Photography News 65

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Issue 65 16 Apr-13 May

news

On test: Canon EOS RP

On test: Fujifilm X-T30

Canon’s best full-frame deal ever! page 30

Flagship tech at a bargain price page 18

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

First tests Our overview of what’s hot in imaging page 36

GET YOUR

FREE DIGITAL EDITION every month*

*at photographynews.co.uk

WIN!

A Samsung 256GB memory card Enter the competition on page 48

Canon introduces the world’s lightest DSLR Following on from its multi award-winning EOS 200D, Canon has announced the EOS 250D, the world’s lightest DSLR with a moveable screen Touted as the world’s lightest DSLR with a moveable screen, the Canon EOS 250D body weighs just 449g and measures 122.4x92.6x69.8mm.

The Canon EOS 250D features a 24.1-megapixel dual pixel CMOS APS-C sensor, DIGIC 8 image processor and also offers 4K movie recording. Adding to the great features of its successor, the 250D has improved Live View autofocus accuracy and eye AF, Auto Lighting Optimizer, Digital Lens Optimizer and Highlight Tone Priority to help users capture sharp images, whatever they’re shooting.

Targeted for family use, it features a guided user interface, so it’s easy for all to use, with on-screen shooting tips. It also has vari-angle touchscreen, allowing selfies and vlogs to be created easily and incorporates Bluetooth

PN EXCLUSIVE

Make the switch with Fujifilm

and Wi-Fi connectivity for remote shooting and image transfers via the Canon Camera Connect app.

The Canon EOS 250D is available in black, silver and white from 25 April. The body is priced at £529.99 and

£599.99 for the EOS 250D and EF-S 18-55mm f/4-5.6 IS STM. canon.co.uk

If you’re thinking of going mirrorless, but undecided about which brand, camera and lenses to go for, we have teamed up with Fujifilm for a unique opportunity. Successful applicants will have the chance to try out a Fujifilm camera and two lenses of their choice – for absolutely free!

Well, almost. In return for the free loan, we would like to feature your views about the loaned system, supported by a selection of your photographs.

See page 3 for more details and visit photographynews.co.uk/maketheswitch to apply and for the terms and conditions.

Photography News | Issue 65 | photographynews.co.uk

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Photography News | Issue 65 | photographynews.co.uk

News PN EXCLUSIVE

Make the switch with Fujifilm

Thinking of switching your heavy DSLR system for something lighter? We have an opportunity for you to borrow some kit AND be featured in Photography News. Read on to find out more...

Switching camera systems is an expensive business and you need to get it right. In this exclusive offer, Photography News has partnered with Fujifilm to give readers the chance to borrow a Fujifilm camera and up to two lenses of your choice for free*. The free camera loan is for up to two weeks, so you will have plenty of time to try out the products by shooting your favourite subjects – helping you make the right decision.

Perhaps you have an exciting photo project or a special travel trip coming up? Or have you always wanted to try out a Fujifilm X Series or GFX system? If so, our year-long Fujifilm Make the Switch campaign is the perfect opportunity.

There’s a wide range of kit available, from the best selling X-T3, the new X-T30

(tested in this issue) or the mighty medium format GFX 50R. You’ll also be spoilt for choice with the X Series lens range, which currently consists of 29 lenses, but you’ll only get to pick two, so choose wisely! If you’re shooting landscapes, you could go for the XF14mm f/2.8 R or XF16mm f/1.4 R WR. For varied subjects, try the XF16-55mm f/2.8

R LM WR or XF50-140mm f/2.8 R LM OIS WR. For action and wildlife, you might want to consider the XF100-400mm f/4.5-5.6 R LM OIS WR. Go to fujifilm-x.com/en-gb to see the latest lens range.

As part of the campaign, your Fujifilm images will appear in an issue of PN, as well as your thoughts on the camera.

If you want to take advantage of this incredible opportunity, head to photographynews.co.uk/maketheswitch.

There is no closing date at this time, but there is sure to be huge interest in this amazing offer and we have limited stock, so please don’t delay. In the first instance, fill out the form on our website and upload five images that represent your usual photography. We will be in touch if you’re selected. photographynews.co.uk/maketheswitch

*Subject to terms and conditions, which can be found at photographynews.co.uk/maketheswitch

Panasonic introduces PermaJet unveils Pearl Paper the hybrid Lumix G90 The Panasonic Lumix G90 is targeted at both stills photographers and videographers with its 20.3-megapixel digital Live MOS sensor, a Venus Engine and five-axis Dual I.S.2, combining both OIS and BIS, as well as offering 4K and Full HD video recording.

The rugged design of the G90 makes it both splash and dust resistant, and it has been redesigned to enable easy one-handed operation. Users can now find the exposure, ISO and white-balance buttons located in-line with the top plate, as well as a wheel dial with buttons positioned around it on the camera’s rear. It also has customisable dials both on the front and rear.

Its OLED live viewfinder offers a 100% field of view, 2360k-dot resolution and 0.74x magnification, as well as a 1040k-dot OLED touch monitor with free-angle movement.

For video creators, the Panasonic Lumix G90 can record 4K video at 30p/25p, Full HD video at 60p/50p and also allow slow-motion video footage to be captured in Full HD at 120fps, 90fps and 60fps. Real-time image output can be made to an external monitor in 4:2:2/8-bit via HDMI, and the Lumix G90 also has V-Log pre-installed to offer a wider dynamic range for colour rendering. The camera also has a 3.5mm microphone jack and a headphone socket.

