Photography News 10

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Photography news

Issue 10

22 July – 18 August 2014

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

D810 images are the ‘best ever’

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Tamron, Fujifilm & Manfrotto launches plus winners from clubs nationwide Bringing you all the hottest photographic news

Nikon’s new high-resolution master is unveiled The best image quality in Nikon’s history is the promise from the new high-resolution full-frame D810, which replaces the D800 and D800E. At its heart of the camera is a new 36.3-megapixel sensor, which provides little increase in resolution but has been newly developed and features no optical lowpass filter. It also offers a wider ISO sensitivity range of 6412,800, expandable to 32-51,200, than its predecessors and is combined with the same EXPEED 4 processor as found in the D4s. Picture Control 2.0 offers improved in-camera processing before and after capture, incorporating a new clarity setting.

Improvements to the 51-point autofocus system see better algorithms and the addition of Group Area AF mode for improved background isolation. Top speed is a faster five frames-per-second at full-resolution and seven frames-per-second in DX crop mode, and changes to the shutter/mirror box mechanism make the viewfinder image steadier and reduce sound and vibration.

There’s also Raw Size S recording, which captures 12-bit uncompressed Nikon Raw files that are half the size for a smooth workflow.

The D810 is on sale now, with a price of £2699.99. π To find out more, go to www.nikon.co.uk.

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A hard day’s night: the story of our 24-hour adventure How PN readers & staff fared on a marathon shoot

IN DETAIL See page 3 to see what we found out about the D810’s image quality at the camera’s launch.

CSCs from Samsung, Fujifilm, Canon & Sony fight it out Mini tests on Tamron, Nissin & Gitzo: page 28

Issue 10 | Photography News

Photography News | Issue 10

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Latest photography news

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All about image quality

Photography News was at the high-profile launch of the Nikon D810 to find out more about the big claims of image quality Words by Ian Fyfe When the D800 and D800E were launched, they brought a revolution in imaging, raising affordable DSLR resolution close to the level of medium-format. Nikon seemed to have the image quality box well and truly ticked, but that hasn’t stopped them striving for even better with the D810.

“It’s all about image quality at this level of camera,” said Simon Iddon, Nikon UK Group product manager, speaking to Photography News, “and the most important feature of the D810 is the step up in image quality. With the combination of the EXPEED 4 processor, the new image sensor, no optical low-pass filter and Picture Control, the results are stunning.”

Previously, the D800 series offered a choice – the D800 with a conventional optical low-pass filter, or the D800E with a modified filter to counteract the softening effect of a conventional one and offer more resolution. There’s just one D810 model with no optical low-pass filter at all.

“There were some thoughts that with the modified optical low-pass filter in the D800E,

there might be issues with moiré,” explained Iddon, “but the reality is, that situation doesn’t occur much, and if it does, there’s software that can easily rectify it. So the benefits of no optical low-pass filter far outweigh any potential negatives, and the D810 is just sticking strong to the best image quality.”

Of course, the true test of the improvements to image quality in the D810 is in use, and D800E-using Nikon Ambassador John Wright had been using the camera before its unveiling. Speaking to us at the launch in his Motel Studios in Shoreditch, London, he was clearly convinced that the upgrade is worthwhile.

“I think Nikon is right to be shouting about the sensor and the best quality Nikon image ever, because it genuinely surprised me and it is a better image,” he said. “And it’s improved on the D800E’s image quality that I was completely happy with.”

We can’t wait to see the results for ourselves, and we’ll have a test of the D810 in a future issue.

ABOVE Simon Iddon with the Nikon D810 at its launch at Nikon Ambassador John Wright’s Motel Studios.

NEWS IN BRIEF GET YOUR QUATTRO NOW The Sigma Quattro dp2 is now available, with a price of £899.99. Sigma has redesigned every aspect of the camera, including the body, for a unique look, and the camera includes the Foveon X3 Quattro direct image sensor with multiple layers.

The dp2 has a highperformance 30mm f/2.8 fixed lens, offering the 35mm equivalent to a 45mm lens. www.sigma-imaging. co.uk TEST OUT PERMAJET PermaJet has launched new test packs that include a range of papers, including the new Smooth Pearl, Smooth Gloss and FB Gold Silk papers. The selection allows you to try a variety of finishes.

The Digital Photo Range includes 30x A4 sheets, while the FB Baryta includes 14x A4 sheets.

Both cost just £11.95. www.permajet.com

A trio of Tamrons Superzooms for different sensor sizes

Swiftly following the recent launch of the Tamron 16-300mm superzoom (tested in this issue), a 28-300mm f/3.5-6.3 for full-frame DSLRs spearheads a triplet of new Tamron superzoom lenses, with Micro Four Thirds and Canon EOS M users also in luck.

The full-frame superzoom includes Tamron’s Piezo Drive ultrasonic autofocus motor system for almost silent and fast operation, alongside Vibration Control to keep things steady throughout the focal range. It’s available now in Canon, Nikon and Sony fit, with a price of £619.

The Tamron 14-150mm f/3.5-5.8 also offers Micro Four Thirds users the 35mm

equivalent focal range of 28-300mm. It includes one Low Dispersion glass element, two Anomalous Dispersion glass elements, two Molded Glass Aspherical elements and one Hybrid Aspherical element, all controlling aberrations for the highest image quality. A stepping motor provides fast and quiet autofocusing, and the lens weighs just 285g. It’s available now at £389.

Completing the range of three new lenses is Tamron’s 18-200mm f/3.5-6.3 lens with a Canon EOS M mount, adding to the existing Sony E-mount model. This provides a zoom range equivalent to 27-300mm. You can buy the new lens now for £389.

π To find out more, go to www.intro2020.co.uk. www.photography-news.co.uk

Issue 10 | Photography News

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Latest photography news NEWS IN BRIEF AUTUMN WORKSHOP IN THE LAKE DISTRICT Strobix Photography is offering a residential workshop set in the heart of the Lake District. The base for the weekend is a stunning country house in the village of Ireby and will run 26-28 September. The weekend, run by Steve Jane, will consist of a mixture of theory and practical workshops, allowing you to put techniques discussed at the base into practice in some of the most breathtaking scenery the UK has to offer. www.strobix photography.co.uk/ workshops SONY A7s PRICE Pricing and availability of the Sony A7s has been confirmed. It will be available from the end of July 2014, with a price of £2100. It’s available to pre-order now from the Sony website. www.sony.co.uk

Manfrotto adds to tripod ranges A new fluid head for video and photo, and the brand new compact tripod series

Manfrotto’s new XPRO Fluid Head has been designed for photographers who want to make the most of their DSLR’s video capabilities. It offers versatility, in that it’s the only lightweight video head with a fluidity selector – this allows you to control the tilt movement by switching between hard fluidity for slow tilt movement, and soft fluidity for fast tilt movements. It also uses the most common photographic quick release plate in the world, so there’s no need to switch when changing between photography and video – this makes set-up quicker, and saves on cost. The XPRO Fluid Head is also

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£1.00

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π To find out more, go to www.manfrotto.co.uk.

First weather-resistant Fuji lens

π To find out more, go to www.fujifilm.co.uk.

To The Customer: Simply cut out this coupon and hand it to your WHS High Street retailer to claim your copy of Advanced Photographer for £3.95 instead of the usual £4.95. This coupon can be used as part payment for the issue of Advanced Photographer on sale from 31 July 2014 to 27 August 2014. Only one coupon can be used against each item purchased. No cash alternative is available. Not to be used in conjunction with any other offer.

To the WHS Retailer: Please accept this voucher as part payment of one copy of Advanced Photographer on sale between 31 July 2014 to 27 August 2014. This voucher is worth £1 plus a 2p handling allowance. The offer is valid to the consumer up to 27 August 2014 and must be returned to your clearing house to arrive no later than 27 August 2014. As your shop belongs to a multiple group, please handle in the usual way. This voucher is not redeemable against any other item and is only valid in the UK.

Wild workshops Award-winning photographer George S Blonsky with Geopictorial in Greece is offering wildlife and landscape photography workshops. These offer the chance to explore some of the remotest parts of Greece and the Balkans while photographing wildlife such as the endangered Dalmatian pelicans on Lake Kernini and brown bears in Florina, or inspiring landscapes including the Orthodox monasteries of Meteora and the deepest gorge in Europe at Vikos. Groups are just four or less, ensuring exclusive guidance and tuition.

Offer subject to availability and whilst stocks last

Photography News | Issue 10

Compact Action features a joystick style head with a Photo-Movie selector and smart circular quick release plate. The Compact Advanced tripod is designed for entry-level DSLRs with standard lenses up to 200mm, with a high-performance threeway head, collapsible handle and five leg sections that ensure maximum portability. There are also Compact and Compact Advanced Monopods. The range is available in a variety of colours, on sale now with prices starting from £19.95.

Fujifilm has launched its first weather-resistant XF lens, an 18-135mm f/3.5-5.6 that offers a 35mm equivalent focal range of 27-206mm. Sealing on 20 different areas of the barrel ensures resistance to sudden rain and dust while a ventilator prevents dust particles and moisture entering.

The construction includes four aspherical lens elements and two Extra-low Dispersion elements, while Multi-layer HT-EBC coating reduces flare and ghosting. The lens also includes an inner focusing mechanism with silent operation and maximum focusing time of 0.1sec, as well as what’s claimed to be the world’s most advanced 5-stop image stabilisation mechanism.

on Issue 47 of

*This offer is subject to availability and is redeemable at WHSmith High Street Stores only. Excludes Outlet Stores, WHSmith Online, ‘Books by WHSmith’ at Selfridges, Harrods, Arnotts and Fenwicks stores, WHSmith ‘Local’ and all Travel Stores including those at airports, railways stations, motorway service stations, garden centres, hospitals and workplaces.

portable, and is made of aluminium and Adapto, a rigid and resistant polymer, so it weighs only 700g but has the ability to support up to 4kg. The head is available now for £119.95.

Manfrotto has also unveiled its new Compact Range of tripods and monopods. These are designed for new photographers who realise the importance of a stable support, while also allowing enthusiasts to achieve precise and shake-free images. The Compact Light weighs just 800g, and is designed to suit compact system cameras, with an integrated ball head with quick wheel for easy mounting. The

DO NOT MINT RETURN

π To find out more, go to www.photographyworkshops.eu.

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Latest photography news

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LOWEPRO, CAMERA, ACTION The popular Lowepro Toploader Zoom AW has been redesigned. It’s now lighter without sacrificing any of the protection, while there are brand new zips with redesigned pulls that are easier to grip, even in wet conditions. The interior is light grey for better visibility, there’s a new mesh pocket, built-in key fob and an All Weather Cover for protection.

It’s available in three sizes, accommodating DSLRs with 18-55mm, 24-70mm f/2.8 and 70-200mm f/2.8 lenses attached, ranging in price from £30 to £45.

NEWS IN BRIEF

If you use action cams such as the GoPro, then Lowepro also has new cases for you – the Dashpoint AVC 1 and 2. These have a lightweight composite shell and are high-impact resistant.

They also have a built-in grab handle and dual zips, while inside there are removable dividers and an organisation panel. The two sizes take one or two action cameras, and cost £26 and £30 respectively.

BENRO’S BAGS OF COLOUR Benro has a new range of colourful bags.

The Hyacinth range features two sizes of bag, the BRHY10 at £38 and the BRHY20 at £43, made from water-repellent nylon and available in blue, pink, grey and black. www.kenro.co.uk

π To find out more, go to www.lowepro.com.

