some venues with limited space we are using a free booking system or timed entry, but you can just show up to most of the events. What sort of reaction have you had from the public? It’s really nice because when I tell people about it they get very excited, and lots of people want to be involved in whatever way possible. Many photographers wanted to exhibit their work. A lot of local business owners wanted to open up their venues. Within the photographic community across Scotland, other curators, historians,

Many of the earliest practitioners of the photographic process had connections to St Andrews, so I think many people are happy to see the Festival take place here Top Four gentlemen golfers in a car, St Andrews, 1904. By John Fairweather, held in Cowie Collection. Courtesy of the University of St Andrews Library: GMC-F-28 Left The Kelpies at sunset, Falkirk, 2014. By Hamish Brown. Courtesy of the University of St Andrews Library: HMB-1000 Below left Dr John Adamson’s home on South Street, St Andrews, 1862. By John Adamson. Courtesy of the University of St Andrews Library: ALB-8-67 Below Woman in window, Harris, 1937. By Robert Moyes Adam. Courtesy of the University of St Andrews Library: RMA-H5591.X

gallery directors and collections managers recognized that we were lacking a proper celebration of Scottish photography so this was a welcome addition to the Festival circuit. There is the Retina Festival in Edinburgh, which focuses on international and contemporary photography. And there is the ACTINIC Festival, but that really looks at alternative historic processes and the community which still practices these forms of photography. Brittonie Fletcher, who runs ACTINIC is working with us on pulling together some of our workshops. Everyone within the photographic community seems really happy and excited that this is finally happening. Photography first came to Scotland by way of St Andrews due to the close friendship between the inventor William Henry Fox Talbot and the principal of the United Colleges, Sir David Brewster. Many of the earliest practitioners of the photographic process had connections to St Andrews, so I think many people are happy to see the Festival take place here. How did you choose which photographers to exhibit and what work? In part we needed to think of the most efficient way to get the ball rolling so we relied quite heavily on Special Collections material held by the University Library. As we have substantial collections here, I could draw on some collection highlights that researchers and publishers have been interested in, and much of this is already digitised and catalogued. Several key members of my team who knew areas of the collection were able to curate specific shows as well. The photographic community in Scotland is quite tight and we all know each other. I’ve a good working relationship with the directors of Street Level Photoworks in Glasgow, and Stills Gallery in Edinburgh as well as other curators and photographers. I did my best from the start to let everyone know that this Festival is a celebration of Scottish photography, and so many were a huge help working with photographers and curating shows. Do you expect it to become an annual event? Yes, we have a commitment from BID who has budgeted for this to be an annual event for at least the next five years. We will be collecting feedback from the community on the Festival and using it to inform future events. facebook.com/StAndPhotoFest The Festival runs from 1 Aug to 10 Sept

Photography News | Issue 35 | absolutephoto.com

Exhibitions © Dougie Wallace

Retina Photography Festival In its third year, this photography festival ran throughout July in the beautiful city of Edinburgh. We got the low-down on this growing event from organiser Roddy McRae

Can you tell our readers a bit about the Retina Scottish International Photography Festival? So, for example, how did it come into being, who are the driving forces behind it and how long has it been going? The initial discussion goes back over 10 years from the question – ‘why has there never been a photography festival in Scotland before?’ and here we are now. Myself and photographer Chris Close joined forces with Martin Mutch who we heard was also was planning a photography festival with his friend Susan Wall. This is the third year of Retina.

Your first festival in 2014 attracted Rankin model and photographer Helena Christensen to launch the event. That is amazing for a new event – was it difficult getting photographers of that stature to the Festival? Who were your headline attractions in 2016? Martin Mutch was the key driver behind this. He worked closely with Anna Fremantle the director of Edinburgh International Fashion Festival who provided these high-profile introductions. This year we had fashion and portrait photographer Jason Bell headlining alongside Dougie Wallace, Kareem Black and Alma Haser. How did you choose which photographers to feature? We choose the photographers for Retina Festival through our collective knowledge within the working group and seek to provide a wide range of content and styles that will reflect Scottish photography alongside international photographers, whilst supporting emerging talent. Have you any photographers on your dream list? You know, it would be great to get them but you know it’s unlikely that it will ever happen. Interesting question. Nobody has said no yet. Next year’s headliner would qualify as a dream list though.

The best feedback is the small compliments and people saying how much they are looking forward to this year’s festival Above From Road Wallah, a book by Dougie Wallace Right From Kareem Black’s project Feels Good Let’s Go Below Jason Bell’s Michael Caine Vanity Fair Hollywood portfolio 2015 Far right Findlay Napier by David Boni What has been the reaction to Retina, both locally and further afield? Locally, has been finding suitable venues to be involved in the Festival been an issue? The response has been overwhelmingly positive and extremely rewarding. This was evidenced by local, national and international press, as well as online, radio and television coverage last year. The best feedback is the small compliments and people saying how much they are looking forward to this year’s festival. Venues can be a challenge, although mainly on cost.

What are the Retina Festival’s aims in the longer term? Retina Festival aims to become Scotland’s first annual International Festival of Photography and develop into one of the world’s leading photographic festivals by attracting some of the world’s greatest photographic talent to the world’s greatest festival city. We also plan to exhibit more widely across Scotland in future years subject to finances.

Interview by Jemma Dodd

Many of our readers are keen enthusiasts who might belong to a local camera club, do you think there is something for them in the Festival? Of course, a key element is to inspire anyone with a passion for photography. Many of the images have not been seen before and cover a wide range of themes to suit all tastes. The Photomarathon seems like a great idea. Please tell us what was the thinking behind the idea? Also, in the age of digital, what was the reasoning behind using single-use film cameras? It came about through a chance meeting with Jennifer Wood. She had been inspired by one in Glasgow back in 2007 (see panel for more on the Photomarathon.) What is your personal highlight of this year’s Festival? A tough one to answer photographically as my passion is all photography. Probably,

introducing the Photomarathon as a new dimension for the event and the new and exciting venue at Customs House in Leith. How soon will you start planning for the 2017 Festival? Plans are already in place and we started back last January. The festival is run by volunteers, can anyone get involved to help out?

Yes. We are always looking for more volunteers to help spread the workload, to help with setting up and taking down exhibitions and importantly invigilation at the venues that we need to staff. We are also presently seeking other specialist skills in traditional and online marketing as well. Potential volunteers can contact us thorough the website. retinafestival.com

Photography News | Issue 35 | absolutephoto.com

Exhibitions © David Boni

Retina Photomarathon One of the centrepieces of the Retina Festival was the Photomarathon. The concept is not new by any means, but it was to Retina when volunteer Jennifer Wood suggested it to organiser, Roddy McRae, after a couple of glasses of wine. “Some recent Photomarathon events have allowed participants to use their own digital cameras. However, we wanted Retina’s version to focus on being creative with ideas and composition, and to be inspiring and inclusive,” said Jen. “So by ensuring everyone uses the same camera in our Photomarathon event, we can really stay true to that idea.” People paid £20 to enter and were given a 12-exposure single-use camera. At the start, four topics were announced and the entrants had to shoot one frame on each topic in order – the topics were kept secret but had room for interpretation and creativity. Four hours later, another four themes were announced and the process repeated at 6pm. At the end of the allotted time, entrants had to return to the starting point and hand in their cameras. “We asked photographers involved in the festival for their theme suggestions,” explained Jen. “Kareem Black went for the word cacophony but we also had pink and bicycle as themes. The first theme was for entrants to photograph their number which was given to them at the start to help identify their film. People got very creative – one chap laid out 120 Smarties to illustrate his number. “People got so into the event. Because shots had to be in order and it was only one shot per theme people tried to get the perfect shot and got annoyed when they saw a better picture ten minutes after taking their shot. There was such a buzz. “Cameras were still being returned right up until 10pm. Unfortunately, due to a fault with all the cameras, the last frame did not come out. The theme was old meets new and one chap cycled 15 miles to get his shot.

“From the cameras every frame was printed on an A2 sheet for the exhibition and that included pictures of thumbs, misfires and pictures taken with no flash. “We got the Festival photographers to judge the contest and pick the 11 winners of the Photomarathon. “There was such great feedback. People who have lived all their lives in Edinburgh said they saw the city in a new way and shooting film made them think about their photography. One person said ‘22,600 steps of fun, laughter, exploring parts of Edinburgh I have never seen.’ I think we will definitely do this again next year.”

From left to right: Roddy McRae, Retina’s chairman; Jennifer Wood, volunteer; and Rhian Howells, director

Photography News | Issue 35 | absolutephoto.com

Interview Pro focus

Wanted: master of photography A new TV series which started last month sees 12 photographers bid to become the first Sky Arts Master of Photography and win €150,000 Interview by Jemma Dodd

masterofphotography.tv © Marta Lallana Garcia

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

Images The 12 chosen contestants submitted their work in December last year to be considered for the Master of Photography programme on Sky Arts.

Photography competitions have moved on from just submitting images and prizes being awarded to the best shots. Now they’re taking over our TV screens. The Sky Arts Master of Photography is a new televised photography contest that first aired in the UK, Italy and Germany on 21 July at 8pm, on Sky Arts, and continues weekly. Thousands of applications from amateur and pro photographers across Europe were submitted to the competition last December. Twelve contestants were chosen and over eight weeks they’ll be given new tasks in which they are required to show versatility in different aspects of photography. Their work will be presented to the panel of internationally renowned photographers; Oliviero Toscani, Rut Blees Luxemburg and Simon Frederick. Contributions will also be made from photographers such as David Lachapelle, Alex Webb, Bruce Gilden, Jason Bell and many more. Phil Edgar-Jones, director of Sky Arts, said “We’re delighted to have such a prestigious and exciting line-up on board for Master of Photography. Today’s connected world saturates us with snapshots of fleeting moments, but the photographs that last are the result of skill, dedication and hours of hard work behind the lens. We hope this programme will

demonstrate just how powerful and important photography remains, and that we bring some extraordinary undiscovered talent to light in the process.” Master of Photography judge and photographer Simon Frederick shares his excitement for the programme. “I think it’s brave of Sky and the production company who made the programme to try and show photography in the format of a competition and still get the essence of photography and how difficult it is to fill an assignment. That includes all the thinking and planning that goes into a shoot and then the tension and apprehension of having that work repeated by someone else. The fact that they were able to do that is amazing, and I’m not just saying that because I’m a part of the programme,” Simon says. Whatever your photographic level, the show may give you something to relate to, and who knows, you might be inspired to apply next year if the show returns. “I think that photography is a very insular life, photographers are often searching for the ability to compare their work with other photographers, or they’re looking for some kind of recognition that they are in fact going down the right road,” Simon says. “With this programme you have a group of people who are all going through those things that you may be going through yourself.”

Photography News | Issue 35 | absolutephoto.com

Technique

Flower power Lighting academy

Using flash with macro subjects is a sure-fire way to make the most of their form and detail. But you need the right kit and techniques to do it... Words & pictures by Kingsley Singleton Flash goes together with macro like brown sauce in a fried egg sandwich. And it’s not just a question of taste. The photographic principles behind macro photography demand as much light as possible, and flash is the easiest way to get it (sure, you can rely on the sun, but only for about one month a year; or you can use continuous lights, but if you’re working with delicate florals even the low heat of LEDs will soon shrivel them up.) So why does macro need a lot of light? That’s down to relationship between macro focusing and aperture, as well as any movement is exaggerated by the closeup view. Let’s unpack this a bit: as you focus closely on a macro subject there is a natural light loss as the lens extends out and this can be significant. It can be one stop or more. Also depth-of-field gets very shallow even at small apertures, so to hold the subject in focus you often need pick settings like f/11 or above. Those small apertures don’t let in as much light, so to get a bright exposure you then need slower than normal shutter speeds. Now, these slower shutter speeds have a drawback in that you’re more likely to show movement in the subject or from the camera (especially if you’re shooting handheld). What’s more, when focusing closely even a slight breeze can make delicate flowers or grasses look like they’re whipping about in a

gale, so longer exposures really aren’t ideal, unless you’re dealing with static subjects. You could raise the ISO sensitivity to compensate, which will allow faster shutter speeds at the same aperture setting, but there’s a downside to that, too; the increased noise at higher sensitivities will soften the fine details you’re looking for. Fortunately flash can solve these problems, and with freedom of placement you can also portray your subject more creatively than using only the available light. Lighting for macro So, flash is the saviour here, but with macro you also often need to pick the right kind of flash. For example in this technique I was using a Laowa 60mm f/2.8 2:1 macro lens that focuses very close to the front element. A regular pop-up flash, or even an accessory flash mounted on the camera can’t deal with that, as the lens itself will block light from the flash hitting the subject; everything ends up in shadow. Placing a flashgun right next to the lens isn’t ideal either, so a ringflash or ringlight is required; a type of flash that sits around the front element, so that its illumination is right where it’s needed. For this technique I used a Nissin MF18 Macro Flash, which like many similar accessories, isn’t strictly a ringflash; the light does not extend all the way around the front

element in an unbroken line, but actually uses two curved flash tubes. There’s an advantage to that, however, which comes in changing the lighting ratio between the two. You don’t need to stick to just a ring flash, though, and here I also planned to add a second flash as a backlight, more of which later. Fitting the flash and composing Setting up a ringflash is easy. The powerpack sits in the hotshoe accessory port, just like a regular speedlight flashgun, and connects the flashtube by a flexible cord. The flashtube is mounted much the same as you fit would a filter holder; an adapter ring screws onto the front of the lens like a filter and the flashtube assembly simply clips onto that. Next, I composed the shot, securing the camera on a tripod and making sure that the subject didn’t sit within the ‘throat’ of the ringflash, where it wouldn’t get any light. The flash does of course make it easier to shoot handheld, but with manual focusing in play, a locked-off position is much easier. Focusing so closely, it’s also likely that some part of the assembly will make contact with bits of the subject like the broader spread of stems and leaves, which can transfer vibrations from the camera and make results unsharp, so I grabbed some scissors and snipped away anything that was touching.

So why does macro need a lot of light? That’s down to relationship between macro focusing and aperture...

1/8sec with no flash

Top Shooting in manual mode at f/11 and with an ISO of 400, a shutter speed of 1/30sec was used to retain some ambient light in the background and balance the illumination from the flash. 1/30sec with TTL flash

1/30sec with TTL flash at +2.0EV and backlight

Above A ringlight or macro-flash wraps around the front element adding vital light to tiny shadowed subjects.

Photography News | Issue 35 | absolutephoto.com

Technique Macro lighting ratios With most macro flashes you can control the power across hemispheres. This is calculated as a ratio, with the overall power setting being split between the two sides. You can put all the power in from one direction, or the other (the 1:0 and 0:1 examples right), or have a blend of the two; whichever best suits the subject. Splitting the light is helpful as, with both sides at an equal ratio, the lighting can be quite flat due to the way it wraps around the lens, therefore providing very little shadow. In the main image I decided to use a fairly strong 8:1 ratio pushing the light in from the left, the space into which the flower was facing, much like you might with a portrait.

4:1 Lighting ratio

1:4 Lighting ratio

1:0 Lighting ratio

0:1 Lighting ratio

1:1 Lighting ratio

Exposure settings When setting the exposure it’s time to consider how you want the image to look; for example do you want to mix the flash with the ambient light in a way that looks quite natural, or make the most of the faster shutter speed, which will likely mean underexposing the background a little. The latter option is very handy if you have a cluttered or confusing background as it will turn pretty much everything behind the flashlit subject dark. However, for this wild-flower subject, I went towards the former. With the camera in manual mode (M), I used the exposure bar on the top-plate LCD (you’ll find similar on your live view screen or in the viewfinder) to assess the shutter speed required at my chosen aperture of f/11 and ISO 400. With the subject in shade the metered shutter speed was an unusable 1/8sec and a quick test exposure showed lots of unwanted subject movement. The ideal thing here, would be to increase the shutter speed to somewhere near the camera’s sync speed, but this will lose all of the ambient light, so a compromise was needed. I raised the shutter speed to 1/30sec, and a second test shot showed a slightly underexposed but much sharper subject. Finally, I set the tripodmounted camera to self timer mode so that I could trigger the shutter without transmitting any shake to the image. Flash settings Now it was time to bring in the flash. I used the Nissin MF18 in TTL mode, which works with the manual exposure mode thanks to a preflash that meters the amount of light required, but there’s nothing stopping you from shooting in manual flash. The TTL mode gave a good starting point, but the subject was still a little underexposed, so I used the MF18’s flash exposure compensation function, finally settling on +2.0EV. If you’re shooting in manual flash mode, it’s just as easy to raise or lower the power slightly to get the look you want, but instead of, for example, using +2.0 to add the power, you’ll likely be using a fraction, for instance going from 1/64 to 1/16. Like many macro flash systems, the MF18 has its output split into hemispheres so you can alter the output to look less perfectly

Like many macro flash systems, the MF18 has its output split into hemispheres so you can alter the output to look less perfectly balanced and more natural... balanced and therefore more natural, which is especially useful if the subject has water droplets on it as mine did (a complete circle of light reflected in them can look odd). Changing the output ratio, I pushed more light from the side the flower was facing, so that it appeared to be turning into the light. I left a little light on one side though, to keep some illumination in the shadows, ending up with a ratio where the output was split 8:1. Most ring lights can also be rotated, so you can light from the top, side, or underneath if desired, but I was happy with a slightly angled left-right split. Add some backlighting One thing I did feel lacking though was some backlighting on the flower to pick out the delicate edges of its petals. To get this you can set up in direct sunlight, and position the subject facing away from it, but due to weather and subject location that’s not always possible. Instead I positioned a second light off to the back of the flower – a Nissin Di700A (reviewed this issue), placing it on a low-level lighting stand and directing it back towards the lens. To trigger the light I set it to slave mode, so it would fire along with the ring light and controlled the power manually. After checking the effect via a few test shots I settled on a manual power setting of 1/64, which gave just enough of a highlight to the edges; higher settings looked more like a strong sun, but that took too much attention away from the subtle details of the flower.