The G90 features Panasonic’s 4K photo mode, which has a new Auto Marking function to automatically detect frames with changes to the image, as well as Sequence Composition, which

Unveiled at The Photography Show and available now, the FB Pearl 300 paper replaces PermaJet’s FB Satin 310.

The PermaJet FB Pearl 300 photo paper is suitable for printing photos for exhibitions, distinction panels, commercial use and high-quality, fine-art prints thanks to its 300gsm base and pearl surface. It also features an advanced coating, offering a great tonal range and sharp detail.

combines multiple images into one shot for a fun effect. Other features include post focus, focus stacking, a newly added Live View Composite Recording and photo styles for creative image effects. It also features integrated Bluetooth for image transfer and GPS tagging.

To help extend battery life, a new powersaving function has been introduced that puts the camera to sleep after a set period of inactivity, but the camera then awakens when the shutter is half-pressed. On a full charge, the G90’s battery reportedly lasts for approximately 900 images.

The Panasonic Lumix G90 is available from June with a suggested retail price of £899 body only, £1079 with a 12-60mm lens, or £1259 with a 14-140mm lens. panasonic.com/uk

PermaJet’s national sales manager, Jeremy Pridgeon, said: “The response to FB Pearl 300 has been overwhelmingly positive. Having the product on display for regular and new customers alike really helped to demonstrate the quality and feel of the paper. For those unable to attend The Photography Show, FB Pearl 300 will be on display throughout the UK at The Societies of Photographers roadshows, art & framing roadshows and other key UK events, such as the Birdfair.”

FB Pearl 300 is available in A4 to A2 sheet sizes, as well as 17-inch to 44-inch rolls.

There’s a First Test on the new paper in this issue. permajet.com

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Photography News | Issue 65 | photographynews.co.uk

News

The world’s best The General Assembly of the Technical Image Press Association, of which Photography News is a member, gathered in Bangkok, Thailand from 14-17 March 2019 to vote on the annual TIPA World Awards for the best imaging products of 2019.

Editors from professional, amateur, and business magazines and online publications from Asia, Australia, Europe and North and South America, with a delegate from the Camera Journal Press Club in Japan, discussed and then voted on TIPA World Award winners. The grand awards ceremony and presentation will take place in Tokyo on Monday, 20 May 2019.

For a full list of the TIPA World Award 2019 winners, along with award citations please visit tipa.com.

BEST DSLR CAMERA

BEST FULL-FRAME CAMERA EXPERT

BEST DSLR PRIME LENS

Sigma 40mm f/1.4 DG HSM | Art Nikon D3500 BEST APS-C CAMERA ADVANCED

Nikon Z 6 BEST FULL-FRAME PROFESSIONAL CAMERA

BEST DSLR WIDEANGLE ZOOM LENS

BEST APS-C MIRRORLESS PRIME LENS

BEST MIRRORLESS PROFESSIONAL LENS

BEST APS-C CAMERA EXPERT

Nikon Z 7 BEST FULL-FRAME PHOTO/VIDEO

BEST DSLR TELEPHOTO ZOOM LENS

Sigma 60-600mm f/4.5-6.3 DG OS HSM | Sports Sony A6400 BEST MFT CAMERA PROFESSIONAL

Panasonic Lumix S1 BEST MEDIUM FORMAT CAMERA

BEST DSLR PROFESSIONAL ZOOM LENS

BEST TRAVEL TRIPOD

BEST 360º CAMERA

Hoya Fusion One Canon EF-M32mm f/1.4 STM BEST MIRRORLESS PRIME STANDARD LENS

Sony FE 400mm f/2.8 GM OSS

BEST IMAGING STORAGE SOLUTION

BEST EXPERT COMPACT CAMERA

Ricoh Theta Z1 Manfrotto Befree GT Carbon Fibre

BEST PHOTO SERVICE

BEST PHOTO MONITOR Sony SF-G series Tough Specification Cards

Tokina Opera 1628mm f/2.8 FF Fujifilm X-T30

BEST CAMERA ACCESSORY

Canon RF50mm f/1.2 L USM BEST MIRRORLESS PRIME TELEPHOTO LENS

Ricoh GR III

BEST FLASH SYSTEM

BEST SUPERZOOM COMPACT CAMERA

Cewe hexxas LG UltraFine Display 32UL950

BEST PHOTO BAG

BEST BUDGET

Godox Witstro AD400Pro Sony FE 135mm f/1.8 GM BEST MIRRORLESS WIDE-ANGLE ZOOM LENS

Sony RX100 VI

BEST PORTABLE LED LIGHT

BEST INKJET PHOTO PAPER

PHOTO MONITOR BenQ SW240

Lowepro Whistler BP450 AW II

BEST PHOTO

BEST DESIGN

Metz Mecalight S500 BC Sigma 70-200mm f/2.8 DG OS HSM | Sports

Nikkor Z 14-30mm f/4 S

Hahnemühle Photo Rag Metallic BEST IMAGING SOFTWARE

Olympus OM-D E-M1X

Fujifilm GFX 50R

BEST FULL-FRAME CAMERA ADVANCED

BEST DSLR ULTRA WIDE PRIME LENS

BEST DSLR PROFESSIONAL PRIME LENS

BEST MIRRORLESS STANDARD ZOOM LENS

Canon EOS RP

Samyang XP 10mm f/3.5

Canon EF400mm f/2.8L IS III USM

Tamron 28-75mm f/2.8 Di III RXD (Model A036)

