Photography News Issue 37

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Issue 37 26 Sept – 20 Oct

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Profoto breaks all speed records

Leading lighting brand Profoto has announced two flash systems that set performance standards never seen before in the world of studio flash and offer amazing opportunities for creative photographers Profoto’s new D2 monolight and Pro-10 power pack offer very, very brief flash durations for stopping the fastest action, incredibly rapid recycling for fast burst shooting and the flexibility of TTL lighting control, plus much more.

The D2 monolight is available in two outputs, 500Ws and 1000Ws. The D2 500 offers a remarkable minimum flash duration of 1/63,000sec in freeze mode while by comparison the D2 1000’s minimum flash duration is 1/50,000sec in both cases this has been achieved without sacrificing high output levels.

The speed theme is continued with recycling where burst shooting of 20 flashes per second is possible so you can shoot a high speed sequence and pick the best result.

The two units are user-friendly, robust and share many practical features including a power range of 10EV adjustable in 0.1EV steps, TTL shooting with a Profoto Air Remote TTL trigger and high speed flash sync up to 1/8000sec. Of course, both heads mesh perfectly into the Profoto system with over 120 light shaping modifiers available.

If greater power and an even shorter flash duration are what you need, then look no further than the Pro-10 power pack. This has a 2400Ws output with energy adjustable from 2.4Ws to full power in 0.1EV steps.

In freeze mode flash durations as brief as 1/80,000sec are achievable making the Pro-10 the world’s fastest studio flash unit with TTL and you get this with plenty of output too so you can achieve the required depth-of-field as

Above The D2 monolight and Pro-10 power pack from Profoto are set to revolutionise the world of studio flash

If greater power and an even shorter flash duration are what you’re after, look no further than the Pro-10

well as an ultra-brief burst of light to stop the fastest action. The pack has two outputs and 11 different Profoto flash heads are compatible with the Pro-10. Output through the two outlets is fully asymmetrical 0-100% so you have full control over your lighting set-up.

Profoto’s spate of new products is completed with the Air Remote TTL-S. This is the Sony compatible trigger and joins those already available for Canon and Nikon. It means Sony users can now enjoy the great features of Profoto Air flash units including TTL flash, high speed sync flash and remote wireless control from up to 300m from the light.

Turn the page for even information about Profoto’s latest products. profoto.com

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Always up to speed with the Profoto D2

The new Profoto D2 is the world’s fastest monolight with TTL, with incredibly quick recycling for continuous burst shooting and amazingly brief flash durations to freeze the most frantic action. Add easy to use TTL flash, high speed sync and compatibility with over 120 light shaping tools and you have the ideal mains flash head for today’s demanding photographer Speed was top of the agenda when the Profoto design team started work on its latest mains monolight, the incredible D2.

Its briefest flash duration is a stupendous 1/63,000sec, it can recharge so rapidly that it can handle bursts of 20 images per second and it will synchronise with cameras at shutter speeds as brief as 1/8000sec.

Of course, speed means different things to different photographers and the D2 has the skill set to deliver whatever is required including the ability to provide ample power. The D2 is available with two outputs, 500Ws and 1000Ws, and over a power output range of ten f/stops. In the case of the D2 500, that means a selectable output range of 1 to 500Ws. The ability to capture the fastest action with total detail is important to many and both D2 models allow incredibly brief flash durations. The D2 500 has a flash duration of 1/63,000sec in freeze mode, while the D2 1000 is only slightly longer at 1/50,000sec.

The really exciting thing is that these very short flash durations are not just available at very low power settings, but across the entire 10EV output range so power and super-short flash durations can be combined to make the most of challenging subjects.

Add to the very brief flash duration the ability to recharge incredibly rapidly and even more creative opportunities are opened up. The D2 500 recycles in 0.03-0.6sec in quick burst mode and means you can shoot up to 20 flash-lit images in a second. Being able to shoot so many shots so quickly means you’re sure to capture the decisive moment with a sequence of near-identical pictures.

All these innovations have been packed into a compact unit very familiar to D1 owners and exhibits the same robust build quality and slick user-friendly handling.

Indeed, the D2 meshes seamlessly into the Profoto system and is fully compatible with more than 120 light-shaping tools.

The D2’s functions are adjustable using the rear panel and the large, high resolution display. Here power output, the modelling lamp, sync mode and mode can all be adjusted. Power output in manual, TTL or freeze mode is adjustable in a 10EV range in 1/10 stop increments, from full output of 500 down to 1Ws. How you use the D2 is up to you. If you prefer to take control and know how much light each unit is delivering fully manual operation is available using the Profoto Air Remote that lets you wirelessly trigger and adjust light output from up to 300m away.

If you prefer to use the sophistication of the D2’s TTL circuitry and still enjoy wireless operation from up to 300m that is just as simple. In this case you need an Air Remote TTL trigger and Canon, Nikon and now Sony compatible models are available.

Want to try it for yourself? You can with Try Before You Buy. Find exactly how on the website, or ask your nearest Profoto dealer.

Specs D2 500 AirTTL Max energy 500Ws Energy range 10 f/stops (1-500Ws) Energy control increments 1/10 or full f/stops Recycling time 0.03-0.6sec (quick burst up to 20 flashes per second) Shortest flash duration (in freeze mode) 1/63,000sec Longest flash duration 1/2600sec

The D2 has the skill set to deliver what is required, including ample power Specs D2 1000 AirTTL Max energy 1000Ws Energy range 10 f/stops (2-1000Ws) Energy control increments 1/10 or full f/stops Recycling time 0.03-1.2s (quick burst up to 20 flashes per second) Shortest flash duration (in freeze mode) 1/50,000sec Longest flash duration 1/1600sec

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Show stoppers The PN news machine has gone into overdrive to bring you all the latest news from Photokina, the world’s biggest imaging exhibition Photokina takes place in Germany every two years and is attended by all the key names in the business. It’s often used as a launch platform for new products, systems and technologies, and this year the exhibition was full of exciting innovations for photographers of all interest areas and skill level.

For many the highlight was the announcement of the Fujifilm GFX medium-format camera system.

The system kicks off with the 50S, a camera with a 43.8x32.9mm sensor and a resolution of 51.4 megapixels.

Initially, two lenses will be available, with four more by the end of 2017. Intriguingly, the price of the 50S with the 63mm standard lens was said to be ‘well under $10,000’. If that level of pricing materialises, many fullframe users might be giving it a look. Turn to page 3 to find out more.

For Micro Four Thirds users, the announcements of new Panasonic and Olympus top-of-the-range models, the Lumix GH5 and OM-D E-M1 Mark II respectively, will be of great interest. Both will arrive early in 2017.

See page 4 for much more on the Olympus flagship.

Finally, lighting specialist Profoto has introduced a mains flash system, the Pro-10, where flash durations of 1/80,000sec are possible and that is backed up with power too. Not quite as quick but pretty close is the D2 500 where the shortest flash duration is 1/63,000sec.

Turn the page to enjoy nine pages of Photokina news coverage.

Photography News | Issue 37 | absolutephoto.com

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Photography News | Issue 37 | absolutephoto.com

News

Fuji goes large

Fujifilm has a rich heritage in medium-format photography and at this year’s Photokina it has announced the development of the GFX medium-format camera that will be available from 2017 Words by Will Cheung Five years after its last system introduction, the successful X-series, we have another totally new camera system from Fujifilm and this time it is medium-format.

At Photokina, Fujifilm made a development announcement and its intention to launch the GFX system early in 2017. No exact date has yet been set for the launch but the aim is to have the camera and six lenses on sale by the end of 2017.

Customer demand, and the recognition that APS-C and 35mm formats have their limitations, are the motivations behind the new system. Plus, Fujifilm, as a leading photography brand, saw that this was a fresh challenge for the company not to be turned down.

The Fujifilm GFX is a compact, mirrorless medium-format system based around a 43.8x32.9mm sensor – 1.7x bigger than 35mm or fullframe. The first model, the GFX 50S, has a 51.4-megapixel chip and the sensor is optical low-pass filter free.

The body design has a familiar look to the company’s X-series with the top-plate’s lockable shutter and ISO speed dials being good examples of this. The rear monitor is adjustable, with a functionality similar to the X-T2’s, including the ability to swing out for comfortable low-level or upright format shooting.

To keep size and weight down an EVF that sits in the hotshoe is removable so you can use the monitor on its own, plug in an external monitor or buy the optional tilt monitor that can be set for waistlevel or low viewpoint shooting.

The body is weather and dust resistant, and the shutter is designed to be quiet with minimal 'shutter shock' vibration and therefore optimal sharpness.

There is the option to shoot at different aspect ratios and with the sensor’s high resolution file

Sensor The GFX 50S will have a 51.4-megapixel medium format sensor measuring 43.8x32.9mm – 1.7x larger than a full-frame DSLR's.

Will Cheung on the Fuji GFX 50S I've attended many press conferences, but I can’t think of many (if any) where there was much so much delight greeting a new camera as its core features were unveiled and demonstrated. Not this time. And yes, I was clapping, too.

Personally, the prospect of a mirrorless medium-format camera has huge appeal and Fujifilm has done what looks to be an amazing job on the GFX 50S. Of course, things could change by the time this camera comes out and we don’t know what its true potential is right now, but it’s incredibly promising.

I got time for a proper feel of the camera, equipped with the 63mm and standard zoom lenses. I have to say it all felt excellent. Yes, the body is quite deep, but the contoured handgrip was a perfect fit for my average-sized paws.

The body with the standard zoom didn’t feel much heavier than a fullframe DSLR with an f/2.8 standard zoom, and I think I could carry and use the combination for extended periods with no problem. Handling was very good and the buttons and controls had a robustness which inspired confidence.

Of course, image quality is key, and untested, but if it matches the handling, and the GFX 50S's price is competitive, then medium-format photography the Fujifilm way is a very real possibility. As you can tell, I'm pretty excited!

sizes are still big. The standard 4:3 aspect ratio gives 51.4 megapixels while setting 1:1 or 16:9 still gives 38 megapixels.

A lens roadmap was also announced, the plan being to have six lenses available by the end of 2017 covering a range from 18mm to 95mm in 35mm format terms.

Two lenses will be launched with the camera, the GF63mm f/2.8 R WR and the GF32-64mm f/4 R LM WR. The 63mm is a 50mm equivalent, while the zoom is a 2551mm equivalent in 35mm terms.

Future lenses include a macro, fast telephoto and two wide-angles, one zoom and one fixed focal length.

GF lenses do not have a builtin shutter and optically they have been designed to perform well with future sensors of 100 megapixels.

Pre-production samples were available at the launch to handle but not to shoot with. The GFX 50S body feels solid and with positive controls while the contoured handgrip is excellent allowing a secure and comfortable hold. Weight-wise the 50S is similar to something like the Canon EOS 5D Mk IV at around 800g and with the GF32-63mm f/4 made for a portable mediumformat package. The removable EVF concept works well and the optional

tilt monitor is a very neat piece of design that will appeal to many photographers.

At this early development announcement stage, more detailed specification of the GFX 50S was not available but the headline features are certainly impressive. The price could be too – it is going to be ‘well under US$10,000’ for the camera body and 63mm standard lens. How that translates to the UK come launch time in 2017 we will have to wait and see, but for those thinking of moving up to medium-format, the GFX system could be a compelling option. fujifilm.eu

First look We got plenty of time to look over the newly annouced GFX 50S and its lenses at Photokina. Like Fujifilm's X-series it features all the manual inputs you're likely to need in an elegantly designed, sturdy package.

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Photography News | Issue 37 | absolutephoto.com

News

Next-gen Olympus OM-D

For the latest top-of-the-range OM-D, Olympus had to go back to scratch and develop whole new systems to enable it to fulfil its lofty ambitions, including shooting at 18fps Olympus users, the wait is finally over. Ending months of fevered speculation, the new OM-D E-M1 Mark II was officially announced at Photokina, and piles more high spec features onto an already successful body.

The OM-D E-M1 Mark II ramps up the speed and performance, to meet the demands of sports, wildlife, action and travel photographers, both in terms of AF performance and burst shooting, while improving image quality, from its 20.4-megapixel chip and TruePic VIII processor, too. The focusing features a brand new, super-fast all cross-type on-chip phase-detection autofocus system, so locking onto moving subjects and those in lowlight should be a cinch. It’s precise and versatile, too, with 121 points at your disposal and a high-speed algorithm powered by the new TruePic VIII AF processor, while a separate moving-subject algorithm aids tracking performance.

Backing this up is an eye-watering 18fps burst mode in C-AF mode, rising to a phenomenal 60fps in when focus is locked in S-AF mode.

What’s more, shutter lag should be eliminated thanks to a 14 frame buffer that starts recording when the shutter button is half-pressed.

It all boils down to a camera that’ll stop you from missing the moment.

Developments in the OM-D E-M1 Mark II’s design also means it’s ready to go anywhere with you, no matter the conditions. The body is splashproof, freezeproof and dustproof, with tough metal exterior, but, like it’s predecessor, it’s still compact enough to fit in a bag or a large pocket. The camera’s grip has also been tweaked to offer the maximum shooting comfort, and, as before an optional battery grip with matching controls can be added for increased power and easier vertical framing. Battery life is also improved, with Olympus stating the increase at up to 40% and the charging time of only two hours is around twice as quick as its predecessor, while there’s also a

New lenses, too!

Also new from Olympus is a fleet of fast aperture lenses; the M.Zuiko 30mm f/3.5 Macro, M.Zuiko 12-100mm f/4 IS Pro and M.Zuiko 25mm f/1.2 Pro. Starting with the 25mm f/1.2, this (equivalent 50mm) lens should produce some jaw-dropping bokeh and, as a Pro lens, it’s also dust-, splash- and freezeproof. It'll be available in October 2016 with a guide price of £1099.99.

Also weather sealed is the 12-100mm f/4 IS Pro (equivalent 24-200mm). This versatile and fast optic has an IS feature that twins with in-camera IS for an effective 6.5 stop shutter speed advantage.

Also priced £1099.99 it’ll be available in November.

Finally the small, light 30mm f/3.5 Macro boasts a powerful 2.5x magnification, and a classleading close-focus of 9.5cm. This, combined with its fast and nearsilent focus mechanism should make it a top pick for wildlife and nature photographers. Available now, it’s priced £249.99.

Ending months of fevered speculation, the new OM-D E-M1 Mark II was announced handy new battery display, showing the percentage of juice left.

To keep you shooting the OM-D E-M1 Mark II is also the first in the series to offer dual SD card slots, one of which is UHS-II compatible, emphasising OM-D’s growing appeal to professional users.

The dual card slots mean you can use a second card as an overflow, or split file types between them, such as Raw files to one and JPEGs to the other.

As you’d expect, there’s a full suite of video modes, too, with ultrahigh definition 4K at 30fps and 102Mbps bit rate. Movie buffs will also welcome the addition of a 24p frame rate and a 237Mbps bit rate to the OM-D repertoire, meaning footage can be shown in authentic widescreen 4K format. Finally, the in-body Image Stabilisation has also been improved and the E-M1 Mark II’s 5-axis IS mechanism now compensates for the equivalent of up to 6.5 stops, at a focal length of 100mm (with the M.ZUIKO 12100mm f/4 Pro lens). olympus.co.uk The images We got the chance to get hands-on with an early sample of the OM-D E-M1 Mark II at Photokina, and to chat through some its cutting technologies with Toshiyuki Terada, general manager, Imaging Global Marketing Division, Olympus Corp (pictured right).

Will Cheung at Photokina The new OM-D flagship has a great, very solid feel and even though the handgrip is deeper by 3mm compared with the previous model the benefit is clear – at least for my hands – and the result is a lovely camera to hold.

I didn’t get a chance to try shooting at 18fps or 60fps with the electronic shutter but there is no doubt of the AF system’s speed and sensitivity. With 121 focus points, all cross-type, and coverage of over 75% of the image area, my sample camera zipped into focus in the low light of an exhibition hall with no problem.

The EVF has a refresh rate of 120fps so just panning the camera around the hall meant there was barely any perceptible lag.

The OM-D E-M1 Mark II has the potential to be a stunning camera and my money is on Micro Four Thirds users being in a for a treat if they commit to this new body.

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News

Sigma’s global family Sigma’s Global Vision lens lineup has been forging a path of high quality and adaptability for several years now, and the family now greets three new members, the 1224mm f/4 DG HSM Art, 85mm f/1.4 DG HSM Art and 500mm f/4 DG OS HSM Sport.

As part of the Art range the 1224mm f/4 Art is uncompromising on image quality and sports the largest molded glass aspherical element in its class as well as FLD (F Low Dispersion) glass, which together minimise distortion, chromatic aberration and flare. As a result, image quality is claimed to be outstanding from edge to edge. The lens has a minimum focus distance of 24cm at the long end, rising slightly to 25.8cm at its widest view. A new design Hyper Sonic Motor (HSM) improves AF stability and the lens is also dust and splash resistant. Release date is TBC, but the price is £1649.99 and Canon, Nikon and Sigma fittings will be available.

Next is the 85mm f/1.4, another Art lens coming soon in Canon,

Nikon and Sigma mounts. The construction features 14 elements in 12 groups, incorporating two SLD (Special Low Dispersion Glass) elements to remove flare and ensure smooth gradation of focus even when shooting wide open.

The HSM motor has been upgraded from previous designs and full-time manual focus override is available.

Again launch is TBC, and the retail price is £1199.99.

The 500mm f/4 DG OS HSM is Sigma’s flagship in the Sport line.

The lens has a magnesium alloy barrel, a carbon-fibre hood and

All action Nikon Nikon announced the KeyMission 360 earlier this year and this camera has now been joined by the KeyMission 170 and the KeyMission 80.

The shock- and waterproof KeyMission 170 has a 170° wide view and it can record 4K UHD video. The rear monitor is intuitive to use and creative shooting modes like slow motion, superlapse movie and time-lapse movie are available.

The KeyMission 80 is an ultraslim, wearable camera. It features a main 4.5mm VR wide-angle lens on the front and a second 1.8mm lens on the rear for 4.9-megapixel selfies (the main lens delivers

12-megapixel stills and Full HD video). The 80 is waterproof to 1m and shockproof from 1.5m and is controlled by a 1.7in touchscreen.

Each KeyMission model will be available from the end of October with the 360 costing £419.99, the 170 £329.99 and the 80 £249.99.

The KeyMission 360 and the 170 both support the SnapBridge 360/170 app, which enables remote shooting and editing.

Meanwhile, the KeyMission 80 supports the SnapBridge app so can be left connected to a smart device. nikon.co.uk

enhanced dust and splash-proof construction as well as a water- and oil-repellent coating on the front element. Optically, it uses one SLD glass and two FLD elements, and accepts drop-in filters. There’s an Optical Stabilizer (OS) onboard with a new Intelligent OS algorithm that combines with an acceleration sensor to deliver 4EV benefit. The lens’s AF system is also intelligent enough to remember your choice of AF position. Availability is TBC, but price is set to be £5999.99. sigma-imaging-uk.com

UltraHD prints from WhiteWall There was plenty of great photography on show at Photokina and for print quality the offerings on display from WhiteWall were difficult to beat. The enlargements illustrating the company’s ultraHD Photo Print service were amazing.

Thanks to a new technology, ultraHD prints have twice the resolution of conventional prints and show incredible sharpness, richness and detail rendition.

UltraHD prints are made on Fujifilm Crystal DP II paper and sizes are available from 9x9cm to 248x122cm. Another option is prints under acrylic glass with thickness options of 2mm and 4mm to accentuate image depth and colour.

The examples we saw at Photokina were awesome and we will be testing the service soon. whitewall.com

New generation Sony flagship ahoy from Bowens Lighting expert Bowens has launched two new systems, the XMT and the XMS. The XMT 500 is a portable battery pack flash system with TTL and high-speed flash sync functions and is fully compatible with Canon, Nikon and Sony products. The lithium battery is capable of 500 full power flashes.

The XMT 500 has a price of £1199.

The XMS system is available in 500, 750 and 1000Ws outputs priced at £799, £899 and £999 respectively. All are controllable with the XMSR 2.4GHz radio trigger. The XMSR has a sync offset feature to enable high-speed flash sync with any brand of camera. bowens.co.uk

Sony looks set to build on the success of the A99, with its successor, the A99 II. This is Sony’s flagship model and therefore features some mouthwatering new updates alongside the now familiar Translucent Mirror Technology (TMT). These include Full-frame 4D Focus, which is an innovative hybrid phase-detection

AF system equipped with 79 hybrid cross-type AF points. In combination with its new BIONZ X processor, speed of focus is very high and also allows a burst mode of up to 12fps.