Above I used a second flash as a backlight – a Nissin Di700A, set to Slave mode, so it would be triggered by the light of the ringflash when it fired. Below Some attention to lighting means you can shoot good macro pics anywhere.

Ring flashes and macro lighting Thanks to their design, with the light source wrapped around the lens, ring flashes and other macro lighting accessories can provide the perfectly even illumination for macro subjects. The light sits so close that there’s nothing to block it and with the effect of the light greater than when at a distance, little is wasted, so very small apertures can be used if desired. This wraparound light source also gives very soft, almost shadowless results because, when used with subjects that sit within the circle, light is striking them from all angles at once. Such accessories come in many forms; in this technique we used Nissin’s MF18 Macro Flash at around £300, but there are plenty other flash-based examples such as the Metz 15 MS-1 Wireless Macro Flash (£250), Canon MR-14EX II Macrolite (£450) and Nikon R1 Close-Up Speedlight Remote (£415), which uses two small, independently angled flash heads next to the lens, instead of a tube design. If you’d rather use continuous light, look at the Aputure Amaran Halo LED (£50) and the Interfit 48mm fluorescent ring light (£86). There are also adapters, which push the light from a regular speedlight into a ring to get the same effect, like the The Orbis Ring Flash (£150) and the Rayflash (£90).

Photography News | Issue 35 | absolutephoto.com

Technique Wildlife

Life through a lens For a unique perspective on what makes wildlife shots work, and how an environmental approach can pay off, we caught up with Barrie Williams, winner of 2015’s British Wildlife Photography Awards, just before this year’s big BWPA reveal... Words by Kingsley Singleton

If you want to know what it takes to shoot great wildlife pictures, why not ask someone who’s won the UK’s biggest wildlife photography competition? Say ‘hello’ then to Barrie Williams who was the British Wildlife Photography Awards’ Overall Winner in 2015. His shot, On the edge, taken at Noss in the Shetland Isles and featuring swirling northern gannets above a brooding sea, was picked as the winner of the Habitat section, and he was subsequently crowned overall winner against stiff competition from some of the other images you’ll find on these pages. Now, with the BWPA set to announce 2016’s winners on 5 September, and a luxurious book of winning and highly commended entries

about to hit the shelves on the same day, we sat down with Barrie (more of whose work you can find at barriewilliams.com) to discuss his winning entry, as well as his opinions on what it takes to produce striking animal shots. First off, that winning shot; how did it come about? “Visiting the Isle of Noss,” Barrie explains, “I was blown away by the sheer number of gannets. I studied the scene for a while, soaking in the seabird orchestra and thinking about how to convey this. Looking down, it appeared to me that the gannets far below looked like stars against the dark backdrop of the sea. Add to this the nests scattered across the cliffs and I knew I had found my image.”

The gannets far below looked like stars against the dark backdrop of the sea Above Barrie Williams’ BWPA Overall and Habitat awards winner 2015: On the edge, featuring northern gannets.

Living the life You can tell straight away that Barrie likes to employ an environmental approach in his wildlife images, hence his shot’s placement in the BWPA’s Habitat category. This, he says, allows a fuller picture and more of an storytelling style. “Images can jump out for different reasons, but I think the key components of a great wildlife picture are composition, energy, and story,” he explains, describing it as a mix of candid moments and trying to convey an animal’s personality. Is there an example of that approach which inspired him? “Yes, the winning image from 2015’s Wildlife Photographer of the Year; A Tale of Two Foxes by Don Gutoski. The subject

Photography News | Issue 35 | absolutephoto.com

Technique © Tomos Brangwyn

is gruesome but the image is just so beautiful. The photo has such drama, it feels like it’s unfolding in front of you and immediately you’re hooked; it needs no words.” Gutoski’s picture, which shows the aftermath of deadly fight between vulpine species also has a simple and elegant composition and great contrast in its colours; “the foxes both facing the same way, the clash of red against white and the detail of their furs just makes an image that has real impact.” Barrie’s winning shot, On the edge, stands out for similar, albeit less gory reasons. It’s a portrait of life on the rock face, and is unlike many other photos in terms of its composition and energy. The vertiginous angle, looking down the cliff makes it immediately stand out and the nesting birds lead your eye into the wheeling white subjects over the dark water. The picture gives the viewer a chance to really get a sense of life in the gannet colony, which was Barrie’s intention all along, and it does it with impact and imagination. Talking the field It’s obvious that good wildlife photography is about something greater than just technique; the latter is very important, but a fresh, inspiring view is just as vital. We’ll come onto technique shortly, but, as Barrie’s photos (and other shots in the BWPA competition) show, fieldcraft and observation of the subject will find you angles and moments that happy snappers miss, no matter how classy their kit. To prove the point, although he now shoots on a Canon EOS 7D Mark II, Barrie’s winning © Alex Hyde

Fieldcraft and observation of the subject will get angles and moments that happy snappers miss

Top Urban Wildlife category winner 2015, London starling gang, by Tomos Brangwyn. Above left Hidden Britain category winner 2015, Dew-covered crane fly, shot in the Peak District, National Park, Derbyshire, England, by Alex Hyde. Left A North Atlantic puffin, shot on the Isle of May, Scotland, as part of Barrie Williams’ work with the Scottish Seabird Centre. Barrie shot with a Canon EOS 7D Mark II and EF 100-400mm Mark II (1/1250sec at f/5.6, ISO 400): “I went there with the aim of photographing a puffin with a beak full of sand eels. Job done!”

picture was captured on a Canon EOS 600D, and he actually cut his teeth in wildlife shooting on a Canon G7; “that was a Christmas present from my parents and, in using it, I soon found that nature photography contented me most. You just can’t beat finding a spot off the beaten track, settling down with the camera and enjoying the sights and sounds of nature.” The experience you gain in scouting wildlife subjects tends to transcend the gear, as Barrie explains in terms of shooting subjects like roe deer and pheasants; “For those it’s very much about fieldcraft and research to understand their behaviour. You have to think about the direction of the wind, cover, every noise, and only move when the animal isn’t looking. It’s very much a guessing game too; you’re never walking straight to the animal, you’re trying to predict where it might move to so that you can get yourself into position ahead of it. Then when you’ve achieved that it’s about trying to capture natural behaviour.” Of course, clothing is also very important and any attempt to disguise yourself from the subject can pay dividends, as Barrie discovered on an early attempt shooting a roe deer lying in the grass. “I had just crawled my way into position when he lifted his head and glanced in my direction. I threw myself onto my back and lay in the long grass. I thought I was being covert – but I wasn’t fooling him with my black trousers and navy fleece hiding amongst straw coloured grass… he just took off into the sunset. Since then, I make sure to wear natural colours.” With the sea birds he often shoots, though, Barrie says fieldcraft is less important, and this makes them an ideal introduction if you’re just starting out with wildlife; “you can often just hike the cliffs looking for good vantage points and seabirds are much less wary than foxes or deer would be.” But the trust of seabirds must be respected he adds, “you have to make sure not to disturb their nests, because if you do, then you expose eggs or chicks to predators, which is completely irresponsible.” Specialist hides can also be very useful, allowing you to blend in with the environment and capture more natural behaviour, but they

Photography News | Issue 35 | absolutephoto.com

Technique © Kevin Sawford © Chris Speller

require patience; you can’t just launch yourself into a location and expect the wildlife not to notice. After setting up your hide, expect to wait; it will be worth the effort. “I’ve recently purchased a bag hide,” confirms Barrie, “which is very cumbersome and takes a lot of getting used to, but I’ve had some successes on the cliffs with it already around shags. They display obvious signs of stress at the sight of anyone near their nests but when I’m in the bag hide I capture more natural behaviour.” Lens choices As accommodating as they can be in comparison to some subjects, the process

After setting up your hide, expect to wait; it will be worth the effort

of shooting seabirds has other difficulties, according to Barrie. Part of this is due to the way they cluster on the rocks; “nests are grouped so closely that it can be difficult to get a clean image of an individual without an imposing head or tail feathers creeping into the frame.” But this, he says, is all part of the fun, and makes you test your skills in refining the composition, or sometimes shooting wider so that you can “frame an individual within a wider scene whilst still drawing the viewer’s attention on to it.” What’s more, unless you’re shooting larger subjects like deer in the UK, you’ll have to magnify the subject a lot to get it at

Above British Seasons category winner 2015, Roe deer in four seasons (summer), Suffolk, by Kevin Sawford. Left Close to Nature category winner 2015, Mite walking in frog valley, Bristol by Chris Speller.

a decent size in the frame. Part of this comes from getting close enough, but a high-quality zoom lens is vital, too. Barrie uses a Canon EF 100-400mm f/4.5-5.6L IS II on his Canon EOS 7D Mark II, which gives a good range of focal lengths and therefore lots of framing options, but his BWPA shot was taken on the wide end of a Canon EF-S 15-85mm f/3.55.6 IS, illustrating that wider lenses can often pay off, too. Barrie has also made great use of the similarly versatile Tamron SP 70300mm f/4-5.6 Di VC. Each of those lenses incorporates image stabilisation, which can be the saviour of shots at slower shutter speeds, and prevents you from having to increase ISO when the light is low; make sure IS (or VR, VC, OS, SR, etc.) is always switched on, whether it’s in your lens, or camera body. Evolutionary exposure In terms of exposure, Barrie typically shoots in manual mode (M), and uses ISO 400 as a starting point in sensitivity. This guarantees full control of the shutter speed and aperture, which might seem daunting at first, but all DSLRs now have exposure bars visible in the viewfinder, so you can tell if you’re over or underexposing. Manual mode can also be faster to use than exposure compensation if you want to lighten or darken the scene depending on the subject’s colouring. Manual mode takes experience to use though, and when starting out, aperturepriority (A or Av) can be the best route; so you can set the aperture to create the depth-of-field you want, and the shutter speed will rise or fall to match it. Aperture and depth-of-field play a big part in telling the story of the subject, so instead of always shooting wide open (the

Photography News | Issue 35 | absolutephoto.com

Technique Talon contest Whether you’re a fledgling wildlife photographer or a wise old owl, there’s nothing like the thrill of testing yourself by entering a competition. You might pick out a favourite shot from your archive or use a contest as inspiration to try something new, but either way, it’s great to be involved and you’re sure to grow as a photographer by doing it. Take the Bird Photographer of the Year competition for example; the contest is a partnership between the British Trust for Ornithology and Nature Photographers Ltd which ran for the first time in 2015. The competition celebrates the artistry of bird photography and supports conservation through the BTO, and there’s a prize fund of over £15,000 on offer from sponsors including Swarovski Optic and Alamy. 2016’s winners will be announced at the Rutland Birdfair on 20 August by chief judge Chris Packham, and there’s no shortage of interest with last year’s competition attracting entries from 40 countries. The best of these are celebrated in a new photographic book published by HarperCollins this month. You can visit the competition website at

Slow gulls by Graham Scarborough, UK Species and location: Black-headed gull (chroicocephalus ridibundus), Tees Valley Category: Creative Imagery Kit: Nikon D600 with Nikkor 70–300mm f/4 lens (at 135mm), two-stop ND filter Exposure: 1/2sec at f/38, ISO 100 “I visited the Bowesfield Nature Reserve in the Tees Valley where black-headed gulls tend to gather in large numbers on the lakes during the winter. The gulls loiter regularly near the waterfowl feeding points and erupt into a noisy, wheeling flock when bread is thrown in their direction. It was watching this behaviour that planted the seed for this image. Experimenting with a variety of exposure times and panning movements, I eventually came up with this photograph. The shot was captured using a half-second exposure, the shapes created are evocative of the movement of the gulls.”

The competition celebrates the artistry of bird photography

Oops! Too close… by Ramesh Chandar, Canada Species and location: Osprey (pandion haliaetus), Toronto, Ontario, Canada Category: Attention to Detail Kit: Canon 7D Mark II with EF 500mm f/4L IS II USM, plus Canon 1.4x III teleconverter Focal length: 1/2500sec at f/7.1, ISO 2000

birdpoty.co.uk to view all the shortlisted images – and if you’re inspired to enter the next year’s competition, you can from 20 August. To give you a taste of the competition, and some of the amazing work involved, here are some of the images which made this year’s shortlist and the stories behind them from the photographers themselves... birdpoty.co.uk

“Normally I photograph birds using a fullframe camera and an appropriate long lens, such as a 500mm with a 1.4x converter. But I had hurt my wrist so I switched to a much lighter 1.6x crop factor camera. However, I’d forgotten to remove the converter so the camera’s crop factor meant that in full-frame terms I was using a focal length of 1120mm! I was just about to remove the converter when an osprey started its dive sequence 30– 40 metres from my position. It proved really difficult to focus correctly with such a long lens this close – but I kept trying. This was the only shot where most of the osprey was captured. The sharpness and level of detail was quite amazing. Though it looked good in colour, I decided to convert it to black & white to show its details in more dramatically.”

Tern of flight by David Gibbon, UK Species and location: Arctic tern (sterna paradisaea), Farne Islands, Northumberland Category: Birds in the Environment Kit: Canon EOS-1D X with Sigma 15mm f/2.8 fisheye lens, Nissin Di866 Mark II flashgun Exposure: 1/5000sec at f/4, ISO 200 “The Arctic tern has the longest migration of any bird in the world, flying around 70,000km each year. It is also one of the most-photographed species, and I wanted to capture a more dynamic composition of it. Armed with a fisheye lens and flashgun, my plan was to photograph this bird as it came close to me with the sun behind and alongside it. The day of my visit was perfect, with beautiful blue skies and unbroken sunshine. With the bright sun above the bird, the underside would be in dark shadow, necessitating the use of flash to reveal the detail in its white plumage. Balancing the tricky lighting and capturing my dream shot was not going to be easy, particularly as the Arctic tern is very fast and agile in the air. After two hours of failed attempts I finally nailed it, capturing the image I wanted.”

Dynamic heron by Sue Flood, UK

Mirror image by Drew Buckley, UK

Species and location: Grey heron (ardea cinerea), Kiskunság National Park, Hungary

Species and location: Dalmatian pelican (pelecanus crispus), Lake Kerkini, Greece

Category: Bird Behaviour

Category: Birds in Flight

Kit: Canon EOS-1Ds Mark III with 600mm EF f/4L lens, Gitzo tripod

Kit: Canon EOS 7D Mark II with EF 100400mm f/4–5.6L IS USM II

Exposure: 1/20sec at f/7.1, ISO 320 “During a recent photographic trip to Hungary, I rose early one morning to watch herons from an arranged hide. The light that morning was great and I took numerous images of the herons, using a fast shutter speed to freeze the water droplets in mid-air. It seemed the photos that froze the action didn’t really capture the spirit of the morning light and this lovely bird. I experimented with slower shutter speeds, and this shot was the result, for me, a more satisfying image that really caught the action.”

Exposure: 1/2500sec at f/5.6, ISO 800

Ruby-throated hummer by Rick Beldegreen, USA Species and location: Ruby-throated hummingbird (archilochus colubris), North Carolina, USA Category: Garden Birds Kit: Nikon D810 with Nikon 200–400mm f/4 lens (at 400mm), multiple flashguns Exposure: 1/160sec at f/14, ISO 640 “Ruby-throated hummingbirds are common visitors to North Carolina. I often sit in my backyard in the early morning trying to photograph them. After years of experimenting, I’ve set up a ‘hummer studio’ amongst the many flowers we grow to attract birds and insects. The key component of the ‘studio’ is a multi-flash system aimed at the flowers I hope the birds will feed on. With my camera on a tripod, it was pre-focused on a specific flower. At this point, it is time to watch, wait and enjoy the birds as they buzz in. Once a bird finds the flower I am focused on, it is time to click away.”

“Mirror-like reflections on Lake Kerkini in northern Greece greeted us daily, and a backdrop of high snowy peaks and distant hills layered in mist provided backgrounds that blended into infinity. It was very cold, with freezing fog covering the lake, and the weather made for some pretty spectacular and atmospheric conditions. The benefit of photographing from a boat was the ability get close to the birds and at eye level. The reflections added to the magical experience.”