Skylum Luminar 3

BEST PROFESSIONAL TRIPOD

SMARTPHONE Huawei P30 Pro BEST PROFESSIONAL VIDEO CAMERA

Uniqball iQUICK3Pod

Blackmagic Ursa Mini Pro 4.6K G2

Zeiss ZX1 SPECIAL INDUSTRY AWARD

L Mount Alliance

Photography News | Issue 65 | photographynews.co.uk

Photography News | Issue 65 | photographynews.co.uk

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Photography News | Issue 65 | photographynews.co.uk

News

Thinktank has the Vision

Meet the Profoto Connect Profoto has announced the Profoto Connect, a button-free compact trigger that makes things simple. It attaches to the camera hotshoe and offers three simple settings: auto, manual and off. The auto mode works with TTL flash, automatically calculating the correct flash

exposure, while manual mode lets you take control. The Connect is compatible with the Profoto app, recommended for use with the Profoto A and available in Canon, Sony, Nikon, Fujifilm and Olympus fits for £311. profoto.com

The Think Tank Photo Vision shoulder bag features three sizes: the Vision 10, Vision 13 and Vision 15.

The Vision 10 can fit a DSLR with a short zoom lens, plus up to two lenses and a 10in tablet. The Vision 13 has space for a body with a 24-70mm lens attached, three extra lenses and a 10in tablet, while the Vision 15 can hold the same, but also up to four extra lenses and a 15in laptop.

Each model is available in graphite or dark olive and feature tripod straps, a luggage handle pass through, a tarpaulin bottom, an expandable bottle pocket and a rain cover.

New Lee holder The Vision 10 is priced at £100, the Vision 13 at £119 and the Vision 15 at £129. snapperstuff.com

The LEE100 filter holder is based on the original Lee design and has been improved based on customer feedback and product testing.

A new feature of the holder is a blue locking dial which allows three settings to be selected; neutral where the holder can be rotated and removed; half lock, allowing the holder to be rotated but still locked to the adapter ring; and full lock, where the holder can’t be rotated or removed.

For the holder there is the new LEE100 polariser and the LEE100 105mm polariser ring to take existing Lee polarisers.

The LEE100 is compatible with existing LEE 100mm filters and adapter rings and can be used with up to three slot-in filters. It costs £83 on its own.

There is a First Test on the new holder in this issue. leefilters.com

Lexar world’s fastest SSD

The Lexar Professional SL100 Pro Portable SSD with USB 3.1 Type-C port offers read speeds up to 950 MB/s and write speeds up to 900 MB/s. It is also drop, shock and vibration resistant and small enough to slip into your pocket.

The Lexar Professional SL100 Pro Portable SSD is available this month; the 1TB model is £215. A 250GB model is available for £78 and a 500GB model for £120. lexar.com

Photographica 2019 Classic camera collectors from all over the UK will descend on London on 19 May for Photographica 2019.

The event is organised by the Photographic Collectors Club of Great Britain and this year will see up to 135 tables for buying, selling and swapping classic and antique cameras

Photography news

Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire, CB22 3HJ www.bright-publishing.com ISSN 2059-7584 When you have finished with this newspaper, please recycle it

It takes place at the Royal Horticultural Society’s Lindley Hall, 80 Vincent Square, London SW1P 2PB, where there is free parking in the surrounding streets on Sundays.

Admission to the public 10am to 12 noon is £8 and then £5 from noon to 4pm.

This year’s World Pinhole day is on 28 April.

The Real Photography Company has a day of pinhole events at its St Pauls Learning Centre in Bristol. There are two one-hour pinhole workshops and a talk by Justin Quinnell.

For more details see the website realphotographycompany. co.uk

Entrance for PCCGB members is free.

For further information or a stall application form call 01684 594526. pccgb.net

Editorial Team

Advertising Team

Design Team

Editorial director Roger Payne

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

Design director Andy Jennings Designer Man-Wai Wong

Digital editor Jemma Dodd jemmadodd@bright-publishing.com

Key accounts Chris Jacobs 01223 499463 chrisjacobs@bright-publishing.com

Distribution

Chief sub editor Beth Fletcher

Key accounts Mike Elliott mikeelliott@bright-publishing.com

Senior sub editor Siobhan Godwood

Account manager Sam Scott-Smith 01223 499457

Editor Will Cheung FRPS 01223 499469 willcheung@bright-publishing.com

Sub editor Felicity Evans Junior sub editor Elisha Young

World Pinhole day

Distribution and subscription manager Phil Gray philipgray@bright-publishing.com

Publishing Team Managing directors Andy Brogden & Matt Pluck As well as your local camera club, you can pick up Photography News in-store from: Cameraworld, Castle Cameras, Jessops, London Camera Exchange, Park Cameras, Wex Photo Video, Wilkinson Cameras

Photography News is published 13 times a year

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

While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at the time of writing is quoted for products.