Then there’s the high-resolution 42.4-megapixel full-frame Exmor CMOS sensor, which promises low noise at high sensitivities and

a wide dynamic range. The actual ISO range spans 100-25,600 and is expandable to 50-102,400. All this without an optical low-pass filter to improve sharpness.

The A99 II also features a 5-axis SteadyShot image stabilisation system giving a 4.5-stop benefit. sony.co.uk

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News

Canon adds to its mirrorless and EF systems The EOS M5 is a 24.2-megapixel mirrorless camera and the first EOS to use Canon’s DIGIC 7 image processor for lower noise, more detail and richer tones. The APS-C sized sensor also features Dual Pixel CMOS AF for responsive and accurate autofocusing in still and movie modes.

As you might expect, the EOS M5 is rich in user-friendly features, but there's plenty of creative control, too. There's a high-quality EVF with a 120fps refresh rate and an LCD monitor with touchscreen functionality that includes the option of mimicking the joystick function of a DSLR, so you have total control with your thumb. Shooting rate is 7fps or 9fps with fixed focus and the top native ISO is 25,600.

The EOS M5 boasts Wi-Fi, NFC and Bluetooth for constant connection between your camera and smartphone.

In fact, the Bluetooth mode lets you view and transfer images without even taking the camera out of the bag.

Also joining the EOS M system is the EF-M 18-150mm f/3.5-6.3 IS STM, an 8.3x zoom including an Image Stabilizer with a 4EV benefit and dynamic IS for steady movie shooting.

The EOS M5 body costs £1049 and will be available from late November.

The camera with the EF-M 15-45mm f/3.5-6.3 IS STM will be £1149. Available from mid-December will be a kit with the EF-M 18-150mm f/3.5-6.3 IS STM lens costing £1399. That lens on its own is £429. At the launch, buy any version of the EOS M5 and an EF-EOS M mount adaptor will be included free.

Canon’s EF lens system has also gained a new member, the 70-300mm f/4-5.6 IS II USM telephoto. Designed for use on full-frame and APS-C format DSLRs, the new lens features an enhanced optical configuration that includes an ultra-low dispersion element to deliver sharp, contrasty images with vibrant colours.

The AF features Nano USM technology for fast and quiet operation so no noise is picked up when shooting video. This lens is the first to feature an electronic information display so you can check focus distance, depth-of-field and focal length – and the amount of camera shake.

The EF 70-300mm f/4.5-5.6 will be available from November at £499. canon.co.uk

Profoto at very, very high speed

Leading flash brand, Profoto, has announced two mains flash systems with incredibly brief flash durations available, the D2 monolight and the Pro-10 power pack.

Let’s start with the D2. It is available in two outputs, 500Ws and 1000Ws, and speed is very much top of its agenda. The D2 500 has a flash duration as short as 1/63,000sec in freeze mode (1/50,000sec on the D2 1000) so if you like shooting water droplets, for example, it will ‘stop’ every

detail and with plenty of power on tap, too. Furthermore, super-fast recharging allows a quick burst mode which lets you capture 20 images a second so it's ideal for fast-paced action.

The D2 also has the option of TTL shooting, full manual, high-speed flash sync with shutter speeds up to 1/8000sec and it is compatible with over 120 light shaping tools in the Profoto system, making it an incredibly powerful tool for the keen photographer.

The D2 500Ws head costs £1194 with the 1000Ws priced at £1554.

Kits are available too: the D2 Duo Kit 500/500 at £2394; and the D2 Duo 1000/1000 kit at £3114.

We’ll be testing the D2 in due course, but we did get the chance to get our hands on a pre-production sample, and very impressive it is, too. Build quality is up to Profoto’s very high standards and the quick burst mode is remarkable. Its freeze mode is something we will be experimenting with as soon as a sample arrives.

If you thought D2 was fast, check out the Pro-10. It is the fastest studio flash ever made with flash durations as brief as 1/80,000sec in freeze mode possible and with plenty of power to match. The unit’s top output is 2400Ws and that is adjustable down to 2.4Ws, a range of 11EV. If you want to shoot a sequence of fast action that's also possible, with the Pro-10 capable of up to 50 flashes per second. High speed sync up to 1/8000sec is also available and you can shoot

in manual or TTL modes. Finally, the Pro-10 is compatible with 11 different flash heads and over 120 light shaping tools.

Sony users will be pleased with Profoto’s final piece of news. Its Air Remote TTL is now available for Sony (a7 II, a7R II, a7S II) giving full wireless TTL control with compatible Profoto units.

Working range is up to 300m with three groups and eight channels available. profoto.com

Photography News | Issue 37 | absolutephoto.com

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Photography News | Issue 37 | absolutephoto.com

News

Shoot great British landscapes to win Photography News has teamed up with expert photographic printers Lumejet to bring you this chance to win £200 to spend on Lumejet products.

Lumejet is passionate about printing great photographs and uses its own specially developed S200 printer for high-end photographic and commercial print use.

This high-resolution printer features the Lumejet RGB Digital Print Head and Fujifilm professional grade Crystal Archive materials to achieve a unique, ultra-high quality finish and really extraordinary colour fidelity.

To be in with a chance of winning, all you have to do is upload your entry the competition's Flickr gallery at bit.ly/2bPuEWR. Any image type is eligible (mono, HDR, multi-image) but only one shot per person can be submitted and the subject must be a British landscape. Entrants must also be UK based.

For full terms and conditions see absolutephoto.com The closing date for entries is 17 October and the winner will be announced in PN issue 38, out the week beginning 24 October 2016. Go for it! lumejet.com

Laowa hits an optic treble

© Will Cheung

The Laowa 12mm f/2.8 Zero-D is the world’s fastest rectilinear ultra wide-angle lens designed for full-frame cameras.

Optical construction comprises 16 elements in 10 groups which includes three extra-low dispersion elements and two aspherical elements to give a high quality, edge-to-edge optical performance free of chromatic aberration and exceptional sharpness even at maximum aperture. The innovative optical design also overcomes barrel distortion, a common problem with ultra-wide lenses, and does so in a compact form in a lens weighing in at just 609g.

This lens will be available in Canon EF, Nikon AI, Sony A, Pentax K and Sony E lens fittings will be in the shops from the end of November at the price of £899.99.

Going on sale in early 2017 will be a 15mm f/2 Zero D and 7.5mm f/2.

Like the 12mm f/2.8, both lenses are manual focus, fast aperture, ultrawide models; the 15mm for Sony FE fit cameras and the 7.5mm f/2 for

Micro Four Thirds bodies.

The 15mm f/2 is the fastest rectilinear lens of that focal length for full-frame cameras and it is designed to give close to zero optical distortion, so ideal for critical applications like architecture.

Lightweight and compact, the 7.5mm f/2 is suitable for use on drones, but also makes a great partner for land-based shooting with its fast aperture making it perfect for low-light situations.

Prices of both lenses will be confirmed in due course. laowalens.co.uk

Panasonic powers on

Panasonic’s Lumix series is 15 years old and going strong. Now it's been swelled with three new high-spec additions, the LX15, the DMC-G80 and the TZ2000.

The Lumix LX15 is a 20.1-megapixel 1in sensor premium compact sporting the fastest zoom in its class, a 3x 2472mm (35mm equivalent) with a maximum aperture of f/1.4-2.8. A macro mode enables it to focus as close as 3cm from the lens at the wide-angle end for great close-ups and its AF system features Depth from Defocus (DFD) technology to improve speed and precision

as focal length increases. DFD calculates distance by evaluating two images at different sharpness levels at 240fps.

The LX15 also has a Post Focus mode that uses 4K video to let you set in-focus areas after shooting using the touch screen. The camera will be out in November at £599.99.

The DMC-G80 is a Micro Four Thirds 16-megapixel camera with an updated image stabilisation system. The Dual IS Mk II incorporates gyro technology, two axis Optical Image Stabilizer (OIS) and five-axis Body Image Stabilizer (BIS) to give a claimed 5EV benefit.

The sensor is low-pass filterfree and the new Venus Engine processor makes the most of whatever you shoot. The G80 has 4K video recording with live cropping and real-time HDMI image output, too. It’ll also accept the new DMW-BGG1 Battery Grip that takes an extra battery for enhanced shooting capacity. Prices of the G80 and grip and availability have yet to be confirmed.

The TZ2000 is premium feature-rich bridge camera.

Highlights include a 20-megapixel 1in MOS sensor, creative focusing features and a 20x f/2.8-4.5 zoom.

The latter is equivalent to 24480mm and once switched on, the internal zoom design means it stays a constant size as you zoom.

Extra features include 4k Photo where you can shoot at 30fps and save the best frame as an 8-megapixel file. Post Focus is also available as on the LX15.

The TZ2000 will also appeal to video shooters of all levels with unlimited 4K video recording in MOV/MP4 and Full HD video at the ultra-high bit rate of 200Mbps.

Output in real-time can be made to an external drive via its HDMI connection and an optional V-Log

upgrade available, too. Other pro video features include Dolly Zoom, variable frame rate and Stop Motion Animation. Availability of the Lumix TZ2000 will be from mid November and the price is £1099.99.

Panasonic has also announced that it's working on the GH5 for release in early 2017. The GH5 will offer several world-first innovations such as 4K 60p/50p video and a 6K photo mode where an 18-megapixel image is extracted from high-quality video. panasonic.co.uk

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Photography News | Issue 37 | absolutephoto.com

News

BlackRapid’s strapping stuff

Sigma gets into movie lenses Sigma is entering the world of video lenses with a range of fixed focal length and zoom lenses suitable for ultra megapixel shooting in Canon EF and Sony E mounts, and with PL fittings coming later.

The High Speed Zoom range includes an 18-35mm T2 and a 50100mm T2 while in the FF Zoom line there’s a 24-35mm T2.2. Five

New from the camera strap connoisseurs at BlackRapid is the ‘Breathe’ range. These straps, which come in a range of sizes and styles have been created to deliver high performance and comfort with the shoulder pad allowing better weight distribution and positioning across the body. As part of BlackRapid’s commitment to comfort, the shoulder pad

also has an air-mesh grip layer, fixing its position and increasing ventilation, so you can wear it for longer. Like other BlackRapid straps, it features Duraflex Buckles, Hypalon hook up points and springloaded bumper locks.

It’s out now with BlackRapid prices starting at £40. blackrapid.com

options are available in the FF High Speed Prime series and these include a 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.5 and an 85mm T1.5 model.

Prices are to be confirmed and the lens will start to be available from the end of 2016.

News in brief

Eddy lands in the UK Eddycam straps are now available in the UK. These straps are handmade in Germany from super-soft elk skin so they're comfortable and durable, too.

With straps available in main eight colours, 17 different colour combinations and a variety of widths, lengths and configurations, your choice can be very individual, too. eddycam.com

sigma-global.com/en/cine-lenses/

Zeiss 85mm Hähnel helpers The Captur Timer Kit builds on the success of the Giga T Pro II remote.

It includes all the latter's features and improvements like a larger LCD, a built-in audio trigger alert, and a more powerful radio output signal.

Also from Hähnel are new ProCube charger models that have a new look and additional battery plates, while the range of Extreme batteries has grown with the high capacity HLX-E6N and HLX-EL15HP.

The Zeiss Loxia family of lenses for full-frame mirrorless cameras has gained a new member, the 85mm f/2.4. It’s a manual focus lens with a focusing ring that rotates through 220˚ for very precise focusing and has a minimum focus distance of 80cm. Stocks will be available from this December and the lens is priced at £1199. zeiss.com/loxia

hahnel.ie

Classy print box Hahnemuhle’s new A3+ Portfolio Box offers an elegant storage solution for your most prized prints. Finished in black and made from acid-free archival materials the protective and stylish box features a textured cover of 100% cotton with acrylic coating.

The limited edition includes 50 sheets of A3+ inkjet paper with the choice of Photo Rag 308, FineArt Baryta or FineArt Baryta Satin. You also get 50 interleaf sheets of acid-free glassine paper. Prices to be confirmed. hahnemühle.com

Paxis pack There are backpacks and then there's the Paxis range of photo backpacks; these are cleverly designed so you can get at your kit without having to take the backpack off. Pull the cable attached to the shoulder harness and this releases the lower section of the backpack so that it can swing around to the front. Two sizes are available, the Paxis Mt Picket 18 and 20 priced at £180 and £200 respectively. The 18 is grey/ black and the 20 black only. johnsons-photopia.co.uk A partner for LumeJet LumeJet, a producer of topquality photographic and fine-art prints, has teamed up with online photo community, Photocrowd. Members can now enjoy LumeJet prints at attractive prices thanks to the deal. See this issue’s Profile section on LumeJet’s Deputy Chairman, Paul Anson, for more on the advanced printing technology they use. photocrowd.com lumejet.com

Photography News | Issue 37 | absolutephoto.com

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Photography News | Issue 37 | absolutephoto.com

News

Plenty from Phottix Lighting specialist Phottix has announced a host of accessories including an easy to assemble, portable beauty dish, the Spartan.

Available in 20in and 28in sizes priced at £99 and £129 respectively, the Spartan comes with a fabric grid, front diffuser panel and beauty dish deflector with fittings. The Spartan’s white lining and white deflector give a lovely light and it takes only a few seconds to turn it into a softbox

with the grid available, perfect for lighting smaller areas.

Used with Phottix Speedrings (from £29 extra), the Spartan can fit Elinchrom, Profoto and S-bayonet heads. The Spartan can be used in conjunction with the new Cerberus Multi Mount system. This system allows the easy and secure fixing of speedlights to S-bayonet and Elinchrom light modifiers. Phottix Transfolders can also be fitted.

Various Cerebus kit options are available. The Multi Mount kit costs £99 and this includes the Griffin Universal Flash Mount, the Varos B and the S-bayonet and Elinchrom mounts. The Griffin alone is £25.

Phottix Transfolders are fold-up softboxes in three sizes, 40x40cm, 60x60cm and 80x80cm priced at £69, £79 and £95 respectively. Kits including the Cereberus mount are available, and there is also a Deluxe

version of the 60x60cm Transfolder, which includes both a round grid and a mask.

The Odin II trigger announced earlier this year for both Canon and Nikon cameras is now available for Sony users. It costs £160 and its feature-rich specification includes TTL flash, remote light ratio control and Overdrive Sync, which enables high-speed flash sync up to 1/8000sec depending on the camera gear in use.

There's a test on the Odin II in this issue so please check that out.

News in brief Lexar’s microSD cards Lexar has introduced several microSD cards including a 256GB, high performance model. This 633x UHS-1 card has read speeds of up to 95MB/s. It comes with a USB3.0 reader for £246.99. lexar.com Samsung SSDs The Samsung 960 PRO and 960 EVO are new high performance SSD V-NAND based drives. samsung.com

eu.macgroupus.com

Macphun Aurora HDR 2017

Canon gets printing Canon has added four new compact models to its PIXMA range of home printers – each model is available in different colour finishes hence they are called ‘series’.

The TS5050 series is an entry-level model at £119.99 that can print from an SD card, over Wi-Fi and from the cloud. It can print up to A4 and has five individual ink tanks.

Next up is the TS6050 series priced at £159.99 and this is a compact flatbed scanner and printer. Scanner resolution is 1200x2400 dpi and print output is up to A4. Again, printing can be done via Wi-Fi. Priced at £199.99 is the TS8050 series, which is also a printer/ scanner, this time using six individual ink tanks. The 9600x2400dpi resolution means it is capable of excellent photo quality output.

Finally, there is the T9050 series, a specialist printer aimed at the discerning photo user. It’s priced at £279.99 and the large five-inch touchscreen makes it very easy to use. Printing can be done via Wi-Fi, NFC, Ethernet and SD card. Prints up to A4 can be made using the six individual tank ink system and there is the option of direct disc printing with the included software. canon.co.uk

Samyang’s top duo Korean lens maker Samyang has announced two premium lenses, an 14mm f/2.4 and an 85mm f/1.8.

Both these prime lenses are manual focus only and have amazing resolving power to suit shooting stills and video on high resolution cameras.

The 85mm f/1.2 is for full-frame cameras and features ten elements in seven groups with one aspherical lens and two high refractive lenses.

With 18 elements in 14 groups, the 14mm f/2.4 is Samyang’s most advanced lens yet. Among its list of special lens elements are two aspherical lenses, one hybrid aspherical lens, two extra-low dispersion lenses and one high refractive lens.

Prices and availability of both lenses have yet to be confirmed.

The latest version of this Mac HDR software has some exciting new features added and it’s also 50% faster than the previous version.

New features include a Polarize tool for even more vivid skies and to reduce glare; greatly improved noise reduction; an improved Top and Bottom Adjustment tool for more flexible control of exposure, contrast and vibrance. Add batch processing, Luminosity and Radial Masking tools and Advanced Tone Mapping and you have a powerful software.

Pre-order price is £65 – a saving of a whopping £142 off its guide price. macphun.com

intro2020.co.uk

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Photography News | Issue 37 | absolutephoto.com

News

The body shop: Pro Anthropics Technology, makers of PortraitPro software, recently launched a landscape improving software (tested in the last issue).

Now both have been joined by a dedicated body retouching software.

PortraitPro Body is available as a stand-alone Standard version and the Studio version, priced at £29.95 and £49.95 respectively. The Studio version can be used stand-alone or as a plug-in for Photoshop, Photoshop Elements and Lightroom. It also has Raw support, different colour space

options and JPEG and TIFF output.

Both Mac and Windows versions are available.

Key features include body reshaping such as build and height adjustment; posture correction; skin and face editing controls; and picture control tools. It’s said to be a simple to use software with as much manual control as you want.

Download the free demo version before buying. portraitprobody.com

Mefoto takes to the Air Hasselblad celebrates its 75th in style Hasselblad has announced the 4116 Collection of products and collaborations to mark its 75th anniversary.

The company has teamed up with Motorola to produce the Hasselblad True Zoom, a 10x optical zoom Moto Mod compatible with Moto Z smartphones. They have also collaborated with Alpa so its technical cameras will integrate with Hasselblad H and CFV digital backs as well as HC/HCD lenses.

The MeFoto Air is a range of compact, lightweight and very colourful support products including two tripods and one monopod.

The two tripods include the Backpacker Air that can support up to 4kg, extends to 151cm and sells for £100. If you want something more substantial, the RoadTrip Air can take a load of 6kg, extends to 155cm and sells for £140. The WalkAbout Air monopod has a maximum height of 150cm and retails at £50.

Each tripod includes a smartphone adaptor and rechargeable Bluetooth remote with a clamp to attach it to the handle.

The centre column can be removed and used as a selfie stick.

The MeFoto Air range features Arca Swiss compatible heads and a choice of seven colours.

hasselblad.com eu.macgroupus.com

Sony gets close Sony has added the FE 50mm f/2.8 Macro lens to its E-mount system. It focuses close enough to give a 1:1 life-size magnification while physical features include focus range limiter, focus mode switch and focushold button. It is also dust and moisture resistant. Optical components include extra-low dispersion glass to minimise chromatic aberration.

This lens is available from October priced at around £500.

Sony has also launched the E PZ 18-110mm f/4 G OSS zoom for moviemakers and A-series camera users. This 6.1x zoom features an 18 elements in 15 group construction that includes six aspherical and three extra-low dispersion elements. This lens is expected in December with a price of around €4000.

Sony has also announced an action cam, the FDR-X3000R. Available from November, it is priced at £500. sony.co.uk

Photography News | Issue 37 | absolutephoto.com

Photography News | Issue 37 | absolutephoto.com

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Photography News | Issue 37 | absolutephoto.com

News News in brief Benro filters Benro is launching a new range of screw-in and drop-in filters in a range of sizes for cameras from mirrorless to full-frame. More details will be released soon, but the range will comprise NDs, ND graduates, UV and polarisers. eu.macgroupus.com

Tamron’s next generation Tamron’s SP 150-600mm brought high class telephoto performance at a very competitive price and in a compact bodyform and it has proved a big hit. Never one to rest on its laurels, Tamron has innovated and brought out the new generation of the lens, the SP 150-600mm f/5-6.3 Di VC USD G2.

There’s a host of improved features that are sure to attract buyers. Optical construction has been enhanced to deliver even better overall performance, autofocus is more responsive and faster and Tamron’s Vibration Compensation has three modes giving a claimed 4.5EV benefit.

Handling benefits from a zoom lock mechanism usable at any focal length position, minimum focusing distance is a mere 2.2m for great telephoto macro shooting and the supplied tripod mount has an ArcaSwiss compatible plate.

Two high-quality teleconverters have also been introduced to

complement this lens, 1.4x and 2x models. The 1.4x version enables autofocus with the new zoom.

