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news Focus on Fujifilm lenses Issue 38 24 Oct – 24 Nov

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Launched less than six years ago, the Fujifilm X Series camera system is now supported by 23 fabulous optics with more in the pipeline. Buy an X Series camera and you’ll be able to tackle almost every subject with ease Having a selection of great cameras is one thing but what every system needs is an extensive choice of lenses to suit individual needs, preferences and budgets and be able to cope with every subject. The Fujifilm X Series is less than six years old so you might not expect too much choice, but you’d be wrong. In that short period, the brand has built up an impressive collection of optics than includes 12 fixed focal length lenses, nine zooms and two teleconverters. Invest in an X Series camera and you won’t struggle to find the ideal lens (or lenses) for your photography. Image quality comparable to 35mm fullframe was one of the many criteria Fujifilm worked towards when designing the X Series, which uses the APS-C format with a sensor size of 23.6x15.6mm compared with the 36x24mm dimensions of the 35mm format. The smaller image area demands the best possible quality lenses to make the most it,

which explains why Fujifilm has worked so hard to deliver a first-class range of precision optics made to the highest standards and from the finest materials for its users. It is worth stressing that the X Series system has been designed from the ground up so, for example, the lenses have been created, crafted and engineered for this system only, which is very different from some longer established camera systems where lenses are used across different sensor formats. Many lenses in the Fujifilm X Series range are richly featured with fast apertures, weather-resistant build (WR) and optical image stabilisation (OIS) that very effectively combats camera shake. The latest optical design techniques and technologies are employed to deliver images with outstanding sharpness, clarity and colour fidelity. The choice of focal lengths offered in the range is also logical and considered. So, for

The X Series has been designed from the ground up so, for example, the lenses have been created, crafted and engineered for this system only

instance, among the primes, there are options at key points. The 14mm for ultra-wide dramatic compositions: the 23mm and 35mm, each available in two aperture options, for general use, the 56mm for flattering portraits and the 90mm when magnification of more distant subjects is needed. There are actually too many lenses to single any out here for a special mention so over the next two pages we’ll be highlighting a selection of the latest optics and the technologies used by Fujifilm that ultimately help you get the most from its cameras. Furthermore, with Fujifilm’s latest cashback scheme just launched, now is a great time to invest in an X Series camera and XF lenses – four cameras and 19 lenses are featured in the current offer. See the back page of this special Fujifilm wrap for details. fujifilm.eu/uk

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

Photography News | Issue 38 | absolutephoto.com

Advertisement feature XF16mmF1.4 R WR 35mm format equivalent 24mm

XF23mmF1.4 R 35mm format equivalent 35mm

Enjoy dramatic wide views with this prime lens that gives a 24mm equivalent view in the 35mm format. With its super-fast f/1.4 aperture you have great light-gathering properties at your disposal so it’s a wonderful lens to use when the lighting conditions are less than perfect. So, this is a great lens to use for street shooting, interiors and in crowded markets where you have little space and often little light to work with. Weather- and dust-resistance is a key use benefit and should you ever need to override the autofocus system, switching to manual focus can be done almost instantly simply by pulling back on the focusing ring. This also reveals a distance scale.

Fujifilm offers two lenses at this very popular focal length and if you shoot more in poor lighting, the XF23mmF1.4 R is the preferred option. Its superfast maximum aperture means you can shoot handheld at reasonably fast shutter speeds in low light and get sharp pictures. Class leading optical design keeps distortion to an absolute minimum and great optical performance at every aperture setting. Handling is first rate too and if you need to engage manual focus, just pull back on the clickstopped focusing barrel. If you prefer a more compact lens then go for the XF23mmF2 R WR which weighs in at a mere 180g and has the extra benefit of weather-resistant construction.

Specs

Lens construction 13 elements in 11 groups

Lens construction 11 elements in 8 groups

Filter size 67mm

Filter size 62mm

Minimum focus 15cm

Minimum focus 60cm (normal), 28cm (macro)

Aperture range f/1.4-16

Weight 375g

Weight 300g

Dimensions 73.4x73mm

Dimensions 72x63mm

XF35mmF1.4 R 35mm format equivalent 53mm

XF56mmF1.2 R 35mm format equivalent 85mm

This focal length is perfect for all sorts of photography and gives a perspective that is similar to that of the human eye. So, if you want a compact, very fast aperture standard lens as a constant partner for your Fujifilm X Series camera, this is a lens to be seriously considered for that role. Excellent sharpness at the wide apertures characterises the lens’s performance and out of focus areas exhibit a beautiful bokeh. This is the lens if you enjoy shooting in low light, but if a smaller bodyform coupled with weather-resistant build and even faster autofocusing is what you prefer, then Fujifilm provides that option with the XF35mmF2 R WR.

If you enjoy people photography and wonderful background bokeh effects, then this lens is difficult to beat. You get a natural perspective and a comfortable working distance from your subject. Also set a wide aperture and the background just falls away making your sitter the centre of attention. The superfast f/1.2 aperture gives great freedom when it comes to working in less than ideal lighting so you can keep to low ISO speeds for optimum quality and fast shutter speeds. Fujifilm offers an APD version of this lens. The built-in Apodization filter lets you smooth out bokeh outlines for an even greater three-dimensional effect.

Specs

Lens construction 8 elements in 6 groups

Lens construction 11 elements in 8 groups

Filter size 52mm

Filter size 62mm

Minimum focus 80cm (normal), 28cm-2m (macro)

Minimum focus 70cm

Aperture range f/1.4-16

Aperture range f/1.2-16

Weight 187g

Weight 405g

Dimensions 65x50.4mm

Dimensions 73.2x69.7mm

XF90mmF2 R LM WR 35mm format equivalent 137mm A medium telephoto focal length has a great many uses, from landscape and nature to portrait and candid photography. Add a fast aperture and its potential is expanded even further so there is a great deal to appreciate about this Fujifilm lens that gives an effect comparable to 137mm in the 35mm format. Optically, it is a top class performer with high contrast and excellent sharpness even at f/2 where for portraits you can also get beautiful background bokeh. Handling is also very good for a lens of this focal length and it balances really well on Fujifilm X Series cameras while focusing speed is maximised thanks to a Quad Linear Motor design.

Specs Lens construction 11 elements in 8 groups Filter size 62mm Minimum focus 60cm Aperture range f/2-16 Weight 540g Dimensions 75x105mm

Weighty matters The Fujifilm X Series gives the opportunity to save weight and space compared with a traditional 35mm camera system. The system is based on the smaller APS-C size X-Trans™ CMOS sensor and the camera bodies are lighter and more compact. Those physical benefits are carried through to the lens system. For example, let’s look at the XF50-140mmF2.8 R LM OIS WR, a lens that gives the same coverage as a 70-200mm f/2.8 in the 35mm format. The Fujifilm lens weighs in at 995g and is 175.9mm in length, while a lens of similar specification designed for 35mm full-frame format weighs 1540g and measures 205mm in length. The weight- and space-saving with just this one lens is significant so you can imagine the massive potential benefit if the same thinking was applied to the bagful of lenses most photographers need. Another important consideration of Fujifilm XF lenses is that they have been designed specifically for the format from the ground up. This not only means that they are more compact and lighter compared with those for existing camera systems, but they have been optimised to get the most from the sensor. That might not necessarily be the case with systems that feature both 35mm format and APS-C format products in their range using lenses mostly designed for the larger format.

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Issue 38 24 Oct – 24 Nov

news

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

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WIN!

Canon EOS 5D Mark IV Full test of the latest EOS 5D family member. Read all about it on page 46

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A Samsung 64GB Pro memory card

The Big Picture Feel the heat as we go on location, page 25

Most Wanted With so many exciting product announcements over the past few months, we couldn’t resist rounding it all up. The result is a special 16-page section dedicated to keeping you right up to date

Enter the competition on page 52

STOP PRESS!

New sponsor for Camera Club of the Year

The world of digital photography is forever changing – and very, very quickly too, as manufacturers exploit new technologies and evolve products to suit the needs of modern photographers. Of course, the modern photographer is a many headed beast so to deliver products to satisfy such a broad range of consumers is a challenge. Many camera users love shooting

high-speed flash, while the interest in 4K video recording is deepening all the time. Then there are shooters striving for the ultimate image quality and we can’t forget the photographer who wants searingly fast continuous shooting with full Raw capabilities and autoexposure and autofocus tracking. The incredible thing is that all those types of camera user – and

a great many more – are being catered for in one way or another by those clever camera designers. Consequently, it is a wonderful time to be involved in photography, almost regardless of your specific interests and genre. Celebrating all that’s hot in the imaging world right now, this issue’s Most Wanted section starts on page 37.

Fujifilm is sponsoring the Photography News Camera Club of the Year contest for 2017. Announced just hours before going to press, full details aren’t yet confirmed so watch this space. See issue 39, out from 28 November, for full details

Photography News | Issue 38 | absolutephoto.com

News

Landscape Pro Sony’s dynamic duo This month, Sony launches a flagship CSC and a premium compact, both with superfast autofocus

The creators of Portrait Pro have released a new software dedicated to editing landscape images. Landscape Pro allows you to select areas within an image – sky, trees, buildings etc. – and adjust them individually. Available for both PC and Mac, Landscape Pro is currently

on sale with 50% off, making the studio version £49 and the standalone version £29.95. Photography News readers can get an extra 10% off these prices by using the code, PN38 at the checkout. landscapepro.pics

Two leading Nikon lenses Sony has a new flagship APS-C camera, the A6500. The company claims this latest mirrorless CSC combines the world’s fastest AF speed with the highest number of AF points. The AF system uses the same 4D Focus system as the A6300 and can lock onto a subject in 0.05sec, the world’s fastest AF acquisition time. The system uses 425 phasedetection points positioned over the whole imaging area. The A6500 has touchscreen AF so you can focus on the subject just by touching it on the screen. The A6500 can shoot at 11 frames-per-second with continuous AF and autoexposure tracking and in live view mode for easy framing of a moving subject you get up to 8fps. A large buffer allows up to 307 JPEG shots in continuous shooting at full speed. The sensor in the A6500 is an APS-C sized 24.2-megapixel Exmor CMOS unit that works together with a BIONZ X image processor. The native ISO range is 100 to 51,200 and noise performance is very good. The sensor has a thin wiring layer

and large photodiode substrate to gather as much light as possible. Copper wiring is used for superquick readout speed. Also available is a 5-axis image stabilisation system, the first time such a system has been used in a Sony APS-C CSC. When an E-mount lens with OSS (Optical SteadyShot) is fitted, pitch and yaw are corrected in the lens, while horizontal, vertical and roll axes are compensated for incamera. Typical in a modern camera, the A6500 can shoot 4K video (3840x2160p) in the Super 35mm format, which uses the whole width of the sensor. In this format, the sensor collects 6K of data to give very high-quality 4K footage. During video shooting, the Fast Hybrid AF system offers touch focusing for professional looking smooth focus shifts. The Sony A6500 will be available in December for £1700 body only. Sony’s second camera launch this month is the RX100 V, which claims to have the world’s fastest AF and the world’s highest number of AF points in a compact camera.

A Fast Hybrid AF system has an AF acquisition of 0.05sec and there are 315 on-sensor AF points covering around 65% of the image area. This new compact also offers very impressive continuous shooting speeds. It’ll shoot up to 24 framesper-second at the full resolution of 20.1 megapixels with exposure and focus tracking up to 150 continuous Fine JPEG shots. The camera’s maximum electronic shutter speed is 1/32,000sec and to minimise the effect of a rolling shutter, which can distort moving subjects, the RX100 V uses an anti-distortion shutter. A Zeiss Vario-Sonnar T* 2470mm f/1.8-2.8 lens (35mm equivalent) delivers images with sparkling contrast and excellent colour reproduction and images are recorded on a newly developed 1in Exmor RS CMOS sensor. The RX100 V is a premium but very pocketable camera that offers an outstanding performance for still and video shooting. It is priced at £999 and it will be available from November. sony.co.uk

Nikon’s ever-popular 70-200mm f/2.8 has enjoyed a significant revamp. The AF-S 70-200mm f/2.8E FL ED VR is lighter, faster and optically better compared with its predecessor. AF tracking and exposure control with an electromagnetic aperture have been improved and there is a VR Sport mode, which gives a more stable viewing image when shooting high-speed action. Optical quality has been improved with a new lens design featuring six ED glass elements, a fluorite lens element and a high refractive index element. Nikon’s Nano Crystal Coat reduces ghosting and flare. Aimed at architecture and landscape photographers, the Nikon PC 19mm f/4E ED manual focus full-frame ultra-wide is a versatile lens offering plenty of control with its movements over image perspective and sharpness within the scene. There is double layer PC rotation, which means tilt and shift can be employed on their own or in combination to get the required result. Optical quality is first rate thanks to two aspherical elements and three extra low dispersion elements with Nano Crystal Coat to defeat flare and ghosting. The Nikon PC 19mm f/4E ED costs £3299.99 and is available from the end of October, while the AF-S Nikkor 70-200mm f/2.8E FL ED VR is priced at £2649.99 and will be in the shops from 10 November. nikon.co.uk

Photography News | Issue 38 | absolutephoto.com

News

Kenro’s flash in the plan

Adding to its extensive range of photographic accessories, Kenro has released its own brand speedlight, the KFL101, and it’s compatible with both Canon and Nikon’s TTL flash systems. Also new from the company are four new tripod kits and six ball heads Kenro has launched its own speedlight, the Kenro Speedflash KFL101. The new gun is compatible with Nikon and Canon DSLRs, and, in a neat touch, the same unit is compatible with both types; this makes for easier swapping, which is great for sharing accessories at camera clubs. The Kenro Speedflash KFL101 is fully compatible with both brands’ TTL systems (Nikon i-TTL and Canon e-TTL), so using it is as simple as mounting it and firing away. And it also comes equipped with musthave speedlight features like highspeed flash sync up to 1/8000sec and two slave functions, making it usable off-camera when other lights are firing a TTL pre-flash. When used wirelessly, it can be fired up to 30m away outdoors up to 15m indoors, across four channels and three groups. Other modes include manual, stroboscopic, master (to control other flashes optically) and flash exposure bracketing. Functions are displayed on a large LCD panel, which has a backlight option for working in low light, and the inputs are via large, clear rubberised buttons. There’s

News in brief

Save cash – now! It’s that time of year when the camera and lens makers want your cash hence a rash of compelling offers. Fujifilm is running its popular cashback offer on selected X-series cameras and XF lenses. There are 12 qualifying cameras and camera kits, plus 19 lenses all with savings up to £125. This offer runs for products bought from qualifying dealers until 31 January 2017. See the website for details. Panasonic is also running a cashback promotion with £100 available when a G-series camera is purchased or £50 on a camcorder. This offers runs from now to 9 January 2017. See the website for details. fujifilm.eu/uk/ panasonic.co.uk/promotions

£215.94 and KENTR401C, £281.94 both with Kenro BC2 ball heads. The aluminium kit weighs 2.15kg and can accept up to 10kg, while the carbon model is 1.93kg and takes the same load. Both tripods feature a removable leg that can be used as a full-sized monopod and ball-action centre columns for easier switching from vertical to horizontal shooting. Finally, there’s a Heavy Duty Tripod Kit (KENTR501C, £395.94 with Kenro BC3 head), also constructed in eight-layer carbon fibre. This four-section model has a 14kg capacity, and a maximum height of 168cm. Of the six ball heads released, three are double-action models – the KENBA1, KENBB1 and KENBB2 – with loads of 5kg, 6kg and 8kg, respectively. The other three are triple-action heads – KENBC1, KENBC2 and KENBC3 – with capacities of 6kg, 8kg and 12kg, respectively. All have a 3/8in fit, are precision made aluminium alloy and have spirit levels, plus an Arca Swiss-style quick release plate. Prices range from £35.94 to £105. kenro.co.uk

Win pro prints worth £200 Photography News has teamed up with expert photographic printer Lumejet to bring you this chance to win £200 to spend on its website. Passionate about printing great photographs, Lumejet developed its own printer, the S200, which it uses for high-end photographic and commercial prints. This high resolution printer features the Lumejet RGB Digital Print Head and uses Fujifilm professional grade Crystal Archive materials to achieve a unique, ultra-high quality with extraordinary colour fidelity. To be in with a chance of winning we want to see your brilliant portraits. Your shot could be a headand-shoulders portrait of a loved one or you could take a more documentary approach and go for an environmental portrait. But your subject doesn’t have to be human and any mammal image is eligible so your entry could be a great shot of your pet. Upload your entry to bit.ly/2dzpbXl Only one photograph per person can be submitted and the entrant must also be UK based. Images should be 1500 pixels across and we will contact you if we need higher resolution files to judge or publish. The editor’s decision in this contest is final and for full terms and conditions please see absolutephoto.com. The closing date for entries is 21 November and the winner announced in PN issue 39, out the week beginning 28 November 2016. The winner of last month’s competition, the best of British landscape, was Alberto Ostacchini. lumejet.com

Macphun Luminar Macphun has announced Luminar, a user-friendly imageediting software. Officially launching on 17 November, it’s available for a discounted $49 from 2 November. macphun.com

automatic and manual zoom from 18-180mm, and a built-in wide-angle diffuser widens this at the short end. A reflector card and fully articulated head make for easy adaptation of the light, and the flash has plenty of power, with a stated guide number of 58 (m/ISO 100), at its most focused 180mm zoom setting. Power is manually controllable from 1/128 to full in 0.3EV steps, and recycle time is quoted at 2.3sec. It takes four standard AA batteries, measures 7x6.5x20cm and weighs 460g. Priced at £95.94, the Kenro Speedflash KFL101 is available now. Also new from Kenro is a range of tripods and ball heads. There are four new tripod kits and six heads. The carbon fibre Kenro Standard Travel Tripod Kit (KENTR104C, £221.94 with included Kenro BC1 ball head) is a four-section model. Constructed from eight-layer carbon fibre and aluminium alloy castings, it adds up to a weight of only 1.44kg, but can support up to 8kg. It extends to a full working height of 163.5cm. An Ultimate model is also available. This comes in aluminium or carbon-fibre – KENTR401,

Photography News | Issue 38 | absolutephoto.com

News

Phottix, a perfect match for Canon

Canon DSLR users will be delighted to see Phottix’s latest flash unit, the Indra 500LC. It’s the first studio lighting system compatible with Canon’s radio flash system and features radio control triggering for Canon RT and Phottix Laso systems. The Indra 500LC’s key features include TTL flash and high-speed flash sync (on compatible cameras). There is an 8EV operating range in manual from full power to 1/128th output, adjustable in 0.3EV steps. For creative effects, there is a stroboscopic mode, which you

can set at up to 100 flashes per second and from one to 100 times. Output and control can be handled from the Canon ST-E3, compatible Canon RT Speedlites and the Phottix Laso Transmitter. The Indra500LC will be available mid-November from Phottix Platinum dealers and it’s priced at £1099. The kit comes with a Li-ion battery cables, charger, carry bag and a five-inch reflector. phottix.com

Bags of Manfrotto Fancy a new camera bag this autumn? Then Manfrotto has plenty of new models to offer. There are three new lines to enjoy: the Windsor collection, Advanced and Street selection and the Pro Light 3N1 backpacks. Starting with the latter, it has a three-in-one design, allowing you to carry it like a normal backpack, a sling or a cross backpack. The 3N1-36 model can take pro‑sized camera gear, or by modifying the dividers, it’ll fit a large drone like the DJI Phantom 4 or 3DR Solo. A smaller 3N1-26 model is also available. Prices start at £149.95.