Photography News | Issue 65 | photographynews.co.uk

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Photography News | Issue 65 | photographynews.co.uk

Awards Gear of the Year

Award winners 2018 The Photography Show at Birmingham’s NEC was the scene for Will Cheung, PN’s editor, to hand out the trophies to the deserving winners of the Photography News Awards 2018

Tim Carter and Annalisa Davies of Nikon UK collected the award for Advanced DSLR: the much acclaimed Nikon D850

Best Roller/Hard Case was won by the Vanguard Alta Fly 55T. Here, the trophy was collected by Liz Ludlow and Ian Bywater

Epson’s EcoTank ET-7750 won the Best Printer award, and the trophy was collected

by Alice Ramsden de Gómez from Epson

Best On-Camera Flash went to Rotolight for its NEO2 LED light, and the award was collected by Rotolight’s Rod (left) and Rod Aaron Gammons (centre)

Steve Vigors and Paul Reynolds from Sigma collected awards for Wide-angle Lens, Telephoto Lens and Innovation

The BenQ SW320 Pro 32in won Best Monitor for the second year running. Tony Huang of BenQ and Tallie Wright of Color Confidence collected the trophy

The Best Software award was won by Serif for Affinity Photo. John Atkin, head of PR at Serif, collected the trophy

Hahnemühle’s Simon Waller and Fanny Danskanen collected the trophy for Inkjet Media: Fine Art Finish for the Hahnemühle William Turner 310gsm paper

Jack Low and Didi Goddard of Canon UK collected awards for Consumer DSLR and, for the second year running, for Professional DSLR, with the EOS 800D and the EOS 5D Mark IV, respectively

Derek Poulston, managing director at One Vision, collected the award for Best Processing Lab

Scott Baggaley and Loraine Morgan from Tenba UK collected their trophy for winning Best Soft Bag/Backpack with the Tenba Shootout 16L DSLR Backpack

DataColor won Best Colour Management Device with its Spyder5PRO+, and Ernst Thürnau collected the award

The award for Best Training Provider went to The Photographer Academy, and the award was collected by Jay Pearce (left) and Mark Cleghorn (right)

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Photography News | Issue 65 | photographynews.co.uk

Awards

Amazing Internet won best Photo Website Provider and Andrew Skirrow came along to collect the award

Voigtländer won the Macro Lens award. Hardy Haase from Flaghead Photographic collected the trophy

Fujifilm scooped two awards this year. One for the Best Professional CSC for the X-T3, and another for the GFX 50R, which won Best Medium Format Camera. Theo Georghiades and Jeannie Corby from Fujifilm collected the trophies Olympus won Best Consumer CSC and Best Superzoom Lens. Olympus’s Georgie Pavelin collected the trophies

Matt Wilson from Profoto collected the award for Best Portable Flash, which was won by the Profoto B10

Kenro won three awards. Best Tripod: Carbon Fibre, Best Continuous Light and Best Filter. Paul Kench and Azaria Frost collected the trophies Abi Symons of PermaJet receives the award for PermaJet Photo Lustre 310 for winning Inkjet Media: Photographic Finish

CameraWorld won Best Retailer and the award was collected by Jason Mitchell

Best External Storage Device was the G-Technology G-DRIVE Mobile SSD and Rick Rogers collected the award

Best Mains Flash was won by Interfit for its Honey Badger 320Ws and Lorne Gray is seen here collecting the award

Jessica Shepherd representing Manfrotto UK picked up the trophy for Best Tripod: Alloy for its BeFree Aluminium Travel tripod

Lexar Professional 1000x SDHC/SDXC UHS-II won Best Memory Card and Katie Teesdale-Ward collected the trophy

Best Standard Lens went to the Tamron SP 2875mm f/2.8 Di III RXD and Keith Ruffel from Intro 2020 picked up the prize

Panasonic scooped three awards for Best Advanced CSC, Best Compact/Bridge and Best Innovation. The three happy recipients (l to r) were Rob O’Murphy, Elise IvensBarnes and Barney Sykes

The award for best Medium Format Lens went to Hasselblad for its XCD 80mm f/1.9, and Mark Witney was on hand to pick up the award

Winner not present Innovation of the Year Leica for the L-Mount Alliance

The Best Used Specialist Retailer award was won by MPB, with (from left to right) Hannah Brunner, Ben Anderson, Clare Anderson, Ian Howorth, Zac Paonessa, Ella Potter and Kyra Cahill

Photography News | Issue 65 | photographynews.co.uk

Photography News | Issue 65 | photographynews.co.uk

Photography News | Issue 65 | photographynews.co.uk

13

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

Camera club news If your club has any news you want to share with the world, these are the pages 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 (right) and get your stories in

Clubs

Here’s how to submit

We need words and pictures by 3 May 2019 for the next issue of Photography News, which will be available from 14 May 2019.

If you want to submit, follow these guidelines: yy Write your story in 250 words or fewer. Include the club’s website, meeting times, what the event is, opening times, entrance costs – anything relevant. yy We need an image for every story. JPEGs, 2000 pixels max on the longest dimension, any colour space, credits should be included in your text. yy We DO NOT use posters or images with words on the image front. yy Before the above deadline, attach the text document and JPEGs to an email and send to clubnews@photography-news.co.uk

Ilkley CC is showing 120 superb prints by its members across a wide subject range at its free exhibition at Cliffe Castle Museum, Spring Gardens Lane, Keighley, West Yorkshire, from 4 May to 14 July. Open Tuesday to Friday 10am to 4pm; Sat, Sun and bank holiday Mondays 11am to 4pm; last admission at 3.30pm.

Howard Tate, the president of the Photographic Alliance of Great Britain, is opening the exhibition on the first day.

On selected Saturdays and Sundays during the run there will be eight free public lectures on photography. ilkleycameraclub.co.uk

© Oliver Wright

Cambridge CC There are over 250 prints on display, selected by three external selectors, and a television displaying a similar number of images. There is also a young photographers competition with over 150 prints on display.