Canon and Nikon fits will be available immediately with a Sony version to come at a later date. Prices have yet to be confirmed. intro2020.co.uk

Leica gets closer Leica has added the APO Macro Elmarit TL 60mm f/2.8 ASPH to its TL lens family, bringing the range available for T and SL owners up to six. This is priced at £1800 with the lens hood an extra £80. Its optical construction features ten elements in nine groups and can focus down to 16cm to give 1:1 magnification. Black and silver finishes will be available.

For Leica collectors, the Leica M-P Titanium is a limited edition kit with only 333 units available globally.

The camera comes kitted with two lenses, the Summicron-M 28mm f/2 ASPH and the Apo-Summicron-M 50mm f/2 ASPH. If you fancy one, you’ll need £17,500. Stocks will be available from mid-October. leica-camera.com

Innova innovate The Innova Editions range of inkjet media is about tradition, quality and durability. Six products are available in the Editions family, four are existing papers rebranded and two are totally new. The new papers are the Fabriano Artistico Watercolour Rad 310gsm and the Fabriano Printmaking Rag 310gsm. The four rebranded papers are Photo Cotton Rag 315gsm, Etching Cotton Rag 315gsm, Exhibition Cotton Gloss 335gsm and Exhibition Photo Baryta 310gsm (formerly called Smooth Cotton Natural White 100% Cotton, Soft Textured Natural White 100% Cotton, FibaPrint Warm Cotton Gloss and FibaPrint Baryta respectively). innovaart.com

Viewsonic photo monitor Co-developed with X-rite, the ViewSonic VP2468 is a 24in Full HD 1080p monitor, which suits colour critical use. The screen is an edge-to-edge SuperClear IPS panel and the thin bezels give a frameless viewing experience.

Monitors are colour calibrated in the factory to preset colour spaces and the software lets you fine-tine hue, saturation and gamma. Interfaces include dual HDMI, four USB 3.0 ports and DisplayPort and the stand offers tilt, swivel and height adjustment.

The ViewSonic VP2468 is available now and in the shops at £229. viewsonic.com A very connected CSC The YI M1 is a mirrorless interchangeable lens camera that features Bluetooth connectivity and a simple app interface. It features a 20-megapixel sensor for stills and 4K recording at 30fps and a top ISO speed of 25,600. The three-inch LCD is touch sensitive with an intuitive layout.

Two lenses will be available, a 12-40mm f/3.5-5.6 and a 42.5mm f/1.8. The camera uses the Micro Four Thirds mount so plenty of other lens options are available. yitechnology.com Action stations from GoPro GoPro has launched a range of new HERO5 products.

The HER05 Black, which costs £349.99, features a two-inch touch display and shoots 4K video at 30fps and 12-megapixel stills. Raw and WDR photo modes are available. GPS is built in and the camera is waterproof without a housing. Stereo audio recording is available with advanced wind noise reduction.

The HERO5 Session is priced at £249.99. This shoots 4K video at 30fps and 10-megapixel quality stills. It has simple one-button control and is waterproof to 10m without a housing. gopro.com

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Photography News | Issue 37 | absolutephoto.com

News

Eye of a Generation Renowned British music photographer Michael Putland will be exhibiting work from his career spanning over half a century at Proud Camden in London. Eye of a Generation: Photographs by Michael Putland will be open until 16 October with free entry. Michael’s work offers a unique and candid view into famous faces and iconic moments from music history. proud.co.uk

The Martin Häusler Sanctum Soho Photography Takeover News in brief

of photographs from Martin’s collection, as well as the unveiling of a 3D life-size Brian May print.

Exclusive Meat Loaf prints will also be on display. martinhausler.com

Age International Age International and The Guardian will be displaying a series of photographs to coincide with the International Day of Older Persons, which takes place on 1 October. The month-long exhibition is on from 29 September until 31 October at The Foyer, St Martin-in-the-Fields, Trafalgar Square, London WC2N 4JH. Free to view it will feature a selection of images from the charity’s photography competition, which saw photographers from around the world submit images that show the strength and dignity of older people. Included in the work is Andy W Langton, winner of the amateur category and Robin Bath, winner of the professional category. ageinternational.org.uk © Andy W Langton

The Ultimate Sea View

The Rolling Stones shooting the It’s Only Rock ’n’ Roll video, 1974.

© David Lyon

The world’s finest calendars Allan + Bertram, the creators of the world’s finest calendars, have announced that they have teamed up with leading landscape photographer Guy Edwardes to produce two new titles, Epic 2017 and View 2017. allanandbertram.com

Portrait photographer Martin Häusler has brought a new exhibition to the Sanctum Soho hotel this September/October. The exhibition, which opened on 8 September, will run until 13 October.

You can expect to see a selection

© Michael Putland

Nikon Photo Contest 2016-2017 The Shipwrecked Mariners’ Society has announced the winners of its Ultimate Sea View competition. Over 800 entries were received from across the UK and it was amateur photographer David Lyon who scooped the overall award with his image entitled ‘Nice day for a cruise’. Other category winners were Rev Dr Richard Hainsworth who won the People and the Sea category and the Coastal View category. Alex Iacobet won the Ships and Wrecks category, while Alan Warriner was named winner of the Industry category. shipwreckedmariners.org.uk

© Alan Warriner

Portraits by Damien Lovegrove Damien Lovegrove's new book is a 356-page e-book, featuring 348 of the photographer’s images as well as the lighting, exposure details and stories behind the shots. Download Portraits now for £40. lovegroveportraits.com

Mark the date in your diary; the Nikon Photo Contest 2016-2017 opens for entries on 17 October.

Launched in 1969, this year’s contest has two new categories, the Nikon 100th Anniversary category and a Next Generation category for photographers under 30. There are six major awards up for grabs, with Nikon prizes including a D5, D810, D500 and D5500, plus lenses and cash. Entry closes 27 January 2017. nikon-photocontest.com

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Photography News | Issue 37 | absolutephoto.com

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

Clubs

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

Amble Photo Group The Amble Photo Group celebrated its tenth anniversary on 9 September.

A nostalgic presentation was compiled and presented

by Carol McKay, a founder member, followed by a short talk by Lionel Bryan, the group’s first chairman.

Members enjoyed a special celebration cake made by Joyce Hall, decorated with the group logo and an icing sugar camera and tripod. The group meets every Friday at 9.30am at Trinity Methodist Church Hall, Percy Street, Amble. amblephotogroup.com

EXHIBITIONS THIS OCTOBER

Gloucester Camera Club Gloucester CC’s annual exhibition runs from 22 to 29 October, 10am to 4pm at St John’s Church, Northgate Street, Gloucester. Entrance is free and members will talk about their images and encourage visitors to join the Camera Club, which meets at 7.30pm every Tuesday at Elmscroft Community Centre. Visitors can vote for their favourite image.

© Veronica Barraclough

© Valerie Atkinson

We need words and pictures by 9 October for the next issue of Photography News, which will be available from 20 October. Write your story in a Word document (400 words max). 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.

gloucestercameraclub.co.uk

Looking forward to winter in Worthing

© Martin Cooper

New Windsor programme Windsor Photographic Society’s programme for 2016/17 is varied, with speakers covering topics such as street, travel, wedding and portrait photography. In addition, Windsor PS will be holding print and projected image competitions, and several photo walks are planned to places including London, Bristol, Leeds Castle and Canterbury.

All new visitors are welcome. windsor-photographicsociety.co.uk

Deadline for the next issue: 9 October 2016

© Barry Dewdney

News in brief

How to submit

Enfield Camera Club Enfield Camera Club’s exhibition runs from 17 to 29 October at the Dugdale Centre, Thomas Hardy House, London Road, Enfield.

Entrance is free and there will be at least 70 framed prints on display, from over 25 members. There will be a chance to vote for your favourite print, and a recognised judge will be giving his appraisals as well.

New members are welcome to weekly meetings. enfieldcameraclub.co.uk Left to right Mike Heath, Alan Wheeler, Frank Heinley, Tony Mead, Peter Campbell and Les Taylor.

After a highly successful summer programme of photoshoot evenings the Worthing Camera Club have programmed 36 events to take place over the winter months.

This includes six workshops, seven lectures, 17 competitions, an auction and a Christmas social. Promised highlights will include an evening with Heather Angel, looking at her plant photography from behind the scenes at Kew Gardens.

The club welcomes new members, and has three classes; Beginner, Intermediate and Advanced – so there’s a place for new shooters right the way up to area competition-level photographers. worthingcameraclub.org.uk

A winning presentation Ayr Photographic Society won the Photography News Camera Club of the Year 2015/16, and part of the prize package from competition sponsors Canon was a presentation to club members by globally renowned landscape and travel photographer, David Noton.

Since Ayr PS was formed in 1905, the society has heard many outstanding speakers but the

50 or so members who attended David Noton’s Chasing The Light Roadshow were treated to perhaps the most entertaining, informative and visually stimulating presentation ever experienced. The quality and presentation of the landscape and travel imagery on show were truly outstanding and had the audience totally enthralled throughout with comments and

feedback ranging from “superbly inspiring” to “truly awesome”.

Ayr PS has launched into its 2016/17 syllabus and this September saw two fantastic talks by Mark Littlejohn (2014 Landscape Photographer of the Year) and Alasdair Macleod (Scottish Press photographer). ayrps.com

Photography News | Issue 37 | absolutephoto.com

Photography News | Issue 37 | absolutephoto.com

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Technique Part 1: Kit and shooting

Sphere amazement

in association with

360º and VR photography is new. And it’s amazing. But for traditional photographers used to working within the confines of a rigid frame it can be a bit scary, too.

Well don’t worry, PN is here to show why taking the leap is just as much fun as it is challenging, and once you rise to it, you’ll start seeing a whole new world of possibilities...

Photography is all about discovery; shooting new places, new subjects and in new ways; and it doesn’t come much newer than VR and 360º photography. What these cameras can do is truly amazing, but on first glance they can seem at odds with traditional photography. After all, one of the biggest parts of photography is precise framing and if you can see everything, where does that leave you?

The answer is with a lot more possibilities, and the chance to view the world in a new way. When you think about it, many of us gravitate towards fisheye and wide-angle lenses anyway, so these cameras are really just the next step. Throw in innovative ways of viewing the views you create and your imagination will start to pop with the possibilities.

Wider than wide Let’s start with the simplest application; shooting stills. 360º cameras like Kodak’s Pixpro SP360 4K have incredibly wide lenses, so they’re capable of shooting astonishingly immersive images. The Pixpro’s 360º lens, for instance, creates a 235º field of view, and that’s way beyond the reach of even the most extreme fisheye optics you’ll find for DSLRs and CSCs. In stills mode you can shoot in either a traditional rectangular view, or a spherical one and you can set the resolution of either, up to eight megapixels. In software, you can

then centre the wider composition on a particular subject or detail; you can think of it as a kind of Raw format for composition, allowing you to capture the moment, then seek out the best bits afterward from the ultra wide view, a bit like shooting and knowing you can adjust the exposure after the event.

Just like a regular camera, you can also choose to shoot with different colour settings, and change the white-balance to suit the scene you’re in (though with such a wide view, it’s often advisable to stay in Auto mode). There’s also a burst mode, for recording action sequences. So far, so good, right?

Virtual reality The next level of stills is VR; essentially an interactive use of the still image you’ve shot. This adds an even more immersive feel than a regular wideangle view, as the view of the picture can be controlled on a computer screen by dragging with the mouse. These kinds of images can also be viewed using VR headset devices.

To create the VR effect, a photo from the Pixpro or a similar system is taken, then exported through the camera’s processing software, usually to a platform like Facebook where the file is viewed in all its interactive glory.

This means, so long as you pick the right mode, thanks again to the very wide lens of the Pixpro, you don’t need to shoot VR to order; in fact, you can

take pictures and decide later whether you’ll use them in the VR format.

Immersive video It’s no surprise that most 360º and VR cameras are used for video; and even less of a surprise when you see what cameras like the Pixpro can create.

Results are amazing, and the wideangle view again puts the viewer right at the heart of the action.

Like stills, video mode comes with all the usual stuff you’d find on a DSLR or CSC’s movie mode. You pick the resolution to record at, which could be Full HD, or 4K, and the format; on the Pixpro, this means either shooting in the spherical ‘Global’ mode or the front

view. In the former you can process the video into an exciting series of styles.

There’s Pano, which gives a full 360º pano effect, Dome with an arching view, and Segment, which pushes the video into a ‘front and back’ view, so you can put the camera on your dashboard or handlebars and film yourself driving as well as the road ahead. There are timelapse and highspeed video modes so you can shoot slow-mo, or show the passage of time.

Making a connection Most VR and action cams don’t have traditional screens, and of course, with such a broad field of view, you may well end up in the frame, particularly

if a camera like the Pixapro is pointed upwards and therefore taking in a 360º horizontal view. To address this you’ve got two options. Either embrace the action-cam look, and realise you’re part of the composition (especially when recording sports), or second, use a wireless connection and compose from a distance. On the Pixpro SP360 4K, it’s simple to connect to your smartphone and use that as the screen.

What’s more you can change modes and trigger the movie or stills functions from afar. With the huge field of view, this means you only need to be a few meters away to remain anonymous. kodakpixpro.com/Europe

Step-by-step: Shooting with a VR camera Hit the Record button, see that the time-code is running and you’re good to go.

Now, with the camera mounted you can start the action with your exploits recorded in the Global view ready for editing.

3

Being small and light, you can place the Pixpro pretty much anywhere, and its accompanying accessory pack includes all you need.

1

Next you need to set the mode; here we went for the Global video mode which gives a high-resolution 2880x2880 output.

2

Import the file into the Pixpro’s free software and you can edit it down, control the look of the image, and output it as a VR file online.

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Technique VR movement To get an idea of how pictures captured with the SP360 turn into immersive VR, take a look below. The Global view captures a 235º sphere, and you can mount cameras back to back for the full effect. In software, the two files are stitched and the viewing mode is picked allowing you to navigate around as if turning your head.

Get to know a VR camera

Specs Prices Pixpro SP360 4K Extreme Pack £379 In the box Rechargeable Li-ion battery, USB cable, AC adapter, quick start guide, glass lens cover, protective cover, battery charger, carrying case, cleaning cloth

If you’re a traditional photographer, cameras designed for 360º and VR applications are going to look pretty weird; but this definitely one of those times that weird is good. You’ll also find that there are far more similarities than differences; of course it still has a lens (or lenses), input controls and a display, so like any new piece of kit, with a little guidance you’ll be right at home. Here’s a breakdown of the main areas of interest on the Kodak Pixpro SP360 4K, which is almost identical in design to the original Pixpro SP360. The Pixpro SP360 4K features 4K video, Wi-Fi connection and other upgrades over its predecessor.

CONNECTIONS For full connectivity, the Pixpro SP360 4K has USB and HDMI connection protected by a weather-sealed flap.

This is also where you’ll find the memory card slot, with the camera using microSD cards like those used in mobile phones. This allows loads of storage as well as keeping the size down.

LENS There’s no missing the Pixpro SP360’s most prominent feature, its bulbous lens element. This is where the huge field of view comes from and it focuses as close as 50cm, so you can get right up to your subject. To protect the lens, the Pixpro comes with a clear protective lens cover and rubberised hoods for further durability.

Extreme pack Standard housing, tether, vented helmet mount A and B, waterproof housing, bar mount, head strap mount, surfboard mount, suction cup mount, quick clip, lens ring, lens, cover, battery charger, USB cable, tool, double-sided adhesive CONTROLS All the Pixpro SP360’s controls are grouped on one side of the cube, making it nice and easy to see what’s going on. The on/off button doubles up to switch between Modes, then a menu button to access settings. The big Rec button is easy to find in the middle and also confirms settings, with the Wi-Fi button to its right.

Resolution 12.4 megapixels Number of recording pixels Still image: 8MP: 2880x2880; 4MP: 2304x1728; 2MP: 1920x1080 Video: round video 2880x2880: 30fps; 2048x2048 30fps; flat video 3840x2160 30fps, 1920x1080 60/30fps high-speed video 720x720 120fps Lens 360° spherical lens with 235° field of view, 0.850mm f/2.8 [8.20mm, 35mm equivalent].

Focusing range Fixed focus: 50cm to infinity Anti-shake system Electronic Image Stabilization File formats Stills: JPEG, Movie: MP4 [Image: H.264; Audio: AAC] Shooting modes Still, burst shot (10fps), movie, time lapse, loop, hi-speed movie ISO sensitivity Auto, 100-800 Recording media Micro SD/Micro SDHC card (Up to 32GB support) Internal memory: 8MB

LCD There’s no large screen for menus and image review, but the small LCD does all you need it to, navigating through camera settings as well as set-up functions like Wi-Fi. Speaking of which, all you need to do to get a live view of what you’re shooting is connect the camera to your smartphone or tablet with the free Kodak Pixpro app.

Power Rechargeable Li-ion battery LB-080, 160 still shots, 55mins for video Dimensions (WxHxD) 48x50x52.5mm Weight 128g with battery and card Contact kodakpixpro.com/Europe

Stop press! New Pixpro announced Getting attached Just like a regular camera, you can attach the Pixpro to a tripod using its 3/8in thread. But being a small and light action cam design, it’s possible to do way more than just that. If you plump for the Pixpro SP360’s Extreme pack you’ll be well served when it comes to mounting the camera for shots on the move.

There’s a glut of attachments, letting you easily position the camera on a headband, helmet, handlebars, a surfboard, window pane and loads more via adhesive pads. Plus you get a case to increase its protection from water splashes and dust for those more extreme environments.

Normally, if you want to shoot a full 360º VR image you need to mount two cameras back to back, or flip one camera through 180º between recordings. Not any more. Just announced at Photokina, the Kodak Pixpro 4KVR360 comes with two lenses mounted back to back, getting the job done in one streamlined unit. Like the Pixpro SP360 and SP360 4K, the 4KVR360 has a 235º field of view lens, with the second offering a 155º view. Allied to the lenses is a 20-megapixel CMOS sensor, and just like before you can upload 360º content to Facebook or YouTube in

SPECIAL

seconds using the free desktop package or smartphone app.

The Kodak Pixpro 4K VR360 will be available in December. kodakpixpro.com/Europe

Photography News | Issue 37 | absolutephoto.com

Photography News | Issue 37 | absolutephoto.com

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Interview Profile

Paul Anson

LumeJet’s deputy chairman tells us about the recently re-developed business model and what makes LumeJet’s printing so special

Biography Years in the photo industry?

Over 20, mainly sports Current location?

Cambridge/Coventry Last picture taken?

LumeJet production facility.

Otherwise, my daughter.

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

A guitarist or an engineer.

Dogs or cats?

Dogs – I have two cirnecos Toast or cereal?

Toast – but always savoury Email or phone call?

Phone call

We have the most accurate and sharp technology available, with incredible tonal range

Top right The S200 printer is unique to Lumejet.

Below LumeJet offer high-quality printing and other products through their partners.

Can you tell us a bit about your background and your current role at LumeJet? I am an engineering graduate who worked in various sectors, technically and commercially, before getting involved with inkjet at Cambridge Consultants – the company that created various inkjet technology businesses such as Xaar, Domino and Elmjet. I was a co-founder of Inca Digital Printers – my first true entrepreneurial pursuit. This was acquired by Dainippon Screen and later I was invited to help LumeJet in its development phase. I fell in love with the technology and ended up leading it.

At LumeJet I am called deputy chairman. I am the senior executive, but have a distinct role from the managing director in that I try to remain totally focused on the commercial activities – driving the unique LumeJet business model.

The model and technology sounds too good to be true so it takes a lot of effort to make people believe it is true!

What is the history of LumeJet? LumeJet first existed as a technology business, but some investors and I acquired the company and have turned it into a service business via the partnership model. We felt that the traditional model of selling machines was not the best way to grow LumeJet in the market. We wanted to establish a new business model in which our customers and partners could both generate good margins and deliver true excellence without having to take huge financial risks – only to then find that their nearest competitor just bought the same machine.

We are aiming to work with likeminded partners to build business together in various sectors.

We also aim to serve discerning photographers directly, but are equally happy if they buy from our partners and benefit from further added value finishing – mounting, case binding etc.

Who is LumeJet’s target audience?

The obvious answer would be professional photographers – and that is partly true. However, consumers are used to incredible quality phones, displays and TVs whilst photo printing is not advancing in the same way. Ultimately, consumer expectation is increasing, but the market is fighting over who can offer the biggest discount.

There will always be a low end and a high end, but our goal is to make the ultimate quality available to discerning photographers, designers, photo product companies and therefore – in most cases – ultimately to their consumer and corporate customers, for those times when quality really matters.

Tell us about the S200 printer, is it unique to LumeJet – what’s so special about it? How long has development taken?

There is no short answer. 16 years of development has created what we believe to be the most accurate and natural photo printer.