Learn Photoshop in the lakes This November, Lakeland Photographic Holidays is offering a Photoshop for Photographers workshop. The four days include three full days of practical Photoshop tuition, with the fourth spent photographing the Lake District landscapes. The workshop will be led by photographer and author John Gravett, and accommodation is provided in the Lakeland village of Braithwaite. It starts on 22 November 2014, and costs £795 per person, with everything but alcoholic drinks included.

You can find out more about this and Lakeland Photographic Holiday’s other courses on its brand new website. This has been redevloped to provide more detailed information on each workshop and the location, and you can see live availability.

Become an Olympus Protégé Olympus Protégés is a competition to find the UK’s best amateur photographers, with the chance to work with big-named photographers.

Entrants simply need to select the category they would like to master – fashion, music, animals or landscape – and submit the photo they’re most proud of with a message supporting why they should be chosen. Protégés will be selected from the entrants, and will then work with mentors to explore their chosen genre: Mick Hutson for music, Mark Cargill for landscape, Lindsay Dobson for animal portraiture and Damian McGillicuddy for fashion. π To find out more, visit www.olympusproteges.co.uk

π To find out more, go to www.lakelandphotohols.com.

Save the Date Advanced Photographer magazine has an exclusive hands-on location shoot using the amazing medium-format Pentax 645Z on Friday 17 October in the Lake District. October may seem a long way off, but if you like the idea of trying out Pentax’s new sensation on location with experts from Pentax and Advanced Photographer, put the date in your diary now.

www.photography-news.co.uk

The 645Z has a resolution of 51.4 megapixels, top ISO of 204,800, autofocusing is fast and accurate and the magnesium alloy body is dust and weatherproof.

Full details of how you can win this unique opportunity will be announced in the next issue of Advanced Photographer, out 28 August.

LEE FOR GOPRO Lee Filters has responded to the explosion of GoPro users by introducing the Lee Bug, a compact and robust filter holder compatible with the GoPro HERO3 and 3+, widening the creative scope of these action cameras. Two kits are available: the Action Kit, which contains a holder, three-stop ND filter, graduated filter and glass polariser, and the Underwater Kit, which contains a holder, blue water filter and green water filter. The kits are priced at £45 and £53 respectively. www.leefilters.com

ROLL WITH THINK TANK Think Tank’s Airport series of roller cases has a new addition in the Roller Derby. With four dual wheel sets, it’s designed to improve manoeuvrability and meets many international carry-on requirements, and can take two DSLRs with multiple lenses and flashguns. It also has two interior pockets for a 15in laptop, a tablet and has a tripod mount. www.snapperstuff.com

Issue 10 | Photography News

Camera 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 achievement; it could be about a group outing you had recently or when the annual exhibition is on show. Any news is eligible for inclusion, so club publicity officers please take note of the submission guidelines and get your stories in

NEWS IN BRIEF

Allow plenty of time. Photography News comes out (roughly) around the third week of the month. For the next issue, we need words and pictures by 7 August.

Write your story on a Word document (400 words maximum) and attach it to an email to clubnews@ photography-news.co.uk.

In the story please include contact details of the club, exhibition or event – website, meeting time, opening times, whatever is relevant to the story.

Images: Yes please, and attach these to the email too. Images should be JPEGs, 2000 pixels on the longest dimension and any colour space. If the story is an exhibition or event, please send a picture from the exhibition (not the publicity poster), the winning image or one of the event. If the picture includes people please identify on the Word document.

Deadline for the next issue: 7 August.

It’s a knockout 21 clubs contested the Ted Colman ‘rather different’ Knockout Competition recently at Rochdale & District Camera Club. Judging the event was Tony Pioli FRPS

ABOVE Banbury Cake Shop built 1638 demolished 1967.

ABOVE As it looks now.

Alan Sargeant has been in touch about a long-term project run by his club, Banbury Camera Club, and it’s an idea worth considering by all clubs.

“Back in the sixties one of Banbury CC’s members, Ernie Lester, became concerned about the destruction of many of Banbury’s old buildings; he persuaded the club that it would be a worthwhile project to record anything in danger of disappearing. By 1965 a set of slides had been produced and was being shown with recorded commentary to local clubs. Over the years, members have added to the original set. In 2006 it became clear that the project needed to be revived and overhauled.

“We received a grant from the National Lottery to undertake this task. We bought a good quality laptop, digital projector, screen, projector trolley, 35mm film and slide scanner, and photo-enhancing software.

“I volunteered to start work on the project. Every slide, negative and print was scanned at high resolution.

“Later we noticed that the collection had some shortcomings. There was, for

example, no photo of the old Banbury Cake Shop in Parsons Street.

“Some members had their own suitable images and they donated on the premise that their copyright was maintained. This idea caught on quickly and soon donations of all kinds were made. Donated images are scanned and returned to their owners and to date we have over 1500 images.

“The project is ticking over nicely with new images being added every week. Also, we have developed a circle of knowledgeable Banburians who help us with some of the older photos.

“The Images of Banbury collection is a valuable resource of interest to schools and other organisations. I’ve put together several presentations, with recorded comments, to show local groups. A popular show is A Walk Around Banbury, showing the enormous changes that have taken place since the 1960s. We get a great deal of information about the photos this way and have made many friends.”.

Over 6600 images were submitted to the RPS International Print Exhibition from 1727 photographers in 72 countries but for the exhibition just 100 images were selected. The five award winners came from Germany, the USA and the UK. They are on show until 28 August, at the Greenwich Heritage Centre, London.

π To find out more go to www.rps.org/IPE157

Photography News | Issue 10

Train Surfing Action, Marco Casino (Italy)

RPS Print Exhibition

π To find out more, go to www. banburycameraclub.org.uk.

Each club submitted a bank of 13 images and then prior to the event selected four images from this bank to be shown in round one. The images were marked and at the end of the round the six lowest scoring clubs were eliminated. These were: Oldham CC, Whitworth PS, N Manchester CC, Davyhulme CC, Padiham & District PS and Todmorden PS. What makes this competition different is that the scores from each round are not carried forward and the images can each only be used once. The remaining clubs selected four images for round two and this round the seven lowest scorers went out: Bolton PS, Huddersfield P&I Club, Rochdale & District CC, Swinton & District PS, Rochdale PS, Accrington CC and Bacup CC. The last eight clubs then selected four images from their bank. At the end of this round the top two clubs compete for the trophy. The clubs who went out were: Bury PS, Blackburn & District

© John Smith APAGB

SHOOT THE PATH The South West Coast Path (SWCP) competition is now open for entries. You’ve got until 31 December to get your entries in and the 12 winning entries will be featured in the SWCP 2016 calendar – the winner gets printed on the cover. This year’s judge is landscape pro David Noton. For details of how to enter and prizes, go to the website. www.southwestcoast path.com/photocompetition

HOW TO SUBMIT

© Mike Heaton CPAGB

ENTER HERE There’s £5000 of Canon kit to be won in this year’s EEF/ Lombard annual Make it Britain photography contest. The EEF is the manufacturers’ organisation with over 6000 members nationwide comprising companies of all sizes. www.eef.org.uk/photo

Images of Banbury

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ABOVE Mike Heaton CPAGB AFIAP (left) receiving the Ted Colman Memorial Trophy from the judge, Tony Pioli FRPS of Chapel CC.

CC, Preston PS, Leigh & District CC, Atherton & District APS and Chorley PS. The last two clubs were South Lancs Imaging Club and Oldham PS and each had one image left. These were: Studying by Mike Heaton of SLIC and Cement Factory at Dawn by Matt Aspden of Oldham PS. Tony chose Studying as the winner. π To find out more, go to www.rochdalecameraclub.org.uk. www.photography-news.co.uk

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Issue 10 | Photography News

Camera clubs

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

Park winner

Bognor Regis Photo Exhibition 2014

horizon until one realises that she has had the courage to turn the image over and the majority of it is actually the reflection. In its original colour form this greatly enhances the saturation and detail in the ‘sky’ as well as allowing us to see more of the foliage. However the reason for the surreal effect is simply that there is a reed bed with a tree in it in the mid-foreground which is pretty well impossible to detect unless you invert the image back to the original.

Once again it illustrates how easily we are fooled. We see what we expect to see. Very clever, and in his judging summary, Paul was subtle enough to not even mention the inversion.

© Simon Smith

As the season came to a close at Park Street Camera Club, awards were made for the best projected image of the year.

For this special evening Paul Mitchell FRPS from Amersham Club was invited to select from an entry of more than 50, all of which had scored highly during the year.

Paul’s eventual choice was very popular with the members, as Stocker Lake Reflection (image right) was clearly amongst the best pictures of the year, but also the author Rosemary Wenzerul, a popular member, had been unable to attend the last few club nights as she was looking after her unwell husband Derek, also a member.

The image had already won a PDI competition. It catches attention by way of the slightly surreal effect of an unclear

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π To find out more, go to www. parkstreetcameraclub.com.

All three images by Rosemary Wenzerul

Bognor Regis Camera Club’s 2014 Photography Exhibition takes place 4-9 August – every day, 10am4pm at the Recital Hall, Sudley Road, Bognor Regis PO21 1ER. Entrance is free and over 200 prints will be on show plus a continuous projected show of images from over 50 members. Contact chairman Rob de Ruiter on 01243 267642, rob@deruiter.me.uk, or secretary Bill Brooks: secretary@bognorregiscameraclub.org.uk for further information, or visit the website. π To find out more about the exhibition, go tow www.bognorregiscameraclub.org.uk.

Feedback

We at Photography News love to know what you think – whether that’s about the stories we feature, your club, the latest developments in technology or photography in general. If you have an opinion or even a rant, please drop us an email at opinion@photography-news.co.uk What excellent science from Mr McNab. I love his metaphor on chopping up the Mona Lisa and making a mosaic with it! Would the result still be a painting? He says no and so do I! I think the whole issue revolves around the practicability of streaming the indexed camera file and the synthesised picture inside the framework of all levels of competition. If access to the original camera file can tell us all we need then surely we are home and dry on this.

All types of imagery are great and nothing should be discouraged but I think it is essential if we are to keep the grass routes interest alive, that we ensure the pure ‘indexed’ picture has somewhere to compete.

Look at the comments in PN Issue 8 and at the highest level – The Edinburgh Exhibition.

Public reaction: ‘Too much Photoshop’. It’s vital we don’t appear to be excluding all but the computer super-literate. Let’s get busy drafting a workable, practical rule. Well done Ian McNab for suggesting the beginnings of a way.

Dave Hipperson

Photography News | Issue 10

Much has been written in your excellent PN over the last issues on judges and judging, all very valid and at times seriously emotive.

There is however a somewhat lighter side to this aspect of our hobby, allow me to explain.

The local flower arranging club hold an exhibition for their members on a seasonal basis, which I am asked to photograph and there’s a photographic competition which I judge.

The competition usually has an Open section and a Set subject which means almost anyone can enter. And while the rules state ‘No entry to be larger than 10x8in, mounted or unmounted’ I have been presented with 30 or so images which have simply been taken down from a wall and entered including the frame and several years of dust! But you need to forget the high standard of photographic club competition and apply common sense, because there is no assessment of the images as would be done normally. I will talk any entrant through his/ her picture/s, and there is a surprising amount of interest in what is said, and you are soon on

dangerous ground when talk gets round to ‘what is the best camera for me’!

Bert Broadbent Referring to Ian McNab’s Speakers’ Corner in Issue 8 of your excellent newspaper, manipulated photographs have been common since the media was invented.

The work of Rejlander, Uelsmann et al has always been considered legitimate photography.