Leicester PS © Jean Burbridge

© Richard Spurdens

Ilkley CC

Cambridge CC is holding its 2019 annual exhibition in The Pitt Building, Trumpington Street, Cambridge CB2 1RP, which runs from 29 April to 4 May with free admission. The exhibition is open 1pm to 5pm on Monday, 10am to 8pm on Wednesday and 10am to 5pm on all other days.

Deadline for the next issue: 3 May 2019

Leicester & Leicestershire PS’s annual exhibition attracted entries from over 14 clubs in the Midlands, and almost 400 prints and 400 projected images were received. Nat Coalson judged the exhibition and 273 prints and 271 projected images have been selected.

The exhibition opens on 10 May 6.30pm to 9pm and 11 May 10am to 4vpm at Christchurch, Clarendon Park Road, Leicester LE2 3AH. Entry is free; a catalogue costs £1 only; and refreshments will be home-made and delicious. landlps.org.uk

cambcc.org.uk © Ann Miles FRPS

Leamington Spa PS © Sally Anderson

The talk takes place on 25 April at Cottingley Cornerstones, Cottingley, Bingley BD16 1AL, starting at 7.30pm. Tickets cost £5 and are available from tickets@bradfordphoto.org.uk. bradfordphoto.org.uk

Haddington Camera Club is holding its annual exhibition at the John Gray Centre in Haddington between 4 May and 19 June.

Opening times: Monday to Friday 10am to 5pm, Saturday 10am to 4pm, Sunday 1pm to 4pm.

© Robert Bailey

Bradford PS is hosting a talk entitled ‘My Year’ by Oliver Wright. This 12-month visual journey travels from macro work in the UK to the auroras in the far north, demonstrating both stunning close-ups and landscapes of the Arctic.

Haddington CC

© Sally Anderson

Bradford PS

Leamington Spa PS’s annual exhibition takes place from 11 to 18 May at All Saints’ Parish Church, Victoria Terrace, Leamington Spa CV31 1AA. It’s open weekdays 10.30am to 5pm; Sunday 12pm until 5pm.

Leamington Spa PS chairman, Helen Ashbourne, said: “Over 140 prints are on display along with a presentation of digital images. I’m proud of our members’ achievements this year and we look forward to welcoming visitors, who I’m sure will be inspired by the images on show.”

haddingtoncameraclub.org.uk lsps.org.uk

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Photography News | Issue 65 | photographynews.co.uk

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

Clubs

Morecambe CC recently received a £2000 grant from the Postcode Community Trust (funded by the People’s Postcode Lottery) for the purpose of purchasing equipment to encourage people in the local area to take better photographs and increase enjoyment of photography.

The aim is to introduce practical sessions, talks and demonstrations to the community, open to all, promoting social inclusion and providing learning opportunities for those who might otherwise not have access to them.

Parts of Morecambe have high poverty rates, and the project aims to target underprivileged areas, so people who may not previously had

the opportunity to use photographic equipment can gain access to technology and teaching.

Ellen Bell, Morecambe CC’s chair said: “We hope people from the local area will discover a passion for

The Creative Eye’s annual exhibition is on until 22 April at the Wingfield Barns, Church Road, Wingfield, Suffolk IP21

5RA. Admission is free and the galleries are open 11am to 4pm.

Midland Mono competition The first Midland Monochrome national competition is now open for entries, with a closing date of 17 May. It is part of the group of British Photographic Exhibitions (BPE) and has received PAGB Patronage No 2019-25. It will see more than 20 awards being given and seeks to give a broader platform and exposure to monochrome prints. These can be either digital inkjet or traditional silver prints.

There are four categories: open mono, portraits and figure studies, scapes and wet prints (which includes silver prints and alternative processes). midland-mono.co.uk

rps.org

Eight members of Melbourn & District PC went on an organised workshop to the Museum of Zoology in April to photograph skeletons. The workshop was hosted by two experienced photographers.

Unlike most trips to museums, with such a small group having private access, tripods and lighting were allowed and, where reflections were a problem, large, black sheets were available.

The museum contains a fine selection of skeletons, some behind cases and some not.

There was ample opportunity to experiment with lighting and composition. The Museum of Zoology also contains a wonderful selection of beautiful shells and butterflies that were also perfect to photograph.

© Keith Truman

150 prints from a broad range of members and in a range of styles will be on show. Admission is free.

Melbourn & District PC

Melbourn & District PC thanks Sue Jones and Sarah Kelman, the experts on the night.

Open to both beginners and experts, Melbourn & District PC meets on Tuesdays at 7.30pm in Foxton, Cambridgeshire. melbournphotoclub.com

webcc.org.uk

Thanet’s camera club has received some very helpful advice from judges in recent competitions. In March, Malcolm Hardie judged 59 submitted images on the theme of ‘Patterns in Nature’. The overall winner was Cherry Larcombe.

In April, Andy Smith was the judge for the Mick Talbot Trophy on the subject of ‘Close up’. Andy gave his critique on 22 prints and 49 digital images, ranging from flora and fauna to architecture and cars. His eye for detail and succinct comments on each photograph were welcomed by members. After a close-fought contest, Andy selected the best print as ‘Mum’s Gift’ by Laura Drury (pictured right).

