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Fujifilm’s relentless march on the mirrorless market continues, with the arrival of a new flagship with impressive still and video features

New Fujifilm flagship, the 24.3-megapixel resolution X-H1, is the first X-model to feature in-camera shake reduction. A powerful set of video features has been added and its beefed-up, restyled body enhances its appeal to DLR users. There’s also a new film simulation mode called ETERNA for still and movie shooting.

The newly developed, very advanced in body image stabilization (IBIS) system works on five axis on all XF and XC lenses, whether or not they have IS built-in. The benefit, depending on the lens, is up to an impressive 5.5EV. For video makers the X-H1 has a host of features seen as essential now, including being able to shoot at 200Mbps, F-Log recording and a 400% dynamic range.

Canon has triplets

Its restyled body features a 25% thicker magnesium alloy body shell, 94 environmental seals and a super tough finish. It also incorporates a top-plate LCD info panel, an AF ON button and a very quiet mechanical shutter.

The Fujifilm X-H1 is priced at £1699 body only. Turn to page 62 for a more detailed look at the X-H1. fujifilm.eu/uk Continue reading on page 3

Canon’s exciting news comes in the form of three cameras, two entry-level DSLRs and a top-of-therange EOS M mirrorless camera.

The EOS 2000D and 4000D are perfect for those taking their first steps in DSLR photography but still wanting a great shooting experience and the latest wireless connectivity for picture sharing.

With an EF-S 18-55mm lens they are priced at £469.99 and £369.99 respectively.

The 24-megapixel EOS M50 mirrorless model is the first from Canon featuring 4K video, a variangle touchscreen and its latest image processor, the DIGIC 8.

The EOS M50 with the EF-M 15-45mm lens is priced at £649.99 canon.co.uk Continue reading on page 3

Photography News | Issue 53 | photographynews.co.uk

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Photography News | Issue 53 | photographynews.co.uk

News

Fujifilm wants DSLR users At-a-glance spec Resolution 24.3 megapixels Sensor 23.5x15.6 APS-C X-Trans CMOS III Storage 2 SD/SDHC/SDXC cards Image stabilizer In body with up to 5.5EV benefit ISO range 200-12,800 default, 100-51,200 expanded Continuous shooting 11fps with mechanical shutter (with VPB-XH1 grip), 8fps without, 14fps with electronic shutter Viewfinder 3.69m dots OLED, eye sensor Monitor 3in touchscreen Movie recording 4K (4096x2160) up to 15mins, full HD for 20 mins Dimensions (wxhxd) 139.8x97.3x85.5mm Weight 673g body with battery Contact fujifilm.eu/uk

The Fujifilm X-H1 is a 24.3-megapixel, top-of-the-range mirrorless camera with in-body five-axis image stabilizer and an impressive array of video functions.

Its larger handgrip and LCD information panel on the top-plate also give the X-H1 a more DSLR look and feel.

The sensor and processor combination are the same as that found in the X-T2, so it is a known quantity in terms of resolution and ISO performance. However, there are significant upgrades in the X-H1.

A first for Fujifilm is the in-body image stabilization (IBIS) system that can give up to 5.5EV benefit with non-IS lenses. The claimed benefit does vary depending on the lens the camera is paired with.

Autofocus has been enhanced in the X-H1 to give improved AF tracking in continuous focusing mode and better lowlight performance with accurate AF down to -1EV. It is also better equipped to handle subjects such as those with very fine detail – animal fur, for instance – with speed and accuracy.

The X-H1’s body has been beefed up; a 25% thicker exterior and 94 environmental seals give impressive dust and water resistance.

Fujifilm updates Fujifilm X-T20 and GFX 50S owners have firmware updates to look forward to.

On the X-T20 key benefits will include improved continuous focusing, enhanced touchscreen operation and Fujifilm X Raw Studio support. This update will be available in April.

In March we will see the GFX update and here the benefits are the addition of focus bracketing, 35mm format mode and H mount adaptor G compatibility.

Body layout has also seen a facelift with a top-plate LCD info panel and a larger hand-grip. The exposure compensation dial has gone to be replaced by a push button right next to the shutter button.

The Fujifilm X-H1 is priced at £1699 body only or £1949 with the

Canon has triplets Canon’s latest round of new products shows its continued commitment to DSLR photography while keeping an eye on the growing mirrorless market too.

Let’s start with the EOS M50, a 24.1-megapixel CMOS sensor mirrorless model that features 4K video, Bluetooth and Wi-Fi and a vari-angle touch monitor.

It has an impressive skill set with the ability to shoot at 10fps, a maximum ISO of 25,600 and Dual Pixel CMOS AF for accurate focusing in challenging conditions. It is also the first Canon to feature CR3 14bit Raw capture and a C-Raw option that gives full Raw flexibility in file sizes that are 30% to 40% smaller.

Canon’s two new cameras are aimed at aspiring DSLR photographers.

The EOS M50 is available body only at £539.99 or £649.99 with the EF-M 15-45mm standard lens.

Aimed at the aspiring DSLR shooter is a pair of APS-C models, the EOS 2000D and the 4000D. The EOS 2000D is the more highly featured of the two and uses a 24.1-megapixel sensor, while the EOS 4000D uses an 18-megapixel sensor. Both feature Wi-Fi for wireless smart device connectivity with Canon’s Camera Connect app. The EOS

2000D and 4000D are available body only at £369.99 and £329.99 respectively, or with the 18-55mm lens at £469.99 and £369.99.

The final Canon launch this month is the Speedlite 470EX-AI. Priced at £499.99 this flashgun is the world’s first with AI Bounce, an Auto Intelligent (AI) function designed to make flash photography easy and deliver spot-on results time after time. canon.co.uk

Vertical Power Boost VPBXH1 grip. This grip takes two extra batteries to greatly extend shooting capacity.

We have a more detailed look at the X-H1, including its video feature set, in First Tests in this issue.

David Parry, product intelligence consultant, Canon “The EOS 2000D and EOS 4000D are the new entrylevel cameras from Canon, between them replacing the EOS 1300D in the range. It’s part of our drive to make DSLR photography more affordable: the 1300D did very well for us, but we saw a need for an even better-priced alternative.

The new cameras are designed to be really simple to use, come with seamless Wi-Fi connectivity and, deliberately, are not massively menu driven, making them intuitive to use.

Both also come with simple, incamera feature guides.

“The EOS 2000D is above the 4000D in the range, and its new 24.1-megapixel sensor is one of the biggest changes from its predecessor. The 4000D retains the 1300D’s 18-megapixel sensor, but we’ve taken off a few things that the beginner might not find absolutely necessary to keep the price down to a minimum. So button markings are printed on, as opposed to being raised, the LCD is a bit smaller and the lens mount is

made of high-grade plastic as opposed to metal. The flash is also a pull-up version, while the one on the 2000D flips up automatically.

“These are all things that won’t affect performance, but they help to keep the price down, and that in turn we hope will encourage more people to get into serious photography.”

Photography News | Issue 53 | photographynews.co.uk

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Photography News | Issue 53 | photographynews.co.uk

News

Elinchrom go TTL Lighting specialists Elinchrom has launched its first product featuring TTL flash metering. The ELB 500 TTL is a pro-quality, batterypowered portable lighting system and while it boasts the option of TTL flash that is just one of many great features avalable.

The compact power pack houses a rechargeable lithium battery that can deliver 400 full-power flash bursts from a single charge and a great many more at lower settings, and this power can be distributed through one or two ELB 500 TTL heads. With two heads in use, output is fully asymmetrical within the 7EV power output range.

Each lightweight head has a 2.5m connecting cable and accepts Quadra (Q) lighting accessories or full-size Elinchrom-fit modifiers via the Q-Reflector Adaptor Mk II. The ELB 500 head features a daylight-balanced LED modelling light that is powerful enough for video shooting as well as assessing the effect of the flash.

Output is rated at 500Ws and there is plenty of power on tap even when it comes to working in bright sunlight in high speed sync mode up to 1/8000sec. Flash duration

is 1/3400sec in normal mode, but switch to action mode and you get 1/20,000sec.

To access TTL and HSS, you need the optional Skyport Transmitter PRO radio trigger (Canon and Nikon first). For manual flash all existing Skyport Plus and Plus HS units will

work – Skyport Plus HS triggers will give TTL/HSS with a firmware update, again Canon and Nikon first.

Existing Phottix Odin II (Canon and Nikon) will give manual and TTL flash functions.

The ELB 500 TTL To Go kit includes a pack, battery, snappy

Marumi add two NDs Marumi’s line-up of glass ND filters has grown by two with the launch of the DHG Super ND 500 and Super ND 1000 that can hold back 9EV and 10EV of light respectively.

Both claim to give totally neutral results and are coated to repel oil and water. There is a new coating to combat flare

and ghosting too. Finally, the filter mounts have a satin finish to prevent vignetting.

The new NDs are available in filter sizes from

49mm up to 82mm with prices starting from £45.18 for the ND500 and £49.62 for the ND1000 version. kenro.co.uk

cover, power lead, charger, 18cm reflector, location bag and one head, and costs £1499.

We’ll have a full test on the ELB 500 TTL in the next issue of PN, out from 9 April.

New from ThinkTank

ThinkTank’s latest gear carrying solutions include the StoryTeller series, available in three sizes – 5, 8 and 10 – designed for mirrorless and full-frame DSLR cameras. The 8 and 10 also have tablet pockets.

These off-the-shoulder bags made from premium materials offer quick gear access and high protection levels and at good prices. The 5 costs £60, the 8 is £65 and the 10 is £80.

Also from ThinkTank is its latest Modular Belt system, v3.0. The latest pouches offer faster gear access as well as good protection so are a great solution if you want to get weight off your shoulders and to the waist. There is a full complement of pouches for lenses and accessories with the belts priced at £39 and pouches from around £25. snapperstuff.com

elinchrom.co.uk

Photography News | Issue 53 | photographynews.co.uk

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Photography News | Issue 53 | photographynews.co.uk

News

Sigma Art sensation Leading independent lens brand Sigma has made a whole raft of product announcements.

Let’s start with the widest, the 1424mm f/2.8 DG HSM Art. Available in Canon, Nikon and Sigma mounts, this lens will be available this March and will sell at £1399.99.

As you would expect from an Art lens, this ultra-wide’s optical construction boasts plenty of exotic glass. There are three FLD elements, three SLD elements and three aspheric lens elements to help deliver outstanding image quality and minimal distortion.

The second new arrival into the Art family is the 105mm f/1.4 DG HSM, the longest Art lens of this aperture we have seen thus far.

With 17 elements in 12 groups including three FLD and two SLD glass elements, this lens claims to offer great sharpness and a beautiful bokeh effect so this lens has the potential to be the ideal portrait lens.

It will be available in Canon, Nikon, Sigma and Sony E mounts, but there is no price or availability date yet, and that also applies to the next Art lens, the 70mm f/2.8 DG Macro which will be offered in Canon, Sigma and Sony E fittings.

This lens uses a two group focusing

ABOVE Sigma’s 70mm f/2.8 macro lens. RIGHT Sigma’s 14-24mm ultrawide Art series lens is sure to attract many buyers. mechanism to give consistent high quality throughout the lens’ focusing range. It focuses down to 25.8cm to give life-size magnification.

The 105mm f/1.4 and 70mm f/2.8 are compatible with Sony E-mount cameras with full-frame sensors and these two will be joined by seven more Art optics.

No launch date has been confirmed but Sony E owners can look forward to choosing from the

Two from Tamron Tamron announced a highspec compact telezoom that will be in shops from April.

The 70-210mm f/4 Di VC USD features a 20 elements in 14 groups construction, will be available in Canon and Nikon fittings and is priced at £699.

Key features include a 4EV benefit VC image stabilization system, a 67mm filter size and minimum focus distance of 95cm giving a magnification ratio of 1:3.1. The front element has a protective fluorine coating and the lens boasts a moistureresistant construction.

Zooming is handled by an internal system so the lens’s exterior size is constant and AF is handled by a high speed dual micro processing unit for fast responsive focusing performance.

Tamron’s second new arrival is the 28-75mm f/2.8 Di III RXD for Sony full-

frame mirrorless cameras.

RXD stands for Rapid extra-silent stepping drive which means you get very quiet focusing; so perfect for shooting video.

There is no price for this lens yet and it won’t be in the shops until mid 2018. intro2020.co.uk

14mm f/1.8, 20mm f/1.4, 24mm f/1.4, 35mm f/1.4, 50mm f/1.4, 85mm f/1.4 and 135mm f/1.8. These lenses are currently available in Canon, Nikon and Sigma fittings, so we already know how good they are.

We’ll publish prices and launch dates for these products in Photography News as soon as the details are released. sigma-imaging-uk.com

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Photography News | Issue 53 | photographynews.co.uk

News News in brief

Sekonic’s new meter The Sekonic Flashmate L-308X is a multi-function, compact light meter aimed at still photographers and video makers. It has a new backlit LCD screen and it offers intuitive operation It has a price off £215 and is available this month. johnsons-photopia.co.uk

PermaJet range grows

Fotospeed gets a new Signature Fotospeed’s Signature range has expanded with the addition of Cotton Etching 300. It was developed in partnership with fine art photographer Doug Chinnery and this matt, textured finish has a wide colour gamut and the ability to render pin-sharp detail. It is a 100% cotton paper with a crisp white base and is acid free.

A 25-sheet box of A4 costs £34.99 and 25 A3 sheets is £67.99.

There’s a First Test on Fotospeed’s new material in this issue.

PermaJet’s already extensive range of inkjet media has grown by one. Photo Lustre 310 is a premium heavyweight paper with a bright white base, wide colour gamut and high Dmax, making it perfectly suited to colour and monochrome output.

Its 310gsm weight makes it the most robust paper in PermaJet’s Digital Photo range and its instant dry resin coating is enhanced with UV protection and good scuff, water and fade resistance.

Its premium weight, luxurious lustre finish and output characteristics offer plenty of potential to discerning photographers.

The paper is making its debut at The Photography Show so drop in on the PermaJet stand to check out the new material for yourself.

fotospeed.com

permajet.com

Pentax upgrade Pentax’s full-frame K-1 has been updated. The Mark II has the same sensor as the previous model at 36.4 megapixels with an optical low pass filter-free sensor. Noise performance is said to be very good and the top ISO is 819,200.

For super high-resolution shooting the K-1 Mark II has version II of Pentax’s Pixel Shift Resolution system. This captures four shots of the same scene by shooting four shots one after the other and then merges them to give a single high-res file.

The K-1 Mark II will be available from the end of March at the body price £1799.99.

Samyang go fast Samyang’s latest lens is a 50mm f/1.2 for Canon full-frame cameras. This is the third lens in its premium XP line-up, joining the 14mm f/2.8 and 85mm f/1.2.

The 50mm f/1.2 features 11 elements in eight groups and includes aspherical and high

refractive lenses to deliver a top performance. Ultra multicoating helps to control flare and ghosting.

The lens is price at £799 and is available from this month.

SRB’s new holder

intro2020.co.uk

ricoh-imaging.com PNY’s big SSD PNY’s CS900 is a solid state drive (SSD) with 960GB capacity and a fast read/ write performance too – write speed is quoted at 515MB/s.

Its lightweight design is also shockproof so ideal for using large files on the move with the reliability of SSD. pny.eu

Accessory specialist SRB has a new holder for 85mm size filters.

The Elite lite filter holder is made from a single piece of aluminium, weighs just 65g and costs £19.95.

Adapter rings are easy release and the holder can be used on

wider-angle lenses without vignetting by removing one of the holder’s filter holding slots.

There’s a full test of SRB’s new Elite lite holder in this issue. srb-photographic.co.uk

Photography News | Issue 53 | photographynews.co.uk

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Photography News | Issue 53 | photographynews.co.uk

News News in brief

Photo 24 2018

29 and 30 June 3pm sta rt

It’s time to put your name down for a very special day of imaging in London with Photography News and Fujifilm. With camera loans, special shoots and photo walks, Photo 24 is not to be missed

New from Zeiss Zeiss’s Loxia family has gained a new member. The manual focus Loxia range is for Sony A full-frame sensor cameras, and this lens offers users a compact wide-angle solution alongside a quality performance. The 25mm f/2.4 is available from this month at a price of £1189. zeiss.co.uk

X-Rite update X-Rite’s i1Studio, its £450 colour management solution, has been updated. Version 1.1 allows profile reminders, has a sepia mono profile and ICC profiles can be saved. xrite.com

Photography is often a solitary pastime, but Photo 24, now in its sixth year, gives keen shooters the chance to join together and enjoy a day out with their cameras in London, one of the world’s most photogenic cities. And it’s all free – but you do have to apply and places are limited.

To apply for a place, go to our website, photographynews.co.uk, click on the Photo 24 link and fill in the form. You have until 12 April to apply and then we will hold a random ballot for all applications. If you get a place you will be notified the week commencing 23 April and you will be given a deadline to confirm your attendance, what walks and shoots you wish to join and what Fujifilm cameras you want to borrow for Photo 24.

Camera loans are free but you will need to leave a credit card or driver’s licence as security.

Although Photo 24 is a free 24-hour long event, that does not mean you have to shoot and be on your feet for the whole of that time. If you just want to do a few hours (or a few hours on each day) that’s perfectly fine. Once you have secured a spot on Photo 24, how you use that time is entirely up to you but we get many who are really up for the challenge of staying up for the whole of the event.

There will be contests, walks and shoots during Photo 24, and again it is up to you whether or not you get involved in these.

What you decide to photograph is entirely up to you too, and much might depend on how often you get to the capital with your camera.

Iconic buildings – old and new – bustling markets and busy street scenes are just a few things to enjoy. Or you may decide to come along to try something you haven’t done before. This might be night photography or street candids.

Whatever you want to shoot, technical advice will be available throughout and that includes a phone helpline that is available for the whole of the event.

Should you need spurring on, there will be Photo 24 contests with fabulous Fujifilm prizes to be won. This includes our new 24hour challenge where every hour, on the hour there is a subject theme to shoot. Themes will vary in difficulty from dead easy upwards and we want shots uploaded to

Blanket coverage A new service from my-picture. co.uk means you can get your favourite photographs printed onto a flannel fleece blanket, ideal as a personalised present or as unique home decor. Three sizes are available: 100x75cm, 150x100cm and 200x150cm at prices of £15, £20 and £32 respectively. Delivery is free on orders over £45 to mainland UK addresses.

The ordering process is simple too, and to start, just prepare your image and upload it via the website.

My-picture.co.uk has a whole range of products from canvas and acrylic prints to photo cushions and mugs and mouse mats. my-picture.co.uk

social media. Again, a prize awaits the best shot.

Details of the contests will emailed directly to successful Photo 24 applicants, as will advice on what to bring, meeting points and other key information. So, if all this appeals the first step is to get

your Photo 24 application in and then keep your fingers crossed. Also look out for more Photo 24 news in the next issue of Photography News, out from 9 April. photographynews.co.uk

KEY DATES • Registration opens 12 March • Closing date for applications 12 April • Successful applicants notified week commencing 23 April • Deadline to accept your place 8 May

Olympus updates Owners of the Olympus OM-D E-M1 Mark II, OM-D E-M5 Mark II and PEN-F can gain performance improvements by updating their cameras to the latest firmware.

The specific benefits vary from model to model so with

the OM-D E-M5 Mark II you get the Bleach bypass art filter and focus stacking functionality, while with the OM-D E-M1 Mark II you get these and several more features including Small AF target and improved Pro Capture mode.

To perform updates you need to install the Olympus Digital Camera Updater from its website and connect the camera to the computer.

Olympus.co.uk The latest Olympus firmware updates offer more functionality.

Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

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Photography News | Issue 53 | photographynews.co.uk

News Get inspired

Visit The Photography Show As you read this, you are either in time to make it to the NEC for TPS, sitting there in the hall or simply too late and you’ll have to wait until next year. If you do make the show, here are some things to look out for in addition to the Super, Outdoors and the Live stages On the RØDE Microphones stand You can’t get high-quality sound from your camera’s built-in microphone, so you need a decent external accessory like the VideoMic PRO+ from RØDE Microphones, stand H65.

“The VideoMic Pro+ is a new benchmark in on-camera microphones,” comments Damien Wilson, RØDE and Freedman Group CEO. “We have listened to our customers and are delivering the microphone they’ve asked for, with features such as the built-in battery door, automatic power function and a Li-ion rechargeable battery included.”

The VideoMic Pro+ ships with the LB-1 li-ion rechargeable battery, 3.5mm TRS cable, micro USB cable and is now available at authorised RØDE dealers.

It is priced around £133. rode.com

X-Rite Learn why colour management is so important in your workflow on the Color Confidence stand (C81).

Pro photographer Frank Doorhof will be hosting demos covering the latest X-Rite colour management tools and how to achieve accurate results during a shoot. x-rite.com

Canon There is a busy programme of speakers on Canon’s Live Stage, starting at 10.30am on each day of the show with the last one at 3.30pm.

Speakers include Chris Packham, Clive Booth and Rosie Hardy.

Fotospeed As well as showing examples of its new Cotton Etching 300 paper,

Fotospeed will be announcing the winner of its popular #fsprintmonday competition.

Toby Herlinger, Fotospeed’s sales and marketing director, said “We’re delighted to see the return of the Fotospeed Photographer of the Year. We were blown away by the hundreds of entries we received last year so knew we had to bring it back. We can’t wait to showcase the winning images at The Photography Show and hopefully inspire photographers to understand the power of print.”

Nikon Nikon will be showcasing the award-winning D850 and has a host of brand ambassadors talking about their photography.

Nature worker Richard Peters, car photographer Amy Shore and Helen Sloan who shoots stills for Game of Thrones are three to look out for.

Panasonic Lumix GX9

Save on Datacolor

Panasonic’s latest addition to its Micro Four Thirds system is the Lumix G9, a compact 20.3-megapixel camera. The Live MOS sensor is optical low pass filter free and designed to deal with wide dynamic ranges.

The camera’s contrast AF system is designed for speedy operation even in low light and includes Panasonic’s Depth from Defocus (DFD) and Pinpoint AF

Get your colour management right and save cash with Datacolor’s latest offers that run until 9 April on its online store or through its retail network.

Savings are available on the Spyder5PRO (save £40), SpyderCHECKR (£35), Spyder5CAPTURE PRO (£79) and Spyder5STUDIO (£133). datacolor.com

Sony adds to its full-frame range The Sony A7R III is a compact fullframe camera centred around a newly developed 24.2-megapixel back-illuminated Exmor CMOS sensor. It offers an ISO 100 to 51,200 range (expandable to 50204,800) with a claimed 15EV dynamic range at lower settings, a 693 phase detection AF point system covering 93% of the imaging area and 425 contrast

AF points. Continuous shooting up to 10fps is possible with the mechanical or electronic shutter and the body houses a five-axis optical image stabilisation system with a claimed 5EV benefit.

Body only price is expected to be £2000 and will be available from this March. sony.co.uk

to help deal with a full range of subject matter.

The Lumix GX9 is on sale this month at a body only price of £699.

Panasonic have also unveiled a telezoom. The Leica DG VarioElmarit 50-200mm f/2.8-4 ASPH will be available in June priced at £1599.99. panasonic.com

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Photography News | Issue 53 | photographynews.co.uk

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

Clubs

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

Deadline for the next issue: 29 March 2018

We need words and pictures by 29 March 2018 for the next issue of Photography News, which will be available from 9 April 2018. Write your story in a Word document (400 words max). Please include contact details of the club, exhibition or event: website, meeting times, opening times, whatever is relevant. Images should be JPEGs, 2000 pixels on the longest dimension, any colour space, and image credits should be included. If the story is an exhibition or event, please send a picture from the exhibition (not the publicity poster) or one from the event. If it includes people, please identify them.