People claim all sorts of crazy resolutions, but we have the most accurate and sharp technology available, with incredible tonal range, thanks to our unique RGB print-head design, the mechanical precision of the machine, and the software and electronics that controls every pixel with absolute repeatability.

We haven’t stopped developing either – we know there is more quality available from the paper and we increment a little more every month via continuous development. This is a key benefit of the partner model – sales models drive you to ‘draw a line’ and focus on build costs – we are the technologists and designers, we never stop seeking perfection and we control all the machines. It is unique to our business and our partners, and we will not sell machines so we don’t really care how much they cost to make and we choose to never saturate the market.

What are your thoughts on the state of the current printing market? Are consumers printing more? What are their demands?

I think it is very exciting to see all the new product offerings and business models emerging. The home printing market is a problem for standard print services – differentiation mostly comes from service accessibility (web, apps, communities) and finishing or product design. There are some great businesses that are winning.

However, companies that stick to tired approaches will fail in a race to be bottom on price. We are worried that print is failing to keep up with the quality of displays – why buy a print if the photo looks better on a tablet screen? That is the problem we are focused on and by working in partnership with innovative product and services companies, we hope to do our bit to justify the longterm existence of print. Ultimately, no display can ever generate the emotional response a real print does, but a growing quality gap could change that.

Recently LumeJet has partnered up with companies such as Booked Images and Photocrowd – what other affiliations can we expect to see? What is the aim of these connections?

This is the foundation of our unique business model. These partnerships are about true reward sharing and cooperation – and diversity for customers. We’d love photographers to buy from us directly, but we’re happier still when we can lead them to our partners for added value products and services using our print. We don’t aim to make the best books, or mounted products, or create a sharing community – we aim to facilitate print excellence for our partners, so they

can. There are more partners in the pipeline and we welcome approaches from potential new partners.

For those wanting to use LumeJet’s services what advice can you offer them regarding colour space etc?

Why 400ppi images?

Via our website, we can work with all common profiles – and they should be embedded. Experienced users can soft proof for themselves using our colour profiles and a calibrated monitor. Our goal is accuracy – we do not adjust files.

We aim to faithfully reproduce the intent of the photographer or designer – with regard to both sharpness and colour. We suggest 400ppi as we can truly hold that resolution – a 300ppi file will still look great, but isn’t taking advantage of the best we can offer. We can receive files via Wetransfer etc. but we prefer customers to use our new website service and we will keep developing functionality based on feedback and our own ideas.

What can we expect to see in LumeJet’s future?

We will broaden the product offering to some extent, but diversity will primarily be achieved through the partnerships, and our partners will make it easier to buy products based on LumeJet printing. For the moment we are focused on small to medium format, but we have choices to make for the future and those choices will be made with our partners. lumejet.com

Photography News | Issue 37 | absolutephoto.com

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Profile Biography

Before the Judge

Peter R Gennard, MFIAP, EFIAP/p

Each month, a respected judge or exhibition selector shares their thoughts and experiences. We speak to Peter R. Gennard, who’s been judging for over 30 years

Peter R Gennard Peter R Gennard has been building up his judging experience for over 30 years and has an amazing 203 awards in FIAP approved international salons.

Years in photography 50 years Home club Smethwick Photographic Society Favourite camera Nikon D700 Favourite lens Nikon 17-35mm f/2.8 Favourite photo accessory Small reflector Favourite subject Environment portraiture using a wide-angle lens Awards I have 203 awards in FIAP approved international salons.

Perhaps my best recent achievement was selecting and preparing the images for the 2015 FIAP Club’s World Cup for my club, Smethwick Photographic Society.

197 clubs worldwide competed and Smethwick Photographic Society won.

I have a nickname when I judge local clubs, ‘Chopper Gennard’

Above “This picture is called Nothing to Give. It is my granddaughter Stella who I photographed in the church next door to where she lives in Gloucestershire.”

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@photography-news. co.uk with the judge’s name and, if possible, their contact details.

Words by Peter R. Gennard My introduction to judging came in the 80s when my first camera club invited members to comment on other members’ pictures. It was a small club and the entry wasn’t large enough to attract an outside judge. I found this valuable experience and learned a lot listening to more experienced club photographers discussing the good and bad in pictures. I then got a call from another local club to judge their competition. More and more local clubs then invited me to judge.

My federation, MCPF (Midland Counties Photographic federation) hosts judging seminars on an annual basis. The all-day sessions provided a great help, learning from experienced judges teaching the basics of judging.

Successful attendees were invited to join the MCPF judges list. This meant that you were included in a handbook that was supplied to all club secretaries.

I joined Smethwick Photographic Society in 1983. I was encouraged to enter international exhibitions as we had officers in the club whose job it was to send in a club entry. I concentrated on entering FIAP approved internationals and made it my goal to gain those letters after my name.

This club always invited outside judges to comment on the Merit Competitions, another opportunity to learn from other judges from different parts of the country. I always remember a judge coming from the Manchester area, Arthur Downes, who was very good and introduced a lot of humour into the evening.

Again, this is an aspect that I put into my judging. I remember some judges telling me two words to remember about judging, ‘educate and entertain’.

Club judging is the most challenging.

Sometimes I feel like saying “why did you point the camera in that direction and why do you feel it would make a good picture?”. When you visit a club and view members work, you don’t always know how accomplished the photographer is. It could be the member’s first picture ever entered.

I always give constructive criticism. I like to praise the good features in the picture and then suggest how they could improve bad features in the picture. I always try to spend more time commenting on the beginners’ section as they need more advice on technique, composition and quality.

I have a nickname when I judge at local clubs, ‘Chopper Gennard’. I invariably advise that some pictures could be improved by chopping a little from the composition.

I always prefer cold judging on the night. I have been asked to judge a projected image competition on the club website before the clubs’ meeting. This system gives you good insight of what to expect, but I feel it is essential to judge them on a projector or on a large screen. This brings me to another issue with projected image judging. The quality of some clubs projectors are very poor. Colours, contrast, sharpness can be alarmingly bad. I often ask to stand behind the laptop to compare the image between the laptop and the screen. I much prefer to judge prints.

I have been in the audience at some club judging where the judge has completely chastised the photographer for producing a poor picture. This in my opinion, is the wrong approach and could really demotivate the photographer. Many clubs like to score the pictures out of 20 as they have league system.

I do not like to give a score less than ten as anything lower could demoralise the photographer.

Even with the emergence of digital some photographers do not appear to get any better. I sometimes ask

club members if they have been to photography exhibitions. It’s amazing to find that they don’t venture far from their own clubroom. They won’t get any better unless they visit other exhibitions and see other photographers’s work. I tell them that they can always look at International exhibitions online. The Scottish Salon, Cheltenham Salon, Port Talbot Salon are just few where you can view all of the acceptances.

I have the pleasure to be invited to judge at other federations in the PAGB regions. My favourite judging experiences have been the PAGB Adjudications. This is where photographers can enter their pictures to gain CPAGB (credit), DPAGB (distinction) and MPAGB (master) distinctions and get letters after their name. You are one of five other selectors who vote on each picture using the two to five judging machines. It’s a great thrill when the photographers actually attain their distinctions.

I was very fortunate to be invited on to the PAGB Alliance list of judges.

I have now judged many salons in the United Kingdom and Ireland. There is nothing better than viewing some of the best images from around the world. I have only had one problem judging an international with a fellow judge. I was accused of trying to

‘dominate’ the exhibition by scoring too many fives. I look at judging with other selectors, that it is a consensus of opinion from all the three selectors.

Most exhibition chairman encourage their selectors to score five when they think it’d be a contender for an award.

Digital manipulation has encouraged photographers to enter creative pictures. This is becoming very popular in all exhibitions.

Unfortunately, many of the pictures don’t tell any story. I’m not saying that every picture should tell a story but a lot of pictures are overcomplicated.

I just think the photographer is trying to prove that he or she is very good proficient at digital manipulation. I enjoy pictures with a clear message and that are ‘quality’.

I find the image title important and on occasions a title can convey what the photographer is trying to say. Very often, with projected image exhibitions who have modern computer software, a title will appear on the top of the screen. I try to accept all types of pictures for an exhibition, because you are there to select pictures for an exhibition, so it is important to make selections from all genres of photography. I have no biases. My least favourite type of picture though is the ‘cute little kittens in a basket’ shot. But if it is good, I would score it to be accepted.

Photography News | Issue 37 | absolutephoto.com

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Advertisement feature

French clickers Want to know what it’s like to get a week’s personal photo tuition in the glorious Dordogne region of France? Read on...

Earlier this year, we gave PN readers the chance to win a superb week of shooting in France’s beautiful Dordogne region, thanks to French Photographic Holidays (FPH). Steve Jones was the lucky winner, so we caught up with him after his trip to find out what went on.

Steve and Jane took the Eurostar to Paris, then the TGV to Angoulême where they were picked up and driven to FPH’s base in the hamlet of Les Ages by owner Paul Edmunds.

Paul had already sent a questionnaire to Steve and he’d detailed the equipment they he and Jane would be taking and their level of experience. “I’ve been a photographer since boyhood, but started taking it more seriously some two years ago when we went on a photographic holiday in England.

I try to post images everyday on the Blipfoto website and in January this year I joined our local photographic society,” explains Steve. “I’ve recently upgraded to a Fujifilm X-T1 and XF 18-135mm f/3.5-5.6 lens, which I find a very versatile combination.

We both also bought Velbon tripods along.” Paul also likes to find out how active his guest are, so trips can be tailored to their energy levels, and Steve and Jane walk most weekends.

Arriving at the FPH’s base, Steve and Jane were warmly welcomed by Paul’s wife Pam and shown around the converted barn which would

be their home for the next week.

“The accommodation is in a perfect setting and was spotless,” says Steve. The modified barn provides two en-suite bedrooms for guests, a lounge with a wood-burner and a photographic studio with four Apple Mac computers for use by guests.

Steve was big fan of the cuisine, too: “We had a superb three-course dinner cooked by Pam every night with local produce, as well as lunches and all our food and drink was included, as it would be for a regular booking. I can honestly say that the meals were wonderful. I am a registered coeliac, but Pam took that in her stride and never failed to provide tasty gluten-free food.”

On their first evening, Steve and Jane were given an introductory talk by Paul, followed the next day by a trip to Brantôme, the nearby town. “Nicknamed the Venice of the Dordogne, Brantôme was beautiful” says Steve. “It has an Abbey and many marvellous buildings, and Paul was on hand to point out the best locations for us to shoot.”

After lunch back at Les Ages, Steve was keen to get out for an afternoon walk around in the local area shooting wildlife and the atmospheric village itself, which was an instant hit; “dereliction and rust are two of my favourite things to shoot, so I thought I had died and gone to heaven in Les Ages!”

Snapping France Steve and Jane Jones had an excellent week shooting with French Photographic Holidays in Dordogne and gave the hospitality of Paul and Pam Edmunds a glowing review.

You can find more of Steve’s shots from the trip on his Blipfoto page at blipfoto.com/ CatchitwhenIcan As part of his photographic packages, Paul also offers processing advice, as Steve describes; “At 5pm each evening we had Paul’s undivided attention whilst we began processing our photographs. Paul asked that we shoot all in Raw and provided a crib sheet for processing.

Normally I find Lightroom is all I need for processing, but I did find using Photoshop interesting. Jane doesn’t usually do any processing and found the crib sheet invaluable.”

Each evening, Paul also got Steve and Jane to chose their best images and keep the processed versions in a folder. At the end of the week it’s customary for each guest to show off their best work with Paul providing advice. Of this, Steve said, “with his background in the printing industry and as a pro photographer of 20

years experience, before setting up FPH, the tuition was excellent. Paul gave tips on how to improve, even though we were at different levels and he certainly had us outside our comfort zones on several occasions.

By the end of the week, we were able to look at our photography in a different way; I definitely now appreciate the benefits of Raw.” For the rest of the week, Steve and Jane enjoyed four days out with Paul where they had the opportunity to do a dawn shoot, night photography, portraits, horse photography at a Police horse sanctuary, street photography in markets in Brantôme and Perigueux, and more shooting of the derelict buildings in Les Ages.

“We also had two ‘free’ days,” says Steve, “and decided to take in the preparations for the flower festival

in St Jean-de-Côle. There are so many other quaint local towns, and Paul and Pam are always happy to drop guests off and collect them later.”

On their final night guests can choose images from the week and Paul will print them as a memento; “He even provided some very sturdy packing for us to transport them home safely.” That care and attention, says Steve, really summed up French Photographic Holidays’ outlook. “Our hosts were charming, informative and friendly – even the weather cooperated, and the food was wonderful. This is the first time I’ve ever won anything and I couldn’t have asked for a better prize.

We’re already planning a return trip to FPH next year, probably in the autumn, when the colours will be different to those this spring.”

Fact file French Photographic Holidays offers tailor-made seven-day residential workshops in the Dordogne region of France.

Arrivals and departures are on Saturdays. Prices start at £950, and include full-board five-star accommodation. Nonphotographers are welcome at a reduced rate. Nearest airports and stations are Bergerac Airport (37 miles), Limoges Airport (42 miles), Bordeaux Airport (123 miles) and Angoulême Station (32 miles), and collection from these can be arranged. A week includes at least six ‘half day’ shooting trips with a maximum of four photographers per workshop, and all skill levels are welcome. Tripods and other accessories are available to use. frenchphotographicholidays.com

0033 (0) 5535 47485

frenchphotographic@gmail.com

Photography News | Issue 37 | absolutephoto.com

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Interview

Wolf Haven

Get up close and personal with the wolves of Wolf Haven Sanctuary with Annie Marie Musselman

Interview by Jemma Dodd Fine art photographer Annie Marie Musselman loves photographing animals and typically captures images of animals in sanctuaries. Her new book Wolf Haven is a stunning collection of images of red and Mexican grey rescue wolves at the Wolf Haven Sanctuary that lies south of Seattle, USA. We caught up with Annie to find out more.

How did you come across the sanctuary and why did you decide to photograph these wolves in particular?

In 2010 I received a Getty Images Grant For Good, (now called Getty Creative Grants).

Getty awarded $15,000 to be shared by a photographer and an advertising agency to create new media, website, photos, promotional materials and a logo for a selected non-profit company. I had chosen a sanctuary in Sulawesi, Indonesia, which rescued victims

of the Asian animal trade, orangutans, chimps, etc. But upon receiving my grant I found out I was one month pregnant. I figured I could travel anyway, so I purchased my ticket and then went to the travel medicine clinic to get my vaccines. They said I shouldn’t travel there because of the malaria problem, being pregnant it could be fatal. So I sat down to my computer and started searching for a story closer to home.

My current project focuses on the indicator or keystone species. The sanctuaries that rescue these animals are also helping to save the lives of countless other animals, flora and fauna that count on the keystone species to survive. I began photographing at an orangutan sanctuary called Nyaru Menteng in central Kalimantan, Borneo, this inspired me to start For The Innocent. I then found myself calling a sanctuary south of Seattle who rescued wolves. I was particularly drawn to them because of their captive breeding program for the highly endangered red and

Mexican grey wolves. It took some time, but after a few telephone calls and one interview, I was into my next project, about the wolves of Wolf Haven.

What sort of challenges were involved in photographing the wolves? How close could you get?

I did a little research about wolves in general, but not much. They are very beautiful attractive creatures and I was instantly enamoured. At first I was nervous, wolves have a way of disarming you, I felt naked as if they could see through me. I felt as if I could hear them saying “I don’t want to be photographed, leave us alone”! But then my heart spoke and I heard them accepting me. It took a long time!

I photographed them between 2010 and 2016 and I never lost hope.

In the summer, I spent long days with Jesse James, a female grey wolf, and her partner, Shiloh. I sat on my dad’s old folding artist chair, surrounded by mossy trees, birds and

At first I was nervous, wolves have a way of disarming you, I felt naked as if they could see through me Above Moss, a Mexican grey wolf (endangered) who is father to a litter of pups. Top right Friends and lovers Jesse James and Shiloh in their enclosure. They passed away within days of each other.

Right Best friends Caedus and Ladyhawk, posturing at the fence for attention. Bottom right Lonnie and Meeka in the evening sun.

Photography News | Issue 37 | absolutephoto.com

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Interview insects everywhere. I shoot with short lenses, so I would wait for the wolves to come up close.

Sometimes I chose to use artificial lighting to create drama. I would try to communicate with the wolves, at first I pretended not to be interested in them, but as soon as I walked away, I would turn around and they were at the fence, smelling me, staring at me, but when I went back they would disappear again. All the wolves did this, it went on for weeks, until finally they began to trust me.

They’re extremely shy and as I don’t use long lenses to photograph them I liked to get up close and show their expressions and their beautiful faces. When shooting I was right up against the fence.

When shooting through the fence were you limited to one area, or did you have free will around the sanctuary?

At first I shot only in one area, and once I gained the trust of the sanctuary, I was given free reign of the sanctuary on most days.

What did you want to show with the images that do in-fact show the fence in front of the wolves?

It was very difficult, I put my camera right up against the metal bars, so that the fence would disappear. Sometimes I put the fence into my pictures to show the truth of their surroundings. It was difficult to have different perspectives shooting through a fence, so it was a limited view, hard to get close ups of fur, etc, details, but I worked through it and spent a lot of time sitting and waiting.

The fence showed that these are indeed captive wolves and how it is a great sadness, that they have to live in this confined, although beautiful space instead of their original homes in the wild, all because of human interference.

Did you set out with any particular shots in mind? Were you able to achieve them?

I hoped to capture the wolves in their natural state, as if I happened upon them in a forest.

I wanted to create drama, and with the dark light of the forest and the darkness of winter, I brought lights so I could illuminate their expressions, the thickness of their fur, etc. I wanted to show their relationships to each other, because I knew it was a very strong bond between both wolves living together in each enclosure, some are very in love. Yes I did achieve that although I would have loved to be more up close and personal, which of course is impossible with a healthy wolf.

What gear and techniques were used?

When the lighting is the primary difficulty I shoot digital as I can bump up the ISO quickly.

I also shot digital for situations where a wolf wasn’t stationary and I had to react quickly, giving me less time to compose.

The close up lenses that came with my Rolleiflex twin-lens reflex camera, are specially designed for that unique camera and allow me to shoot at a very close range, I used these mainly for the detail shots.

For lighting I used a Quantum Qflash system with a softbox attached and a remote battery that I can carry around like a purse, and then attach the Qflash to a tripod when in use. I mainly use the artificial lighting to show details that would normally be in shadow in the forest; dirt on the fur, the brightness in their eyes etc. Sometimes I light the foreground to create a dreamy effect.

Was it always your intention to create a book, or did the idea come after taking the photographs?

I didn’t intend to have so much time with the wolves, but Wolf Haven let me keep photographing after I had finished with the

photographs for the grant and their website.

It’s hard to ever feel finished and I knew that there was an incredible story to be told so I kept on shooting.

What’s next?

Lots of random projects, these photos are actually part of a larger body of work called For The Innocent, photographing endangered species in sanctuaries around the world, more specifically the keystone species, animals that if saved would mean countless other species would be saved as well.

I believe the wild creatures among us embody the instinct and love we have lost, and with this I realise more and more the purpose of my work. I see that our society is so distanced from nature. How can we, as humans, be expected to respect, love and care for something that we do not know or understand? I hope my pictures can offer a deeper look inside the souls of these creatures and inspire humans to care for them and reflect on all of our deep interconnectedness as beings of the earth. anniemusselman.com

Buy the book

Wolf Haven, published by Sasquatch will be published in October with an RRP of £16.99.

Available to buy from thegmcgroup.com

Photography News | Issue 37 | absolutephoto.com

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Competition © Sam Hobson

Pro focus

Caught in the act

It took patience, dedication and skill to capture this image of a curious fox, and that hard work paid off when Sam Hobson was named as a Wildlife Photographer of the Year finalist Written by Jemma Dodd

This year’s Wildlife Photographer of the Year competition received almost 50,000 entries from across 95 countries. Sam Hobson from Bristol was named as a finalist in the urban category with his nocturnal image of a curious fox, Nosey Neighbour.

“The location was just the beginning as I had to build the trust of the whole family of foxes and get them used to me and my camera before I could capture these intimate portraits. The cubs were particularly inquisitive and would investigate anything new in their environment, meaning if I put my camera down on a wall or floor, they would quickly come over to sniff around – especially if I wasn’t there. I used Pocket Wizard Plus IIIs to fire the shutter remotely and used Nikon SB-700 and SB-800 flashguns,” Sam tells us.

“The Wildlife Photographer of the Year competition definitely offers the best rewards in terms of exposure and prestige, even as a finalist. Two years ago, one of my images was a finalist in the 50th anniversary awards and being part of the touring exhibition and book led to more work opportunities and print sales than my other competition successes have combined,” Sam recalls.