© Laura Drury

Isle of Thanet PS

© Jose Closs

© Matthew Cattell

Wokingham CC Wokingham and East Berkshire CC is holding its second exhibition on 9 May, 12pm to 4pm, to 11 May, 10am to 4pm. The exhibition take place at Wokingham Town Hall and over

morecambecameraclub.co.uk

© Marion Sidebottom

RPS Creative Eye group

photography, learn new skills and form social connections”. It is hoped the sessions will run monthly through this summer.

© Paul Hassell

Morecambe CC

Leeds PS Leeds PS is holding its annual exhibition from 25 to 27 May in the Loft Space display area of Salts Mill as part of the Saltaire Arts Trail. The exhibition has 80 prints of members’ photographs.

The exhibition is open from 10am to 4pm each day. Entry is free and visitors will have the opportunity to vote for their favourite image.

Leeds PS the oldest organised photographic society in the world, and the meetings are held on Tuesdays in the hall of St. Edmund’s Church in Roundhay, Leeds, starting at 7.30pm.

New members of all abilities are made very welcome.

isleofthanetphotographicsociety.co.uk lps1852.org

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Photography News | Issue 65 | photographynews.co.uk

Advertisement feature

Competition

Wedding Photographer of the Year now open Have you got what it takes to be crowned our Wedding Photographer of the Year? © Natalie Martin

With the wedding season coming up, we’re pleased to announce we’ve teamed up with the award-winning, industryleading professional printing lab, Loxley Colour, and Fujifilm Original Photopaper for the Wedding Photographer of the Year competition. If you visited The Photography Show at the NEC this year, you may have seen the wonderful display of previous winning images on Loxley Colour’s stand. Like before, the competition has six rounds, each with a different theme. A winner will be chosen from each round, with an overall winner being crowned Wedding Photographer of the Year at the end of the competition. The images will be judged by a professional panel of industry leaders and photographers, including PN editor, Will Cheung, who also sits on the RPS Travel Distinctions Panel.

Each round winner will bag themselves a beautiful Loxley Colour 30-page 14x12in Bellissimo album from the award-winning range of their choice, while the overall winner will receive £1000 worth of vouchers to spend on Loxley Colour products – just think of all the stunning images you could print with that! If you fancy your chances of being named Wedding Photographer of the Year, find out how to enter below.

Natalie Martin claimed our previous Wedding Photographer of the Year title with this image of a beautiful moment from a wedding at Barony Castle, near Peebles in the Scottish Borders.

“Claire, the bride in the picture, had a particularly special bond with her grandparents. She got ready in the morning at their home and during the speeches, the emotions started to flow. The moment I captured arose when her new husband said during his speech how much the grandparents meant to both him and Claire. She then ran from her seat and planted the biggest kiss on her grandfather’s cheek. It was just perfect, but over in a flash and I had to be quick.”

© Alan Magner

Round 1: Details For the first round, we’re asking you to submit one image that best sums up the wedding details and the more intricate elements of the big day. It’s up to you how this is interpreted, but it could be anything from a close-up of the rings, table settings and flowers to all of those other finishing touches that the wedding couple would have considered and chosen for their big day.

Submit your round 1 image at photographynews.co.uk/weddingphotographeroftheyear before 14 May to enter round 1. Full T&Cs can be found at the above link.

Loxley Colour

Bellissimo album collection

For more than 30 years, Loxley Colour has worked with its customers to deliver quality products and services, as well as take on board customer feedback to continually innovate and develop its award-winning range of products. Whether you need prints, frames, albums or even USB products, Loxley Colour has plenty to offer. loxleycolour.com

Loxley Colour’s Bellissimo album collection has earned the lab industry-wide recognition. With eight albums to choose from, photographers have a wide choice to suit their brand or clients, from seamless spreads with a flawless finish, right through to Harris Tweed cover albums.

Photography News | Issue 65 | photographynews.co.uk

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Profile Exhibition

London Salon of Photography © Dianne Owen

This month’s profile looks at one of the leading exhibitions in the world of photography – and why you should enter If artistic and pictorial imagemaking is your passion, then the London Salon of Photography should be on your agenda.

The London Salon is keen to encourage new exhibitors and photography students to enter prints for its prestigious exhibition, now in its 108th year.

Successful images will demonstrate distinct evidence of artistic feeling and execution.

Born out of a number of disputes in the photography world going back many years, the Salon has developed a distinct way of selecting images for exhibition. Salon members gather on selection day using a two-stage process, which allows careful consideration of all prints entered.

The day concludes in an open vote with those winning the most votes being looked at again before the final exhibition is chosen and the winners of the new London Salon medal selected from the non-

Above Current Salon chairman, Judith Parry members' entries. Last year the Salon received 1068 images of which 177 were exhibited.

Current chairman Judith Parry said: “This system upholds the traditions and values of the London Salon; whose history goes back to 1910. © Glyn Edmunds

© Lisa Bukalders

© Aaron Dodd

Images Medal winners from the 2018 London Salon exhibition

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Profile © Roger Ford

members. Those invited will have supported the Salon for some time, had their work accepted on a regular basis and normally won a Salon Medal. Membership is free and there are currently 45 members, although there is no limit on the number of members.

Roger Ford’s 2017 invitation was the culmination of a long-held ambition. He said: “Ever since I had my first acceptances and realised the Salon was where my style of work was appreciated, I had wanted to become a member. I like the way it particularly values new work with modern creative ideas.

The exhibition does a great job in encouraging high-quality pictorial prints

© Rodney Wainwright

“The exhibition, which tours the UK and is open to all photographers, does a great job in encouraging highquality pictorial prints.”