Attach the Word document and JPEGs to an email and send to clubnews@photography-news.co.uk

hagleycameraclub.co.uk Right: Canon ambassador Rosie Hardy is hosting a talk at Hagley Camera Club.

City of London & Cripplegate PS © Terry Fallis

battlephotographicsociety. co.uk.

Leigh-on-Sea CC © Peter Mills

Running until 25 March is the City of London & Cripplegate PS’s biennial exhibition entitled Moments in Time, taking place at the London’s Barbican Library. The show is free and the show is on Level 2, Barbican Centre, Silk Street, London EC2Y 8DS. Opening times are Monday and Wednesday 9.30am to 5.30pm; Tuesday and Thursday 9.30am to 7.30pm; Friday 9.30am to 2pm; Saturday 9.30am to 4pm; closed Sundays.

The show reflects members’ wide-ranging photographic interests –from landscape, architecture and portraiture to urban and travel photography. Also on show are images from the final stage of the Society’s project to photograph the Livery Halls in the City of London. cityandcripplegate-ps.org

Park Street CC Last month the Park Street Camera Club held their annual Creative Cup competition and it was won by previous winner Rosemary Wenzerul with her image Asleep on the Beach, which was inspired by the sight of the oddly-shaped flat stone on the beach. It reminded her of the old fashioned potato head dolls. The clever bit was thinking how a living star fish could be introduced to the composition to simulate the arms and legs of a sunbather. Then it was only a matter of positioning tiny shells and pebbles to create the eyes and mouth. The fact that she did all this in-camera rather than in editing made the picture so much more appealing.

Park Street CC meet at St Stephen Parish Centre, Station Road, Bricket Wood, St Albans AL2 3PJ. Meetings are on Thursday nights 7:45pm for 8pm. parkstreetcameraclub.com

© Rosemary Wenzerul

The club hosted the 53rd Annual Essex Inter-Club Projected Images Competition on the 22 February.

Eight clubs submitted six images each on which judge Paul Adams ARPS commented and scored out of ten points.

Benfleet and Chelmsford tied for top place with 55 points each but it was Chelmsford who took home the Shield having scored two 10s, one more than Benfleet. Half a point behind was Photofold and from their entry Paul chose Barry Harrington’s image of Phillipa as his personal choice of best DPI. Leigh-on-Sea Camera Club meet on Thursday evenings at Leigh Community Centre at 7:45pm.

advance for £9 or £10 on the door and include entry into the charity raffle. All proceeds will go to the Tim Bacon Foundation, supporting cancer charities.

To buy tickets in advance or make donations for the raffle, please contact chair@hagleycameraclub.co.uk.

Chard CC

© John Bailey

© Mike Fermor

Battle Photographic Society is holding its annual exhibition in Battle Memorial Hall, High Street, Battle, East Sussex TN33 0AQ on 27 May between 10am and 5pm and 28 May between 10am and 4pm.

Entrance is free and light refreshments will be on sale all day. Everyone is welcome.

A variety of members’ prints will be on show and it is an excellent opportunity for visitors to chat to experienced photographers and to find out more about Battle Photographic Society and its activities. Meetings are held weekly from September to May at the Memorial Hall starting at 7.30pm.

Hagley CC is hosting photographer Rosie Hardy for her talk, 365 Days of Creativity. She is a fashion, portrait and conceptual art photographer and a Canon ambassador, and will be showing some of her portfolio, focusing on her creative style of fantasy inspired self-portraits, and giving an insight into her creative process and editing flow. Her work is on rosiehardy.com.

The talk is on 10 April at 8.30pm, at Hagley Camera Club based in Holy Trinity Church Hall, Wordsley DY8 5RU. Tickets are available in

© Rosie Hardy

Hagley CC

Battle PS

leighcameraclub.co.uk

How to submit

Chard Camera Club held their Peter Partridge panel competition on 15 February in the memory of their past club membership and competition secretary Peter Partridge who was taken from them last year having battled with cancer.

Members were invited to submit up to two, three-image panels depicting a theme of their choice. The judge, John Foulkes, had a hard task selecting one winning panel and it turned out to be quite a close run at the final selection.

Overall winner was member John Bailey with a set of images telling the story of the Royal Mail from postbox to delivery. chardcameraclub.org.uk

Photography News | Issue 53 | photographynews.co.uk

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Photography News | Issue 53 | photographynews.co.uk

Advertisement feature

Stories behind the images

A Life in Pictures Celebrated fashion and advertising photographer Tony McGee’s stellar career has seen him turn his camera on a wide range of iconic names, and the stories behind the images make fascinating reading © Tony McGee

David covers his mouth twice, 5 November, 1989, 21.15 Over the course of my long career I’ve been fortunate to photograph David Bowie on several occasions. This photograph, however, is definitely one of my favourites. We all gathered together in the famous abandoned Rainbow Theatre in London, a rock 'n' roll venue that David had played on many occasions during the 70s. Unknown to both myself and David’s team, the theatre had become a refuge for homeless men. As David took up his position on my set he was amazed to be greeted by 50 or so homeless characters, who were whistling and applauding him with friendly banter.

It was when one of the homeless guys shouted that he was ‘not as pretty as the girl in the photo behind him’ that David burst into laughter and covered his mouth and that of the photo behind him. He then collapsed into shock and embarrassment.

It’s fair to say that Tony McGee’s life would have been very different had he not discovered photography at an early age. A natural aptitude for the camera coupled with an outgoing and approachable demeanour opened all kinds of doors for the boy from west London, one of a family of eight children, who went on to work for some of the world’s leading fashion magazines and to hold up a mirror to some of the most iconic people of his generation.

“I’ve always had a fondness for photography,” he reflects. “As a boy I had a happy family life and the camera became, for me, a symbol of good times, because it would always come out when there was a celebration going on, such as a birthday or some other important family milestone.

“I acquired my first serious camera while I was at the Boys’ Club off Vauxhall Bridge Road playing one of regular games of snooker. My father had loaned me some money to buy a special cue, and I was playing with it when this tall and rather spotty youth came up to me and said ‘that cue is mine.’

When I refused to give it to him he offered me a camera wrapped in a jumper, which he said he’d found in a dustbin. I told him that I’d put a roll of film through it to see if it was any good and, if it was, then we’d have a deal. It worked fine and the swap was done.”

Tony was just 12 years old at the time and he quickly became besotted with his new love. Remarkably, just four years later, he became a fully-fledged professional fashion photographer, and by the age of 17 he was shooting covers for Harper’s Bazaar and Vogue. He’s never looked back since then, and to listen to him reeling off stories about the people he’s photographed, the places he’s been and the experiences he’s had it’s clear to see just how much photography has influenced his life, and he’s every bit as excited by it all today as he was back then, just starting out.

His incredible career was brought into sharp focus at a recent Olympus-sponsored exhibition in the foyer of the ultra-swish ME London Hotel in The Strand, where the walls were hung with a selection of shots taken at different stages of his life, featuring celebrities such

as Bryan Ferry, Naomi Campbell, Wham! and Kate Moss. The biggest section was taken up with a series of shots of David Bowie, emphasising the close professional relationship between the star and the photographer. Every image had its own incredible story, and to walk along the line of pictures and hear the story about how each one came about was to be given a very privileged insight into what was really going on at the instant the shutter was fired.

The Olympus connection was particularly apt, since Tony has been a user of the these cameras throughout most of his long career.

“Back in the day I would never travel anywhere without a half-frame Olympus PEN-F,” he recalls. “The Zuiko lens on it had real quality, and was as sharp as anything. And the camera was really compact, would shoot 72 pictures on a roll of film and could slip in a pocket or a bag really easily.

“I can honestly say that just about every other photographer I knew at that time had one of these cameras, and they were a way to record things as you travelled about.”

These days the connection is still as strong as ever, although the PEN has now given way to a state-ofthe-art mirrorless Olympus OM-D E-M1 Mark II, which comes with a host of cutting-edge features, such as a 20.4-megapixel Live MOS sensor, 121 all cross-type on-chip phase detection focus points and up to 60 frames-per-second shooting speed. And like the film cameras of old it’s a compact marvel, with a body that weighs in at a mere 500g.

Along with Tony, a number of other professionals have chosen to work with this flagship Olympus model, and more information can be found at the ‘It’s not you it’s me’ website.

THE BOWIE CONNECTION Tony photographed David Bowie over a number of years, and has a wide selection of shots of him through many stages of his career.

A great admirer of the musician, the first encounter Tony had with the star was as a member of the audience at a 1973 gig at Earl’s Court. Many years later he had a face-to-face meeting at a private cocktail party hosted by theatrical impresario and producer Michael

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Advertisement feature © Tony McGee

Kate Moss in my Mercedes 280SE 3.5 convertible, 8 May 1988, 14.16 I took a call from the super-agent Sarah Doukas (the CEO of Storm Model Management) to ask if I would see a new face that she had considered representing. I was shooting for Vogue Italia that day and Kate Moss arrived at my London studio. I invited her to sit and watch my shoot, a portrait session with the young athlete Luke Massey. She only had one or two Polaroids of herself to show me. I suggested that I shoot a few photos of her and Luke and parked outside the studio with my new Mercedes 280SE 3.5 convertible, a car that I had just purchased from the artist David Hockney. Kate, Luke and myself jumped into the car and drove to one of my favourite spots in Regents Park. I only shot one roll of film and every one of the ten frames of Kate was a winner. She went on, of course, to become a modern icon of our time.

© Tony McGee

© Tony McGee

George Michael and Andrew Ridgeley, 7 July 1984, 17.33 The very last photo taken of George and Andrew as Wham! They were very sombre and barely spoke to each other. They split a few hours after this photo was taken in my London studio. George had earlier decided to launch a solo career and, of course, the rest is history. This is a never before published image.

White, where the photographer was introduced to Bowie by Jerry Hall and Coco Schwab. The two immediately bonded, building a friendship that would span for more than 30 years.

A few days after their first meeting Tony was contacted by David’s record company and the first of their many photographic shoots together was arranged.

Their first collaboration was to shoot all of the publicity for the Let’s Dance tour in 1983, and their photographic relationship continued well into the 90s. One of Tony’s portraits of Bowie is in the permanent collection of the National Portrait Gallery, while he also photographed one of Bowie’s most famous covers for The Face magazine, which is regarded by

GQ magazine as one of the most the influential magazine covers of the 80s.

Bowie was photographed by McGee on a number of occasions, and Tony would personally take the contact sheets from the photoshoots to the singer who would then sign off on the images and put gold stars on the images of his choice. “I last saw him three days before he died,” says Tony. “I consider him to be probably one of the most inventive musicians of the last eighty years. To have worked with him on such a personal level was an enormous honour.” itsnotyouitsme.co.uk @MELondonHotel #ApresWithAView @OlympusUK

Naomi Campbell in my London studio wearing rubber gloves, 8 May 2010, 16.44 Ever the professional, Naomi was bang on time and at 9am she flew into my London studio. She was in a great mood and all her favourite team, including Lucinda Chambers, were gathered to support her. Naomi chooses and only wears what she wants to put on. For some reason this two-piece swimsuit from Prada also came packaged with a pair of silver vinyl gloves. She immediately put this outfit on and exclaimed to everyone that this would be the first – and only – occasion that she would wear a pair of rubber gloves. Bravo Naomi!

The camera Tony McGee uses The Olympus OM-D E-M1 Mark II is the brand’s flagship camera so it is rich in cutting edge features demanded by enthusiast and professional photographers.

Its headline features include a 20.4-megapixel Micro Four Thirds sensor, the ability to shoot full-size Raw files at 60 frames-per-second and a 121 all cross-type phase detection AF sensors to give superfast, deadly accurate focusing in all sorts of lighting. And you get all this in a compact camera body plus the system support of Olympus’s family of M-ZUIKO DIGITAL lenses.

As Tony McGee say: “The Olympus OM-D E-M1 Mark II is an

extraordinary camera that now allows a photographer or filmmaker to do almost anything you want with it. It is simply loaded with wonderful options and the M-ZUIKO DIGITAL lenses are second to none. Delicious clarity and contrast with a very ’motion picture’ like bokeh. The Olympus OM-D E-M1 Mark II has now become my pride of place on my carry on bag for any international assignment.”

Photography News | Issue 53 | photographynews.co.uk

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Camera Club of the Year

in association with

Camera Club of the Year 2017-18 It is Round 5 already and the last chance to qualify for this year’s Camera Club of the Year in this year’s epic competition. What we are looking for this month is great interpretations of natural beauty Words by Will Cheung

There are plenty of contests, salons and challenges for camera clubs and photographic societies that get huge support – and rightly so because they challenge their members and there’s the chance of glory.

Our Camera Club of the Year contest is a serious challenge, and those five clubs that qualify for the final shoot-out this May will have to face something very different if they are to walk off with the title. ‘Daunting’, ‘stressful’ and ‘scary’ were some of the words used by the members of New City Photographic Society before going on to win last year’s shoot-out.

To win, your club first has to qualify for the final by coming top of the pile in one of the five monthly rounds, and this is the last chance to enter. Once we know the five finalists, the details of the shoot-out will be released simultaneously to them.

Your club’s competition secretary (or whoever is going to enter each month) must sign up at photographynews.co.uk. Terms and

conditions are also available on the website.

Any club or group is eligible to enter so long as there are at least five members. Online groups, internal company clubs and those clubs not affiliated to the PAGB are eligible to enter.

Once you have signed up, go to ‘Members’ on the top menu bar and you will see ‘CCOTY’ (Camera Club of the Year 2017-18) on the dropdown menu. Select that, then register your camera club and follow the upload instructions.

JPEG files should be at least 1500 pixels on the longest dimension and, preferably, in the sRGB colour space. Please make sure that your files are the right size. We have this year seen several entries that were very low resolution and received low scores.

A club can only enter one set of five images and the five images must be from five different members. Failure to enter five shots will mean the missing shot(s) scores zero points, so it is crucial to enter the full number of images.

After the closing date, each picture will be scored out of 20 points by the experts at Photography News and the highest scoring club will qualify for the final. In the event of tied scores, for those two clubs we will ignore the

highest and lowest scores and average out the three remaining scores – the club with the highest averaged score wins. If scores are still tied, all five scores will be averaged out.

When the issue with that month’s result is published, the scores for every picture entered will be published on the website and each member can see how well they have done.

There is no monthly prize apart from qualifying for the final shoot-out, and once a club has qualified for the final it need not enter again. Of course it can do so for the challenge and pictures will still be scored, but there is no

reward for winning in this instance. In effect, because each monthly contest is self-contained, ie. it is not a league system over the period of the contest, you do not have to enter every month – perhaps it is a theme the club is less strong at.

Clearly it makes sense to give yourself as many winning chances as possible, however.

So, good luck. Read the entry details again, check out the theme and start gathering your entry. Qualify for the final and your club could be joining us for a very special photography event, with the title of Camera Club of the Year 2017-18 to be won.

About Fujifilm Meet the new top-of-the-range Fujifilm X-series camera, the X-H1. With a remodelled body including a 25% thicker magnesium alloy shell, 94 seals and durable top coating, the X-H1 is designed to perform reliably in challenging conditions.

The body’s design has evolved, too, with a larger handgrip that will attract DSLR users. Gone is the exposure compensation dial to be replaced by a push button, so now compensation is set by pressing this and adjusting the input dial.

In the dial’s place is a large, full info LCD panel so it is very easy to check your camera settings at a glance. Also new on the body is an AF-ON button perfect for current DSLR users who prefer to autofocus using a rear thumb button rather than the shutter release.

Big news is Fujifilm’s new five-axis in-body image stabilisation system called IBIS. This system gives five-axis IS on some non-IS lenses or a total of five-axis IS with IS-equipped lenses. IBIS even gives threeor five-axis IS on non-Fujifilm lenses, such as those from Zeiss. The degree of benefit offered by IBIS depends on the lens fitted but up to 5.5EV is possible.

Helping to shoot pin-sharp pictures at low shutter speeds is an ultra smooth shutter release and a shock-free, very quiet shutter.

X-H1

Above The Fujifilm X-H1 is a highly capable stills camera but it is also a seriously well equipped 4k movie camera.

Photography News | Issue 53 | photographynews.co.uk

19

Camera Club of the Year

in association with

Theme 5: natural beauty © Will Cheung

Of all the subject themes in this year’s Camera Club of the Year contest, this round is probably the broadest and open to so many different interpretations.

So, what is natural beauty? Beauty, as they say, is in the eye of the beholder. If your club is full of members who love landscape photography then your entry could comprise five simply awesome scenic shots. But it might be that your club holds a strong hand of portrait or wildlife workers and that’s where your entry will be drawn from.

The thing to bear in mind is that the entry is not judged as a portfolio and images will be judged individually, so don’t feel a need to submit a rounded selection. Just make sure, whatever the subject, that the content, composition, seeing and technique are beyond reproach. © Will Cheung

Closing date 1 April © Will Cheung

Score

The winner: Theme 4: Fantastic light © David Cowling

© David Towers

Wow! It was a three-way tie at the top of the leader board this month with Caister CC, Leicester Forest CC and Midlothian CC. To decide the round winner, we took off the top and bottom scores and averaged out the remainder, with the result that Caister CC has qualified for the final shoot-out so well done to its members and commiserations Leicester Forest and Midlothian for coming so close.

IMAGES Show us what natural beauty means to you and your club could make the final.

© Peter Hazell © Geoff Tibbernham

© Hazel Farrow

Correction: Last month, our results showed that Wilmslow Guild Photographic Society scored 85 when it fact it should have read 86.

Apologies for any inconvenience caused to Wilmslow Guild and its members.

Caister Photography Club

88

Leicester Forest Photographic Society

88

Midlothian Camera Club

88

Dorchester Camera Club

87

Leighton Buzzard Photographic Club

87

Norwich & District Photographic Society

87

Peterborough Photographic Society

87

Eastbourne PS

86

Eastwood Photographic Society

86

Medway DSLR Camera Club

86

New City Photographic Society

86

Preston Photographic Society

86

Steyning Camera Club

86

Synergy

85

Ayr PS

84

City Photo Club

84

Frome Wessex Camera Club

84

Harpenden PS

84

Maidenhead CC

84

Norfolk Photographers Camera Club

84

Park Street CC

84

Blandford Forum Camera Club

83

Windsor Photographic Society

83

Wisbech & District Camera Club

83

Bedford Camera Club

81

City of London and Cripplegate PS

81

Grantham and District

81

Trostre CC

81

Consett PS

80

Seaford PS

80

Tonbridge

80

Wilmslow Guild Photographic Society

80

Wokingham and East Berkshire Camera Club

79

Brentwood & District Photographic Club

77

WWPS

77

Beckenham Photographic Society

76

Dunholme Camera Club

76

Harlow PS

76

Axholme Camera Club

75

Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

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Interview Profile

Chris Whittle

Elinchrom is a world leader in lighting, with its kit found in many a bag. We asked the company president what to expect next from this innovative brand...

Biography Years in the photo industry?

In March it will be 44 years.

Current location?

Leeds, UK. Last picture taken?

Yesterday!

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

The head of a conker business.

Or a go-karter… it cost more than a car for my mother so it was a non-starter!

Dogs or cats?

Dogs.

Toast or cereal?

Tough... I do a wicked poached egg on toast, but only have time for cereal!

Email or phone call?

Email – or one-to-one. Time zone variations and workload make email so convenient. One-to-one is essential for a genuine meeting of minds.

Contact Elinchrom.co.uk

PN: Elinchrom is a well-known lighting brand, but perhaps you could introduce the company to our readers?

CW: Elinchrom is based at Lausanne, Switzerland. It started over 50 years ago designing and manufacturing electronic flash equipment for professional and enthusiast photographers, since when it has built a reputation for supplying equipment on which many stake their future, at a very fair price point.

How is the lighting business? We had Bowens going to the wall last year so is the market in a perilous state or was that just an unfortunate case?

As with all businesses, competition is increasing. Unfortunately, Bowens was a casualty of this because it could not deal with the increasing competition.

In one sense this is good, in another it becomes harder to invest the sums required to create the realtime capabilities our customers will need for their futures, at a price to compete with the headline numbers promised by many of the newcomers.

I say headline numbers, because the realities of this equipment when tested or used can be very different.

PN tested the Elinchrom ELB 1200 system in a recent issue. We found it a rather lovely, pro-spec unit. Has it been well received?

The ELB 1200 is a product on a long burn. Compared directly against its competitors from major brands it offers more of what ‘can-do’ photographers need in almost every respect, and in one case, at half the price.

As a first, it also includes serious video functionality with the vast range of Elinchrom flash accessories, a direction in which more photographers are heading.

Hence those who have bought it love it, and those who have not have yet to discover why they need it. It is a lovely over-engineered, future-proofed power tool for photographers.

The Elinchrom ELB 500 TTL has power, simplicity, and it will work for everybody

Above The new ELB 500 TTL is an exciting portable lighting system that offers TTL and manual flash control.

What do you think is the ELB 1200’s biggest attraction?

This is its greatest attraction: not what it can do now, but what it will empower our customers to achieve by offering more than they could have imagined needing before their customer pops the next question, and the answer, with our help, is ‘yes’! Job done.

Hot on the heels of the ELB 1200 is the new ELB 500 TTL. Tell us a little about it. How long has it been in development and what do you feel are its key selling points?

The ELB 500 TTL is incredibly intuitive to use, offering full asymmetric output, so with 500w/s and two heads, despite being tiny, this configuration provides an amply powered two-head kit that can be used with both Quadra (Q) mount and full-sized Elinchrom accessories. It will complement any existing lighting system in manual control, and, to begin with, Canon and Nikon with full TTL control, including seamless HSS. And as our little extra, it also offers 90 CRI daylight-balanced modelling lamps that can be integrated into both stills and video shoots.

What were the key technology obstacles that had to be overcome to get the ELB 500 TTL performing to a level you were happy with?

We have often been asked about TTL. In the past, TTL was really not good enough, not because of the technology of the exposure control but the quality of the light.

Speedlights often required separate colour and exposure optimisation in the camera, every one was different, and we have seen equipment which, when tested, we could not have offered to our customers. This has at last evolved – we can say that TTL is autofocus

in light and at last Elinchrom has its own TTL solution which will work as well with other speedlights as it will with daylight, both inside and outside of the studio.

For high-speed flash sync, Elinchrom uses its own Hi-Sync technology where the shutter release and flash burst are very precisely timed for correct flash sync. The ELB 500 TTL uses a longer lasting flash, effectively pulsing, for its high speed sync feature. Can you explain, in layman’s terms, the pros and cons of each and why you took the pulsing option here?

Elinchrom has long been known for its emphasis on fashion. But a fast flash duration that will perfectly capture the spirit of the moment is expensive and it’s not something that most IGBT TTL-type flash units are very good at. It has also to be said that if one day we were to see global shutters with perfect flash synchronisation, HSS would be a thing of the past because it offers so little usable flash power at higher shutter speeds, in comparison with a full, fast-flash curve with perfect synchronisation.

That said, using Elinchrom’s HiSync system where we use a head with a longer flash duration and synchronise as accurately as we can, will at, say, 1/8000sec offer three to four stops more light than HSS – this is rather useful when competing with bright daylight.

With the ELB 500 system we do not need to optimise synchronisation times for perfect results. We also have more power than other HSS systems and full asymmetry.

In your eyes, what is the single most exciting feature on the ELB 500 TTL and why?

Its power and simplicity, and it will work for everybody.

Has the boom in video capture and the need for continuous lighting helped your business?