What about blurred long exposures, deliberate camera movement, as these do not pass the ‘index’ test? What about traditional darkroom manipulation? How far is too far? Who decides?

I sense that your contributor is disturbed by how little apparent skill is now needed to change a photograph. But how might one measure degrees of skill (what’s easy for you may be hard for me, and to realise a polished manipulate image in Photoshop requires immense skill)?

It’s a can of worms, don’t let’s be hasty! Let’s not legislate yet, but allow an answer to emerge from practice. Not a neat answer in a complex

world, but perhaps the most pragmatic.

Stefan Shillington In response to Brian Law’s article on the validity of photographs of others’ artwork: Paintings on a spare piece of wall are not something you can drop into the back of a van and hang up at your next house. It exists in one place, sometimes for years. A photograph of street art shows how that piece fits in its surroundings and what the painter had to do.

Should pictures of street art be in a competition?

I think so. It’s up to the judges to decide on how much photography talent is used. The bland photograph used in your article tells no story: where is it? Was it difficult to paint in that location; is it in the middle of nowhere or city centre? Bring in the surrounding area, the right time of day, a good view and a photograph of street art can show the viewer where it sits in the gritty urban world, and potentially the lengths it took to paint it.

Daniel Stinton

www.photography-news.co.uk

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Issue 10 | Photography News

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Profile INTERVIEW

National Media Museum As the curator of photography and photographic technology at the National Media Museum in Bradford, Colin Harding has the mammoth task of collecting, sorting and displaying all sorts of photographic curios

BIOGRAPHY YEARS IN THE PHOTO INDUSTRY: 33 CURRENT LOCATION: Bradford LAST PICTURE TAKEN: My daughter’s graduation HOBBIES: Gardening WHEN YOU WERE YOUNGER, WHAT DID YOU WANT TO BE WHEN YOU GREW UP? An architect DOGS OR CATS? Cats

retail, web and IT staff, and the learning team, to name a few…

The museum has an impressive collection, but how does it acquire these artefacts?

We receive many offers of material for the collection, from a single Brownie camera to photographers’ complete archives. All offers are carefully considered and discussed at regular meetings. We link our collecting to aspects of our exhibitions and public programmes, and like to work in partnership with photographers wherever possible.

TOAST OR CEREAL? Toast EMAIL OR PHONE CALL? Phone call

Tell us about your history with the National Media Museum (NMM).

I’ve been at the National Media Museum since 1985. My role involves looking after the National Photography Collection and Photographic Technology Collection.

Can you give our readers a bit of background to the NMM? The museum opened in 1983 and at the time was called the National Museum of Photography, Film and Television. It was created through a partnership between the Science Museum and Bradford Metropolitan District Council. In 2006, the museum became the National Media Museum and today there are eight floors of galleries and exhibition spaces, three cinemas, plus national collections of more than three million items including photographs, photographic technology, TV technology and cinematography. Currently around half a million people a year visit us.

The museum is part of the Science Museum Group, which is primarily funded by the Department of Culture, Media and Sport. We also raise money for specific projects. For example, the principal donors and sponsors for Media Space, a collaboration between the Science Museum and the National Media Museum, are Michael and Jane Wilson, the Dana and Albert R Broccoli Foundation and Virgin Media. We’ve also received support from organisations such as the Heritage Lottery Fund, the Art Fund and the Royal Photographic Society for acquisitions and displays.

How many people are involved in the running of the NMM? There are around 100 full-time and part-time members of staff at the museum, including front of house, curators, archivists, a conservator, the team running the cinema operation, exhibition organiser, Photography News | Issue 10

Does the museum have to conserve the collection in a particular way?

We place great stress on preventative conservation: storing items in the best possible environmental conditions to safeguard them for future generations to enjoy. Objects are stored in a purpose-built archive with strictly regulated conditions.

Does the NMM have much interaction with camera clubs?

We value the work of specialist groups and societies and often host visits and meetings. I am regularly invited by clubs to give talks on the work of the National Media Museum and its collections.

Do you get many visitors who view and research your photographic collections, at the Insight: Collections and Research Centre?

We get a very wide range of visitors to Insight from all over the world. At the moment, we dedicate one week each month to giving researchers access to the collections. Visitors vary from internationally acclaimed scholars and photographers, to people who are simply researching their family trees. As far as we’re concerned, all our visitors are equally important.

Do you have a personal favourite item within the collection?

No parent should have a favourite – especially when you have millions to choose from. However, I have always had a soft spot for the Thompson Revolver Camera dating from 1862 that I managed to acquire at auction over 20 years ago.

The Revolver Camera is in the form of a handgun, but, instead of bullets, the brass cylinder that forms the body of the camera would hold a circular glass plate. After each exposure, the back of this cylinder was rotated 90°. In this way, four successive ‘shots’ could be taken before it needed to be reloaded.

The wooden pistol grip allowed the camera to be held steady with one hand, leaving the other free to operate the controls.

No parent should have a favourite – especially when you have millions to choose from.

However I have always had a soft spot for the Thompson Revolver Camera

Is the museum still looking for photographic objects for its collection? If so, what in particular are you looking for?

Even though the collection is so extensive, there are still some gaps that I would love to be able to fill. For example, in the Kodak collection we have examples of practically every camera that Kodak ever made.

However we don’t have a Cone Kodak camera – a very rare camera made in 1898. If any of your readers has one, I’d love to hear from them.

What are some of the more extraordinary items you’ve discovered within the collection?

The collection is a constant source of surprises.

The more you know, the more you realise how much there is still left to discover. For example, a photograph with a frame made from plaited human hair – you wouldn’t expect to find that.

You’ve curated a number of special exhibitions in the past, do you have any in the pipeline?

It’s been a pleasure to work on exhibitions with subjects ranging from the origins of colour photography (The Dawn of Colour: Celebrating the Centenary of the Autochrome, 2007) to Don McCullin’s photos of England and the English (Don McCullin: In England, 2009). I’m afraid I can’t tell you what I’m working on right now, other than to say it’s an equally exciting show for anyone with even a passing interest in photography.

Is there anything else you would like to share with our readers?

Even after nearly 30 years, working with such a fantastic collection still gives me a frisson of excitement. I feel very lucky and very privileged that it has been an important part of my life for so long.

π To find out more, go to www.nationalmediamuseum.org.uk. www.photography-news.co.uk

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Issue 10 | Photography News

12

Opinion BEFORE THE JUDGE

Andrew Pepper Digital image competitions have replaced slide competitions in many camera clubs and for many the learning curve has been steep. In 2014, have we smoothed out all the bumps yet?

MEET THE JUDGE Andrew Pepper:

Andrew started taking photographs as a student with a Praktica LLC in 1978.

After starting work in datacommunications he moved on to Minolta Dynax before buying a Nikon D100 in 1993. He currently uses a D300.

Home club: Mill Camera Group (Stock, Essex) www.millcamera group.org.uk

Years in photography: 30 Favourite camera: Nikon D300

Favourite lens:

Nikon 10.5mm fisheye

Favourite photo accessory:

Lambency Flash Diffuser

Favourite subject: Cricket

Favourite photographers: Angus McBean, Bill Brandt

Awards won: I’m an LRPS

My website:

www.filmfree projection.co.uk

Words by Andrew Pepper Nearly ten years ago, our local camera group received a lottery grant to buy a digital projector and laptop. With a background in IT, I volunteered to choose the equipment and software to move us into the digital age. So, in November 2005, I was unpacking our brand new Canon XEED Projector and Windows XP laptop. Running a digital image competition with unfamiliar equipment at that time wasn’t ideal: everything was new. On our first ‘digital’ evening, each member brought a CD of images.

Unfortunately, I hadn’t taken into account the time it took to load each CD and copy the images. 20 minutes after the due start time I was slightly wild eyed and copying the last CD. Having an interested audience didn’t help.

For the first trial competition, I used PowerPoint.

This worked reasonably well for projecting a series of images, and I worked out a way to hold back images so they could be scored at the end. Of course, PowerPoint couldn’t score a competition or shuffle the images, but it was presentation software so wouldn’t be expected to. I started looking for software to run camera club competitions.

The programs I looked at fell into two camps: presentation software and media management software. I tried half a dozen packages, running imaginary competitions using a laptop connected to a monitor that acted as the projector. As I dutifully typed up my impressions for the camera group’s website, I grew dissatisfied – most programs could run a basic competition, but some things I had to do were awkward. For example, once I’d loaded the images for a competition, I wanted to shuffle them into a random order. But I also wanted some images to stay put during a shuffle; if I had a title image saying ‘The End’ I wanted it to stay at the end. This kind of thing was easy with conventional

Unexpected sparks – in a good way As Samuel Johnson said, “Our brightest blazes are commonly kindled by unexpected sparks.” And moving to digital has provided some real surprises for me. A few years ago, a club asked me whether FFP could run a knockout competition. “Of course not,” was my first thought, but once I’d understood what was needed – and the complications of some images getting a bye from the first round – it wasn’t too hard to add. I didn’t think much more about this until a couple of years later when I spotted a knockout competition had been added to our own syllabus; I’d been away and someone had seen the option in the menu. The members enjoyed it and it’s become a regular competition.

And who predicted monochrome making a comeback with digital competitions? In the days of film, monochrome images in our club competitions were becoming rare; few members had a darkroom to produce their own prints and black & white slides required special, rather expensive, film. I remember a small gasp going around the room when a black & white slide appeared on the screen. Now image

slides; why should it be hard with a computer? I was also thinking about competitions that used two projectors – we couldn’t afford a second, so would we have to abandon some competitions? It struck me that in a new digital era, it was ridiculous that we should have to give up some of the flexibility and functionality of slides. At this stage, I decided to try writing a program designed specifically to run camera club competitions.

The result was Film Free Projection (FFP) and we’ve been using FFP for our competitions since early 2006. It’s designed to run on a laptop connected to a digital projector. This means there are two monitors – the laptop screen and the projector. The operator controls FFP using the laptop, and all that appears on the projected screen are the images. We can see this in the image (right).

To project any image, I click on it with the mouse, or use the laptop cursor keys to move up and down.

Things do get better In the days of Windows XP, connecting the second screen was something of a dark art. Since 2006, Windows has had three major updates and now when you connect a projector to a laptop, Windows automatically detects it and asks what you want to do. Better yet, it remembers what you did and does the same next time. Plug the projector into the laptop, and it works – believe me, that makes the projectionist’s life much less stressful.

Coupled with that, things have become easier for members. Digital images have areas to store metadata – exposure time, aperture, ISO settings and so on – but there are also areas to store the author, title and subject of the image. Setting the author and title was slightly awkward in Windows XP. Since Windows Vista, it’s become much simpler: the image metadata can be seen and edited in Explorer.

Like Windows, but without the same level of publicity, FFP has had three major updates since

Photography News | Issue 10

editing software makes monochrome easy and most cameras have a black & white mode. The result is we now have an annual monochrome competition with strong entries from most members.

The best unexpected sparks are when clubs think of uses for FFP that have never occurred to me. For years, I’ve been trying to think of a way to electronically score print competitions; the best I’d come up with was to use a webcam to photograph each print as it was put up for scoring, which even I could see was crazy. Then a projectionist casually mentioned to me that they’d been using FFP to score their print competitions for some time; his club told members to email a JPEG of their print to the projectionist before the meetings. These were loaded into FFP and it was easy to give each image a score as the corresponding print was judged. I wish I’d thought of that.

So are we there yet? I think we might be close; there are still members who struggle with setting the metadata – but we had members who struggled with putting the dots on 35mm slide mounts.