Members all agree that the Salon plays a significant role in encouraging creativity and pushing forward the boundaries of photographic work.

David Lowe, a member for eight years, said: “The London Salon expects its members to produce images consistently to a very high standard, so we are always looking for new ideas. This drives you on to be a better photographer.”

Anne Sutcliffe, a member of 12 years, described how the Salon supported originality. She said: “The Salon is known to accept images that do not meet the formulaic fashions of the time.

“A highly original image will be accepted if the quality is good enough, encouraging photographers to enter new work, which might not be accepted in other exhibitions.

For many, having an acceptance in the Salon is a high point in their photographic life; winning a medal is a bonus.”

The Salon is also looking to the future. Colin New, a member since 2000, commented: “Being a member brings a responsibility to ensure that the Salon remains relevant and healthy for the next generation. We have to seek new members to invite, photographers who will take the Salon forward towards the next 100 years. While we need to be aware of our history, we have to change and adapt if we’re to remain relevant.”

Enter the 2019 London Salon of Photography © Roy Essery

“In May 1892 a number of influential photographers broke away from the Royal Photographic Society in protest against its emphasis on science and technology at the expense of other aspects of photography.

“They set up the Linked Ring Brotherhood to promote artistic photography and held the first Photographic Salon in 1893.

However, following a number of disputes about selection procedures, the London Salon of Photography was created.”

Membership of the London Salon is by invitation from existing

Each entrant may submit up to four monochrome and four colour prints of which a maximum of two from each section may be selected.

Up to ten special London Salon Medals are awarded each year to non-Salon members. Every entrant receives an A4 colour catalogue displaying all of the accepted prints and also has the opportunity to purchase a photobook.

Accepted prints will be displayed at The Burt Gallery in London, from 13 to 23 August (weekdays only) and will tour in Birmingham, Edinburgh and Ireland.

The closing date for entry is 20 May 2019.

For full details of online entry, rules and exhibition dates, see londonsalon.org or email secretary@thelondonsalon.org

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Camera test Specs Prices X-T30 body only £849, X-T30 with XC15-45mm lens £899, X-T30 with XF 18-55mm lens £ 1199. Black and silver models available now; charcoal silver from May Sensor 26.1-megapixel X-Trans CMOS 4 Sensor format 23.5x15.6mm, APS-C

Fujifilm X-T30 Following in the footsteps of a successful product is always a challenge, but the latest Fujifilm camera is destined to be a winner

ISO range 160-12,800, expanded ISO 80, 100, 125, 25,600, 51,200 Shutter range Mechanical shutter 30secs to 1/4000sec, electronic shutter 30secs to 1/32,000sec, flash sync 1/180sec Drive modes Mechanical shutter 8fps top speed, 20fps with electronic shutter, up to 30fps electronic shutter with 1.25x crop Metering system 256 zone, multi, spot, average, centre-weighted Exposure modes PASM, Advanced SR Auto Exposure compensation +/-5EV, autobracketing up to nine frames Monitor 3in, 1.04million dots Viewfinder 2.36 million dots OLED, 100% view Focusing Intelligent hybrid AF, (TTL contrast/ TTL phase detect AF) Focus points 13x9 or 25x17 zones. Zone AF 3x3, 5x5, 7x7 from 91 areas on 13x9 grid.

Wide tracking AF (up to 18 areas).

Single and All Video 4K 4096x2160 29.97p, 25p, 24p, 23.98p, 200Mbps/100Mbps up to ten mins, Full HD Connectivity Wi-Fi, Bluetooth, geotagging, USB3.1, HDMI micro Other key features 16 Film Simulation modes, eight advanced filters (toy camera, miniature, soft focus etc), in-body Raw conversion, ISO, film simulation and focus bracketing (1-999 steps) Storage media 1 x SD/SDHC/SDXC Dimensions (wxhxd) 118.4x82.8x46.8mm Weight 383g body with battery Contact fujifilm.eu/uk

Images The X-T30 is smaller and lighter than the X-T3. It also has built-in flash, an Advanced SR mode, a lower resolution EVF, a two-way tilting monitor, a smaller buffer and a slower top shooting rate of 8fps. Black and silver models available now; charcoal silver (shown here) from May

Words by Will Cheung Rome images by Pete Townsend There is much to be said for keeping it simple – and that’s Fujifilm’s philosophy when it comes to its X Series. In previous generations, we’ve seen the same sensor used across several cameras, with their market position determined by features and price.

The X-T3 was the first model to feature the 26.1-megapixel X-Trans CMOS 4 sensor with the X-Processor 4 image engine. Now we have the X-T30 using the same combination.

The X-T3 costs £1349 body only and the X-T30 is £849. The winner here is the buyer who can enjoy Fujifilm’s very latest sensor at a great price.

Leaving the sensor and processor aside, the two X Series cameras have several key features in

The X-T30 is smaller and lighter, it has a built-in flash and there’s Advanced SR mode

common, including the same native ISO range, top burst shooting speeds with the electronic shutter and phase detection AF with 99% format coverage.

Of course, aside from price, there are important points of difference between the cameras, too. The X-T30 is smaller and lighter, it has a built-in flash and there’s Advanced SR mode.

It also has a lower resolution EVF, a two-way tilting monitor, a smaller buffer and a slower top shooting rate of 8fps with the mechanical shutter.

But enough of the comparisons.

Let’s concentrate on the X-T30 in more detail.