Video used to be something a videographer did. Now it’s something that everybody needs to do. Social media prioritises video content, stills are often explained with behind-the-scenes video content, and increasingly from Elinchrom this will be done using the same equipment for both stills and video. It is broadening the opportunity for all photographers, and it needs light, so yes it must help our business, but only as it gives oxygen to our customers’ work.

Elinchrom’s collaboration with Phottix was announced back in August 2015. What has that relationship done for Elinchrom?

Elinchrom could not have resourced the forward on-going compatibility with all the TTL/HSS/Hi-Sync options in the market. Phottix can, leaving us free to think about the things that we are good at. A condition of this was that we had to be willing to create an open system where everything goes – and we are, for the benefit of all.

It’s Photokina (major German imaging show) this September so should we expect to see more exciting products from Elinchrom.

Photokina is no longer a place to launch new products. It is a very expensive show and I understand that they wish next year to move the exhibition to May, and make it an even more expensive annual event.

We will launch anything new at a time to suit us, and that’s no longer driven by Photokina.

What’s the next ‘giant leap’ for lighting, do you think?

LEDs are coming, but who knows with what?

Photography News | Issue 53 | photographynews.co.uk

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Interview Profile

Paulina Duczman

From shooting family holiday snaps in 2014 to professional photographer, leader of fully-booked workshops and multiple award winner is Paulina’s remarkable journey. Read all about her career so far

You have come a long way in a short time and your list of awards and successes is impressive. Why do you think you have been so successful?

First of all, you need to be in it to win it! You can’t expect that success will find you and come knocking on your door. You need to show yourself, your work and put yourself out there for scrutiny. There are many photographers who don’t take part in any competitions – some just don’t want to, some simply think they are not good enough. But I was always ambitious.

For me, entering competitions is part of the learning process. I want to prove to myself that I can do something right.

I enjoy taking part in the competitions. Of course, I don’t always win. But the adrenaline rush when I do is amazing. If I don’t win, I very carefully analyse the reasons why and next time I try harder. It’s a very personal journey – it’s like a competition with myself. I never participate to win. I just want to take part to

© Paulina Duczman

PN: According to your website, your photographic journey started in 2014. So, first, what set you on the way and how did you learn the basics?

PD: In the summer of 2014, my family and I booked to go on our first holiday in five years.

My youngest child was just seven months old at that time. I decided that I would like to buy a ‘proper’ camera for the holiday because I was bored with photographing only with the camera on my mobile phone – I wanted to have good quality photographs from the holiday so that I could print them afterwards.

So, that was when I bought my first camera.

We bought a bridge Nikon camera, worth £50! It’s funny looking back on that now, but at the time it was a huge step. I had no idea about photography at all. The only thing I knew was that I wanted to take good quality photographs, and I was prepared to put in the work to learn how to use it.

During the holiday, I was like the paparazzi, running around after my children and photographing everything. I had no idea what ISO was, f/stop or exposure. I didn’t even know what DSLR stood for. But, after the holiday the photographs I had taken were not bad at all.

There was something in there that I liked. But most of all, I noticed a feeling in my heart – it felt so good taking photos. I enjoyed it a lot.

Right then, I told myself that I wanted to improve my photography and make it a part of my life. Learning was intense – I had three young children, was working an evening job, and pursuing photography as a hobby that I couldn’t really afford. But I noticed on social media that there were photographers who were earning money doing family and children portraits, and newborn photography.

I began to tell myself that if I learnt all the basics quickly and if I practised a lot, I might also be able to start earning money while doing what I loved. That is how it all started.

Since then I have been on a thrilling journey, learning as much as I can about photography, developing my own unique style, perfecting my skills and growing my photography portraiture and training business.

see if my photography is good enough. I think that by analysing the competitions and the work of previous winners, my work suddenly became better and better. I started achieving third, second and then first places. Winning the top prizes just came naturally.

But, I really work hard for all of that. It is not just luck or talent. It is the result of constantly working to improve my photography.

What encouraged you to specialise in people photography? Is it because you are a ‘people’ person?

Ha, actually, no! If I was a ‘people’ person, I would be doing weddings. And in fact, I am not interested in photographing weddings at all. No, I chose to specialise in portraiture simply because to me, faces are so amazing.

Each face is different.

From the beginning, I was drawn to painterly pictures, moody scenery and deep, rich tones. It was just a matter of time, I think, before all these influences came together and I created my own unique style. And I’m fascinated by eyes. The eyes can tell a different story. My favourite thing in the world is to capture my client’s eyes. For me, this is the way to touch and find their soul. Such a powerful connection is created between me and the subject if they look intensely into the camera.

The result literally leaves me speechless.

My photography has been described as captivating, striking, dramatic, graceful and timeless. I describe it as fine art portrait photography which captures the soul of the person I am photographing. I achieve that by capturing the eyes of my subject.

You are based in Kettering – not in London, Manchester or Edinburgh. Is being in a small town away from a major city a hindrance or a benefit to your business, and do you find that people love your work so much that they travel from all over anyway?

It is not easy to live away from the big cities. It would be more beneficial if I moved, and as a family we do actually have plans to move. But

My lighting is actually very simple, which I think is the best way, and I love playing with light and shadows

Top left Paulina Duczman's photographic career is in its infancy, yet her captivating portrait work has gained recognition worldwide.

at the moment, it works. My clients are either coming to me or I travel to them.

I’ve a busy schedule this year and will be doing a lot of travelling. I will be visiting almost all corners of the world giving photography workshops. So, I’m going to give myself this year to see which direction my photography business will go, and then by the end of 2018 I will make a decision about where to move to. If I do move, it will be with the intention of being more accessible to my clients.

Do you have any idea of your subjects’ appearance beforehand, or is it when they first come through the door that you first see them?

Yes, I do always ask my clients to forward me some photographs of them beforehand.

I need to see how they look, and what facial expressions they have. I also am looking to see what hair style they have and to predetermine what styling and clothing I could offer them.

Each session requires a lot of preparation.

It’s important that I prepare so I can offer the best possible client experience on the day.

Photography News | Issue 53 | photographynews.co.uk

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Interview

Obviously without being too specific, have you ever thought to yourself, ‘I’m going to have to work extra hard today’? What has been your biggest challenge in your career so far?

The biggest challenge so far was applying for a business grant. I was at the beginning of my journey – October 2014. I went to the bank to open my business account after earning my first £50 from portraiture. The EU had given Corby town (my home town) money to help small businesses to grow and they were allocating business grants. I decided to apply for one, even though it was the final week to get an application in.

I had to write a business plan and include cash flow projections for two years. I had no idea how to do it. But, like everything, once I set my mind to it, I just did it. I watched thousands of tutorials about how to write a business plan and in the end, I think I managed to write about 15 A4 pages. Then I attended a meeting with five people representing the Corby Town and EU Business Grants. They asked me loads of questions – it was kind of like Dragons’ Den. Because I’m Polish, it was even more difficult for me – I was born in a small seaside town in north-west Poland in 1983 and moved to the UK in 2006 with my husband and children.

But in the end, I was successful. I received my business grant and in January 2015 I was able to purchase my first full-frame camera and 70200mm f/2.8 lens, and that really improved my photography.

Can you briefly outline what camera and lighting equipment you use please?

At the moment, I use a Sony a7R II camera with 35mm Sony lens and Nikon D850 with Nikkor 105mm lens. In terms of lighting, I use either natural light or an Octa 120cm softbox.

Travelling outside the UK to teach photography during my workshops taught me that you can achieve the same effect with any equipment.

You shoot with natural and artificial light.

Do you decide when you see the subjects, or

© Paulina Duczman

Are you nervous before a shoot or is it an adrenaline rush?

Yes, I do actually get very nervous. Despite my experience and success, I still get moments of self-doubt. Many questions go through my head, such as, ‘Am I the right photographer for them?’ or, ‘Am I able to capture what they expect me to capture?’. And another common one is, ‘Are we going to click?’. But then, after my clients come through the door, all that anxiety disappears. Once I am in the working zone, I change. I am focused and just get on with the job.

the timing of the shooting session? Or is it just how you feel on the day?

During each session I use both lighting types.

It is a part of my workflow. If I go outside, I use only natural light.

Are you one to move the lights around during a shoot or do you keep to what you know?

I stick to what I know. I have got a very specific workflow and I try to be very organised.

My lighting is actually very simple, which I think is the best way and I love playing with light and shadows. I don’t need to move too much during a session.

How much post-processing do you apply and is this something you do yourself?

I always do my image retouching myself. I love editing. It makes me feel like a painter. Music is a great influence on me, and I love listening to music as I edit my photography.

In terms of time, it all depends on the photograph. Sometimes it can take just five minutes and sometimes it can take up to two

hours per image. The thing I spend the most time on is dodge and burn to get the effect that I’m after.

Is it just you and your subjects in the studio during a shoot? Or do you have a team assisting you?

Only me. I do everything myself.

Maybe that will change in the future but, at the moment, I can manage everything myself.

© Paulina Duczman

I’d imagine your subjects must be so pleased when they leave you after the viewing. Have you ever been disappointed by a client’s less than enthusiastic reaction, especially when you are really proud of the shots?

If I am really proud of my photographs there is no chance that I will not sell them. Clients always see how you feel about the session and the photo products.

I have carefully selected the products that I sell and I am very passionate about them, and of course the images I’ve created. If I love the photographs and I’m emotionally attached to them this is something that is very hard not to show to the client. And if this is the case, I find that the clients then love them even more.

You have won so many awards for your wonderful work, but which is the one you are most pleased with?

Oh, that’s a tough one! I could not choose which one is the most important for me, actually.

Each of the awards I’ve received were given for something different and they made me a better me.

You won the Overall Photographer of the Year title in this year’s SWPP Awards, and you are the only photographer in the Society’s history to have won that title twice in one night. How does that make you feel?

Very proud! Honoured, of course. I won the double, Overall Photographer of the Year 2017 Images Paulina's work features natural and flash lighting in her workflow, and mostly keeps it simple – but she loves playing with highlights and shadows.

and Overall Winner of the Print Competition 2018. I was also told that I was the first woman in five years to win the Photographer of the Year title.

I think the most important feeling for me is that I inspire others. And not only in the fine art sense, but by working hard and pursuing my dreams.

I am showing other woman (not only in the photography industry) that despite having a young family and being a mum, it’s possible to follow your dreams and not feel guilty about it. At the end of the day, your kids are happiest when they see their parents happy. And my photography certainly makes me happy and therefore a better mother.

So, into the fourth year of your photographic journey, what are your key aims for this coming year?

Simple. I want to establish my portrait photography business and open a new photography studio. And I also want to do more outdoor photography.

What is your ultimate photographic ambition?

The ultimate dream would be to create an exhibition showing my work – the work that truly represents who I am as an artist.

You’re in a competitive business, but do you have any advice for someone keen to become a professional photographer?

Be prepared to work really hard. Follow the best in the industry and observe what they do. Find your own unique style – we are all different – and spend time working out who is your ideal client. Create work that appeals to them, but most importantly, just be yourself.

Contact paulinaduczman.com facebook.com/paulinaduczmanphotography instagram.com/paulinaduczman

Photography News | Issue 53 | photographynews.co.uk

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Interview Profile

Andy Moore LRPS Andy Moore is the Distinctions manager of the Royal Photographic Society. Here he explains what the letters LRPS, ARPS and FRPS mean – and how you too can have letters after your name © Stephen Hutchins ARPS

PN: The RPS is a very long-established organisation promoting photography.

When did you first become part of it and how did you start?

AM: Yes, we are the oldest photographic organisation. I came from a business background so working for an educational charity is very different – and extremely rewarding.

During my 12 years here the number of Distinctions applications has increased by more than 60%. I have met some amazing photographers and what pleases me most is when we help people develop a personal style, and I was extremely proud in November 2011 when I gained my LRPS. Your job title is Distinctions manager, so what does that encompass?

I oversee the busy Distinctions department, working with Ben Fox ARPS and Simon Vercoe LRPS. We make a great team: different skills and strong collectively. I spend a lot of time liaising with the 90 volunteers involved in Distinctions, including arranging advisory days and assessment days. I never lose sight that the RPS is all about images. They come in from all over the world. It’s a fascinating job.

What is the aim of the RPS Distinctions?

The aim underpins the central tenet of the RPS: to help people improve their knowledge and understanding of photography. There are three levels of Distinction: LRPS (licentiate) means you are a good all-round photographer; ARPS (associate) confirms your technical skills and creative ability in a particular genre; FRPS (fellow) is a demonstration that you have perfected a personal photographic style and are working at the very highest level.

What value do you think they have, particularly as there seem to be so many distinctions around?

RPS Distinctions are the gold standard throughout the world. Any one of them is a considerable achievement and each photographer can choose their own personal route through them. Even people who can’t quite achieve the required standard say their journey has made them much better photographers because it gives them a focus and a structure. Many famous photographers have an RPS Distinction so anyone who achieves one is joining an illustrious group.

Can anyone apply for a Distinction or do you have to be an RPS member?

Distinctions are open to anyone of any age who can take images, use images or write about images. We have had successes in Distinctions from 11 years old to 84 years old. You can use a camera picked up at a jumble sale, your camera phone or top-end DSLRs – we never ask which equipment you use because it is all about YOU as a photographer. You don’t have to be an RPS member to apply for LRPS or ARPS, but to retain your Distinction, you must be a member – you are a licentiate or associate member, or a fellow of the Society.

Above Stephen Hutchin’s love of cold, ice and snow came out in his successful A panel. “The RPS Distinction process provided me with an entirely new direction and challenge. It has rekindled my love of photography”, he says. Left Andy Moore

So, with the LRPS being the first step and the FRPS the highest accolade, does that mean the pass standard goes up correspondingly?

Put another way, is the percentage failure rate for the FRPS much higher than for the A and L awards?

Yes. You would expect the highest level to be the most difficult to achieve otherwise it would not be worth striving for. We have 600 applications a year at LRPS level (for which you need to submit ten images), 400 for ARPS (15 images) and 100 for FRPS (20 or 21 images). Percentage pass rates are not an accurate reflection of the system as we do not control what individuals wish to submit, but it is true to say that around 70% of submissions are successful at LRPS. What we concentrate on is helping everyone to succeed if they possibly can with online advice, one-to-one advice and advisory days. In 2018 we are concentrating on improving feedback so that if people don’t succeed at the first attempt they know precisely why and will be in a much better position next time round.

Do you think the current Distinctions reflect what is happening in modern imaging? Many more pictures are taken on camera phones and tablets than DSLRs and mirrorless cameras – should Distinctions embrace such capture methods?

We already do! What we assess is the final image, not how it is taken. If you swim across crocodile infested waters to get that fantastic travel shot; if you fly a drone over an airbase (with permission!) – that’s fine but not relevant to the assessment process. We are only interested in the end product and whether it

achieves what you say you want it to achieve.

It is your choice whether you use film, video, pinhole, Polaroid or build-your-own camera.

We concentrate on helping everyone to succeed with online and one-to-one advice, and advisory days

The categories don't seem very clear to the uninitiated. What does Applied embrace, for example? And although there is a Natural History category, why not action, landscape and portrait categories?

There is cross-over between the categories which is why your intention, as outlined in the statement of intent, is vital. Let’s take the Isle of Skye as an example. Lovely images of the landscapes and seascapes which give a sense of time and place: Travel. Images showing how people earn a living which are then published in the tourist board brochure (therefore an end use): Applied. Birds and seals: Nature. Images taken over time to show erosion because of man’s despoliation of the landscape: Contemporary. Lovely artistic images of wave and sand patterns: Fine Art. So we cater for all styles. Within these categories we see lots of examples of landscape, action and portrait shots. If in doubt please email us at category@rps.org In the same way, urban/street photography is very popular – so where does that fit?

You are absolutely right: this genre is

Photography News | Issue 53 | photographynews.co.uk

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Interview © Karen Jones LRPS

© Garry Hayes LRPS

Above Garry Hayes’ successful L panel was split equally between action and nature images.

Right Karen Jones has been into photography seriously since 2008 and she took the black & white route for her successful L panel. increasingly popular. Many people have taken their inspiration from Henri CartierBresson. The decisive moment is vital in street photography, but record shots are not enough; we are looking for a personal style.

As explained earlier the intention of the photographer is all-important. Reflections in street windows could be Fine Art. Life in Camden Market could be travel. Explaining an issue via street photography, such as the increasing number of homeless people, could be Contemporary and Conceptual, and if your portfolio was based on an illustrated article documenting the decline of the market traders it would be Applied. So let me emphasise that the purpose of your panel is key – you need to explain what you are trying to achieve.

One category, in a short period, changed from Visual Art to Pictorial and Creative and is now Fine Art. What was the reasoning behind the changes and why were they needed?

We have more than 11,000 members and we

do listen to them! There was considerable debate about whether images produced entirely in camera should be in the same category as those heavily manipulated in post-production – hence the split. After a trial, it was felt better to put them into the same category: Fine Art. This means it does not matter how you produce your body of work. You may use any software you like but all the images must be your own; you may also use commercial printers. What matters is what you ultimately produce for the assessors to see.

People can apply for Distinctions with prints, books and projected images. Do you have a view on which method works best?

The short answer is: whatever works best for your work. Personally, I love the feel of prints and books. There is no doubt, for example, that specialist paper can add hugely to the cost of a fine art panel so of course prints are more expensive. We are currently encouraging people to submit applications using projected

images (IFS: Images For Screen). We have acquired an 85in monitor and the images look absolutely stunning, but I would always recommend you submit the format you are most comfortable with, and do not base the decision on costs. © Angus Stewart ARPS

What is the single biggest reason for a panel of pictures to fail?

At LRPS: • Print quality/presentation • Over processing in post-production • Poor composition At ARPS: • No consistent style • A lack of seeing • Not understanding subject matter • Inconsistent with statement of intent At FRPS: • Personal style not strong enough • Lack of distinguished photography Who decides whether applicants are successful or not?

The RPS is a membership organisation. We have among our volunteers highly qualified photographers who are specialists in their field. The Distinctions Committee appoints members to the various Distinctions panels according to their ability and experience.

If you had to give a photographer keen to achieve an RPS Distinction just one single piece of advice, what would that be?

It may sound corny but choose a subject or project that you are passionate about! It really does show through in your images. Above all, read the requirements, and remember: we really do want you to succeed!

Left This is the hanging plan for Angus Stewart’s successful ARPS panel featuring singers, circus and burlesque performers and went into the Applied category.

Photography News | Issue 53 | photographynews.co.uk

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Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

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Interview Town portraits

Remarkable of Tunbridge Wells Inspired by a 1748 etching, photographer Mark Wilkinson and writer Anne Wagstaff set out to produce a book and an exhibition of a small Kent town and all for charity

You and Anne have worked on previous projects such as Portrait of a Village in 2009. What brought you back together for Remarkable?

We had been thinking for a while about how to make the Portrait of a Village style work in a larger town and it was coming across the image from 1748 by Loggan that sparked the idea of looking for people with a story to tell.

How did you find your Remarkable Characters? I’d imagine you found more people than you actually needed, so how did you decide who to include?

Anne lives in Tunbridge Wells and so was the driving force in seeking out the Remarkable Characters. We didn’t set out with a list of people we had to have but allowed the names to emerge through discussion, a thorough reading of the local press and a trawl of the internet, often using #tunbridgewells to deepen the search. We approached people who we felt had a story to tell; some are

© Mark Wilkinson

© Mark Wilkinson

What was the motivation to take on this project?

Behind the quick assumptions we make about towns such as Tunbridge Wells are real people with real stories and a texture that is rich and multi-layered. We wanted to paint a portrait of the town through images and words.

As with all portraits, the portrayal is in the eye of the artist. We have captured the mood, the likeness and the personality that we see.

We started with a boot sale find for the initial inspiration. The cover of a 1966 Sunday Times Magazine showed two people looking out of a red telephone box with the title Portrait of a Village. The article explored the village and villagers – it is notable just how much the commonplace of 1966 has changed. Few villages now have a wheelwright, or indeed a red phone box. It is easy to let the minutiae, the smaller stories, the details slip through our fingers unrecorded.

Then in 2016 we came across an etching showing The Remarkable Characters who were at Tunbridge Wells in 1748. This drawing of the Pantiles includes Dr Johnson, Mr Pitt (Earl of Chatham), Loggan, the artist, and the renowned Miss Chudleigh, amongst others.

Together these inspired us to consider undertaking a larger project looking at the current residents of Tunbridge Wells.

© Mark Wilkinson

Interview by Will Cheung Pictures by Mark Wilkinson

My photographic style ever since I started taking pictures as a child has involved using natural light, or if needs be, ambient light

Clockwise from above Louise Jameson, actor and director. Beau Lane-Winch; Isaac Holman, one half of Mercury award nominees, punk duo Slaves.

of national importance, some are quieter and more personal.

We could have included so many more people, and we keep hearing suggestions that we would have loved to include. Everyone we photographed has been included and we are pleased with the overall balance and variety.

How did you decide on your photographic approach for the project?

My photographic style ever since I started taking pictures as a child has involved using natural light, or if needs be, ambient light. With this project I decided early on to challenge myself by taking square format portraits. It has been difficult to not resort to placing the subject at the centre and to use the restrictions of the shape creatively.

We also wanted the portraits to have a narrative so many of them include details significant to the life and story of the subject.

The strong square image ‘look’ has allowed me to create a variety of images that all sit together cohesively as a group.

What was the most difficult aspect of taking the pictures?

Perhaps not too surprisingly, it was actually organising where and when to meet.

Combining the square format and the story telling with the need to create really strong images was a challenge. It was also important that they work together as a collection and this was in my mind throughout.

Were your Remarkable subjects easy to photograph or did they represent a challenge?

Happily, all were excited and interested in the project and curious about the process. On the whole the men were fairly pragmatic; I definitely felt more pressure taking portraits of women. The children took longer for me to capture the right expression.

With each portrait I worked on two or three different ideas and shared the images on the back of the camera with the subject. Anne and I then discussed which worked best from a storytelling perspective and how they sat with

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Interview © Mark Wilkinson

See the show and buy the book

The Remarkable Characters of Tunbridge Wells exhibition will take place from 16 March to 9 September 2018 at Woods Restaurant and Bars, 62 & 64 The Pantiles, Tunbridge Wells, Kent TN2 5TN. Opening times: Monday to Friday 8am to 4pm (extending to 5pm after Easter), Saturday 8am to 5pm and Sunday 8.30am to 5pm.

The show includes 40 individual portraits together with a brief description of why or how the subjects have come to do what they do.

The exhibition will be accompanied by a book available for purchase. The project will raise funds for local charity Fegans, a children’s counselling service (fegans.org.uk). Fegans cares holistically for the whole family, through counselling children and supporting parents.

Books cost £18 and details can be found on the website. remarkablecharacterstw.com

Below Mark Wilkinson, the photographer behind the project, and Anne Wagstaff, the book’s writer.

Do you have a picture you are most pleased with?

Taking the portrait of Yvonne Vinall was a terrific challenge and I am delighted with the portrait. She is very used to modelling, being a life-model, but I am less used to taking pictures of an 80-something year old naked.

The lighting was ambient, rather than natural, which added complexity. I enjoyed staging the portraits of her drawn and painted through her career around her. Working with her was an amazing experience.

Isaac Holman’s portrait is striking and bold. I wanted to create a slightly ‘aggressive in Tunbridge Wells’ look for the punk rock drummer and vocalist from Slaves. The play of angles and leading lines, together with the large ring, newspaper and tattoos in the café setting worked well I think.

Are you both happy with what you achieved? And if you had your time again, what would you do differently?