The Advanced and Street bags are aimed at CSC users, offering what’s claimed to be a functional, durable, lightweight and stylish carrying solution. There are shoulder bags and backpack designs in the range; five models in total, starting at £39.95. Finally, there’s the Windsor collection of four premium quality, water-repellent bags aimed at enthusiasts, featuring leather trims and a vintage look, with a stylish tartan lining. The range starts at £99.95. manfrotto.co.uk

Fotospeed goes square Inkjet paper specialist Fotospeed has launched a selection of square printing papers available in 8x8in, 10x10in and 12x12in. Three popular surfaces are on offer: PF Lustre 275m, Platinum Etching and Platinum Baryta. Each finish has its own individual look to cover all tastes. The square format saves the wastage of cutting down larger sheets and it’s a shape that finds favour with portrait, fine art and landscape workers. Instagram users will also enjoy it. Fotospeed’s square papers are available with prices from £17.99 for 50 sheets of 8x8in PF Lustre, while 25 sheets of the same size in Platinum Baryta costs £25.99. Generic profiles are downloadable from the website and a bespoke profiling service is also available. fotospeed.com

X-Pro2 firmware update

Fujifilm X-Pro2 users can now download firmware v2.0 that offers a big selection of bug fixes, tweaks and upgrades, 20 changes in all. Many of the changes involve the camera’s autofocusing system with several coming over from the X-T2. The autofocus system can now be set to use 91 or 325 AF points, while phasedetection AF, AF tracking and eye-detection AF have been improved.

Additional menu items have been provided to make the most of Fujifilm’s new flashgun, the EF-X500, and changes to the camera’s power management have been made to make the most of the camera’s battery. There are firmware updates for many XF lenses too. You can download them all from the website. fujifilm.com

Photography News | Issue 38 | absolutephoto.com

News News in brief All action Ricoh The Ricoh Theta SC is an easy to use 360° imaging device. It is the standard class model in the Theta range but retains the high level image quality of the Theta S. It uses a CMOS 14-megapixel sensor and f/2 wide aperture twin lens. There is 8GB of internal memory, capable of storing 1600 stills. The Theta SC is available in blue, beige, pink and white and costs £249.99 and stocks will be available from early November. ricoh-imaging.co.uk Money for your pictures The latest edition of The Freelance Photographer’s Handbook is out on 1 December. Published by the Bureau of Freelance Photographers and now in its 33rd edition, the handbook is available from good bookshops, or direct for £17.95 including post & packing. The address for orders is PO Box 474, Hatfield AL10 1FY. This essential tome for serious and aspiring freelance photographers has the latest information on markets for pictures including publishers of books, magazines and greeting cards. There is also plenty of advice on how to submit your images and fees. thebfp.com

ONA from the US over here ONA bags from the US are now available in the UK through JP Distribution. Each ONA bag is handcrafted from premium materials and these desirable bags suit men and women. A range of sizes and styles is available alongside a selection of accessories. onabags.eu

Gitzo’s going steady Loved by pros and serious enthusiasts, Gitzo has long been associated with high-performance, precisely engineered tripods and monopods, and that looks set to continue with its refreshed Systematic range. The range employs upgraded leg tubes using Gitzo’s latest generation of Carbon eXact materials. This should strike a great balance between rigidity and weight, while newly designed 50mm wide feet increase stability and reduce the chance of slippage on surfaces like

wet rocks. The legs also benefit from a G-lock Ultra system that’s claimed to allow more comfortable operation, and redesigned leg angle selectors for quicker set-up. Also new from Gitzo, Series 4 Systematic monopods follow the new design and replace the previous Series 5 line. Both ranges come in a selection of sizes with the Systematic tripod range starting at £649.95, and Series 4 monopods beginning at £214.95. gitzo.com

Enjoy a VIP visit to CEWE CEWE Photobook’s printing facility in Warwick is one of the UK’s largest and Photography News is delighted to offer interested camera clubs a VIP visit. This will include a tour of the production facility, a live software demonstration and the chance to try CEWE’s Photobook Creator software for yourself. We have limited opportunities so if your club (or small group) wants to visit one of the country’s biggest and most advanced book printing facilities please email willcheung@bright-publishing.com.

Leica put on the style Leica has introduced a range of leather accessories including a wallet, phone wallets and pen cases. Each is handmade from Nappa leather and finished with the Leica logo embossed on the front. Prices start from £40 for the credit card/business card wallet and top out at £120 for the notebook case. leica.com

Panasonic correction In issue 37 we incorrectly identified Panasonic’s new 20-megapixel bridge camera as the Lumix TZ2000. Its correct name is the Lumix FZ2000. The FZ2000 is fitted with a 20x zoom giving an 35mm format equivalent range of 24-480mm, cost £1099.95. Apologies for any inconvenience caused. panasonic.co.uk

Photography News | Issue 38 | absolutephoto.com

News News in brief 12 Edwardes a year Calendar maker Allan+Bertram (A+B) has announced an exclusive collaboration with landscape photographer Guy Edwardes, and it looks like one that needs to go straight on your Christmas list. Two titles will feature Edwardes dramatic imagery, with epic 2017 and view 2017 each featuring an inspiring collection of shots from around the world. These are the first A+B products to exclusively feature Edwardes’ work, and the calendars’ large size, high-quality paper and colour reproduction should give his renowned images even greater appeal. allanandbertram.com

Time to learn

Kate’s back

Photographs from the Edge celebrates the work of legendary nature photographer, Art Wolfe, and covers 40 years of his amazing work. Coauthored with Rob Sheppard, former editor of Outdoor Photographer, the book takes readers on a global journey, and alongside the photos, Wolfe explains his decision making, methods and techniques, with advice designed to appeal to casual photographers and enthusiasts. Published by Amphoto in hardback, it’s out now, at £22.99.

Returning for a very welcome third instalment at the Little Black Gallery in Chelsea, London, Girls, Girls, Girls (vol.3) offers the chance to view a stunning range of images from some of the world’s greatest portrait photographers. Focused, as you’d expect from the title, on the female form, the exhibition features more than 50 glorious images, and collects the work of luminaries including Alan Aldridge, Bruno Bisang, Bob Carlos Clarke, Corinne Day, Mike Figgis (whose Kate Moss Strip (2007) image is featured here), Marco Glaviano, Patrick Lichfield, Roxanne Lowit and Alistair Taylor-Young. Girls, Girls, Girls is open now at 13A Park Walk, London SW10 0AJ and runs until 3 December.

crownpublishing.com

thelittleblackgallery.com

Hungry for success?

Guernsey Photo Festival Attention Channel Islanders: This is your last chance to enjoy The Guernsey Photography Festival, which is open until the end of October. The Festival includes a large exhibition space at Trinity Square, housing work from 12 artists, three exhibitions at the Guernsey Museums and the Priaulx Library at Candie, as well as outdoor exhibitions near Castle Cornet and around St Peter Port. The Trinity Square centre is open from 10am until 5pm daily, and entrance is free. 2016.guernseyphotography festival.com

Leading edge

The Pink Lady Food Photographer of the Year competition is the world’s leading contest for stills and video recognising the art and diversity of food – and it’s back for an exciting sixth year! The competition is now open for entries, and the closing date is Sunday 5 February 2017. That might seem a long way off, but five minutes ago it was June, so if you want to enter one of the competition’s diverse themes, get your thinking cap on. The categories are devised to illustrate the culture and production of food in all its variety, and now include a World Food Programme Food for Life category, where the judges are seeking images of the humanitarian aspects of diet. Those judges include legendary chef, Gary Rhodes OBE, Wajmah Yaqubi (Buzzfeed’s Global Photo Director) and Rein Skullerud (head of the World Food Programme’s Photo Unit). Shortlisted entries will be announced Wednesday 29 March 2017, and winners crowned at the Mall Galleries, London on Tuesday 25 April 2017. pinkladyfoodphotographeroftheyear.com

Cow and great Charles Saatchi has published a collection of his favourite photos alongside his articles on modern life, originally from the Evening Standard. Called Holy Cow!, the 240-page hardback tackles subjects as diverse as CCTV, the man bun and selfies. Each is accompanied by a striking image from Saatchi’s collection. Out now, the book is published by Palazzo Editions, priced £16.99. Mark Higgins’ new book Time-Lapse Photography: Art and Techniques is a 144page guide containing all you need to get started shooting time-lapse projects with your camera. Drawing on ideas from stills photography and video techniques, it promises to be a clear and inspirational account, with tips and tricks from both genres. The book is out now from The Crowood Press priced £16.99. crowood.com

palazzoeditions.com

Photography News | Issue 37 | absolutephoto.com

Clubs

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

Camera club news If your club has any news that you want to share with the rest of the world, this is the page for it. Your story might be about your club’s success in a contest, or a member’s personal achievements; 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

Exhibitions this November Bath Photographic Society, believed to be one of the oldest of its kind in the UK, holds its annual exhibition from 29 November to 3 December at the Bath Central Library, The Podium, Northgate Street, Bath BA1 5AN, 9.30am to 5pm. More than 100 images will be on display. Entry is free. bathphotographicsociety. org.uk facebook.com/ BathPhotographicSociety

How to submit

We need words and pictures by 13 November for the next issue of Photography News, which will be available from 21 November. 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.

Great honour for Guildford PS member Amateur photographer and Guildford Photographic Society member David Cantor has had an image selected for the prestigious Taylor Wessing Photographic Portrait Prize 2016 exhibition at the National Portrait Gallery. The competition attracted 4303 prints from 1842 photographers, with just 58 selected for the exhibition. David’s image Abdul is a striking

portrait of a stylish young man browsing trainers on Shoreditch High Street, east London. David says: “I’m delighted and overwhelmed, I’ve long been an admirer of the Portrait Prize and am honoured to have my image Abdul included in the 2016 exhibition.” Willie Jamieson, Guildford Photographic Society chairman, said: “Everyone at Guildford

Photographic Society is excited for David at having an image included in this extremely prestigious exhibition.” David’s portrait will be exhibited at the National Portrait Gallery, London from 17 November 2016 until 26 February 2017. bricklanelife.weebly.com guildfordphotosoc.org.uk

Kingston Camera Club’s annual exhibition takes place from 4 November until 19 November at The Gallery, Kingston Museum, Wheatfield Way, Kingston upon Thames KT1 2PS from 10am to 5pm (closed Sundays, Mondays and Wednesdays). Club members are happy to chat to visitors about the club’s photographic activities and answer any queries about photography. kingstoncameraclub.co.uk Bedford Camera Club holds its annual exhibition at the Harpur Suite, Bedford from 17 to 19 November. The exhibition is open to the public on the 18th and 19th, 10am to 4.30pm, and will be opened on the 17th by The Mayor of Bedford Borough. Club members and invited guests will see an AV presentation of some of the images showcased this year. bedfordcameraclub.co.uk Banbury Camera Club celebrates its 70th anniversary this year, and holds its annual exhibition in the Michael Heseltine Gallery at Chenderit School, Archery Road, Middleton Cheney OX17 2QR. It is open to the public 1 to 25 November, 9am to 4pm, and on the weekends of 5/6 and 26/27 November, 11am to 4pm. Entry is free. The exhibition raises money for Katharine House Hospice; last year nearly £800 was raised. banburycameraclub.org.uk

Deadline for the next issue: 13 November 2016

Brentwood hosts 6 Club Colour Challenge Brentwood Photographic Club recently hosted the annual 6 Club Colour Challenge, a competition that has been running for 57 years. Each club submitted eight DPIs, and the judge, Mike Fuller, knocked out six images in each round until only six were left. Brentwood came in third place, behind Upminster CC in second place and winners, Thurrock CC. The other clubs taking part were Barking PS, Hornchurch PS and Romford CC. bdpc.co.uk

Left to right Brentwood PC chairman Dr Roger Winter, Dave Smith of Thurrock CC and judge Mike Fuller presenting the shield.

110 years of The Kidderminster CC This year The Kidderminster Camera Club celebrates its 110th anniversary. The original Society minute book from the 1906-1913 membership period has survived, providing a fascinating insight into the early membership. Much is made nowadays of all the effects that can be created from digital photography, but back in 1908 the Society heard about how adding skies or cloud

effects could improve a view, so not much has changed! By the late 1930s the Society was one of the largest clubs in the Midlands. To celebrate its 110th year the club has planned a photographic trip to Lacock Abbey. kidderminster-camera-club.co.uk Left The Kidderminster Camera Club outing, circa 1907.

Photography News | Issue 38 | absolutephoto.com

Profile Before the judge

Terry Donnelly FRPS Each month, a respected judge shares their thoughts and experiences. This month we speak to Terry Donnelly, a working pro and sought-after club judge

Biography Terry Donnelly FRPS Since he started entering photo contests in 2012, Terry has received over 200 awards in international contests including 11 best author awards and 160 awards in BPE exhibitions. Years in photography 40 years as an amateur and ten years as a professional. Home club Have been a member of Ormskirk Camera Club for many years. Favourite camera It depends on the task. i have different favourites for different scenarios. Favourite lens Again, this depends on the task. Favourite photo accessory The CamRanger, it’s a great device for shooting tethered, either for actuating the camera or for sharing images with a client or art director during a shoot. Who is your favourite photographer? Joe McNally. What is your own favourite photographic subject or technique? I love street photography. What awards/distinctions/ medals have you won? I hold three Fellowships with three different organisations, for three different bodies of work – the RPS, the SWPP and the BPE – and a Masters with The Photographic Alliance of Great Britain MPAGB. I also have the EFIAP.

On top of working professionally as a photographer, Terry is part of a team organising Photo Show, taking place at Aintree Racecourse, Liverpool, 29 and 30 April 2017. For more visit photoshow.info

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.

Initially my interest in judging was to gain an insight into what judges look for in an image, to improve my own competition work. I figured that if I knew what the judges were looking for, then it would help me in my selection and preparation of an image. In 2013, I was invited by Christine Widdall (L&CPU Judges Secretary) to attend a judges’ training and selection day with a view to becoming a judge for The L&CPU federation. Following the judging seminar, I was invited to become a judge, and after serving a probationary period as a ‘new’ judge, which involved feedback from clubs I judged at, I was moved onto the approved judges listing. In the past few years I have judged at several international photography salons having FIAP patronage, such as the 93rd Scottish International Exhibition 2016 and The Smethwick International Salon 2015. At national level, I’ve judged at BPE member exhibitions including Southport 2015 and Shrewsbury 2014. At federation level, I have judged the Midland Federation Annual Exhibition 2015, NEMPF exhibition 2016 and Yorkshire Exhibition 2015. I also judged the Isle of Man Annual Photography Exhibition in 2016. At club level I have judged inter-club competitions and end of year and monthly club competitions. One of the things I always say at a judging is that if anyone has any questions or wants an explanation of my observations and critique of their image privately, to see me in the break or at the end of the night and I will explain my comments. I have had people speak to me during these periods and express thanks for the comments and the helpful critique, and it’s great to see that lightbulb moment they have when they start to see their pictures from a competition point of view. I have had people apply for me to mentor them through the L&CPU mentoring service from club competitions after hearing my critique, it is very rewarding from that point of view. My favourite judging experience was judging the Midland Federation National Exhibition in front of a live audience. The oohs and aahs as scores were announced live, really added to the atmosphere and excitement. I had initially thought the judging was behind closed doors, so had a bit of a surprise when I arrived at the hall to find 300 chairs set up behind the judges’ table for the audience. It was good fun though and we saw some fabulous work. The overall standard of pictures varies from club to club, but the standard is definitely improving overall year on year. Nature in particular at club level is of a very high standard. At a recent club judging appointment, I saw a picture from a fairly new face to the club competition scene, Sue Blythe. I spoke of the image being of international exhibition standard, and it won top awards on the day. It has since gone on to be awarded in a number of international exhibitions. Club photography has a habit of showing some fabulous work and surprises, which is partly why I enjoy it so much. Generally I think the standard of amateur photography in the UK is world class. This statement is supported by the success UK clubs have had on the world FIAP stage, and the success the PAGB representing the UK in FIAP country competitions. This year the FIAP World Cup saw UK clubs take all four top positions from worldwide entries, that alone is testament to the strength of UK amateur photography. The PAGB, representing the UK, this year also won the FIAP Mono Print Biennial Competition, which consisted of ten sports image from ten authors

(myself being one of them) representing the UK on the world stage. UK competition photography is literally on the top of the world. Sometimes images are seen that are not of the standard required to make it into the exhibition, but I always applaud the effort by the entrant. Each image is considered in the same way, and even if not accepted, the score received from the panel of judges serves as a good indication if that type or standard of image is worth considering in further exhibition work. Sometimes an image receives a score of 15, with all three panel members giving it the highest mark available. It’s a great moment when this happens, as we all want to see as many 15s as we can, it’s a huge lift to the whole team when that happens and often receives a round of applause from the exhibition support staff. Without doubt for me the most common failings are pictures that are over processed. With the onset and availability of plug-ins over the last few years, I see many good pictures ruined by an application of a filter, which is applied generally, instead of locally to an image. For example, applying a subtle hdr effect to a landscape can bring out more detail in the land, but it can destroy clouds and make them look unnatural. So in this instance, locally applying to areas of the land only, and leaving the sky natural, would give a much more pleasing image. I don’t find it challenging to be positive or constructive, but sometimes finding the right words can be a challenge. The last thing in the world I want to do is to discourage a photographer at any stage of their photographic journey. I will always find something constructive to say about a picture and offer ways to improve it in certain areas. I have in the past had people say to me that I had missed obvious cloning or something similar in an image during critique. It’s often the case that I have not missed it, but that I don’t see the point in pummelling somebody’s image and shattering their confidence by highlighting every fault or issue in a picture. One or two pointers on improvement is enough at any one time. I mark every image as I see it, regardless of a technique used or its genre. If it’s done well, it receives an appropriate mark. We naturally all have personal likes and dislikes, but they have to be put aside

when judging, and we must mark an image entirely on its merit. The easiest thing in the world to do is to criticise an image, the task we have as judges, along with picking the strongest pictures, is to encourage and nurture photographers at all levels. In my federation, the L&CPU, I am proud to be a member of a small team that are involved in running judges training and induction days. A lot of time and effort is put into judges’ training by the team, and in particular by Christine Widdall. Judges are classed as new members, and can also after serving a probationary period, apply to be an approved judge, which entails having reports submitted from competition secretaries on a number of judging performances. All judges are encouraged to stay current, and be involved in competition work themselves, and also attend national competitions and distinction adjudication days, to keep abreast of the standards. We can as judges only do our best, but it’s never going to be a please-all task. We do however aim to have at least one happy club member, the one that takes top honours. Some people are naturally disappointed if they enter a competition and their picture does not do as well as they expected, and they don’t understand why. That is the reason why, as I said earlier that I am happy to discuss an image privately with anyone. Trends come and go, but quality work regardless of trends or genre will always stand the test of time. A picture that people see with their hearts, will always triumph over a sterile technically perfect image with no feelings. My advice would be to ignore trends, simply do what you are best at doing. Trends are something other people do, they are not important; the only person any of us are in competition with is ourselves, nobody else matters in that context, we are there to improve on what we have produced previously. If I had to give just one piece of advice I’d say present a well-exposed and colour-balanced image, that has impact, an uncluttered background, and a narrative or a sense of emotion. These types of things can apply to all genres of photography, and can really set an image apart from the rest. terrydonnelly.co.uk