Photography News | Issue 35 | absolutephoto.com

Technique

bwpawards.org

On 5 September make sure you head over to the BWPA website for the results of this year’s competition; you’re guaranteed of some amazing pictures of the UK’s most beautiful wildlife from the country’s finest amateur and professional photographers. The winning images will also be collected in a stunning coffee table book, British Wildlife Photography Awards: Collection 7 from AA Publishing (£25), which promises to reveal the splendour and diversity of Britain’s creatures. The competition’s best photos will also be on tour in a UK-wide exhibition, launching in London’s Mall Galleries from 5-10 September, then moving to Gloucestershire, Dorset, Luton and Dumfries.

BWPA 2016 results and Collection 7 book

Survival of the fittest Competition in nature drives species to adapt and evolve, and it’s just the same for photographers, although a little less bloody. Barrie was, as you’d expect thrilled to win last year’s BWPA contest, and says the process is a vital way of challenging yourself to learn new skills as well as being a constant source of inspiration: “With so many different platforms out there for sharing images today, it can be really challenging for a photographer to stand out, so I think competitions like the BWPA are important for helping individuals make their mark. They also help to draw attention to the different types of wildlife photography; some of the categories have produced such inspiring results with subjects that, I personally, have overlooked before.” It also allows, collaboration and celebration, he says, with one of the biggest benefits being actually meeting his fellow photographers at the BWPA awards ceremony and exhibition; “there were so many big smiles and great stories behind the photos. As a wildlife photographer, you’re often playing the lone wolf, so it was nice to get the pack together.”

lowest f/number) to blur the background as many amateur wildlife photographers exclusively flock to, try closing the aperture a little (using higher f/numbers), which will show off more of the environment. If the shutter speed is a little low, and shots are blurring due to camera movement, or a moving subject, you can either manually increase the ISO to compensate, or use an auto setting, where it will rise or fall to accommodate. In auto ISO, just remember to cap the level, so it doesn’t go too high where you’ll sacrifice image quality to digital noise. Barrie also uses manual focus, but only for stationary subjects; “If I’m taking photographs of seabirds I’ll shoot on manual focus as they’re relatively slow or static. But if I’m photographing more wary animals like deer or pheasants then I’ll definitely switch to autofocus.” He also sings the praises of shooting in continuous drive mode for wildlife, which can allow you to capture a greater number of poses in a short period, then select the best. Sure, continuous shooting will eat up space on your card, and add time to the editing process, but it’s worth it when you capture that perfect, split-second moment.

Competitions like the BWPA are important for helping individuals make their mark Top Animal Behaviour category winner 2015, Pheasant display, shot in Nottinghamshire by Kris Worsley. Above left Taken by Barrie Williams at Bass Rock on a Canon EOS 600D and Tamron 70-300mm lens: “I wanted to draw attention to the number of gannets coming and going and used the lighthouse as my fixed focal point. Even at this small point on the island, the sky is filled with gannets.” Above right British Seasons category winner 2015, Roe deer in four seasons (autumn), shot in Suffolk, by Kevin Sawford. Left 12–18 years category 2015, Bokeh frog, shot in Lowestoft, Suffolk by Kyle Moore.

Photography News | Issue 35 | absolutephoto.com

Birdfair

Birdfair 2016 The Birdfair at Rutland Water is the world’s biggest wildlife event and it takes place on 19-21 August. With talks and a huge number of exhibitors, from photographic and binocular companies to holiday providers and tourism boards, it attracts wildlife enthusiasts from all over the UK and beyond. Book your tickets now and join the fun

Taking place on the shores of Rutland Water the Birdfair attracts bird and wildlife enthusiasts in huge numbers – over 24,000 visitors attend every year. With hundreds of exhibitors, including many from the world of imaging, the show offers visitors the chance to catch up with all that’s new and exciting in the world of wildlife. In the case of the camera and optics companies there is the hands-on opportunity to try equipment on the local wildlife. There is also a long list of events and lectures for enthusiasts to enjoy too, hosted by Birdfair regulars Chris Packham, Simon King, Mike Dilger, Nick

Baker, among many others. With six event locations, all running full lecture programmes throughout the Birdfair’s duration, there is something for everyone to get excited about. The Birdfair encompasses the whole spectrum of the birdwatching industry whilst at the same time supporting global bird conservation. Over £4 million has been raised by the Birdfair over the years and in 2016 the focus is on the Tsitongambarika forest on the island of Madagascar. birdfair.org.uk

Tim Appleton MBE

Enjoy Birdfair

Tim Appleton MBE is the co-organiser of the Birdfair and Photography News managed to catch up with him during the busy run-up to this year’s show “28 years ago the world’s first-ever Birdfair was held at Rutland Water Nature Reserve situated in the heart of the English countryside. “My initial aims of the Birdfair were threefold. Firstly to bring enthusiasts together to share their experiences, secondly to be the shop window for the growing birdwatching industry and thirdly to support a conservation project of global importance. “All those aims have been achieved. Close to 25,000 visitors attend the Birdfair each year, major wildlife products such as optical equipment, books, are launched to the public at the event and more than £4 million has been raised for conservation projects. “This year, exhibitors at Birdfair represent more than 75 countries, many of them promoting sustainable wildlife holidays, thus making Birdfair the most important world ecotourism venue. BirdLife International has used monies raised at Birdfair to seed vital conservation projects and a conservative estimate suggests a further £35 million has resulted from our funds. “The Birdfair’s success has been followed across the globe as country after country has begun to set up their own Birdfairs. “Initially the first Birdfairs away from Rutland were held in Europe but as more and more visitors from further afield realised the potential of a fair in their own country so the growth began. Now Birdfairs have been held in Argentina, Brazil,

Peru, Colombia, Guatemala, North America, India, Taiwan, Australia, China, Madagascar and South Africa to name but a few. Each country has created its own flavour, bringing local cultures and people together for the Birdfair. “Finding the right conservation organisation to manage the monies raised by Birdfair fell to BirdLife International. With more than 120 partners across the world, it is perfectly placed to select a range of projects for Birdfair to consider supporting and then once the selection process is complete put the project into action. “Birdfair has raised the profile of conservation in countries as far apart as Peru, Myanmar, Madagascar and Poland. Birdfair has funded several major BirdLife International three-year programmes including the Flyways and the Preventing Extinctions Programme. “Birdfair is a great challenge as we rely very heavily on good will and help from our huge team of volunteers. On average more than 6500 hours are worked by volunteers before, during and then clearing up after the fair. We estimate they save us almost £80,000 in ‘free labour’ so we love our volunteers who undertake a range of tasks from parking cars to collecting rubbish and manning lecture theatres. “My dreams for the Birdfair all those years ago have more than exceeded my initial expectations, because together we can and will make a difference.”

Birdfair's co-organiser Tim Appleton MBE (left) with well-known birder and TV personality Bill Oddie.

Tickets are available via the website for single day £13.50 or £31.50 for three days. Discounted tickets are available until 5pm on 17 August. After this time, tickets will be the same price as on the gate. Birdfair tickets on the gate cost £15 for a single day and £35 for three days. Entry for children under 16 is free and they must be accompanied by an adult ticket holder (two children per adult).

To hides and lagoons

Floor plan Red car park

Key AM: Art marquee M: Marquee, numbers 1-8 OM: Optics marquee LPM: Local produce marquee

Get the most from your visit to the Birdfair with our essential guide. It’ll help you track down exhibitors as well as reveal the shortest routes around the show’s key venues

Pedestrian access to fair

Key and information Parking

Toilets

First Aid

Recycling

Catering

Recommended routes to Events, Lectures, Authors Fair Mobility – powered units available for hire, please call 01949 845189. Please note that dogs are not allowed in the showground area (except guide dogs).

• A Baur & Co.(Travel) Ltd M2/67

• Bob Scott Memorial Appeal M7/50

• Gardenature M3/31, 32

• A Rocha (Christians in Conservation) M6/46, 47

• Boletas Birdwatching Centre, Aragon, Spain M1/11, 12

• Gareth Watling AM/54

• Abacus Hotels M7/8

• BOLIVIA naturally, ANDES & AMAZONIA M8/27

• Garrick Books M7/23

• Action for Swifts M8/50

• Bradt Travel Guides Ltd M6/24

• Geodyssey Ltd M3/33, 34

• African Bird Club M2/65, 66

• Branta Tours M1/35

• Gibraltar Tourist Board M8/5

• AG Sculptures AM/49

• British Arachnological Society M8/7, 8

• Gobierno de Aragon M2/94

• Aigas Field Centre M7/24, 41

• British Birds M3/24, 25

• Gobierno de Navarra M1/10

• Albatross Encounter/Wrybill Birding Tours M2/46, 47

• British-Bulgarian Society M6/55

• Greentours Ltd M1/13

• Alderney Bird Observatory M8/40

• British Decoy Wildfowl Carvers Association AM/29, 30

• Greenwings Wildlife Holidays M7/42

• Alison Ingram AM/45

• British Dragonfly Society M6/42, 43

• Greetham Valley M8/6

• Ampersand Travel M5/14, 15

• British Trust for Ornithology (BTO) M3/36, 37, 38

• Greig Smith Travels M8/29

• Andalucia Tourist Board M2/8, 9, 10

• Brockleby’s Pies LPM/10

• Guyana – THAG M2/89

• Andalucia Wildlife Guides M1/30

• Bruce Pearson AM/47

• Hambleton Bakery LPM/1, 2

• Andy Small Fine Art Photography AM/28

• Buenos Dias Birding Kuntur Expeditions M8/1

• Hawk and Owl Trust M7/26, 39

• Angela Hewitt Originals AM/41

• Buglife – The Invertebrate Conservation Trust M2/7

• Hawk Conservancy Trust M8/41

• Anglian Water OD/6

• Bush Lark Safaris M8/4

• Hawke Sport Optics M5/23, 24, 25, 26 ,27

• Anna de Ville Jewellery AM/11

• Bushnell Performance Optics UK Ltd OM/5

• Hazelwood Landscapes M8/43

• APB BirdLife Wetland Centre Belarus M8/18

• Butterfly Conservation M7/17, 18, 19

• Heatherlea Birdwatching M6/57, 58, 59

• Aqua-Firma Worldwide Ltd M8/31

• Calluna Books M6/13

• Heights Hotel M6/48, 49

• Argentina, National Institute of Tourism Promotion

• Canon UK Ltd M4/7, 8, 9

• Heritage Expeditions M2/43, 44

M7/32, 33

• Canopy Tower Family M2/82

• Hilltrek Outdoor Clothing M8/49

• Art Decoy AM/25

• Cape Town Pelagics M3/28

• Honduras Institute of Tourism M6/15,16

• Art Safari Ltd AM/26

• Carolyn Kemp AM/7

• iGoTerra M2/60

• Ashanti African Tours Limited M1/19

• Carry Akroyd AM/39

• In Focus OD/18

• Asian Adventures M7/6

• Castile and Leon - Spain Wildwatching M1/26, 27

• Inala Nature Tours Australia M2/42

• Atropos M2/55

• Catalan Tourist Board M2/87, 88

• Incognito Natural Insect Repellent M6/23

• Australian Birdwatching M2/40, 41

• Celestron Global Ltd M4/10, 11

• India Nature Tourism (Goa, India) M7/35

• Australia's Northern Territory M3/3, 4

• Champagne Birds AM/5

• INGUAT – Guatemala Tourism M5/20, 21

• Avalon Marshes, Somerset OD/4

• China Bird Tour M1/33

• Inkaterra M7/4

• Avesfoto Birding Tours M1/17

• Chris Rose AM/34

• International Crane Foundation M7/40

• Avian Adventures M3/17,18

• Christmas Island Tourism Association M2/39

• Intro 2020 OD/18

• Avistar Brasil M3/19

• Cinnamon Nature Trails M8/34

• Irene Brierton SWA - Wildlife Artist AM/32

• Balearic Islands Tourism Agency (ATB) M8/39

• CJ WildBird Foods Ltd M3/8,9

• Isle of Islay M7/14

• Batumi Birding M5/5

• Clinton Banbury AM/46

• Jamaica Birding and Eco Tours, Greencastle Estate

• BBC Wildlife Magazine M6/1, 2

• Colombia M5/12,13

M8/32

• Bed and Birding M1/36

• CoopArt AM/12

• Japan Hankyu Travel M2/19

• Beefayre M2/56

• Cornell Lab of Ornithology M3/6, 7

• Jetwing Eco Holidays M7/9

• Bellavista Cloud Forest Reserve and Lodge M7/37

• Corrèze Birds M1/8

• Jo Ruth AM/31

• Benro Tripods OD/10

• Costa Rica Birding M8/23

• John Palmer – Bird and Wildlife Artist AM/14

• Bhutan Bokar Tours and Treks M7/57

• Costa Rica Birdwatching – Futuropa M8/24

• John Threlfall AM/13

• Biebrza Wildlife Trust M3/47

• Cotinga Tours Birding Costa Rica M7/56

• Jonathan Pomroy – Wildlife & Landscape Artist AM/37

• Biosphere Magazine and Roar Threads M8/16

• Country Innovation M6/5, 6, 7, 8, 9

• Jordan Tourism Board M7/34

• Biotope M5/34

• Cuba Birding Tours M6/14

• Julie Wilson Ceramics AM/40

• Bird Holidays Limited M7/43, 44

• D Smith Glasscraft M3/21

• Kapiti Island Nature Tours & Ulva Island Nature Walks

• Bird Journal M5/39

• Dabas Tures M3/20

M2/45

• Bird Observatories M1/9

• Darren Woodhead Artist AM/18

• Kazakhstan Birdtours M2/20, 21

• Bird Watching Magazine M6/36, 37

• David Finney AM/8

• Keith Brockie AM/10

• Birders Against Wildlife Crime M8/45

• David Tipling & Chris Gomersall AM/1, 2

• Ken Mullins Books M8/2

• Birdfinders M2/20, 21

• Deeping Fudge LPM/11

• Kenya Birding M5/3,4

• BirdFlyway M7/45

• Ecotours Georgia M1/31

• Kerry Newell – Wildlife Artist AM/20

• Manfrotto Distribution M4/1, 2, 3

• Nikon UK Limited OM/1

• Birding Africa M3/29

• Ecotours Wildlife Holidays M7/48

• KITE Optics UK OD/15

• Manu Expeditions & Birding Tours M2/26

• Noja M8/36

• Birding Ecotours M5/16

• Ecotours Worldwide-Kondor EcoLodge M1/14

• Kowa Optimed Deutschland GMBH OM/2

• Marchwood UK M1/40, 41

• Norfolk Wildlife Trust M3/48

• Birding For All M2/12, 13

• Ecuador Nature Expeditions M7/7

• Lake Kerkini Management Authority M1/15, 16

• Margaret Welby Photography AM/17

• Oliver Smart Wildlife Photography M6/35

• Birding in Central America M2/78

• Enchanted India M6/20

• Lawson's Birding, Wildlife & Custom Safaris M6/44, 45

• Marie Therese-King AM/15, 16

• One Stop Nature Shop M2/83, 84

• Birding in Paradise M3/5

• Ernest Leahy – Wildlife Artist AM/35

• League Against Cruel Sports M7/10, 11

• Mark Andrews AM/24

• Opticron OD/12

• Birding in Portugal M2/90, 91

• Escape to India M3/30

• Lee Valley Regional Park Authority OD/1

• Meopta Optika S.R.O M4/4, 5

• Optics Tripod Chair Co OD/9

• Birding in Spain M7/15

• Estonian Nature Tours M1/34

• Legacy Tours SA (The Mexico Birding Specialist) M2/11

• Metalsmiths AM/19

• ORCA – Looking out for Whales and Dolphins M5/22

• BirdingBreaks/Agami Photo Agency & Bird

• Estonian Tourism Board M6/33, 34

• Leica Camera Ltd OM/8

• Michael Demain Wildlife Artist AM/27

• Orcadian Wildlife M2/68

Information Centre Texel M2/5, 6

• Event Mobility OD/20

• Leicestershire & Rutland Badger Group OD/5

• Michael Potts AM/4

• Oriental Bird Club M2/22, 23

• BirdLife Cyprus M1/39

• Extremadura Spain M7/51, 52

• Leicestershire & Rutland Ornithological Society M6/32

• Michael Wood AM/48

• Oriole Birding M1/7

• BirdLife International M5/1, 2

• Eyebrook Wild Bird Feeds M6/19

• Leicestershire & Rutland Wildlife Trust OD/2

• Mike Langman AM/23

• Ornitholidays M2/16, 17

• BirdLife Malta M7/12

• Fair Isle Bird Observatory & Shetland M3/39

• Leigh Charman AM/15, 16

• Mike Warren AM/55

• Ornithological Society of the Middle East (OSME) M5/6

• Birdquest & Wild Images M6/3, 4

• Falkland Islands Holidays M1/3

• Lenscoat OD/7

• Minox GB Ltd OD/16

• Oswaldo Merchor Wildlife Sculptor AM/42

• Birds & Nature Tours Portugal M5/17

• Falklands Conservation M1/4

• Letaka Safaris M7/58

• Motmot Travel M6/12

• Our Wild Life AM/17

• Birds in Hats AM/50

• Falkland Islands Tourist Board M1/5

• Limosa Holidays M7/46, 47

• Natalie’s Art AM/44

• Out of the Woodwork OD/13

• Birdtour Asia Limited M6/52

• Far South Expeditions (Fantastico Sur) M6/56

• Lincolnshire Wildlife Trust M2/72, 73

• Naturetrek M6/38, 39, 40

• Outdoor Photography Gear M5/30

• Birdwatch Magazine M2/97, 98, 99, 100

• Field Studies Council M7/20

• Lisa Hooper (Hoopoe Prints) AM/33

• Naturzoom – Birding Euskadi M8/35

• Panasonic UK OM/3

• Birdwatch Turkey/KUSKOR North Cyprus M5/7

• Finnature (Finland) M3/22, 23

• Livingstone African Safaris Ltd M5/29

• Neblina Forest M6/30, 31

• Pandion Books M2/92

• BWWC(Bird Watching and Wildlife Club) M2/61, 62

• French Parcs M1/22, 23, 24

• Louise Scott AM/51

• Neophron Tours – Bulgaria M8/46

• Pandion Wild Bird Tours Ltd & Pelican Birding Lodge

• Birdwatching Breaks/Black Isle Birding M2/2, 3

• From the Notebook LPM/9

• Lynn Hazel, British Wildlife Sculptor AM/4

• Neotropical Bird Club M2/27, 28

M2/75

• Birdwatching in Spain M8/55, 56, 57, 58

• Gajraj Wildlife Resorts M2/79

• Lynx Edicions M7/27

• Neusiedler See Tourismus GmbH M5/37, 38

• Papua New Guinea Tourism M2/63, 64

• Bloomsbury Publishing M6/41

• Gambia Eco Lodge Holidays M1/21

• MAC Group EU OD/10

• Nick Day Wildlife Art AM/3

• Paramo Directional Clothing Systems M2/69, 70, 71

• Blue Elephant M8/26

• Gambia Tourism Board M8/47, 48

• MacWet Sports Gloves M8/11

• Nik Pollard AM/38

• Park Cameras Ltd OD/11

Please see page 3 of the programme for details of courtesy bus services to and from Oakham station.