In a new digital era, it was ridiculous that we should have to give up some of the flexibility and functionality of slides

2006. The current version (3.3) has a range of Judges’ Aids, which show the shooting information and can crop, rotate, flip, lighten or darken the projected image. FFP supports six different competition types and has a configurable scoring system to cope with most club scoring schemes.

When I started planning the scoring software, I started researching what clubs used – I asked members of other clubs and visiting judges, and looked at club websites. I was surprised at the diversity. Now it’s gone beyond that and I’ve become convinced that no two camera clubs have identical schemes. And some are so complicated that I wonder how the clubs in question managed to score competitions before computers. It was only after around a year of feedback and improvements that I became reasonably confident that FFP covered pretty much every angle. www.photography-news.co.uk

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MANFROTTO ACCESSORIES

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Using the BeFree is fuss-free too, with simple clip leg locks and new patented leg angle selectors offering two leg inclinations for maximum versatilty. It even comes with a dedicated shoulder bag to protect it and make it easier to carry, but Manfrotto now has a new, even more elegant solution to taking the BeFree on your travels with the rest of your kit – the Advanced Travel Backpack.

All in one bag The new Advanced Travel Backpack makes travel simple, letting you carry your camera kit, tripod and personal items all in the same bag. A bottom compartment accommodates your camera and lenses, with removable dividers you can arrange to suit. This leaves the top half to carry your personal items, or more photo accessories, and zipped side access makes it quick and easy to get to the whole lot. If you’re not taking your camera, then you can even adjust the internal compartment divider to convert the Travel Backpack into an everyday bag.

answer, with adjustable hanging straps on the front.

Sharing its build quality, protection and style with the rest of the Manfrotto Advanced bag range, the Travel Backpack is already an award winner, picking up the Red Dot Design Award for best design

product 2014. With the combination of the Travel Backpack and the BeFree tripod, you’ll be onto a winner too. π To find out more, go to www.manfrotto.co.uk.

The best bit about the Travel Backpack though is that you don’t have to lug around a tripod separately.

It has an extendable side padded pocket designed to accommodate the BeFree – it’s the perfect partner for the ideal travel tripod. If you want to take a different tripod, the Travel Backpack is still the

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Issue 10 | Photography News

14

Opinion

SPEAKERS’ CORNER

More pigeonholes?

With the lines between photography and graphic design getting more and more blurred, Dennis Worrall reckons it’s time for new categories in contests and salons © Dennis Worrall

Words by Dennis Worrall FRPS Recent discussions on the judging methods used or preferred by photo clubs or exhibition organisers have generated a great deal of discussion among photographers. This is good, as it has made people aware of how much work judges put into their efforts to not just award marks but also help members improve their work, which is very important. I started to enter work at a club many years ago. They were not outstanding pictures, which you would expect as a beginner, but some of the judges in those days were very harsh in their comments – if you know many old codgers like me, ask them and be surprised. One of my landscape efforts was swept aside with the comment that the clouds in the sky looked like smoke signals. Not very encouraging, but I persevered and eventually became a judge myself.

My own experience across a large range of photographs over a long period has made me a little reticent regarding the appreciation of one image over another. Sometimes there is one image that stands out clearly as the winner, but on many occasions in large club exhibitions, I find that I have a collection of six or seven prints or PDIs from which to choose a winner. This then comes down to personal choice, but how do you compare an excellent landscape or action shot with a very good portrait? This is very difficult for a judge by himself. © Dennis Worrall

Photography News | Issue 10

This is why I prefer judging with two other respected judges using an electronic scoring machine that scores from two to five. This creates a conglomeration of scores, but they do form into a coherent mass. High scores, ie. 3x5 = 15, usually pick themselves, with the judges only having to fight over — sorry, I mean discuss — the merits of the very best pics. This does make for a good balanced selection of work with the best one coming to the top: fine by me, as long as it’s one I like.

Things have changed a great deal in recent years with digital capture moving on at a terrific pace, and we are faced with new challenges. I found it astonishing how quickly film and film cameras were displaced by digital capture. The cameras are still improving and, of course, this means much better quality images. We no longer work in the dark with chemicals in a tray to produce images, although I still look at my monochrome prints with admiration and a certain amount of sadness at the passing of this process, the quality of which is still hard to beat.

It was with this medium that I gained my fellowship of the RPS and to my great pleasure I was elected as a member of the London Salon, which has an annual exhibition that travels around the country and is well worth visiting. The members are all top photographers and very friendly, although my first print in the exhibition was not on the wall at the opening and I found it in the gents’ toilet. When I brought it out, Bob Moore Hon FRPS and Alan Jackson FRPS stood outside grinning from ear to ear and strongly denying any wrongdoing, but good humour should also be a strong point in all clubs – it’s not a war zone.

A discussion that I’d like to start is about the large number of highly manipulated prints and

A lot of photographers could now be called graphic artists, as sometimes their pictures have only a small percentage of photographic content

PDIs that we are seeing in the open exhibitions.

The wealth of plug-ins for Photoshop and other image-editing software packages has changed the face of photography greatly. A lot of photographers could now be called graphic artists, as sometimes their pictures have only a small percentage of photographic content in them.

I was surprised in a recent international here in the Midlands, where so many prints were oversharpened and had too much contrast, and some components that had been imported into the original were poorly done and far too obvious (except to the judges!) – the edge effects looked too cut out and clearly visible.

This is up to the judges to sort out, but I’m advocating a new section in exhibitions for highly manipulated or creative images, leaving work that has only received a little tidying up in a separate section. To my mind, the judges would prefer this approach, since the mix of little-altered and highly manipulated work is a difficult thing to compare fairly. The same judges could do the judging on the same day and enjoy the freedom to pick the best from each section, with the same scoring – five for real ale, two for lager.

It would to a large degree depend on the entrants entering the appropriate section, and I feel that the judges should be allowed to move work to another section if they thought it was in the wrong one.

Some time ago, a similar thing happened with nature photographers, who in some exhibitions were placed in the open sections. When the nature group were given their own section, it proved to be a very popular move I am a member of Smethwick PS, which is a very large club, probably the biggest in the UK, and has been very successful for many years. The members work hard and have a great sense of humour, which all clubs should have. The change that I and many others are advocating would be good, and it is not intended to penalise anyone. It would be a change for the better, and I hope it will be taken on board – if it is successful, great, but if not it will not do any harm to our photography.

I am emigrating as quickly as possible, certainly before this article is published. π To find out more about Smethwick Photographic Society, go to www.smethwickphotographic.co.uk.

WHAT DO YOU THINK? LEFT Martha with pet chicken. ABOVE Traveller girl.

Should he stay or should he go? Is Dennis wrong about the need for new categories, in which case he should start packing? Are we too quick to pigeonhole? Or is he right and we need more categories? Let us know where you stand at opinion@photography-news.co.uk.

www.photography-news.co.uk

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Issue 10 | Photography News

16

Competitions INTERVIEW

Make it Britain The EEF Photography Competition 2014: Make it Britain was established to promote British manufacturing and Terry Scuoler, CEO of EEF, the manufacturers’ organisation, fills us in on how the industry has been inspiring photographers Interview by Megan Croft For our readers who haven’t heard of EEF, could you give us a brief introduction?

Essentially, we are the voice of British manufacturing, we aim to secure the future of British manufacturing and to give those who ‘Make it Britain’ the support they need to achieve success and growth. We ensure that manufacturers and their needs are heard by the Government and policy makers. We also provide them with the tools and information they need to evolve and compete in a fast-changing world.

ABOVE TOP Watching and Waiting, Ray Troll, runner-up of the 2012 professional photographer category.

What was the catalyst for starting up a photography competition?

British manufacturing is vital to our economy. Our sector employs 2.6 million people and accounts for 11% of GDP. However, in many ways the success of British manufacturing is flying under the radar. Our own research shows that there are many myths and

BELOW Precision, Mike Smith, winner of the 2012 professional photographer category.

ABOVE RIGHT Molten Man 2.0, Shane Butler, winner of the 2013 amateur photographer category.

misperceptions out there. Many wrongly believe that we don’t make things in Britain any more. Every day we take for granted products and inventions that have been made by British brains and hands.

A large part of the success of our industry is wrapped up in how people see what we do and how they think about it. Pictures are both powerful and emotive, so a photographic competition felt like the right way to promote what our industry is doing and to demonstrate how modern, creative and exciting it is.

Why did you decide to establish a photography competition to promote British manufacturing instead of anything else?

Manufacturing is a driving force behind the British economy but we are still not vocal enough in celebrating its achievements. A picture tells a thousand words and nothing captures the public’s imagination quite like an amazing photograph.

The competition also fits brilliantly with our broader ‘Make it Britain’ campaign, which aims to demonstrate how integral manufacturing is to Britain today. A key part of this is encouraging companies, manufacturers and apprentices to tell their story, share pictures and to demonstrate what makes manufacturing so great.

What do you aim to achieve with your photography competition?

We want gifted photographers to help us put British manufacturing in the spotlight by capturing its brilliance and significance. We are looking for iconic images that truly showcase our sector’s creativity, diversity and dynamism. The right photograph can capture the imagination and inspire generations.

We believe the best way of showing people this and challenging their own perceptions is through the eye of a lens.

Photography News | Issue 10

Why do you think British manufacturing makes an interesting genre for photographers?

It’s diverse, it’s dynamic and it’s a challenge.

Manufacturing covers every sector from electronics to food, to aerospace to clothing – nothing is too big or small to be caught on camera. A lot of people still think manufacturing is about men in boiler suits and dirty factories, so when people see exciting and impactful images to the contrary they do a double take. This is also the challenge presented to photographers in this competition: capture the essence of modern manufacturing and try to make people rethink what it really is.

What kind of response have you had to the competition?

The response has been great; the images that go on display have the ‘wow factor’ and are a real talking point. They grasp the imagination, challenge outdated stereotypes and make us rethink what manufacturing is today. We’ve even had senior politicians request photographs to hang in their offices, which is a real testament to the outstanding quality of many of the entries we receive.

We’ve also got some heavyweight backing, with support from Lombard, Canon, The ERA Foundation, BIS, APMG, The Guild of Photographers, The Manufacturer magazine and The Times. This shows that others take the aims of the competition as seriously as we do.

How many photos were entered into the competition last year?

Last year we had just under 900 entries and 77 of these were shortlisted. The split was roughly 50/50 between the professional category and amateur and young categories. Previous entrants have ranged from manufacturing businesses, people working www.photography-news.co.uk

Competitions

in the industry, young people on work placements and people who are simply passionate about photography.

Do you know who this year’s judges will be?

Last year we had a number of high-profile people from the industry, including the industrial editor of The Times newspaper, the editorial director of The Manufacturer magazine and a professional photographer from Canon. We are still in the process of confirming this year’s judges and we expect the line-up to be just as impressive.

17

ABOVE Inhibitor, Andrew Kay, shortlisted in the amateur photographer category in the EEF Photography Awards 2013 in partnership with Canon, Lombard, ERA Foundation

Can you tell us about the awards ceremony?

We will be inviting this year’s shortlisted entrants to the House of Commons again, as it is a truly magnificent venue that gives the competition and the photographers the platform they deserve. It is also the place where we announce our national finalists and runners-up. The award ceremony is always a popular event and well attended by photographers, stakeholders, the media and politicians.

How does the shortlisting process work?

The judges review the entries and put forward up to five images each, which the entire panel then review together and select the winners.

What makes a winning image?