Photography News | Issue 38 | absolutephoto.com

Interview © Deirdre O’Callaghan

Pro focus

Drum roll please Written by Jemma Dodd

It can be tough getting a clear shot of a drummer when they’re at the back of the stage, but photographer Deirdre O’Callaghan’s latest project puts them front and centre... Deirdre O’Callaghan has built a career uniting her passions for music and photography and her new book, The Drum Thing, combines the two perfectly. “As a photographer, I love watching a drummer perform – the sheer physicality of playing this kind of instrument. To me drumming is almost like a dance, and the idea of capturing this energy and rhythm really appealed to me,” Deirdre begins. “I am always working on different personal projects

and really felt that this project encompassed a lot of different things that I’m passionate about. “I chose to include Julie Edwards of Deap Vally as I like her originality as a player. For such a mild-mannered person she is a very energetic and dynamic drummer. We had a chat before the shoot to work out a few ideas regarding the location as her studio is in a different area to her house. It was very important to me that every shot in the book was

taken in the most personal space to each drummer,” Deirdre told us. “It was a very relaxed and fun shoot with Julie, and this shot was taken where her kit was set up. I shot with a Canon EOS-1Ds Mark III with a 50mm f/1.4 lens and for lighting used two Profoto battery packs and three heads.” Prestel.com

Photo Professional This article first appeared in issue 125 of Professional Photo, on sale now. It’s packed with inspiring images and tips for aspiring pros and those already making a living.

absolutephoto.com

deirdreocallaghan.co.uk

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 38 | absolutephoto.com

Technique Landscape portraits

Figure it out

Ever been in a great location, but felt that it lacked something, almost like an empty stage set waiting for an actor? Here, PN speaks to acclaimed photographer Damien Lovegrove about how the figurein-the-landscape style combines two of his biggest loves: the great outdoors and people Interview by Kingsley Singleton

©Damien Lovegrove

This month we’re bringing you images from acclaimed photographer Damien Lovegrove’s new book, Portraits. These images are taken from one of the many lavishly-illustrated chapters, and focus on shooting a style called figure-in-the-landscape, but the book covers a huge range of portrait-related styles (more info at the end). To kick off, although to many photographers Damien needs no introduction, here’s a little biography. Damien’s career, which now spans over 30 years, has been steeped in image making from his first job as a at the BBC as a cameraman. After that he became a lighting

director, then got a job shooting news. After building up his experience at Auntie, Damien became a commercial stills and wedding photographer and it was the latter which gave him what he calls his “big break in life”. “Gathering all my years of wedding shooting I wrote the book The Complete Guide to Professional Wedding Photography, before moving on to shoot mainly portraits,” he says. “I then became a teacher and trained the next generation of wedding and portrait photographers, spending many years writing for magazines and running workshops for photographers wanting to learn about

lighting and composition.” Initially, Damien’s client base for workshops were professional photographers, but now he prefers teaching enthusiastic hobbyists and part-time shooters who aren’t “driven by the need to earn money, but the desire for creative imagery. Photographing people has been at the heart of my long and varied career, so the progression to shooting portraits was inevitable.”

Damien’s career has been steeped in image making

How would you say your figure-in-thelandscape work differs from regular portraits? For example, is there some interaction or special composition

Above “This secluded canyon was difficult to find but a gem to shoot at. We had about an hour of afternoon light.”

Photography News | Issue 38 | absolutephoto.com

Technique

What about composition: do you place the subject according to traditional landscape or portrait styles, or a mix of the two? The placement of the figure in the frame is quite important as you want separation from what can be a busy in-focus background. I have no rules to where I place my subject; the shot of Gabrielle taken in Singapore and the shot of Claire Rammelkamp taken in Gloucestershire

©Damien Lovegrove

required? And when does a shot stop being a location portrait, and start being a figure-in-the-landscape image? My figure-in-the-landscape shots typically have the subject occupying between 10% and 20% of the frame; however there are no concrete rules. The big difference between figure-inthe-landscape shots and regular location portraiture is that the landscape itself remains very much part of the subject; the landscape is an important element. When people start out shooting portraits, they usually opt for a midtelephoto lens and work wide open to allow the background to blur. This process of shooting a portrait is very straightforward and helps to isolate the subject from the background. You can shoot a portrait of this style and nature in your back garden, in the park, in the street... pretty much anywhere. With figure-in-thelandscape, I start by finding the landscape and I travel the world to do this. The pictures you see here (and many more in the book) were taken in the deserts in Fuerteventura, the high plains of Utah, the canyons of Arizona, rural land in the south of France, a swamp in Singapore, a beach in Somerset, a field in Gloucestershire and a woodland and caves in Spain. Once I have a location, I think about the colour and harmony of tone and style and shoot accordingly. Sometimes a red dress is perfect to pop out from a background, other times I want something simple and white or even no dress at all, as in the shot of Mischkah in the cave and Arielle on a rock. One factor associated with having the person small in the image is that the prints looks great when produced large: while a head-and-shoulders picture of someone sits comfortably in a desk frame or a small 25x20cm frame, a figure-in-the-landscape picture looks fabulous at 2x1.5m and can really lift the space it’s in.

Above Angel in the Landscape. “I lit Carla with a deep dish parabolic reflector on an Elinchrom Quadra 400Ws battery powered flash unit. The flash was above and slightly to the left of the camera. It was on full power and this gave me the perfect balance.” Below “The dramatic wilderness areas near Lake Powell in Utah, USA, offers great opportunities for figure-in-the-landscape photography. It looks fantastic on Google Earth and was an easy spot to find on the ground. All I needed was the afternoon sunlight and a standard lens.”

have both got the models’ heads exactly in the middle of the frame, yet they maintain strikingly different composition. Another difference that marks figurein-the-landscape shots out is that, while location portraits tend to include clues to the environment, but have the person as the principal subject, figure-in-the-landscape shots tends to be a landscape photograph with a figure placed within it. Really, it’s a completely different approach. What’s more, unlike regular portraits, there’s very little space for emotional connection with a figure in the landscape shot as the distance between the photographer and subject is not conducive to intimacy.

©Damien Lovegrove

Considering all those things, what, for you, makes a really successful figure-in-thelandscape image? It has the wow factor, of course. But you don’t need to be, or know, the person in the image to appreciate the picture. That’s the key. Quite a few of my figure-in-the-landscape pictures are anonymous, like the photographs of the girls in the woods and caves in Spain, and the girl in the red dress sitting under the tree in rural France. It’s rare for me to shoot an anonymous portrait. In fact, shooting figure-in-the-landscape actually combines two of my greatest loves: the great outdoors and people. So thinking from a landscaper’s point of view, composing a photograph using traditional landscape techniques is a very different process to selecting an area of background to put out of focus. Some of the figure-in-the-landscape pictures take a considerable amount of effort both to scout and recce the location, the light and time of day required for the shot and to get to the location, but this effort is certainly rewarded well when a photograph comes together. Mentioning scouting, how do you go about picking locations? Will any great landscape work? And does the location need to be powerful on its own; more than simply a backdrop to the subject?

Oh, yes, the location really has to stand alone and generally, the photograph has to look great without the subject in it. A lot of the time, I find my locations using Google Earth. I homed in on North America earlier in the year just by looking at the whole of the USA to start with; you can see a dusty brown rock core which is Arizona, Utah and Nevada. When I zoomed in and moved around those three states, I could see dramatic locations, like the moonscape with the nude on the rock. In Google Earth that whole area looks vivid blue with yellow dusty blobs, but when you go in closer, you see the rich vibrant colours of the natural terrain, so I popped a pin in a map and moved on. The canyon that I shot was on private Navajo Nation land and I had to obtain a licence to be able to go and shoot there, it was off the map with no road and we needed 4x4 SUVs to get to the location. Sometimes it works out closer to home though; the sunset on the water picture is just a ten-minute drive from my house and it’s the Severn Estuary, so you don’t have to go far to take great pictures. That said, I often use shooting figure-in-the-landscape as an excuse to see the world! On the same subject, how important does your choice of focus and depth-of-field become in these shots? For example, is a large depth-of-field usually important to show off the location? And do you always need to focus on the subject, or can landscape elements be more important? I tend to shoot my figure-in-the-landscape work between f/4 and f/11 to get the best optical quality and to render the whole scene in focus. However, for the shot of the girl sitting on the ground in the woods in Spain, I shot that on the Fujifilm XF60mm lens wide open at f/4 to render the background out of focus. This 60mm lens generates a beautifully painterly bokeh, and you can see the out-offocus background looks like an oil painting. When I’m working with flash I will often use neutral density filters to allow me to shoot with a shallow depth-of-field. A six-stop or ND64 filter will get me from f/16 to f/2, so it’s

Photography News | Issue 38 | absolutephoto.com

Technique

Because of the mix in styles, do you shoot these images with a tripod, like a regular landscape? Or handheld as would be more usual with portraits? If a tripod is used, is it down to helping with the finer points of composition, or something more technical, such as the need for stability at slower shutter speeds? I actually shoot both. All the pictures you see in this article, apart from one, I shot handheld mostly with a shutter speed of 1/1000sec or 1/2000sec. I used my monopod for the shot in the cave, as the light levels were so low, but I could have probably done with a tripod there. However, getting into the cave was not an easy task, and would have been harder with more kit. I only use a tripod for stability purposes because a tripod will hinder my composition. I compose the frame using the LCD on the camera and I walk around the site looking at the two-dimensional image on the camera before I decide on final height and position to shoot from. It’s really hard sometimes to look

©Damien Lovegrove

vital to have such filters if you want the option of opening up the aperture. Focusing wise, I do tend to focus on the subject, because if the person is rendered out of focus, the shot is useless; it’s the only part of the frame that’s critical for focus.

Above “This shot of Mischkah in a hidden cave in Spain is lit with natural light coming from a shaft to the surface. It was a wonderful sunny day above ground.” Below “Gabrielle’s face is back in the middle of the shot but the composition works because the green ferns at the top of the shot balance with the green foliage at the bottom.”

Damien Lovegrove and the Fujifilm X-series “On a whim five years ago, I bought the Fujifilm X100 and that was my first experience with the Fujifilm X-series. After a year with it, I went on a road trip across America on Route 66 and that’s when I first bought an X-Pro1 and three XF lenses. After three weeks, shooting every day, I knew this was the camera for me. When I returned to the studio, I never picked up my SLRs again. “The book, Portraits, covers the last five years of my work shooting exclusively with the Fujifilm X-series. Two years into using the Fujifilm X-series, I was invited by Fujifilm to become an X-Photographer and a further two years into my association, I had my first exhibition in Tokyo and was invited to become an ambassador for Fujifilm UK. The book itself was written, designed and produced in-house at Lovegrove Studios and it is a completely independent production from Fujifilm. They have not sponsored the project, however I am grateful for their assistance with some marketing effort.”

©Damien Lovegrove

at a three-dimensional scene and distill it into two dimensions, so I find it much easier to work with the LCD and that’s one reason why using smartphones has become so easy for non-photographers. For the more landscape-minded photographers out there, what can a figure add to a scenic frame; can it form a stronger focal point or provide a sense of scale? Both of those are very valid – a sense of scale especially. Using a figure-in-the-landscape composition also gives the opportunity to add a colour pop. Sometimes, I find that I’ve got green and blue in the frame and I want to add a splash of red. I often work with the primary colours of both light and pigment, so I like to include red, yellow, green and blue in some of my work. There’s an example of this in the picture of the girl sitting under a tree in France; it’s always lovely to see man and nature in a frame rather than just one or the other. What lenses would you recommend for this kind of work? I’m sure that, along with wide-angle options, almost anything could be used, but do you have a particular favourite? Well, I’ve been working a lot with the Fujifilm XF14mm lens, which is the equivalent of 21mm on a full-frame SLR camera. However, the opportunity for perspective compression for telephoto lenses is also a lure for me. I use pretty much every lens I have and there is no dominant lens in my kitbag really. Do you find you have to give any particular special instructions to your models? Are there different concerns to modelling for a regular portrait? Yes, unlike many other portrait styles, the direction that they face needs to be related to the position of light. The poses and shapes their body creates are important and it always helps to shoot with a dancer; it’s not often that I‘ve done this, but when I have the shapes they create are effortlessly wonderful! Many of your figure-in-the-landscape shots feature sophisticated costumes or nude subjects: what measures do you take to keep them comfortable, if, for example, they’re posing on hot sand or rock barefoot?

The poses and shapes the model’s body creates are important and it always helps to shoot with a dancer

Photography News | Issue 38 | absolutephoto.com

Technique

How do lighting concerns change for figurein-landscape work, compared with regular portraits? For instance, do you prefer to use diffuse light if possible? No, I’ve always been a lover of hard light. I much prefer hard light for portraits and for figure-in-the-landscape, so in overcast situations where I haven’t got a crisp hard sunlight, I tend to use bare flash from either an Elinchrom Quadra or Cactus speedlight; I don’t use modifiers on my flash. Occasionally when I’m shooting into the sun, I will use flash, too. I will set the sun up as a backlight and pop some flash in from the front, like the picture of the sunset on the water and my Angel of the South shot in the deserts of Fuerteventura.

Middle “This gap between the rows of trees on an abandoned military base was a perfect shoot location. Notice how wonderful the look is on the XF60mm lens at f/2.8. It’s dreamy and uncomplicated like a good Impressionist painting.” Bottom “Claire is lit with an Elinchrom Quadra head with a deep dish reflector. This is two-point lighting but square to the camera. The sun was setting and the tide was coming in fast. The rock Claire was on soon became submerged but we were on our way by then.”

Portrait masterclass ©Damien Lovegrove

Any walking has to be done in boots or trainers, and costume changes are usually made on site. I tend to lug all the gear, and things like water and sun cream are essential. I just take the usual precautions really. I prefer bare feet once we’re on set as it has a more natural look about it. The dresses I have made for me either commissioned from companies in China and bought on eBay or commissioned from local designers. The white dress on the deserts of Fuerteventura was commissioned from Lisa Keating and I sketched out the design and asked for it in silk chiffon. I was looking for an Angel of the South.

©Damien Lovegrove

I’ve always been a lover of hard light. I much prefer it for portraits and for figure-in-the-landscape

Top “I lowered the exposure of the ambient light by closing the aperture to f/16, making the bright, overcast day look more threatening and dramatic. I then added flash from an Elinchrom Quadra head on a boom.”

©Damien Lovegrove

If you like what you’ve read so far, you don’t need to stop here. Portraits by Damien Lovegrove is a great manual for aspiring portrait photographers and its 356 pages cover a huge number of tips, techniques and advice, accompanying each of the 348 inspirational images. Available now as a downloadable ebook, “this epic body of work represents five years of my creative life,” says Damien. “Everything I know about photographing people is in this book. I’ve combined the ‘how to’ approach to book writing with a fine body of photographs, deconstructed to reveal the strategies and creative vision within.” Subjects covered include portrait fundamentals like picking subjects and locations, as well as building a rapport with your model. Building on these foundations are chapters on lighting, urban and Hollywood portraits, as well as boudoir and nude styles. The book finishes with useful advice on setting up a studio and managing your workflow from concept to print. Portraits by Damien Lovegrove is available to download now as an ebook priced £40. You get perks like two cover options, the option to purchase the 92-page Fujifilm X System Guide for Portrait Photographers for only £10 more (usually £20), and the choice of a standard- or high-definition version. Use the code dharkan to receive 20% off when you purchase the book from lovegroveportraits.com lovegroveportraits.com

Photography News | Issue 38 | absolutephoto.com

Technique Part 2: Editing and Sharing

Leap into VR shooting

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As new and exciting as 360º and VR cameras are, to traditional photographers used to working with regular stills, they can seem like a very alien concept. But don’t worry, PN is here to show you why taking the leap is just as fun as it is challenging, and this month we look at editing footage from VR cameras... Last month we looked at the basics of VR and 360º shooting; why it’s an exciting new way to capture the world and the kinds of specialised camera you need to do it. We also looked at the similarities to traditional shooting and the fact that, after you get used to the idea that you’re just using a very wide-angle lens, there’s very little to be scared of and a lot to get excited about. But of course there are differences, and particularly when it comes to editing and sharing shots. After all, although cameras like those in Kodak’s Pixpro series can be used in a wideangle point-and-shoot way, it’s when they’re employed to create proper VR content that they really come into their own. That’s what we’ll look at this time out, showing how immersive 360º and VR footage can be produced after shooting, via easy editing steps. Getting the footage Most 360º and VR cameras are sold with video in mind, rather than stills, and when you see what they’re capable of creating that’s not surprising. Results are amazing, and the wideangle view puts the viewer right at the heart of the action, so whether you’re taking part in sports, adventure or simply walking through a spectacular location that you want to record for posterity, by recording it in 360º you’ll have a highly detailed, lasting, and interactive memory. When shooting video you’ll find all the stuff you’d expect in a high-end DSLR’s or CSC’s movie mode. You pick the resolution to record at, which could be full HD (for the original

Pixpro SP360), or 4K (for the SP360 4K and new 4KVR360 camera). You can also decide on the format, and with the Pixpro models, this means either shooting in the full spherical (Globe) mode or Front view. In the former you can then process the video into an exciting array of styles, more on which below. There are time lapse and high-speed video modes, too, so you can shoot in glorious slow motion, or show the passage of time, all with the luxury of a 360º view. Back-to-back shooting To fully cover the scene and create an immersive view in VR, you need to combine the footage from two lenses. So, when using single-lens cameras, like the SP360 and SP360 4K, these need to be mounted back to back; but the new 4KVR360 can record a front and back view simultaneously using its twin lens design (see right). In the examples on this page, shot during the Sosh Freestyle Cup sports festival in Marseilles, two SP360 4K cameras were mounted on the skydiver’s wrist using a mount and wrist strap. Set to the Globe capture mode, which produces spherical 2880x2880 pixel footage, the footage was then stitched and exported as a VR movie.

As immersive as you want it You don’t need to throw yourself out of an aeroplane to make the most of a VR camera, but check out Kodak’s Pixapro Facebook page to see why it was completely worth it. Whatever you choose to shoot, the footage can be stitched and uploaded to your favourite social media sites in minutes, where it can be viewed in an immersive VR style, just by scrolling around with the mouse.