A collection of 100 selected images from the competition will be featured in the exhibition at the Natural History Museum, which opens on Friday 21 October and runs until summer 2017. Adult tickets are priced at £15.

The exhibition will also embark on a six-month international tour.

Photo Professional This first appeared in issue 124 of Professional Photographer, on sale now. It’s packed with inspiring images and tips for aspiring pros and those already making a living.

absolutephoto.com

nhm.ac.uk/wpy

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

Photography News | Issue 37 | absolutephoto.com

Photography News | Issue 37 | absolutephoto.com

Photography News | Issue 37 | absolutephoto.com

Photography News | Issue 37 | absolutephoto.com

Photography News | Issue 37 | absolutephoto.com

33

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Photography News | Issue 37 | absolutephoto.com

Technique In association with

Filter tips © Mike French

Want to do more landscape shooting and less editing?

Then filters are the answer. Here PN explains which filters you need and how to use them...

Words Kingsley Singleton Pictures Various It’s well understood that modern digital cameras are pretty amazing; they offer more detailed photos than ever before, dynamic range has increased to the point where a greater range of light can be recorded, and they have metering and exposure modes to cover almost subject you could care to name.

So how come it’s still the case that when you point your camera at a pretty landscape scene and take a shot, some parts look fine, while others are too light or too dark? Or how come you can’t use the shutter speed you want without the scene getting overexposed? Well, that’s because the dynamic range recorded by a camera is still less than what you can see with the naked eye. Cameras can’t help you with this; you need filters.

Good landscape photographers know this well; and their maxim goes something like this: “you can’t make the light, but you can make it right.” That’s why if you corner a landscape photographer on a hillside and firmly but fairly rifle through their kitbag, you’ll be sure of finding lots and lots of filters.

But which ones?

Well, there’s a whole world of them out there to explore, but the ones all landscapers use are these three; neutral density filters, graduated neutral density filters, and polarising filters.

Each is explained in this article where we’ll go in the how and the why of these filters; by the end you’ll see why this triumvirate is rightly described as ‘essential’.

Filter basics Before we look at each of the essential landscape filters in detail, on the right is some general info on using filters. As you’ll no doubt know, photographic filters are normally attached to the lens using either a holder or by screwing the filter directly into the thread that sits at the end of the lens. This begs the question, “should I go for filters that sit in a holder, or opt for the screw-in variety?”. There are advantages and disadvantages to both...

The dynamic range recorded by a camera is still less than what you can see with the naked eye. Cameras can’t help you with this; you need filters

Photography News | Issue 37 | absolutephoto.com

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Technique Screw-in filters Screw-in filters are usually highly durable, being made of glass with a metal ring, and they don’t need the additional investment and space of a filter holder as they mount directly to the screw thread of the lens. They should also offer no vignetting as they sit very close to the lens, unless you stack them; filters of the same size can be screwed into one another to multiply or mix effects, but this can cause vignetting.

The downside is they can get stuck if put on in a heavy-handed fashion, and you need different sizes for different lenses (or to use stepping rings), so costs increase. You can also get variable ND filters, such as Cokin’s PURE Harmonie Variable Density filter, which, with a twist of the bezel, offers a range of strengths; although these can save time, they tend to be more expensive than individual filters.

Slot-in filters

Above A Cokin PURE Harmonie Circular Polarising Filter CPL and a PURE Harmonie Variable Neutral Density filter, which offers a range of light blocking strengths in one unit.

Other types Some lens models also offer a rear filter mount, where you can slot small gelatin filters; these include the Canon EF 17-40mm f/4L and 11-24 and EF 11-24mm f/4L, EF 8-15mm f/4L Fisheye and the Nikon AF 14mm f/2.8D ED and AF DX 10.5MM f/2.8G ED Fisheye, all of which have bulbous front elements incapable of mounting regular screw-in filters or holders onto them, without modification and special adapters.

With filters (15secs at f/16, ISO 100)

Cleaning and storage Remember that, just like your camera and lenses, filters need to be well maintained or you’ll be in danger of compromising image quality. Cleaning using a dedicated lens cloth is advisable, so long as you make sure both it and the filter are free from grit or dust first.

You can also use dedicated filter cleaning systems that come with a liquid cleaner and disposable cloths, but in many cases washing them in soap and water, then drying them with a clean, lint-free cloth can also remove grease and smears. Filters should also be stored with care, so seek out a well-padded case or wallet that’ll fit easily into your bag.

Square or rectangular slot-in filters can be used on any lens, so long as the holder will fit, and changes in size in the lens can easily be offset with inexpensive adapter rings; you just need to find the one that fits your filter thread. Filters and holders vary in size, so in the Cokin range for instance, there’s A/Small, P/Medium, Z-Pro/Large and X-Pro/Extra Large. Sizes correspond to the size of the filter ring on the lens, so if you have large or wideangle lenses, you need larger filters and holders. With grad filters, slot-in types make repositioning the effect much easier; most grads come in slot-in form for this reason.

Most holders also have space for more than one filter, so you can build up the effect.

Disadvantages are that if plastic or resin materials are used filters must be carefully handled to avoid scratching, while glass versions are more likely to smash than their screw-in counterparts if dropped.

Arguably, they also take longer to use, but with the considered approach taken on most landscapes, that’s not necessarily a problem.

Without filters (1/15sec at f/16, ISO 100)

© Kingsley Singleton

© Kingsley Singleton

Compare these two scenic images, one in which filters were added, and the other which was shot without. The composition is almost identical, but one looks like a ‘proper’ landscape photo and the other more like a snap you might take when out on a walk. Why? For starters, the filters used have blocked out a lot of light, forcing the shutter speed to slow, which in turn softened the water and the moving clouds on this windy evening. This longer exposure makes the scene feel less busy and also lets the detail in the rocks stand out.

Then there’s the sky. In the unfiltered photo it’s quite a lot brighter than the rest of the scene, so the image looks unbalanced. But if you place the right kind of filter to cover the sky you can hold light back there, too, making it darker (but not too dark). This darker area tops off the image and stops the viewer’s eye from roaming to it, as the gaze is generally drawn to light.

Far left, Mike French used filters to shoot this glorious sunset at Hallsands, Devon. See more of his work at the end of the guide.

Photography News | Issue 37 | absolutephoto.com

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Technique In association with

Full neutral density filters © Kingsley Singleton

With full ND filter (5secs at f/11, ISO 100)

Gear Guide: Cokin Creative Full ND Kit £49.99

If you need to block out some light look for the Cokin Creative Filter System Full ND Kit, which contains three strengths of full ND filter (ND2, ND4 and ND8) corresponding to 1, 2, and 3 stop reductions in light. The set is available in Medium (P-series) now, with Large (Z-Pro) and Extra Large (X-Pro) sizes coming soon, and requires a corresponding holder to slide the filters into, which can be bought as part of the kit.

Without filter (1/2sec at f/11, ISO 100)

No filter (1/15 sec)

© Kingsley Singleton

© Kingsley Singleton

2-stop ND (1/4sec)

© Kingsley Singleton

What they are: Neutral Density (ND) filters are transparent pieces of glass or resin that completely cover the lens and block a given amount of light. This amount or fraction of light is rated in strength, and the stronger the filter the more light it will stop. Crucially though, ND filters limit the light without changing the colours in the scene (or affecting the sharpness and contrast), hence the ‘neutral’ part of the name.

When to use them: Full NDs are all about lowering the amount light uniformly across the frame, and with less light you can do one of two things; use slower shutter speeds or wider apertures than would be available in the brighter conditions.

For landscapes, it’s the former of these that’s most valuable as, at slower shutter speeds, you can introduce movement into the frame, smoothing flowing water a little, or showing some blur in scudding clouds; both of which can create a more calming look. With very strong NDs you can even use very long exposures in broad daylight.

ND filters can also help you get sharper results, as you don’t need to use the smallest apertures to get those longer shutter speeds; for instance, shooting at f/11 will give clearer results than at f/22, due to the softening effect of diffraction at the latter setting.

Look at them in the opposite way and NDs can also be used to allow wider apertures in bright light, helping you to isolate a landscape subject, like a tree or rock formation.

How to use them: As mentioned above, the strength of ND filters is precisely rated so Top The lower the light levels, the longer an ND filter will help you push the exposure time showing not just movement in water, but also clouds and grass.

Left Even a two-stop shift can improve a pic; here the difference between 1/4 and 1/15sec adds motion blur to soften the river’s flow.

The stronger the filter, the more you will be able to extend the shutter speed you use, and therefore the more movement that you’ll be able to show

you can employ the right one for the job. And the stronger the filter, the more you will be able to extend the shutter speed you use, and therefore the more movement that you’ll be able to show.

These strengths are usually noted either as the number of ‘stops’ of light that are being reduced, the optical density of the filter, or the amount of light that’s removed; they all mean the same thing, though, they’re just different ways of expressing it. So, say you have an ‘ND4’ filter. This means the filter is reducing light transmission by 4x, and you can use this to work out the exposure change in stops.

Therefore, a shutter speed of 1/8sec unfiltered, would become 1/2sec at the same aperture and ISO settings. That equates to 2 stops (two halvings of the light and two doublings of the exposure time), and an optical density of 0.6. An ND8 filter would equate to an 8x reduction in light, so 1/10sec would become 1sec (an EV change of 3 stops, and a density of 0.9). The different strengths mean you can get just the shutter speed you want, depending on the subject and the amount of movement required in the scene.

Anything else? Yes, if the effect isn’t strong enough, you can block more light by ‘stacking’ the filters, either screwing one onto another, or slotting additional filters into your holder.

When doing this, or using stronger ND filters, you may find it difficult to see the scene so it’s easier to compose without the filters in place.

Photography News | Issue 37 | absolutephoto.com

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Technique

Graduated neutral density filters With ND grad (1/50sec at f/16, ISO 100)

© Kingsley Singleton

Gear Guide: Cokin Creative Gradual ND Kit £49.99

To control dynamic range, try using the Cokin Creative filter system’s Gradual ND kit, which comes with three different strengths of softly graduated filter, ND2, ND4 and ND8, corresponding to 1, 2, and 3-stop reductions in light at their maximum strength. The set is available in Medium (P-series) now, with Large (Z-Pro) and Extra Large (X-Pro) sizes coming soon. A corresponding holder is needed to slide the filters into, and this can be bought as part of the kit for a small increase.

What they are: Like full Neutral Density filters, Graduated Neutral Density (GND) filters (also called grey grads, graduate and gradual NDs), are designed to hold back a measured proportion of light; unlike them, this is only done in a portion of the frame.

The effect of a GND gets stronger from one edge to the other, so, while one part of the filter is stopping some of the light, another is stopping less light, and one part is stopping no light at all, it being just a plain piece of glass or resin.

GNDs vary in strength and are rated in the same way as full NDs (ND4, 0.6x, etc.) and also in their rate of transition from the full density of the filter to the clear part (defined as soft, medium or hard), so you can tailor them to the scene you’re shooting.

When to use them: While full NDs are designed to stop light in a uniform way, being equal in strength across the frame, the varied effect of a GND filter only lessens light intensity in the portion of the frame where you want it to; therefore they’re ideal for controlling the light across a wide dynamic range.

That means, if the scene you’re shooting includes a sky that’s much brighter than the landscape (which is common) a GND can hold back some of the light in the brighter areas, balancing and improving results. This is increasingly important at wider angles of view, as in most landscapes, because the broader field of view is likely to contain more variation in

With ND grad (1/50sec at f/16, ISO 100)

Above When skies are too bright they lose detail, so a grad filter is required to darken that part and leave the rest unaffected.

Below Positioning the grad is important; place it too highly and you won’t cover enough of the sky; too low and the landscape will look unnaturally dark. It’s often easier to assess this using live-view, rather than through the viewfinder.

© Kingsley Singleton

light than a cropped one. Lost detail and colour can be returned to overexposed skies, which almost always improves the look.

How to use them: The first question is what strength of GND is required, and this can be judged by the difference in brightness between the landscape and the sky. So, in aperturepriority mode, point the camera at the landscape, and the camera will give you a shutter speed for a good exposure of it. Let’s say it’s 1/20sec. Now

Correct position

Postion too high

Position too low

© Kingsley Singleton

© Kingsley Singleton

© Kingsley Singleton

point the camera at the sky and read the shutter speed off again. If it’s 1/40sec you’ll need a onestop grad (ND2 or 0.3); if it’s 1/80sec you’ll need a two-stop grad (ND4 or 0.6). Placed correctly, this will equalise the light, but in reality, it’s just a guide from which you can decide whether you want a more subtle or stronger effect.

Placed correctly? Well, that’s down to where you position the start of the grad effect. An GND will be longer than a full ND filter allowing you to move it up or down in the holder and align it with your composition. For this reason, although you can get screw-in GNDs that rotate on a bezel, they are far less flexible than slot-in filters.

So, where should it be placed? That depends on the look you want, but the most natural results are found when aligning the start of the grad with, or just below, the horizon. Place the it too high and you’ll get a bright strip of sky above the landscape; too low and the horizon will be unnaturally dark. The effect can be difficult to judge through the viewfinder, so try a test shot, use the depth-of-field preview button or liveview. Of course you can angle the grad, too, if it suits the scene, or fits the light better; just experiment until you get the look you want.

Anything else? Certainly. The rate of transition (soft, neutral or hard) that you use is also a factor and can depend on the subject you’re shooting, how it’s framed and the aperture settings employed (the latter can also make the effect more or less obvious).

For instance, a straight horizon is a better fit with a hard grad, while a soft transition is more appropriate on a more broken skyline where buildings or trees extend into the sky.

However, when shooting seascapes, soft grads can do a better job, due the amount of reflected light. The wider you shoot, the quicker the transition can be from dark to light in the scene, so hard grads can be better there, too.

Remember, you can also stack grads with other grads, or with full NDs to increase the effect or slow the shutter at the same time.

Photography News | Issue 37 | absolutephoto.com

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Technique In association with

Polarising filters With polariser

Without polariser

© Kingsley Singleton

© Kingsley Singleton

It physically changes the look of a picture in ways that software can’t Top One of the benefits of using a polariser is control over reflections in the scene. You can choose to shoot with or without them.

Bottom Because polarisers reduce glare they can also make colours more intense.

What they are: Like full ND filters (and to an extent Graduated NDs, too), the effect of a Polarising filter cannot be replicated in postprocessing; it physically changes the look of a picture in ways that software can’t.

Polarising filters work by blocking light that’s reflected from the subject along certain angles, and this loss of this light reduces glare, controls reflections and, via the more diffused light created, enlivens colours and contrast.

The ‘circular’ part of Cokin’s P164 Circular Polarising filter comes from the construction of the filter, not its shape, and is in reference to the fact that it can be used with a digital camera’s metering and AF systems, whereas ‘linear’ polarisers cannot. Polarisers come in screw-in and slot-in types.

When to use them: Most landscape situations can benefit from the use of a polarising filter, but its effect is limited by the direction you’re composing in relation to the angle of the sun.

Overcast days won’t show the effect as much.

Different surfaces and angles in the scene can also cause different results: in some situations, like shooting wet rocks, a polariser can reduce glare and lower contrast, while in others, such as with white clouds in a blue sky, contrast can be noticeably increased.

When shooting water (and glass), a polariser can also remove surface reflections, allowing submerged subjects to be more visible.

How to use them: First you need to find an angle in relation to the sun, that the polariser

will work but it’s worth remembering that this shouldn’t be allowed to dominate your composition. The optimum effect will always be at right angles (perpendicular or 90°) to the sun. To gauge this, you can point at the sun and raise your thumb, so it’s perpendicular to your index finder; rotate your hand, keeping the finger pointed at the sun and your thumb will point to where the filter has most effect.

Next you need to rotate the filter itself, which determines which angles of light are filtered, so look through the viewfinder to do it. And because a polariser is blocking light you’ll notice that there’s a fall in the shutter speed as its effect increases. At maximum this should be around two stops, but can be more.

Anything else? Yes, and it’s of particular concern for landscapers. Because the amount of polarisation is relative to the position of the sun in the scene, wide-angle views can show the effect in a patchy way. So, while the filter works strongly in one place it will fade away from the point of maximum effect.

This also applies if you’re shooting panoramic images, where the effect will increase and decrease as you turn through the frames. The solution is to rotate the filter to lessen the effect, which can stop pictures looking unnatural anyway. Or you can use a longer focal length to hide the fall-off through cropping. You can also frame so that the polarisation increases from one side of the image to the other, much like a GND would.

Gear Guide: Cokin P164 Circular Polariser Filter £69.99

To control reflections and achieve effects like those here, you can use a Cokin P164 Circular Polariser filter, which slots into the regular Cokin P-series holder. The P164 occupies the first of the three slots, so that other filters can be used in front. When in the holder the polariser can be rotated via slots in the holder, allowing you to reach its notched edges. The P164 is available to fit Small (A-series), Medium (P-series), Large (Z-Pro) and Extra Large (X-Pro) filter holders.

With polariser

© Will Cheung

Without polariser

© Will Cheung

Photography News | Issue 37 | absolutephoto.com

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Technique

Moor control

© Mike French

Interview

Mike French creates dramatic landscapes around Dartmoor and the Devon coast. We asked him about his use of filters to control the light...

How did you come to use filters in your landscape work?

When I was younger I used my dad’s old Fujica 35mm SLR, and, of course, with film cameras you don’t have the luxury of creating HDR images or exposure blending.

Using that camera and its filters was an important way of learning how to control light, but for a short time later, when I was learning Photoshop with my university work, I would only ever blend images to achieve the dynamic range I wanted. Soon though, I started to resent that method as it always felt a bit like cheating.

What’s more, I work as a graphic designer, so I spend a lot of time in front of a computer and I felt I would rather spend time shooting than in front of a computer.

One evening I stumbled across my dad’s old Cokin A-series filters and bought a 52mm adapter to fit on my 18-55mm. All of a sudden I realised I could create equally dramatic images, in the camera. Personally, I feel as though using filters creates a much more honest and real-life looking image.

Which Cokin filters do you use?

I now shoot landscapes with Fujifilm cameras and a Samyang 12mm f/2 with a 67mm thread, so I use P Series filters. My go-to Cokin kit is a couple of P154 ND8X three-stop Neutral Density filters, a P197 Graduated orange filter, a P121M two-stop Graduated filter and a P121S three-stop Graduated filter that I often stack with a P154. This obviously helps to reduce light transmission but saturates sunsets nicely.

Now that Cokin has released the Nuance filter set, I will be looking to renew my tenstop filters, too.

What would you miss most about using filters if you couldn’t use them?

Being so close to the coast and Dartmoor, which holds a lot of water, I couldn’t imagine trying to continue photography without ND8X filters to slow water movement down. In certain scenarios I use ten-stop filters as well, but often the really blurred movement can cross the boundary into hyper-reality for me. Photographing water at around 1/10sec can blur it sufficiently whilst still keeping the natural look. Of course, none of this can be achieved effectively in post-processing.

What’s your approach to using ND grads; how do you assess where the grad should be placed and what strength to use?

I’ve been doing it a while, so there’s nothing too mathematical about it for me now. I decide on the level of detail I want in the foreground and consider the exposure needed to balance out that with the sky and take it from there. I try to balance the graduation above the horizon to keep a degree of realism, as a line of dark shadows just in front of the background with a correctly exposed foreground always looks a bit fake. Obviously, if there are dark

shadows in the foreground as well then it can help to balance out a lower graduation line.

When using full NDs, how much calculation do you do in terms of shutter speeds?

Again I try not to be too mathematical as this can remove some of the creativity for me, I know my ND8X will drop my shutter speed three stops, so if an unfiltered view meters at f/8 and 1/30sec then with that filter I can drop it around 1/4sec. What I would say, however, is I always pay special attention to the histogram as that will show me how much detail is in the shadows. A histogram is the truest test.

Do you avoid certain subjects or compositions when using filters, such as shooting into the sun to avoid flare?

Why avoid flare? Flare can be our friend as long as it is used carefully. After years of lugging around heavy DSLRs, in 2014 I made the jump to Fujifilm mirrorless cameras.

With this, I started to appreciate the nuances in things like flare. If I’m shooting down by rough seas and my filters get salty, then flare can quickly become uncontrollable, but in the main, I find pushing the envelope of what’s considered good practice is where unusual and interesting images are born.

Right The tumbling Venford Brook, Dartmoor, is calmed with a 136sec exposure at f/7.1 and ISO 320.

Below The Daymark Tower, Kingswear at 50secs, f/5.6 ISO 320.