Access and exit for vehicles from A1 (North and South) and A606 Nottingham etc

Lecture Marquee 1

Access to camping area

Lecture Marquee 3

Green car park A

axi ra

Bus/t

19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

Car parking for disabled visitors

Green car park B

65 66 67 68 20 21 22 23 24

46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64

45 44 43 42 41

25 40 26 39 27 28 29 30 31 32

Lec Mar ture que e2

38 37 36 35 34 33

14 13 12 11 10 9 8 7 6 5 4 3 2 1

35 36 37 38 39 40

20 21 22 23 24

29 28 27 26 25

MARQUEE 6

1 2 3 4 5 6

LOCAL PRODUCE

Book signing

Authors Forum

The Events Marquee

41 42 43 44 45 46 47 48 49 50 51 52 53 54

15 34 16 33 17 32 18 31 19 30

GREEN ENTRANCE 11 10 9 8

OD1

59 58 57 56 55

MARQUEE 7

Green Entrance to: AWBC 7 mins Events 1 min Lectures 4 mins

Ped est ri

58 57 56 55 54 53 52 51 50 49 48 47 46 45 44

30 31 32 33 34 35 25 36

29 28 27 26 25 24 25 23

37 38 39 40 41 42

22 21 20 19 18 17

43 16

ODD1 O 129

Swarovski Tower Hide OD 1 OD 7 16 OD 15 OD 14

MARQUEE 4

Leica Tower 11 10

OPTICS MARQUEE

Ringing demo

Simon King Marquee

6 5

4 4

Bar

Birdfair Sales 17 18 41 19 40 20 39 21 38 22 37 23 36

16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

Red Entrance to: AWBC 3 mins Events 5 mins Lectures 4 mins

24 25 26 27 28 29

42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57

35 34 33 32 31 30

Birdfair Mural

ART MARQUEE OD13 No ac

cess fo

r vehic

les

192 OODD

39 38 37 36 35 34 33 32 31 30 29 28

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

OD18

100 99 98 97 48 47 46 45 44 43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 26

16 17 18 19 20 21 22 23 24 25

MARQUEE 3

In Focus

49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71

AWBC LECTURES To hides and lagoons

96 95 94 93 92 91 90 89 88 87

41 40 39 38 37 36 35 34 33 32 31

86 85 84 83 82 81 80 79 78 77 76 75 74 73 72

30 29 28 27 26 25 24 23 22

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21

MARQUEE 1

Blue Entrance to: AWBC 2 mins Events 5 mins Lectures 4 mins

BLUE ENTRANCE

MARQUEE 2

Pedestrian access 08:30–18

:00

Birdfair Auction

1 OD1 Birdfair

Birdfair Sales

Pedestrian access to fair

Event Mobility

Information

Bank

Birdfair

OD5 OD4 OD3 OD2

53 52 51 50 49 48 47 46 45 44 43 42 41 40

OD20

access 08:30–18:00

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

Anglian Water Birdwatching Centre

3 2

RED ENTRANCE

Lagoon 1

Office

OD10 OD9 OD8 OD7 OD6

39 38 37 36 35 34 33 32 31 30

29 23 24 25 26 27 28

1 2 3 4 5 6 7 8 9 10 11 12 13

Car parking for disabled visitors

Cook Street Blue car park

22 21 20 19 18 17 16 15 14 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 25

MARQUEE 5

Access for vehicles from Egleton village and Oakham/ Uppingham road (A6003), A47 and south

MARQUEE 8

Site plan sponsored by Kingsmead Marquees www.kingsmead-marquees.com Tel: 01455 202305

• Partnership for International Birding M6/30, 31

• Ron McCombe Wildlife Photography M6/29

• Society for the Protection of Nature in Israel M6/50, 51

• The Lotus Bakery LPM/7

• Wild About Travel M5/10, 11

• Paul Howey AM/53

• Roy Aplin – Wildlife Art AM/22

• Society of Wildlife Artists AM/56, 57

• The Sock Company Country M8/51, 52

• Wild Arena Ltd M4/6

• Pelagic Publishing and Langford Press M7/55

• Royal Robbins M7/13

• Sound Approach/Dutch Birding Association M7/65, 66

• The Travelling Naturalist M6/27

• Wild Days Conservation Holidays M8/28

• Pensthorpe Nature Reserve M2/57

• RSPB M2/33, 34, 35, 36, 37, 38

• South Australia and Tasmania M3/1, 2

• Tourism Malaysia M1/28,29

• Wild Echo M2/76,77

• People’s Trust for Endangered Species M2/18

• RSPB Retail M2/31, 32

• Speyside Wildlife M7/21, 22

• The Solomon Islands Tourist Board M7/38

• Wild Herzegovina Ltd M6/17

• Photo-Logistics M7/16

• RSPB Wildlife Explorers OD/3

• Spurn Bird Observatory Trust Ltd M5/19

• Tranquilo Bay Eco Adventure Lodge M8/54

• Wild Northumberland M7/53, 54

• Pinkster Gin LPM/8

• Rutland Bookshop M2/80

• Sri Lanka Tourism Promotion Bureau M8/25

• Tribes Travel M3/15, 16

• WILD sounds & books M3/49, 50, 51, 52, 53

• Portuguese Society for the study of Birds/BirdLife Portugal • Rutland Charcuterie LPM/5

• Stamford Cupcake Company LPM/3

• Trinidad and Tobago Tourist Office M6/10, 11

• WILDFOOT Travel M2/1

M2/29, 30

• Rwanda Development Board M1/32

• Starlingresizen M7/31

• Trogon Tours M2/74

• Wildfowl & Wetlands Trust M3/26, 27

• Predatory Birding Monitoring Scheme M8/33

• Safari Consultants Ltd M6/53, 54

• Stephen Message Wildlife Art AM/36

• Tropical Birding Tours M2/50, 51

• Wildlife Poland M3/46

• Princeton WILDGuides M5/36

• Sam Veasna Centre M8/21

• Steve Cale Artist M1/6

• Uganda Tourism Board M8/22, 37

• Wildlife Romania M5/32

• PROMPERU M2/48, 49

• Saint Lucia Tourist Board M5/18

• Subbuteo Natural History Books M3/10, 11, 12, 13

• Unique Safaris M2/58, 59

• Wildlife Travel M3/45

• Quito Tourism Board M7/30

• Sarus Bird Tours M1/18

• Sunbird M2/85, 86

• Uttar Pradesh Bird Festival M6/21

• Wildlife Trusts M3/40, 41, 42, 43, 44

• Rainbow Tours M2/93

• Second Nature M6/22

• Swarovski UK Limited OM/6

• Vanguard OD/14

• Wildlife Worldwide M6/25, 26

• Rare Bird Alert M2/53, 54

• Select Latin America M7/36

• Swarovski Optik OD/17

• VIGT M7/68

• Wildside Books M6/28

• Rebecca Nason Photography AM/9

• SEO/BirdLife – Institute of Tourism of Spain M8/19, 20

• Swift Conservation M8/50

• Viking Optical Ltd OM/7

• Wildwatching Spain M1/25

• Reef and Rainforest Tours Ltd M5/28

• Septimo Paraiso Lodge & Cloud Forest Reserve M7/5

• Taiwan Ecotours M2/81

• Vine House Farm Bird Foods M7/1, 2, 3

• WildWings M2/52

• REGUA M1/37

• Seriema Nature Tours M7/49

• Taiwan Tourist Board M1/38

• Visit North Iceland M8/17, 42

• Wise Birding Holidays M7/25

• Richard Allen & Jan Wilczur AM/21

• Serra dos Tucanos Lodge M5/35

• TechClothing M8/53

• Visit Portugal Birdwatching M7/62

• Woodland Trust M6/18

• Richard Lewington AM/52

• Shelly Perkins Illustration AM/6

• Texas Birding – South Texas Nature M2/95, 96

• Vortex at Newpro UK Limited M1/1, 2

• World Land Trust M2/14,15

• Rio Indio Lodge – Nicaragua M8/3

• Shetland Nature M3/14

• The Azores M8/38

• Wader Quest M7/67

• Yorkshire Coast Nature M3/35

• RK Photographic OD/8

• Simien Park Lodges – Ethiopia M1/20

• The Event Gallery Fine Art Ltd M5/8, 9

• Walk With Jith M7/61

• Zambezi Safari & Travel Company Limited M7/59, 60

• Rockjumper Birding Tours M2/24, 25

• Simon King Wildlife in association with Zeiss SKM

• The Grant Arms M2/61, 62

• Welsh Wildlife Trusts M7/64

• Zeiss OM/4

• Rohan M8/12, 13, 14, 15

• SKUA Nature Group M7/28, 29

• The Lodge at Pico Bonito M2/4

• Whale & Dolphin Company M5/31

• Zoothera Global Birding M5/33

Photography News | Issue 35 | absolutephoto.com

Birdfair

What to see at Birdfair 2016 With over 400 exhibitors covering all sorts of interesting areas and a full programme of events including lectures, cruises and author forums, there is plenty to do, see and enjoy over the three days of the Birdfair. See the website, birdfair.org.uk, to check the latest events programme and to book tickets

Imaging companies Benro OD/10 Benro will have some fantastic offers on tripods, heads and bags that are all perfectly suited to birdwatchers, digiscopers and photographers. There will be great offers on the award-winning Go Plus, Mach3 and Travel Angel tripods, plus on a range of heads – choose from simple ball and socket or GH Gimbal heads that provide stability and smooth manoeuvrability for long telephoto lenses, while for spotting scopes check out their range of heads for video cameras where fluidity is demanded, enhancing your viewing when using the high-quality optics and 4K cameras. Bring your kit and try their tripods – the best way to see if Benro is the right choice for you. Canon, M4/ 7-9 Visitors to the Canon stand can get hands on with the latest range of cameras, lenses and binoculars – from superzoom lenses and fast cameras for capturing birds in flight, to sharp and lightweight binoculars for spotting birds and other wildlife. Experience first-hand how the new EOS-1D X Mark II with 14 frames-per-

second is perfect for capturing those fleeting moment shots and see how the latest 12x36 IS III binoculars are perfect for getting closer to the action. Plus hear from Canon Explorers David Noton and Andy Rouse along with Arctic travel and macro photography expert Oliver Wright. Leica Camera OM/8 Leica is showcasing its entire highperformance optics range, including compact and full-size binoculars and digiscoping kits, as well as its latest photographic products. The Leica stand overlooks the lagoon, where visitors can test the products from its digiscoping platform. The company is also hosting talks from Leica Ambassadors including David Lindo (The Urban Birder), birding experts Alan and Ruth (famous for The Biggest Twitch) and the WWT’s Debbie Payne, throughout the show. Nikon OM/1 Nikon will be showcasing its latest class-leading sport optics technology, including products from the Prostaff, Monarch and EDG ranges. Its newly launched Monarch HG binoculars and

Monarch fieldscopes will be on display for the first time at the Birdfair. Steiner (as Intro 2020) OD/18 Steiner will exhibit the full range of birding, wildlife and outdoor binoculars including the Wildlife XP range, the SkyHawk PRO binoculars and the new range of Observer binoculars. The Observers are designed to provide the versatility to match most situations under almost any condition. A choice of two full-sized models: 8x42 and 10x42 in a lightweight design provide comfortable ergonomics for longterm observation, bright images, crisp resolution and a wide field of view.

and Victory product lines in the Zeiss Bird Hide, to see what you can spot as you look out onto the Rutland Water Nature Reserve. Simon King will be holding various talks and book signings throughout the weekend in his Wildlife Marquee and while you’re there make sure you visit the Zeiss Close Focus Area – the perfect opportunity to see just how bright Zeiss optics are.

Vanguard OD/14 Vanguard is launching its new Endeavor family at Birdfair. See for yourself its latest bags, binoculars and spotting scopes. Zeiss OM/4 Zeiss is hosting a range of activities throughout Birdfair. Take advantage of the Zeiss Celebrity Cruises on board the Rutland Belle with TV celebrities Nick Baker and Simon King, or get hands on with our Terra Conquest

Digiscoping 4K video and stills… the future? by Paul Hackett Saturday 12:00pm-12:20pm Where: Anglian Water Birdwatching Centre Paul will take you through the basics of this new format of video scoping and the ability to take stills from the video, giving another aspect to this growing hobby. Photographing Wildlife in the UK by Andrew Marshall Saturday 1:30-2:15pm Where: Authors Forum Author Andrew Marshall has spent the last three years travelling the length and breadth of the UK with his camera finding the best locations to take photographs of British wildlife. wildsounds.com The Art of Seabird Photography by David Tipling Saturday 1:30-1:50pm Where: Anglian Water Birdwatching Centre Looking at the thinking, the art and the adventures behind the pictures featured in David’s new book Seabirds of the World. davidtipling.com

Photographing Birds with Nikon by Chris Gomersall Sunday 12:00pm-12:20pm Where: Anglian Water Birdwatching Centre A lavishly illustrated presentation of wild bird photography, emphasising the need for empathy with the subject and the ability to ‘see the picture’. chrisgomersall.co.uk © Chris Gomersall

The best photo I NEVER took: confessions of a wildlife photographer by Neil Aldridge Saturday 9:30-9:50am Where: Lecture Marquee 3 We’ve all done it – wrong settings, wrong lens, wrong position. Yes, even professionals get it wrong. Neil will be sharing some of his favourite mistakes and showing you how to avoid them.

Conservation with a Camera by Ann & Steve Toon Saturday 9.30-9.50am Where: Anglian Water Birdwatching Centre Rhino poaching, elephant control, lion conflict, meerkat research, ‘crane school’ in the UK, rare hardwood poaching in Thailand – how pictures have the power to communicate in conservation. toonphoto.com

The Big Cat Man by Jonathan Scott Sunday 9:30-10:15am Where: Authors Forum For the past 40 years Jonathan Scott has lived the life of his dreams among the big cats of the Masai Mara in Kenya. Jonathan and his wife Angie have come to know these charismatic predators documenting every detail of their lives. With 30 books to their names and numerous awards for their work as wildlife photographers and TV presenters, Jonathan and Angie share with you the joy and heartbreak of life in the African bush – and their other great love Antarctica, a world beyond reality, illustrated with still images and video clips from their Nat Geo Special Tales by Light. bradtguides.com

Photography News | Issue 35 | absolutephoto.com

Photo 24

Competitions In association with

The fourth Photography News Photo 24 event was the best and biggest so far with record numbers lasting the whole 24 hours

The fourth Photography News Photo 24, in association with Nikon and Nikon School, took place on 17 and 18 June with 250 photographers from all around the country attending. The aim of this free event is to share the experience of photographing London with like-minded folk and people could stay with us for a few hours or enjoy the whole 24 hours and basically photograph whatever they wanted. We had organised meet-ups, photo walks and several optional events that people could enjoy too. These included sunset meet-ups on the London Eye and at the top of the Shard, enjoying the city skyline from Tower Bridge, a morning boat trip down the Thames and a photo tour of the city on a classic London bus during the early hours of the morning. Most of these events sold out very quickly and it certainly added an extra dimension to the already massive picture potential of Photo 24. Nikon School, in central London, stayed open all day and night, offering refreshments, technical support and the chance for photographers to put their feet up for a while. It proved to be a very popular and useful facility, and its location made it the ideal base. The event kicked off at noon 17 June with a short briefing by PN’s editor Will Cheung before the photography began in earnest with those inexperienced in such events offered an accompanied photo walk to get them into the swing of things. The weather forecast promised a mix of showers and sun, but the showers were torrential and prolonged which made life challenging.