We are both really happy with what we have achieved. We have learnt so much about people and about ourselves through the project. It has been a privilege to have met and talked to every single person involved. It has also been a great pleasure working with

© Emma Wagstaff

the other exhibition images before selecting a final image.

Top Yvonne Vinall is a life model photographed surrounded by portraits of herself. Above The 1748 Loggan etching that inspired the whole project.

the charity, Fegans, that all proceeds from the exhibition and book sales are supporting.

It does feel good to be able to use our skills to help an organisation raise funds.

What’s next for both of you?

Anne will return to her studio for a period of reflection and pottery and I will be pushing on with my portrait photography, continuing to challenge myself. Both of us would like to explore new ideas and take the idea of the Remarkables even further.

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Photography News | Issue 53 | photographynews.co.uk

Technique

New faces Get more daring with your portraits for pictures with punch

Get more creative with your portrait work and reap the rewards with people pictures full of intrigue and impact. Here are eight ways to do it...

Words by Kingsley Singleton Pictures by Kingsley Singleton and Will Cheung There are so many rules for portrait photography; use these lenses, stand like this, look this way, focus here, light like this… and most of the time they’re used for good reason.

Sometimes though, for the most expressive results, you need

to throw off the shackles and experiment. That’s why this month we’ve put together a list of rulebending portrait tips.

From changing the way you frame and focus, to using light in new ways, and shooting with

2. Use some strong shadows

non-portrait lenses, there’s plenty to discover. Even if you use only one of these methods on your next shoot, you’re sure to come up with an image that stands out from the crowd. Give them a try and see what you can come up with.

1. Try lots of distortion Normally when shooting portraits we try to minimise distortion. The less there is, the more lifelike and flattering the shot will likely be.

For that reason we use lenses with short telephoto focal lengths, like 70mm, 85mm or 105mm, which show a very natural, undistorted view of the face. On cameras with sensors smaller than full-frame, like APS-C or Micro Four Thirds chips, you might use 35mm or 50mm lenses for the same look.

But shorter focal lengths can add lots of distortion. A wideangle lens has the effect of forcing perspective so that anything close to the lens is enlarged. Apply this to a human face, focusing

closely and the face will become bulbous looking, enlarging the nose, mouth and eyes. It can look comical or grotesque, depending on the expression and is a good way of adding something unusual to your portfolio.

You can get the effect using the wide-end of a standard zoom (usually 18mm or 24mm), but try going wider and using focal lengths of 14mm or below and there’ll be even more distortion.

The uncorrected view of a fisheye lens like Sigma’s 15mm f/2.8 EX DG Diagonal is another great way to push the effect to the maximum, and the closer you position the subject the more distortion there’ll be.

Above You wouldn’t want to shoot every portrait with a fisheye lens, like the Sigma 15mm f/2.8 above, but it can produce eye-catching results.

Above Shoot window-lit portraits without a reflector for drama.

Most of the time, for flattering portraits, even lighting is essential. The more even the lighting on the subject, the less contrast there’ll be and that reduces shadows, hiding imperfections, and smoothing skin tones.

It’s for that reason photographers try to shoot in diffused light. But you don’t need to work this way all the time, and if you ramp up the highlight and shadow quotient, you’ll get more dramatic effects.

Contrasty lighting can still be flattering, too.

In the example picture, Emma was sat just to the front of a large

window on an overcast day, but turned away from it enough to feather the effect and leave her with mainly side and rim lighting. Shooting in aperturepriority mode and using multizone metering, I knew the camera would underexpose her but get the window right, leaving the picture much too dark. For that reason, I used some positive exposure compensation, adding it using the +/- button, and setting +2EV to give me an settings of 1/320sec at f/2 and ISO 200. It would have taken about +4EV to correctly expose Emma. Finally, I added a little more contrast in Lightroom.

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Technique 3. Look away from the camera

4. Get creative with cropping

Another typical rule of portrait pics is to have the subject looking into the camera, creating strong eye contact. Eye contact with the camera attracts the viewer’s attention, which is why it’s a style often used on magazine covers, adverts and posters.

If you shoot so that the subject is looking away from the camera something changes. The picture becomes more about what they’re thinking. It takes on an element of mood and story, which is added to by the overall expression and the subject’s surroundings.

Sometimes these ‘eyes off’ moments can come by accident, but a bit like the process of focusing away from the subject’s eyes (see below), it’s better that they’re looking well away from your shooting position rather than just off camera which can look neither here nor there.

Usually, you’ll need to direct the subject, either giving them something to look ‘at’, or some way to act.

Other than the general change in approach, there’s no particular technique involved, apart from still needing to focus on the eyes.

The picture becomes more about what they are thinking

Above Square framing can be done in camera or via a crop in editing.

Above Not every portrait needs to have the subject looking straight into the camera lens. Looking away adds an element of intrigue.

There are rules for cropping portraits. For formal shots, it’s advisable not to crop in too close, and to avoid cutting the subject off at the joints. For example cropping right on the elbows can look odd; it’s better halfway up the arm. Likewise, it’s normal not to crop off the top of the subject’s head, or leave a lot of room above it either, filling the frame as much as possible.

But it can be fun to experiment with cropping by breaking some of those rules. For instance, try cropping very close so that the

subject’s face fills the entire frame.

You might also try framing that’s similar to cinematic close-ups; this works well when using an ‘eyes off’ pose (see left). Equally, you can try including lots of headroom, especially if that area is pleasingly empty, or has something appropriate to the subject. You can even bisect the face in your framing.

You can make these decisions in camera, but it’s also common to find new and interesting crops when reviewing pictures in Lightroom or Photoshop.

5. Focus away from the subject The traditional method of portrait focusing is to set it on the eyes, making them the sharpest point of the frame and therefore the heart of the image. It’s a rule to follow 99% of the time, because the eyes are naturally where we first look. Also, even minor softness in the eyes makes a portrait look badly taken, even if the focus is just millimetres out. But you can also create compelling portraits by focusing away from the eyes.

If there’s sufficient interest, you might focus on another part of their body, like their hands.

Or you could focus on a tool, an object, or item of clothing they’re connected to in some way, like a soldier’s medals, or a bride’s wedding ring. You can even focus on something around them that their job or hobby involves, like plants or machinery.

So long as there’s a connection and reason for shifting the point of focus, the portrait will still be successful. In some ways, the trick

The trick is to focus far enough away from the eyes to make sure the viewer knows you’re being deliberate in the choice of focal point is to focus far enough away from the eyes to make sure the viewer knows you’re being deliberate in the choice of focal point, rather than it just having slipped.

You should also use a wide enough aperture to blur anything in front of or behind the point of focus.

Above Selective focusing and shallow depth-of-field can work really well but make sure focus is accurate.

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Technique 6. Use on-camera flash

8. Cut up the subject And one you can do in Photoshop

One of the first things that improves flash-lit portraits is getting the flash off the camera.

Whether you’re using your camera’s pop-up flash or an accessory flashgun mounted in the hotshoe, if a burst of light is emitted straight at the subject it causes hard lighting, a crisp shadow on anything behind the subject, and often red-eye as the flash reflects from the back of the subject’s eyes. Using accessory flashguns you can usually bounce the light to get a softer and more diffused look.

But given the right subject and situation, unmodified direct flash can work really well. The hard shadows it creates and the harsh light can look edgy, which is why you’ll find lots of similar shots used in fashion photography, where it’s used to add realism and grit.

In the example picture an accessory flashgun was used, with the camera held vertically, so the shadow appears to the side of the subject. I also added strong vignette in Lightroom to give it a spotlight look; similar to that you’d get using a snoot attachment on the flash.

Above On-camera flash is not liked by many photographers, but it give a bright, contrasty result.

7. Embrace the clutter For formal portraits you would naturally try to remove as many distractions around the subject as possible; you’d use a clean background too, and you certainly wouldn’t have anything between you and the person you’re shooting.

The more you remove, the more you’ll tend to make the subject clearer as the focal point.

Handled in the right way, though, clutter will add character, narrative and depth to a picture. Now, you still don’t want anything touching the subject, or even too close to their position, but if you can find some foreground elements and shoot with them out of focus, it will add to the story, as well as making the subject seem even clearer and sharper.

In the example image below, a very wide aperture was used to knock the items on the restaurant table out of focus, while focusing on the subject keeps them sharp. The eye contact makes it a funny and intimate moment. Have the subject looking away from the camera and the same set-up will look as though they’re being observed in secret.

Above Using nicely out-of-focus foreground to direct the viewer to the subject is a good technique to try.

Above The best joiners are usually shot with the technique in mind so there is plenty of picture choice when it comes to editing.

Does a good portrait need to be made solely in camera? Of course not. And a great example is creating a photo joiner.

Photo joiners involve splitting the subject across multiple frames, either by shooting separate images of them, or by splitting a single image up in Photoshop. It’s a style that can help make sense of an awkward composition, but looks great in its own right, too.

The first method is the purist’s choice, often inspired by the Polaroid joiners of David Hockney; you keep altering the framing to record all of the subject and their surroundings, not worrying too much about

perfectly overlapping shots, but making sure you don’t leave any part uncovered.

Shoot in a semi-automatic mode like aperture- or shutterpriority and you’ll get a nice mix of brightness in the exposures, adding to the patchwork look. Finally, you can either print the images and make a physical collage from them, or load them all into Photoshop, make a blank canvas, and add the images as separate layers, moving them around on the virtual canvas there.

The second method is simpler, but arguably lacks the artistic endeavour and ultimate creativity of the first. Just take a single image, and then cut it up into bits in Photoshop.

Once you have the original cut up, you can make a new, blank file, and add the cut-up parts as layers, using the Move tool to reposition them.

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Awards Gear of the year

Photography News Awards 2017 WINNERS It’s time to announce the winners of our 2017 Awards. You’ve made your decisions and this is what you consider to be the best you can buy so our grateful thanks go to everyone who voted in this year’s Awards

We love kit and from your response to our Awards, we’re pretty sure you do too.

Turn the page and you can see the items you chose to be winners across a wide range of product categories and services. Of course, we have all the obvious stuff covered so plenty of camera and lens categories but our Awards are far-reaching. We cover, for example, what some might consider less glamorous but equally essential product areas like bags, colour management and monitors.

In some categories, there were very clear winners while in others there was little to choose between products with only a few votes separating the winner from the shortlisted.

With the headlong pursuit for sales and market share, the gear manufacturers have to work hard at bringing in new technologies and product developments. From this year’s winners, lets just spotlight a couple of products that really demonstrate how brands are working now.

The Profoto A1 on the face of it looks like a typical speedlight. But while it does slide onto the camera hotshoe (it can be used off-camera too) the A1 does not give a typical speedlight performance. What you do is get a nice light that can be modified with various accessories – hence Profoto calls it ‘the world’s smallest studio light’ – and it is a wireless remote

control unit for Profoto’s studio lights. And then there’s the Fujifilm GFX medium-format camera system. It was in the shops early in 2017 and we have written plenty about it. This mirrorless camera is compact, feature rich and delivers great quality files demanded by professionals and experienced enthusiasts.

This year’s Awards will be presented on the Photography News stand at The Photography Show, taking place 17 to 20 March at the Birmingham NEC. The PN stand is in the food gallery area, so if you are passing, please feel free to stop by and say hello.

Thanks for your generous support of this year’s Awards.

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Awards

CONSUMER DSLR WINNER: Canon EOS 80D Nominations: • Canon EOS 200D • Nikon D5600 • Nikon D7500 • Pentax KP • Sony A68

ADVANCED DSLR Winner: Nikon D850 Nominations: • Canon EOS 6D Mark ll • Canon EOS 7D Mark ll • Nikon D500 • Pentax K-1 • Sony A77 II

PROFESSIONAL DSLR Winner: Canon EOS 5D Mark IV Nominations: • Canon EOS 5DS R • Canon EOS-1D X Mark II • Nikon D5 • Sony A99 II

CONSUMER CSC Winner: Olympus OM-D E-M10 Mark III Nominations: • Canon EOS M100 • Canon EOS M3 • Fujifilm X-A3 • Fujifilm X-E3 • Olympus PEN E-PL8

ADVANCED CSC Winner: Canon EOS M6 Nominations: • Fujifilm X-T20 • Olympus OM-D E-M5 Mark II • Olympus PEN-F • Panasonic DC-GX800 • Sigma sd Quattro H

PROFESSIONAL CSC Winner: Fujifilm X-T2 Nominations: • Fujifilm X-Pro2 • Leica M10 • Panasonic Lumix DC-GH5 • Olympus OM-D E-M1 Mark II • Sony A9

COMPACT /BRIDGE Winner: Fujifilm X100F Nominations: • Canon PowerShot G1 X Mark III • Fujifilm X70 • Leica X-U • Panasonic DMC-LX15 • Sony RX10 IV

MEDIUM-FORMAT Winner: Fujifilm GFX 50S Nominations: • Hasselblad H6D-100c • Hasselblad X1D-50c • Leica S-E • Pentax 645 Z • Phase One IQ3 100MP Trichromatic

WIDE-ANGLE LENS Winner: Sigma 12-24mm f/4 DG HSM A Nominations: • Canon EF 11-24mm f/4L USM • Fujifilm XF23mm f/2 R WR • Laowa 12mm f/2.8 Zero-D • Nikon AF-S Nikkor 28mm f/1.4E ED • Sigma 14mm f/1.8 DG HSM A • Tamron 10-24mm f/3.5-4.5 Di II VC HLD • Zeiss Milvus 25mm f/1.4

MACRO LENS Winner: Voigtlander E-Mount 65mm f/2 Macro Apo-Lanthar Nominations: • Fujifilm XF80mm f/2.8 R LM OIS WR Macro • Olympus M.Zuiko ED 30mm f/3.5 Macro • Samyang 100mm f/2.8 ED UMC Macro • Sigma 105mm f/2.8 EX DG OS HSM • Tamron SP 90mm f/2.8 Di Macro 1:1 VC USD TRIPOD: ALLOY Winner: Karoo Compact Tripod (Aluminium) 102 Nominations: • Benro Travel Angel FTA28AB1 • Manfrotto Be Free Aluminium Travel Tripod • Nest NT363AT Aluminium Systematic • Slik PRO 400DX • Vanguard Alta Pro 2+ 264AT

STANDARD LENS Winner: Tamron SP 24-70mm f/2.8 Di VC USD G2 Nominations: • Fujifilm XF16-55mm f/2.8 R LM WR • Fujifilm XF35mm f/2 R WR • Olympus M.Zuiko ED 25mm f/1.2 PRO • Sigma 24-70mm f/2.8 DG OS HSM A • Sigma 50mm f/1.4 DG HSM A • Voigtlander MFT 25mm f/0.95 Nokton II • Zeiss Touit 32mm f/1.8 TELEPHOTO LENS Winner: Zeiss Otus 85mm f/1.4 Nominations: • Fujifilm XF100-400mm f/4.5-5.6 R LM OIS WR • Fujifilm XF50mm f/2 R WR • Nikon AF-S Nikkor 105mm f/1.4E ED • Olympus M.Zuiko ED 40-150mm f/2.8 PRO • Sigma 120-300mm f/2.8 DG OS HSM S • Sigma 85mm f/1.4 DG HSM A • Tamron SP 150-600mm f/5-6.3 Di VC USD G2

TRIPOD: CARBON-FIBRE Winner: Manfrotto 190 Go! Carbon 4-section Nominations: • Gitzo Systematic series 5 long, 4 sections GT5543LS • Kenro Karoo Ultimate Travel Tripod (Carbon fibre) 401C • Nest Traveller NT-6264CK • Novo Explora T20 • Velbon GEO E543D

SUPERZOOM LENS Winner: Tamron 18-400mm f/3.5-6.3 Di II VC HLD Nominations: • Fujifilm XF18-135mm f/3.5-5.6 R LM OIS WR • Nikon AF-S Nikkor 28-300mm f/3.5-5.6G ED VR • Olympus M.Zuiko ED 12-100mm f/4 IS PRO • Tamron 28-300mm f/3.5-6.3 Di VC PZD

ON-CAMERA FLASH Winner: Profoto A1 Nominations: • Hahnel Modus 600RT • Kenro Speedflash KFL101 • Rotolight NEO 2 • Nissin Di700 Air • Pixapro Li-ION580 MK II TTL

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Awards MONITOR Winner: BenQ SW320 Pro 32in IPS LCD Nominations: • BenQ SW2700 PT 27in IPS LCD • Eizo ColorEdge CG277 27in • NEC MultiSync 27in LCD 4k UHD IPS • Phillips BDM4037UW 40in 4K display

EXTERNAL STORAGE DEVICE Winner: Samsung Portable SSD T5 Nominations: • Drobo 5C • G-Technology G-Drive USB-C • LaCie Fuel • Seagate Backup Plus Desktop • Western Digital My Passport Wireless Pro

PORTABLE FLASH Winner: Elinchrom ELB 1200 Nominations: • broncolor Siros 400 L • Pixapro PIKA200 TTL • Pixapro CITI 600 TTL • Profoto B1X • Profoto B2

INKJET MEDIA: PHOTOGRAPHIC FINISH Winner: PermaJet FB Mono Gloss Baryta 320 Nominations: • Canson Infinity Baryta Prestige Gloss 340gsm • Epson Traditional Photo Paper • Fotospeed Platinum Baryta 300 Signature • Hahnemühle FineArt Baryta Satin • Ilford Galerie Prestige Gold Fibre Silk 310

INNOVATION Winner: Rotolight NEO2: continuous light and HSS flash Nominations: • Fujifilm GFX: mirrorless medium-format system • Profoto A1: world’s smallest studio light • Sony A9: 693 AF point and 20fps shooting

MAINS FLASH Winner: Pixapro Storm II 600 Nominations: • Broncolor Siros 400 S • Elinchrom ELC Pro HD • Godox QT II Pro 600 • Lencarta SuperFast Pro 400Ws • Profoto D2

SOFT SHOULDER/SLING BAG Winner: ThinkTank StreetWalker V2 Nominations: • Cullmann Amsterdam Maxima 335 • Lowepro ProTactic SH200 AW • Manfrotto Windsor camera reporter • Mindshift BackLight 26L • Tamrac Anvil 23

FILTER Winner: Lee Filters ProGlass IRND Nominations: • Cokin Nuances family • Hoya PRO ND family • Manfrotto Xume Adapters • Marumi DHG Super Circular Polariser • SRB Elite Filter System

HARD ROLLER/HARD CASE Winner: Peli Air Case 1535 Nominations: • B+W International Type 5000 • Lowepro Pro Roller X100AW • Manfrotto Pro Light Reloader 55 • Novo Dura 400 Hard Rolling Waterproof ABS case • Panzer Centurion 30

BEST RETAILER Winner: Wilkinson Cameras

INKJET MEDIA: FINE ART FINISH Winner: Hahnemühle William Turner 310 Nominations: • Canson Infinity Rag Photographique 310gsm • Epson Ultrasmooth Fine Art • Fotospeed Platinum Etching 285 Signature • Da Vinci Soft Textured 315 • PermaJet Photo Art Silk 290

BEST USED SPECIALIST RETAILER Winner: mpb.com

PROCESSING LAB Winner: Loxley Colour

PHOTO WEBSITE PROVIDER Winner: Zenfolio

MEMORY CARD Winner: PNY SD Elite Performance 256GB Nominations: • Samsung PRO Plus 128GB microSDXC • SanDisk Extreme PRO microSDXC UHS-II 128GB • Transcend Ultimate 64GB microSDXC 633x

PRINTER Winner: Epson SureColor SC-P600 Nominations: • Canon imagePROGRAF PRO-1000 • Canon PIXMA TS8150 • Epson SureColor SC-P800 • Epson SureColor SC-P5000 STD • Fujifilm instax SHARE SP-2

COLOUR MANAGEMENT DEVICE Winner: X-Rite ColorMunki Photo Nominations • DataColor SpyderLENSCAL • DataColor Spyder5ELITE • DataColor Spyder5CAPTURE PRO • X-Rite ColorMunki Display • X-Rite i1Photo Pro 2

TRAINING PROVIDER Winner: Jessops Academy

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Advertisement feature

The Sound of Sennheiser Harness the power of your camera to record not only still, but moving images too and you soon realise that your movies will lack impact if the audio isn’t up to scratch. Add in a Sennheiser external microphone and you’ll be producing superior footage It was never going to take long for photographers, creative and inquisitive people as we are, to look seriously at what the increasingly sophisticated video facility on our cameras was capable of offering us, and along with our adoption of moving imagery has come the need for high-quality audio.

Many photographers soon realise that a built-in camera microphone isn’t going to do the job well enough, creating a need for a separate microphone. For those who’ve only ever shot stills before it’s a whole new ball game and one that can be a little bewildering at first, which is why it’s so important to look out for a trusted manufacturer, such as Sennheiser, that has a track record of producing kit, which is simple to use and capable of pro-level results. The result is a striking line-up of products that encompasses everything from on-camera microphones to a sophisticated wireless audio system and even a headset capable of recording binaural sound.

The two ultra-compact on-camera mics produced by Sennheiser, the MKE 400 (mono) and MKE 440 (stereo), are designed to sit in a hotshoe mount and connect directly to a camera’s external microphone input. In the matter of moments it takes to fit, you move from the unacceptably low quality invariably achieved by a camera’s built-in microphone to a sound that’s of a different quality altogether, and it can be the making of an altogether more sophisticated production.

The MKE 400 features a rugged all-metal housing, switchable sensitivity for long and short distances, a switchable wind noise filter and an integral shockmount for rejection of handling noise and it can deliver around 300 hours of performance from a single AAA battery. A foam windshield is also supplied to further cut down on incidental noise.

Meanwhile the MKE 440 is effectively a combination of two short shotgun mics, mounted in a distinctive V-Stereo configuration to highlight the sound of the video image while rejecting off-axis noise from outside the camera focus. A very robust and durable stainless steel micro-mesh protects the microphones and suppresses wind noise. As opposed to regular foam windscreens, the metal mesh will not influence the sound by muffling high frequency clarity. Furthermore, it serves as a shield against electromagnetic interference.

Meanwhile the integrated batterypowered, high dynamic electronic circuit matches the output signal of the MKE 440 to the camera’s input sensitivity, while the lowcut filter reduces structure-borne noise and

low-frequency wind noise. The MKE 440 offers extra-long operation time of more than 100 hours on a pair of AAA batteries.

WIRELESS RECORDING Ultra-sophisticated, Sennheiser’s much admired AVX family makes it simple to record high-quality audio in the field or studio. Designed to be a plug-and-play system, it requires no technical knowledge to set up. The AVX receiver plugs directly into the XLR audio input and uses phantom power, and switches on and off automatically with the camera to save battery power.

Before any interference even becomes audible, the AVX selects the best operating frequency and switches to a clean channel, guaranteeing perfect audio transmission

between the microphone and camera every time.

The AVX-ME2 SET includes a bodypack transmitter with lavalier microphone, the plug-on receiver and all accessories to operate out of the box with camcorders as well as DSLR cameras. The AVX-835 SET, meanwhile, has similar specification, but comes with a handheld microphone to enable presentations to camera.

With a nod to the changing world of audio, the latest Sennheiser innovation is the Ambeo Smart headset, the world’s first intuitive, compact and mobile 3D sound recording headset. Its earpieces are fitted with omnidirectional microphones that capture the sounds in your environment just as your ears would. Aimed at vloggers and other content creators, the device integrates seamlessly with Apple iOS devices and makes it simple to achieve 3D recordings that can be enjoyed through any pair of stereo headphones.

Covering all the bases, Sennheiser’s aim is to simplify the world of audio while ensuring quality remains sky high. As such, the company is the perfect partner for any photographer transitioning into moving imagery, who is looking to achieve a wellrounded production that succeeds on all levels.