Thanks to... You can see more of Mike’s work at forasimaging.com © Mike French

Photography News | Issue 37 | absolutephoto.com

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Technique Lighting academy

Soft sell Start your journey into the exciting world of creative lighting effects with PN’s Lighting Academy. This month, we find out why you need softboxes and how using them in simple and effective ways can easily enhance the style of your portraits...

Words & pictures by Kingsley Singleton Softboxes are pretty much the most commonly used flash modifier by enthusiasts, and with good reason. Firstly, many enthusiast flash kits come with softboxes as part of the package; you might get two softboxes included, or perhaps a softbox and an umbrella, and these are all you need to get great effects like the classic butterfly and clamshell described opposite.

Secondly, thanks to the growing popularity of studio and location lighting with flash, they’re cheaper and easier to use than ever before.

But what is a softbox and why would you use one? As a diffuser of light, when you add a softbox to your flash you’ll immediately get a much softer look to that provided by a naked bulb and this is useful in a variety of ways. Diffusing the light makes it less intense, reducing contrast and softening shadows; and softer shadows and lower contrast generally creates more flattering portraits where imperfections are less visible.

The effect of a softbox is similar to most umbrellas, but softer and more directable due to the shape of the modifier and the way it channels the light through a diffuser, rather than spreading it more widely like a brolly.

Therefore the spill of light is easier to control and more precise styles can be created.

The shape of softboxes, assuming they’re the traditional square or rectangular kind, also makes them perfect for replicating window light, especially in terms of the

catchlight produced in the subject’s eye. There are lots of size and shape options out there besides, including more rounded designs, like octaboxes, which can be collapsed and transported more easily and are versions that mix the design of an umbrella and a softbox.

It’s not only the shape of the softbox that changes the look of the light, but also the size, position, inner colour and the level of diffusion. Many softboxes feature a choice of one or two removable diffusing panels, so the level of diffusion can be increased (or removed entirely). The inner colour, usually white or silver, can vary the strength of the look and the neutrality of colour; silver inners produce a slightly more contrasty look.

The last consideration is the size of the softbox relative to the subject; the larger it is in relation to the subject, the softer the light will be. For this reason, it can be a good idea to base the size of box you choose on the size of the subject you’re shooting. So, for a head and shoulders portrait you would need a smaller softbox than a full-length shot, where, to get the same level of softness, you would need a much larger one (or two softboxes aligned as one). The other thing to bear in mind about larger softboxes is that they take more power to fill, and won’t throw the light as far.

Simple softbox

Next month: More creative ways to use your softboxes with grids and feathering effects.

OCTA SOFTBOX

LONG SOFTBOX

SQUARE SOFTBOX

Top You don’t need a whole lot of kit to start shooting better portraits. A couple of flash heads, softboxes, and a reflector can give great results, especially combined with a plain background, for which you can use a wall at home. Above Placing a softbox on your flash will immediately soften the light compared to the naked bulb for a more attractive look.

Thanks to... Our model this month was Emma Davis and we shot at ShutterBox Photography in Stamford (contact Lyndsay Ford at shutterboxphotography.co.uk).

Photography News | Issue 37 | absolutephoto.com

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Technique Butterfly lighting What it is: The name of this classic lighting style, popularised in the golden age of Hollywood, comes from the shape of the shadow produced under the subject’s nose.

You need to use your imagination a bit (and of course it depends somewhat on the shape of the nose you’re lighting!), but essentially it’s a neat winged shape. Butterfly lighting is a glamorous style and suitable on most types of faces, particularly accentuating thinner subjects with high cheekbones, as it also casts soft shadows under the cheeks. It’s also little more stylish and striking than loop lighting where the nose shadow is pushed out to the side.

How to do it: The shape, like any shadow, of course comes from careful positioning of the light. To get the shadow directly under the nose, the light must be aligned with the direction that the subject is facing, and it’s most obvious if they’re looking directly at the camera.

The height of the light is also important. Like loop lighting, the angle relative to the subject’s face will either lengthen or shorten the shadow cast by the nose; if the light is too low, there will be little or no shadow; too high and the shadow Butterfly lighting

Clamshell lighting will be too long, losing the ‘butterfly’ shape and forcing itself across the lip which looks unattractive. And if your sitter moves you’ll need to reposition the lighting, so it’s a precise affair.

To help, if your flash has one, set up using the modelling light, which will cast the same type of shadow shapes as the flash when it’s fired.

Squint a little and you’ll get a clearer view of the shadow (just warn your subject before you do it!). You only need a single light, but to stop the shadow being too dark, angle a reflector below the subject’s face to bounce some light back.

Take it further: Use a beauty dish instead of a softbox and you’ll get a little more definition to the shadows, even closer to the classic Hollywood look, while a simple and striking monochrome finish also suits.

You will need: One light fitted with a softbox diffuser, plus a reflector (optional).

Difficulty rating: 1 Pros : Striking, simple to do.

Butterfly in mono

similar power settings. That said, if the lights are What it is: Clamshell lighting is one of the most different distances from the subject, and if one flattering lighting styles you can use on a sitter, softbox is larger than the other, the same power because it creates a very even level of contrast levels won’t work. Also, as the illumination is across the face. That even contrast means overlapping, it’s easy to overexpose. The best fewer shadows, so skin looks smoother and thing to do is, after setting up the lights, set free of imperfections. For that reason it’s a style the upper light so that it’s underexposing the that’s often used in beauty shots, like magazine subject a little, then increase the power on the covers. It’s also great if you’re after simplicity. lower one; this will fill in the shadows but won’t On the downside, the flooding light and lack dominate the face as the last thing you want of contrast means shots won’t have much is an unflattering ‘uplighting’ effect. If, after definition or drama, so be careful of this set-up if powering up the second light, the effect is too you’re looking for those things. bright then reduce them as one.

How to do it: The even-contrast look comes Take it further: The softboxes don’t need to be from firing light from above and below the placed above and below the subject, so try them subject: one light, fitted with a softbox should at any opposing angles. be placed above their head at an angle of around 45° and another, also with a softbox, in the opposite positing below. You can also add a You will need: Two lights fitted with softboxes. reflector, which will push the light in from a third Difficulty rating: 2 angle, softening it even further.

Pros : Very flattering, easy set-up.

Then you’re on to setting the power. The contrast ratio here should be between 1:1 and 1:2, Cons: Lacks contrast and a good power balance and in theory that means setting the lights to is required.

Wrong position

Brolly or Softbox?

Although softboxes and umbrellas are diffusing modifiers, they can create different looks. These comparison images show how the look can change between the two: a light was placed at 45° to Emma and fitted with first a large octagonal softbox, and then an umbrella of similar size. Umbrellas come in either bounce or shoot-through types. Here, the umbrella was fired in a bounce arrangement, meaning the light is turned around, firing into the umbrella then reflecting back onto the subject. As you can see, the wider spread of light from the umbrella gives a slightly softer look, but the softbox, while the light is still very diffused, is more directed. You can see this in the background with the edge of the softbox’s shadow just visible.

Switching between softbox and umbrella means checking the flash power again, as the wider spread of light from the latter will require more juice to get the same exposure. You may also notice a shift in colour, so for consistency check your white-balance settings.

Even contrast means fewer shadows, so skin looks smoother

Cons: Fresh alignment is needed if the subject turns away from the lights.

Softbox

Umbrella

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Camera test 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 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

Above The X-T2 delivered a very consistent, high-quality set of images in a wide variety of light situations. Exposure and whitebalance systems worked well.

Fujifilm X-T2 The X-T2 joins the X-Pro2 at the top of the Fujifilm X-series tree, offering photographers the choice of two different camera styles supported by a system of 22 lenses with three more on the way Words by Will Cheung Our camera buying habits are changing. Compact cameras don’t sell in huge numbers because we use our phones for snaps while among interchangeable lens cameras, the move is towards mirrorless.

The Fujifilm X-series, a system that has only been around for five years, is one of the leading lights of mirrorless and goes into autumn with two flagships sitting at the head of its line-up. The X-Pro2, launched in January this year, and the X-T2 announced back in July, incorporate the same 24.3-megapixel CMOS X-Trans II sensor. The X-Trans sensor features a ‘random’ array of colour pixels to avoid moire without the need for an optical low-pass filter. No OLP filter means better picture quality and with Fujifilm’s line-up of high-spec optics ensures that this potential is realised.

The key point of difference between the X-T2 tested here and the X-Pro2 is that the former gives a DSLR experience with its centrally located pentaprism housing the viewfinder while the latter gives a rangefinder (à la Leica M) experience. Of course, there are several other differences but the

delivery of the viewing image is a fundamental one.

The X-T2 follows in the successful footsteps of the X-T1 and there have been some significant advances, essentially to further broaden the appeal of the Fujifilm X-series, notably to sports shooters.

The sensor I have touched on already and more on that later when we talk about ISO and picture quality, but the area where Fujifilm has worked hard is the autofocus system and its continuous shooting ability. Both important considerations when it comes to action and sports photography, areas that Fujifilm recognised it was weak on.

The AF system has gained a great many more focusing zones (up to 325 instead of 77), faster continuous AF with a selection of presets tailored to handle with different types of action subject and an improved algorithm to cope with fine-textured or low-contrast surfaces. Add to this a shorter image blackout time to enable easier tracking of the subject in the viewfinder, a briefer shutter time lag and the ability to shoot at 11fps with the optional Vertical Power Booster (the VPB-XT2). This grip also accepts two extra batteries so with the one in the camera gives

Twice as bright is difficult to visualise but an A and B comparison reveals the new camera’s EVF is massively brighter a shooting capacity of over 1000 frames from a fully charged set.

In comparison with the X-T1, the X-T2 has enjoyed some important physical changes that has enhanced handling. If, by the way, you have a handgrip for the X-T1 it won’t fit the X-T2 body.

The X-T2’s electronic viewfinder is claimed to be twice as bright as its predecessor – twice as bright is difficult to visualize but an A and B comparison reveals the new camera’s EVF is massively brighter.

The X-T2 has also gained a focus lever making it really easier for the thumb to move the active AF sensor around the array of focus points.

Along the top plate, the three main dials, the ISO, shutter speed and exposure compensation controls have also seen changes.

The ISO and shutter speed controls are taller and have gained one push locks to avoid inadvertent operation.

There is no lock on the exposure compensation dial but it has gained a C position and setting this means compensation can be set by using the front command dial.

The camera’s menu has been cleaned up and navigating around it is a fast process. The My Menu option means up to 16 frequently used items can be registered and the Q menu can be edited too. Both options speed up accessing and selecting important functions.

One menu item missing from the X-T2 but I use all the time on the X-T1 is the ability to lock off selected features. It is a great and invaluable feature that’s top of my list for the next firmware update.

One welcome feature on the X-T2 that the X-T1 doesn’t have, however, is the twin SD memory card slot.

Memory cards rarely fail but having that backup option (or expanded shooting capacity) is great to have.

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Camera test Performance: ISO The X-T2’s native ISO range is 200 to 12,800 with expansion options to 100 at the lower end and 25,600 and 51,200 at the high speed end. Unlike the X-T1, all expansion speeds on the X-T2 can be used to give Raw as well as JPEG output. On the ISO dial there is one H setting and in the menu this can be allocated to one of the two top speeds.

For this twilight shot, the X-T2 was fitted with a 23mm f/1.4 and mounted in a Benro FTA28C tripod and the mechanical shutter released using the self-timer. In-camera noise reduction was set to zero. The base exposure for the ISO 200 shot was 2secs at f/5.6. The resulting Raws were processed through Lightroom with no noise reduction and default sharpening.

Images are very clean up to ISO 800 and even at ISO 1600 there is minimal coarseness and impact on fine detail. The high level of image ISO 200

ISO 6400

ISO 200, 0 NR

ISO 6400, -4 NR

Original image

quality is maintained through to ISO 3200 and this speed is good enough for critical use and big enlargements.

Should you need to, shooting at ISO 6400 will still give fine results and intricate detail still looks acceptable.

I took some low-light concert shots at ISO 6400 and was very pleased with the results – they were improved even more in software.

By the time we reach ISO 12,800 of course noise is much more evident and the expansion speeds are best reserved for those dire light occasions when a sharp shot is better than none at all.

To sum up, the X-T2 turns in a very creditable high ISO performance so if this is a facet of a camera’s performance that is important, you won’t be disappointed. Equally, if you’re one who doesn’t venture beyond ISO 800 you can’t but help be impressed with the sparkling images shot at lower ISOs.

I took a set of low-light concert pictures at ISO 8000 and was very pleased with the results

ISO 1600

ISO 3200

ISO 25600

ISO 51200

ISO 800

ISO 12800

ISO 6400, 0 NR

ISO 6400, +4 NR

Performance: high ISO noise reduction The X-T2 has in-camera noise reduction for JPEGs with settings from +4 to -4. I shot sets of pictures at ISO 3200, 6400 and 12,800 at each of those settings to check its effectiveness. Using the same kit combination as for the ISO images, the exposure for the ISO 6400 was 2.6secs at f/10.

The +3 and +4 settings are, as expected, aggressive and while noise is greatly minimised the softening of detail, particularly in the shadows, is significant so they need using with care. The +1 is a safe setting if you just need a little more than the default setting.

Looking at the negative NR values, if you want minimal NR and maximum detail in your JPEGs then the -1 setting is the one to use.

Original image

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Camera test Performance: exposure latitude For the scene here the metered corrected exposure was 1/500sec at f/7.1 at ISO 200 and a +/-4EV bracket was made in metered manual mode.

In Lightroom the bracketed images were corrected by the amount each was under or overexposed by, and the files were exported and examined.

The shot underexposed by -4EV recovered very well in processing with good tonal rendition in the shadows and highlights. Where

Original image

the corrected image has suffered is with increased noise and a negative impact on fine detail.

There is less noise in the -3EV shot and the -2EV shot is not too far off the correctly exposure image.

With overexposure, the +3EV and +4EV shots are not acceptable with the highlights looking very poor. The +3EV looks okay in the shadows but it is the highlights that let the image down. The +1EV and +2EV shots look fine when corrected in software and are perfectly acceptable.

Original image

-4EV

-3EV

-2EV

-1EV

0EV

Images Shooting a +/-4 EV bracket in Raw and then correcting the files in software shows how much exposure abuse the files can take.

On the X-T2, -3EV and +2EV will give you very good results.

Performance: autofocus +1EV

+2EV

+3EV

+4EV

The X-T2’s phase detection system has 91 AF points with the option of 325 covering a large part of the image area.

Various AF zone configurations are available so you can pick single spot, wide/tracking and zone. In zone there is the option of either nine, 25 or 49 sensors active. In single spot and zone the active area can be moved around to suit using the focus lever. In single spot the size of the active area can be varied too. You get the quickest AF with the sensors in the central area.

Face detection AF is a feature commonly found on modern cameras and it is available here too. The X-T2 goes a step further and there’s eye detection AF which you can set to pick up on the left or right eye or the eye closest to the camera.

It is in the area of continuous AF where the X-T2 stands out from previous X-series models.

Five focusing presets vary the three parameters of tracking sensitivity, speed tracking sensitivity and zone area switching to suit different scenarios. There is a

sixth option where you can register your own preferred variations of these three parameters.

This sequence of shots of an East Coast Main Line train going through a station doing around 70-80mph was taken on an X-T2 with a XF55-200mm f/3.5-4.8 lens attached at the 200mm end. The camera was set to its continuous high so you get 8fps with the mechanical shutter – you get 14fps with the electronic shutter. A total of 18 shots were taken. Continuous AF was selected along with zone focus mode.

AF-C custom setting 6 was used with tracking sensitivity and speed tracking sensitivity both set to the maximum possible.

The camera tracked this subject very well and even the last frame in the sequence is sharp. Looking closely at the shots, there are several earlier frames that could have been sharper, but the ones shown are later in sequence and the camera seemed to have locked on to the subject and held focus well.

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Camera test X-T1, Raw, ISO 200

X-T2, Raw, ISO 200

Original image

Where the X-T2 really wins is with the quality of the detail on view – there’s much more of it and it is so much crisper

Performance: X-T2 v X-T1 X-T1, Raw, ISO 6400

X-T2, Raw, ISO 6400

Vertical Power Booster VPB-XT2 grip The vertical power booster costs £299.99 so it’s not something you’re going to buy unless you really need it. It also adds bulk to the camera so appeals less if you prefer to travel light or if you want a discreet camera for street shooting. It has serious benefits though. It holds two batteries so count the third one located in the camera and you have a serious increase of shooting capacity, to over 1000shots. For video it allows continuous shooting of 30mins.

The grip also doubles as a charger and recharges two cells in two hours.

There are handling benefits too with a good selection of key controls from the camera back duplicated on the grip for convenient upright photography..

The focus lever, the Q button, the two input dials and the shutter release are all provided. The unit is weather sealed too so is a perfect partner for the X-T2.

Some important performance benefits are available. Switch it to boost mode and the camera’s top continuous shooting speed with the mechanical shutter leaps from 8fps to 11fps.

Shutter speed time lag and shutter blackout are also minimised.

We know from the specification that the X-T2 focuses and shoots more quickly than its predecessor. Other factors like the EVF and no image blackout in continuous shooting are readily apparent too, so let’s concentrate on image quality.

X-T2 file sizes are obviously bigger and uncompressed Raws are around 50MB and open up to give an image size of 6000x4000pixels and a print size of 20x13in at 300ppi without interpolation. By comparison an X-T1 file gives a print of 16.3x10.8in.

The X-T1’s ISO performance is very good but viewed at the same image size (ie the X-T1 image at 122% and the X-T2 at 100%) the X-T2’s noise isn’t much finer even at ISO 6400, the X-T1’s top native ISO. Where the X-T2 really wins is with the quality of the detail on view – there’s much more of it and it is so much crisper. Apply some noise reduction to X-T2 files in processing and you can easily reduce the grain effect and the impact on detail is much less because there is more of it in the first place.

Doing the same comparison with ISO 200 images again shows that the X-T2 wins in the detail stakes and the difference is significant. This is with default sharpening so more improvement is available from both files, but the X-T2 has a head start.

The thing, of course, is that if you are happy with the X-T1’s quality – and obviously it is very good – it didn’t become a less capable camera because the X-T2 arrived. But there is no doubt that the X-T2 is a significant step up if ultimate quality is something you desire. And then there are all the physical benefits too.

Far left The comparison shots of this twilight scene were taken on both cameras seconds apart. The same lens, a 23mm f/1.4, was used and the exposure for the ISO 200 shots was 4.5secs at f/5.6. A Benro FTA 28C tripod was used.

Below left This indoor portrait was done with an exposure of 1/20sec at f/1.8 and ISO 400 on a 23mm f/1.4 lens. The musician was exposed at 1/30sec at f/2.8 and ISO 6400 using a 50-140mm zoom at 74mm – equivalent to 112mm on 35mm format.

Verdict If you haven’t yet committed yourself to a mirrorless system, it would be remiss not to look at the Fujifilm X-series and in particular the X-T2 which is a very fine, hugely capable camera. It’s also great to use and picture quality is first rate.

If you are an X-series owner (maybe you have the X-T1) you’ll be wanting to know if it offers more than your existing camera so is it worth an upgrade.

I do have an X-T1 and am very happy with it too, but using the two cameras side-by-side for the past two weeks shows that the X-T2 is so greatly and clearly superior that I’ll be making the investment. It’s a no brainer!

24/25 Features More pixels, faster AF, improved high ISO performance, key benefits 24/25 Performance The X-T2 delivers excellent pictures in a wide variety of situations 24/25 Handling The one-touch locks and the focus lever proved great to use 24/25 Value for money Very usable, laden with great features and produces top images 96/100 Overall If you want a top flight mirrorless camera it would be silly not to have the Fujifilm X-T2 on your shortlist Pros Focus lever, swift AF, high ISO, high shooting speed, improved handling, very bright EVF, two SD card slots Cons Battery life could be better, no lock menu item

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Camera test Specs Price £799.99 Sensor 29.5 effective megapixels, Foveon X3 with Dual TRUE III processor Sensor format APS-C 23.5x15.6mm ISO range 100-6400 Shutter range 30secs to 1/4000sec Drive modes Up to 3.6fps in continuous shooting Metering system Multi, centre-weighted, spot Exposure modes PASM Exposure compensation +/-5EV in 0.3EV steps

Sigma sd Quattro

Sigma is the only camera maker using the Foveon direct image sensor where every pixel records all colours of visible light. The sd Quattro is the latest offering using this technology

Monitor Fixed 3in LCD with 1620k dots Focusing Contrast- and phase-detect, multiarea, centre, selective single point, tracking Focus points Nine, Free move focus Video No Connectivity USB3.0, mini HDMI Storage media SD/SDHC/SDXC Dimensions (wxhxd) 147x95x91mm Weight 625g body and battery Contact sigma-imaging-uk.com

Words by Will Cheung

Images While its design is slightly unconventional the sd Quattro does stand out and plenty of buttons make the camera easy to set up and use.