Most notably, there was an hour-long heavy downpour at midnight during our night-time photo walk around the city that saw more than 50 photographers huddled under the Gherkin. On the upside, the rain and standing water produced plenty of photo opportunities and gave popular scenes a fresh look that our photographers eagerly exploited. Also, the ever-changing sky gave some photogenic cloud formations and great light particularly as the sun dropped lower in the sky. Sunset itself was good in some locations and less good in others. For those photographers at the top of the Shard or on the London Eye, unfortunately there wasn’t a great deal of colour to enjoy but there was still plenty to shoot. The biggest challenge of Photo 24 is staying motivated and occupied during the early hours and for this year’s event we hired two classic London buses to tour the city, stopping at strategic spots to offer the chance of some unique pictures. It was also a great experience and much enjoyed by the 60 photographers who managed to book a coveted place. Noon 18 June saw a record number of over 150 photographers, tired and footsore but happy, back at the starting point. As you can see from the winning pictures overleaf, they had a productive time shooting thousands of great images. Thanks to everyone who came along and made Photo 24 2016 such a massive success. The 2017 event will be launched next spring so keep a look out for that if you want to join the fun.

Photo 24 contests There were five themed photo contests running for Photo 24 participants with a long-zoom Nikon COOLPIX P900 for the winner of each category. This is a 16-megapixel compact worth £449 with an integral 83x optical zoom to help you capture the most distant action. For the image judged to be the best overall, the photographer receives a Nikon D500, the brand’s DX-format flagship and in the shops at £1729 body only. It is a 20.9-megapixel resolution DSLR, has a 3.2in tilting monitor and an extended ISO range to 1,640,000 – the native range is ISO 100 to 51,200. The D500 also has a large buffer and uses the high performing EXPEED 5 image processor so if you need to shoot 200 consecutive Raws at 10fps, then this camera can do it. Add 4K video shooting, typically rugged Nikon build, SnapBridge connectivity and XQD/CompactFlash storage card compatibility and you have a hugely impressive and capable DSLR.

nikon.co.uk

Photography News | Issue 35 | absolutephoto.com

Competitions And the winners are… We received more than 2200 images taken during Photo 24 for the contests. There were five themes with a Nikon COOLPIX P900, a top long-zoom bridge camera worth £449, going to the photographer of the winning image in the five categories. For the picture adjudged to be the best overall image submitted in the five categories, the prize was a Nikon D500 with 16-80mm f/2.8-3 VR lens, a package worth £2479. The five subject categories were: Brilliant Buildings, Capital Reflections, Nightlife, On the Street and Red, White or Blue. The themes were chosen as they would be accessible yet still allow ample room for creative expression and a wide variety of different visual approaches. Photo 24 attendees had about three weeks after the event on 17 and 18 June to get their pictures in. Overall, the standard of entry was impressively high and the diversity of subject matter was staggering. It showed what can be done in one of the world’s most photographed cities when you let 250 keen photographers loose on it. Well done and thanks to everyone who entered and congratulations to all the winners.

It showed what can be done in one of the world’s most photographed cities when you let 250 keen photographers loose on it

Winner: Dennis Kinsman “There was an armed policeman nearby and I was trying to get him with the guard in the background but before I could get the shot some people went up to him and started a long conversation. While I was waiting for them to leave him I spotted the selfie girls and I thought that would make a better composition with the guard. I am really glad I changed my mind and took that. “I’m not very good at street photography, but as London is such a fantastic and diverse location it was a great chance to practise this skill. The competitions also helped as they force you to look for something that you would probably ignore. I am sure that Photo 24 has helped

Winner: Capital Reflections

improve my photographic skills – and as they always say practice, practice, practice.” Judge’s comment: “There were loads of great pictures to choose from but Dennis’s shot jumped out at me as soon as I saw it. Brilliantly captured, a clean composition and a picture that encapsulates the spirit of Photo 24 and today’s London. What’s more, I wish I’d taken it.” Technique: Shot with Nikon D800, 24-70mm f/2.8 lens at 48mm, 1/90sec at f/8 and ISO 800.

Winner: Perry Tatman “We were walking along the South Bank aiming to get to Westminster Bridge for sunset. Reflections had been limited to windows and the river until it rained. As we came upon County Hall I was pleased to find a number of decent sized puddles. The area was pretty crowded and it was fun and games trying to get a clear shot. I tried shots from several angles and on many different puddles.” Judge’s comment: “The mono treatment worked well and I appreciate the ‘fun and games’ Perry had to get the shot because that area is heaving at that time of day. But his perseverance paid off with a fine picture and a deserving winner.” Technique: Shot with Nikon D7200 with 18-300mm zoom at 18mm, 1/20sec at f/11 and ISO 100. © Tony Hirt

Highly commended

Photography News | Issue 35 | absolutephoto.com

Competitions Winner: Gordon Fawley “This was a grab shot – the bus came up quickly and the reflection was exactly as I wanted it. I’d seen several other nice reflections in buses earlier in the evening, but missed all the opportunities! The guy sitting at the top of the bus worked well for me and finished the image off nicely.”

Judge’s comment: “So many things fell right in Gordon’s tightly composed picture that it stood out. The colours, the urban reflections and finished off, as Gordon says, by the chap with his feet up.” Technique: Shot with a Nikon D7000 with a 50mm f/1.8 lens, 1/320sec at f/2.5 and ISO 100.

Highly commended

David Jenner • Sue Sharp

Winner: On the Street

Highly commended

Darrell Godliman • Mark O’Leary • Vit Javorik • Janet Brown • Rolf Kraehenbuehl

Winner: Bob Zwolinksy “I went with Mick Valentine and Mike Spurway from West Wickham Photographic Society to Brick Lane with the specific objective of getting images for the On the Street category. “On arrival we split up to avoid getting the same shots. I happened to be in the right place at the right time and ready. The young lady was performing for her partner to take pictures. My camera was in program mode, which is my default option. I would have loved to have had the chance to change the mode but it all happened so fast that in doing so I would have missed the opportunity. I showed her the images I had taken, gave her my email and have since sent her the best three images.” Judge’s comment: “Street art featured in many entries and there were some fine shots among them. Bob’s image stood out though for its handstand-ing skateboarder that lifts his shot to a different level.” Technique: Shot with a 45mm lens, 1/80sec at f/5.6 and ISO 100.

Photography News | Issue 35 | absolutephoto.com

Winner: Martin James “The picture was taken just after photographing the Lloyd's building. After a couple of shots of the side of the Leadenhall Building I went round the back and saw the ventilation outlets but was disappointed there were four and not three. I took the shot anyway. Good job I did. When looking at it on the computer there was more in the image than I had thought.” Judge’s comment: “Overall, this category was the most difficult to judge because there were so many stunning shots to choose from. Martin’s shot appealed because it’s a visual feast that was brilliantly observed and technically very well captured.”

Highly commended

Kevin George • Tim Glasby • Sean Batten • Rob Bridge Technique: Shot with a 24-105mm zoom at 45mm, 1/40sec at f/14 and ISO 400.

Highly commended

Andrew Moss • Dave Harris LRPS

In association with

Winner: Michael Hewson “Smithfield Market is one of my regular locations – I just love the row of iconic red phone boxes. For this shot I lurked around waiting for someone to walk through the scene and used my camera's burst mode to grab the decisive moment.” Judge’s comment: “A simple yet challenging theme and we saw all combinations of the theme and a mix of obvious and less obvious subject matter. Michael went for the more obvious but his striking composition works really well.” Technique: Shot with a 45mm lens, 1/125sec at f/6.3 and ISO 5000.

Many thanks to Nikon and Nikon School for their association, help and commitment to making Photo 24 such a massive success. Thanks also to everyone who turned up on the day.

Photography News | Issue 35 | 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

Specs In the box Novo NV-EXT10 carbon-fibre tripod, CBH-40 ball head, quickrelease plate, carry case, shoulder strap and tools Leg sections 4 Material Legs carbon fibre with twist leg locks Max height (with head) 176cm, centre column extended 142cm, centre column retracted Min height (with head) 49cm Max load 15kg (legs and head) Closed length 49.5cm (legs folded) Weight 1.75kg (with head), 1.34kg (legs only) Contact ukdigital.co.uk

Novo Explora T10 £179 Photographers don’t usually buy tripods based on good looks, but if they did, this Novo Explora T10 would surely do very well. Its gorgeously patterned carbon-fibre legs and stylish silver trim are very pleasing to the eye. But to prove that beauty is more than skin deep this tripod is also a high-level performer and it comes in at a very tempting price. Complete with a Novo CBH-40 ball head, this carbon-fibre tripod is available at the moment for £179. The T10 just about qualifies as a travel tripod and for ultimate portability, the legs fold back on themselves. The legs are four section with rubber-coated twist grips that are positive yet comfortable to use, and the legs lock firmly without too much exertion. Should you prefer spiked feet, simply pull off the rubber feet. One of the legs unscrews and, together with the centre column, combines for a very useable, convenient and stable monopod.

The supplied ball head is an Arca Swiss compatible unit. The ball head’s tension can be adjusted to suit. The camera mount plate can be rotated, which helps with panorama shooting, and there are etched markings too that help in this regard. A spirit level is fitted but you need to level it up before fitting the camera. Stability is very good and I tested it at minimum and maximum extension including with the centre column fully extended. I used a variety of cameras on it including a full-frame DSLR and a CSC with a long telezoom. Even in a decent breeze at its maximum leg extension the tripod and camera remained rock solid and no evidence of movement even with the long exposures I shot for the test. Extend the centre column fully and, of course, there was the risk of camera movement but no problem here either when used with consideration on a still day. For its weight and size, stability from the T10 rated highly. WC

Verdict Carbon-fibre legs, Arca-Swiss compatible head, monopod option and more, plus very good stability, portability and stylish good looks – all for a bargain £179. What is there not to like! Pros Excellent value, carbon-fibre tripod Cons Spirit level not visible with the camera mounted

Photography News | Issue 35 | absolutephoto.com

First tests

Broncolor Siros L 800 £2106 With an enviable reputation built over many years, Broncolor is a leading light (excuse the pun!) in the world of studio lighting with its kit respected for its longevity, build quality, reliability and of course, performance. Its latest introduction is a batterypowered flash head, the Siros L, which is available in two output options, 400W/s and 800W/s. In respect of their features, the units are identical and in this test we take a look at the Siros L 800. Bron flash units have always looked the part and the Siros L is no exception. It’s elegant and understated with the brand’s usual dark grey/light blue livery yet its design is functional, practical and very usable. As you would expect, build quality is high and the locking angle bracket is very positive yet smooth to operate. The firm locking action is a good thing because once on a lighting stand the L 800, which is longer in the body than the 400, is back-end heavy so make sure you’re supporting the head when adjusting its position. Bron takes great pride in its flash tube design. The tube sits proud of the unit and the glass protection cap is clear on the side and frosted on top. This means when a modifier, especially a large softbox or brolly is fitted, light output is spread evenly including sideways from the tube around the interior before exiting the modifier and reaching the subject to give an even effect. Designs where the tube is recessed means the light goes forward rather than sideways leading to the risk of a central hot spot. The lithium battery clicks positively into place and charging can only take place with the battery out of the unit. It also means that if the battery dies on a job you need a spare battery to keep on shooting. A spare costs £258. A fully charged cell gives over the 220 full-power flashes claimed and a great many more at lower power settings so you are going to have to go some to exhaust a cell. A power level check is built. Aside from a sync socket, mini USB socket and the on/off switch, which

sits on the underside of the body, the unit is controlled from the back panel. The control knob’s default function is to adjust output within the range of two through to ten in 0.1EVsteps. A gentle little turn adjusts power in 0.1EV steps while a more definite turn adjusts in 1EV steps. Getting used to how the power output is adjusted is a matter of familiarity with the control and the large blue LCD readout couldn’t be clearer. Push the same knob in and you are into the unit’s menu. Rotate to select the function you want to and then push again to engage the function. Here you can do things like turning the beep on or off, choosing which sync method you want (optical cell, trigger), select Speed mode and use Sequence mode for multiple flashes. There is also a Wi-Fi option when using the BronControl app, an HS (high-speed sync) mode for the forthcoming new trigger and something called lamp mode. Here you can change the colour of two lights on the top of the unit which in a multi-unit set-up could prove handy. Two more controls complete the tour of the backplate. Push the ‘mod eco’ button once and the tungsten -balanced modelling lamp comes on; push and hold for a second and eco mode is engaged. Eco mode gives you even more flashes at the cost of slower recycling. Full power -recharge in normal mode takes about three seconds and in eco mode this time extends to just under five seconds. In normal operation, the Siros L uses Bron’s proprietary Enhanced Color Temperature Control (ECTC) feature to help maintain a consistent light colour temperature as output is altered. Our tests showed good colour consistency throughout the Siros L 800’s output range. Flash duration at the lowest power setting is 1/8700sec (1/9000sec on the 400L) but if you want an even shorter flash duration there is the Speed mode. Here in the same output level, flash duration is a mere 1/18,000sec (1/19,000sec on the 400L. In Speed mode, the ECTC feature is disabled

Specs Price Siros L 800 £2106, 400 L £1818, Siros L 400 Outdoors Kit 2 £3594, Siros L 800 Outdoor Kit £4194. Spare lithium battery £258 In the box Head, tube, RFS 2.1 transceiver, umbrella reflector, lithium battery, charger, lamp cover, mains cable and flash bag Maximum power 800W/s Colour temperature 5500K, constant colour temperature with Bron’s ECTC system Flash duration Normal mode: 1/250sec to 1/8700sec. Speed mode: 1/700sec to 1/18,000sec Flash modes Manual Recycling times 0.03-2.7secs Manual power range Level 2 4W/s to full power 800W/s Modelling lamp 25W LED, 3000K Sync method Photocell, sync cable, test button, with RFS 2.1 Remote control BronControl app or with RF S2.1 Battery 8700mAh lithium-ion, four-hour recharge time Capacity 220 full-power flashes approx. Modifier fitting Bron bayonet

so there is a greater variation in colour temperature as power output is adjusted. Our tests showed that the images in Speed mode were noticeably cooler as output levels were lowered. A custom white-balance reading gets round the problem until you alter power again or just correct in editing. The L 800 did well in the studio tests, and this high level of performance was borne out in

practical situations too. For example, I had the chance to use it at a friend’s wedding and for the confetti shot the unit’s power and fast recycling came in mighty useful. I needed a lot of power to allow f/11 for good depthof-field but I needed to cover a wide area with the unit placed about five metres from the subjects. The Bron, set to power level eight, helped me get 12 shots in eight seconds. WC

Other features Wi-Fi, USB interface for updates, brolly mount, eco mode, Speed mode, sequence shooting up to 50 bursts, audible beep, integral cooling, ID lamp system. Dimensions 360x180x130mm Weight 4.3kg with battery RFS2.1 transceiver 2.4GHz frequency Working range 200m outdoors, 50m in closed rooms Dimensions 68x38.5x31mm Weight 43g Contact broncolor.com

Verdict There is much to like in the Siros L and it works very well indeed, as you would expect. There is plenty of power, recycling speed is fast and the colour temperature consistency as power is adjusted is good too. With Bron’s legendary build quality and access to its impressive range of light modifiers, the Siros L 800 is very much recommended.

Above Colour consistency throughout was good, however with Bron’s ECTC feature disabled in Speed mode, there is a greater variation in colour temperature.

Pros Power, feature set, Speed mode, build quality Cons Bron modifier fitting

Photography News | Issue 35 | absolutephoto.com

First tests

Ilford Galerie Prestige papers From £23 Ilford’s connection with photography goes back over a century and its current range boasts an extensive collection of inkjet papers to suit all tastes. Our selection comprises three popular finishes, gloss, smooth matt and a textured finish chosen from the 18 finishes currently available in the Galerie Prestige collection. It is a trio of distinct finishes that cater for a diverse range of tastes. For the test, we printed a selection of images using an Epson Stylus Pro 3880 printer with Epson inks, together with generic profiles downloaded from the support section of the Ilford website.