Contact sennheiser.com

Photography News | Issue 53 | photographynews.co.uk

PN’s FREE Guide to

Brought to you by

The Photography Show 2018 Stage Guide & Event Diary

Want to find the newest cameras, best kit or some inspiration on one of the incredible stages or in the workshops? Check out the comprehensive events diary and floor plan for more details!

*Session requires an extra activity ticket as well as an entry ticket to the show. If you haven’t pre-booked your tickets at photographyshow.com by 18 March you can buy them from the box office at the show. Subject to availability.

Explore the show

Whether you’re at the beginning of your photography journey or you’re looking to take the next step in your career, the range of seminars and demo sessions (focusing on both stills and video) will inspire and inform you.

ADOBE THEATRE * Exploring the ways in which to process and edit to show off your skills and produce stunning images is the primary focus here.

Saturday, 17 March 10:15-10:45 Complete photo editing workflow with Lightroom 11:15-11:45 Lightroom mobile: portraits on the go 12:15-12:45 Photoshop CC for photographers: retouching workflow 13:15-13:45 Exploring tonal range in Lightroom Classic CC and focus stacking in Photoshop CC 14:15-14:45 Shooting photographs for Adobe Dimension 15:15-15:45 What is Lightroom CC? 16:15-16:45 How and why to contribute to Adobe Stock?

Sunday, 18 March 10:15-10:45 Essential file management with Lightroom Classic CC 11:15-11:45 Adobe Sensei: your photography assistant 12:15-12:45 Photoshop CC for photographers: focus on selections and cutting out objects 13:15-13:45 David Noton’s take on Lightroom CC: moving to the Cloud 14:15-14:45 Photography, Instagram and food with Samira Kazan 15:15-15:45 Using Lightroom CC on mobile devices 16:15-16:45 How and why to contribute to Adobe Stock?

Monday, 19 March 10:15-10:45 Powerful image enhancements with Lightroom Classic CC 11:15-11:45 Photoshop CC for new drone users 12:15-12:45 Flat to dimensional: making flat images look amazing 13:15-13:45 Getting your images ready for publishing 14:15-14:45 Photoshop CC and Lightroom CC for photographers: non-destructive workflows 15:15-15:45 Lightroom CC Masterclass 16:15-16:45 How and why to contribute to Adobe Stock?

Tuesday, 20 March 10:15-10:45 Making your images look amazing with local adjustments in Lightroom Classic CC 11:15-11:45 Shooting photographs for Adobe Dimension 12:15-12:45 Combining Lightroom Classic CC and Photoshop CC in your retouching workflow 13:15-13:45 Planning your shoot to give your images the X-Factor 14:15-14:45 Developing your own style and visual narrative 15:15-15:45 Lightroom CC, colour management and image optimisation 16:15-16:45 How and why to contribute to Adobe Stock?

BEGINNER’S MASTERCLASS* Dedicated to entry-level photographers hosting experts who will provide easy to follow tips and tricks for improving your photography.

Saturday, 17 March and Sunday, 18 March (repeated) 10:30-11:05 What camera should I buy?

11:05-11:40 Everything you need to know about lenses 11:50-12:25 Image editing: the seven wonders of curves 12:25-13:00 Designing a photograph

TURNING PRO MASTERCLASS Join incredible professional photographers and gain essential advice for building a successful photo business.

Saturday, 17 March and Sunday, 18 March (repeated) 14:00-14:35 The ultimate marketing strategy 14:35-15:10 Turning personal work into a diverse business 15:15-15:50 Finding commercial work and making it pay 15:50-16:20 Expand your business with the red button: shoot video as well as stills 16:20-16:45 Survival tips for photographers starting in business

BEHIND THE LENS Professionals lead sessions that look at different genres, from wildlife and travel to fashion and street. All levels of photographer are welcome to attend.

Saturday, 17 March 11:00-11:40 Behind the scenes of the Oma Valley tribes – Ethiopia 12:00-12:40 Time-lapses and long exposures: pushing your photography boundaries 13:00-13:40 Shooting commercial with mirrorless 14:00-14:40 Girl Bossing It: creativity, women and work 15:00-15:40 The challenging nature of wildlife photography 16:00-16:40 Why everyone should try landscape astrophotography Sunday, 18 March 11:00-11:40 Shoot like a wildlife filmmaker 12:00-12:40 Entering photo competitions can change your life 13:00-13:40 Is everyone a music photographer?

14:00-14:40 Evocative landscapes 15:00-15:40 The power of self-portraiture 16:00-16:40 The art of creative living Monday, 19 March 11:00-11:40 The power of self-portraiture 12:00-12:40 Emotive wedding and social documentary photography 13:00-13:40 Business boot camp 14:00-14:40 Take advantage of your photographic heroes without taking advantage of them 15:00-15:40 Integrating video into your professional photography 16:00-16:40 Diamond job: flawless commercial filmmaking Tuesday, 20 March 11:00-11:40 Seeking shelter: documenting the UK’s mountain bothies 12:00-12:40 Hamish, Luna, Frank and Me: Tesni Ward on wildlife 13:00-13:40 Light Painting Live!

14:00-14:40 How to get up in people’s faces (without making them angry) 15:00-15:40 Extraordinary portraits: not your ordinary family portrait 16:00-16:40 The wild aesthetic of tintypes and wet plate collodion

LIVE STAGE Photography experts demonstrate the essence behind taking unique and challenging shots; getting the lighting, settings and positioning right; and managing subjects.

Saturday, 17 March 11:00-11:30 Portraits under pressure 12:00-12:30 How to master lighting by keeping it simple 13:00-13:30 Beyond beauty lighting 14:00-14:30 Creative catwalk 15:00-15:30 Light painting as your primary light source 16:00-16:30 Fashion and portrait on medium format Sunday, 18 March 11:00-11:30 Nail your speedlight portraits 12:00-12:30 Clubland: Shooting the music scene 13:00-13:30 The single light source portrait studio 14:00-14:30 Techniques and tools for light painting 15:00-15:30 Beauty photography 101: a crash course in creating stunning beauty images 16:00-16:30 Fire without the flame: dramatic flour photography Monday, 19 March 11:00-11:30 How to create an innovative fashion photo shoot 12:00-12:30 Liquid explosion!

13:00-13:30 Street Photography: life in the city 14:00-14:30 Creative portraits in tight spaces 15:00-15:30 On-camera flash can be oh-so interesting 16:00-16:30 Never miss a shot: action photography masterclass Tuesday, 20 March 11:00-11:30 Studio photography for newborn and maternity 12:00-12:30 Successful profile portraits: getting personal

13:00-13:30 Wedding images: straight out of camera 14:00-14:45 Final: 60 seconds to change your life 15:00-15:30 Hybrid imaging in action

MOBILE & SOCIAL STAGE This stage aims to help you get the best from your mobile, understand the accessories available and learn what is achievable when using a camera for social sharing.

Saturday, 17 March 10:30-10:45 A passion for adventure 11:00-11:30 Shooting pro video on your smartphone 12:00-12:30 Channelling yourself 13:00-13:30 12 x 12 14:00-14:30 Using Instagram to share your story 15:00-15:30 Growing your audience organically 16:00-16:30 Five minutes that changed my life

Sunday, 18 March 10:30-10:45 A passion for adventure 11:00-11:30 Smart phone, smart photography: beautiful photos with an iPhone or Android 12:00-12:30 How to use social media to promote your photography 13:00-13:30 Building connections through photos 14:00-14:30 Getting the best from your food photography 15:00-15:30 From Stormtroopers to Starbucks 16:00-16:30 Instagram photography for business: let’s get visually talking Monday, 19 March 10:30-10:45 A passion for adventure 11:00-11:30 Master the art of mobile photography 12:00-12:30 Using social media for your photography business 13:00-13:30 Upping your photography game for Instagram 14:00-14:30 Master the art of mobile photography 15:00-15:30 Social media algorithms, be damned!

16:00-16:30 Food in the frame Tuesday, 20 March 10:30-10:45 A passion for adventure 11:00-11:30 Smart phone, smart photography: beautiful photos with an iPhone or Android 12:00-12:30 Shooting pro video on your smartphone 13:00-13:30 Making it work: problem-solving your shots for social media 14:00-14:30 How to get business from Instagram 15:00-15:30 Creating and maintaining a successful YouTube channel 16:00-16:30 Raising awareness for social causes

PRO CONFERENCE How should you be presenting your work to your clients? What can you do with your website to get seen? The Pro Conference offers in-depth advice for those looking to enhance their business strategy.

Monday, 19 March 10:30-11:05 How to present your work and yourself to clients 11:05-11:40 Websites and portfolios that get you work 11:50-12:25 Pitch Perfect: setting the right price for the service you offer 12:25-13:00 How to hold on to your money Tuesday, 20 March 10:30-11:05 Getting to the front of the field 11:05-11:40 Remaining creative and inspired 11:50-12:25 Working with national magazines 12:25-13:00 Creating a photographic identity

REDEYE * The photography network will join us to host special advice sessions on two fascinating areas of photography. Sessions are free to attend but booking is required.

Monday, 19 March 14:00-14:45 Digital detox 15:00-15:45 Exhibiting and print sales

THE GREAT OUTDOORS New for 2018, The Great Outdoors Stage will host a programme that brings the outside in... and includes tips and tricks for snapping dramatic landscapes, close-ups of wildlife and special occasions – against the elements.

Saturday, 17 March 11:00-11:30 Go with the flow: movement in wildlife filmmaking 12:00-12:30 Stepping out 13:00-13:30 Working with wildlife 14:00-14:30 Inspiring change 14:50-15:30 Outdoor Photographer of the Year

16:00-16:30 Dogsonality: creative dog photography in the outdoors Sunday, 18 March 11:00-11:30 Developing an individual style in outdoor photography 12:00-12:30 Dogsonality: creative dog photography in the outdoors 13:00-13:35 Building a 360 interactive 14:00-14:30 Directing Live wildlife TV shows from Africa: how hard can it be?

15:00-15:30 Finding the beauty in nature 16:00-16:30 Shooting Remote Britain Monday, 19 March 11:00-11:30 Pixel to print: a workflow for pro-quality outdoor smartphone photography 12:00-12:30 On assignment with photojournalists 13:00-13:35 Building a 360 interactive 14:00-14:30 Evolution, revolution 15:00-15:30 Graphic nature: creative photography through design and abstraction 16:00-16:30 Polar pictures: photography in the elements Tuesday, 20 March 11:00-11:30 Wedding images anywhere 12:00-12:30 Staying ahead of the pack: the secrets of dog photography 14:00-14:30 Pixel to print: a workflow for pro-quality outdoor smartphone photography 15:00-15:30 Inspiring Images: discovering the WOW Factor

VIDEO STAGE More popular than ever, this theatre hosts seminars which offer the skills and techniques needed to capture great footage on a camera; perfect for all levels of budding video maker.

Saturday, 17 March 11:30-12:00 Your lens is as important as your camera 12:30-13:00 Audio for video 13:30-14:00 Movement in storytelling 14:30-15:00 Discover HDR 15:30-16:00 Cinematic quality with run-and-gun kit Sunday, 18 March 10:30-11:00 Audio for video 11:30-12:00 Telling stories in video 360 12:30-13:00 Movement in storytelling 13:30-14:00 Adding value with video 14:30-15:00 Video for photographers 15:30-16:00 Lights, camera... I do!

Monday 19th March 10:30-11:00 Lights, camera... I do!

11:30-12:00 Audio for video 12:30-13:00 Videography: the fundamentals 13:30-14:00 Stills and moving image in the wild 14:30-15:00 Adding value with video 15:30-16:00 HDR video demystified Tuesday, 20 March 11:15-12:00 Shooting professional video with small cameras 12:30-13:00 Translating your photography skills to film and cinematography 13:30-14:00 Videography: the fundamentals 14:30-15:00 Audio for video 15:30-16:00 HDR video demystified

DRONE ZONE

Saturday, 17 March 11:30-12:00 Aerial snaps to Hollywood-style footage 12:30-13:00 Choosing a drone for photography 13:30-14:00 Drones for business 14:30-15:00 Elevating your film-making with drones 15:30-16:00 Aerial imaging for all levels Sunday, 18 March 11:30-12:00 Drones for business 12:30-13:00 Aerial imaging for all levels 13:30-14:00 Aerial snaps to Hollywood-style footage 14:30-15:00 Choosing a drone for photography 15:30-16:00 Elevating your film-making with drones Monday, 19 March 11:30-12:00 Elevating your film-making with drones 12:30-13:00 Drones for business 13:30-14:00 Choosing a drone for photography 14:30-15:00 Aerial snaps to Hollywood-style footage 15:30-16:00 Aerial imaging for all levels Tuesday, 20 March 11:30-12:00 Aerial imaging for all levels 12:30-13:00 Drones for business 13:30-14:00 Aerial snaps to Hollywood-style footage 14:30-15:00 Elevating your film-making with drones

Every effort has been made by the publishers to ensure that information contained regarding The Photography Show 2018 including session times is correct at time of going to press. However, Bright Publishing Ltd, The Photography Show and the exhibitors and advertisers included herein cannot accept responsibility for any loss, inaccuracy or omission resulting from the publishing of any information regarding The Photography Show 2018 in this publication.

The Photography Show 2018 Floor Plan

Abraham Albums

One Stop Props

PAGB

Just Limited

System Insight

Lenses For Hire

The Societies

Photo-Me International

Store: Sony

Brinno

Light Bob Blue Rigby

RK Photograp

Creativity International Hotel in Argyll

Photoshop Digital

Advanced Camera Services

The Framed Picture Company

WhiteWall

Topaz

Productiongear

GotPhoto

Photoxport

The Calendar Company

Innova Art

Store: Nikon

Mobile & Social Stage

Store: JTL

Behind The Lens

Store: Panasonic

Innova Art

Ultima

Fundy Designer Nikon Green Room

Zeiss

Nisi Digital

6 photobooth .co.uk

Click Group

theimagefile

Lomography

Graphi Studio

Pro Lounge

Welcome area café

EIZO

HHJ Trading

Barber Shop / HPRC

Fig Bags

Laowa Lenses – Venus Optics

Sirui

National Trust

Ricoh Imaging

Fujifilm

London Camera Exchange

DJI

Sood Studios

Sigma

Fotospeed

Future

Sony Panasonic

Manfrotto

CEWE

Cameraworld

Lowepro/ Joby

Bessel

Registration & welcome

Cameraworld

Nikon

GF Smith

Irix

London Camera Exchang

Vanguard

BIPP

Fotopro

LensPimp

Ala

Ilex Press

Longridge Street Mount Snappers Cutters

Remember My Baby

Speos

CBL Distribution

RØDE Microphones

Infinity Photography Training

Kowa Optimed

Focal Point Imaging

Novachrome

Jorgensen

Fotoland Imaging Bouncelight Safaris

Sunbounce/ Sunsniper

CNP Safaris

Sole Mates

Canvasbay Store: Rohan

Arcoalbum

The Wisdom Matterport Mill

Kaleidoscope

AOP

Big Crocodile Cake Smash Props

Photoboothstar/ Modibooth

Chromaluxe

Feature

The Sweetest Thing - Prop Collective

Kenro

Cats Studio Answers Protection

Life Media

PhotoWonder Europe

WWF

Reserved

Haida

Interfit

Canson

Dewi Lewis

Zenfolio

Super Stage

One Vision Imaging

Hasselblad

Tomy

Light & Imagination

Rohan Chris Simmons Photography

Yuneec

Photo Boards

RPS

Wildlif Worldw

Smart Album’s

Aqua Firma

Chryssie’s Greece

BibMy Number

Wollfe pack

Mycro camuk

Lensbaby

Creative Hurtigruten Photography Photography Holidays Wales

Spee Graph

LCE Store: LCE

Every effort has been made by the publishers to ensure that information contained regarding The Photography Show 2018 including session times is correct at time of going to press. However, Bright Publishing Ltd, The Photograp

phic

Trōv

Teamwork Digital

Patterson Photographic

Photovalue

JP Distribution

Paradise Media Partner

Pinknoise

Store: Teamwork

Magic Booth Photo Company

Pro Print Solutions

Video Stage

Baby Prop Shop

Wildfoot Travel

UK Optics

Timeline Events

Sim Imaging

Outta This World Products

The Great Drone Zone Outdoors flying area

HEX

Video Village

Canon Stage

Loupedeck

Store

phy Show and the exhibitors and advertisers included herein cannot accept responsibility for any loss, inaccuracy or omission resulting from the publishing of any information regarding The Photography Show 2018 in this publication.

Adobe Theatre

Coleg Gwent

Live Stage

Versatrigger

Silvershotz

Bauer Magazines

Rocky Nook

Orangemonkie

SmugMug

Contour Design

Loxley

Shootproof

MPA

Phoxi Tog

GEO Pictorial

PhotoFinca

Panzer Cases

Store: AJ’s

nphoto

Guide Dogs

The Right Kit

Training by Lumiere

Queue Area: David Hurn’s Magnum Swaps Exhibition Feature

Dreambooks UK Beauty Gate

Photomac

IPO

Disabled Photographers’ Society

Photoguard

Digital Photo Store: Solutions Rotolight

EOS Mag

Freedom Edits

USB2U

Rotolight

AJ’s

Gillis London

Vallerret

Albumkraft

Lumecube

Costco Wholesale

RSPB

Martin Ilford Newton Imaging Photography Europe

Premier Image

Bob Books

On Track Safaris

USB-PRINT

PXL Soft

Appleton Photo Training

Snapper Stuff

Naturetrek

Frith and Co

Canon

Snapper Stuff

Reflections Marketing

Guild of Photographers

Canon

Profoto

Paramo The Studio Colby

The Magic Touch

Paramo Dreamtreks Photography

Natural World Safaris

Imaculum

GMC

amy

Permajet

iMax Marketing Global

Flaghead Photographic

Sistotec

Rotatrim

Scott Country

Masters of Learning

Silverstream

Sennheiser plot-IT

Pics4 Store: Towergate School Profoto Camerasure

Lee Filters

Rollei

Intro 2020

Top-Teks

Synology

SRB

K&F Concept

Infocus

Kodak Pixpro

Adaptalux

NSP Cases

Audio Technica

Tetenal

Institute of

The Flash Centre

Epson

PiXAPRO

3 Legged Thing

Olympus

MAC Group

Global Distribution

Wacom

The Big Cat Sanctuary

infinityX Videography

Wex Photo Video

Color Confidence

Drobo

Kase Filter

Andy Skillen Future Photography

Hahnemuehle

Plastic Sandwich

Phot-R

fe wide

MCM Digital Halsys

ge

ed hic

Nomad Of Store: JP MacWet Canon Canon Canon Meeting Meeting Meeting Market Distribution Room Room Room Harborough

Everybooth

Dorr Foto

Visible Dust

Zoner Software

C

Varitech Systems

Eversure

r

USB Makers

Sense-Tech 3 Innovation

at

The Photography Show 2018 Floor Plan

Exhibitor listings

Photography News | Issue 53 | photographynews.co.uk

46

Photography News | Issue 53 | photographynews.co.uk

Advertisement feature

Meet the Profoto Make sure to pay a visit to stand E121 at The Photography Show, where you’ll be able to pick up invaluable tips and techniques from Profoto’s impressive line-up of speakers © Tina Eisen

Tina Eisen

Hannah is an award-winning professional portrait photographer who shoots everything from corporate headshots to families and celebrities. She also runs a successful high street photography business which she started 12 years ago aged just 22, and has twice won the Young Business Person of the Year award. She also regularly runs her own workshops.

Hannah is talking on the Profoto stand every day, delivering talks on how to shoot successful profile portraits with the B1X, which will cover how lighting, body language

and pose can affect the portrait, and how to shoot one-light portraits with the A1, which will cover the creation of dramatic portraits with minimal, portable equipment. hcphotography.co.uk © Hannah Couzens

Tina Eisen has been a professional photographer in the UK for eight years, and specialises in commercial and editorial beauty and fashion. Her work has been featured in magazines and campaigns across the globe.

For The Photography Show she’ll be talking twice a day on both the Saturday and Sunday on the Profoto stage, covering two different topics. One session is devoted to ‘Three ways to light beauty,’ while the other focuses on ‘Using grids to add drama’. Each session contains an educational talk as well as a live demonstration, where Tina will be working with a professional model and make-up artist to capture stunning, editorialstyle images.

In addition to the talks on the Profoto stage Tina will also be delivering a class on the Live Stage at TPS using Profoto equipment.

Entitled ‘Beauty photography 101 – a crash course in creating stunning beauty images’, this takes place on Sunday 18 March at 3pm.

Hannah Couzens

Live demonstrations on Saturday and Sunday

Live demonstrations every day

tinaeisen.com

Sanjay Jogia © Sanjay Jogia

Award-winning photographer Sanjay Jogia has been included in a list of the top six wedding photographers in the world.

Specialising in Asian weddings, Sanjay jointly runs Eye Jogia with his wife Roshni and started his love affair with photography at the tender age of eight, when he ‘borrowed’ his father’s Canon AE-1 and taught himself how to use it by

Talks on Sunday and Tuesday

© Sanjay Jogia

reading the instruction manual from cover to cover. Since that time he’s been honing his technical and creative skills, and now the team regularly covers the world, in locations ranging from Sydney through to Jaipur, Lake Garda and Miami, producing sumptuous pictures of colourful and exotic wedding celebrations. eyejogia.com

Photography News | Issue 53 | photographynews.co.uk

47

Advertisement feature

Experts at TPS!

Speaking on Monday

panikosphoto.com

Rossella Vanon Beauty and fashion photographer Rossella Vanon has had her work published in Marie Claire and Elle and shot with brands Ottoman Hands jewellery, NYX cosmetics and Samira Jasat. In 2011 she was named Professional Photographer of the Year and has been interviewed by a variety of publications about her work. More recently Rossella has published a book, Lighting People: a complete lighting guide for photographers shooting people. Originally shooting nature and then portraits, Rossella says that fashion photography for her has been a journey rather than a destination.

© Rossella Vanon

As a specialist in capturing beautiful images of new-borns, babies, couples, families, friends, loved ones, pets and anything that is meaningful to his clients, Panikos is skilled at working with light, and has been a long-time Profoto user.

His aim is to immortalise the beautiful expressions children can give, to capture the innocence of our new-borns, the beauty of teenagers and the love and respect shown to older generations, and he’s looking to craft memories that can last for generations.

Panikos will be talking about the freedom that working with the Profoto B1 gives him, not just on location but also in the studio, where the ability to work without trailing cables saves potential trip hazards and does away with limits on how far you can move the lights from power points. In addition these lights also offer a very short flash duration and a wide range of power outputs, enabling daylight to be balanced with flash on indoor shoots.

© Panikos Hajistilly

Panikos Hajistilly

Live demonstrations on Monday and Tuesday

rvanonphotography.com

Holly is a commercial portrait and lifestyle photographer based in London and working worldwide.

She works with a mixture of clients, from large corporations and agencies through to charities, entrepreneurs and public figures.

Her love of photography began as a child, inspired by her grandad and then, in turn, her father’s passion for taking pictures. She asked for her first camera at the age of ten, and hasn’t been far from one since.

Holly is passionate about people, and photography is her way to connect

Talks on the Profoto stand every day

with them and the world. She believes everyone, without exception, has a story, and that’s what keeps her hooked.