Stitching your 360º footage The stitching of the spherical footage is done in Kodak’s free Pixpro 360 Stitch desktop app, and it’s surprisingly easy to use once you give it a try. You just load up the two files, then make sure they match up using the Calibrate and the Frame Timeline options; the

Quick and easy editing To edit your spherical footage, all you need is Kodak’s free Pixpro 360 and Pixpro 360 Stitch apps. In its simplest form you can simply export to a video file or social media website (1), but there’s also the option of using fun modes like Segment which sandwiches the front and rear views, and trimming the footage (2). In the Pixpro Stitch editor (3), two separate spherical captures can be aligned and then exported, and in either of the packages it’s possible to tweak the Sharpness, Contrast, Brightness and Saturation (4).

former lets you pan, tilt and vary the distance and angle to match things up, while the latter is used to address any lag between starting the different recordings. Using the preview as a guide in either its 16:9 or global view you can quickly get a good alignment. Just like editing a still photo, you also need to make sure your sequence is looking its best, which means making tweaks to the colour and contrast, and this is done using the Effect button, which lets you make changes to the brightness, sharpness, saturation and contrast. Editing and exporting Also free to download is the regular Pixpro editor, which lets you use a single 235º view in a variety of styles. There’s Pano, which gives a full 360º panoramic effect, Dome with an arching view, and Segment, which pushes the video into a ‘front and back’ view from the original 360º capture, so in theory you can put the camera on your dashboard or handlebars and film yourself driving as well as the road ahead, all in one video output. Something else you can do is trim the beginning and end of the footage

to tighten the action, just as you would with a normal movie, while there’s also the ability to record ‘live’ navigation around the 360º view. In this way you can play the video, then press the Record button to start capture. You then scroll around the video as though you were turning your head through the view and hit Stop when you’re done, before exporting the file. This is really handy if you’re creating a movie that’s more of a walk through than a fully interactive VR type, where you guide the view around the wider composition. Highres stills can also be grabbed straight from the video using the camera icon. Sharing your adventure Whether you’re exporting straight from the Pixpro 360 Stitch app, or from the regular editor, you can either save your videos as regular files, or upload them to websites that will allow full VR-style interaction, including your Facebook profile and YouTube channel, adding titles, descriptions and also controlling the privacy settings of the video. kodakpixpro.com/Europe

Photography News | Issue 38 | absolutephoto.com

Technique VR and 360º refresher A 360º or VR camera is just a tool to take pictures like any other, albeit one that allows greater freedom than before. Many photographers love shooting with extreme wide-angle lenses, so these cameras are the next step with possibilities way beyond even fisheye optics. Pixpro cameras for instance have a huge 235º field of view. But the real thrill is in how you view the images created, allowing you to put the viewer right in your shoes with a fully interactive version of the scene, because while cameras like Kodak’s Pixpro 360 series can shoot regular stills, the spherical images also created can be scrolled around using a mouse, trackpad, or a VR headset. You’ll also find, with a few minutes familiarisation, these cameras are easy to use. Sure, there’s no traditional screen and fewer inputs than you’d find on a regular camera, but functions are neatly accessed using combinations of buttons and streamlined menus. It’s also easy to connect the camera to your smartphone or tablet using a Wi-Fi connection and use that as the screen, and you can change modes and shoot remotely, too.

Get to know a VR camera To traditional photographers, cameras designed for 360º and VR applications can appear quite alien, but take a closer look and you’ll find that there are far more similarities

LCD The small 1in 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.

to a regular camera than differences. Below is an annotated view of the new Kodak Pixpro 4KVR360, recently announced at this year’s Photokina and which should be available in

December. The design is similar to the Pixpro SP360 4K and SP360, but with some exciting updates, including a rear-facing lens to shoot fully-stitched VR video straight out of the camera.

CONTROLS The Pixpro 4KVR360’s controls are divided onto two sides. Like other Pixpro cameras, the on/off button doubles up to switch between modes and there’s a menu button to access settings. The big Rec button is easy to find in the middle and also confirms settings.

Prices Pixpro 4KVR360 £TBC 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 Resolution 20.68 megapixels Number of recording pixels (still image, TBC) VR Mode: 27MP, 7360x3680 (2:1); 15MP, 5520x2760 (2:1). Round Mode: 13MP, 3680x3680 (1:1). Front Mode: 8MP: 3840x2160 (16:9); 9MP: 3525x2644 (4:3).

REAR LENS The rear-facing lens has a 155º field of view, which combines with the front lens to record everything around you. In this way, you have the option of exporting a stitched file straight from the camera if desired, rather than doing it manually. Like the front lens, it also comes with lens covers for added protection. CONNECTIVITY The Pixpro 4KVR360 is also Wi-Fi, NFC and Bluetooth enabled; switch on Wi-Fi with a simple press of the button. On the opposite side are USB, HDMI, and stereo microphone inputs, covered by a weather-sealed flap. This is also where you’ll find the memory card slot, with the camera using microSD cards up to 128GB capacity.

FRONT LENS The Pixpro 4KVR360’s bulbous front lens element is the first thing you notice about this camera, and it’s where the huge 235º field of view comes from. The lens focuses as close as 30cm for frame-filling compositions and to protect it, a clear protective lens cover is included as well as a rubberised hood for further durability when it’s packed away in transit.

4KVR360 Specs

Number of recording pixels (video) VR Mode: 3840x1920/24fps (2:1) Round Mode: 2880x2880/24fps (1:1); 1920x1920/30fps (1:1). Front Mode: 1920x1080/60fps (Max. FOV) (1:1). High Speed Movie: 1440x720/120fps (2:1); 1280x720/120fps (16:9). Front lens 235° field of view (Max. 244º without lens cover), 1.257mm focal length, f/2.4 Rear lens 155° field of view (Max. 163º for VR Mode (2:1) and without lens cover), 1.633mm, f/2.4. Focusing range Fixed focus: 30cm to infinity Anti-shake system Electronic Image Stabilisation 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, 100-3200 Recording media Micro SD/Micro SDHC card (Up to 128GB support) Power Rechargeable Li-ion battery LB-080, 160 still shots, 55mins for video

WEATHER SEALING Living up to its billing as an action cam, the 4KVR360 is dust proof, shockproof, splash proof, and freeze proof, characteristics that are further advanced when it’s fitted with its bespoke casing.

Dimensions (WxHxD) 55x55x66.9mm Weight 170g with battery and card Contact kodakpixpro.com/Europe

Getting attached Just like a regular camera, you can attach the Pixpro to a tripod using the built-in thread. But being a small and light action cam design, it’s possible to do way more than just that. For instance if you plump for the Pixpro SP360 4K’s accessory pack you’ll be well served in mounting the camera for recording video and tracking shots on the move. There’s a glut of attachments, letting you position the camera on a wristband, 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 in more extreme environments.

Photography News | Issue 38 | absolutephoto.com

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Do it by the book Photography News joins Leamington Spa Photographic Society for an exclusive behind-the-scenes visit to CEWE in Warwick, the UK’s biggest photobook printing facility

We are spoilt for choice with so many brilliant ways to present our photography nowadays. A photobook is certainly one of the most popular. Being able to produce professional quality products simply and at attractive prices gives this option enormous appeal. Furthermore, with the choice of sizes, number of pages, paper, surface finishes and typography, the ability to produce very individual looking results is available to all. CEWE UK, based in Warwick, is part of CEWE, Europe’s largest photo printing businesses with over 50 years’ experience in the field. Leamington Spa Photographic Society has a full membership of 85 members, with a waiting list too. Vice chair Tony Peck belongs to the Book group and it was his idea to organize a behind the scenes evening visit to CEWE for the whole club to see how the award-winning CEWE PHOTOBOOK is made. “The photographic society has various sub-groups and one is the Book group with 12 members and growing,” says Tony. “Every quarter we meet to exchange ideas, look at what fellow members have produced and chat about techniques. Several members use CEWE already, but some use a range of other suppliers. I decided that as CEWE is local and my experience with them has been very good, that we should try and get the members a visit of the factory. “Our members have a wide experience range and shoot all sorts of subject,” continues Tony. “Long standing member Andrew Bell does a lot of photobooks of railways all around the world and he’s been featured on the CEWE Photoworld website (CEWE’s retail site). Then we’ve got members who are interested in wedding photography and that now is becoming very popular, as you can do so much more that’s relevant to the person getting married if you know them. Nature photography is very popular as well and a lot of other members are starting on street photography, and a photobook is an ideal way to present such a subject. “A lot of members do photobooks as a portfolio of their work, so they choose the best photographs that they’ve taken over the years. “With this technology I think it is possible for both enthusiasts and professionals to portfolio their work in a high-quality, cost-effective and compact way.”

Photography News | Issue 38 | absolutephoto.com

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CEWE has offered camera clubs the exclusive opportunity to visit its centre

CEWE was delighted to offer the camera club a full tour of its facilities and learning from Tony what was desired it planned a tour of the production facilities looking at some of the high-tech machines used in book reproduction accompanied by a company expert. Such was the visit’s popularity that the club’s membership was divided into two groups, with the groups swapping over at half time. So while one part of the club was touring the factory the other half enjoyed a demonstration of its book creating software – it’s free to download from the CEWE Photoworld website and available for Windows and Mac. The book-producing experience among the club members varied enormously but one thing that came across from the visitors was the appreciation of the very easy-to-use but incredibly versatile software. Andrew Bell is a regular user of the CEWE Photobook Creator software: “I found the whole event very useful. Although I have used Images The group got the chance to see the whole CEWE Photobook process from start to finish.

the software before there were a number of tips on illustrating actions I had not appreciated before. In the lab I learned a few things about colour management and the adjustments when automatic image correction is applied by CEWE. I enjoyed the event and would recommend it to others.” See the panel below for more on Andrew’s experiences with creating a CEWE PHOTOBOOK. Should users need help there is a manned phone helpline until 10pm every evening including weekends. Having such service is unusual nowadays and having instant help is a bonus. Every CEWE PHOTOBOOK comes with a 100% satisfaction

money-back guarantee. If you are not totally happy with your book you can get a refund or a free replacement. CEWE has offered camera clubs receiving Photography News the exclusive opportunity to visit its centre at Warwick, as enjoyed by Leamington Spa Photography Society. The visit will include a tour of the production facilities, live software demonstrations and exclusive money-saving offers. If you want your camera club to be considered for this unique experience, please email the editor of PN, willcheung@brightpublishing.com. The deadline for applications is 24 November.

cewe-photoworld.com/photo-books

Hands on with CEWE PHOTOBOOK

We asked two members of Leamington Spa Photographic Society to produce a photobook each and report back on their experiences Tony Peck “I enjoyed the tour of the CEWE facility and I know the members did because they are still talking about it two weeks later. Thanks to all at CEWE who made it happen. “I have used CEWE for photobooks before so I know a bit about the software. Our visit confirmed to me that the Creator software is one of the best producing softwares around. It’s so intuitive to use and it is also very flexible. I like that on the website you can lodge a finished book in the Inspiration section to share your ideas with others. It’s a source of ideas too, plus it means I can share my books with family and friends. “For my test, featuring pictures taken in Mauritius, I used the True Matte paper option. With the variety of pictures – buildings, people and landscapes – I wasn’t sure if it was the best choice. Now I have the finished book in front of me I must say the results are phenomenal. The reproduction and resolution of the fine detail and texture is amazing. The colours are rich, perhaps marginally more saturated than on my screen but they look accurate. I am delighted with the result.” Andrew Bell “I found the CEWE Photobook Creator software very intuitive and easy to use, it was very stable with no unexpected glitches. Actually, I think it is the easiest to use and most versatile book software I have experienced and I have tried several companies. “A vast range of templates can be selected for page layouts from a drop down menu. You can either stick with these or if you feel that you would like to change the shape size or layout of pictures on the page this can be done simply by dragging the corners of the pictures. Your own folder of pictures is displayed on the left of the screen and you simply select the ones you want in the book and drag them onto the page. “The eyedropper tool is great too. You can produce text and borders of the exact colour as in your pictures with it. “I used the helpline too. Being able to speak to a human being at CEWE up to 10pm is very useful indeed – much better than an email help facility. “Basically, the Creator software lets you can do everything you can think of – I couldn’t think of a single extra facility I’d need from a photobook printing software.”

Photography News | Issue 38 | absolutephoto.com

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Ulla Lohmann was one of the first photographers to use the EOS 5D Mark IV. Here she tells us how she’s getting on with Canon’s latest full-frame DSLR Ulla Lohmann’s CV reads like a Who’s Who of the world’s most renowned publications. Her photographs have been published in National Geographic, GEO, The New York Times and The Sunday Times, to name-drop just a handful. She is a photojournalist and documentary filmmaker based in Germany with more than 20 documentary films to her name. She also leads photo workshops. Expeditions she has been on include kayaking across the Everglades, off-road driving in Papua New Guinea, rock climbing in the Dolomites and shooting volcanoes in Vanuatu and Indonesia. You might have noticed that she loves adventure and the challenge of photographing and working in places where many of us would fear to tread. Indeed, whether she is swimming with hammerhead sharks on the Great Barrier Reef in Australia or abseiling into an active volcano, her camera goes with her and she is not one to rest until her photographs tell a compelling story. Her brand of choice is Canon and she has been a user of the EOS 5D series from the beginning. “Saving weight and bulk are key issues on expeditions,” she says. “Also, even

though the EOS 5D series is a full-frame camera it helps me to be less intrusive as a professional photographer in remote areas.” “I usually travel with two Canon EOS 7D Mark II bodies and two EOS 5D Mark IIIs – which have now been replaced by two EOS 5D Mark IVs. My lens choice varies, but for the trip to Ambrym island in Vanuatu where these pictures were taken I had the 11-24mm f/4, 35mm f/1.4, 70-200mm f/2.8 II and the 100-400mm f/4.5-5.6 II, all Canon EF lenses. “I have been using the EOS 5D Mark IV for only a short time and it has got me shots I have only dreamt about before. I shot land diving (bungee jumping without the safety precautions) on Pentecost Island. Here you only get 11 jumps and the hero jump happens only once. Thanks to the features of the EOS 5D Mark IV, such as Dual Pixel RAW, seven frames-per-second continuous shooting and accurate autofocus tracking I did not miss this unique opportunity. “The shoot on Ambrym was covering a scientific expedition. We were 600m into the volcano, 50m away from 1200°C molten lava. It was a stern test for the EOS 5D Mark IV’s build quality and weather sealing with the heat, ashes and acid rain. Its dynamic range

About the photographer Canon Explorer Ulla Lohmann is a German photojournalist and documentary filmmaker with a Bachelor of Science in Natural Resource Management. She has worked for renowned magazines and broadcasters, including National Geographic, GEO, BBC, Red Bull Media House and The New York Times. Together with her husband, Sebastian Hofmann, Ulla has published a book about the Dolomite Mountains for National Geographic. She loves the challenge of photographing whilst on expedition, but can also wait for days in a hide to get behavior photographs of animals, engineer for weeks to get her camera into a certain position or particular angle, or photograph for years the same tribe who performs secret mummification rituals in Papua New Guinea.

ullalohmann.com

The Kit It was a stern test for the Canon EOS 5D Mark IV’s build quality skills coped well with black rock and bright lava while the camera’s high ISO ensured excellent image quality, too. The touchscreen even worked with heat gloves inside the active volcano. “The picture (overleaf) is the world’s first climbing picture inside an active volcano on Ambrym. It was also Vanuatu’s first climbing route. My husband, Basti Hofmann, installed the route whilst waiting for a weather window to abseil into the volcano to take scientific measurements. The lighting was provided by Canon off-camera flash used in TTL mode.” For more about Ulla Lohmann’s amazing photography and details of her workshops, please see her website. Find our review of the Canon EOS 5D Mark IV in this issue.

The Lens Canon EF 11-24mm f/4L USM Ideal for dramatic landscapes, interiors and in any situation where there is limited room to work in. The lens’s construction ensures distortion-free, super-sharp pictures.

The Camera Canon EOS 5D Mark IV The latest generation of the EOS 5D dynasty is packed with great features including a new 30.4-megapixel sensor, Dual Pixel RAW and a 61 AF-point sensor.

Photography News | Issue 38 | absolutephoto.com

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Photography News | Issue 38 | absolutephoto.com

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Photography News | Issue 38 | absolutephoto.com

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New arrivals Gear options

Canon is unique in the imaging world in having products that cover everything from the original image capture through to output, with exhibition quality printers and media. In this section we take a closer look at some of its latest gear

Canon has been busy over the past few months and the focus has very much been on high-quality capture. The EOS 5DS and 5DS R have been available for a while now and those 50-megapixel DSLRs certainly set a new standard for 35mm full-frame capture, also proving immensely popular among quality conscious photographers. The famous EOS 5 family has recently gained a brand-new member in the shape of the EOS 5D Mark IV. This model uses a new 30.4 megapixel sensor and boasts a great all-round

Canon EOS 5D Mark IV

Canon’s newest addition to its renowned EOS 5D dynasty features a feast of the latest camera technology that is sure to appeal to enthusiast and professional photographers. The camera is centred on a 30.4-megapixel CMOS sensor that uses the DIGIC 6+ processor. The native ISO range is 100 to 32,000, expandable to ISO 50 and 102,400. The new sensor features Dual Pixel AF and has the option of shooting Dual Pixel RAW files. Standard Raw files are in the order of 30MB while shooting Dual Pixel RAW doubles the file size. All this extra data, recorded from both photo diodes in each pixel of the sensor means that images can be modified post-capture using Canon’s Digital Photo Professional software. Three aspects of image can be adjusted: image micro-adjustment (focusing), bokeh shift and ghosting reduction. The EOS 5D Mark IV is the first DSLR to offer this facility that will undoubtedly prove extremely useful. Autofocus is handled by a system taken from Canon’s flagship DSLR, the EOS 1D X Mark II, featuring 61 AF points, 41 of which are cross-type sensors, covering an area larger than its predecessor. Sensitivity in low light is impressive and works down to -4EV. Autofocusing is also very fast with excellent tracking ability. The EOS 5D Mark IV has the option of six AF case studies for coping with different types of moving subject and these have three parameters that can be user-adjusted. It can shoot at 7fps, too. The EOS 5D Mark IV can shoot 4K video at both 24p and 30p using the DCI standard rather than 16:9 giving a slightly wider resolution of 4096x2160 pixels. Motion JPEG lets you shoot at 30fps with full autofocus and you can take 8.8-megapixel stills from the footage. Whether you want to shoot brilliant quality stills or video, the Canon EOS 5D Mark IV will more than live up to your expectations.