Printer settings recommended by Ilford on the support page were also used. As usual, bespoke profiling and testing with your own printer will help you obtain the best possible results. Prints, having been allowed a few hours to dry fully, were examined in daylight and with a Color Confidence Grafilite natural light viewing lamp. ilford.com

Ilford Galerie Prestige Gold Fibre Gloss 310gsm

Ilford Galerie Prestige Cotton Artist Textured 310gsm

Ilford Galerie Prestige Smooth Cotton Rag 310gsm

Weight 310gsm

Opacity >98%

Media type Baryta

Media type 100% cotton rag

Availability A4, letter 21.6x27.9cm, A3+, A2, 43.2x55.9cm, roll sizes: 43.2cmx12m, 61cmx12m, 111.8cmx12m, 127cmx12m

Availability A4, letter 21.6x27.9cm, A3+, A2, 43.2x55.9cm roll sizes: 43.2cmx15m, 61cmx15m, 111.8cmx15m, 127cmx15m

Prices A4 25 sheet pack £24.61, 99p per sheet A3+ 25 sheet pack £63.01, £2.52 per sheet

Prices A4 25 sheet pack £23.95, 96p per sheet A3+ 25 sheet pack £56.56, £2.33 per sheet

Prices A4 25 sheet pack £22.82, 92p per sheet A3+ 25 sheet pack £58.26, £2.33 per sheet

This paper is a recent arrival in the range and will undoubtedly appeal to those who want their prints to have a smooth, relatively delicate sheen rather than a strident gloss. The finish of this inkjet material is equivalent to the look of air-dried fibre-based papers in the wet darkroom. Its 310gsm base means this paper has a lovely heft to it too and it lies completely flat corner to corner out of the box so head strike is not going to be an issue. The base is also gently warm. As with any gloss-type finish paper, handle it by the edges only to avoid leaving any finger grease on the surface. My test pictures turned out very well on this paper. I thought it did really well with richly saturated colour images, which I reckoned looked better than the black & white images. The mono prints were very good, but the colour shots had an extra zing that made them leap off the paper. Saturated images came out very well but more delicate shots worked well too. That said, in both cases contrast levels were high, whites stayed white and didn’t drift into pale grey and blacks had plenty of depth. Tonal gradation was good too.

This is the most obviously textured of our trio and that’s evident even from the front if there’s any side-lighting. Obviously it depends on your tastes but images featuring expanses of even mid-tones might not suit this paper because the watercolour texture is even more evident. I tried a variety of shots including a couple of graphic scenics and they worked nicely. In terms of print quality, no complaints at all. Actually laying out our test prints from the three surfaces shows excellent consistency in the way colours, contrast and tonal gradations are reproduced. Put another way, there’s a ‘family’ look to the images despite them being on different surfaces. Textured surfaces can result in images that lack impact particularly in terms of contrast, but that is certainly not the case with this material. Direct comparison with the surfaces tested here reveals that the purity of highlights, the depth of blacks and saturation were on a par with the gloss finish. I thought that was very impressive. It does mean, of course, if you want a more delicate look to your images, you might want to try another surface in the Galerie Prestige range.

Straight out of the box, the A3+ sheets I used were completely flat so head strike was not going to be a problem. Its finish is well described by its name, it is a flat smooth paper without tooth and it has a faint rustle when you run finger over the surface. It has the same weight as its the two other papers featured in this test so feels very good in the hand and rates highly in the haptic factor – you can’t help but be impressed with the feel of the final print. When it comes to image quality, Smooth Cotton Rag delivers from the very top drawer. I outputted a range of images on it, from urban scenes and landscapes to portraits and wedding pictures, and I didn’t reject any of them in terms of overall look. In fact, the wedding the shots I printed looked so good – colour and monochromes – I mounted and gave them to the happy couple as presents. The paper just seemed to deliver a great look regardless of content and that seems a very positive sign to me. The prints didn’t jar but delivered what was on screen with satisfyingly high levels of contrast, saturation and smooth tones.

Verdict

There is much to like about this paper. It delivers excellent results especially with nicely saturated colour scenes that it reproduces accurately without any impact loss. As I mentioned, I thought Gold Fibre Gloss was better with colour images than mono ones but maybe that is an indication of how good it is with colours as opposed to the material being less able with monochrome shots. Definitely worth using whether or not you like your colours bright and rich.

I’ll confess that I prefer smooth finishes generally, but I was impressed with Cotton Artist Textured and I’d certainly be happy to use it when the image suits. I think this is because the material produces crisp images with plenty of snap which I personally prefer, but of course this is a subjective view. It works really well for black & white images too – the depth of black is lovely. All in all, I’d be happy to recommend Cotton Artist Textured. It’s a fine, very capable material.

I liked this paper – a lot. It is very user- and picture-friendly and while it is true I only used the best part of a 25-sheet A3+ pack for this review, I didn’t get any reject prints at all in respect of colour or mono reproduction. Smooth Cotton Rag seemed not just tolerant of a wide variety of content, but it seemed to add an extra intangible something to the result that was very pleasing. I can highly recommended this paper if you want a matt finish that is a great all-rounder and will suit many different subjects.

Overall A generally impressive baryta paper with a luxurious finish Pros Excellent colour saturation with plenty of punch Cons Marginally less good in a relative sense with mono images

Overall If you want a quality textured paper, you’ve got to try this Pros Impressive contrast and colour saturation, lovely feel Cons The contrast and saturation levels might be too much

Overall A lovely matt finish paper with a touch of class Pros Smooth matt finish, high haptic values Cons Nothing to fault

Photography News | Issue 35 | absolutephoto.com

First tests

Nissin Flash Di700A and Air Commander £199 Off-camera flash photography has never been so easy to use or so affordable. Time was that you needed lots of expensive, complicated bits of kit, which didn’t always work, but over the last decade or so there’s been a genuine revolution. Technology has advanced, getting cheaper and more reliable, and smaller companies have taken on the big boys; photographers have been the winners. One of the latest examples of this trend is the Nissin Di700A flash; a wireless, TTLready speedlight which twins with the Nissin Air Commander unit to offer remote triggering and a range of other functions. I tested the Nikon version out on my D800, but it’s also available in Canon and Sony fits. The first good thing to say is that the trigger uses a radio signal (RF) to fire the flash off camera and that means you don’t need to worry about line-ofsight. You can still trigger it optically if desired, but RF means a more reliable system and in testing I found it worked perfectly. Syncing the trigger with the flash was really easy too: you simply start with both units switched off then, on the flash, hold the power and Set buttons for 3secs. After a beep you hold the same two buttons on the commander unit and a blinking from the pilot button tells you that the two are twinned. You then set the group from one of A, B or C corresponding to that on the flashgun From there you can trigger the flash from up to a maximum of 30m away although the manual states this is ‘dependent on environment’.

As it’s radio-based, unlike systems which work optically the Di700A doesn’t have to be facing a certain way or even be visible, meaning you can tuck it behind objects. If you do suffer interference from other devices, the channel can be changed and there are eight for each group. The claimed range held true, although I found that beyond about 20m its success-rate dropped swiftly. Within 20m it fired all the time though, and I couldn’t think of too many situations where I’d need to use it further from the camera than that. The Di700A’s wireless functions aren’t just about triggering either; you can also control the mode from the commander unit, setting it to either manual or TTL. In the former, power is controllable through eight levels from 1/128 to 1/1 and in TTL mode you can add compensation from -2 to +2EV in 1/2EV steps. The zoomhead can be set from 24 to 200mm. In terms of power levels and compensation, the same numbers hold true using the flash on camera, which means that, in manual mode, there’s not as much flexibility as on units which allow power variation in 1/3 or 1/2 stops. The same goes for the overall power output; with the Di700A’s Guide Number of 54 (ISO 100/m at 200mm), it’s no weakling, but it is perhaps a little behind some of its similarly priced competition. But while it potentially lacks a little power and finesse, I didn’t encounter any problems with the Di700A and got pleasing results.

Above The Di700A’s built-in radio receiver allows triggering, power, mode and zoom controls via the Air Commander unit, so you can shoot TTL-metered off-camera flash more easily. Here, Dorothy (homes4dogs.co.uk) is lit with some fill-flash at +1.3EV.

Specs Price £199 bundle price, Di700A £169 and Air Commander £49 individually Compatible cameras Nikon, Canon and Sony fit Guide number 54 (ISO 100/m at 200mm position) Recycle time 0.1-5sec Colour temperature 5600K TTL function Yes with +/-2EV (in 1/2EV steps) Power levels (manual) 1/1-1/128 (1 stop increments) Flash duration 1/800-1/30,000sec Beam coverage 16-200mm (full-frame with diffuser) Manual zoom 24-200mm Flash exposure lock Yes, via camera Sync modes Instant Sync, Skip Preflash Stroboscopic mode No Wireless flash functions Yes Triggering options Optical slave or radio Wireless groups /channels Three groups/eight channels Max wireless range 30m AF assist beam Yes Flash ready indicator Yes Auto power dump Yes

The flash in use The Di700A was also easy to use in high-speed sync (HSS) mode both on and off camera, and aside from the modes already mentioned there’s full auto and two slave settings (so it will work in slave mode with and without a pre-flash from a master unit). The TTL mode performed very well on and off camera and generally the only tweaks required were to influence the light creatively, not in terms of exposure. When twinned with the camera’s own flash exposure compensation function I managed to get a +/-3 setting giving further options such as overpowering the flash from behind the subject to get a sunny backlit look. The Di700A’s recycle times are quite acceptable and with fresh AA batteries I clocked a recharge time in full power at just under 4secs – better than the 5secs stated in the manual. A hundred or so flashes later it dropped to about 8secs, but anything at 1/4 power or below was instantaneous. External powerpacks can be used and improve full-power recycling to under 1sec. Power saving kicks in after two minutes (five in slave or wireless modes) and all settings are retained; the commander wakes the flash up remotely. In terms of handling, there’s little chance of being overwhelmed by buttons as there aren’t many. Both the flashgun and Air Commander have

an on/off, set (or S), and pilot buttons as well as a wheel, while the Air Commander also has a mode button. Everything can be accomplished quickly and it soon feels like second nature. For example, on the Air Commander the mode button cycles between TTL, M and Z (zoom), with the set (S) button swapping the groups and the wheel setting output. There was one issue with the both units’ LED displays; they’re colourful, clear and easy to navigate, but less easy to see in bright sunshine. Similarly, on the Air Commander unit it had a habit of dimming to the point of being virtually invisible when reaching a low battery level, and the more indicators are turned on the weaker it got. It’s a clear signal you need to swap its AAA cells. The Di700A is certainly a well constructed unit, with a solid, reassuring feel. Everything is tight with no rattle or flimsiness to be found. The locking flash head itself turns with assured stops through its range, left and right through 180° and a little over 90° vertically. The battery compartment is another well-designed feature, using a magazine, rather than slotting the cells in loosely. This means you can buy additional magazines (Nissin BM-02, £11) and keep them at the ready without fumbling for batteries; a nice touch. The Di700A also comes with a stand and pouch. KS

Vertical tilt -7° to +90° Horizontal rotation 360° (180° left and right) Power supply 4x AA batteries in flashgun, 2x AAA batteries in Air Commander Power saving 2mins (5mins in wireless/slave modes) Dimensions 140x75x115mm Weight (without batteries) 380g Contact kenro.co.uk, nissindigital.com

Verdict The Di700A is an admirable flashgun; very easy to set up and use, with lots of options for different flash effects. What it little lacks in power and flexibility it makes up for in handling, and minor gripes about the screen aside it was a pleasure to use. Pros Built-in RF receiver, range of modes, great build and easy to use Cons Not as powerful as some; manual settings limited to 1EV steps, screens can be dim

Photography News | Issue 35 | absolutephoto.com

Preview Specs Price £1399 body only, £1649 with XF1855mm lens, VPB-XT2 £299.99 Sensor 24.3 megapixels Sensor format 23.6×15.6mm (APS-C) X-Trans CMOS III, 6000x4000pixels ISO range Native 200-12,800, expanded 100-51,200 Shutter range Mechanical shutter 30secs to 1/8000sec. Electronic shutter 30secs to 1/32,000sec. Bulb up to 60mins. Flash sync 1/250sec

Hands on

Fujifilm X-T2

The launch of the X-T2 gives Fujifilm a two-pronged line-up at the top of its CSC collection. We got the chance to check out its credentials at a classic car festival Words by Will Cheung

Drive modes 8fps mechanical shutter (11fps with optional VPB-XT2 grip), 14fps with electronic shutter Metering system 256-zone metering with multi, spot, average and centre-weighted Exposure modes PASM Exposure compensation +/-5EV in 0.3EV steps, AEB available Monitor 3in, 1,040,000 dots Focusing Intelligent hybrid AF – TTL phase and TTL contrast AF Focus points Option of single, 91 and 325 points. Wide-tracking AF (up to 18 areas), Zone AF (3x3, 5x5, 7x7 selectable from 91 areas on a 13x7 grid) Video 4K, full HD Connectivity Wi-Fi, USB 3.0, HDMI, microphone Storage media Two SD slots Dimensions (wxhxd) 132.5x91.8x49.2mm Weight 507g (body with battery and card) Contact fujifilm.eu/uk

The launch of the Fujifilm X-T2 was no surprise to anyone who read the (very accurate) rumours on the internet. I’m happy to admit that I couldn’t wait to get my hands on one so it was a great pleasure to get to spend a few hours with an X-T2 at Le Mans Classic. Please note that the sample I used was pre-production and the images shown here or the comments made about handling might not apply when the camera reaches the shops in September. The X-T2’s design is fundamentally similar to the X-T1 with its DSLR, central viewfinder styling but there have been several significant and worthwhile tweaks. Both the shutter speed and ISO dials now have single-push locks so you have the option of locking them or rotating normally. I am always twiddling with ISO and the X-T2’s dial is taller and larger than

the X-T1’s. The locking mechanism makes the process of speed changing so easy and positive yet a push of the central button locks it in place. I liked this simple change. The shutter release has gained a screw-in cable release option while the exposure compensation dial is still easy to move unintentionally. Having a C setting does mean that you can set that and it is less likely you will engage exposure compensation by mistake. The rear monitor is still tiltable but there is the added option of folding it out sideways that has been achieved without adding any bulk to the monitor so it still sits flush to the body. While this is slightly fiddly to use and you certainly can’t use it with gloved hands it means low-level, upright format shooting is made much easier. How the tilt/ swivel mechanism withstands frequent use only time will tell.

With the X-T2’s AF lever it means only moving the thumb so it speeds up the process noticeably and feels much more intuitive

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

The addition of an AF lever or joystick is a godsend. It means moving the AF zone around is so much easier. On the X-T1 I have to adjust my grip on the camera to move the AF zone about and that can mean missing the crucial moment. With the X-T2’s AF lever it means only moving the thumb so it speeds the process up noticeably and feels much more intuitive. Having this lever also frees up the four-way control pad to engage other features. A big, big change is the X-T2’s AF system and using it alongside the X-T1 reveals the benefits of the newer model to be significant. The X-T2 is much faster, has more focus points and the algorithm has been improved to cope with low-contrast or finely detailed subjects. During this preview I did find the AF more responsive as a whole and it coped with a wide variety of subjects. To be honest, the sun was shining brightly

Photography News | Issue 35 | absolutephoto.com

Preview and most scenes I photographed had plenty of contrast or bold detail to latch onto, so I’d need more time to say for certain if the AF system is better in demanding situations. Its ability to track moving subjects is definitely superior to the X-T1, though, and this has been helped with custom preset modes for continuous AF shooting. The latter are akin to the case studies top-end Canon DSLRs offer. In each mode, the parameters of tracking sensitivity, speed tracking sensitivity and zone area switching are tailored to the situation. For tracking cars on a track I stuck with the Preset 1 Basic mode and that seemed to work fine – when it didn’t it was more user than camera error. Another big benefit of the X-T2 is apparent as soon as you put the camera up to the eye. The EVF is so much brighter than its predecessor – Fujifilm claims it’s twice as bright and that’s one f/stop. A side-by-side

comparison showed the difference to be significant and impressive. Using the X-T2 in continuous shooting mode showed another massive benefit, the minimal blackout between shots made tracking a moving subject much, much easier and more accurate. This was with the basic camera that can shoot at eight frames-persecond but the X-T2 has the option of attaching the VPB-XT2 grip for even better performance. This grip accepts two batteries so counting the one in the camera means you have shooting capacity of 1000 or more shots. There is the option of using Boost mode to shoot continuously at 11fps with the mechanical shutter – you get 14fps with the electronic shutter even without the grip. Boost mode also reduces blackout time from 0.19sec to 0.17sec, and shutter release lag. It also doubles as a charger and can fully charge two cells in two hours.