At TPS she’ll be talking about her experience with the Profoto A1, specifically as a travel companion, and how she used it in Australia to take portraits of the Royal Flying Doctors at their outback base. It was an equipment choice that allowed her to travel and undertake a location-style shoot without having to rely on her larger studio lighting alternatives. hollywren.com

Tom is a self-taught multi-award-winning photographer and filmmaker based in London. With a career that spans 15 years he’s shot everyone from heavy metal bands to politicians, murderers to ballet stars. With work often seen in The Sunday Times Magazine and shooting advertising for brands all over the world, his journey has been as varied as it has been challenging. With work shot for the Rio Paralympics and more recently personal work from refugee camps in war zones, come and hear how his life was changed in Syria and how getting held up at gunpoint isn’t as fun as it sounds.

© Tom Barnes

Tom Barnes

tombarnes.co

© Holly Wren

Holly Wren

Live demonstrations on Saturday and Sunday

Get an AI Experience!

At this year’s TPS a part of the Profoto stand (E121) has been set aside as an area where the Profoto A1, the world’s smallest studio light, can be tested out. Visitors to the show are welcome to bring along their own cameras or to borrow those on the Profoto stand to experience for themselves what this revolutionary new light has to offer. There’s even the chance to win one. There will also be special show discounts on courses at the Profoto Academy available throughout TPS, so come along and take advantage of some cut-price learning. profoto.com

Photography News | Issue 53 | photographynews.co.uk

48

Recommendations Pro focus

5 reasons to read Professional Photo Professional Photo comes in. Every issue is full of clearly and concisely written, well-researched articles, discussing the topics you want to know about.

Whether you’re investing in new kit or seeking a better deal on your insurance, Professional Photo can help. If you’re looking to boost your profile or researching a new

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Tuned into the market, Professional Photo tackles all the topics relevant to photographers working today. We know that you know how to take a photograph, so we concentrate on the other skills and elements of the photography business.

Looking at topics such as the proliferation of videography and the nitty-gritty of working for yourself, we ask those at the top of their game for their experiences.

Every issue shares the wisdom and understanding of professional photographers.

Earning your living as a photographer requires as much business savvy as it does photographic talent. To make your business better, every issue of Professional Photo offers essential advice from industry experts, marketing gurus and experienced photographers who’ve been there and done that.

If it’s ideas to improve your social media profile or ways to update some aspect of your business you want, you can be sure we’ll ask the pertinent questions.

Professional Photo is the magazine for business advice, fine-tuned for photographers.

© Victor Hamke

We understand what you and your business need

We believe that inspiration is an important part of being a professional photographer. Ideas don’t come from nowhere, which is why every issue features interviews with and articles about some of the world’s leading photographers.

Whatever you shoot, you’ll find amazing photography in every issue, as well as the stories of how these images were created and how the photographers got to shoot them.

Regaling us with their experiences and sharing practical tips, these photographers are sure to inspire you to even greater things.

You’ll buy with confidence With gear being superseded before you can even say ‘obsolete’, investing in new kit can be a worrying experience. So before you buy anything, read our reviews.

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Subscribe at brightsubs.com/prophoto or 01778 392497

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You’ll give clients a better experience © Marc Aspland

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Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

50

Technique Get more from flash

Lighting academy TTL flash is a great feature that can take the stress out of your lighting leaving you free to concentrate your full attention on the subject and composing awesome shots Words & pictures by Adam Duckworth Off-camera flash photography has rocketed in popularity, thanks to advances in speedlight technology and the profusion of modifiers.

Once you’re hooked on the great results that off-camera flash can bring, you soon end up wanting more – power, control and speed. A speedlight and a softbox just can’t overpower the sun on bright days; the recycle time can feel like an age when you’re burning through AA batteries; and there’s a limit to how much you can modify the light from a speedlight.

Proper beauty dishes, for example, just don’t work right on a flashgun with a long, thin flash tube.

The answer has been to move up to battery powered portable flash systems, which use full-size studio flash accessories, lithium cells for greater shooting capacity and faster recycling, and, of course, a lot more output.

But compared with using a dedicated speedlight, this can feel like a step back in time and technology. Modern flashguns allow you to dial in the required aperture and then use the camera’s TTL technology to sort out the flash exposure. And, in daylight if you want to go over your camera’s maximum flash sync speed to control the aperture for precise depth-of-field, you set what you want and the camera/flash combination works it all out.

With the majority of battery pack systems, this isn’t the case. Flash output is controlled manually, and if you want to go over the flash sync speed then you may have to tinker with the flash sync timing for successful highspeed sync.

Elinchrom has now come to the rescue with its new ELB 500 TTL system, the most powerful and portable TTL flash unit on the market. In fact it is Elinchrom’s first TTL flash unit and rated at 500Ws it has enough output to overpower the sun in many shooting situations. What’s more, it delivers 400 fullpower flashes on a single charge and has a fast recycling time of just two seconds at maximum power. At lower settings, it’s even quicker and the battery lasts even longer. Also, while the flash head is smaller than a speedlight, it can accept a range of Quadra light modifiers and take full-size studio accessories via Elinchrom’s Quadra to EL-mount adapter.

And with the dedicated Elinchrom Skyport Plus HS or the Phottix Odin II radio transmitter, full TTL and high-speed sync can be dialled in from the camera, just like any offcamera flash set-up. That makes it far simpler and faster to set up in a hurry.

You can even take your first shot using TTL to get a correct exposure, then switch to manual where the last-used power settings are maintained. Then you can fine-tune from there, which is a very fast way of getting your exposure nailed quickly without using a flash meter or lots of test shots.

This was my first shoot with the ELB 500 TTL, so was very keen to see if the kit delivered what the brochure promised.

Picture 1

58mm lens to get the background exposure right and a shallow depth-of-field. The ELB 500 was left on TTL to get its exposure right which it did first time. Fast, simple and no fuss.

Picture 2

PICTURE 2 When Rachel reclined on the chair, I moved further back to get her whole body in the frame and wanted to include some of the flare from the window for a lighter feel to the shot. So I upped the ISO to 200 to give a stop more light. The shutter speed was dropped to 1/200sec and aperture closed to f/2.2 to keep the ambient exposure the same. The light was moved further towards the window to give more sidelighting on the model’s face and again the TTL worked perfectly.

With more of the warm ambient light registering rather than cooler flash, the shot has a warmer feel to it.

Our shoot with model Rachel was in Northamptonshire’s Studio 58 on a very bright day. With three big south-facing windows letting daylight stream in, it could be a real test of a TTL flash system to get the exposure right.

PICTURE 1 The first shots were of Rachel on a leather armchair, backlit by the studio windows.

The ELB 500 can power two heads at the same time, and the output is fully

asymmetrical so you can dial in the precise power ratio between them using the buttons on the pack. But the shoot started with just a single head, using the sun through the windows as a natural backlight.

The single head was fitted with a large softbox and both layers of diffusion material to make the light as soft as possible. This was placed above head height and off to the left of the camera.

A Nikon D810 set to ISO 100 was used, and the settings were 1/250sec at f/2 on a

PICTURE 3 This shot of Rachel leaning on the whitepainted brick wall had the shadows from the windows creating a pool of light on it. This illuminated her legs and up to her waist, but her face was in shadow. The same softbox was used high and just to the right of the shot, so the shadows it produced matched the ‘real’ shadows from the window.

Again, the TTL system nailed the exposure first time but I then switched to manual to ensure consistency in every shot. The ISO

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Technique Picture 5

Picture 3

Picture 4

was dropped to 100 and f/5 at 1/250sec used on an 85mm lens.

PICTURE 4 The final shot of Rachel in the black dress was taken using the exact same settings and lens as the previous picture, in the same location as the first shot with the chair. This time a black panel was used behind her to block the light from the window and create a black background. The light on her hair and arm was the natural light coming through the window which is why it’s warm in colour.

Of course, her face was in shadow so the softbox was used on the left side of the frame, this time fitted with a fabric grid to stop the light spilling onto the background which I wanted to keep black. Using the ELB 500’s built-in modelling LED light, it was easy to precisely move the light into the right position so that there was a triangular highlight on the model’s face nearest the camera – classic Rembrandt lighting.

For inexperienced flash users, a powerful modelling light can really give a good indication of how the shot will look. But it does eat up battery power if left on for too long. Actually, the ELB 500’s LED is bright enough for use as a continuous light for video as well as still shooting.

PICTURE 5 A change of clothes into a black leather jacket and a change of lens back to the 58mm Nikkor for the shots of Rachel leaning on the wall space between the two windows.

Using ISO 100 and 1/250sec at f/4.5 gave just the right exposure for outside – bright but not overpowering. The softbox, still with a grid on it to create a more controlled pool of light, was set at 90° to the wall and again, the TTL system got it right first time.

PICTURE 6 For this portrait shot against the wall which was illuminated by the pool of light from the window, Rachel moved until her face was in shadow, and now was the time to use two heads plugged into the ELB 500.

The main light was fitted with the softbox, placed just to the right of the camera and aimed slightly downwards. A second light, fitted with an 18cm reflector and honeycomb grid, was placed to the left of the frame and behind our model’s position, to illuminate her hair. The second head was set to half the output of the main light, ie. one stop less.

Using the 85mm lens, the exposure was set to 1/320sec – slightly higher than the normal flash sync speed – at an aperture of f/1.8 to get a shallow depth-of-field. Again I

As someone who swears by manual control the ELB 500 in its TTL mode was a revelation and I really enjoyed shooting this way

Picture 6

let the ELB 500’s TTL facility do the heavy lifting so I could just shoot and concentrate on working with the model. Working with two heads was as straightforward as using just one and the TTL system did a great job and if the exposure needed tweaking it was simple to use the trigger to wirelessly dial in compensation.

As someone who swears by manual control the ELB 500 in its TTL mode was a revelation and I really enjoyed shooting this way. I still chose the shutter speed and aperture to control the ambient exposure and depth-of-field, but left the flash in TTL for a first shot; it got the exposure nearenough every time. It’s then simplicity itself to set the flash to manual, give this a tweak if need be, then just shoot away. And if you want to move the lights, just do it and repeat it all again. It’s fast and as easy as using offcamera flash can be.

Add the huge range of studio modifiers available, the powerful LED modelling lamp and great portability, and this set-up is sure to appeal to many photographers.

The kit we used The Elinchrom ELB 500 TTL is available in two kits. The standard To Go kit includes a pack, battery, Snappy carrier, power lead, charger, 18cm reflector, location bag and one head for £1499, while the Dual To Go kit adds a second head, lead and 13.5cm wide reflector for £1749.

We used the Dual To Go kit along with a Quadra to EL-mount adapter at £89 to fit fullsize Elinchrom-fit studio modifiers and the £229 Elinchrom Skyport Plus HS Transmitter Pro for Nikon. We also used an 18cm Elinchrom grid on the reflector and a softbox with a fabric grid. elinchrom.co.uk

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Camera test Specs Price £1149 Sensor 24.2-megapixels Sensor format APS-C CMOS, 6000x4000pixels ISO range 100-25,600 in 0.3EV steps Shutter range 30secs 1/2000sec plus B (depends on mode) Drive modes With AF, 7fps, fixed AF up to 9fps Metering system Evaluative, spot, centre-weighted average Exposure modes PASM, smart auto, hybrid auto, scene mode Exposure compensation +/-3EV in 0.3EV steps, autoexposure bracketing +/-2EV in 0.3EV steps Monitor Vari-angle 3in touch screen LCD with 1040k dots Viewfinder EVF showing 100% approx with 2360k dots Focusing Dual Pixel CMOS AF, phase detection pixels on sensor Focus points 49 (fixed 7x7 grid), single point, 9-zone AF (3x3 grid). Touch and drag AF Video Full HD up to 29mins 59secs Connectivity Wi-Fi, Bluetooth, HDMI-C, micro USB Other key features Internal flash with three power levels Storage media 1xSD/SDHC/SDXC card Dimensions 115x77.9x51.4mm Weight 399g Lens 15-45mm f/2.8-5.6 (24-72mm 35mm format equivalent) with adaptive intelligent IS Construction Nine elements in eight groups including three double-sided aspherical and one single-sided aspherical lens Zoom range Optical 3x, ZoomPlus 6x, digital 4x, combined 12x Contact Canon.co.uk

Canon PowerShot G1 X Mark III Over twenty cameras in and Canon’s popular compact PowerShot G-series now has its first premium compact with an APS-C sensor. We put it to the test to see if the wait has been worth it Words and images by Will Cheung Canon’s premium range of compacts was always well specified and boasted features that appealed to photographers of all levels, but especially Canon DSLR users. One thing, though, was missing and that was an APS-C sensor, and until science finds a way, a larger sensor will always outperform a smaller one. An APS-C sensor is 1.7x bigger than a one-inch one, so there are going be clear performance benefits, especially with respect to high ISO noise and fine detail rendition.

The G1 X Mark III is a solid camera with dust and moisture protection. It is also compact – about 16% smaller than its predecessor and weighs 399g – and while it’s not a camera that will fit into a shirt/blouse pocket, it’s fine in a man/handbag and will fit in the pocket of a typical outdoor walking jacket.

Despite its svelte proportions, the G1 Mark III houses a threeinch vari-angle monitor and that dominates the camera back. The monitor itself swings out, and can be rotated to face forward as well as offer great low-down or above head height shooting. You can, if you prefer, turn it round to protect the monitor or to give a film shooting experience.

It has touch sensitivity for menu setting, shooting and image review. As far as flexibility goes, the monitor deserves full marks.

The camera front is dominated by the integral 3x zoom, which gives a focal length equivalent of 24mm to 72mm, so it’s a standard

zoom. Its maximum apertures vary from f/2.8 to f/5.6 at the 72mm end.

The modest maximum aperture at the long end is disappointing, but probably a trade-off with the camera’s overall small size.

Turn the camera on, the lens extends out about 3cm and you’re ready to shoot. Start-up time is quick, under 0.5sec for the camera to be ready to shoot.

Adjusting the zoom is done with the collar lever around the shutter release. It works fine, but you might prefer greater control in which case there is an option. Around the lens is a smoothly rotating barrel that can have a function assigned to it, and you can have it as a zoom control – it actually can be assigned to 10 different functions.

I prefer to have a manual rather than a motorised zoom, so set the lens barrel to give a seamless zoom.

A stepped zoom is an option and here the lens stops at five preset focal lengths, each shown in the monitor/ EVF at their 35mm equivalent

You can, if you prefer, turn it around to protect the monitor or to give a film shooting experience

Above The Canon Power Shot G1 X Mark III is a reasonably compact compact, but it’s not going to fit a shirt pocket. Its small size is helped by an integral zoom that has a modest maximum aperture at its long setting – 72mm equivalent in the 35mm format.

settings. Controlling the zoom manually and steplessly works well enough although there is a slight lag, so its responsiveness could be better.

The lens’s front element is quite exposed and I managed to smear fingerprints on it during normal use on more than one occasion. A skylight protection filter is recommended (the lens has a 37mm filter thread). For lens performance comments, please see the accompanying panel.

Just to cover the camera’s key controls there’s a lockable exposure mode dial at the left end of the body, and an exposure compensation button that is not lockable at the other. There’s a click-stopped command dial on the front, and then we move to the back panel which is home to a host of controls, including a command dial and the menu button.

The front and rear command dials and three buttons, including movie record button, can be

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Camera test Performance: exposure latitude The scene was metered using the camera’s Evaluative light measurement in manual mode, and then the scene was exposure bracketed by adjusting the shutter speed. The resulting Raws were exposure corrected in Lightroom to give the images shown here.

Exposure latitude was good and much better with underexposure than overexposure. Overexpose by +2EV and the file can be recovered pretty well, although strong highlights still lack any detail, but go over by any more and the results are not acceptable.

With underexposure, the -2EV shot looks almost identical to the correctly exposed file, while the -3EV and -4EV shots also recover well. Fine details look good so provided you are okay with some noise in the shadows, the results are more than acceptable.

-4EV

-3EV

-2EV

-1EV

0

+1EV

+2EV

+3EV

Original image

+4EV

assigned a variety of functions to suit each exposure mode.

In terms of physical controls, the rear command dial is quite busy.

Push its centre and you bring up the camera’s Q (Quick) menu, then there are four options at north, south, east and west to adjust, for example, drive settings. Finally, the collar rotates and there are eight features that can be assigned to it.

If you prefer, much of the camera driving can be done using the touch panel, so here the Q menu can be brought up. Individual items on the Q menu can be turned on or off. Perhaps strangely there are 12 items in the Quick settings layout menu, but only 11 can be set – try the twelfth and the camera won’t have it. Seems you might as well have all 12 available.

Push the MENU button and you will see a layout that will be familiar to most Canon users, and this can be navigated via the touchscreen or the rear command control.

The G1 X Mark III’s autofocusing is very impressive in speed and accuracy. The system locks on rapidly, silently and consistently, and this is no doubt thanks to the camera’s Dual Pixel CMOS AF. Canon does claim an AF speed of just 0.09secs and while I couldn’t test the veracity of that claim, there was no doubt that the G1 X Mark III’s system was very, very responsive.

The 49-zone AF system also has a good deal of flexibility, so you can have it working with one zoom, in a 3x3 group or with all 49 zones. The touchscreen adds even

more flexibility. You can touch the screen to focus and to take the shot, and you can touch and drag the focus point while your eye is up to the EVF eyepiece – you can even pick the area of the monitor that you want to be active for this. Personally I prefer an actual joystick, but Canon’s solution is a good close second.

The camera’s exposure system proved sure-footed, dealing competently with a wide range of lighting situations. I shot mostly in aperture-priority using Evaluative mode and although I did call on exposure compensation and the star exposure lock button, most of the time the camera delivered good results without meddling from me.

Images The Canon G1 X Mark III sports a very usable control layout with options for customisation, too, while the vari-angle monitor Above not much the way of top-plate controls on the M100. gives a There’s lovely image – andinhas touch functionality.

Images The Canon G1 X Mark III has decent exposure latitude in its Raws, especially with underexposure. Overexposure performance is less impressive and even recovering +2EV shots can be an issue in contrasty light.

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Camera test Performance: ISO With an APS-C size sensor, expectations were high for a good ISO performance – and the G1 X Mark III didn’t disappoint. For this test all in-camera noise reduction was switched off and the exposure for the ISO 100 shot was 1/10sec at f/11. The Raws were processed through Lightroom with default noise reduction.

Digital noise levels are impressively low as you progress through the ISO range, and even at ISO 800 there wasn’t much around. Look at smooth mid-tone areas and you can see graining but it isn’t too heavy; noise reduction in editing smooths it out.

Noise levels are more evident as you venture further up the speed range, which is what you’d expect. You can still get big prints at ISO 1600 with no problem, and you might even be happy with ISO 3200 shots if you don’t overenlarge the files.

Original image

AT ISO 6400, you get plenty of black grain so it looks film-like, but at ISO 12,800 and above the noise picks up colour, and fine detail looks poor.

In sum, then, you get good quality noise performance out of the G1 X Mark III, typical of an APS-C format camera.

ISO 6400

ISO 100

ISO 800

ISO 1600

ISO 3200

ISO 12,800

ISO 25,600

Verdict

Lens quality The G1 X Mark III’s 15-45mm f/2.8-5.6 zoom (24mm to 72mm in the 35mm format) is a fixed entity, so there wouldn’t be much you could do about it if it wasn’t any good. Fortunately, that isn’t the case, and the lens delivers the level of quality you would expect from a Canon camera – although it needs using at its optimum apertures to get the best from it.

We took test shots at three focal lengths with a tripod mounted camera, and at each aperture value, then processed the Raw files with default sharpening in Lightroom.

Lens quality at the widest setting was good, especially in the centre, even at f/2.8, and stopping down to f/4 and f/5.6 delivered more impressive sharpness. That tailed off, though, so by f/16 the images was softer than the lens at f/2.8. Edge performance showed a similar pattern, although it did start from a lower base compared to centre performance. F/5.6 gave the best all-round performance, with impressive sharpness.

With the exception of f/16, where diffraction had a significant impact on sharpness, the 25mm setting delivered a high level of performance

across the frame from f/4.5 onwards. However, it is fair to say the centre was consistently ahead of the edges in terms of contrast, crispness and overall sharpness. At the 45mm end, the maximum f/5.6 aperture might be modest but image quality was impressive across the frame at that setting and at f/8, but tailed off at f/11 and f/16, again due to diffraction.

In summary, the lens on the G1 X Mark III is a capable performer, especially when used at f/4.5 or f/5.6. It’s also decent at the wide aperture settings but stopped right down is less impressive.

15mm

25mm

45mm

F/2.8

F/4.5

F/5.6

F/5.6

F/5.6

F/8

There is no doubt that the Canon PowerShot G1 X Mark III is every millimetre a premium camera with a feature list that wouldn’t look out of place on a DSLR, in particular the APS-C size sensor.

Of course, it is priced at £1150 so you would expect a high degree of sophistication and spec – and that is exactly what you get.

I really liked the handling (a few minor points excepted) but where you want the camera to really sing is in the results it delivers, and there are no worries on this score. Picture quality is very good especially at its lower ISO settings, and even at the higher ISO speeds you can shoot confident in the knowledge you are going to get good results.

Whether you are after a class compact to replace your heavier DSLR or want a portable back-up, the PowerShot G1 X Mark III offers a compelling option, and one worth checking out.

Features 24/25 Headline is the APS-C sensor but there is a lot to appreciate Performance 24/25 Autofocus and autoexposure work impressively Handling 23/25 Lovely to use, fine monitor, good customisation potential

F/8

F/16

F/8

F/16

F/11

F/16

Value for money 23/25 Not cheap but you get a lot of camera for your money Overall 94/100 If you are in the market for a premium compact, give this Canon a serious look Pros APS-C sensor image quality, speedy AF, custom options Cons Modest maximum aperture at long end, modest performance at f/16

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First tests Imaging kit

First tests

We get our hands on the latest kit and share our first impressions – so you know whether or not to add it to your wish list Reviews by Will Cheung, Kingsley Singleton

G-Technology G -RAID with Thunderbolt 3 16TB £911.74 Specs Prices 8TB £589.57; 12TB £708.98; 16TB £911.74; 20TB £1184.53; 24TB £1459.16 In the box G-RAID with Thunderbolt 3 dual-drive storage system, one Thunderbolt cable (20 Gbps), one USB-C to USB-A cable for backward compatibility (compatible with USB 3.1, 3.0 and 2.0), quick-start guide, power cable, AC power adapter Interfaces Two Thunderbolt 3 ports, one USB-C (USB 3.1 Gen 2) port, one HDMI (HDCP 2.2 supports 4K 60/ HDR Drive speed 7200RPM Transfer rate Up to 500MB/s Compatibility Mac OS 10.12+, Windows® 10, 8.1 (via reformat) Dimensions 25.9x13x9.9cm Weight 3kg Contact g-technology.com

Your photographs are beyond value, whether you are a family snapper, enthusiast or professional, so a failsafe backup strategy is very much a good thing. Uploading files onto a server or cloud is an option unless your broadband is slow, and if you are working with large files then an external drive hardwired to the computer is preferable.

But what if your hard drive goes wrong? Most of us are on traditional hard drives that have moving parts so they do go wrong and while data recovery is possible, that is an expensive option.

For peace of mind, perhaps you should consider a RAID, such as G-Tech’s G-RAID, the latest version boasting Thunderbolt 3. It is plug and play for Mac and easily reformatted to exFAT for Windows.

Its 16TB capacity is thanks to two 8TB SATA drives. The drives are pre-installed so all you have to do is plug it in and power up. The default set-up is RAID 0 which means that you get 16TB capacity with data being shared (but not backed up) roughly equally on both drives. That is a serious amount of storage but lose one of your disks in RAID 0 and you have a big, expensive problem.