Canon EF 16-35mm f/2.8L III USM The latest generation of this popular ultra wide-angle zoom is the best yet. It features a new optical system to make the most of the very latest high resolution DSLRs giving images of exceptional depth and clarity. Among its 16 elements in 11 groups, state-of-the-art construction is a large diameter GMO (glass moulded) dual surface aspheric lens and a ground aspheric lens, both to minimise distortion, field curvature and astigmatism. Outstanding colours, edge-to-edge sharpness and high contrast are achieved with two Ultra Low Dispersion elements. To ensure optimum performance, the advanced optical construction is aided by high-tech Canon lens coatings with Subwavelength Coating (SWC) and Air Sphere Coating (ASC) employed to stop reflections, flare and ghosting. Fluorine coating on the front and rear lens elements helps reduce fingerprints and smears. Build quality is very high and this lens has a robust construction which includes water- and dust-resistant seals on key areas of the lens such as the zoom and focus rings and around the lens mount. Fit a Canon protection filter on the front and you have a topquality lens capable of withstanding the most arduous conditions. Autofocus performance is fast, responsive and accurate with the lens’s USM motor and optimized AF algorithms, and there is the back up of full-time manual focus override. The Canon EF 16-35mm f/2.8L III USM is an outstanding ultra-wide lens with the credentials to please the most demanding of photographers.

specification including 4K video shooting and the innovation Dual Pixel RAW function. It is sure to be a success with both professional photographers and enthusiasts. Finally, we have seen two new versions of two very succesful Canon lenses, the EF 1635mm f/2.8L III USM and the EF 24-105mm f/4L IS II USM. Bristling with the latest optical technologies, both are sure to be great performers and be very popular, too. canon.co.uk

Canon EOS 5DS

Canon’s EOS 5DS is a full-frame DSLR that can deliver medium-format image quality with its 50.2-megapixel CMOS sensor. The camera is available in two variants; the 5DS and the 5DS R. They are almost identical, the only difference being that the 5DS has an optical low pass filter (OLPF) while the 5DS R has an OLPF cancelling feature to record even finer detail. The 50.2-megapixel CMOS sensor works with the DIGIC 6 processor and the native ISO range is 100 to 6400. Expansion to ISO 50 and up to 12,800 is possible. Continuous shooting speed is five framesper-second which is still impressive given the amount of data and large file sizes that the camera has to handle, but fast-moving action is probably not going to be the subject of choice with this camera. With its high resolution, the EOS 5DS is the ideal camera for detail-packed scenes whether that is a landscape or a beautifully lit studio portrait. To get the most from the sensor, the tripod socket has been strengthened to ensure maximum stability and the reflex mirror features a motorized mirror mechanism to lessen mirror slap. For tripod mounted shots, you may prefer to lock the reflex mirror up to minimise vibration and the EOS 5DS has a reworked mirror up mechanism so you can now use a pre-set delay from when the mirror locks up and before the shutter fires, ensuring vibration has gone when the exposure is made. Autofocus is handled by a 61 AF point system, 41 of which are cross-type and five dual cross type. The dual cross type sensors are the five central AF points and with f/2.8 or faster lenses these sensors give diagonal sensitivity for even greater accuracy. If ultimate image quality is your goal, the Canon EOS 5DS or EOS 5DS R are DSLRs that simply can’t be ignored. They are not one-trick ponies and both are extremely capable and talented cameras.

Canon EF 24-105mm f/4L IS II USM

This exciting new wide-ranging zoom is a great standard lens with its constant f/4 maximum aperture across the zoom range and focal length coverage. It is also packed with the very latest in optical technology including a 17 element, 12 group construction with four GMO (glass moulded) aspheric lenses to produce excellent resolving power, even edge-to-edge coverage and minimum distortion. Canon Air Sphere (ASC) coating is used here to defeat flare, ghosting and reflections in challenging lighting. ASC coating includes an ultra-low refractive index layer on the lens element to help deliver a clean image with reduced lens aberrations to the sensor. Another featured coating is fluorine on the front and rear lens elements to reduce smears from fingerprints. A high performance USM motor, an inner focusing mechanism and optimised algorithms all combine to give this lens very fast and accurate focusing, and in addition there is the option of full-time manual focus override without needing to switch out of AF mode. This lens also features Canon’s improved IS (Image Stabilizer) feature which has a benefit of up to 4EV for sharp handheld pictures in low light. Another innovation is the lens’s 10-bladed diaphragm, giving a near circular aperture to deliver lovely background bokeh. If your need is for a first-class standard zoom that can cope with a whole range of subjects as diverse as landscapes, portraits and travel, the Canon EF 24-105mm f/4L IS II USM is definitely one for the shortlist.

Photography News | Issue 38 | absolutephoto.com

Interview

Sacred Nature Award winning author and internationally renowned wildlife photographer Angela Scott has been surrounded by wildlife from a young age. With years of experience and several books published we spoke to Angela about her latest release

Interview by Jemma Dodd Can you tell us about your background? I was born in Alexandria in Egypt, but we left during the Suez crisis when I was four years old. My father was in the cotton business so we resettled in Dar es Salaam in Tanzania, which was another world-class cotton country. I had an idyllic childhood. We lived on a beach and our world centred around the sea: we loved swimming, sailing, diving and water sports. Our holidays were on safari in places like Serengeti and camping in the Uluguru mountains climbing and fishing. What sparked your interest in wildlife and photography? Growing up in Africa, wildlife and a love of the natural world is the way of life. As a child we always had some orphan animal such as a monkey or a genet cat growing up with us. So

rather than an interest it was just an important part of life. Going on safari was the highlight of our holidays; being bundled up in the early hours of the morning when it was still dark to set off for some adventure. My family are all very artistic so expressing oneself through an artistic medium was introduced to us very early on in life. I remember being given a small camera when I was quite young and being fascinated by how I could express what I was feeling through what I saw – I was always quite shy so it gave me a voice in another way. I created a small darkroom under the stairs in our house and although I had no formal training would spend hours experimenting with developing my own images. I think this made me study the visual world. What do you love so much about photographing wildlife? I am naturally quiet so I love nothing better than when I am working with a subject –

animal or human or landscape – and just settling into the zone. I love to meditate and photography is like meditation at times for me – just the subject and me. No noise or hustle and bustle, immersing myself in the mood and finding ways to interpret what I am seeing in my mind – not just what is in front of me. A photograph has to be more than pure representation – unless it is reportage perhaps and even then the great images have that edge, that element or look that forces the viewer to engage with the subject matter in a different way to how they see the world. It is that ability of a great photograph to become art – to speak to the heart and soul of the viewer. What is your favourite animal to photograph? I do not really have a favourite animal to photograph – I am happy with even the smallest of creatures, but lions I think are particularly rewarding to work with. They are

A photograph has to be more than pure representation – unless it is reportage perhaps

Above Honey and Toto: An intimate greeting between a mother and her only surviving cub.

Photography News | Issue 38 | absolutephoto.com

Interview such social creatures, so there is lots of mood and emotion to what they are doing, lots of interactions to render as images. I am happy to spend all day working my way in to the position that will provide me with the view I want to capture. What have been your most memorable moments while photographing wildlife? There have been so many, small or dynamic, I can honestly say most of my days photographing are memorable! A very special memory was when I was an ‘animal spotter’ for the leopard team on Big Cat Diary and was left alone to watch Half Tail the leopard, whilst the film crew went back to camp. When they had gone Half Tail came and lay under my film door and went to sleep and we spent all day together: her sleeping and me reading! It was such a privilege being that close to a wild leopard, totally relaxed just a metre or so from where I was sitting. Developing that sense of trust between you and your wild subject is the ultimate stamp of approval. You want the creatures to ignore you – to not feel threatened or under pressure from your being there – to accept you as just another benign part of their natural environment. You can do that in a vehicle if you drive carefully and are sensitive to the mood of your subject. Are there any animals left to see on your bucket list? Growing up on the ocean in Alexandria and Dar es Salaam I have always been a sea person. I love marine life and would love to spend time in Tonga for instance to swim and photograph humpback whales. We are heading to the

Developing that sense of trust between you and your wild subject is the ultimate stamp of approval

Top right Giraffe: the abstract patterning of the giraffes’ coats and the shadows from an acacia tree work their magic. Bottom right Running Wildebeest: early morning light combined with a slow shutter speed convey mood and motion. Below Cattle Egrets: backlight and sidelight at dawn or in the evening create strong images. Bottom Elephant Gathering: the bold shapes of the elephants mirror the cloud-filled sky.

Pacific islands in June 2018 so that will be very exciting and a first for us. How important do you feel photography is in terms of helping the conservation of animals? It isn’t enough to just take pictures. We all have a responsibility to make our images count. They must speak to people, to make them want to care about the planet. You have to find a theme – a story – and develop it in a meaningful way. That is why Sacred Nature was so important for us. Was Sacred Nature something you’d had planned for a long time? I had always wanted to create a book that was led by the images – not by the text. Myself and my husband Jonathan have published 30 books and most of them have been primarily written stories – 80,000 words or more of text illustrated with our images. But I always dreamed of creating a book that was large format to do the images justice, where the photographs told the story. In Sacred Nature there are only 10,000 words and while they add to the book they do not overpower the images. Then our son David, who designed the book, added these wonderful quotes from the great poets, sages and philosophers which really echo the spirit of the images How difficult was it choosing images? David only agreed to design Sacred Nature if he had total control over the design and the final say on image selection. It was amazing to watch him set to work. He turned the book around in less than a month, which was nothing short of incredible. We had total trust in his judgment. He is a creative director with an international company and has to make tough editorial decisions the whole time. He grew up in the back of our Land Rover on safari for much of his younger years and has

always been very close to us and our work and what we are trying to say through our images. His vision was that this book mustn’t be just another animal behaviour book. It must speak from the heart and capture the essence of what we find so alluring and captivating about the natural world. As a photographer why did you decide to include text in the book? What is its purpose/importance? I wanted to have a ‘lean’ text that in no way overpowered the images. It had to be more like a poem written from the heart to reflect the essence of what we wanted to say with the images. We have to rekindle people’s love affair with the natural world and to realise that it is the provider of life itself and that we should think of it as something sacred – that all life is sacred – a gift to be respected in its many varied and wonderful iterations. The most powerful part of the text is the “quotes” that David hand-picked for their spiritual and poetic vision. They capture in words what the pictures so plainly echo visually, that the creativity of nature is sacred. What advice would you give to aspiring wildlife photographers? You need dedication and determination to succeed at anything in life and photography is no different. Make your cameras and lenses a part of you – an extension of your body and your soul. You can only do that if you take photographs every day whether on your phone or with a camera. These days everyone is a photographer and has a unique way of seeing, it’s just working out how you can translate that into a unique vision to share with the world. Our sense of sight is surely our most powerful sense, so capturing strong visual moments is a natural process for all of us. Develop your own style, learn from the masters but don’t be frightened to be yourself.

Photography News | Issue 38 | absolutephoto.com

Interview

Clockwise from top left Topi and Wildebeest: dust and motion provide a mix of powerful elements to this image. Impala and fawn: clean backgrounds and a sense of intimacy are essential ingredient of great portraits. Notch’s Boys: two young male lions stand proud on Paradis Plain conveying the warrior spirit that has enthralled humans through the ages. Cheetah in long grass: the golden hour – you have just 10 minutes after sunrise and before sunset when the light is a soft golden orange.

Buy the book

Sacred Nature is available in two versions – an ordinary edition for £39 or a limited edition, which is limited to 500 signed and numbered copies, with prices starting from £100. The limited edition comes in a presentation embossed box with a certificate and a pen and ink drawing embedded on the inside of the box. sacrednaturebook.com

Photography News | Issue 38 | absolutephoto.com

Technique Lighting Academy

Flash focus

Start your journey into the exciting world of creative lighting effects with PN’s Lighting Academy. This is the place to find out all about how flash and continuous lighting works and how it can be used to improve your shots. This month, how to control depth-of-field when using flash... Words & pictures by Kingsley Singleton

When most of us start out with studio flash equipment it’s with an affordable kit. In all likelihood this will cost a few hundred pounds, but it you pick the right package you’ll have all you need for a variety of portrait styles. If you have two heads, stands, and a mix of modifiers to create different lighting effects you can achieve a lot. And while beginner-level kits are usually lower powered than more expensive enthusiast and pro models, that can be a benefit; while with the right techniques, you won’t miss out on the look of more powerful heads, either. The kit we’ve used this month is Elinchrom’s D-Lite RX One set, a light, portable and

Above To create lots of depth-of-field a small aperture is required. Power needs to be increased and here it was evenly applied across the frame.

versatile package that comes with two RX One heads (6-100W/s power), two stands, and bags for both, an El-Skyport trigger and two softbox modifiers (a Portalite 56cm Octa and a 66cm Square version). A Translucent deflector is also included, more about which you can find in the panel, opposite. With two modifiers you have a lot of options for changing the lighting style, and having two heads also means you can choose to use both of them on the subject, or light the subject and the background separately. Setting up the lights If the whole concept of working with flash worries you, you’ll find setting up a kit like the RX One proves how simple it can be. Light placement and height is easily adjusted thanks to the stable, clip-lock stands, and you can go as high as 2.35m if required. The included ElSkyport Plus radio trigger is a boon, too; you simply set it to the same channel and group as the two lights and can then fire the flashes and control their power remotely. The receivers are built into the heads, so there’s no messing about with separate ‘dongles’. First shot, shallow depth-of-field For the first of our shots we wanted to shoot Emma with a shallow depth-of-field, lighting her softly and also illuminating the background. But when lighting with flash, a shallow depth-of-field can present an interesting set of challenges. The minimum power of the kit is very important here, because if it’s too bright at its lowest setting, the widest apertures can’t be used without overexposing. In ambient light you can raise the shutter speed to compensate for this, but regular flash doesn’t work like that, as the shutter speed is irrelevant, and the flash power will be just as bright whether you’re shooting at 2secs or 1/200sec (it’s only the ambient light, like that from lamps in the room, or the window, that is affected by the shutter speed). ISO setting does have a bearing, so when working at wide apertures this needs to be set low. After that, the only thing you can do to reduce the intensity of the flash is to move it away from the subject; flash power diminishes in relation to distance (the inverse square law), but this will compromise the look of the lights and is impossible when working in small

Above Working with a shallow depthof-field, a wide aperture is used, so flash power needs to be low. On the Elinchrom D-Lite RX One we used here, the 0.1 setting gives a 6W/s output, which allowed an aperture of f/2.5 at ISO 100.

Photography News | Issue 38 | absolutephoto.com

Technique spaces like the hotel room we used. A final alternative is to use an ND filter to cut out some of the light. Wide aperture, low-power Fortunately, smaller lights have lower minimum power settings, so for example the D-Lite RX One heads can be used at a lowest 6W/s output (0.1 on the head), allowing you to open the aperture to your heart’s content. So, for this shot, we placed the first RX One light fitted with its 66cm softbox around 3 feet off to Emma’s right, angling it down on her position at around 45º, to give a natural room light look. The second RX One head was fitted with its 56cm Octa softbox and directed at the background, which without the second head would have fallen into complete darkness. The first light was set to its lowest 0.1, and a reading was taken from Emma’s position using a flash meter. With the meter set at 100 ISO a test fire of the flash gave us an aperture reading of f/2.5, and those settings were duplicated on the camera with the shutter speed set to 1/125sec. For the lighting of the background the second RX One head was also metered at f/2.5, but set to 0.2 power, the slightly higher setting allowing for its greater distance to the wall, and the loss of power therein. Of course if a backdrop brighter than the subject had been required it would have been easy to turn up the power of the light up via the Skyport Transmitter. Second shot, deep depth-of-field While low-powered lights can help enormously in shooting at wide apertures to blur the background, when it comes to using them to get a shot that’s sharp from front to back you might reasonably expect them to struggle. Why? Well just as the wide apertures used for a shallow depth-of-field mean that a lot of light is recorded and therefore flash power needs to be low, the smaller apertures needed for lots of sharpness cut down the amount of light entering the camera and therefore you need more flash power. So, for the second shot I set up a light either side of Emma, turning the power to full on both (5.0, or 100W/s). With the Square and Octa softboxes fitted the light was metered again, at ISO 100 and gave f/8. Not bad, but not as high as I wanted. How do you get more power then? Well, with the lights at their maximum, you can’t raise the output, but you can either move them forward, or raise ISO. The former wasn’t an option as they were already close to the bed, but raising the ISO from 100 to 400 effectively gives you 2 stops more brightness. From that point on it was easy to get a well-lit shot with lots of sharpness.

Changing the look with modifiers Although it comes with a Square and Octa softbox, the D-Lite RX One kit has a neat trick up its sleeve in the form of a Translucent deflector dish that can be fitted to almost any modifier via the same port as a traditional umbrella stem. So, for example with the Octa softbox fitted, you can remove its diffusing panel and slide the deflector into place in front of the flash ring to further soften the light, avoiding any hot spots when using it close to the subject. Deflectors can also be used without the main diffuser giving the Octa or Square boxes a beauty dish look, and the design is exclusive to Elinchrom kits. Other colours and styles are available in the Elinchrom Deflector Set (£30), including Silver, Gold, and Frost as well as the aforementioned Translucent. Below you’ll see how the different dishes affect the look of the light when fitted without the main diffuser.

Naked flash

Main diffuser

Translucent

Silver

Half silver

White

Gold

Above Modification of flash comes in many forms, and small changes can make a significant difference to the look of a portrait. In these example shots, in which we used an Elinchrom D-Lite RX One, the light was first fitted with a 56cm Octa softbox, and fired without the main diffuser, which gives a hard look (1). With the diffuser added the light softens (2). With just a Translucent deflector added to the Octa ’box, the light is halfway between the two (3). With the Silver deflector (4) light is softer but has more contrast, and with it half covering the light, slightly harder (5). The White (6) and Gold (7) deflectors show how skin tones can be warmed and cooled.

Next month: High-key effects with umbrellas.

Adding to the system If you’re moving up from a flash system built around speedlights you might be wondering how they can be integrated to give you a third or fourth light on top of the two heads you get in a kit like the D-Lite RX One set. Ordinarily this can be done by setting your speedlight to manual power and having its triggering mode set to Slave, so that it fires when the other flashes do. This isn’t always easy as you might position the speedlight hidden by other objects in the scene, meaning it may not fire. But use an ELSkyport Receiver Plus (£79) along with the included Transmitter Plus and you’ll be able to trigger a compatible speedlight up to 200m away. In the shot here, we simply placed a speedlight behind Emma to act as a hairlight while the two RX One heads were positioned as key and fill lights.

Hair light effect

When lighting with flash, a shallow depthof-field can present an interesting set of challenges... the minimum power of the kit is very important... Thanks to: This month’s model was the wonderful Emma Davis, and we shot on location at the beautiful The William Cecil Hotel, Stamford, Lincolnshire.

Photography News | Issue 38 | absolutephoto.com

Most Wanted 2016

The autumn is always a manic time for imaging companies as new products are launched ready for the busiest buying season of the year. As we hurtle towards Black Friday, Christmas and the new year sales, the next few months can determine the success or otherwise of many companies and retailers going into 2017, which is why this time is so important.

With the giant Photokina imaging exhibition taking place in September, many brands used that as a launch pad to show off their latest products, innovations and development announcements. Hereâ&#x20AC;&#x2122;s Photography Newsâ&#x20AC;&#x2122;s selection of the most exciting new products and technologies to look out for in the coming months.