Sigma has been using Foveon sensors in its digital cameras from the beginning eschewing the mosaic sensors used by all other brands.

Think about it and the theory makes perfect sense. Essentially, every pixel in a Foveon sensor can record visible light of all colours vertically whereas the Bayer mosaic and Fujifilm X-Trans sensor types have colour-filter covered pixels that record red, blue or green wavelengths, but can’t capture all three simultaneously.

The sd Quattro uses the latest Foveon sensor, the X3 Quattro which features a ratio of 1:1:4 ratio of red, green and blue pixels at each pixel site. The four blue pixels on the top layer collect luminance as well as colour data while the single pixels below collects colour data only.

Enough of the theory – if you want more see Sigma’s website – and let’s focus on the practical and see how the sd Quattro stands up to the competition.

Two versions of the sd Quattro are available, the standard model featured here with a 23.5x15.6mm sensor and an effective resolution of 29.5 megapixels and the sd Quattro H which has a sensor measuring 26.7x17.9mm and a resolution of 38.6 megapixels. Both bodies are the same size and the H is 5g heavier.

The sd Quattro has a very distinctive body shape quite unlike anything else on the market. The body is taller in the lens mount region or, if you prefer, the hand grip is not as tall as the main part of the camera body.

Turning the camera on and off is done from the switch on the raised lens plinth, the depth of which can be explained by the fact that fullframe Sigma SA-fit lenses can be used on the sd. That means there is plenty of choice when it comes to focal lengths but only from Sigma.

Take off the lens and you’ll see the easily accessible low-pass filter. If you fancy some infrared photography, pop this filter out, fit an IR filter on the lens and you’ll get some very effective results.

The sd Quattro has a very distinctive body shape quite unlike anything else on the market Unusual the body shape might be, but it does fit the hand very nicely and it has a solid feel. In terms of weight, the sd Quattro body weighs in at 625g, so heavier than the APS-C Fujifilm X-T2 (507g) and lighter than the full frame Canon EOS 5D Mark IV (800g).

The viewfinder eyepiece is offset to the right of the lens when viewed from behind and can be set to eyeactivated auto switchover from the rear monitor. Its positioning, if you are used to a central eyepiece or one that is located far left, takes a little getting used to. The EVF image itself is good and well informed too with key camera information clearly laid out against a plain background that sits outside the image area.

What information is on show is customisable and there are four custom settings available.

The sd Quattro does not offer much in the way of usercustomisable function buttons but there are a few things you can do.

For example the front and rear dials’ function and rotation direction can be varied for each exposure mode and the eight menu options that pushing the QS (Quick Set) button brings up can be customised.

The camera rear is cleanly laid out with a significant area for the fixed, non-touch-sensitive monitor.

This is not all image and an area of it is reserved for camera data. Neatly, next to the info item is the dedicated button to that function.

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Camera test There are other nice points of physical design that deserve a mention. The dioptre correction eyepiece can’t be moved by mistake and the LOCK slider is a good feature that means every control is locked down when used.

Setting up and finding your way around the Quattro doesn’t take long. That is probably in part due to key settings having dedicated buttons and not having any extra function buttons to think about – on some cameras there are so many function options that you can easily forget what each button does, especially in the heat of the moment.

There is much to like about the camera’s handling although it took me a little while to get used to the right-sided EVF placement.

Leave the camera on for any period of time and the body gets warm, especially around the lens plinth where the supporting left hand sits. It tells you something inside is working hard and that is reflected in battery life – I was getting around 200 shots per full charge. An ECO mode which dims the monitor when the camera isn’t used for 10secs is available.

I mostly used the sd Quattro in manual and aperture-priority AE modes with the multi-segment mode doing the metering. The exposure system proved very consistent and accurate with perhaps a tendency to underexpose by maybe 0.3EV to

give richly saturated results. If you prefer your Raws exposed to the right you may have to dial in some extra exposure. Generally, though, no problems so full marks to the exposure system.

Less impressive was the AF system despite having combined contrast- and phase-detect systems.

There is a nine-point selectable mode and a Free Move option which covers nearly 70% of the image area and gives freedom within that area to pick a focus point. In both modes, the active focus zone has three size options: spot, regular and large.

Moving the focus point around is done with the four-way control cluster after having pressed the focus mode control (the button with nine dots) directly below. There is no direct access method.

Autofocus could be twitchy even in good light and could struggle even in bright interiors even in single AF mode. Autofocus was swift and silent but it would often pass through the point of focus and back to lock on but it can need a tweak of the focus barrel to get sharp focus.

The EVF image could be better to help check precise focus.

The sd’s AF is fast but it is not as sure-footed as its mirrorless rivals.

It is too hesitant for subjects where you need near-instant lock-on. Of course, for subjects like landscape and architecture where time is less of an issue, the AF system is fine.

ISO 100

ISO 400

ISO 800

ISO 1600

Above The sd Quattro gave impressive straight-out-of-the-camera JPEGs with the exposure system acquitting itself very well giving consistently rich results.

Original image

Performance: ISO

ISO 3200

ISO 6400

The sd Quattro has an ISO range of 100 up to 6400 – there are no expansion settings.

Shoot at ISO 100 and image quality is excellent with very low noise, bags of detail and rich colour saturation. That standard was maintained at ISO 200 but by ISO 400 colour saturation was less impressive. Pictures of a Datacolor SpyderCheckr test chart revealed that the vibrancy of the red and blue colour squares dropped off from ISO 200 to 400 and noise levels were higher too. That said, ISO 400 performance is perfectly respectable and good enough for critical use.

Move up to ISO 500 and there was a much more significant quality fall off which was a surprise given the small step up. Noise was about the same but saturation was significantly less good and, in the

case of the colour test chart, the red and blue colour squares exhibited a bleed effect into the grey surround.

Noise levels at ISO 800 were still not too bad but the colour saturation issue was even more significant by now. If you have no option but shoot at ISO 800 then the results won’t be too bad and the noise can be lessened and saturation boosted in Photo Pro but personally I’d be wary of going much further up the speed scale.

Critical performance at high ISOs is not essential for every photographer and if your specialism means ISOs of sub-400, then the sd Quattro can be counted as a capable performer producing pictures with excellent detail, colour richness and low noise. If, though, you’d like the option – however occasional – of venturing beyond ISO 1600 this may not the camera for you.

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Camera test Performance: exposure latitude

-1EV

-2EV

+1EV

+2EV

Original image

A sunlit contrasty scene was photographed using a tripodmounted sd Quattro fitted with a Sigma 24-105mm f/4 DG lens.

The manually metered correct exposure at ISO 100 was 1/100sec at f/11. Shots were then taken by adjusting the shutter speed to give an exposure bracket of +/-4EV. Sigma X3F files are not compatible with Camera Raw/Lightroom so the resulting Raws were imported in Sigma Photo Pro software, v6.4.0 and the files adjusted to correct for the under/overexposure. The software’s exposure slider is limited to +/-2EV, so the exposures beyond that range were not processed.

The sd Quattro coped well with two stops of underexposure and the converted file looked almost identical to the correctly exposed shot in terms of tone and contrast.

If anything there was marginally more noise in the shadow areas but it wasn’t too distracting so it coped well with underexposure.

With overexposure, the +1EV Raw looked the same as the correctly exposed shot but the +2EV shot was less impressive in the highlights where the maximum correction in Photo Pro was still not enough to give good details and what detail was present looked grey. The limit for overexposure is about +1.5EV.

Correct

Images In our tests of a sunlit contrasty scene the sd Quattro’s Raws showed itself quite tolerant to underexposure and recovery in software produced fine images. It was less amenable to overexposure and the upper limit for high-quality shots is +1.5EV. The software used was Sigma’s Photo Pro which is a free download, as there is limited third-party support for Sigma Raws.

SFD image

Performance: Super-Fine Detail (SFD) mode

From Raw

For the ultimate image quality from the sd Quattro, you can choose SFD mode in the menu to give wide dynamic range, low-noise images.

In this mode, seven bracketed exposures are taken so you need the camera on a tripod with the lens’s OS system turned off. And, of course, a static subject. Select SFD and key camera settings are fixed or limited. So, aperture-priority and manual are the only exposure modes possible, you only get Raw files (with the extension .X3I) and ISO is set to 100 only.

Press the shutter button once and the camera takes a set of seven bracketed exposures and the write to card LED lamp glows for about 15secs. Obviously it depends on the shutter speeds used but for a sunlit scene where the correct exposure is 1/250sec at f/11 the bracketing sequence takes over 5secs, hence why you need a static subject.

When you preview the images in thumbnail view you see the SFD7 icon and in single image view you can scroll through the seven bracketed images with a scale telling you which image you are viewing. If you delete an individual SFD image in-camera, all seven will be deleted.

You do not get to see the final merged result in-camera. All you have done is captured a sevenimage bracket that you can then import into the Photo Pro software to produce the finished result. In

software you can also extract the original X3F Raws so, for example, if for whatever reason the sevenimage bracket didn’t work, you still have individual Raws to work with.

We have seen Olympus and Pentax use their sensor-shift mechanisms to actually move the sensor for a series of exposures with the same camera settings to gather as much information as possible and we know it works.

The sd Quattro’s sensor stays put and is exposure bracketing only. It is basically HDR with less midtone noise, so it’s good for interiors and even scenics – it can be used for any scene if there is no camera or subject movement.

As you would expect, the SFD files are large – between 350Original image

400MB compared with around 50MB for a straight Raw file.

Working with 50MB Raws in Photo Pro is slow so working with .X3I files isn’t fun and they do need more work.

After importing into software my SFD shots lacked contrast, saturation and looked too cool compared with the X3F pictures taken at the same time. I produced similar looking results from both.

Close examination of comparison shots showed that SFD does give cleaner images with less colour artefacting and noise while highlights looked better too. The benefits of SFD were clear but you do need stationary subjects otherwise you get some strange effects in areas of movement.

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Camera test Performance: Super-High JPEG mode Whereas Super-Fine detail mode takes seven Raws on a stable camera that are merged in software for high dynamic range pictures, the sd Quattro’s Super-High (S-HI) mode is JPEG output only and just one shutter release is needed to produce a straight-out-of-the-camera image measuring 39-megapixels and 7680x5120 pixels. This compares with the Fine JPEG’s dimensions of 29-megapixels and 5424x3616 pixels. The Quattro H gives 51-megapixel JPEG files.

Assuming 300ppi, the Fine JPEG of 5424x3616 pixels gives a print size of 18x12in. Using S-HI mode the print size increases to 25.6x17in which is impressive for a straight-out-of-the-camera JPEG. To see how good image quality is I shot in S-HI mode and then repeated the shot in Raw and Fine JPEG. The shots were taken using a Sigma 24105mm f/4 DG lens at 38mm using an exposure of 1/80sec at f/8 at ISO 100.

For on-screen checking, the Fine JPEG and processed Raw were magnified by 1.41x to give the same image size as the S-HI JPEG. For print examination, the Raw file was processed through Sigma Photo Pro with default settings and exported as a JPEG. This JPEG was then interpolated using Photoshop to give the same image size as the original S-HI file. The Fine JPEG shot was also interpolated in Photoshop to give the same image size as the S-HI file.

With all the shots done at ISO 100 image quality is excellent, sharp and full of detail. As you’d expect, the Fine JPEG is the least impressive and is noticeably less good than the Raw file.

The S-HI JPEG looks good and the in-camera interpolation has done a great job. The large prints of S-HI files certainly impressed. Ultimately, though, the interpolated Raw is marginally better (and of course, Raw offers more control in post-processing) but it took more work to get while getting a S-HI is dead simple. Get it right in-camera and the S-HI setting is definitely worth using when large JPEGs are needed.

Interpolated Fine JPEG 7680x5120 pixels

The S-HI mode is JPEG output only and just one shutter release is needed to produce a straightout-of-the-camera image measuring 39-megapxiels S-HI JPEG 7680x5120 pixels

Left Here the same scene was shot using (in descending order) Fine JPEG, S-HI JPEG and Raw. The Fine JPEG and processed Raw files were interpolated in Photoshop to give the same image size as the S-HI shot for a fair comparison. You can see that S-HI gives an excellent result with no fuss at all.

Verdict

Original image Interpolated Raw 7680x5120 pixels

Performance: Sigma Photo Pro v6.4.0 The unique Foveon sensor means there is very limited third-party support for the X3F Raw files that it produces, hence we took a quick look at Sigma’s own software solution, Photo Pro v6.4.0. The software itself is an image editor on the lines of Photoshop rather than a workflow software such as Lightroom so there’s limited cataloguing and keywording functionality.

Locate the folder with the Raw or JPEG images and they load into software quickly. You get the options of different thumbnail sizes and there are three window choices too.

In the thumbnail interface images can be marked or deleted and double-clicking on any image and a few seconds later it appears large in the editing interface. Here you can have the tool palettes ranged down the left, right, down both sides or floating – or hidden – so all very neat.

In terms of actual tools, there’s a wide range of the usual suspects so exposure, tonal adjustments, white-balance, noise reduction, lens corrections and more are available. With Raw files you can also change or select any image ratio or apply a particular colour mode.

Apply an adjustment and a few seconds later the preview is refreshed and the image with the settings applied is shown – some changes are shown very quickly, some take longer.

Before exporting, you can choose save parameters, ie. colour space, JPEG, 8-bit or 16-bit TIFFs. Running the Mac version of the software on a Mac Mini with 16GB of RAM, processing a X3F Raw to a 16-bit TIFF with no corrections applied took just under 30secs so the process is quite slow.

Using the large SFD files was inevitably slower and they needed more adjusting to get a good result.

The Sigma sd Quattro is a fine camera with an individual character and it’s capable of very impressive results especially if you want fabulous-looking JPEGs straight out of the camera. But it is a camera that needs work and there are limits to its skills.

By work, I mean shoot Raws and you have to use Sigma’s own software and it is slow, not great to use and doesn’t offer as much as rivals. It is a shame there is such limited third-party Sigma Raw support. And by limits, I mean if you want to shoot critical quality images above ISO 400, expect noise levels that are high for a current camera. You also need to be patient with the AF system which can struggle to lock on even in what are supposedly good conditions.

Very much on the plus side is the Sigma sd Quattro’s price.

Under £800 for a 29-megapixels camera is good value and the image quality is excellent at low ISO settings.

20/25 Features A gimmick-free CSC with a unique sensor 22/25 Performance Low ISO quality is excellent and exposure system spot on 21/25 Handling No serious issues but autofocus and the electronic viewfinder image could be better 24/25 Value for money This level of resolution at this price is tempting 88/100 Overall The sd has good and less good points so very much an individual choice, and it’s good value Pros Good value, image quality at low ISO, S-HI JPEG mode Cons High ISO quality, AF, battery life, Raws have to go through Sigma Photo Pro

Photography News | Issue 37 | absolutephoto.com

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Photography News | Issue 37 | 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 Price £29.99

MacWet Short Cuff Climatec gloves £29.99

Availability Short cuff or long cuff in black, brown, green and navy.

Thinner micromesh gloves also available, again in short and long cuff

They will help you enjoy your photography in challenging conditions

Sizes 6 through to 12 including half sizes Construction 50% polyester, 32% polyamide, 16% polyurethane, 2% Elastane.

Palm area is made from Aquatec

Verdict

Contact macwet.com

Images The MacWet gloves help you get a grip on objects, as demonstrated by this coin test.

With autumn just around the corner it’s time to start thinking about gearing up for shooting on those cooler days – and nights! And where better to start than with your hands. Cold wet hands do an unhappy photographer make, so a good pair of gloves is worth its weight in gold.

Ideally, you want to be kept warm and dry and yet still have enough sensitivity to be able to adjust the camera’s dials and small buttons accurately.

These premium sports gloves from MacWet fit the bill nicely. Two options are available and the pair tried here for cold weather use are made from Climatec and are fleece lined, water resistant and windproof. Aquatec material is also used to wick away moisture for ultimate comfort. The gloves are available in short or long cuff and in four different colours.

The website has guidance to help you find the right fit and if you see MacWets in the shops the pack includes a size guide and gloves can be tried while in the packaging.

You need a snug fit especially for your fingertips so that you can do things like pick up a coin from a flat surface – this is a good test to try while in the shop as well as trying them with your camera’s controls. I’m actually typing this review while wearing them which shows their versatility and usefulness – sadly they don’t help with poor spelling.

Pressing the small buttons of cameras like the Fujifilm X-T2 I was testing for this issue or the Olympus OM-D E-M5 Mk II shown above was no problem at all and the same applies to adjusting the lens’s aperture and focusing rings. WC

Aeons of evolution mean hands are amazing things and no glove is going to surpass the dexterity of your fingers and thumbs.

However, it’s undeniable that cold hands do make life uncomfortable and while MacWets aren’t the warmest glove you can buy they will help you enjoy your photography in challenging conditions while still providing an impressive amount of fingertip control. Highly recommended, not just for photography but for fishing, golf, shooting and other outdoor pursuits.

Pros Plenty of colour and size options, good price, they work Cons Nothing

Photography News | Issue 37 | absolutephoto.com

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First tests Specs Price £149.95 In the box On-It 28mm carbon-fibre tripod, On-It ball head, quick-release plate, spiked and rubber feet, carry case, shoulder strap, spare threads and Allen keys Leg sections Four (28mm, 24mm, 20mm, 18mm) Material Carbon-fibre with aluminium mouldings Max height (with head) 170cm, centre column extended 137cm, centre column retracted Min working height 55cm (26cm with short column) Max load 7.5kg Closed length 48cm Weight 1.7kg Contact srb-photographic.co.uk

The strength of the tripod was excellent, with very little flex to the legs due to their thickness

28mm On-It carbonfibre tripod and ball head £149.95 How do you choose the perfect tripod?

It’s a pretty confusing forest of legs out there, so it’s not easy. The first question is probably whether you want it to be easily transportable in terms of packdown length and weight. Then there’s the maximum and minimum shooting heights available. You’ll want it to be durable, too. And what about special features like an adaptable centre column for low-angle shooting, and a removable monopod leg? Finally, of course, it needs to be affordable. On paper the 28mm On-It carbon-fibre tripod ticks all those boxes, and at an attractive price, so I put it through its paces to see if it lived up to the spec.

The first thing you’ll notice on this model is that it’s light and it packs up small in the included carry bag. The tripod uses an increasingly common folding design where the legs can be inverted over the head, saving a few inches without removing the head.

The lightness comes from the carbon-fibre construction of the foursection legs, and at 1.7kg at no point did it feel like it was weighing me down while hiking between locations.

Going back to the folding design, the levers that control the leg angles are quite low profile and, like the rest of the metal fixings, smoothly machined aluminium; they work fine, with a reassuring stiffness, but don’t provide much purchase when wearing gloves.

The twist locks which control leg extension are a different story, with a

grooved rubber finish that provides an excellent grip and they lock and unlock easily, with just a quarter turn. The same design is used on the collar controlling the centre column, and this and the legs extend with the smoothness you expect from carbonfibre tubes. The locks are broad but can be slackened as one if you have medium to large hands, allowing you to extend the legs quickly if required; I clocked setting them up at a little over ten seconds. The legs can also be fully unscrewed quite easily for cleaning, but watch out for the plastic cuffs inside as they’re prone to fall off and need reseating.

Maximum height is 137cm, which is plenty for most applications and you can extend the centre column to reach 170cm. The latter can be removed and inverted for low-angle shooting if required, but there’s a short centre column included in the package, too, attaching via a 1/4in thread. Removing the regular column and adding the short version isn’t that quick, but it’s straightforward, and lowers the shooting height to around 26cm, though swapping from the included head could reduce this further. I found myself sticking to the short column when landscaping as it lowers weight (a little), and I don’t tend to extend the centre column when shooting anyway, due to the drop in stability extending it causes on any tripod.

The strength of the tripod is excellent, with very little flex to the legs, and this is mainly due to their thickness; 28mm at the top, narrowing to a very respectable 18mm on the fourth section, which is a lot broader than most. One of the legs can be removed and used as a monopod, which works fine, although a couple of times I found myself starting to unscrew it accidentally when releasing the leg sections. This user error was solved by giving it a good tighten. The On-It tripod also comes with removable feet; non-slip rubber ones are fitted as standard, but there are spikes for soft ground and sand, too; another nice addition.

The included On-It ball head is good, too. It uses the increasingly popular Arca-Swiss design, with a grooved balance plate and clamp. The included plate is the small version (65x15mm), but there’s also a medium (160x15mm) and large (210x15mm).