So, setting up the drive as a RAID 1 is best and will give you

greater peace of mind. To do this means downloading and installing the G-RAID with Thunderbolt Configurator app. The process is quick, and while your capacity is halved, what you have is the same data put onto both drives. If one goes kaput, the other is your backup. SATA drives are standard too so you just slip in a replacement and the drive makes a new copy automatically from the working disc.

In RAID 0 and 1 configurations the two disks appear on the computer as one icon. If you want them to appear as separate disks, the configurator app has the JBOD (Just A Bunch of Disks) option and then you can back up manually.

The G-RAID has two Thunderbolt 3, one HDMI and one USB-C (3.1 gen 2) ports. Many new computers have TB3; if you have, then you can enjoy superfast data transfer (up to 400MB/s on the 16TB version). TB3 can also charge devices, carry video, audio and power at the same time.

If don’t have TB3 yet, no problem, just use the supplied USB-C to

USB-A cable and then it works with USB 3.1 gen, 3.0 and 2.0 ports but obviously not at the pace of TB3.

Turn the unit on and the big G on the front flashes red and white and then constant white after 20 seconds; then the disk’s icon appears on the desktop. If you get a red flashing G you’ve got trouble.

Drop down the front and you’ll see the two drive caddies. Replacing drives (should you need to) is easy.

I’ve been using the 16TB model over the past three months as my everyday drive and I think it is a compliment to the drive that I haven’t really noticed it. It just sits on my desk doing its job without fuss and histrionics and while you get a little noise, it isn’t much, and the lit white G is reassuring.

Having 8TB of storage on tap knowing that all the files are duplicated is a great feeling, and that is enough to store my last ten years of photography if I wanted. Looking ahead, with ever bigger files and 4K video shooting, that storage capacity is going to be needed. WC

Above The G-Tech RAID comes complete with two 8TB SATA disks pre-installed. You can set it up to get 16TB of storage or 8GB in RAID 1 configuration so the two disks have the same data.

Verdict The G-Technology G -RAID with Thunderbolt 3 is a wonderful piece of kit that performs really well and in my time with it, totally reliably.

It is, of course, a significant investment, but for peace of mind it rates as good value for money. If you don’t need the speed of TB3, G-Tech has USB/FireWire 800 and Thunderbolt 2 RAID products in its range.

Pros Reliable, fast, interface options, solid build, great look Cons Price

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First tests

Fujifilm X-H1 The PN team, Roger Payne and Will Cheung, got the chance to try the new Fujifilm X Series camera at a special launch event in Lisbon. Here are their first impressions Words and images by Roger Payne and Will Cheung The X-T2, launched in July 2016, was Fujifilm’s first serious foray into providing a stills camera that shot video.

But not a brand to rest on its laurels Fujifilm’s designers have now rustled up a brand-new stills/video offering and created a whole new arm to the X Series in the process. Welcome to the X-H1.

Despite signalling a new era in the X Series, there’s some familiar territory with the X-H1. Most notable is the sensor, which is the APS-C sized X-Trans CMOS III that we first saw on the X-Pro2, launched just over two years ago. Given that it took three years for the X-Trans CMOS II to become the III, Fujifilm clearly believes there’s life left in the existing technology, even though it’s probably nearing its twilight years. The X-Trans CMOS III is again coupled to the X-Processor Pro imaging engine, so any performance gains on the X-H1 are born from new algorithms and general tweaks.

Compared with some brands, Fujifilm was late to the 4K video party and only more recently has 4K become the de facto standard across X Series models. The X-E3 and X-T20 both have it baked in, while X-Pro2 users just need to complete a firmware update.

Despite this, as a photographer who was shooting more video, the X-T2 ticked a lot of boxes for me. I tend to shoot in Full HD rather than 4K, so the fact that 4K could only be recorded to an external device on the X-T2 didn’t bother me.

Instead, I was attracted to the fact that footage was captured at full 6000x4000 pixels then downsampled, as opposed to the less appealing methods of pixel binning or line skipping. I also liked the fact that the Film Simulation modes made post-production that bit easier. Not to mention, of course, that the X-T2 is also a rather special machine for stills photography.

The sensor is a proven performer, rich in colour and high on detail; I can safely say I’ve had some of my most rewarding images from it, so I for one welcome its inclusion in the X-H1. You also get all those lovely film simulation modes which knock most other manufacturers’ picture styles into a cocked hat, and there’s the added benefit of a new one – ETERNA – to play with.

In truth, the new mode is designed more for video than stills, although it is available across both. Colours from ETERNA are designed to be more muted with rich shadows, the intention being to give a more cinematic look to footage.

One feature that we definitely haven’t seen before on an X Series camera is in-body image stabilisation – IBIS for short – and it’s this that could well make many videographers sit up and take notice.

Until now, Fujifilm’s image stabilisation has only been available through selected lenses with optical systems, but now it’s in the body and offers shake compensation on five axes, and with all XC and XF lenses.

If you want to get technical, the X-H1

uses three axial accelerometers and three axial gyro sensors, not to mention a dual processor that makes 10,000 calculations a second to recognise and combat unwanted camera movement. The upshot of this is that up to 5.5EV of image stabilisation is possible, although this does vary on the lens in use. Our initial hands-on tests show the system to be highly effective and while it’s not quite a built-in Steadicam, the benefit is plainly evident.

Weather-resistance is something that both the range-topping X-T2 and X-Pro2 feature, so it’ll come as no surprise that the X-H1 has it as well, with 94 seals positioned around the body. The standards are the same; water-resistance, dust-resistance and a guarantee for the camera to keep operating in temperatures as low as -10°C. Clearly, the X-H1 is as happy as its brethren to be out and about when conditions are inclement.

But being targeted at the professional market, the X-H1 does go up a notch on the durability scale with a magnesium alloy shell 25% thicker than that on the X-T2. The mount has also been strengthened making it more impact resistant and preparing it for longer and heavier lens additions to the XF range (the first of which is the XF200mm f/2, which is due to arrive before the end of the year). To top it all off, the body is swathed in a harder, scratch-resistant paint. There’s also a larger hand-grip and some may

Fujifilm has taken a diversion from the ‘compact’ mirrorless mantra it has subscribed to for the past few years

Images The X-H1’s remodelled body features a larger handgrip than the X-T2 and has a three-way tiltable touchscreen LCD.

feel that by adding this, Fujifilm has taken a diversion from the ‘compact’ mirrorless mantra it has subscribed to for the past few years. Personally, I like the larger grip – it feels more DSLRlike while still maintaining a size and weight advantage over a comparable full-frame model. But the body does tip the scales at 673g – almost 170g more than the X-T2.

A bigger grip isn’t the only tweak to be excited about when it comes to the X-H1’s body, though. The electronic viewfinder (EVF) now has 3.69 million dots (up from 2.36 million on the X-T2) and it’s both large and bright. The rear LCD is three-way tiltable, but now adds touchscreen functionality and there’s also a subLCD on the top-plate. This doesn’t mean Fujifilm has done away with dials and switches – they’re still very much present and correct – but the programmable sub-LCD, which has been plucked straight from the GFX 50S, does allow you to see a little more camera status information than the dials alone provide.

On top of this, no fewer than 19 modifications have been made to the general operation of the camera, highlights of which include a dedicated AF-ON button, a remarkably quiet shutter and a newly sculptured focus lever for rapid focusing point access. The addition of IBIS and a new Film Simulation mode does not complete the X-H1’s moviemaking credentials. In truth there’s a wealth

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First tests Second opinion Will Cheung, PN editor

ABOVE AND LEFT Fujifilm is making a big thing of its in-body five axis IBIS system to cut down camera shake. The shot above was taken at 1/5sec at f/5 and ISO 400 on a 16mm f/1.4 lens, a lens that does not have IS, and you can see from the enlarged section (left) that it is pinsharp.

BOTTOM Shooting at ISO 1600 gives fine quality shots with low noise levels considering the high speed.

of menu options that you can dive into to unlock the camera’s far broader video functionality.

In the interests of brevity, 4K is available in two guises: DCI 4K and 4K. The former offers 4096x2160 pixels, the latter 3840x2160 pixels, or 17:9 as opposed to 16:9. Full HD is also available up to 120p, with two further slow-motion video speeds on offer, plus there’s a 400% dynamic range setting offering approximately 12 stops of latitude.

F-Log is now recorded straight to SD card, so there’s no need for an external recording device and the bit rate goes up to 200Mbps when you want the ultimate quality.

There is more, much more, including a high-quality internal microphone and time coding, so it’s safe to say that the X-H1 does feel like a serious camera for moviemakers.

Stills photographers haven’t been forgotten about, but again there are simply too many tweaks and changes to go into fully here. Notable additions include a flicker reduction mode that

helps to deliver consistent exposures when shooting indoors and an improved AF algorithm which drops low-light AF sensitivity down to -1EV (0.5EV on the X-T2), offers phasedetection at f/11 – handy if you’re using the XF100-400mm with a 2x teleconverter – and focuses more readily on awkward subjects, low contrast subjects like animal fur.

Naturally, I’d need a little longer than a few hours with a new camera to really decide how I feel about it, but the X-H1 certainly ticks the boxes, both for stills and video use.

For me, the X Series has little to prove when it comes to stills shooting – straight out of the camera JPEGs are as good as they’ve always been from other X Series models and you can rest assured that the camera is backed up by some very fine, high spec optics, with more to come.

The newly designed shutter release is too sensitive for my personal preference, but this is likely to be a matter of getting used to it.

For video use, the X-H1 has a little more to prove, particularly to those who may have previously discounted the Fujifilm brand due to the time it’s taken for a model like this to appear.

Having used an X-T2 for video myself, I see the improvements in the X-H1 as a positive step forward, although it undeniably remains up against some very tough mirrorless competition.

We’ll have a full test of the X-H1 in the next issue of PN. RP

I’ll come clean straight away and say I’m a committed Fujifilm X Series owner with an X-T2, X-E3 and a bunch of lenses. So every time Fujifilm launches a new camera I feel an extra tinge of anticipation wondering what exciting innovations await. It was no different with the X-H1.

Better still, I was going to get to try one in Lisbon, the day before the official worldwide launch. I even got the press info before flying out so I could mug up on the camera.

The specifications looked impressive, especially the in-body image stabilisation (IBIS) system, the improved autofocus and the enhanced video shooting options.

I took my X-T2 with me so I could compare the two cameras.

That the X-H1 is bigger is immediately obvious and the grip is solid and has a substantial feel.

Control layout was different. Where there is an exposure compensation dial on the X-T2, there is a large top-plate sub menu panel on the X-H1 – which gives the right end of the camera a very GFX look.

I really enjoyed using the LCD panel and I could check key settings with a downward glance. And I was happy to lose the compensation dial because I do find that it can be adjusted unintentionally even when on the C setting – most often as the camera is taken from the bag.

In its place, compensation can be set by pushing the button next to the shutter release and using an input dial.

This is a system favoured by Nikon and very familiar to me so this was a positive change.

Press the shutter release and three things are immediately apparent. The release is very smooth, with a very subtle release point, quite different from the X-T2 where the biting point was quite obvious.

The smoothness of the shutter release’s travel helps with sharp shooting at slow shutter speeds but it can also mean premature shutter release until you get used to it.

Then there’s the shutter noise itself. The X-H1 is so, so quiet – and this is with the mechanical shutter in its normal mode. There is an electronic front shutter and that minimizes sound levels further.

The third thing is the X-H1’s AF. Boy, it seems so much quicker and responsive than the X-T2 – and that is no slouch itself – nor is it hit and miss.

I hope the X-H1’s AF finds its way onto the X-T2 via a firmware update sometime soon.

The provision of a dedicated and decent-sized AF-ON button for thumb AF was most welcome .

IBIS seemed very effective too and I was shooting handheld down to 0.5sec to check out its effectiveness, mostly with the 16-55mm f/2.8 zoom. First impressions here too were positive.

Finally, in this brief preview, on to image quality. With the same sensor and processor, image quality from the X-T2 and X-H1 should be on a par. Sure enough, and with Raw processing possible via Adobe software immediately, that indeed did seem to be the case, but we’ll dig into this more when we review the camera.

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First tests

Fotospeed Signature Cotton Etching 305 From £34.99 Specs Prices and size availability A4 25 sheets £34.99; A3 25 sheets £67.99; A3+ 25 sheets £79.99; A2 25 sheets £133.99; rolls ranging from £123.49 to £310.49 Weight 305gsm, 100% cotton Compatibility Pigment and dye inkjet systems Media colour Bright white Opacity 99% Water resistance Very high Acid free Yes Calcium carbonate buffered Yes Drying behaviour Instant OBA content Yes Contact Fotospeed.com

Images Fotospeed’s latest paper is a matt, textured finish so has a fine art feel and look. The shot below right shows the paper’s texture picked out with side-lighting to give you an idea of its look.

There are many joys of home printing, and towards the top of the list is the myriad options when it comes to paper choice we have available nowadays. Whether you like heavy or lightweight papers, glossy or textured finishes, or vibrant or muted reproduction, the options are out there. All you have to do is find your ideal partner/s and that of course is time-consuming and going to cost you a few quid.

You could let the paper makers help you, though, as Fotospeed has done with its Signature collection where it has got together with five leading photographers to promote the four finishes. So, for example, we have landscape ace Joe Cornish endorsing Smooth Cotton 300 and fine art workers Faye and Trevor Yerbury promoting Natural Soft Textured Bright White. Such collaboration seems a good idea to me so you can at least relate a genre of photography to the paper finish.

Fotospeed recently announced Platinum Cotton 300 and even hotter off the press is Cotton Etching 305, which is getting its first public airing at this year’s Photography Show. The photographer connected to Cotton Etching 305 is fine art worker Doug Chinnery. Check out his work on dougchinnery.com.

Cotton Etching 305 is a matt textured finish and at 305gsm it has a lovely heft. The surface finish is clearly revealed with sidelighting (as the picture below shows), but from the front viewed at arm’s length the effect is subtle, depending on the

Images Fotospeed’s new addition to its Signature collection showed good versatility in terms of subject suitability. If you want delicacy, that is okay; if you prefer more punch that is okay too, considering that it is matt textured material.

lighting and subject, ie. it is more evident on areas of smooth tones and less so on detailed areas.

Out of the box it lies flat so during my test there were no issues such as head strike on my printer: an Epson SureColor SC-P800 using Epson’s inks. I also put a few sheets through the Epson Expression XP-15000, a printer tested in this issue.

I picked a variety of images for my test, from portraits and street shots to scenic and more abstract shots.

Several were shots I use regularly for paper reviews so I know them well. Among my test batch I had shots that were low key, high key, rich, desaturated and monochrome.

Such diversity would help me assess the paper’s potential and determine what subjects are best suited to the new material, although that is obviously a subjective matter.

Due to deadlines, I didn’t have enough time to get Fotospeed to make me a custom printing profile, a free service offered to its customers, nor was there a generic profile available. So I made my own using the X-Rite i1Studio, the same colour management solution I use to calibrate my monitors. Prints were checked under daylight LCD bulbs.

Prints emerged from my SC-P800 very slightly damp so I allowed them a few minutes before handling them and examining the results.

Overall, I was pleased with the results; very pleased. There wasn’t a single print that I was unhappy with or that I felt needed reprinting with a tweak of some sort. I thought the boldly coloured shots looked as good as the more subtle ones, while fine detail was always nicely portrayed with clean lines and no smudginess.

Beforehand, I thought the richly saturated images would lose their impact and punch as that can happen on matt textured papers but that didn’t prove to be the case. Colour vibrancy remained impressive while close inspection also showed that shadow details held up well and didn’t block up.

Where highlights on the file were bright, neutral and crisp, that translated onto prints very successfully. There was no sign of muddiness or greyness in the highlights and tonal gradation was impressive too.

Skin tones looked faithful, not too pink or red, while blue skies in my scenics looked spot on too.

There were a couple of contrasty, saturated colour images that I thought would almost certainly be rejects, as I had struggled with them before and had been disappointed with the outcome. No such issues here, though, with this new Fotospeed paper.

Moving to monochrome, my images looked equally satisfying as the colour images with depth, rich blacks, smooth mid-tones and the tonality I had previsualised.

The paper’s all-round ability to handle such a wide range of subject matter, contrast range and different degrees of saturation and so capably was a nice surprise. Some textured fine art finishes are less good with rich images with deep blacks, but no such shortcomings here.

Apologies if this is all rather gushy, but honestly there wasn’t a print that I was unhappy with so I had little to have a moan at.

Obviously, I am talking about the paper and how it performed, not the aesthetics of the images here. WC

Verdict A box of 25 sheets of A3 paper costs £67.99 which translates to £2.72 a sheet. So this is a premium material but it does deliver a premium performance, and deserves to be reserved for your best work, not printing the family snaps on.

If you are looking for a top-quality and versatile fine art paper, there is no doubt that Fotospeed Cotton Etching 305 can deliver the quality of result discerning photographers would expect so it is definitely worth trying.

Pros Dealt really impressively with a wide range of subject matter, feel, lies flat out of the box, texture, clean white base Cons Nothing

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Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

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First tests Specs Prices £299.99 Cartridges Six-colour XL multi pack £112.99, black (code nos 378/378XL) cartridges £17.99 each, cyan/ magenta/yellow (378/378XL), grey/red (478/478XL) £18.99 each.

Maintenance box (T3661) £12.47 In the box Printer, mains cable, one set of ink cartridges, set-up guide, CD with Epson Easy Photo Print and Epson Print Compatible operating systems Mac OS X 10.6.8 or later, Windows 10, 7, 8, 8.1, XP SP3, XP Pro x64 Edition SP2 Maximum paper size A3+ CD/DVD printing Yes Number of paper trays Two: plain paper tray, rear specialty media feed LCD monitor 6.1cm Interfaces Ethernet, USB, Wi-Fi direct, Wireless LAN Ink technology Claria Photo HD ink with black, cyan, yellow, magenta, red and grey Printing resolution 5760x1440dpi Nozzle configuration 180 nozzles black, 180 nozzles per colour Dimensions (wxdxl) 47.9x37x15.9cm Weight 8.5kg Contact Epson.com

Right For a printer capable of producing A3+ (19x13in) prints, the XP-15000 is remarkably small. It is very quiet in use too, ideal for home. Below Six colour inks are needed – plus the maintenance tank (not shown here) that collects surplus ink. Inks come in standard and XL sizes. Below right The printer’s LCD panel helps with setup and the printer’s status but it is not touch sensitive.

Epson Expression Photo HD XP-15000 £299.99 Epson’s latest printer offers highquality photo output up to A3+ (19x13in) prints from a unit that has an impressively small footprint making it ideal for home use. Add the option of Wi-Fi, Wi-Fi direct, USB and Ethernet, you have interconnect options to suit most situations and the six colour Claria inkset gives proquality, long-lasting prints. You can print on CD/DVD, produce doublesided prints and there is plenty of choice with regards paper options too; and this unit can accept thicker specialty media.

And you get all this for £299.99 which seems a competitive price, so let’s see how the XP-15000 performs.

It took longer to unpack the inks than actually install them, and next is the initialisation process that takes a few minutes. Connection to the network was a few minutes too. The monitor is not touch sensitive so with upper and lower case letters and numbers using the virtual QWERTY keyboard was slow. First go, though and I was connected.

A software installation CD is provided but I took the online option by going to epson.sn and five minutes later the software was installed and added to my printer list. When I went to make prints through Photoshop seven Epson paper profiles including Premium Glossy and Premium Semigloss had been automatically added. I used both those surfaces and threw in some Fotospeed and PermaJet textured finishes too.

At the time of writing the XP15000 had just been announced and there were no generic ICC profiles for third party brands. However, I got round that obstacle making my own profile using the X-Rite i1Studio colour management kit and that worked fine. Colour management support is something to consider if you intend third party papers or even Epson’s own specialist media and you may need custom profiles or make your own.

An A3 print in quality mode takes about three minutes to print so it is fast and that is in normal operation. There is a high-quality mode, but that takes longer and uses more ink and with prints looking sparkling in the default quality mode there seems no point using that mode. There is also a quiet mode and that is slower too. However,

Images The XP-15000 showed itself to be a competent printer, producing vibrant results. Above on Epson Premium Gloss and on the right, on Epson Premium Semigloss, both with Epson generic profiles.

the printer is so quiet anyway that there seems no point using that either – unless it is very late and your house is full of light sleepers.

I focused on using the printer for photographic output, not using plain paper or CD/DVD printing, with a variety of subject matter including scenic and portraits in colour and black & white. I made prints via Photoshop with the generic or homemade custom profiles.

Prints from the XP-15000 are very impressive. The colour prints were saturated and nicely vibrant especially the reds, yellows and oranges which looked very lively and clean.

Greens looked very good too as did flesh tones. If I had to nitpick about the rendition of any colour that came out less well I’d say blue. Saturation was good but the reproduction of the some skies seemed slightly off with a very mild magenta tinge.

The black & white shots looked very good with plenty of depth in the blacks and lovely smoothness in the midtones. The more contrasty scenes came out as well as the more delicately toned shots. The mono prints looked neutral with no sign of any colour cast.

By the end of the test, from a new set of XL-size cartridges I’d made 21 A3 and A3+ prints, 12 colour and nine black & white, with 70% on gloss or lustre and the reminder on textured finishes. When I checked, the ink supply levels were: black about 50% full; red 80% full; grey 30%; yellow and magenta both 25% full; and cyan which had an exclamation mark indicating a replacement would be needed soon. The maintenance box, a user replacement part (you need a screwdriver) which collects surplus ink, was about 10% used.

The capacity of the first set of cartridges is usually lower and the printer system needs to be charged with ink, so print capacity seems good. It is worth bearing in mind that I was using XL size cartridges. WC

Verdict If you want to enjoy home printing, the Epson Expression Photo HD XP-15000 is a very good option to consider. It has the ability to print up to A3+, works wirelessly and is competitively priced at £299.99.

Its compact footprint is appealing.

I’ve used Epson A3+ printers for years and the XP-15000 is small by comparison and ideal if space is at a premium. With easy set-up, quiet and fast operation and capable of high-quality output it impresses on the performance front too.

Pros Small footprint for an A3+ printer, quiet, fast, quality of colour and mono prints, versatile Cons No touch monitor

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First tests Specs Product Traveler compact camera messenger Price £149.95 Types of gear Mirrorless Material Leather, nylon Water repellent Yes Raincover Supplied Colour Black Tripod connection No Tablet/laptop compartment 24.5x1.5x20cm Internal main compartment (lxwxh) 29x9x20cm External dimensions (lxwxh) 33x12x21cm Weight 750g Product Traveler camera messenger Price £179.95 Types of gear Mirrorless, DSLR, drone Material Leather, nylon Water repellent Yes Raincover Supplied Colour Black Tripod connection Yes Tablet/laptop compartment 33x2x23cm Internal main compartment (lxwxh) 36x9x25cm External dimensions (lxwxh) 36x9x25cm Weight 1200g Product Traveler camera backpack Price £249.95

Gitzo Century bags From £149.95 Gitzo opened for business in 1917 and although tripods did not appear in its product range until the 1950s, it’s tripods that the company is best known for today. Its products are the camera supports of choice among experienced and professional photographers across the planet.

Now, Gitzo is diversifying and it has introduced a family of stylish bags called, appropriately enough, the Century range to celebrate its 100th anniversary. Three bags are currently available: the traveler compact camera messenger (shown right), the traveler camera messenger and the traveler camera backpack.

Each is made from wear-resistant nylon that’s coated for water-repellent qualities, finished with Italian leather with the carbon-fibre look of its tripods.

You get nice touches like a trolley security strap, tablet/laptop pocket, movable dividers and SecureLock zips – these are just simple, easy-to-use rotating locks.