Turn over for seven pages of the latest and potentially greatest kitâ&#x20AC;Ś

Photography News | Issue 38 | absolutephoto.com

Most Wanted

G-whizz! It’s the GFX

Medium-format film used to be seriously big business as many 35mm shooters moved up to the larger format to enjoy better quality, detail-packed, grain-free pictures. The same hasn’t happened in the transition over to digital capture probably due to cost, weight and the vast improvements to the smaller digital formats. Yet the benefits remain the same. But perhaps another reason is that the right products simply haven’t come along. Yet. Fujifilm’s recent product development announcement could be the very thing to get the 35mm versus medium-format debate going again. And this time it’s digital. The recent announcement concerned Fujifilm’s brandnew GFX medium-format camera system. For clarity, a development announcement is different from a launch. A launch usually comes with an availability date, a guide price and a specification that is almost finalised. A development announcement is literally that – letting the world know that a product is being developed – and it could mean that the product won’t be launched for ages and the feature set could be totally different. Fujifilm’s announcement and the fact that actual working samples, not carved blocks of wood, were available to handle at Photokina does seem to point towards a full launch in the near future, probably in early 2017. That, of course, is up in the air and there’s many a slip twixt cup and lip. When the GFX system finally does land, however, what can you expect? The short answer is ‘a lot’. Of course, the other question is ‘who’s going to buy it?’ Obviously you have to be a pretty keen or professional photographer to invest in a medium-format camera, but landscape, studio and architectural photographers will certainly enjoy the larger format, while social and wedding photographers will appreciate the presence such a camera gives at functions. While Fujifilm has a long history of film medium-format cameras, the GFX system is its first venture into medium-

format digital and the system has been designed from the ground up. The GFX 50S body houses a 51.4-megapixel CMOS 43.8x32.9mm sensor, which is 17x larger than 35mm fullframe and gives a 4:3 image ratio by default. However, there’s the option to shoot other ratios while still retaining very high megapixel counts. Shoot 3:2, 1:1 or 16:9 format ratio and you get 45.4, 38.3 and 38.36 megapixels respectively so we are talking serious file sizes whatever you are shooting. And it also means you can enjoy film formats such as 6:7, 5:4 and 6:17. The camera body has many features you’d expect to see in a Fujifilm camera and close scrutiny does reveal a filial similarity to the X-series, for example in the lockable top-plate ISO and shutter speed dials. The articulating monitor is very much like the X-T2’s, including the upright shooting option, only much bigger. As well as a monitor there is an EVF available too. This, however, can be slipped off if you prefer to use the monitor only and save a few grams. This interchangeability means different finders can be attached and an optional multi-angle finder will be available. Using the camera at waist-level or low level is made simple with this finder. Another optional accessory is the Vertical Battery Grip. This promotes more comfortable upright shooting and as is often the case with such grips, key controls are duplicated to suit shooting in this fashion. Fujifilm has good form when it comes to new system launches. The X-series system was launched just under six years ago and at this moment the system features a dual flagship line-up with 23 lenses plus two teleconverters available. Its rapidly increasing popularity shows Fujifilm has got it right. A medium-format lens system is never going to be that extensive but Fujifilm is already saying that six lenses will be available by the end of 2017, which will include a mix of Fujinon fixed focal length and zoom lenses. Two will be available for the camera at launch time, the standard GF63mm

f/2.8 R WR (35mm format equivalent is 50mm) and the GF3264mm f/4 R LM WR (25-51mm in the 35mm format). The four following optics are a GF120mm f/4 Macro R LM OIS WR (95mm equivalent), GF110mm f/2 R WR (87mm equivalent), GF23mm f/4 R LM WR (18mm equivalent) and GF454mm f/2.8 R WR (35mm equivalent). All sport weather-resistant design to match the GFX 50S body and several use Fujifilm’s Linear Motor technology for fast, near-silent autofocusing. Unlike lenses for the Hasselblad X1D, the Fujifilm lenses do not include any shutter mechanism. It is also worth noting that although the GFX 50S is 51.4 megapixels, Fujifilm says its GF lenses are future-proofed and already suitable for 100-megapixel resolution cameras. We only spent a short while with early GFX system samples, but even that was revealing. It is a medium-format system so inevitably bigger than an equivalent full-frame 35mm camera, but nevertheless the camera body with a GF63mm lens is surprisingly compact and lightweight. Being mirrorless and a short flange back distance of 26.7mm to allow for compact lenses has allowed this. The right-hand grip provides a secure and comfortable hold, while the detailed LCD panel on the top fascia means you can instantly check camera settings without having to use the monitor. In all, handling the GFX body seems very intuitive especially for existing X-series users but should hold no fears for 35mm DSLR shooters. While the GFX system is due for an early 2017 launch, price details are sketchy currently and, with currency fluctuations, prices are unlikely to be confirmed until launch time. However, at the system’s launch, a Fujifilm spokesman said the GFX with 63mm and electronic finder would be ‘well under US $10,000’. How that price translates to the UK we’ll have to wait and see. Roll on 2017! fujifilm.eu/uk

Photography News | Issue 38 | absolutephoto.com

Most Wanted

Canon goes fourth Canon’s EOS 5D has proved popular since its introduction, offering the benefits of full-frame capture in a compact, portable body. The latest DSLR, the EOS 5D Mark IV, has a bodyform that will be familiar to anyone who has used an EOS 5D over the past 11 years. There are differences – cosmetic and control design – but the core design has been identical through the four generations. The EOS 5D Mark IV is rich with user-friendly, high-tech features. At its heart is a new full-frame CMOS sensor with an effective resolution of 30 megapixels. Each pixel site in the sensor houses two photo diodes next to each other. The Dual Pixel design helps the camera deliver very fast autofocus but the technology offers another benefit and that is Dual Pixel Raw. Shoot Dial Pixel Raw and you get a file that features two sets of data, one from both photodiodes, ie. A and B, and one with data from A only. All this information is in the Raw file (a Dual Pixel Raw file is around 60MB, twice the size of a normal Raw) and you use the latest Canon Digital Photo Professional software to get at it. During processing you can make micro adjustments to focus, bokeh and correct for ghosting. At least that is the theory; Canon stresses that you shouldn’t shoot Dual Pixel Raw and expect to make significant corrections in software. Tiny changes are possible, but only

Specs Price £3599.99 body only Sensor 30.4 megapixels 14-bit CMOS with OLP filter, DIGIC 6+ processor ISO range 100-32,000, expandable to 50-102,400 Shutter range 30secs to 1/8000sec, plus B Metering system Evaluative 252 multi-zone, centre-weighted, spot, partial using a 150,000 pixel RGB+IR sensor and EOS Intelligent Subject Analysis system Monitor Fixed 3.2in TFT LCD touchscreen with 1620k dots Focusing One- shot, AI focus, AI servo AF. Contrast detect (sensor) and phase detect. Multi-area, single zone, face detection and touchscreen AF. 61 AF points, 41 cross type at f/2.8. Video 4096x2160 (29.97p, 24p, 23.98p), 1920x1080 and 1280x720. 8.8-megapixel stills can be grabbed from 4K video Storage media CF and SD/SDHC/SDXC Dimensions (wxhxd) 151x116x76mm Weight 890g Contact canon.co.uk

within a specific set of parameters, such as focal length, ISO and subject distance. It’s too early to say whether it’s useful. One thing that is useful without any shadow of a doubt is image quality, which our tests have shown to be excellent, and that is coupled with the ability to handle a good dynamic range and an impressive ISO performance. There’s a full test of the EOS 5D Mark IV in this issue on page 46. It is available in the shops now at a body price of £3599.99. Canon’s other significant camera launch was the EOS M5, a new top-of-the-range CSC. With a 24.2-megapixel APS-C CMOS sensor and using Dual Pixel CMOS AF for fast, precise focusing, the EOS M5 has the potential to be class leading and a viable lightweight option for those looking for a backup to their larger DSLR. Buy the camera with the EF-EOS M adapter and Canon’s vast range of EF lenses can be used. The EOS 5M is available from the end of November at a body guide price of £1049. As a launch offer, the free EF-EOS M adapter comes with the EOS 5M. The EOS 5M can be bought with the new EF-M 18-150mm f/3.5-4.5 at £1399. The lens on its own is £429 and this compact, light and high performing lens features an image stabiliser with a 4EV benefit. canon.co.uk

New flagship for Olympus

Above Toshiyuki Terada, general manager of Olympus’s Imaging Global Marketing Division, with the OM-D E-M1 Mark II.

At Photokina, Olympus announced the development of the OM-D E-M1 Mark II CSC with the actual product launch very likely to be early 2017. While news of the product was released back in September, the camera was not yet available for the public to handle. PN spent time trying an early sample and even the unfinished camera is very impressive. It feels so solidly put together that it inspires confidence. The body features high-level hermetic sealing so it is dust, splash and freeze proof (down to -10°C) so that confidence is definitely not misplaced. With a M.Zuiko PRO (and three non PRO) lens which are ‘proofed’ to the same level you have a camera that will happily work in challenging conditions. The OM-D E-M1 is the existing Micro Four Thirds flagship and the Mark II is its replacement so it is built on the premise of being top dog in the Olympus system, using new technologies to enable a startlingly impressive performance. A key performance benefit is a new autofocus system that enables sequential shooting at 18 frames-persecond using the mechanical shutter with autofocus and autoexposure tracking. A Pro Capture mode is available for time lag-free shooting of full-resolution images. With the electronic shutter you can get up to 60fps and that is with Raws too. The Mark II’s completely new Dual Fast AF system features 121 cross-type sensors and an advanced algorithm to track moving subjects. This system uses on-chip phase-detection AF and contrast-detection AF to give a fast, precise focus given in difficult scenes where light or contrast might be low.

The AF system is aided further by new functions such as AF Target Mode with four options, AF Target Position and Face/Eye Priority AF, and an AF Targeting Pad that enables the AF point to be moved rapidly while keeping the eye up to the viewfinder eyepiece. The EVF has a maximum refresh frame rate of 120fps and a time lag of just six milliseconds so you won’t see any lag in fast moving subjects. Shooting lots of pictures quickly is all very well, but they have to be good. No problem on that front with the new 20-megapixel Live MOS low-pass filter-free sensor. The glass of the sensor is coated on both sides with a special anti-reflect coating to reduce flare and ghosting. To help cope with high contrast the sensor enhances gradation by a pixel characteristic improvement system. The ISO range extends to 6400 but goes down to an equivalent of ISO 64 if you want to make the most out of shallow depth-of-field in bright lighting. The E-M1 Mark II features in-body five-axis image stabilisation to cope with camera shake. This offers a benefit, Olympus says, of up to 5.5EV and when the camera is fitted with a lens featuring in-lens stabilisation the benefit is potentially up to a massive EV6.5. This system is also available during 4K video shooting so you can shoot handheld and still get stable pictures. Olympus also announced three new lenses, available from the end of November. These are the M.Zuiko Digital ED 25mm f/1.2 PRO, M.Zuiko Digital ED 12-100mm f/4 IS PRO and the M.Zuiko Digital ED 30mm f/3.5 Macro. olympus.co.uk

Photography News | Issue 38 | absolutephoto.com

Most Wanted

Hasselblad go mirrorless The Hasselblad X1D was announced last summer and Photokina in September was its first public outing. This compact, mirrorless camera makes medium-format photography on the move a real possibility. The weather- and dustsealed camera body weighs in at 725g and a range of XCD lenses with integral shutters fitted will be available. The XCD 45mm f/3.5 and XCD 90mm f/3.2 were launched with the camera and since then the XCD 30mm f/3.5 lens has also been announced. With an adapter, all 12 lenses and lens accessories from the Hasselblad H system can be fitted too. The 50-megapixel CMOS sensor measures 43.8x32.9mm with Hasselblad saying it can deliver 14EV of dynamic range. Multiple image format options will be available in-camera and shooting HD video is on offer too. The ISO range starts at 100 and tops out at 25,600 and you can shoot in Hasselblad 3FR Raw or JPEG recording to dual SD card slots. Hasselblad offers Phocus, a free image editing software. A typical Raw file is around 65MB opening to 8272x6200pixels. Autofocus is by a contrast detect system with instant

manual override possible and the advanced exposure system features spot, centre-weighted and centre spot measurement options. The XCD lenses offer shutter speeds from 60mins to 1/2000sec. The XCD 45mm f/3.5 is equivalent to a 35mm lens in the 35mm format and this weighs 417g so combines with the X1D to give a portable package. If you prefer a slightly longer lens, the XCD 90mm f/3.2 gives an equivalent 71mm focal length. Photography News got to try preproduction samples of the X1D a short while ago at a pre-Photokina exclusive press event and we can report that the X1D feels great on the hand with a body and contoured handgrip that is a delight is use. The same applies to the large rear touchscreen and setting the camera up and accessing menu items proved intuitive and fast. The X1D costs £7788 with the XCD 45mm f/3.5 priced at £1908 and the 90mm f/3.2 at £2268. To celebrate Hasselblad’s 75th anniversary an all black X1D-50c 4116 Edition camera is available too. This comes with an XCD 45mm f/3.5 in a special celebration box. hasselblad.co.uk

Full-frame joy from Sony The Sony camera collection got a boost with the launch of the a99 II. Speed is very much a feature of this new translucent mirror technology camera with continuous shooting and AF prime beneficiaries of Sony’s hard work, but resolution hasn’t been skimped on either and even here it all happens very rapidly. Resolution from the backilluminated full-frame CMOS sensor is 42.4 megapixels and the gapless on-chip design allows for fast readout of the large amounts of data gathered from the sensor and aids maximise light gathering ability. The benefit of all this is the capture of low noise, wide dynamic range images within the native ISO 100 to 25,600 range – this can be expanded to ISO 50 to 102,400. No optical low pass filter helps to record the finest detail. The files are of course large which makes the a99 II’s fastest continuous shooting speed all the

more impressive. You can shoot at 12 frames-per-second with autoexposure and AF tracking. The camera’s AF speed has been improved with Sony’s 4D focusing technology and a Hybrid Phase Detection AF. This features a combination of 79-point phase detection AF with 399 focal plane phase detection AF points to produce a 79 hybrid cross AF point array. This, according to Sony, is what gives the camera the ability to track fast-moving subjects. Use live view and you get 8fps with AF and AE tracking. Other notable features include Wi-Fi and NFC, 4K recording and dust- and moisture-resistant build. The Sony a99 II is priced at £2999 body only. Sony has also added the 50mm f/2.8 Macro lens to its E-mount system. This lens is available now at £499. sony.co.uk

Photography News | Issue 38 | absolutephoto.com

Most Wanted

Nikon’s on a mission Nikon’s latest cameras are all about action. The KeyMission 360 was announced at the beginning of 2016 and it has now been joined by two more models in the range, the KeyMission 80 and the KeyMission 170, and all three will be available from mid November. Prices are £419 for the 360, £249 for the 80 and £329 for the 170. Nikon is promoting the very compact KeyMission 80 as a wearable camera so it’s ready to shoot at an instant’s notice with Full HD/24p recording. It’s a robust unit too, waterproof to 1m and shockproof to 1.5m. As with all three models, it is dust proof and freeze proof to -10°C. It has front and rear lenses and is Wi-Fi, NFC and SnapBridge compatible.

The KeyMission 170 is even tougher with waterproofing to 10m and a shockproof rating of 2m. With its 170° angle of view, you can record 4k video, there is eVR (electronic vibration reduction) to defeat camera shake and a rear LCD screen. Top of the range sits the KeyMission 360 that gives a full 360° field of view through its two lenses. This camera is waterproof to 30m and shockproof to 2m. The 360 and 170 both feature Bluetooth and Wi-Fi, and are compatible with the SnapBridge 360/170 smartphone app and the 360/170 computer utility. nikon.co.uk

YI M1

Based on the Micro Four Thirds standard, the YI M1 is a mirrorless, 20-megapixel camera that promises ease of use and the connectivity of a smartphone. A 3in touchscreen speeds up access to the camera’s key features and connectivity options include built-in Wi-Fi and Bluetooth. With a rounded camera body, the YI sports a minimalist design so the camera is not festooned with controls and buttons. There are just two physical buttons on the back with the emphasis on using the touchscreen. The top plate is not much more complex. There’s an exposure mode button, an input dial and the shutter release/power switch. The camera uses a Sony sensor that supports ISO speeds up to 25,600 and the ability to shoot 4K video at 30fps. Two lenses will be available from YI, a 12-40mm f/3.5-5.6 and a 42.5mm f/1.8, and with the Micro Four Thirds lens mount a vast range of third optics is available. Colour options include Ice Silver and Storm Black. UK price and availability details have yet to be announced.

Panasonic adds to its Lumix range Panasonic added three high-spec additions to its range, the LX15, the DMC-G80 and the FZ2000. The Lumix LX15 is a 20.1-megapixel 1-inch 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. 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 Lumix LX15 will be in the shops from November at £599.99.

The DMC-G80 is a Micro Four Thirds 16-megapixel CSC with an updated image stabilisation system. The Dual IS Mk II incorporates gyro technology, two axis Optical Image Stabiliser (OIS) and five-axis Body Image Stabiliser (BIS) to give a claimed 5EV benefit. The G80 is in the shops now and the body only is £699. The G80 with the 12-60mm lens is £799. The FZ2000 is premium featurerich bridge stills camera with highlights being a 20-megapixel 1in MOS sensor, creative focusing features and a 20x zoom. The Leica DC Vario-Elmarit 20x zoom is

equivalent in the 35mm format to 24-480mm f/2.8-4.5 and comprises 16 elements in 11 groups. Extra features include 4K Photo where you can shoot at 30fps and then save the best frame as a 8-megapixel file. Post Focus Stacking is also available where you can choose which parts of the scene you want to be sharp. There is also five-axis OIS and a built-in neutral density filter. The Lumix FZ2000 will be in the shops from mid November at a price of £1099.99. panasonic.co.uk

YITechnology.com

Photography News | Issue 38 | absolutephoto.com

Most Wanted

Tamron’s long ’un gets a revamp Independent lens brand Tamron is renowned for offering great quality optics at competitive prices. Its original SP 150-600mm brought affordable high-quality telephoto performance to many photographers, proving especially popular with action and wildlife shooters. That lens came out nearly three years ago, so Tamron has innovated and brought out the next generation, the Tamron SP 150600mm f/5-6.3 Di VC USD G2. There’s a host of improved features. 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. Early tests on the VC mechanism show it to be amazingly effective even at the 600mm end. VC Mode 1 is the standard mode and for use in general shooting, giving a great balance between the

stability of the viewfinder image and the actual stabilising effect. Mode 3 prioritises the actual stabilising effect of the image with less emphasis on the viewfinder effect. Mode 2 is designed for panning. Handling has benefitted from a zoom lock mechanism usable at any focal length and the minimum focusing distance is a mere 2.2m for great telephoto macro shooting. The supplied tripod mount has an ArcaSwiss compatible foot. Add Tamron’s unique eBAND lens coating to minimise flare and ghosting and a water/oil repelling fluorine coat on the front element and you have a very impressive telephoto zoom. Two high-spec teleconverters – 1.4x and 2x – have been designed specifically for the new lens to give an even greater range while minimising quality loss. Canon and Nikon fits will be available immediately with a Sony

Zeiss 85mm arrives Zeiss's Loxia family of lenses for fullframe mirrorless cameras has gained a new telephoto model in the shape of the 85mm f/2.4. This new optic is a manual focus lens with a focusing ring that rotates through 220 degrees for very precise control over sharpness and depth-of-field. The lens's minimum focus is 80cm. Stocks will be available from this December and the lens is priced at £1199. zeiss.com/loxia

Leica gets closer Leica has added the APO Macro Elmarit TL 60mm f/2.8 ASPH to its TL lens family. This is new optic is priced at £1800 with the lens hood an optional extra at £80. The lens's optical construction features 10 elements in nine groups and it can focus down to 16cm to give a full macro 1:1 magnification. Black or silver finishes will be available. leica-camera.com

version to come at a later date. Guide price is £1350. We’ll have a full test of this exciting new Tamron super-zoom

in the next issue of Photography News, out from 28 November. intro2020.co.uk

Specs Price £1350 Mounts available Canon, Nikon. Sony at a later date Optical construction 21 elements in 13 groups Aperture range f/5-40 Minimum focus 2.2m Filter size 95mm Weight 2010g

A premium pair from Samyang Specs

Korean lens maker Samyang has announced two premium manual focus lenses, a 14mm f/2.4 and an 85mm f/1.2. They have been designed to have amazing resolving power to suit shooting on highresolution, 50 megapixel still cameras and 8k video. The 85mm f/1.2 is for full-frame cameras and features 10 elements in seven groups with one aspherical lens to minimise aberrations and light dispersion, and two highrefractive lenses to deliver as much light to the sensor as possible for clear and vibrant images.