Within the head’s main ball control, it has a small tension dial so you can set the level of resistance; this is turned with the tip of a finger, and though it works perfectly well, it’s another feature that’s difficult to manage in gloves. The pan control is also a little too small and smooth to make it easily controllable.

The On-It 28mm carbon-fibre tripod is available with black locks and head, or red and black if you’re feeling nostalgic for the look of Cameo’s codpiece. There’s also a 25mm version with an additional black/blue colour combo. KS Left The included short centre column is a nice addition to the package and very easy to swap over. Other pluses include a choice of feet, so you can add spikes if desired, and an Arca-Swiss type quick-release plate.

Verdict An excellent tripod with included head at a very attractive price; it’s strong, handles well, achieves a respectable height, and comes with extras like a decently padded bag, choice of feet and a short centre column – you don’t often find such generosity.

Pros Price, features, build, handling and accessories Cons Some small controls on the head can be fiddly

Photography News | Issue 37 | absolutephoto.com

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First tests

Phottix Odin II TTL flash trigger transmitter £160 & receiver £125 The original Phottix Odin flash trigger built a good reputation for itself by offering versatility and high performance at a competitive price.

The Odin II builds on this with even more features and improved handling.

The Canon and Nikon versions were launched earlier this year and the Sony transmitter (but not the receiver) has just been announced. Here we take a close look at what the Odin II trigger and receiver offer.

Advanced flash triggers are so feature rich that handling can be torturous where you have to find the appropriate menu item and then scroll seemingly endlessly to change and confirm settings.

Speedy handling is a key feature of the Odin II transmitter with one-push access to five different groups. If you have your main light as group A, the fill light as group B and the hairlight as group C, now you can make each group active just by pushing the button below the LCD panel. Once active – the working group is highlighted – you can adjust (depending on the unit it is attached to) exposure mode, zoom, and increase/decrease output really simply or even switch that group off.

It is very intuitive and making changes wirelessly to the light output of several groups takes literally seconds because it is so easy.

For this test the Nikon version was used together with a variety of flash units including the Nikon SB-900 speedlight, an old Elinchrom Ranger Quadra kit and Pixapro CITI600 TTL units. I also tried an Indra360 battery pack flash and the Mitros+, both units also from Phottix.

The features available obviously depend on the flash unit. With the SB-900 and Mitros+, TTL flash, zoom head control and more is possible with the Odin II combination, while for the Ranger Quadra kit, it was manual wireless flash triggering with the receiver connected by cable and features such as ODS, of which more later. With the Indra360 the latest software gives five groups and Sony compatibility and the option of TTL or manual flash.

The Odin II transmitter can be customised further with ten menu items – the menu is accessed by a single short push on the on/off switch when the Odin II is on. Here you can do simple things like turning the beep on or off or slightly more advanced things like setting a TTL preference value. You might like your TTL flash exposures, for example, to be slightly brighter so you can set +0.3EV as a default setting.

A feature here of interest is ODS or OverDrive Sync. ODS lets you adjust

Specs Prices Odin II Transmitter £160, Odin II receiver £125 Availability Odin II transmitter – Canon, Nikon, Sony. Odin II receiver – Canon, Nikon TTL flash control +/-3EV Manual power control 1/1 to 1/128 High speed sync ODS (OverDrive Sync) allows a 5ms shift in sync for manual flash units Channels 32 Operating distance 100m plus Groups Five – A, B, C, D, E Max sync speed 1/8000sec

Above left The Odin II transmitter is a well thought out piece of kit that is good to use, thanks to the large LCD and instant access to the five groups. Above right The receiver has TTL hotshoe and cable sync options.

Other features AF assist illuminator with 5m working range, firmware upgradable, rear curtain sync (Canon, Nikon) Power Two AAs in each unit Dimensions Transmitter: 109.3x71.7x56mm Receiver: 81.8x69.3x47.6mm Weight (with batteries) Transmitter: 175g Receiver: 139g Contact eu.macgroupus.com

the time delay of when the shutter fires so that you can achieve high speed flash sync even, possibly, with flash units that don’t offer it. ODS gives the adjustment of up to five milliseconds in microsecond steps and you do this without having to use an app.

It should be said that the camera, the camera format and the flash are key factors in getting high speed flash sync. The subject is complex but here what you are trying to do is time the exposure with the flash duration as it tails off.

I tested ODS with a couple of Nikons (D3s and a Df) and various battery and mains flash units. I also used a Nikon SB-900 speedlight which has super FP sync but for this test was used in totally manual mode.

For each camera/flash duo I started with ODS at zero and normal shutter speed for correct flash sync aiming the lens and flash at a plain white wall – I used 1/125sec to be safe. Next I set 1/500sec and took another shot – this gave a fully or partially black image.

I then went into the ODS menu item and set 5.0 to give the maximum delay of five milliseconds and took another

shot. In every case in my tests 5.0 was too much so I dropped down until I started getting an image and finetuned from there until I got a complete white frame showing that flash sync was working at that shutter speed.

It is not the greatest way to spend an evening but you only have to do it once for that camera/shutter speed/flash combination so make a note of the ODS value for future reference.

I got at least a flash sync speed of 1/500sec in my tested combinations so that was an improvement on normal flash sync. On a Nikon D3s with the Quadra Ranger, I got good images at 1/500sec with a 2ms delay, 1/1000sec was dropped to 1.4ms and the required delay at 1/2000sec was 0.8ms.

In some camera/flash pairings, the 35mm format horizontal image had top to bottom gradation which might be a problem depending on your subject.

How relevant ODS is depends on what you shoot but if mixing flash – particularly mains flash where you usually have more power on tap – and bright daylight is something you want to try, the Odin II set gives options to explore. WC

Verdict Phottix has shown itself to be a skilled innovator when it comes to lighting kit, and the two Odin II units tried here show what it is capable of. It’s quality, versatile kit that comes in at a decent price.

Yes, it is true that if you just want a radio flash trigger and shoot basic manual flash there are plenty of less expensive options around including from Phottix itself, but if you work with multiple light sources, use high speed sync and perhaps mix TTL and manual flash, the user-friendly Odin II units are to be recommended.

Pros Effective flash trigger system with lots of creative potential Cons Small readout on the receiver

Photography News | Issue 37 | absolutephoto.com

Photography News | Issue 37 | absolutephoto.com

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Technique NEW SERIES

Camera School

Here we lift the lid on all things camera related, showing how to get better results from your DSLR and providing all the info you don’t find in the manual. So, stick with us and you’ll soon wield your camera like a pro. This month, how three factors – shutter speed, aperture and ISO – combine to make an exposure Words & pictures by Kingsley Singleton The exposure of a picture – how light or dark it is – is governed by three factors: the speed the shutter opens and closes, the aperture of the lens and the ISO setting of the sensor. Varying any of these factors individually can make a picture lighter or darker, or they can be used in concert.

Which factors you can change depends on the exposure mode. In Auto you can’t change any; in manual (M) you can change all of them. In semi-automatic modes, like aperturepriority (A or Av), you can set aperture and ISO, and in shutterpriority (S or Tv), you can set shutter speed and ISO. Stop right there Understanding how these factors are linked is vital if you’re going to take control of exposure. The way to unlock it is to realise each is consistently measured against the others in ‘stops’ or ‘f/stops’; each stop represents a doubling or halving of the light that you’re letting onto the camera sensor. So, if you double or halve the shutter speed you’re changing the amount of light recorded by one stop. And if you open or close the aperture by a stop, you’re doubling or halving the amount of light reaching the sensor. And if you double or halve the ISO setting you’re also amplifying the light recorded by a stop.

How much light do I need for an exposure?

This calls for an analogy, and one of the best out there compares an exposure to the filling of a glass with water. Imagine the sensor is the glass and the water is the light. The glass needs to be filled by just the right amount to create a good exposure.

Too little and there won’t be enough to make a good exposure (too dark); too much and the quantity will be too high to make a good exposure (too light).

Now, you can tip water into the glass slowly or fast (the shutter speed), and using a broad or narrow stream (the aperture). Either way, when you get to the top of the glass you’ve got enough light. The size of the glass – the amount of light you need – is linked to the ISO setting.

In short, it doesn’t matter how you fill the glass, either with a lot of water quickly, or a little over a longer period, the resulting brightness will be the same.

Up and down, hand in hand In practice, this means that, if you open the aperture by a stop and make the shutter speed twice as slow (also a stop), you’ll record more light. But if you open the aperture by a stop and make the shutter speed twice as fast, no change will be visible

The exposure triangle and secondary effects

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Widening or narrowing the aperture means you record a larger or smaller volume of light within the time the shutter is open.

It also affects the depth-of-field of the image. At wide apertures, like f/2.8, less of the scene will be in sharp focus than at narrower apertures like f/16.

ISO 12800

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Secondary effects of aperture (depth-of-field)

Secondary effects Although we (correctly) tend to think of the aperture, shutter speed and ISO as affecting how light or dark the picture is, each has a secondary effect. Juggling them determines the overall look of the image as well as its brightness, but the reason you juggle them is to make the most of these secondary effects.

CLEAN

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f/16

Each side of the triangle represents 8 stops of exposure latitude. Move one stop on one side and you would need to move one stop on one of the other sides to produce the same brightness of exposure. So, move from f/8 to f/11 and you would need to move from 1/30sec to 1/15sec; move from 1/1000sec to 1/250sec and you would need to move from ISO 200 to ISO 800. Each of these movements also has a secondary effect as outlined in the boxes.

Don’t worry, it’s only maths When it comes to picking actual exposure settings, it’s easy to work out the stops for shutter speed and aperture as they’re numbers; 1/25sec becomes 1/50sec, and ISO 400 becomes ISO 200, etc. With the f/stops which determine the aperture of the lens it’s a bit more tricky reconcile their numbers denoting a halving or doubling of light, so they’re best learnt as a sequence (f/1, f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22 and so on) – we’ll go into why they’re called what they in a later instalment.

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in the light level as the same amount of light will be recorded.

Similarly, if you close the aperture by a stop and double the length of the shutter speed, the same amount of light will be recorded. But if you close the aperture and make the shutter speed twice as fast you’ll record a lot less light.

ISO 100

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Secondary effects of shutter speed (movement) Raising or lowering the shutter speed means you record the light for a longer or shorter period. This also affects how moving subjects (or movement of the camera itself) is rendered. Slow shutter speeds show more movement, which will be recorded as a motion blur, while fast shutter speeds show less movement keeping things clearer.

MOVEMENT 20secs

SHARP

Secondary effects of ISO (digital noise) Raising or lowering the ISO amplifies the signal from the sensor, so more or less light is required to produce a ‘good’ exposure. As a byproduct of raising ISO, interference appears in the image as noise. This is virtually invisible up to a point, but beyond a certain level it begins to degrade image sharpness and colour.

Next month How the metering mode you choose affects your exposure setting, and who needs a ‘good’ exposure anyway?

Photography News | Issue 37 | absolutephoto.com

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Competition

Editor’s letter

Out of office

WIN!

A Samsung memory card!

Capture life’s special moments across all devices with the ultra-reliable Samsung SD memory cards. Samsung’s latest SD cards can write data at an impressive 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 23 October 2016. The correct answer to PN35’s word search was Cover and the Samsung 64GB card was won by Sarah Robertson from East Kilbride. samsung.com and search for memorycards

You don’t have to be a gear nut to enjoy photography. Indeed, you don’t even need to know what camera you’re using to take stunning pictures. The hardware is, after all, a means to an end. That said, there are many photographers (mostly men, I’d guess) who take great care choosing the kit to use and will happily spend weeks researching their prospective buys before doing the deed.

I’ll happily own up to my penchant for kit and working in photography magazines has meant I’ve been able to sate my interest to an unhealthy degree. That includes visiting photographic exhibitions; I am penning these words while attending the world’s biggest, Photokina. It happens every two years in Cologne, Germany, and every company with an interest in imaging has a stand, booth or trestle table – it’s Germany so even these are posh.

My first Photokina was literally 30 years ago and I remember it as if it was yesterday – actually that’s a fib because the long evenings were very much a blur. But I do recall the hopping-from-foot-to-foot excitement at press events and handling the latest cameras or being given a new roll of film to test. The thing was, back then new products were launched at the show so you knew nothing until you got there.

There was no internet so while you might have picked up some gossip, it’s not like now where rumour sites have pictures and specifications of forthcoming products way ahead of official launches. It’s only an inkling with no evidence to support it, but I reckon some of these ‘rumours’ are carefully controlled leaks.

Anyway, back to the present and this year’s show. Assuming you read PN from the front (not everyone does!) you will have seen some of the headline products from this Photokina.

Some we knew about before flying out but there were a couple of really nice surprises.

For Micro Four Thirds users the news of a Panasonic Lumix GH5 and the Olympus OM-D E-M1 Mark II will be very welcome. The new Olympus flagship has amazing high speed shooting skills including 18fps Raw shooting with continuous AF and 60fps with exposure and focus locked. It feels really nice too.

The highlight for me – and for most visitors I spoke to – was the announcement of a new medium-format system from Fujifilm. Indeed, at the press conference, there was much cheering and whoops of delight during the presentation. The GFX system will undoubtedly appeal to experienced photographers and while no final UK price was available (the system will not hit the shops until 2017) it was said that the price of the GFX 50S would be ‘well below US $10,000’ with a 63mm lens. How that translates to the UK when the system goes on sale we’ll have to wait and see but I can imagine that price appealing to many people.

Anyway, enough of kit for now, it’s time to get out there and start shooting. See you next month.

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Depth DSLR Field Film

Filter Frame Grad Light

Advertising Team

Design Team

Editorial director Roger Payne

Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com

Design director Andy Jennings Designer Katy Bowman Senior designers Laura Bryant & Mark George Junior designer Lucy Woolcomb

Contributing editor Kingsley Singleton kingsleysingleton@bright-publishing.com

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Photography News is published 13 times a year by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Photography News is a registered trademark of Bright Publishing Ltd. The advertisements published in Photography News that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher.

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Photography News Issue 37 absolutephoto.com

Advertisement feature

Profoto Air Remote TTL-S The Profoto Air Remote TTL transceivers are powerful and very versatile accessories that help you get the most from Profoto lighting systems. Until now, Profoto offered Canon and Nikon compatible units, and these have now been joined by a Sony model Slip the compact Air Remote TTL-S into the dedicated hotshoe of your Sony camera and a world of creative opportunity and user-friendly lighting control is available to you. And it is all possible wirelessly from up to 300m from the lighting unit; and if they are Profoto Air models no additional receiver is required.

Whether you want the technology to do the work for you, prefer taking control or a mix of the two, the TTL-S offers you that option. In TTL mode, it is just a matter of pointing and shooting, with the camera and trigger communicating with the flash unit.

Do a test shot and if you need to adjust or modify the lighting effect, that is really easy too. There are three groups and eight channels available so you can have the main light set to group A, the background light to group B and the hair light to group C. If you need to increase or decrease output push the appropriate group button on the trigger and adjust output to the desired level.

It is as easy as that without you having to move from the camera position and takes seconds.

Another working option is the Hybrid mode. Here you can use TTL

A world of creative opportunity and user-friendly lighting control to get the exposure required, then switching to Hybrid means you go into manual but the determined TTL settings are retained. It means perfect exposure control even if you left the flash meter at home that day.

Of course, you may prefer to go totally manual from the onset and that is fine too. Just choose the mode and then adjust power settings for each group as you would with TTL. The Air Remote TTL-S offers high speed sync flash and supports shutter speeds up to 1/8000sec. With plenty of power on tap and the startlingly short flash durations of the D2 and the Pro10 you can achieve perfectly usable apertures when you need reasonable depth-of-field.

Johan Wiberg, Profoto product manager D2 “We know photographers are expected to work quickly and deliver results without delay. So the D2 gives you the fastest flash duration and recycling times for a product of this type, but also the most efficient workflow ever in a compact and user-friendly package.

“We set out some ambitious targets when designing the D2.

We wanted to make the best monolight for the working pro to deliver top quality results across a wide range of applications from models, still life and fast-paced action imagery.

“The design of the D2 may look familiar but performance has been taken to the next level. Freeze mode allows photographers to capture super-sharp images with an extremely fast flash duration. Shoot a splash of water and it will look like a work of art. I think you will be amazed.

“Recycling times have been dramatically improved by 25% compared with the D1, and with the D2’s quick burst mode you can shoot at 20 flashes per second. It opens up a new world of creative possibilities.

“We have built in both TTL and HSS, which means the D2 is an extremely practical flash to use.

“Shoot in TTL or manual mode and you can control the lights wirelessly from up to 300m away.

“Profoto HSS enables you to shoot at shutter speeds up to 1/8000sec. It is great to use with a wide aperture in bright conditions to freeze action with absolute sharpness.

“The D2 packs enough punch to overpower available light in most situations. Its power is also a blessing when shooting at longer distances or when using larger light shaping tools.

Its compatible with more than 120 light shaping tools, which makes it possible to create any light imaginable.

“The D2 is a class-leading monolight and we are truly proud to talk to photographers about it.

“It has the performance to set you free. It is designed for the working pro who demands the best whatever the next job might be, it is always up to speed with your needs. It is the world’s fastest monolight with TTL.”

Specs Camera compatibility Sony Alpha 7 II, 7R II, 7S II Frequency band 2.4GHz No. of channels 8 (1-8) TTL compatibility Yes HSS compatibility Yes Wireless range Up to 30m (1000ft) Connections Sony Multi Interface shoe Power 2x AAA alkaline Battery life Up to 30 hours Dimensions 80×60×41mm Weight 96g including batteries

Photography News Issue 37 absolutephoto.com

Advertisement feature

Profoto Pro-10, the world beater

With the world’s briefest flash duration with TTL, lightning fast recycling, TTL convenience and 2400Ws of power the Profoto Pro-10 sets a new standard in studio flash There’s no studio flash like the Profoto Pro‑10 and with it you can capture images no other studio unit is capable of. Its minimum flash duration is as brief as 1/80,000sec in freeze mode so even the fastest-moving subject is frozen in time and in breathtaking detail. And you get this with power too. The Pro-10 has an output of 2400Ws and that is adjustable within an 11EV range in 0.1EV steps which means from full power to a minimum of 2.4Ws. If the world’s shortest flash duration wasn’t enough the super-fast recycling time means you can shoot at 50 flashes per second. So it is possible to shoot a sequence and be assured of capturing that perfect moment.

The Pro-10 has two output sockets and 11 different Profoto flash heads are compatible. Output through the two outlets is fully asymmetrical 0-100% so you have full control over your lighting set-up.

Profoto’s reputation for build quality and durability is second to none and those qualities have been embraced by the Pro-10.

It is tested and built to withstand daily, heavy use over many years in the most challenging environments. But this ruggedness does not compromise handling. The sleek, straightforward and considered control layout complete with large dials and intuitive high resolution interface make using the Pro10 a joy, leaving you to focus on the light and the subject to produce your best-ever results.

The Pro-10 is fully compatible with the extensive Profoto system of over 120 light shapers and accessories.

For the ultimate control there are the Profoto Air and Air Remote TTL remote triggers that give wireless triggering and control with an operating range of up to 300m. These include the newly launched Sony version which joins the existing Canon and Nikon Air-Remote TTL triggers. The Air Remote TTL triggers give full TTL flash lighting control with Profoto Air flash units and are really easy to use. Three groups, A, B and C, are available through eight channels and to make a mode change or adjust power you just push the appropriate group button first.

While TTL flash offers point and shoot convenience, you can take control and go fully manual or use the time-saving Hybrid mode. This lets you use TTL flash metering to determine the correct settings and switching to Hybrid puts you into manual while retaining the settings you have just worked out.

The Air Remote TTL accessories also let you enjoy the creative freedom of high speed sync photography. Mixing bright daylight with the power reserves of the Pro-10 makes this challenging form of photography very simple indeed.

In summary, the world has never seen a flash system like the amazing Pro-10 and it deserves to be the flagship model in the Profoto range.

Top Super-fast recycling time means you can shoot at 50 flashes per second.

Above The Pro-10 is deservedly the flagship model in the Profoto range.

Specs Profoto Pro-10 Max energy 2400Ws Energy range 11 f/stops (2.4-2400Ws) Energy control increments 1/10 or full f-stops Recycling time 0.02-0.7sec (quick burst up to 50 flashes per second) Shortest flash duration (t0.5 in freeze mode) 1/80,000sec Longest flash duration (t0.5) 1/800sec Dimenions (lxwxh) 29x21x30cm Weight 13.2kg Recommended Air Accessories Air Remote TTL-C for Canon Air Remote TTL-N for Nikon Air Remote for most DSLRs and medium-format cameras Recommended Pro heads ProHead Plus ProTwin ProRing 2 Plus ProRing Plus