The judges will be looking for strong, creative images that raise questions in people’s minds. Does the image provoke surprise or admiration? Will people look at it and say: “I didn’t realise we made that in Britain”? Will it inspire the next generation of young engineers?

Photographs must represent part of the product, component or process in manufacturing, but the possibilities for how to capture them are endless.

What advice would you give to this year’s hopefuls?

To use a much over-used phrase, think outside the box. Your photo doesn’t just have to be of the finished product in its full glory, but also of the intricate www.photography-news.co.uk

processes that brought it into being, or a small section of the product taken at an unusual or intriguing angle.

Don’t forget that nothing is too big or too small.

Perhaps get a bit adventurous and find out if you can visit any manufacturing sites in your area. A number of our members have opened their doors for the competition and you can find out if any of them are near you by visiting our website. Wherever you live in the country, we are manufacturing a huge range of things in every single region, so there is no shortage of things to photograph.

We want gifted photographers to help us put British manufacturing in the spotlight by capturing its brilliance

Where can we see the winning images?

You can see all of the photos from our previous winners and runners-up on our website. The standard of entries continues to impress every year – it’s not easy choosing a winner.

Is there anything else you would like to share with our readers?

The Make it Britain photography competition is now in its fifth year and every year I am impressed by the high standard and surprising variety of entries we

receive. Previous winners and shortlisted entrants have had their photographs featured in the national, regional and trade press, so if you are looking to build your portfolio and name as a photographer I would urge you to enter. You will also be helping to update the image of manufacturing and change the way people think about this important industry. I’m really looking forward to seeing this year’s outstanding and iconic images. π To find out more about the exhibition, go to www.eef.org.uk/photo.

Fancy entering?

The competition has three categories: amateur, professional and young. There is no limit on the number of photographs that you can enter into the competition, just be sure to get your entry in by the deadline of 30 September 2014. Entry into the competition is free and is possible via the competition website. There’s £5000 of Canon kit up for prizes.

Shortlisted entries will be announced on the EEF Photography Competition website from 3 November and the winners and runners-up will be announced at a ceremony, more details of which will be released closer to the time.

Issue 10 | Photography News

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19

CANON PIXMA PRINTERS

Print your adventures Professional landscape and travel photographer David Noton has captured the world through his lens. What makes it all worthwhile for him is seeing his photos printed in the high quality they deserve, something he can now achieve with his Canon PIXMA PRO-1 He’s explored deserts, trekked through rainforests, climbed some of the highest mountains and crossed ice caps. If you haven’t heard of David Noton by name, you’ll have almost certainly come across his pictures in magazines, exhibitions or maybe you even have a print hanging on your living room wall. The award-winning landscape and travel photographer has over 26 years of experience and has seen his work printed in publications around the world and enjoyed enormous exhibition success, his latest attracting an astonishing 27,000 visitors.

David’s photography career began following a stint in the military, after which he decided to follow his true passion and took up a college course in editorial and advertising photography. In his final year, having his photos printed as posters by Athena was the confirmation he needed and it marked the beginning of his now incredibly successful career.

Seeing his photos professionally printed for the first time gave David an undeniable buzz, one that he still gets to this day.

“You can’t beat looking at an image as a big, beautiful print; for most of us it’s that kick that got us into photography in the first place,” explains David. Having racked up enough air miles and been on enough adventures to last a lifetime, it’s the prints that are the true trophies of his globe-trotting photographic quests. “Let’s face it we spend much of our time looking at images on a screen, but it is so much more rewarding to see them as prints hanging on a wall; there is an undeniable feel of quality and tangible worth to a print.”

“Having been a pro for a long time, it has been a struggle to get decent quality prints,” says David.

Shooting on a Canon EOS 5D Mk III, David gets the exceptional in-camera detail he needs and now with the Canon PIXMA PRO-1 printer he can produce the high-quality prints he wants too. “Now at the click of a mouse you can get exhibition-quality prints – it’s a liberation,” exclaims David. “The PIXMA PRO-1’s in-

ABOVE Just one of the many seascapes David has snapped over the years RIGHT David Noton. BELOW The PIXMA PRO-1.

built plug-in for Photoshop makes the process easier and the image and print quality are fantastic.”

There’s no need to send your images away to a professional photo lab to achieve detailed prints.

The PIXMA PRO-100, PIXMA PRO-10 and PIXMA PRO-1 make up Canon’s range of professional-grade printers and are perfect for effortlessly exceptional home printing. Each is capable of printing in pixelperfect detail up to A3+ size – ideal for printing for camera club exhibitions or awards. The PIXMA PRO range offers print speeds from as quick as just one

Now at the click of a mouse you can get exhibitionquality prints – it’s a liberation

minute and 30 seconds for an A3+ print. Within the range there’s also a variety of colour systems, from an eight-ink system up to a 12-ink system. The versatility and high reliability of the range means there is a model to suit every photographer’s needs.

David finds his PIXMA PRO-1 really comes into its own in business meetings with current or prospective clients. People have become accustomed to viewing images on a screen, so an easy way to impress and stand out from the crowd is to bring a printed image. “Taking A3 images to a meeting is a bold statement and looks fantastic,” he says.

“We don’t need to get bogged down in complex colour management; by just following a few simple steps we can all make prints of the most incredible quality; prints with gorgeous gradation of tone and rich yet faithful colours,” says David of the PIXMA PRO range. Give your images the print quality they deserve with a Canon PIXMA PRO printer.

π To find out more, go to www.canon.co.uk/ PIXMA www.photography-news.co.uk

Issue 10 | Photography News

20

Photo shoot

Photo 24 London

The second Advanced Photographer Photo 24 in association with Nikon and Nikon School attracted 250 keen photographers from all around the UK to the capital for a mega photo shoot.

Here’s the story of the day’s events © Will Cheung

Sharing experiences with like-minded people is one of the very special qualities that photography offers and that is partly the thinking behind Photo 24: it’s a 24-hour, free photo shoot on the longest day of the year in one of the world’s best photographic locations, London. Photographers could shoot literally for the whole 24 hours but could do a few hours and then head home. It was down to the individual. The only restriction was the number of photographers we could involve.

The shoot kicked off with a briefing at our base held by Advanced Photographer and PN’s editor, Will Cheung. The logistics of the shoot, such as how the meet-up points would work, the competition themes to shoot and general advice for shooting in a busy city including ‘buddying up’ for those keen to shoot through the night.

Photography News | Issue 10

ABOVE A nice long twilight was great for photography and light pollution was not an issue until about 11pm.

© Daisy Dickinson

Words by Will Cheung

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Photo shoot

21 © Will Cheung

On 20 June, the night was blissfully short. With twilight and predawn it was probably truly dark for only four hours and that time was easily consumed, enjoying floodlit buildings and street photography with high ISO settings.

Of course, as ever with outdoor events in this country, the weather was going to play a major part in events but for the weekend of 20 and 21 June, the forecast was promising. No rain, no wind, comfortable temperatures and best of all, plenty of sunshine but some cloud to give variety.

Five meeting points had been organised for the shoot where magazine staff and Nikon personnel were going to be on hand for the hour to offer shooting advice and technical support if needed.

The shoot wasn’t a treasure hunt where readers had to attend each meet-up point and it was optional, if people wanted to attend.

At the time of each meet-up point a mini competition theme, with Nikon prizes to be won, was announced, using the wonders of text to communicate this immediately to everyone on the shoot whether or not they came along to the meetup point. The theme applied for the whole 24 hours so as long as the image was shot in that period it was eligible.

We had several big contests too with the prize for the overall best image winning a Nikon D7100 and lens kit worth £1080.

© Will Cheung

About Nikon

© Will Cheung

The forecast was promising.

No rain, no wind, comfortable temperatures and best of all, plenty of sunshine

ABOVE The amazing ISO performance of cameras like the Nikon Df meant successful handheld photography was possible in the most challenging lighting conditions.

Leading camera manufacturer Nikon offers a range of great products for photographers of all levels. In its DSLR range, there are entry-level models, such as the D3300 and D5300, as well as products like the D800, the highest resolution 35mm format camera around, and the flagship D4s with its top ISO of 409,600 and 11fps shooting with continuous AF. Put simply, there is a Nikon camera for photographers of all skill levels and budgets.

The recently launched full-frame Nikon D810 offers 36.3-megapixel resolution on a new sensor that comes without an antialiasing filter for the resolution of the finest detail. On sale from 17 July, £2700 body only. π To find out more, go to nikon.co.uk.

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Issue 10 | Photography News

22

Photo shoot Meet-up point one was at the Battle of Britain monument, close to the Houses of Parliament, Westminster Bridge and with a great skyline dominated by the London Eye across the river. There was plenty to aim the camera at and this meet-up point proved popular with our photographers.

The sun was playing hide and seek for a while but as it dropped in the sky, cloud cover got heavier and while there was little direct sunlight we got some nice, colourful clouds that tempted a few of us to try very long exposures with our tripod-mounted cameras. Twilight lingered nicely and there was still natural colour rather than light pollution in the sky an hour after sunset.

Meet-up point two was important for the throughthe-night shooters wanting company with Del Barrett ARPS, the RPS’s London regional organiser leading the shoot through to dawn. The planned walking route, starting at Liverpool Street station was due to end in Soho before heading to meet-up point three on Waterloo Bridge for a 4.30am sunrise.

Impressively, there were over 30 photographers on Waterloo Bride eagerly awaiting the sun’s arrival on summer solstice – and not a Druid in sight. The sky above was clear but a layer of low cloud meant the sun took a little while to makes its appearance.

By 6.30am the photographers had thinned out and while there were a few stragglers most had headed off for breakfast and other locations while the city was relatively peaceful. With the Tube back open some headed towards preplanned locations like the City and Canary Wharf where the low sun would make for good images.

ABOVE 24 hours later: the team at the end of the event. From L to R (Photography News staff unless otherwise stated): Del Barrett, (night shoot team leader), Neil Freeman (Nikon School), Will Cheung, Becca Kalama, Dave Stone, Ian Fyfe, Jules Payne, Roger Payne, Lisa Clatworthy, Kingsley Singleton and Artur Teixeira (Nikon School).

Nikon School Based at the Nikon Centre of Excellence in central London, the Nikon School offers training to photographers of all levels looking to develop or refine their skills. Courses combine theory and hands-on practical assignments, allowing you to put what you’ve learned into practice, and range from understanding your digital SLR and lenses to more specific technique-based courses. Whilst the majority of courses run at the School, a selection of skills-based courses that focus on areas such as sports and landscape photography take place on location. π To find out more, go to www.nikon.co.uk/training/, email training@nikon.co.uk, or phone 0330 123 0934. © Will Cheung

Photography News | Issue 10

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Photo shoot

23 See the pictures

Impressively, there were over 30 photographers on Waterloo Bridge eagerly awaiting the sun’s arrival on summer solstice – and not a Druid in sight More Photo 24’ers who couldn’t make the Friday were joining the shoot on Saturday so another briefing session was held.

Three photo critique sessions were also being held on Saturday morning at the Nikon School. This was the chance for photographers to pick an image taken during Photo 24 for the experts at Advanced Photographer to have a look at and offer advice on.

The sessions proved popular and very lively, and hopefully useful to those who came along.

For those photographers keen to carry on shooting, a morning meet-up point had been organised, this one being at Waterloo with the nearby so-called Banksy’s tunnel and its colourful graffiti being a location for photographers to enjoy.

Our final meet-up point was at the base of the Shard at 2pm. The sun had not let us down and the light was good; while there were a few clouds they were of the small and fluffy variety so giving a lovely background to our shots.