With 18 elements in 14 groups, the 14mm f/2.4 is Samyang’s most advanced lens, again for full-frame. Among its list of lens elements, there are two aspherical lenses, one hybrid aspherical lens, two extralow dispersion lenses and one high refractive lens. The optical design aims to give edge-to-edge sharpness and minimal aberrations for impressive image clarity. Prices of both lenses have yet to be confirmed while availability is likely to be early 2017. intro2020.co.uk

Samyang 14mm f/2.4 Price £TBC Mounts available Canon EF, Nikon F, Sony E Optical construction 18 elements in 14 groups Aperture range f/2.4-22 Minimum focus 28cm Filter size Not applicable Weight 791g Samyang 85mm f/1.2 Price £TBC Mounts available Canon EF Optical construction 10 elements in 7 groups Aperture range f/1.2-16 Minimum focus 80cm Filter size 86mm Weight 1050g

Photography News | Issue 38 | absolutephoto.com

Most Wanted

Sigma launches lenses for stills & video Leading independent lens maker, Sigma, launched three classy optics at Photokina adding to its already comprehensive selection of optics. For wide-angle fans there is a third-generation 12-24mm f/4 DG HSM Art lens that offers zero distortion and exceptional optical quality with across-the-frame sharpness achieved thanks to use of FLD (F low dispersion glass) and a large 80mm diameter aspherical lens. The latter minimises distortion, coma and spherical aberrations. Price is £1649.99. The lens features f/4 at all focal lengths and the minimum focus of 24cm at the long end means you can get in really close to your subject for dramatic compositions. Focusing is by a newly designed Sigma Hyper Sonic Motor (HSM) with 1.3x more torque than its predecessor which claims stable performance even at low speeds. In keeping with Sigma’s Art line, the build is exemplary and features a dust and splash-proof construction. Next up is the Sigma 85mm f/1.4 DG HSM, another lens in the brand’s Art line and is priced at £1199.99. With its medium telephoto focal length and fast f/1.4 aperture, this lens is sure to appeal to discerning portrait photographers who demand outstanding image quality even when used wide open. What’s more, with its wide aperture and advanced optical design there is the opportunity for beautiful bokeh. The lens’s design, using two SLD (Special Low Dispersion) glass elements and one with a high refraction index deliver images of staggering clarity. The final lens in the new trio is

a 500mm f/4 DG OS HSM lens, a member and flagship of the Sports line, and priced at £5999.99. As befits a top-of-the-range lens, this model bristles with features and the very latest technology to deliver outstanding performance in less than perfect conditions. The lens features enhanced dustand splash-proof construction, there is an OS (Optical Stabiliser) to minimise the risk of camera shake when handholding, and Sigma’s latest HSM motor gives super-quick AF. Preset AF modes mean the lens can remember the focus position of your choosing and there are two switchable manual focus modes. Two FLD and one SLD glass elements keep spherical and axial chromatic aberration to very low levels, and optical quality remains high even when the lens is used in conjunction with one of Sigma's range of teleconverters. Finally, Sigma is entering the world of video with lenses for ultra high megapixel shooting in Canon EF and Sony E, with PL fittings coming later. The High Speed Zoom range includes an 1835mm T2 and a 50-100mm T2 while in the FF Zoom line there’s a 24-35mm T2.2. Five options sit in the FF High Speed Prime series and these include a 20mm F1.5, 24mm T1.5, 35mm T1.5, 50mm T1.5 and an 85mm T1.5. The video lenses will start to be available towards the end of 2016.

Specs 12-24mm f/4 DG HSM Art Price £1649.99 Mounts available Canon, Nikon, Sigma Optical construction 16 elements in 11 groups Aperture range f/4-22 Minimum focus 24-25.8cm Filter size N/A Weight 1150g Sigma 85mm f/1.4 DG HSM Price £1199.99 Mounts available Canon, Nikon, Sigma Optical construction 14 elements in 12 groups Aperture range f/1.2-16 Minimum focus 80cm Filter size 86mm Weight TBC Sigma 500mm f/4 DG OS HSM Price £5999.99 Mounts available Canon, Nikon, Sigma Optical construction 16 elements in 11 groups Aperture range f/4-32 Minimum focus 3.5m Filter size 46mm rear mounted Weight 3.31kg

sigma-imaging-uk.com

Innovative Laowa Chinese brand Laowa is a recent arrival in the lens world and it has already made a name for itself with some innovative and unusual glass. The Laowa 12mm f/2.8 Zero D is the world’s fastest rectilinear ultra wideangle lens 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 edge-to-edge image sharpness free from chromatic aberrations even at the maximum aperture. The optical design overcomes barrel distortion. With manual focusing down to 18cm, this 122° angle-of-view lens can give really dramatic compositions with impressive sharpness throughout its aperture and focusing distance ranges. This lens will be available in Canon EF, Nikon AI, Sony A, Pentax K and

Sony E fittings and in the shops from the end of this 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 lenses; the 15mm for Sony FE fit cameras and the 7.5mm f/2 for Micro Four Thirds models. The 15mm f/2 is the fastest rectilinear lens for full-frame cameras of that focal length and it's designed to give close to zero optical distortion. 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

Specs Laowa 7.5mm f/2 MFT Price £TBC Mounts available Micro Four Thirds Optical construction TBC Aperture range f/2-22 Minimum focus 12cm Filter size 49mm Weight 170g

Laowa 12mm f/2.8 Zero D Price £899.99 Mounts available Canon EF, Nikon AI, Pentax K, Sony A, Sony E Optical construction 16 elements in 10 groups Aperture range f/2.8-22 Minimum focus 18cm Filter size N/A Weight 560g

Laowa 15mm f/2 FE Zero D Price £TBC Mounts available Sony E Optical construction 16 elements in 11 groups Aperture range f/2-22 Minimum focus 15cm Filter size 72mm Weight 500g

Photography News | Issue 38 | absolutephoto.com

Most Wanted

Speed of light Flash brand Profoto introduced two lighting units that have redefined short flash duration. The D2 mains monolight has a minimum flash duration of 1/63,000sec in Freeze mode, while the Pro-10 mains flash pack has a duration as short as 1/80,000sec in Freeze mode. If you want to stop high-speed action these are the units for you. The D2 monolight is available in two outputs, 500Ws and 1000Ws. The D2 500 offers the flash duration of 1/63,000sec, while 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 modifiers available. If greater power and an even shorter flash duration are what you need, then look no further than Profoto’s flagship power pack, the Pro-10. This has a 2400Ws output with energy adjustable from 2.4Ws to full power in 0.1EV steps. In Freeze mode you get flash durations as brief as 1/80,000sec and you get this with high power, too, so you can achieve your required depth-of-field as well as an ultra-brief burst of light.

News in brief Kodak's all-in-one 360° If you want to shoot full 360° video footage, then the Kodak Pixpro 4KVR360 is what you need to buy. Two lenses are mounted back to back in a smart-looking body and these work in tandem to produce the 360° video from the 20-megapixel CMOS sensor. Each lens has a slightly different design with different angle of views. Lens A has a 1.633mm focal length while lens B is 1.257mm. An electronic anti-shake system is built into the rugged weather-proofed body. The Pixpro 4KVR360 will be available in-store from this December onwards. kodakpixpro.com/Europe

The Pro-10 power pack has two outputs and no fewer than 11 different Profoto flash heads are compatible with it. Output through the two outlets is fully asymmetrical 0-100% so you have full control over your lighting set-up. Profoto also added the Air-Remote TTL-S, a Sony compatible trigger which 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. Profoto.com

Perfect landings

Hahnemühle box it up Hahnemühle’s limited A3+ portfolio box offers an elegant presentation and storage solution. Finished in black and made from acid-free archival materials, the box features a textured cover made from 100% cotton and has an eco-friendly acrylic coating to give a durable surface. The limited-edition box includes 50 sheets of A3+ inkjet paper with the choice of Photo Rag 308, FineArt Baryta Satin and FineArt Baryta. Prices are £220.51, £218.24 and £236.25 respectively which includes 50 interleaf sheets of acid-free glassine paper to protect the print surface. The products are available while stocks last. hahnemühle.com

With the burgeoning popularity of drones, it's no surprise that we're seeing more dedicated accessories, such as the FlatHat Portable Drone Pads and Drone Pad Lighting kits. The name of the FlatHat 32in Collapsible Drone Pad sums up what this landing pad offers; it costs £34.95. It folds just like a reflector to a third of its opened-out state and comes in a travel bag. Aluminium ground stakes are included as standard.

Heavy duty fabric is used and the bold patterning enhances the flying experience and helps to improve your landing skills. At 32in, it is big enough for mid-sized drones and a 16in version is available for mini and nano size drones at £17.95. To make landing easier in poor visibility, lighting kits are available with the choice of Ice Blue or Gamma Green at a price of £17.95. xpdistribution.com

X marks the spot for Bowens Studio lighting expert, Bowens, has introduced a new range of monoblock flashheads. Four heads are available, the XMT 500, XMS 500, XMS 750 and XMS 1000, priced at £1199, £799, £899 and £999, respectively. The XMS heads are mains powered with the number in the name indicating power output in Watt/seconds. For location photographers, the XMT 500 has an on-board rechargeable Li-ion battery that gives up to 500 full-power flashes per charge. This portable head also features TTL flash operation with compatible Canon, Nikon and Sony cameras via the XMTR radio trigger (£229). All X heads have high-speed sync flash mode with correct sync at shutter speeds up to 1/8000sec. Buy the XMSR radio trigger (£199) you get Sync Offset mode to make highspeed sync possible with every camera brand. The XMS 500 has 7EV of adjustable power, while you get 8EV with the XMS 750 and 1000 versions. At 9EV, the XMT has an even wider range and its minimum power setting gives just 2Ws. Minimum flash duration varies on the heads and you get 1/10,309sec with the XMT 500 and 1/5180sec with the XMS 500. bowens.co.uk

Photography News | Issue 38 | absolutephoto.com

Camera test Specs Price £3599 body only Sensor 30.4 megapixels 14-bit CMOS with OLP filter, DIGIC 6+ processor Sensor format 35mm full-frame 6720x4480 pixels. Shoots Raw, M-Raw, S-Raw and Dual Pixel Raw ISO range 100-32,000, expandable to 50-102,400 Shutter range 30secs to 1/8000sec, plus B Drive modes Up to 7fps continuous high with AE/AF tracking, 4.3fps in live view with AF tracking Metering system Evaluative 252 multi-zone, centre-weighted, spot, partial using a 150,000 pixel RGB+IR sensor and EOS Intelligent Subject Analysis system

Canon EOS 5D Mark IV

Once Canon lands on a winning formula, something it manages with impressive frequency, it tends to exploit it to the max. So, cue fanfare and ticker tape, and say a big hello to the latest generation of the EOS 5D dynasty, the Mark IV Words by Will Cheung

Exposure modes PASM Exposure compensation +/-5EV in 0.3 and 0.5EV steps Monitor Fixed 3.2in TFT LCD touchscreen with 1620k dots Focusing One-shot, AI focus, AI servo AF. Contrast detect (sensor) and phase detect. Multi-area, single zone, face detection and touchscreen AF. Selectable points 61, 15, 9 or cross type only Focus points 61 AF points, 41 cross type at f/2.8. Number of cross type depends on the lens Video 4096x2160 (29.97p, 24p, 23.98p), 1920x1080 and 1280x720. 8.8-megapixel stills can be grabbed from 4K video Connectivity Wi-Fi, Dynamic NFC, USB 3.0, HDMI, microphone and headphone ports, built-in GPS Storage media CF and SD/SDHC/SDXC Dimensions (wxhxd) 151x116x76mm Weight 890g (body only) Contact canon.co.uk

Above The EOS 5D Mark IV menu is quick to navigate despite the great many options – the touchscreen facility definitely speeded things up.

The original EOS 5D was a groundbreaking full-frame DSLR when it came out and each successive generation has continued to push the bar higher. Looking at the impressive specification of the EOS 5D Mark IV, nothing is going to change, and better still, all this innovation comes in a form that users of any of the previous EOS 5Ds can pick up and feel at home with. With so many headline features it’s difficult knowing where to begin. Let’s start with the bad news: the price. Its body price is £3599, making the EOS 5D Mark IV the second most expensive Canon DSLR, with only the EOS-1D X Mark II above. The price tag also makes this camera less appealing if you need out-andout resolution with the EOS 5DS duo offering considerably more pixels for less cash. In terms of resolution the EOS 5D Mark IV’s new sensor has 30.4 megapixels so not in the same league as the EOS 5DS/R at 50.6 megapixels, but plenty for most critical users. The sensor is claimed to be able to cope with a wide dynamic range and has a native ISO range from 100 to 32,000 with expansion down to 50 and up to 102,400. The EOS 5D Mark IV features one new technology that no other camera in the range currently has and that is Dual Pixel Raw. The camera’s 30 million pixels are all

made up of two photo diodes sitting side by side and shooting Dual Pixel Raw means capturing twice as much data as standard Raws so file sizes are around 60MB each as opposed to 30MB. This extra data can be exploited further during processing through Canon’s DPP software. Small image corrections are possible without needing to shoot on a tripod and there’s no restriction on subject matter. The technology doesn’t benefit image quality unlike, for example, the high resolution shot mode on Olympus OM-D cameras or the Pentax K-1. It sounds intriguing and rather than get technical here, see the panel on the following page. The EOS 5D Mark IV’s autofocus system uses 61 points and these have been positioned to give a wider operating area within the frame. Of the 61 points, 41 are cross point at f/2.8 and 21 at f/8, although the number of these depends on the lens. The AF system benefits from the Dual Pixel CMOS sensor and uses the image data from both diodes to detect contrast differences to give an even more effective AF response especially in low light – Canon claims accurate AF down to -3EV, and -4EV in live view. For dealing with moving subjects the Mark IV has six customisable Case Studies where tracking sensitivity, acceleration/ deceleration and AF point auto

The Mark IV’s control layout is very similar to its predecessor’s so existing 5D users will quickly find their bearings switching can be modified to suit the subject. While the Mark IV is not the ideal action camera, with a continuous shooting rate of 7fps and SD and CF media (not CFast 2.0 or XQD cards), the sensitivity and tracking ability of the AF system is impressive and close to that of the flagship EOS-1D X Mark II. The Mark IV’s control layout is very similar to its predecessor’s so existing 5D users will quickly find their bearings. Of course there have been changes to the body, although some of these are more seals to enhance the camera’s resistance to dust and water so are not evident on the surface. There is one additional control associated with the AF system. On the back, next to the focus joystick is an AF area selection button that lets you rapidly scroll the various focusing zone options. You can choose which options are available during scrolling. Also if you prefer, this control, along with most buttons, can be reassigned – in this

case to perform five other functions. Generally, there is plenty of user customisation potential but not as much as other cameras. The depthof-field button has the most options with 14 functions plus off. The rear 3.2in monitor is fixed, has a resolution of 1620k dots and has touch-screen functionality. This can be turned off and there is an extra sensitive setting too. It’s great to use with excellent responsiveness. The only downside was that it’s slightly more awkward when the camera was mounted low on a tripod but that’s a downside of a fixed screen. Generally, though, camera handling is very good so no annoying niggles or omissions. Canon hit upon a winning formula some time ago with the large rear command dial a master stroke that has become ever present on higher end DSLRs. There have been refinements including touchscreen operation and additional controls but the fundamentals are well established.

Photography News | Issue 38 | absolutephoto.com

Camera test Performance: ISO The EOS 5D Mark IV’s native ISO range is 100 to 32,000 with expansion down to ISO 50 and up to 102,400 possible. Test pictures were done with low-light outdoor scenes but also of a colour test chart in controlled conditions. The set shown was shot with the tripod-mounted camera fitted with the 24-70mm f/2.8 L II USM lens set at 33mm. The base exposure for the ISO 100 was 1/8sec at f/8. The Raw files were processed in Lightroom with default noise reduction. Image quality is really impressive. Colour fidelity, black density and saturation are almost identical from low ISOs right up to ISO 6400. Delicate hues and rich colours are equally well recorded with little degradation as ISO increases and the only difference is the presence of noise which naturally increases with speed. It is more evident from ISO 3200, but even at this speed critical use is possible and perhaps it is only significant at ISO 6400 where the coarseness might put some people off.

Performance: high ISO noise reduction

Original image

No NR

Low NR

ISO 12,800 is still capable of very high image quality and while there is evident noise and artefacting in smooth tonal areas colour quality, fine detail retention and black density remains of a very high standard. I think that remains the case at the top native ISO of 32,000 where the noise has a filmic look and is neutral so it’s not distracting at all, but is obvious in areas of darker even tones.

For comparison, I did a side-byside ISO set with the Canon EOS 5D Mark IV alongside the Nikon D810 with the Raws processed through Lightroom (shown below). Viewing the images at the same image size, ie. the Canon images at 109.5% with the Nikon shots at 100%, both cameras produced shots with near identical noise levels to ISO 1600 but after that the Canon proved noticeably superior with smoother images with less noise and better detail.

ISO 100

ISO 800

ISO 1600

ISO 3200

ISO 6400

ISO 12,800

ISO 25,600

ISO 32,000

ISO 51,200

Standard NR

Strong NR

Multi-shot NR

Comparison ISO Original image

Canon

Nikon

Above The Nikon D810 and Canon EOS 5D Mark IV produced equally impressive performance at high ISOs with the Canon proving very slightly superior above ISO 1600.

Original image

The EOS 5D Mark IV has an High ISO NR function with four selectable levels plus off. The Multi-shot NR is selectable when JPEG only shooting is set and as four consecutive frames are taken and then merged you will need the camera on a tripod. For this test, shots were taken at ISO 6400, 12,800 and 25,600 at each High ISO NR setting. The shots shown here were at ISO 25,600. Considering the high ISO, even the shot with no NR applied is pretty decent. However, if you want to lessen noise in-camera without bolting a camera down on a tripod then the Standard setting works fine and doesn’t impact too heavily on detail. The Multi-shot JPEG option is the best, though, and the images are very smooth and impressive for this high ISO – but the camera needs to be on a tripod.

Photography News | Issue 38 | absolutephoto.com

Camera test Performance: Dual Pixel Raw The EOS 5D Mark IV’s Dual Pixel CMOS AF sensor features 30 million individual pixels. Each is made up of two photo diodes, A and B, side by side. Select Dual Pixel Raw in the menu and you get a Raw file that is twice the size of a normal Raw with image data from the combined A and B diodes but also data from the A diode only. Having this extra data means that in Canon’s DPP software, it is possible to make tiny adjustments to your images post capture.

Canon says that this technology can correct or minimise ghosting, adjust bokeh and make tiny adjustments to focusing. But this only applies to images shot in certain conditions so, for example, using a 50mm lens within a distance range of 1m to 10m, shooting at an ISO for 1600 or less and with an aperture of f/5.6 or wider. Longer lenses have the potential for a greater effect. I did try the long end of a Canon 2470mm and various settings on the latest Tamron 150-600mm.