I have been trialling all three in various situations.

The compact camera messenger is the smallest and I found perfect for my Fujifilm X-T2 outfit. The camera and standard zoom plus two more lenses are comfortably housed with room to spare and internal protection is firstrate – applies to the other two bags too.

My iPad 9.7in fitted too although it was a snug fit which meant at least it wasn’t going anywhere.

Spare batteries and my Lee Seven5 filter kit found the front pocket comfortable too, and there are four thin pockets while a back zipped pocket was handy for things like lens cloths.

Overall, it was a good bag to use. I liked the zip that gave me top access without having to unclip the bag but did find the front securing clip fiddly.

This is Gitzo’s pull-down G-lock and sometimes needed several attempts to locate and lock.

Something I would have liked is an end pocket big enough (or elasticated) that could take a water bottle but overall this is a well appointed and very useful bag with the comfortable strap long enough for across the body use.

The traveller camera messenger is essentially a grown-up version of the

compact camera messenger so it has a rear trolley strap, zip accessed top cover, carry handle, the same annoying G-lock and the same lack of an end pocket big enough to take a water bottle. Its narrow body means you can’t comfortably take a full-frame DSLR with lens fitted – you can get it in but you have a bulging bag – while some APS DSLRs might be okay. You should have no problems with mirrorless camera systems.

My X-T2 and three lens kit fitted nicely alongside the laptop with room for sandwiches and a pair of headphones. Into the zipped, front section, where there are five thin pockets, went a hard drive, cables and other personal items. The laptop pocket itself takes an Apple Macbook 13in with no problem.

Undoing the lower zip around the front of the bag reveals the bag’s tripod compartment that has pull ties each end. I didn’t find this any use at all because it’s too tight even for a Series 1

Types of gear DLRs, CSCs, drones Material Leather, nylon Water repellent Yes Raincover Supplied Colour Black Tripod connection Yes – for smaller tripods Tablet/laptop compartment Yes, 29x2x43cm Internal main compartment (lxwxh) 32x45x12cm External dimensions (lxwxh) 33x15x46cm Weight 1900g Contact Manfrotto.co.uk

Images The quality of finish and the cosmetics of Gitzo’s Century bag collection is first-rate, as you’d expect from this Italian brand. Their stylish good looks will certainly suit the photographer about town.

Traveler. I squeezed in a Gitzo GT1555T but it took too long and I wouldn’t like to be doing it with cold fingers. It just needs to bigger to accept a wider selection of tripods.

I didn’t find the two small end pockets that useful, again one big enough for a water bottle would have been good. One pocket houses the supplied rain cover so I took that out and used it for stashing my power bank and leads – if it’s raining hard enough to need a rain cover, I’m heading for shelter anyway.

My handling comments for the smaller bag apply here. Basically sound, except for a couple of moans, has a decent level of storage, the contents enjoy a high level of protection and the strap is long enough for across the body use.

The only thing I couldn’t check during the test was how the rear leather trolley strap would impact on clothing.

Many messenger/work-type bags have a smooth finish to avoid rubbing and wear and tear on clothing, so the messenger’s thick leather strap might be an issue.

And finally, on to the backpack. I took it away for a trip abroad and found it a very amenable companion as hand luggage. Its flat profile also helped so you could squeeze through crowds or turn quickly without smacking an innocent bystander. I managed to fit a decent camera kit – filters and chargers excepted – as well my personal stuff which included a tablet, headphones, toothbrush and more.

My camera kit comprised two Fujifilm X-Series bodies, a couple of primes (23mm f/2 and 35mm f/1.4) and four zooms including the 55-200mm and the 100-400mm. To be fair, this kit was packed for transit, so while out shooting, the outfit was trimmed down to two bodies and three lenses and this left room for sunscreen, hat, snacks, filters and water – no specific pocket for a drinks bottle so it went inside or into

the tripod carrying flap. Speaking of which, the backpack is designed to take a traveler tripod but one of the smaller ones, such as a Gitzo Series 1. Attaching and unattaching a tripod proved quicker than I thought but it helped if you had a table or wall to work on.

While I mostly used the backpack for a CSC outfit, it is equally at home with a full-frame outfit and I had a Nikon D810 and three zooms packed.

I enjoyed using this backpack. I liked being able to access the lower compartment from both sides, and the top compartment proved very roomy.

Its low profile was a benefit on public transport and it was comfortable to carry – even when fully laden – although a sternum strap would have been good. WC

Verdict There is a multitude of bags around in every conceivable colour, style and size, and ranging in price from cheap to overpriced. These bags from Gitzo offer something different in terms of style and finish and the prices are competitive if you consider the materials used. Of course, cheaper bags are available but here we are talking about Italian leather and style.

I really enjoyed using them and while I wouldn’t use one if I was going out to shoot landscape, they are perfect in town or if I was going out on the off-chance of getting pictures. These are quality bags with a smart look and are actually nicely priced given their high production values.

Pros Build quality, great looks, SecureLocks on zips, leather trim and carbon-fibre like finish Cons Looks may not appeal to all, no water bottle provision, tripod pocket on the camera messenger too small, fiddly flap G-lock

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Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

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First tests Specs Price £529.99 In the box R-3213X three-section carbon-fibre tripod, spiked feet, flat plate, halfbowl plate, carry case, shoulder strap and tools.

Leg sections 3 Material Carbon fibre Max height 141cm Min height 11.5cm Max load 22kg Closed length 61cm Weight 1.8kg Contact www.sirui.co.uk

Above Folded length is 61cm so not ideal for travel, but what you get is great stability combined with impressive working height when needed. The centre column, fully raised, gives a camera platform that is 179cm off the ground.

Sirui R-3213X £529.99 The R-3213X sounds like a cross between Ted Rogers and the Terminator that goes mad and destroys Yorkshire Television. But it isn’t. It’s a tripod aimed at serious enthusiasts and professionals. Part of Sirui’s large Reporter range – hence the R and X – the ‘3’ means it’s mid-sized for the series, so there are larger versions if you need. The ‘2’ tells you it has carbon fibre legs (‘0’ is aluminium), and the final ‘3’ means it has three leg sections.

The middle ‘1’ is a mystery.

What isn’t a mystery is what the R-3213X is designed for: very high load capacities and outstanding stability.

You get a sense of the quality from first touch. The tubes are smooth 10x carbon fibre and the top leg section is 33mm in width, falling to 26mm at the bottom (the latter being the size of many legs’ top sections).

It hits a decent 141cm without its centre column raised, and 179cm with it. Both seemed very workable to me; I’m six foot four (190cm), and when adding the centre column I could shoot around eye level, which is a nice option to have. I used it to compose over the top of walls, and even though obviously you lose some steadiness with the centre column raised, results still looked pinsharp to me. The folded length is 61cm, so it’s not too travel friendly, but this isn’t a travel model.

Leg angle locks near the collar allow a 21°, 52°, or 82° spread and operate well.

The metal locks need a good pull to free them, and snap back with reassuring strength. The only criticism I’d have is their contact points are a little thin compared to some, and could provide more grip, especially in gloves. At full spread and centre column removed you can shoot at about 11cm from ground level, which is plenty close.

Opening the leg sections, the action is very smooth and certainly comparable to my Gitzo Systematic Series 3, if anything a bit smoother, though the model I tested was new and hadn’t been battered by the elements like the Gitzo.

There is quite a noticeable breathing as you push and pull the sections, so maybe some space for grit to enter the mechanism there, but the locks are easy to remove and clean.

Above Tall shooters will love the R-3213X, and while using a tripod with its centre column fully up is not ideal, this model gives impressive stability.

The twist locks make it fast to set up, too. They free with about a quarter turn, and they’re close enough to operate all together. From folded to full height, I clocked about 10 seconds. The lowest leg sections also have height markers, and though I’ve never felt the need, they could be helpful if precise height is required. The rubber of the locks is very well grooved, too, giving plenty of purchase.

The R-3213X’s stated load capacity is over 20kg, so even with a heavy head, camera and lens you’re unlikely to reach it. The 10x carbon legs showed no creep, flex or vibration even when I was pushing my considerable postChristmas weight through them, or trying to twist them from the collar. It’s a very stable platform indeed.

Foam warmers are included on each leg, which is more generous than most. The feet are also a win: standard rubbers give a good grip and unscrew to be replaced by (included) spikes.

The R-3213X has a fairly wide metal collar, with a bubble-level and three locking screws; the latter meaning it’s adaptable. The centrepiece of the

The 10x carbon legs showed no creep, flex or vibration even when I was pushing my considerable postChristmas weight through them

column can be removed and replaced with an included flat supporting plate (making the tripod column-free) or with a 75mm half-collar adapter (also included). The latter allows use of a video-friendly levelling half-ball.

A nice touch is that the stabilising hook you unscrew to release the centre column includes the Allen key used to free the plates. Clever stuff. After a weekend’s shooting, the plate had worked loose and was rattly, but it was quick to tighten it with the included key.

At 1.8kg, the legs are easy to shift; they feel deceptively light. I took Terminator Ted on several long hikes, and was pleasantly surprised by the weight (or lack thereof). This was made easier by the included high-quality padded bag and strap (which can be fixed to the tripod alone if required).

Unlike many, the bag is also roomy enough not to require Tetris-style placement of the legs and accessories – I even managed an extra head. KS

Verdict This set of legs has a great mix of strength, versatility and nice touches, like the Allen key in the stabilising hook of the centre column. By swapping the mounting plates it’s at home with stills or movies, and to work without a centre column. A good quality padded bag and strap are also included, all for under £530. It’s almost a bargain.

Pros Strength, weight, features, solid build Cons More than some will want to spend, and doesn’t include a head

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Photography News | Issue 53 | photographynews.co.uk

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First tests Specs Price £19.99 In the box SRB Elite Lite filter holder, wide-angle conversion kit (1x screwdriver and 4x shorter screws).

Filter size 85mm (P size) Filter blades 2 Widest shooting (full frame) 18mm (one blade) 22mm (two blades) Material Anodised aluminium and plastic, brass clip Dimensions (HxW) 113x120mm Weight 65g Contact srb-photographic.co.uk

SRB Elite Lite filter holder £19.95 Using filters is a huge part of creative photography; there are two ways to add them to your lens, either screwing them on or slotting square filters into a holder. SRB’s new Elite lite filter holder is for the latter and billed as easy to use, adaptable and lightweight, hence the name.

The Elite lite filter holder takes 85mm (Cokin P size) square filters, and there are two filter slots, but by using the included wide-angle kit you can remove one of them; the benefit being that you can use shorter focal lengths without the filter creeping into the edge of the frame.

Made of lightweight aluminium and plastic, the holder is only 65g, so it definitely lives up to that part of its name. That said, I’ve never noticed the weight of a filter holder in use, whether it was a beginners’ plastic kit, or a large, metal, professional version. Have you?

SRB’s regular Elite filter holder weighs a little more, at 90g, and the saving seems to be made on the Lite version by not having a rotating mechanism for a screw-in polarising filter. You can still rotate the whole set-up of course, sliding it around the adapter ring that mounts it onto your lens.

The holder is very easy to fit. After screwing in the adapter ring for your lens’s filter size, which you need to buy separately, the holder clips on neatly and turns quite freely, but without slipping, so you can set graduate filters to any angle you need.

The holder is held in place by a brass clip and spring mechanism, which is certainly strong enough to prevent accidental release, but light enough to be operate easily. It also provides enough purchase for use with gloves.

Filters are easy to slot in and well gripped, if anything a little too well; out of the box the hold is quite stiff which means applying quite a lot of pressure

Images For shooting at very wide angles without vignetting, the supplied screwdriver and four shorter screws means you can take off one filter slot. The process is best done in the calm of the indoors though.

to the filter to move it. A little loosening of the retaining screws remedied this.

Talking of modification, it’s here the wide-angle kit comes in; amusingly it’s actually just a crosshead screwdriver, and four short screws. You simply unscrew the retaining screws to remove the front clip, freeing the two blades from the main ring; take away one pair of blades and reassemble using the shorter screws.

This is pretty quick to do and works fine, but it’s not without fiddly moments, and is therefore best attempted at home, in a bright room, on a clean desk and with no sidewind; try it on a hillside in the dark and it gets a lot more complicated. It’d help if the screwdriver had a magnetised tip.

Come to think of it, while there’s nothing wrong with the system – other makers use it too – there must be an easier way to modify a holder like this?

In its two-slot set-up, SRB claims the holder ‘will work down to a focal length of 20mm until vignetting appears and down to a focal length of 16mm until vignetting appears’ when using only one blade, although ‘working focal lengths may vary depending on the optical design of the lens.’

I tested this on a Nikon D810 and 16-35mm lens, shooting at f/11, so any physical vignetting wouldn’t be confused with that from the lens.

True enough, vignetting was visible in both arrangements at 16mm and 20mm respectively; at 18mm with one blade I still noted a very small amount in the corners, gone by 20mm; similarly, at 22mm, using both blades, it was visible, but only just. In either case, the most minor processing would take care of it.

Obviously, vignetting is based on using the holder horizontally; you can shoot wider with it vertically.

The holder also has lines on the front, which are for lining up grads with the centre of the holder and get a straight line in the scene. I didn’t find it

all that useful, but it might be a help for some; equally you’d also need to make sure the holder itself was level.

Are two blades enough? It depends how many filters you want to stack; a full ND and grad is often sufficient and adding extra filters can mean lowering image quality anyway. Adding blades also means the holder is more likely to vignette. I didn’t feel like I was missing options here, and if I was I’d have added a screw-in ND behind the holder although that could create vignetting issues, too.

In terms of durability, the unit seemed pretty tough. The anodised aluminium parts should certainly wear better than plastic, but then I’ve got plastic holders I’ve had for 20 years that are still fine, so the benefit is debatable; I suppose the metal would fare better if crushed. There’s not much to break and repeated slotting in and out of filters didn’t seem to loosen the blades. How well the screws will wear with repeated use, it’s tough to say.

Most interesting really is the price.

Of course, as with almost all filter holders, you do need to add adapter rings at £5.95 a pop. It’s still a very affordable package though. KS

Images The above image was shot using a 16-35mm Nikon zoom on a Nikon D810, set at 18mm. You can see on the left that with two filter blades there’s lots of vignetting visible; but with one removed it’s almost free of vignetting.

Verdict The Elite lite filter holder would be a fine addition to any kit. It’s very affordable, so great for beginners or those on a budget. Handling is good bar some fiddliness in adapting the blades, but that’s common to all designs. There is some vignetting, so if you want to shoot wider than 18mm with one, or 22mm with two filters, you’ll need a bigger holder.

Pros Great value, adaptable, mounts and handles well Cons Some fiddliness; can’t shoot wider than 18mm (on full-frame)

Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

75

Recommendations

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Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

Photography News | Issue 53 | photographynews.co.uk

83

Technique

Camera School Here we lift the lid on all things camera related, showing how to get better results from your CSC or DSLR, and providing all the info you don’t find in the manual. So, stick with us and you’ll soon be wielding your camera like a pro. This month, how to create high-key images using window light Words & pictures by Kingsley Singleton

With +1EV exposure compensation

No exposure compensation

Whether the subject is a portrait or a still life, window lighting tends to be associated with a low-key style.

Often you have one large light source to the side and above the subject giving plenty of shadow on the opposite side of it. If you’re using a north-facing window the light will be indirect, so shadows are soft, and they can be filled somewhat using a reflector; but the effect will still be likely to be low-key.

You can also get a high-key look from a single window, however, and it simply involves changing the way you shoot, both in terms of the arrangement of camera and subject, and the settings used.

Setting up for high-key To achieve a high-key effect you need to reduce contrast in the picture as much as possible. So while a low-key picture will feature predominantly shadows, some midtones, and a few highlights, a high-key image will be the opposite – mostly highlights, midtones and relatively few shadows.

To reduce contrast you need lots of light to be hitting the subject from all sides, and one of the best ways to achieve this when your main light source is a window, is to use the window as a backlight, along with lots of reflectors to bounce light back onto the subject.

So start by setting up directly in front of a window and placing the subject on a light-coloured or white background. I used a piece of white board with a fold in the middle allowing me to level the subject, then angle the background. The more I angled the backdrop down, the lighter it became as there was more light bouncing off it.

If you don’t have a solid background, try hanging a thin white curtain between the subject and window; a bit like shooting directly towards a lit softbox.

Reflect the light Next, I added white surfaces either side of the subject, to reflect light on to it. To camera right was a lightcoloured wooden wardrobe which I knew would cause a colour cast on the flower if left alone. Having only one reflector, I placed that on camera left, and on the opposite side used an A2 piece of white card. Finally, I held a white A3 sketch pad below the subject, between it and the camera.

A test shot showed this to be working well, but sometimes, if both

Other ways to shoot high key

Above Simple kit like a light tent also makes high key photography easier.

No reflectors

the subject and background are very light, you’ll need to dial back the reflection a bit, or lose all definition on the subject. In these cases, it can help to place black cards either side of the subject; these will suck light out of the picture instead of bouncing it back, darkening the sides of the subject. Practice makes perfect.

Exposure settings Even in a high-key set-up like this, there won’t be much light to play with, so longer exposures are the order of the day. You can handhold, but if you do, you’ll likely be shooting at higher ISOs and very wide apertures to compensate.

Here, I wanted to shoot at f/8 to hold a good portion of the flower in focus, and at a low ISO of 64, to get the best image quality. This gave a shutter speed of 1/8sec, so a tripod was vital to avoid shake. I also needed to keep still when exposing

as any vibrations might have shaken the subject and made it unsharp.

Exposure compensation But there’s something else to consider. With so much white in the scene, the camera will try to underexpose everything; and left unchecked you’ll get more midtones than highlights. Therefore, if you’re shooting in aperture-priority (A/Av) or shutter-priority (S/Tv), exposure compensation is needed.

I set +1.0EV using the +/- button on camera, lengthening the shutter speed to 1/4sec, and brightening the frame as a result.

If you’re shooting in full manual mode, you’ll simply need to increase the shutter speed by one stop to get the same effect. You should also find an exposure bar in the viewfinder or on the screen, letting you know that you’re overexposing based on what the camera has metered.

Above All you need to achieve high-key results is a window and several reflectors.

Of course, high-key lighting isn’t specifically associated with window lighting. In fact, though it’s simple to shoot high-key images this way, it’s not the best route. If you want the most control of the style, it’s best to use several lights or flashes to help you fill the frame with light.

Typically, a high-key flash setup might involve two softboxes, one placed either side and in front of the subject, wrapping them in light. And if you want a perfectly white background, that should also be lit; photographers often use an exposure stop more power on the background to make sure it’s white.

For smaller subjects you can also use a light tent. Light tents are used mainly to reduce reflections on shiny subjects, but they give great high-key results, too. Basically it’s a cube of white material that you place the subject within, framing up on it via a small hole at the front, through which you poke your lens.

The tent can then be lit from either side, with continuous lights or flash, having the effect of diffusing the light a great deal and therefore lowering contrast. The one pictured above costs only £32 from essentialphoto.co.uk.

NEXT MONTH HOW TO WORK WITH SUPER LONG EXPOSURES

Photography News | Issue 53 | photographynews.co.uk

84

Competition

Editor’s letter

Hurrah for lots of new stuff PN thrives on new products. Without new stuff we’d have nothing to write about and test, and as not much has happened in the past few months the office kit cupboard is bare. All that has changed though with new cameras from Canon, Fujifilm, Panasonic, Pentax and Sony plus lenses from Tamron, Samyang and Zeiss.

I’ve already had a play with one new arrival, the Fujifilm X-H1. Well, it was more than a play and I got to spend a day in Lisbon shooting with it.

The X-H1 in some ways is not a radical advance from the popular X-T2 and both share the same CMOS X-Trans 24.3-megapixel sensor and Fujifilm X Pro Processor; yet there are significant and worthwhile improvements.

The X-H1 has gained an in-body five-axis image stabiliser (IBIS) with up to 5.5EV benefit depending on the lens. Its body is even more robust thanks to its magnesium alloy casing being 25% thicker and it has gained greater video functionality. Add an electronic front shutter curtain, better flicker-defeating skills, a higher-res EVF and improved AF, and the X-H1 is a formidable machine.

As an X-T2 owner myself and with Fujifilm’s incomparable record of using firmware updates to bring new features to older models, I’ve got my fingers crossed that I’ll get to enjoy some of the X-H1’s features in due course. For example, I was very impressed with the new camera’s AF. I know subject tracking is meant to be better than the X-T2’s but just for allround shooting, the X-H1’s AF seemed very, very slick.

One feature that won’t find its way on to the X-T2 is the X-H1’s AF-ON button. You can set the X-T2 up to give the same functionality but the small AE-L/AF-L buttons are not so good to use. The X-H1’s dedicated, slightly larger, more pronounced AF-ON button is ideal.

You might find it odd that despite all the cutting edge technology packed into the X-H1, it’s a single button I choose to highlight. The thing is, though, I almost always use the AF-ON button when I shoot with DSLRs so finding a good one on a mirrorless camera gives it an extra appeal.

Of course it’s the whole package to consider when making a buying decision but nevertheless, it is attention to handling detail like this that might encourage more DSLR users to go mirrorless.

If your camera has an AF-ON button and you’ve not discovered its benefits yet, I urge

WIN!

A Samsung memory card!

Capture life’s magical moments across all devices with the Samsung EVO Plus 128GB microSDXC memory card with SD adapter offering read speeds up to 100MB/s and write speeds of up to 90MB/s. Samsung’s latest cards are also ultra reliable and are water, temperature, X-ray and magnetic proof, so shooting in the most challenging conditions isn’t an issue. We have one 128GB Samsung EVO Plus microSDXC card with SD adapter worth £78.99 for the eagle-eyed winner. Complete the word search below, and you’ll find one word in the list that’s not in the grid. Email us on puzzle@photographynews.co.uk with that word in the subject box by 8 April 2018 and the winner will be randomly drawn from all correct entries received. The correct answer to PN51’s wordsearch was Ultra and the Samsung 128GB PRO+ card was won by Amit Roy from Essex. samsung.com/uk/memory-cards

IMAGE: Fujifilm’s latest release, the X-H1. you to give it a try, especially if you like offcentre, wide-aperture shooting. It just means that with focus on the thumb and not on the shutter release, focus stays put when you take the shot.

We have a two-page in-depth look at the Fujifilm X-H 1 in this issue and a full test will appear very soon.

Before then, though, is The Photography Show where you will get the chance to see for yourself the X-H1 and loads of other new stuff.

For example, Elinchrom will be exhibiting their new ELB 500 TTL kit. We’ve been testing it and found it compact, powerful, versatile and really lovely to use, so worth a look if you’re thinking of investing in portable flash I know photo exhibitions like TPS have historically been gear fests – and TPS is not radically different in that respect – but the organisers have made huge strides in making this show an opportunity to learn and be inspired, so the show is much more of a rounded imaging experience. I’m there for all four days on the Photography News stand but I will no doubt slope off to check out what’s new in the show.

So, if you are reading this before (or at) TPS please come along to our stand in the food gallery area and say hello. We look forward to seeing you there.

Register on photographynews.co.uk and you can read Photography News online on your smartphone, tablet or computer as soon as it’s published.

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In short, the Canon EOS M50 is a lightweight and highly portable interchangeable lens camera that’s the perfect choice for confident smartphone and compact camera photographers who are seeking to enhance their photography capabilities.

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With 19 custom functions, the Speedlite 470EX-AI offers complete creative control, while a wireless optical receiver function allows the flash to be used at distances of up to 10m away from the camera.

Photography News | Issue 53 | photographynews.co.uk

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