If you want to see the entries of the competitions run during Photo 24 please see the below websites.

BEST OVERALL IMAGE www.flickr.com/groups/nikonbestoverall Prize: Nikon D7100 with 18-105mm lens worth £1080

All too soon it was back to the hotel for the event’s official close and home for a sleep. We had over 200 people start the shoot the previous night and at the final briefing we had about 70 photographers, many of whom had been up all night, which was great to see. Despite the effort involved and the tired faces there was an energy and satisfaction around the room. A lot of great pictures had been taken and a wonderful experience enjoyed by all.

BEST STREET PICTURE www.flickr.com/groups/nikonbeststreet Prize: Nikon COOLPIX S9700 worth £329.99, a Nikon training voucher worth £129.99, Nikon USB memory stick ICONIC LONDON www.flickr.com/groups/nikoniconiclondon Prize: Nikon COOLPIX S9700 worth £329.99, a Nikon training voucher worth £129.99, Nikon USB memory stick SHOOT MONOPOLY www.flickr.com/groups/nikonshootmonopoly Prize: Nikon COOLPIX S9700 worth £329.99, a Nikon training voucher worth £129.99, Nikon USB memory stick CREATIVE COLOUR www.flickr.com/groups/nikonphoto24colour Prize: A Nikon Original Goods bag, a Nikon training voucher worth £129.99, Nikon USB memory stick © Will Cheung

LONDON BY NIGHT www.flickr.com/groups/nikonlondonnight Prize: A Nikon Original Goods bag, a Nikon training voucher worth £129.99, Nikon USB memory stick BRIDGES ACROSS THE RIVER THAMES www.flickr.com/groups/nikonlondonbridges Prize: A Nikon Original Goods bag, a Nikon training voucher worth £129.99, Nikon USB memory stick

ABOVE London is a brilliant location offering everything from creative architectural shooting to protests and street candid work.

URBAN LIFE www.flickr.com/groups/nikonurbanlife Prize: A Nikon Original Goods bag, a Nikon training voucher worth £129.99, Nikon USB memory stick THE SHARD www.flickr.com/groups/nikontheshard Prize: A Nikon Original Goods bag, a Nikon training voucher worth £129.99, Nikon USB memory stick

© Lisa Clatworthy

© Will Cheung

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Issue 10 | Photography News

24

Camera review

Compact system cameras big test: part 1 Small bodies and compact lenses make CSCs an attractive prospect, but do they really deliver the performance we need? We put six with big sensors to the test Words by Ian Fyfe

Compact system cameras (CSCs) are coming of age. Since their first appearance six years ago, their evolution has advanced so rapidly that there is now a number of established systems offering performance to challenge many DSLRs, backed up by extensive lens ranges. And they’re not just for the consumer market either – yes, the entry-level models are ideal as a step up for compact users, but they still offer much of the same as many DSLRs, and the top-end models are aimed at enthusiasts and professionals looking for a smaller camera that will do the same job as their DSLR. CSCs are not one class of camera though, and besides the lens mounts, what distinguishes between systems is the sensor size. These cover just about the full range of sensor possibilities: 35mm format (Sony A7 and A7R), APS-C (Sony, Samsung, Fujifilm), Micro Four Thirds (Olympus, Panasonic), and smaller sizes similar to premium compacts (Nikon 1, Pentax Q, Samsung Mini NX). As a general rule, a smaller sensor size means lower quality images, but that’s not always the case, and there are other advantages – a smaller sensor allows for a more compact body, and lenses are smaller too, maximising the main benefit of the CSC concept – size.

Photography News | Issue 10

There is now a number of established CSC systems offering performance to challenge many DSLRs With such a variety of systems available, covered by a huge range of prices, it’s difficult to know exactly what each is capable of, how they compare to the alternatives and whether you’re getting your money’s worth. Over the next two issues, we’ll compare some of the options, starting in this issue with entrylevel and top-end CSCs with large sensors, and concluding next issue with a comparison of Micro Four Thirds models from Olympus and Panasonic.

Our entry-level models this time are the Canon EOS M, Fujifilm X-M1 and Samsung NX300, all of which have APS-C format sensors. You could argue that this class of camera provides the best balance of size benefit and image quality, because they’re the smallest and lightest cameras to house

the same size of sensor as most DSLRs. While this ensures top image quality, it offers convenience close to that of a compact, although the drawback is that handling can be somewhat compact-like as well, both in terms of buttons and dials as well as the lack of a viewfinder. This is what makes these a good choice for users stepping up, but for more advanced users can be limiting.

Alongside these, we’ll look at the Fujifilm X-T1, Samsung NX30 and Sony A7, top-end models that offer serious challenges to advanced DSLRs. They come with excellent build quality, and in some cases full weatherproofing, and big specs such as shooting rates that push into double figures. On paper, at least, they’re capable of everything an enthusiast DSLR can do, it’s just that they’re a lot smaller. What’s more Sony has mixed things up with the introduction of the A7 series, providing what seems to be the Holy Grail – a full-frame sensor in a very small body, sitting in the same price range as other top-end CSCs, and just below the level of the cheapest full-frame DSLRs. In this test, we look at how each of these cameras perform in tests of resolution and ISO performance, and deliver our verdict on what each has to offer. www.photography-news.co.uk

Camera review

25

Canon EOS M

Fujifilm X-M1

The biggest attraction of the EOS M for existing Canon DSLR users is that you can use it with Canon EF lenses via the mount adaptor, costing an extra £109. This widens the options considerably, although using big lenses negates the benefit of the small body.

In use, there’s some familiarity for Canon DSLR users, but plenty to adjust to. The PASM modes come under Creative Auto on the mode dial, selectable in the quick menu, and there are few direct access buttons, with limited customisation. There’s no viewfinder either. DSLR-level control is still there, it’s just mostly tucked away in the quick menu. The touchscreen makes this simple, but it’s also easy to move the focus area by accident, and you can’t turn touch functionality off.

Focusing in the EOS M has been criticised, but we found the latest firmware (v2.0.2) made focusing more decisive, and brings AF speed closer to competitors.

Although aimed at the entry-level market, the X-M1 has the same X-Trans sensor technology as the top-end X-series. The body is very small – it’s very light, but slightly awkward to hold. Vulnerable positioning of the exposure compensation dial on the corner also means it can be turned accidentally.

Otherwise, control of the camera is great. The back dial is the main control and the buttons provide comprehensive direct access. For anything you can’t get to directly, there’s a quick menu, which does a great job.

We’re getting used to touchscreens on these cameras, but the X-M1’s screen is not one.

Focusing with the X-M1 isn’t the quickest, but it’s reliable. The continuous and tracking AF functions seem somewhat flawed though, since they focus continually, but then refocus as though in single AF mode when you halfpress the shutter button, by which time your subject has moved on.

KEY SPECS PRICE £299 with 18-55mm CONTACT www.canon.co.uk SENSOR 18 megapixels with Digic 5 ISO RANGE 100-25,600 expanded

AUTOFOCUS One-Shot, Servo, manual SHOOTING SPEED 4.3fps DIMENSIONS 108.6x66.5x32.3mm WEIGHT 298g (inc. battery and memory card)

Fujifilm X-T1

Samsung NX30

Everything about the X-T1 speaks of quality, and the handling gives you delightfully stripped-back control. For example, there’s no mode dial, but shooting mode is determined via the aperture ring and shutter speed dial.

There are also ISO, drive mode and exposure compensation dials.

The X-T1’s viewfinder is the biggest of its kind with a magnification ratio of 0.77x. It feels huge, the image is extremely clear, and there’s no noticeable lag. You can change the view mode too, including the option of having the EVF on permanently, with no activation or switch-over delay when lifting it to your eye.

In good light, the X-T1 is very quick to focus, while top shooting speed is eight frames-persecond. Storage can keep up, since the X-T1 supports the new UHS-II SD format. Manual focusing makes use of Fujifilm’s innovative digital split imaging technology, which mimics the split-image focusing of film SLRs.

Without a sense of scale, you could mistake the NX30 for a DSLR, and the user experience is similar. The handgrip is comfortable, and direct access control on the body is fantastic.

The electronic viewfinder has an impressive 2359k dots, and its magnification is similar to most APS-C DSLRs. Uniquely, it also tilts by up to 80°, but there’s also the articulated LCD. This LCD is a touch panel and includes one of the cleverest touchscreen functions around: you can use your finger to drag out a box and drop it anywhere in the frame for instant spot metering. With plenty of light, the autofocus is speedy, and rarely fails to lock on – even in low light, it’s surprisingly tenacious.

With Samsung, you always get a plethora of connectivity options, and it’s no different here, with plenty of image sharing options and Remote Viewfinder Pro, providing impressive levels of remote control from a smart device.

KEY SPECS PRICE £1349 with 18-55mm CONTACT www.fujifilm.co.uk SENSOR 16.3 megapixels with EXR II processor ISO RANGE 100-51,200 expanded

AUTOFOCUS Single, continuous, manual SHOOTING SPEED 8fps DIMENSIONS 129x89.8x46.7mm WEIGHT 440g (inc. battery and memory card)

Samsung NX300

Sony A7

The NX300 launched much of the latest NX technology. Perhaps most significant is the autofocus, which unlike previous NX models, is a hybrid system with phase detection. In good light, this makes it pretty speedy.

There’s plenty of Smart technology in the NX300, with latest additions including Autoshare and Remote Viewfinder – this lets you release the shutter from a smart device, but with little control over settings.

Samsung has done well in combining traditional and touchscreen control for a cohesive interface. The Fn menu panel, for example, is easily accessed with the Fn button, but once it’s open, the panel-like interface on-screen makes it intuitive to use the screen instead of buttons.

The most obvious absence in the handling of the NX300 is a viewfinder; it feels like it needs one, although few other CSCs in this price range do.

The A7 provides the best of both worlds – a full-frame sensor in a body the size of the Fujifilm X-T1. The problem with the full-frame set-up though is that lenses are less compact, and with telephoto or prime lenses, the body’s size advantage all but disappears.

Like any other CSC, no mirror means onsensor autofocusing. Here, it’s a Fast Hybrid AF system with phase-detection. For sensorbased technology, it’s speedy and reliable, but struggles when light levels fall. Burst shooting also suffers – without focusing, the A7 has a top burst speed of five frames-per-second, but add autofocusing and this drops to 2.5.

While the body is small, the handgrip gives a firm hold. There’s good button customisation available, although the control wheel/directional pad can be fiddly, and responses aren’t always the quickest. The electronic viewfinder has 2.36 million dots for a crisp, accurate preview with little lag.