Full-frame

No Ghosting Reduction

With Ghosting Reduction

Image microadjustments Full-frame

We tried this feature in a studio setting but also in practical situations too. For the studio part of the test we used the Canon EF 50mm f/1.4 and a SpyderLENSCAL with the Dual Pixel Raw files processed in Canon DPP v4.5.0. Focusing was manual using a magnified live view image for accuracy and the shutter released with the self-timer. The camera was mounted on a carbonfibre Benro Mach3 tripod with light provided by an LED panel allowing an exposure of 1/80sec at f/1.8. The camera was positioned 1.5m from the test target, about 30x the lens’s focal length, and upright and horizontal shots taken. The large Raws take a few seconds to load into Canon DPP’s Raw File Optimizer. Image Microadjustment strength settings 0 to 10 are available and the focus can be adjusted using a slider, back to front, to a maximum of 5 each way. The preview image can be magnified by up to 400%, which helps to see the impact of any adjustments. Move the slider up or down and the preview takes a few seconds to refresh. No other editing or sharpening was applied to the images shown here. I shot in various practical No change

Front 5, strength 10

Back 5, strength 10

situations and the example shown was with the Canon 35mm f/1.4L II USM focused to 0.3m. The exposure was 1/180sec at f/1.4, ISO 400. You can see – probably more clearly in the practical example – that the plane of sharp focus has been moved, albeit by a matter of millimetres. Also on our test shots, those where the focus was adjusted seemed marginally less sharp. Canon does stress that the Dual Raw option is not suitable for rescuing poor focusing technique,

No change

but you may be able to fine-tune the look of a sharply focused shot. Whether it is worth producing Raws twice the size of normal Raws (60MB compared with 30MB) and the extra time in processing using Canon’s DPP is a decision only you can make. The thing is, you have to make the decision to use Dual Pixel Raw before you start shooting so if you shoot normal Raws and later find that you need to make focusing adjustments, you can’t.

Full-frame

Back 5, strength 10

Front 5, strength 10

Ghosting Reduction adjustment I shot towards the sun to get some flare and ghosting to work with. With Canon lenses and their very effective coatings this is not easy. This shot was taken with the 35mm f/1.4L II USM with an exposure of 1/180sec at f/1.4 and ISO too. In the Dual Pixel Raw Optimizer tool in Canon DPP, I selected the Ghosting Reduction option, then selected the affected area and finally converted the Raw to a JPEG. For this test, no other editing changes were applied.

Bokeh Shift adjustment For this daylight picture of model Emma, I used a 35mm f/1.4 lens with of 1/125sec exposure at f/2.5 and ISO 200. The lens was focused to about 1m. In DPP and Dual Pixel Optimizer, the Bokeh Shift option was selected and three images produced, with zero adjustment and then left and right adjustments made at the strongest setting, 5. The benefit is small and it’s debatable whether it’s worth the memory consumption. With bokeh, more consideration at the time of capture would probably be better.

The benefit? In this example, nothing discernible and the flare and ghosting in both images looked identical. I tried several different shots and found the same, although of course that is not to say it won’t work on other shots. From the evidence here, if you are getting ghosting in a shot, you could switch to Dual Raw for insurance with the (small) possibility of correction in software but you’re better off trying to combat the issue at the taking stage.

Full-frame

No Bokeh

Bokeh Shift, right 5

Images Look closely at the model’s mouth and the adjacent blurred leaf. Using Bokeh Shift Adjustment has changed the relationship very slightly. It didn’t help this image much but perhaps it could rescue a picture in very specific instances. Bokeh Shift, left 5

Photography News | Issue 38 | absolutephoto.com

Camera test Original image

Ultimately, the Canon EOS 5D Mark IV is a superb camera with a great deal to like

Verdict

Performance: exposure latitude Canon claims that the EOS 5D Mark IV has excellent exposure latitude. To test this claim we photographed a contrasty daylight scene shooting a 4EV bracket in steps of 0.5EV. The camera was set to manual with correct exposure metered at 1/750sec at f/4, ISO 100. In Lightroom, the Raw files were subsequently adjusted to give correctly exposed pictures with no other editing changes applied. A comparison set of bracketed images of another scene was made using a Nikon D810 – again, these were processed in Lightroom with no other editing. -2EV

The Canon coped very well indeed with underexposure and even the -4EV and -3EV shots recovered amazingly well in processing with little extra noise or artefacting compared with the correctly exposed picture. Colour rendition, tonal smoothness and shadow density impressed too. The -2EV shot looked identical to the correct exposure. Overexposure was also handled well by the Canon with the +2EV picture exhibiting the same quality as the correctly exposed picture, but that was the limit in scenes where there were strong highlights. -1EV

With low contrast scenes you can probably get away with +3EV overexposure but shots featuring strong highlights come out grey. Looking at the comparison shots taken on the D810, the Nikon fared better with overexposure and the -4EV

+3EV shot looked better than that from the Canon after remedial processing with minimal extra noise and clean highlights. With underexposure, Raws from the two cameras recovered well and produced familiar results. -3EV

Still and 4K movie picture quality from the Canon EOS 5D Mark IV is very high, with fine colours, smooth tones and deep shadows, all combined with an excellent noise performance where great quality can be had at ISO 6400. Throw in swift, sensitive autofocus – for stills and video, spot-on exposures and intuitive handling and you have a formidable camera at a formidable price. Dual Pixel Raw adds an interesting and rather intriguing dimension with the potential of post-capture adjustments. It should be stressed that the degree of focus adjustment is tiny and Dual Pixel Raw processing is not a security blanket for slapdash focusing technique. In this test the potential for minimising ghosting and bokeh shift is also limited, and there’s the negative of having large file sizes that come with Dual Pixel Raw and the need to use Canon DPP software. All that said, many buyers will undoubtedly use and appreciate the feature. Ultimately, though, the Canon EOS 5D Mark IV is a superb camera with a great deal to like. It easily lives up to the lofty reputations of its predecessors and offers a fine alternative to the current higher resolution EOS 5DS/R models. It’s pricey, but then you get what you pay for. 24/25 Features There is not much this Canon doesn’t have, and that is reflected in its price

0EV

+1EV

24/25 Performance Impressive with fine exposures and swift, accurate AF Handling 24/25 Excellent generally; more customisation options would be good Value for money 22/25 You get a lot for your money, but still pricey

+2EV

+3EV

+4EV

Images The Canon EOS 5D Mark IV is very capable of dealing with dynamic range and showed impressive tolerance to exposure abuse, especially underexposure. In comparison with the Nikon D810, it came a very close second with its handling of overexposure.

94/100 Overall A terrific camera, inspirational to use and full of excellent features. Pros Image quality, ISO and dynamic range performance, touchscreen, autofocus, solid build Cons Price, limited benefit of Dual Pixel Raw, fixed screen, more customisation would be good

Photography News | Issue 38 | absolutephoto.com

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 different metering modes affect your camera’s reading of the light... Words & pictures by Kingsley Singleton

How to read an exposure histogram A histogram is nothing more complicated than a bar chart representing the light in the scene. It can therefore be very useful when judging accurate exposure. The chart reads from black on the far left to white on the far right, and with all the other tones from shadows, through midtones to highlights covered through the middle. You’ll find a histogram available for pictures you’ve shot, and in live view mode, or via an electronic viewfinder, they can also give you a live reading of the scene, a bit like watching the camera’s metering system working away as you shoot. They are influenced by the metering mode you’ve set though, as well as the exposure settings that are currently being used. Change either of those, and the histogram should change, too.

Last month we looked at the basics of exposure and how aperture and shutter speed work with ISO, governing the amount of light recorded and the brightness of the exposure. The analogy used was filling a glass of water, which represents filling the sensor with light. You can decide how the glass is filled by making the shutter speed faster or slower, the aperture larger or smaller and the ISO level higher or lower; but how do you know how much light you’ll need in total? That comes from the camera’s metering system, which reads the reflected light in the scene. Reading reflected light It’s on the amount of reflected light that the camera decides what shutter speed or aperture is required (and what ISO to use if that’s set to Auto). So, say you’re shooting in aperture-priority (A or Av) with the lens at f/8 and pointing at a subject that’s reflecting a lot of light, which is giving you a shutter speed of 1/250sec. If you then point the camera, with the same aperture setting, at a subject that is reflecting less light, the shutter speed will be slower. This is because the camera thinks it needs more light to achieve a correct exposure, hence the longer shutter speed. The same would happen in shutter-priority mode, wherein the second subject would need a wider aperture to get what, according to the metering system, is the correct amount of light for a good exposure. What is a ‘good’ exposure? What the camera thinks is a good exposure is based on the idea that the amount of light reflected is consistent across a range of subjects. Most cameras metering systems are calibrated in this way and assess the scene based on around 18% reflectance, ie that 18% of the light falling on the scene will be reflected. Most of the time this works fine, because, although some objects reflect more light and some less, across the whole of a scene, it usually averages out as about 18%. Where the system fails is if you’re shooting very dark or light scenes. So, if you shoot a very light subject, like a white flower in a white room, the extra reflectance means the camera thinks less light is needed to create a good exposure, and will underexpose. Conversely, if you shoot a very dark scene like a black cat sitting on a black chair, the camera thinks very little light is being reflected, and will probably also meter incorrectly, overexposing the shot by trying to record too much light. How to improve metering You can improve metering in several ways, and these include picking a mode that’s suitable for the subject and also biasing the metered setting using exposure compensation. The main metering modes are Multisegment (also called multi-zone, wide and by manufacturers’ own names like Matrix or Evaluative), centre-weighted, partial (on Canon bodies) and spot. These modes use smaller and smaller areas on which to base the metering, and the advantage of this is that you should be able to get a truer-to-life reading and therefore a better exposure. Multi-zone

Centre-weighted

More highlight tones

Metering modes On DSLRs and CSCs you’ll usually find metering modes via a button on the body, and the icon used – a circle within a frame – tends to look similar no matter what the model. Which should you use? While multi-segment and wide modes use the whole of the frame on which to base an exposure, modern cameras use these settings intelligently, reading the type of scene, where you’ve focused, and setting the exposure accordingly. This means they can often deal with tricky situations like backlit subjects that would fool less intelligent systems. For that reason, multi-segment modes tend to be used by default, while the others are for special purposes. Centre-weighted metering still uses a wide area, but bases its setting on the middle part of the frame, while partial and spot use very small areas; typically 5-10% for the former and less than 5% for the latter. These small areas can be aimed over something in the scene you know to be a midtone (something with 18% reflectance), giving very accurate results, but used on the wrong part, results will be way off. We’ll cover spot metering in particular detail in a later instalment. Shooting in manual mode you control shutter speed, aperture and ISO independently, so you might think metering is of less use. But, take a look on the camera’s screen, or viewfinder and you’ll find there’s still a small exposure bar, telling you whether, in the current metering mode, the camera thinks that you’re under or overexposing. You can use this bar to base your exposure on, making sure to set it over or under the metered value if shooting a predominantly dark or light subject.

More midtones

Spot

More shadow tones

Different metering areas These three shots were taken using multi-zone, centre-weighted, and spot modes. Multi-zone has read the whole scene, trying to balance the sky and subject, so the latter is underexposed. Centre-weighted is about right, as it’s concentrated in the middle of the frame where the subject is. Spot has metered a shadow area, judging that to be a midtone, so has overexposed.

Next month How to use Exposure Compensation to improve the camera’s metering and get the look you want.

Photography News | Issue 38 | absolutephoto.com

Competition

Editor’s letter

GAS attack

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 27 November 2016. The correct answer to PN36’s word search was Print and the Samsung 64GB card was won by Sue Dyke from Worthing, West Sussex. samsung.com and search for memorycards

Now is a great time to be out with the camera. It’s true that the nights are longer than the days, but the light you do get at this time of year can be fabulous. Mix in the beautiful colours of autumn with unpredictable weather and temperatures that are still relatively conducive for enjoying the outdoors, and awesome pictures are yours for the taking. All you have to do is make the effort, which sounds easy but getting motivated can be a challenge. Perhaps the prospect of treating yourself to a nice shiny piece of kit is what you need to spur you on. Gear Acquisition Syndrome (GAS for short) is a serious condition that you may – or may not! – want to get treated. Generally, it is not harmful to one’s health, only the bank balance, and often a small dose of GAS can motivate the shutter finger. Right now is a good time to buy although it might already be too late. With the Brexit vote and the weaker pound, photo products, particularly those from Japan, will undergo significant price increases. Recently launched equipment will be priced with the current trading conditions factored in but if you’ve had your eye on an exotic lens, you might find that its price is higher now than a few months ago. Price increases inevitably slow down the market for new equipment, but it can mean a boost for the pre-owned market when potential buyers realise there is more value buying used kit. I must admit I’m suffering from the symptoms of GAS because I have my eye on a new camera. Yes, it is a want rather than a need and, of course, buying a shiny new, higherresolution camera won’t make my pictures any better but you know what, photography is my passion so who cares.

To fund my new toy I’m going to sell some gear that I haven’t used for a while. My motivation to thin out my equipment cupboard was further prompted when the renewal notice for my camera insurance policy came through. I looked down the long list of stuff and did a mental audit of when I last used some of the items on the list. A long time ago was the answer for several of them. I have a policy that covers being a professional photographer even though strictly speaking I am a journalist and don’t take pictures for a living. The fact that I work on a photography magazine as a journalist means I often get called a photojournalist, you know like those brave people who work in areas of unrest and conflict. That, of course, is very different from what I actually do, which is flying a desk. Anyway, that’s by the by because whatever, my policy cost is high – and in six years I have not made a single claim. Of course, insurance is about peace of mind and that is difficult to put a value on. Sod’s law dictates that if I didn’t have it, I’d need it, so I will continue to pay because there is no doubt that insurance is very much a good thing. But before renewing the policy I’m going to rationalise my long list of stuff. Shedding, say, six items, and acquiring one does make me feel better about my GAS problem, and that is very comforting. See you next month for our special prefestive bumper issue, out from 28 November.

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Photography News | Issue 38 | absolutephoto.com

Advertisement feature XF10-24mmF4 R OIS 35mm format equivalent 15-36mm

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An ultra-wide zoom lens ideal for dynamic landscapes, interiors and environmental portraits. Fujifilm’s advanced optical design ensures high sharpness and excellent reproduction of fine detail while distortion is minimal so straight lines are recorded faithfully even at the 10mm setting. Despite its wide view, it is a compact lens and the f/4 maximum aperture is constant throughout the focal length range. An OIS system is integrated into the lens to ensure sharp pictures when handheld shooting in low-light conditions or when using small lens apertures and relatively long shutter speeds for extensive depth-of-field.

Featuring an advanced optical design, a constant aperture of f/2.8 throughout the focal length range and weather-resistant design, this zoom lens is the flagship standard zoom of Fujifilm’s X Series lenses. It is compact and lightweight enough to be a ‘take everywhere’ lens. Picture quality is exemplary at every lens aperture with excellent edge to edge sharpness, while flare and ghosting have been controlled by Fujifilm’s advanced HT-EBC lens coating. Nano-GI coating has been used to help produce crystal clear, high contrast images.

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A nicely-balanced zoom lens encompassing a very popular range of telephoto focal lengths, so ideal for an enormous range of subjects from portrait and street to travel and wildlife. Its f/2.8 fast aperture makes it very well suited to use in low-lighting occasions and Fujifilm’s latest lens coating technologies keep flare and ghosting at bay. Five ED glass elements and one Super ED element minimise chromatic aberration and help to maximise image resolution. Fujifilm’s OIS technology makes an appearance on this lens with a benefit of up to 5EV, while high-speed, near-silent autofocus is possible with the world’s first triple linear motor.

Fujifilm’s super telephoto zoom will appeal to action and wildlife photographers with its longest setting giving an equivalent focal length of 609mm in the 35mm format. It’s perfect for pulling in that distant subject and its WR construction makes it a rugged lens capable of handling extreme outdoor conditions. The front element also has a fluorine coating to repel water and dust. Chromatic aberration is a potential hazard with long telephoto lenses and to avoid any such issues this lens uses five ED and one Super ED lens elements. Another potential problem is camera shake when handholding a lens of this focal length and for this Fujifilm has installed a very effective OIS system with a 5EV benefit.

Specs

Lens construction 23 elements in 16 groups

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Fujifilm teleconverters Teleconverters are underrated. They are incredibly useful compact optical accessories and worth having in the camera bag for those occasions when extra focal length is needed. Fujifilm has two high-quality models available in its X Series lens range, and both fit the XF50-140mmF2.8 R LM OIS WR and XF100400mmF4.5-5.6 R LM OIS WR lenses only. Teleconverters fit in between the camera body and the lens and while they affect the amount of light reaching the sensor, this is accounted for by the camera’s metering system so exposure is straightforward. What is potentially affected is autofocusing.

XF1.4X TC WR This weather-resistant model multiplies the focal length of the lens it is attached by 1.4x and there is a 1EV light loss, so with the XF50140mmF2.8 R LM OIS WR, the lens effectively becomes a 70-196mm f/4 zoom. An advanced optical construction ensures that the high optical performance of the attached lens is maintained and that includes autofocusing which is handled by the camera’s live view contrast detection AF system.

Fujifilm lens jargon buster Fujifilm XF lenses are state-of-the-art optics packed with the latest technologies. Here are the key Fujifilm lens features explained. APD The Apodization or APD filter is built into the Fujifilm XF56mmF1.2 R. This adjustable filter gives smoother background bokeh. Aspherical element An aspherical lens element helps defeat or minimise optical flaws such as spherical aberration and astigmatism. Fujifilm’s optical engineering skills ensure that its aspherical elements are produced to the required precision. ED glass Chromatic aberration is when light of different colours focuses at different points and give fringing effects. ED (extralow dispersion) glass elements are used to combat the problem HT-EBC Fujifilm’s High Transmittance Electron Beam Coating. This is Fujifilm’s unique, high tech lens coating that allows 99.8% of light to be transmitted with only 0.02% reflected to ensure stunning image quality. LM Fujifilm’s Linear Motor technology gives practically silent, highly precise and very fast autofocusing in its lenses. Nano-GI Fujifilm Nano-Gradient Index coating. An advanced lens coating that helps to reduce flare and ghosting when light is striking the lens from an oblique angle. OIS Stands for Optical Image Stabilisation. This is Fujifilm’s system to defeat camera shake. Depending on the lens, the benefit is considerable, up to 5EV. Stepper motor Using a stepper motor in a lens’s autofocus system ensures near-silent operation. WR Many Fujifilm lenses and several cameras have weather-resistant (WR) construction with strategically positioned environmental seals to give high levels of protection against water and dust.

XF2X TC WR Fitting doubles the lens’s focal length while absorbing 2EV of light. Thus, on the XF50140mmF2.8 R LM OIS WR you get an effective 100-280mm f/5.6. Phase-detection autofocus is still available with this lens/ teleconverter combination. With the XF100-400mmF4.5-5.6 R LM OIS WR, live view contrastdetection autofocus is available. The optical quality and contrast of the attached lens stay at a very high levels thanks to the advanced nine elements in five groups construction.

Photography News | Issue 38 | absolutephoto.com

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