Left Extensive depth-of-field was needed for this shot so the ISO was set to 1600 to allow 1/150sec and f/20 to be used Below left By contrast, a very shallow depth-of-field was required here so it was exposed at 1/640sec at f/2.8 and ISO 200 Above The X-T2’s autofocus system has been configured with fast-moving subjects in mind and here, with the 50-140mm f/2.8 zoom, it certainly kept up with the action I had three fully charged batteries at the beginning of the day and 1200 shots and 12 hours later, one cell was flat and showing red but the other two still had plenty of charge. Even with one cell flat, you still get the better performance. In DSLR-style, several key controls, including the AF joystick, are replicated on the grip for convenient vertical-format shooting. Personally I found the position of the shutter release wasn’t ideal for me. The release is on the top of the grip while my forefinger naturally rested on the grip’s slanting front. Action photographers will benefit from the grip but for many users the maximum shooting rate of eight frames-per-second will be enough and it does make the X-T2 significantly bigger so it might not suit street shooters.

Photography News | Issue 35 | absolutephoto.com

Preview

The latest Lightroom/ Photoshop is already compatible with Raws from the new camera Looking at my shots back home, I was impressed by the consistency of the exposure system. I was using multi-zone metering with shutterpriority AE for the action work and aperture-priority mode for other scenes. By the way, the latest Lightroom/Photoshop is already compatible with Raws from the new camera so I processed the Raw pictures printed here in Lightroom. The only obvious exposure issues I experienced was with a sunlit white racing car and a dark car with a strong highlight and in both cases the shots were underexposed although the Raws were recoverable. Summary You canâ&#x20AC;&#x2122;t judge a pre-production sample camera because firmware can change hugely (for the better) but so far so good. The X-T2 proved a highly capable camera and I handed it back with deep regret, but conscious that I know what I will be treating myself too this Christmas. fujifilm.eu/uk

Top This is an ISO 6400 Raw shot was exposed at 1/680sec at f/22. Noise levels from this preproduction camera sample are impressively low Below Fujifilmâ&#x20AC;&#x2122;s Film Simulation modes work well for great out of the camera JPEGS. This image was shot with the Velvia setting for lively colours

Photography News | Issue 35 | absolutephoto.com

Camera test Specs Price £1729 body only, £2479 with 16‑80mm f/2.8-4 VR Sensor 20.9 megapixels effective, 21.51 megapixels in total Sensor format DX, CMOS, 23.5x15.7 mm ISO range 100-51,200 expansion to 50-1,640,000

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

Shutter range 30secs-1/8000sec, flash sync at 1/125sec Drive modes Single, continuous low, continuous high, quiet shutter release, selftimer, mirror up, quiet continuous shutter release Metering system TL exposure metering using RGB sensor with 180k pixels. Matrix, centre-weighted, spot and highlight-weighted Exposure modes PASM Exposure compensation –/+5EV, in 1/3, 1/2 or 1EV steps Monitor 3.2in, 2359k dot, tilting TFT touchsensitive Focusing 153 focus points of which 55 or 15 are selectable. Single-point 25, 72 or 153-point dynamic AF, 3D-tracking, group-area AF, auto‑area AF Video 3840x2160 (4K UHD) 30p, 25p, 24p. 1280x720 Connectivity USB 3.0 Micro-B connector, HDMI type C, audio in and out, Ethernet Storage media 1x XQD and 1x SD Dimensions (wxhxd) 147x115x81mm Weight 860g with battery and XQD, 760g body only Contact nikon.co.uk

Features writer Jemma Dodd took a Nikon D500 outfit to Croatia a real-life field test. In a wide range of lighting situations, the camera performed impressively.

Written by Jemma Dodd The D500 is Nikon’s APS-C format flagship DSLR which I tested back in issue 33. In the short time I had to test the camera, I have to say that I was really impressed, in particular with its autofocus performance and its ability to shoot noise-free pictures at high ISO settings. I appreciate that it is pricey for an APS-C DSLR and that a full-frame Nikon, the D750, is available at a lower price, but I rated it highly. I was keen to give it a more thorough going over, though, and last month, I had the chance to visit Dubrovnik with it. With its beautiful old town, Dubrovnik offers plenty of photo opportunities from its old architecture and popular Game of Thrones filming locations, to interesting characters and cats (no, really there were lots of cats about). With bright sunshine throughout the trip I mainly shot at ISO 100, switching to ISOs of between 1000 and 2500 when shooting during the evening. Noise was very minimal at these ISOs and I’d be happy to use them for big enlargements with some small noise reduction adjustments in Lightroom. The bright sun and high contrast did mean the D500’s exposure system got a great workout. I knew the D500’s Raw files have good exposure latitude, about +/-2EV, from my test so I knew I could recover highlights and boost shadows in

post-processing so I left the camera mostly in Matrix metering. For a couple of very contrasty scenes, I did engage the spot meter and used the exposure lock to take readings from a mid-tone. Generally, the Matrix meter did impressively well especially bearing in mind the huge contrast range I was dealing with, although I did find there were occasions where it struggled. Predominately dark scenes would come out lighter than I expected but as this seemed a consistent trait, I knew to set some minus exposure compensation even before I raised the camera to the eye. With the exposure system performing well I decided to try my hand at some street photography to test other aspects of the D500 including the AF system. Street photography isn’t something I do often, but I was open to the challenge and I certainly found the D500’s flip-out monitor a real benefit. I could easily take street portraits unobtrusively thanks to the touchscreen. I was able to tap the screen to autofocus and take a shot without having to press the shutter release at all. The camera’s low pitch shutter sound helps too and it was not really noticeable amid normal ambient street noise. The D500’s AF system is straight out of the D5, Nikon’s top pro camera, and I already knew it was swift, accurate and responsive when light and contrast levels are low. The majority of the time I shot

I could easily take street portraits unobtrusively and with the touchscreen I was able to tap to autofocus in single-shot mode and used the central focus point to focus and then recompose the image. Moving the AF point around is easy with the four-way thumb pad so I used that feature too. I found that the D500 and 16-80mm f/2.8-4G AF-S VR ED DX lens that came with the camera produced sharp results that I’m really happy with. Given the contrasty light, I thought I’d get flare on occasion but I didn’t have that problem. Weighing 1240g, the D500 and lens is heavier than my usual camera, but with so much to shoot I hardly noticed. I do tend to use a sling strap that goes over the neck and shoulder for more convenient carrying so the weight doesn’t pull on my neck so much. Overall I found handling very comfortable and the D500 has a well designed handgrip. With so much to shoot, battery life was something I was quite conscious about so I made sure to have a spare battery on me at all times. One fully charged battery lasted a full day of shooting, while also transferring photos to my tablet via SnapBridge throughout the day.

As I always shoot in Raw I converted some of my images to JPEGs in-camera and made some small adjustments to the exposure in the retouch menu, just to brighten the images a little. In-camera Raw processing is a great feature for when you want to upload an image instantly, but want to brighten or darken an image. Summary The Nikon D500 did really well when I tested it and I was left with the feeling that it could cope really well with anything I cared to throw at it. That impression has been reinforced further by spending more time with the D500 and giving it a wider variety of subjects and lighting to deal with. The very effective AF and exposure systems and the ability shoot in low light at high ISO with minimal noise are the cornerstones of the D500’s performance, but factor in the touch sensitive adjustable monitor, SnapBridge and on-board Raw processing and this is a camera that is on my very short shopping list.

Photography News | Issue 35 | absolutephoto.com

Camera test

More about Nikon SnapBridge Sharing pictures on social network sites is seriously big business and more and more cameras are coming out with Wi-Fi or Bluetooth connectivity to enable this. Send pictures from the camera to the phone or tablet eats battery power and this can compromise your capacity to take shots or make phone calls – unless you have a backup battery, of course. It also means switching the connection on and off to conserve energy. Nikon’s answer is SnapBridge, a low battery consumption Bluetooth interface. Once connected you can stay connected so it is very convenient too. The Nikon SnapBridge app is free to download and available for both Android and IOS devices. The app allows you to pair up your smart device with your camera so you can transfer photos directly to your device via Bluetooth even while the camera is still in use. There’s the option to transfer a full size image or a 2MB file, which is the perfect size for uploading straight to social channels or emailing. Other options within the app let you add EXIF information onto the image such as camera, lens, aperture etc, and you can also record the location. If you’re signed up to the Nikon Image Space you can also link SnapBridge with your account to share photos directly with it. Once your images are downloaded you can view them within the app or go to the SnapBridge gallery created within your device’s normal gallery. SnapBridge also enables you to shoot remotely from your smart device, but I didn’t try that out on our Dubrovnik sojourn.

Photography News | Issue 35 | absolutephoto.com

Accessories test Buyers’ guide

Wild for gear

£40

SAMSUNG

64GB Pro+ SDXC card

£35

There’s loads of kit you can use to improve your wildlife shots and stay comfortable out in the elements; here’s a selection of our favourites... 1

Samsung 64GB Pro+ SDXC card £40

So you don’t miss that perfect moment, it’s often a good idea to shoot wildlife subjects in Continuous drive mode, but with many DSLRs now offering very high-resolution images and blistering frames-persecond rates beyond ten frames-persecond, that’s a lot of data to transfer. So, you also need a card that will keep up. A great option is Samsung’s impressive Pro+ 64GB SDXC UHS-I memory card, which has a Class 10, Grade 1 U3 maximum read/write transfer speed of 95/90MBs. It’s also waterproof, shockproof, protected from x-rays and magnetic fields, and able to function in temperatures from the Arctic to the hottest deserts, so you can keep shooting wildlife in the most challenging conditions. The Pro+ SDXC card is also available in 32GB versions, too. samsung.com/uk

SRB Photographic Digiscoping kits £35

Got a spotting scope and a DSLR? Then the world of digiscoping is just one step away; with the right adapter you can enjoy high-quality, incredibly detailed super-telephoto wildlife shots and SRB Photographic supplies a range of DSLR digiscoping kits to do it. There’s a wide variety of mounts including Canon (EOS and EOS-M), Nikon (F and Nikon-1), Sony (A and E), Four Thirds, Micro Four Thirds, Fujifilm X, and Pentax K. Kits include a digiscoping sleeve, T2 digiscoping insert and a T2 mount, and are operated by screwing the T2 insert into the digiscoping sleeve then attaching the T2 mount to the opposing side. Sleeves are held in position using grub screws and the camera clips into the T2 mount just like it would to a regular lens. All you need to do is select the version that corresponds to the next size up from your scope’s eyepiece when ordering (so, for a 37mm eyepiece, you’d pick a 40mm kit. And from 4 to 31 August, you can get £5 off of every DSLR Digiscoping Kit with the code ‘PNBF5’. srb-photographic.co.uk

Steiner Optics Wildlife XP Compact 10x26 £200

If you’re after a top-class, lightweight set of binoculars perfect for hiking and birding, you needn’t look much further than Steiner’s XP

SRB

Photographic Digiscoping kits

Compact range. The XP Compact 10x26 model has a versatile 10x magnification, high-definition optics, weighs only 349g and has a folding body mechanism so they can be easily stowed in a pocket or the included case. Not that you need to worry about their durability; protected by non-slip NBR long-life rubber armour and a Makrolon polycarbonate housing they’re impervious to oils, acids, waterproof to two meters, and nitrogen-pressure-filled making them fog proof from -20°C to +70°C. They even come with a 30 year guarantee. In use, the stepless focusing wheel operates super-fast, allowing you to get perfect sharpness quickly and not miss an important sighting, while ergonomic thumb rests and eye cups create a comfortable view.

Stand 18, Outdoor Display

£200

Stand 11, Marquee 8

steiner-binoculars.co.uk

Optics Wildlife XP Compact 10x26

on, or just carrying the whole set-up, which leaves you at the mercy of the environment. Coming to the rescue is Nest’s Falconer EB600, given its ability to swallow a large DSLR with 600mm prime lens attached. Gear is accessed from a YKK-zippered main section and there’s lots of space for other kit in the large front and Velcro-closed side pockets. A tripod or monopod can be attached to the top and it also comes with a padded waist belt, which can hold another pouch. For protection, the inner benefits from thick and adjustable 10mm padding and the outer is made from 750D waterproof twill (for very heavy downpours or dust storms, there’s also a dedicated waterproof cover). There’s an EB800, which takes an 800mm lens.

Nest Falconer EB600 Pro Backpack £130

When you’re using the long lenses often required for wildlife photography, you need a bag that can fit them in while still attached to the camera. The alternative is either splitting camera body and lens each time you want to pack up and move

MACWET

Climatec longcuff gloves

The latter provides a four-stop advantage insofar as you can shoot at shutter speeds four times slower than normal and still avoid camera shake; what’s more, it has three modes to suit your shooting style. For tip-top optical quality there’s one fluorite element and one Super UD (ultralow dispersion) element while an Air Sphere Coating (ASC) reduces flare and ghosting on backlit subjects. All this comes in a weather-resistant, streamlined and lightweight package with the lens weighing 1.64kg and only 19.3cm long with no extension of the front element. When fitted to Canon DSLRs with smaller APS-C sized sensors like the EOS 7D Mark II you’ll get an massive equivalent focal length of 160-640mm. canon.co.uk

ukdigital.co.uk

macwet.com

STEINER

MacWet Climatec long-cuff gloves £30

Wildlife photography demands that you’re in touch with nature as well as well as your gear. These MacWet gloves allow both with a truly ‘second-skin’ feel that keeps your hands warm and dry without affecting dexterity thanks to the palm’s Aquatec material. What’s more, unlike many gloves, they’re virtually silent, so there’s no chance of your hand movement scaring the subject. All the intricate tasks you’d normally associate with operating your camera or scope can be done without removing the MacWets, and with an enhanced grip even in the wet; you can basically forget you’ve got them on and enjoy your hobby to the full. These long-cuff versions provide generous coverage; being elasticated just above the wrist and tucking neatly under your jacket they attach with a durable Velcro strap. They’re available in sizes from six to 12 and four colours; black, brown, green and navy.

£30

Canon EF 100-400mm f/4.5-5.6 L IS II USM £1800

An affordable, top-quality lens for wildlife (as well as range of other subjects like portraits, sports and action), the EF 100-400mm f/4.55.6 II improves upon its predecessor with increased sharpness, a closer focusing distance of 98cm and Canon’s redesigned Image Stabilizer.

Vanguard Endeavor ED II 8420 binoculars £330

Vanguard’s latest range of Endeavor binoculars is the perfect addition to your camera kit, allowing you to seek out subjects, or just take a break from shooting and enjoy the natural world in all its splendour. This 8x42 pair offers an 8x magnification and plenty of light-gathering from the big 42mm objective lenses. The Endeavor range

uses extra-low dispersion (ED) glass like that found in top-quality camera lenses and also employs phasecorrected BaK4 prisms and antireflection multicoated elements to produce natural colours, enhanced contrast and virtually no fringing. These bins also handle superbly with an open-bridge design that reduces weight and gives plenty space for your grip. Complementing this is a tough but light magnesium-alloy housing that’s filled with nitrogen and uses o-ring seals to protect from water and fogging. Rubberised outer armour also protects against impact and further improves hold. vanguardworld.co.uk

Manfrotto XPRO Prime monopod and Heavy Telephoto Lens Support £280

Although there’s nothing to stop you using a tripod for wildlife photography, a monopod and the right kind of head can offer more flexibility, especially if you’re on the move or dealing with unpredictable subjects. Here’s a great combination from Manfrotto: the XPRO Prime four-section carbon-fibre monopod (£150) and Heavy Telephoto Lens Support (£150). The monopod (which

Photography News | Issue 35 | absolutephoto.com

Accessories test NEST

Falconer EB600 Pro Backpack

£1800 Stand 2, Optics Marquee Stand 7,8,9, Marquee 4

£130

£770

£750 KOWA

TSN 601 Angled Scope and TE-9Z 20-60x Zoom eyepiece

CANON

EF 100-400mm f/4.5-5.6 L IS II USM

Stand 14, Outdoor Display

SIGMA

150-600mm f/56.3 Contemporary DG OS HSM

£330 7

VANGUARD

Endeavor ED II 8420 binoculars

MANFROTTO

XPRO Prime monopod and Heavy Telephoto Lens Support

Stand 1,2,3, Marquee 4

£280

replaces the 694CX in Manfrotto’s line-up) is very light and rigid thanks to its carbon-fibre design and features new Quick Power Lock levers for an extremely strong grip; their lever design means they can be easily used one handed even in gloves. Onto the upper disc you can mount a camera or lens bracket directly, but we’d recommend going for a versatile head like the Heavy Telephoto Lens Support (£130); this cradle-style approach, where the midpoint of the lens is attached in line with the tilt axis means movement is free and easy, even with very heavy glass. Panning is achieved via a built-in pan base and the height of the lens is adjustable. The head also comes with a 357 quick-release assembly allowing you to attach the plate to a tripod collar, then slide it for perfect 50/50 weight distribution. manfrotto.co.uk