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KEY SPECS PRICE £425 with 20-50mm CONTACT www.samsung.com/ uk SENSOR 20.3 megapixels with DRIMe IV ISO RANGE 100-25,600 extended

AUTOFOCUS Single, continuous, manual, Touch AF & Shutter SHOOTING SPEED 8.6fps DIMENSIONS 122x63.7x40.7mm WEIGHT 333g (inc. battery and memory card)

KEY SPECS PRICE £429 with 16-50mm CONTACT www.fujifilm.co.uk SENSOR 16 megapixels with EXR Processor II ISO RANGE 100-25,600 expanded

AUTOFOCUS Multi, area, continuous, tracking, manual SHOOTING SPEED 5.6fps DIMENSIONS 116.9x66.5x39mm WEIGHT 300g (inc. battery and memory card)

KEY SPECS PRICE £799 with 18-55mm CONTACT www.samsung.com/ uk SENSOR 20.3 megapixels with DRIMe IV ISO RANGE 100-25,600

AUTOFOCUS Single, continuous, manual, touch SHOOTING SPEED 9fps DIMENSIONS 127x95.5x41.7mm WEIGHT 375g (inc. battery and memory card)

KEY SPECS PRICE £1399 with 28-70mm CONTACT www.sony.co.uk SENSOR 24.3 megapixels with BIONZ X ISO RANGE 50-25,600

AUTOFOCUS Single-shot, continuous, manual, direct manual SHOOTING SPEED 5fps DIMENSIONS 126.9x94.4x48.2mm WEIGHT 474g (inc. battery and memory card)

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Camera review ISO performance With the Canon EOS M and the two Samsungs, noise started to show itself significantly from ISO 800 upwards, although with close scrutiny there was a small amount of grain at ISO 400 in images from the Canon. Noise in the Canon has an increasing impact at higher levels, interfering with detail and becoming really quite significant at ISO 3200 and above. The Samsungs hold out slightly better – ISO 1600 sees plenty of grain and loss of detail, but ISO 3200 isn’t much worse. There’s quite a sudden degradation in quality at ISO 6400.

You might expect its full-frame sensor to give the Sony A7 a big advantage here, but that wasn’t really the case in our tests. It did have a slight benefit over the Canon and Samsungs, in that the impact of noise on image quality was slightly lower up to about ISO 3200, although the advantage wasn’t huge and there was no benefit in terms of when noise first became noticeable – ISO 800 was where it first had an effect.

By far and away the best performers in our CSC group when it came to high ISO were the two Fujifilms, and the X-T1 in particular. With the X-M1, the impact of noise was minimal even at ISO 1600. At the top two native settings of ISO 3200 and 6400, noise was more of an issue, and caused some loss of detail, but still impressively little and even these levels are very usable. The X-T1 was even better, and kept noise at bay almost entirely up until ISO 3200 – even at

this level, quality is still very good. Even the highest native setting of ISO 6400 is still very usable.

In both Fujifilms, extended ISO settings above 6400 are only available with JPEG files, not Raw. This is a shame, because noise reduction can’t be entirely turned off, and grain is smoothed at the expense of detail.

This leaves images looking like Impressionist oil paintings, which is a shame, because based on the performance up to this level, Raw files may well have been usable. Still, an impressive performance by both Fujifilm models, and in particular the X-T1.

CANON E0S M

FUJIFILM X-M1

ISO 1600

ISO 1600

ISO 3200

ISO 3200

ISO 6400

ISO 6400

ISO 12,800

ISO 12,800

FUJIFILM X-T1

SAMSUNG NX30

SAMSUNG NX300

SONY A7

ISO 1600

ISO 1600

ISO 1600

ISO 1600

ISO 3200

ISO 3200

ISO 3200

ISO 3200

ISO 6400

ISO 6400

ISO 6400

ISO 6400

ISO 12,800

ISO 12,800

ISO 12,800

ISO 12,800

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Camera review CANON E0S M

27

FUJIFILM X-M1

Resolution We photographed a number of scenes containing plenty of detail with each of our cameras to test their resolution and image quality in Raw and JPEG files. For each scene, cameras were adjusted to the same ISO, aperture and equivalent focal length, and focused on the same point in the scene. For each camera, its own kit lens was used, so the judgement is based on the camera-lens combination you get for the standard price – differences in lenses means performance could vary if you use other lenses.

The combination of the higher number of pixels and bigger full-frame sensor size means there is more detail in the Sony images than the others – exactly what you’d expect, but it costs the same as the X-T1, so you get the benefits for the same outlay.

Amongst the others, the two Samsung cameras do well, also because of their pixel counts – the Raw files are impressively sharp, and not that far behind the Sony. With only 16 megapixels, the Fujifilm cameras suffer slightly in comparison, but in fact have the edge over the higher-resolution Canon EOS M. The two Fujifilms do the best job with JPEG processing too – they’re the most sympathetic to subtle tones and details.

RAW

RAW

JPEG

JPEG

FUJIFILM X-T1

SAMSUNG NX30

SAMSUNG NX300

SONY A7

RAW

RAW

RAW

RAW

JPEG

JPEG

JPEG

JPEG

The verdict Compact system cameras might be a category of camera that you wouldn’t normally look at twice, but whether you’re interested in a small backup on a budget or a highly specified lightweight replacement for your DSLR, there’s something in the CSC category that’s worth considering. Spend less, and you obviously get less advanced specs and handling, but in our tests, core performance wasn’t always compromised. Or if you’re willing to invest big, then you can get a camera that adds more advanced features and DSLR-like handling to impressive performance. Each camera has its own advantages, and the one that suits you best will depend on what you want to shoot with it and how much you want to spend.

The Canon EOS M, Samsung NX300 and Fujifilm X-M1 sit at the lower end of the CSC market, offering reasonable prices for good performance. Of these three, the Canon disappointed slightly. It was Canon’s first stab at this kind of camera, so improvements were always going to be needed – hopefully a successor is imminent. If you’re a Canon DSLR user, the lure of using your lenses might be tempting, and of course its price is extremely low.

It’s a close call between the Fujifilm X-M1 and Samsung NX300 – each has its own advantages.

The pixel count of the Samsung offers high-quality images if you shoot Raw, alongside all-round solid performance and great connectivity. The Fujifilm, www.photography-news.co.uk

with a more traditional feel, also produces great image quality despite its low pixel count, thanks to the X-Trans sensor technology, and it was way ahead in low light performance.

At the top end, the Sony A7 is most likely to pique the interest of photographers, since it offers what everyone wants – a huge sensor in a small body.

With this, you get great image quality, although the ISO performance was disappointing with no advantage over the APS-C cameras. The NX30 is a worthy flagship for Samsung, and is undoubtedly

the best CSC Samsung has produced, offering very high Raw image quality.

If you want a camera for high-resolution photography, then the Fujifilm X-T1 probably isn’t the one for you simply because of the pixel count, but the X-Trans technology still delivers and everything else about the camera is superb, particularly the ISO performance. The viewfinder is probably the best electronic version around, and the manual controls make for a delightful experience. All round, the X-T1 is our pick of the bunch.

The full version of this CSC test, including comparisons with DSLRs, appeared in issues 45 and 46 of Advanced Photographer. Issue 46 is on sale now for £4.95. Issue 45 is available to back order from http:// bit.ly/apissues.

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Kit reviews

Mini tests

Our regular look at some of the latest photographic kit to land on dealers’ shelves Words by Will Cheung & Ian Fyfe

SPECS PRICE £529 CONTACT www.intro2020.co.uk CONSTRUCTION 16 elements in 12 groups FILTER SIZE 67mm MINIMUM APERTURE f/22-40 MINIMUM FOCUS 0.39m DIMENSIONS (LXD) 99.5x75mm WEIGHT 540g

Tamron 16-300mm f/3.5-6.3 Di II VC PZD For over 20 years, Tamron has been delivering compact superzooms that make for ideal travel companions, and with each update has come an incremental increase in focal range. This has progressed from the 28-200mm, launched in 1992, through 18-200mm, 18-250mm and 18-270mm models. Now we have the latest version, which not only pushes further at the telephoto end to reach 300mm, but impressively extends the reach at the wide end to 16mm.

Remember, we’re talking about a lens that’s for APS-C format sensors, so the 35mm equivalent focal range is 24-450mm. And it’s this zoom range that is the most impressive aspect of the lens. Subjects that are barely visible at 16mm can almost fill the frame at the long end – it’s just staggering to see through the viewfinder. You’ve also got the option of focusing close to 39cm at any focal length without switching to a macro mode, meaning that at 300mm, the maximum magnification is 1:2.9 – impressively close.

The zoom range isn’t all this lens has to offer though. Like its predecessor, it includes a Piezo Drive (PZD) autofocus motor, which promises nearsilent and quick focusing. It delivers on both fronts.

In everyday environments with ambient noise, the focusing mechanism is inaudible even to the photographer, not to mention anyone further away, and even in a silent room there’s a barely audible buzz. And it’s quick, efficient and smooth.

The point of the Piezo Drive motor is not just the speed and sound, but also the size of the lens.

Its design means it adds very little bulk to the overall unit, and that makes the size of the lens so impressive in comparison to its focal range. It’s more compact even than most 70-300mm lenses, and lighter too.

The finish is smart as well – gone is the gold ring of the previous model, with a more subtle, chic silver one in its place. The lens rings are well engineered too

– the wide rubberised zoom ring moves smoothly even when eased very slowly, and the barrel doesn’t rotate, so you don’t need to worry about your filter orientation. The focus ring is also nicely weighted, even if a little narrow.

Impressively, given the focal range, the optical performance of the lens is fairly consistent throughout. Sharpness peaks within specific aperture ranges at different focal lengths, generally around f/5.6 to f/8, with things softening slightly upwards of this. Fall-off is less dramatic down to the widest apertures, and in fact at 300mm, the widest aperture of f/6.3 is the sharpest.

Central sharpness is very good throughout, and it’s only at the extreme long end where it drops off slightly – this is expected even in a 70-300mm telezoom, never mind with this kind of zoom range, and it’s still more than acceptable. Purple and green fringing is a slight issue, largely towards the corners, but nothing that can’t be easily corrected in software.

There’s some barrel distortion at the widest focal lengths, which switches to pincushion distortion by 50mm, but in both cases this is minimal and again easy to correct post-capture.

Tamron’s Vibration Compensation system has proven itself time and again, and it features in the 16-300mm lens. Its effect is instantly visible in the viewfinder when using long focal lengths, as it snaps a trembling image into stillness, and it’s silent too – no annoying hum as it does its work. Its benefit is obvious in images as well. At 300mm, I was able to get 40 per cent of shots sharp with a shutter speed of 1/30sec, and even at 1/15sec, I had a hit rate of 20 per cent. Very impressive considering that without VC, success at these shutter speeds was zero, and even at 1/125sec, it was only 10%. It was also of benefit at the wide end, with almost a full house of sharp pictures at 1/5sec with a focal length of 16mm.

BELOW At 16mm, images are sharpest at f/5.6 and less sharp at f/11 and smaller. Images are generally a little softer at the long extreme of 300mm, and at this focal length performance is best at f/6.3.

300MM

300MM

F/6.3

F/11

16MM

16MM

£529

16MM

300MM

ABOVE The ship is but a dot to the left of the horizon at 16mm, but zoom in to 300mm, and it’s a decent size in the frame – a really impressive display of pulling power.

The verdict If you’re an APS-C DSLR user looking for one lens to do everything, then you can’t go far wrong with the Tamron 16-300mm. The build, handling, excellent Vibration Control and the silent PZD motor together make it a joy to use. The enormous focal range speaks for itself, while the size and weight makes it ideal as a travel lens. With this kind of lens, you’d expect some optical compromise, but the Tamron holds up well, offering reasonable quality at any focal length. It’s an ideal all-rounder, and reasonably priced too. Of course, it’s only suitable for APS-C format sensors, but if you’re fullframe, Tamron now has this covered too with a new 28-300mm superzoom.