Sigma 150-600mm f/5-6.3 C DG OS HSM £750

Successor to the legendary 150500mm f/5-6.3 DG OS HSM, Sigma’s 150-600mm f/5-6.3 DG OS HSM, certainly has big (or possibly long?) shoes to fill. But filled they are with a lens that improves on

its predecessor in a host of ways. The 150-600mm balances an incredible amount of reach with versatility; its 4x zoom range taking you from medium telephoto for large subjects, groups of animals or environmental studies to extreme close-ups and the most detailed animal portraits. Throughout the zoom range the latest generation of Sigma’s intelligent Optical Stabilizer guarantees sharper shots at shutter speeds which would normally fill images with camera shake and the lens is dust- and splash proof to allow shooting in harsh conditions. A detachable tripod socket allows fitting to a support to take the weight of the lens, and provide extra stability, but at 1.93kg, you should be able to handhold it with ease. As part of Sigma’s Contemporary (C) range, it’s lighter and smaller than the Sport version, available in Canon, Nikon and Sigma mounts, and presents excellent value at £750. It’s also part of Sigma’s Global Vision system and therefore features a USB dock for upgrading firmware and tweaking OS and AF settings. And it’s compatible with Sigma’s range of teleconverters for even more reach. sigma-imaging-uk.com

Kowa TSN 601 Angled 10 Scope and TE-9Z 20-60x Zoom eyepiece £770

A spotting scope is the next step from binoculars and affords several advantages. Firstly, a scope’s range can go longer and they’re more adaptable because, similar to telescopes, different eyepieces can be used. With the right attachments you can also use a scope as a supertelephoto lens, achieving impressive reach and results that would cost a lot more via a DSLR and traditional lens. The Kowa TSN 601 (£450) is a great option, employing an angled design for easier use at low level (there’s also a straight version for the same price, as part of 600 series if you prefer). The scope has an impressive build and a low weight (745g minus eyepiece), making it easy to transport and handle, while the assembly is durable; it’s waterproof and filled with nitrogen gas to prevent fogging. Its lenses and prisms are multicoated for a superbly sharp view and this is matched by the TE-9Z 20-60x Zoom eyepiece (£320) with its versatile zoom magnification allowing you to quickly adapt to many different wildlife subjects. kowaproducts.com

Park Cameras

Visit Park Cameras at Birdfair 2016 and you’ll find not only some incredible special offers, but also benefit from the technical experts on the stand from the likes of Canon, Sony, Tamron, Sigma, Tamrac, Manfrotto, Gitzo, Wimberley and more. On top of that, you can join Park at Stand 11, at the Outdoor Display at various times on Friday 19 August where professional wildlife photographer and Park Cameras Ambassador, Andy Rouse, will be available to offer advice on your wildlife photography, and to showcase the incredible Canon EOS-1D X Mark II (which will also be in stock to purchase at Birdfair). Park Cameras will also have the Nikon D500 with the AF-S 200500mm f/5.6E ED VR at an amazingly low price – cheaper than anywhere else in the UK! Take advantage of its fast frame rate, 153 focus points, low-light capabilities and cinematic 4K video function, all in a tough and durable body to help you get the perfect shot, whatever environment you’re in. parkcameras.com Stand 11, Outdoor Display

Photography News | Issue 35 | absolutephoto.com

Advertisement feature Buyers’ guide

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of Nxai Pan, Makgadikgadi Pan and the Central Kalahari. The company offers tailor-made safaris; day trips; mokoro (dugout canoe) and boating trips; scenic flights; and a wide range of major trips. Bush Lark Safaris is “delighted to be part of your trip to the more pristine wilderness in Southern Africa”.

Photography News | Issue 35 | absolutephoto.com

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Everyone has to start somewhere, even pros, so every issue we look at the core skills every beginner needs. This month, how to use an interval timer for time-lapse photography, and how to create time-lapse pics in Photoshop… Words & pictures by Kingsley Singleton

In its most basic form, a photographic interval timer (or intervalometer) is a device or function that automatically triggers exposures over a set period. The number of images and the time between them can both be decided by you, depending on the subject or scene. So, why would you want to do this? Well, there are many creative techniques in photography for which using an interval timer is vital; pretty much any situation that requires you to shoot the same view for an extended period, for instance, with time-lapse photography. Time-lapse photography covers many types of image, but differs from long-exposure photography in that it requires multiple frames to be captured, rather than one extended shot. Depending on the subject and style of your time-lapse, you could shoot a lot of pictures during a short period, for instance when dealing with a fast-moving subject travelling through the frame; or you might shoot over a much longer time, like many hours, as when shooting star trails. You can also use an intervalometer to shoot dimly lit subjects, like stars or nebulae, and stack the multiple exposures recorded in specialist software like StarStaX

without showing excessive digital noise. Then there’s video, where you turn the separate frames into a short time-lapse movie. So, loads you can try! Many DSLRs now have intervalometers built into their menu settings, and this includes most Nikon and Pentax DSLRs, as well as the Canon EOS 7D II and 5DS/5DS/R. If your camera doesn’t have one, they’re also commonly found as part of remote releases or wireless triggers. If you’re looking for a separate intervalometer remote you’re spoilt for choice; there are options like the corded Canon TC-80N3 Remote Controller (£120), and wireless versions, such as Hähnel’s Giga T Pro II Remote Control (£75) among others. In-camera, the intervalometer functions will be found in the shooting menu, either as a standalone sub-menu, or as part of the drive functions where you’ll also find things like the self-timer. Before shooting also consider the number of shots you’ll need and whether there’s enough space on your memory card. The basic functions of using an intervalometer remain the same, and are outlined in the step-by-step guide on the right. Next month: More essential camera skills

How to shoot time-lapse sequences with an intervalometer Step 1: Tripod and focus Alignment is usually vital for timelapse shots, so first you’ll need to secure the camera’s position on a tripod (or other mount). See that the tripod has a solid footing and won’t be disturbed throughout the shooting sequence, which could last several hours. Finally, compose the photo, making sure that you can predict any movement of the subject through the frame, lock the focus and switch to manual focus so the camera doesn’t need to refocus between shots.

Step 2: Set up the exposure. Before setting the timer, you need to decide on the exposure mode and settings. For the greatest consistency, it’s best to use manual mode (M) for time-lapse sequences, but this is more convenient for low-light images than it is for rapidly changing lighting conditions where aperture-priority (A or Av) can be more useful. The whitebalance should also be set manually, to whatever conditions you’re in so that you avoid shifts in colour.

Step 3: Set the interval timer Either from the camera’s main shooting menu or using an external intervalometer, you can now set the timing between frames and ultimately the overall number of pictures you want to take. This will of course depend on the shutter speed you’re using (the timing can’t be shorter than the length of each exposure). Next, dial in the total number of frames that you want to shoot, giving the grand total of shots required and the total length of the operation. Now trigger the shutter and the interval timer will take over.

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

Software skills Blending time-lapse images in Photoshop While many cameras now include composite modes that can combine the sequence of photos you’ve taken into a finished image, it’s most common to do it in image-editing software like Photoshop. Using layers, masks and blending modes, the separate images can be merged in several different ways depending on the subject or the look of the image that you want. However, it all begins by adding each photo into the same document as separate layers ready for editing. On the right, you’ll see how to accomplish the basics, creating a layered file from your time-lapse, then how to merge the images in two different ways. If you want to save the file in its multilayered form, remember to choose File>Save As… and pick Photoshop from the list of file options. Next month: Easy ways to improve pics with Photoshop and Lightroom.

Step 1: Load up the files

Step 2a: Mask them

Step 2b: Blend them

In Photoshop, go to File>Open and load the pictures from your time-lapse sequence. Say there are six files in all. On the second of the sequence, go to Select>All (Ctrl+A), then Edit>Copy (Ctrl+C). Close the picture down and on the first of the sequence, go to Edit>Paste. In the Layers palette (Window>Layers) you’ll now have the Background Layer and Layer 1. Repeat this with the other images until all are in added as layers. You can also use File>Scripts>Load Files into Stack…, click Add Open Files (the ones you want to use) and click OK, as shown above.

If you’re creating a picture that’s to show movement through the frame, in the Layers palette, click on the eye icons to turn all but the bottom two off. Now click on the second to bottom layer and go to Layer>Layer Mask>Reveal All. A mask will appear next to the layer. Now pick the Brush tool and, using a soft-edged tip, set its colour to black. Paint into the mask to reveal the layer below, showing the subject in a different place. Click the next layer up to make it active and turn its visibility back on. Add another mask, and repeat the process. Finally go to Layer>Flatten image.

If it’s light trails or moving clouds you want to show, you can using Blending modes to create the timelapse effect. With the layers stacked up in the same manner, in the Layers palette, click on the second to bottom and then hold the Shift key and click on the top layer. This will highlight them all and now you can click where it says Normal and change the Blending mode to Lighten. This will show all the brightest parts of the layers, but if some parts are too bright, just mask them away, or use the Eraser tool to remove them. Finally go to Layer>Flatten image.

Photography News | Issue 35 | 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 90MB/s and read data at an even higher 95MB/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 word search 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 PN33’s word search was Black and the Samsung 64GB card was won by Anna Black from West Yorkshire. samsung.com and search for memorycards Small is beautiful but big is better, and that is definitely the case when it comes to photography when you want the best image quality. When film was the only capture option, going to medium-format was perceived to be essential, especially for commercial photography whether that was for product shots, weddings or stock images. The larger film format gave superior quality with better rendition of detail, finer grain and less enlargement was needed to get the same print size, and all were powerful attractions. That meant medium-format photography was an active and buoyant marketplace, and it was affordable too as there was a wide range of cameras available at prices comparable to leading 35mm models. Many medium-format cameras including the Mamiya C-series and Yashica Mat-124G were incredible value. If money was really limited and quality not a priority the Lubitel cost less than £20. Affordability is not something you can say about medium-format digital with cameras costing many times that of a pro 35mm DSLR. But pricing is changing. Pentax stirred things up and brought value to the market with its 645Z, a 50-megapixel system DSLR that is currently on sale at £6199 with a 55mm lens. With top-end 35mm DSLRs selling at over £5k, the magnitude of difference is not that great. Hasselblad too with its X1D will shake things up. This compact mirrorless mediumformat camera promises much and comes at an affordable price. Obviously at around £9k with a lens it’s not cheap but if you have the money (I don’t but many people seem to) and quality counts then it’s worth a look. And it’s portable, weighing less than a DSLR and standard zoom. I spent an hour or so shooting with a preproduction sample and when I processed the

Raws, comparing them with the same shots taken on a top 35mm DSLR, the difference was clear. I reckon many pros and a good many enthusiasts will take the plunge. It’s certainly an excellent camera and you can read my hands-on experience in this issue. It has been a good month to get my hands on great kit and I got the chance to use the Fujifilm X-T2 for a few hours too. Better yet, that chance was at Le Mans Classic where I got to confirm that action photography is not my forte. The camera did great – my report is in this issue too – but I did less well. I grew up on a diet of incredible sports images from the likes of Chris Smith, John Zimmermann and Eamonn McCabe and I really fancied the idea of action photography as a job. You see, I love sport and the thought of being on the touchline for a World Cup final or at the finishing line of the 100m Olympic final with a camera sounded absolutely perfect. Back then, it was manual focus only and film and pro cameras could shoot at five framesper-second so nothing like the incredible frame rates you get now. Mind you, that still meant a 36-exposure film would last for seven seconds if you kept your finger on the shutter button. Clutching my 135mm telephoto lens and 3fps SLR, I did go to many local sporting events trying to see if I could make a fist of action photography. I couldn’t, which is why I’m writing this. It is still the case when I watch a major sporting event that I have one eye on the photographers working there and wonder what it would be like to be in their shoes.

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SPECIAL EDITION Advertisement feature

Fujifilm X-T2 shoots great movies (and stills) The X-T2 joins the X-Pro2 at the top of Fujifilm’s X-series range and it has the honour of being the brand’s first camera to offer 4K video recording

The Fujifilm X-T2 is the ultimate mirrorless camera offering premium movie and video image quality from its 24.3-megapixel sensor, outstanding DSLR-style handling and autofocus capable of tracking fast action. The X-T2 is the first Fujifilm X-series camera to support 4K video recording shooting at 3840x2160 to generate outstanding image quality. The X-Processor Pro high-speed image processing engine has the performance

The X-T2 is the first Fujifilm X-series camera to support 4k video recording

to handle the huge amount of data resulting from 4K shooting. The heart of the X-T2 is the 24.3-megapixel X-Trans CMOS III APS-C sensor that is low-pass filter free to enable image quality comparable to full-frame cameras. Working with the sensor is the X-Processor Pro engine to deliver excellent quality with outstanding colour reproduction, smooth tonal gradation and low noise levels even at high ISOs.

Fujifilm’s renowned Film Stimulation modes can be applied to the X-T2’s video recordings. Nine options are available to embellish your footage including Classic Chrome for subdued yet rich saturation and the ACROS monochrome setting for smooth tones and deep blacks without any post-processing. fujifilm.eu/uk

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

Photography News | Issue 35 | absolutephoto.com

Advertisement feature Now with 4K video The Fujifilm X-T2 is the first X-series camera to support 4K video recording and it has an impressive list of features to support its filmmaking aspirations. The X-T2 delivers outstanding 4K high definition by capturing extra information. In 4K, the X-T2 captures 1.8x more pixels than are needed (input is 5120x2880 and output 3840x2160) while in Full HD the camera captures 2.4x the required data to produce superior recordings free of moiré and colour artefacts. For both 4K and Full HD formats, the X-T2 supports high video bit rate recording of 100Mbps to deliver high resolution recordings with minimal compression artefacts. Continuous Full 4K 3840x2160 30P/25P/24P recording is possible up to a maximum of ten minutes with a UHS Speed Class 3 or higher memory card. In Full HD 1920x1080 60P/50P/30P/25/24P, recordings of up to 15 minutes are possible. To expand the video making possibilities, the optional Vertical Power Booster Grip (VPB-XT2), which retails for £299.99, increases recording time to 30 minutes for both 4K and Full HD footage. The X-T2 has a Clean HDMI output suitable for recording uncompressed format video to an external memory device, an important feature for experienced videographers. The output is simultaneous too so you can check recordings on an external monitor as well as on the camera’s own monitor. Also on offer via the HDMI output is F-Log, a gamma profile designed to maximise dynamic range and enable greater flexibility with colour grading. It is a method to get the most from a sensor without offering memory-hungry Raw video. F-Log shows Fujifilm’s commitment to attract serious videographers.

Vertical Power Booster VPB-XT2

orientation, as well as landscape, which should please many videographers. It also puts awkward, high and low viewpoints within easy reach. With its HDMI connector for an external monitor or memory and a 3.5mm microphone input jack for an off-camera mic, the X-T2 is well equipped for video shooters. These are the kind of essentials that make the X-T2 a more than credible camera for movie makers. Two SD memory card slots are available. These can be configured for sequential use during recording, which is useful on long shoots using onboard SD memory only when the X-T2 is set up in a rig.

The optional Vertical Power Booster Grip (VPB-XT2) retails for £299.99, and for videographers it’s probably a musthave as it increases the camera’s video performance – it also boosts stills shooting to 11fps in Boost mode with reduced blackout time, shorter shooting interval time and a briefer shutter release time lag. As well as boosting the X-T2’s movie recording potential to 30 minutes in 4K and Full HD, the grip will also interest videographers, because it offers a headphone socket for audio monitoring during video recording. Handily, the grip also doubles as a battery charger, using the supplied AC adapter, and two cells can be charged simultaneously in about two hours. It also duplicates several key features of the camera body including the shutter release, focus lever, the Q and Fn buttons and command dials. Finally, it’s dust- and moisture-resistant so less than perfect conditions are water off a duck’s back for the X-T2 and VPB-XT2 pairing.

Improved handling The X-T2 offers significant handling and design improvements over its predecessor that makes it an even more enjoyable, more comfortable camera to use – and now videographers can enjoy this ease of use too. Until now X-series cameras could shoot Full HD movies, but they certainly weren’t shouting about it. With the X-T2 that all changes, so now film fans can enjoy the 2.36 million dot electronic viewfinder with its magnification ratio of 0.77x for a large viewing image. The bright image with minimal blackout is sure to be a hit with videographers. The Automatic Brightness Adjustment function alters the viewing image to ensure you get the most possible view in changing ambient light conditions. The three-way tiltable 1.03 million dot three-inch monitor tilts in portrait

In-camera creativity Fujifilm’s Film Simulation modes are widely used in still shooting and the X-T2 enables them to be used for video recording too. No less than nine settings are available for the creative videographer to take advantage of, removing the need for post-production. For example, use the ACROS Film Simulation mode for moody monochrome recordings with deep blacks, sparkling highlights and smooth mid-tones, or try Classic Chrome for subdued yet rich colours, and for a larger than life rendition Velvia is the setting to use. Footage shot in a Film Simulation mode can be fine-tuned with Highlight Tone, Shadow Tone, Colour and Sharpness adjustments so images can be personalised for a very individual look to suit the mood you are aiming for. Settings including aperture, shutter speed and exposure compensation can also be adjusted during video recording.