PROS That zoom range, VC, great handling CONS

F/5.6

Photography News | Issue 10

F/11

Some fringing, not so sharp at 300mm

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Kit reviews SPECS PRICE £170 CONTACT www.kenro.co.uk GUIDE NUMBER 40 (ISO 100, 105mm zoom) MODES Manual, auto, TTL, Slave (digital or film), wireless, video EXPOSURE CONTROL 1st and 2nd curtain sync, high-speed sync, red-eye reduction, slow sync, FE/FV lock RECYCLE TIME 0.1-4sec ZOOM COVERAGE 24-105mm IN THE BOX External diffuser, soft case, cold shoe stand with screw POWER 4x AA batteries DIMENSIONS (WXHXD) 85x85x61mm WEIGHT 203g

SPECS STREET PRICE GT2532 £660, foursection GT2542 £710 CONTACT www.gitzo.co.uk LEG SECTIONS Three KEY FEATURES Reversible centre column, removable feet, ballast hook, adjustable leg angle, G-lock ultra legs, ground level set mechanism, made from carbon eXact LOAD CAPACITY 18kg FOLDED LENGTH (NO HEAD) 65cm MINIMUM HEIGHT (NO HEAD) 16cm MAXIMUM HEIGHT (NO HEAD) 166cm WEIGHT 1.67kg

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Nissin i40 Love Mini Flash £170 While the main benefit of CSCs is their size, if you want to add a high-powered external flashgun, you’re mainly limited to a full-size version that results in an unbalanced combination. Nissin’s solution is the i40, a flashgun that’s sized appropriately for CSCs, but which still packs quite a punch.

The guide number of 40 is slightly below that of Nissin’s entry-level full-size Di600, but the modes, level of control and features such as high-speed sync and manual zoom are what you’d expect from a more advanced speedlight.

There’s a full complement of modes, including manual, auto and TTL, digital and film slave modes, and wireless modes that allow you to assign the i40 to one of three groups controlled by a master unit.

A video mode turns on two dimmable front LEDs intended as a video light, but which could be used as a low-level continuous light for stills, or as an approximate modelling light.

Changing the settings couldn’t be simpler – there are two dials, one for mode and the other for power level or compensation. In some modes, you can also control the zoom by holding down the power button – the pilot light changes colour to indicate the current zoom setting.

Using the i40 with the Canon EOS M, TTL gave reliable exposures, and high-speed sync worked fine down to the camera’s 1/4000sec minimum

The verdict

shutter speed. Measuring the power output using a Polaris light meter from one metre, set at ISO 100, 1/125sec shutter speed and with the flashgun zoom at 105mm, the reading was consistently f/29 – a little lower than expected, but enough for most situations. Power can be dialled down to 1/256 for subtle fill effects.

Of course, just because the i40 is small, its use isn’t limited to CSCs – it functions perfectly well on a DSLR too, and I used it on the Canon EOS 6D. The only problem is that it’s short, so used on the hot-shoe, the lens is more likely to cast shadows.

As a portable, on or off-camera flashgun, it’s still handy though.

It’s nice to see that Nissin has recognised the demand for accessories that suit CSCs, and the i40 is an excellent first example of a small but advanced flashgun. Its power output is plenty for most everyday uses, and its user interface has been designed well to complement the sturdy build. It’s worth considering the fact that Nissin’s own Di700 offers much the same control and a power output that’s almost 1EV higher, even though its current street price is £10 less. Nevertheless, if you’re a CSC user looking for more compact lighting to match your camera, then the i40 is definitely worth a look.

PROS Compact size ideal for CSCs or travel, easy to use, plenty of control including wireless CONS Not ideal if you want a lot of power

Gitzo Mountaineer GT2532 £660 Back in 1994 there was only one brand selling carbon fibre tripods, and that was Gitzo. The original Mountaineer range set new standards and became first choice for many leading professionals. It’s seen various incarnations since, and earlier this year the latest collection was unveiled.

The range includes ten tripod leg sets and three tripod and head kits, grouped into series according to size and weight: Series 0 tripods are the lightest and shortest, and Series 3 the most heavy duty. All are available in three- or four-section versions, and here we test the three-section Series 2 GT2532.

You can’t help but be in awe of the Gitzo’s handsome looks. The tripod shoulder, or spider as Gitzo calls it, is beautifully machined and the centre column lock and leg angle locks work smoothly and securely. The same can be said of the Gitzo G-lock twist-grip leg locks, which are comfortable and take little effort to secure, as well as being designed to minimise dust and debris entering the legs.

And check out those gorgeous legs crafted from Gitzo’s eXact carbon fibre leg tubes, stiffer than previous versions, helping to achieve larger-diameter lower section legs to promote stability.

I used this Gitzo with an Arca Swiss ball head and it made for a great combination. It is comfortable to carry, quick to set up and, most importantly, it’s very

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The verdict

stable. Twisting the tripod’s shoulder with the legs fully extended reveals minimal movement, and I did some extreme long exposure shots without a problem.

Speaking of maximum extension, without using the centre column it’s not that tall, but then the GT2532 goes high enough and there are no fears using the centre column fully up. The column itself is not that long so you can’t overextend it and risk wobble.

While the GT2532 can’t be reconfigured to shoot at 90° for shooting straight down, it does have the ability to shoot at a very low level – just unscrew the base plate and remove the centre column from below. On several occasions I left the centre column off, which lessened weight slightly.

There is a very special, although intangible, quality about using first-class kit and it’s certainly felt when using this Gitzo tripod. It even looks fabulous and is worth every penny of its price tag.

It’s true that you get more bells and whistles with less expensive models. No foam leg grips, for example, or the innovative powerful leg locks and ability to shoot at 90° of the Manfrotto MT055CXPRO4. But this Gitzo still has something special, an aura that makes it worth a close look.

Of course, it costs a considerable amount of money, but you can’t define the cost of pin-sharp pictures, making the most of your high-megapixel camera and exotic glass lenses and in that context it’s undeniably good value.

PROS Quality, stability, kudos, built to last CONS Expensive, lacks features seen in cheaper rivals

Issue 10 | Photography News

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Technique PHOTO SCHOOL

Camera class

Everyone has to start somewhere, even top pros, and in our regular Photo School feature we’re taking a close look at core techniques that every beginner needs to know. This month, in Camera Class we look at the pros and cons of JPEG and Raw files, while in Software Skills we look at using Raw files to alter exposure post-capture Words by Ian Fyfe When you take a picture, you have a choice over the file format it’s recorded in – usually JPEG or Raw. You can choose to shoot both – this takes more memory, but gives you the best of both worlds. Each has its benefits and drawbacks, so let’s take a closer look. n What is a JPEG file?

JPEG (which stands for Joint Photographic Experts Group) is a universal format for digital images, compatible with just about any software or device. JPEGs are compressed to reduce the file size, but this can sacrifice quality – loss of fine detail and blocking up of colours. Most cameras offer the option of different JPEG qualities: Basic, Standard/Normal or Fine, and sometimes Extra Fine. The lower the quality, the more compression applied, increasing the risk of artefacts. n What are the advantages of JPEG files?

For a start, JPEGs are relatively small, so you don’t need to spend a fortune on memory. If you get everything right incamera, then you also get a polished, printable file straight from the camera. You can adjust the in-camera processing to suit your taste, and reap the benefits of in-camera settings such as noise reduction, distortion control and dynamic range optimisation. This can save a lot of time in post-processing. n Is there any reason why I shouldn’t shoot JPEGs? The biggest downside of JPEGs is that compression not only risks artefacts, but also means information is discarded when the file is saved. This means that post-processing causes further

degradation, so if you’re likely to make significant changes to your images after capture, you’re better off recording Raw files. n What are Raw files?

A Raw file is a format (usually) specific to a camera manufacturer and includes all the information captured by the sensor during an exposure. There’s (usually) no compression or discarding of information in the same way as there is with JPEGs. n What are the advantages of Raw files?

Because Raw files contain all information captured, it’s possible to manipulate them much more in post-production without causing any degradation. Compared to JPEGs, Raw files usually include fewer artefacts and have more detail, hence they tend to be significantly bigger than JPEGs. n What are the disadvantages of Raw files?

Raw files must be opened and worked on in compatible software, such as Adobe Lightroom. Images are usually quite flat and slightly soft, so you need to process them to some extent to get the best from them. The bigger files mean you need plenty of memory, and a fairly high-powered computer to deal with them for a smooth workflow.

NEXT MONTH: More on your options with Raw file formats, and how to make the most of them in post-processing.

BASIC JPEG

FINE JPEG

PROCESSED RAW

ADOBE LIGHTROOM

Software skills Part 10: Shoot Raw for maximum flexibility in adjusting exposure post-capture Words by Will Cheung Shoot Raw and your ability to enhance an image is incredible. Shoot JPEG and the degree of control in software is more limited. Of course, the flexibility of Raw is no excuse for sloppy exposure technique and you should always endeavour to get it as right as you possibly can in-camera, but Raw is a great safety net.

Lightroom and its Raw converter is regularly updated by Adobe as new cameras come out – it usually takes a couple of months. If you have an older version of Lightroom (say version 4) and you buy a new camera, it might well be that you can’t process your Raw files without investing in the latest Lightroom (currently v5.5).

Here we took a Raw and JPEG shot simultaneously on a Nikon D800. The night shot was overexposed and needed help in software to retrieve detail.

Using Lightroom we used the Exposure (-1.50) and Highlight controls (to -100) to pull back detail in the blue-lit windows of London’s County Hall.

You can clearly see the extra detail available in the Raw file – that’s why Raw files are so much bigger than JPEGs and that’s also why you should shoot Raw if you want the most from your photography.

Photography News | Issue 10

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Advertisement feature COMPETITION

Win your own print Photogifts is giving you the exciting opportunity to win your very own handcrafted print A beautiful photograph deserves to be displayed beautifully, which is why at Photogifts our decades worth of photographic experience informs everything we do. From the selection of raw materials, media and even packaging, we work hard to ensure that we offer high-quality products at very attractive prices.

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Send your answer to win@photography-news.co.uk with the subject line ‘Photogifts’ by 15 August and you could be one of our four prizewinners: 1st prize: A 20x30in Floating Acrylic Panel worth £130 The print is bonded to the rear of a 5mm crystal-clear acrylic panel with no visible fixings.

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CLOSING DATE IS 15 AUGUST 2014 All the correct entries will go into a prize draw and the four winners will be picked at random. PN will publish the winner’s details in a future issue.

Terms & Conditions n Entrants must submit their answer to win@photography-news.co.uk using the subject line Photogifts. n All four winners will be selected at random. n The winners will be notified by email/phone and the results may be published in PN. n This competition is open to UK residents only. n All entrants must be at least 18 years old. Employees of Bright Publishing and Photogifts and their immediate families and agents may not enter. n Entries must be received by 15 August 2014. n Entries not in accordance with these rules will be disqualified: by entering the competition, competitors will be deemed to have agreed to be bound by these rules. n The prize must be taken as offered with no alternative. n In the event that the prize cannot be supplied no liability will be attached to Bright Publishing. n If you do not wish your data to be shared with Photogifts, please state NO DATA in the email’s subject line. n For full terms and conditions, please visit www.bright-publishing.com.

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Issue 10 | Photography News

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Prize wordsearch

Win new Samsung memory!

Samsung has a new-look range of SD and Micro SD cards, in PRO, EVO and Standard categories, coloured silver, orange and blue for easy selection of the right performance. The PRO and EVO cards support UHS-I and offer read speeds of up to 90MB/s and 48MB/s respectively. They are also waterproof, shockproof, temperature-, X-ray- and magnet-proof.

We’re giving away one PRO SD 16GB SD card, one EVO 32MB SD card and one Micro SD 16GB with SD adaptor. Just complete the wordsearch below, and you’ll find one word in the list that’s not in the grid.

Email us on puzzle@photography-news.co.uk with that word in the subject line by 18 August 2014, and you could be a winner! π To find out more, go to www.samsung.com.

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