Fujifilm broke the sensor concept mould when it came out with the X-Trans sensor with its ‘random’ pixel array. So, instead of the 2x2 pixel grid of the Bayer design sensor (used by everyone except Sigma) we have a 6x6 pixel grid, which means there’s a very low risk of moiré patterning and false colours. This also means there is no need for an artefact-defeating but resolution-sapping optical low-pass filter, which impacts on quality.

Hence, resolution is as good as it can possibly be from that sensor.

The fourth generation of the

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Camera test Performance: ISO The X-T30’s native range is ISO 160 up to 12,800 with expansion available, giving options to ISO 80 at one extreme and 51,200 at the other.

As you would expect, shooting at the low and medium ISO speeds you get smooth tones, lifelike colours and good contrast. Fine detail is also crisply resolved, so shoot up to ISO 800 and you get results straight out of the top drawer.

Digital noise starts making its appearance from ISO 1600,

but it’s fine and doesn’t have any negative impact on overall image quality and detail still looks crisp. In fact, I’d have no reservations shooting at ISO 1600 and 3200, because the X-T30’s BSI sensor does such a great job at maintaining impressive quality even at such high speeds.

There is a quality drop off by the time you get to ISO 6400 and 12,800. Such speeds are still usable if the lighting is poor, but you need decent shutter speeds.

Original image

Images The test shots of Rome were taken using the Fujifilm X-T30 mounted with XF16-55mm f/2.8 R LM WR and XF55-200mm f/3.5-4.8 R LM OIS lenses

X-Trans sensor is the first from Fujifilm that is backside illuminated (BSI). In a BSI design, the sensor’s circuitry is on the rear of the sensor, which means light reaches the light sensitive sensors without having to travel through the sensor’s circuitry. That means more efficient light capture and less digital noise at high ISOs. The X-T30’s AF system uses 2.16 million phase detection pixels on the sensor – a quadruple increase on previous Fujifilm sensors – and coverage is nearly 100% of the

imaging frame, with 425 points in a 25x17 grid. If you want to autofocus on a subject composed at the far corner of the frame, the X-T30 has that potential.

AF sensitivity in low light is better at -3EV compared with +0.5EV previously, so AF in very low lighting is possible.

With the X-Processor 4, AF has improved eye/face detection and there is a new Face Select feature, too, which gives AF priority on a selected person within a group.

AF on our sample was

ISO 100

ISO 800

ISO 1600

ISO 3200

ISO 6400

ISO 12,800

ISO 25,600

ISO 51,200

Images An evening scene in Chester was the subject for our X-T30 ISO test. The exposure was 1.3sec at f/10 for ISO 100 . The camera’s NR was set to zero and no noise reduction was used in ediitng.

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Camera test Performance: exposure latitude Original image

To assess the exposure latitude of the X-T30’s Raws, we shot a +/-4EV bracket using the camera in manual exposure mode. The resulting Raws were corrected in Adobe Lightroom and then outputted as full-size JPEGs. The Raws coped respectably well with exposure abuse and shots overexposed by up to +2EV were recovered impressively, with image quality matching

impressively fast and assured, too.

A side-by-side comparison with my own X-T2 and X-E3 revealed how much more decisive and speedy the new camera was, even though my older cameras are no slouches. This was with normal single and zone AF, and face/eye detection seemed more sure-footed, too. Even placing a face in the corner of the frame didn’t fool the face detect system.

It wasn’t just speed and accuracy where the benefit of newer technology showed itself. The X-T30 also latched on to lower contrast subjects confidently and accurately.

Plain or evenly toned subjects combined with low lighting is tricky, but the X-T30 did well when confronted by such conditions with little hunting to achieve focus.

Overall handling of the X-T30 was generally sound in my hands thanks to a layout that features three large control knobs for exposure mode, compensation and drive settings, front and rear input dials, and a good supply of buttons.

Everything worked just fine, but there are things to watch. I caught the Q button, prominently placed on the protruding thumb grip, a few times as I brought the camera up to the eye, so saw the Q Menu rather than the scene.

The exposure compensation dial has no lock and, while I prefer to use the C position and set compensation with the front input dial, I still managed to move it off the C setting.

Finally, I found the position of the focus lever too low on the body rear, which meant a significant thumb position change rather than a minor readjustment. For my thumb, moving the button another 1cm higher would be ideal.

the correctly exposed shot. The +3EV shots also looked okay with exposure correction, although quality was not as good with brightly lit scenes.

With underexposure -4EV and -3EV, shots looked fine tonally, but there was noise in the midtones and shadows compared with the -2EV shots. The -1EV shot looked identical to the correctly exposed shots.

The X-T30 also latched on to lower contrast subjects confidently and accurately

-4EV

-3EV

-2EV

-1EV

0

+1EV

+2EV

+3EV

+4EV

Above Raws from the X-T30 responded well to exposure abuse especially in scenes where contrast was lower. With strong highlights, overexposure by - +3EV gave files that needed more editing care

There’s nothing deal-breaking here – it’s things you’d get used to in time, and there is much to enjoy, too. The touchscreen is excellent and works well with the Q Menu and image reviewing. It also continues to work for AF point selection while the eye is up to the viewfinder eyepiece. You have seven options for which part of the screen you want to be active – or you can switch it off this feature, but have the touch menu working for other functions.

There’s plenty of potential to personalise the X-T30 to your preferred way of working. There is just one actual function button, but the AEL, the AF-L buttons and the rear input dial can be customised, too – all offer 51 options, including none.

Bring in the touch monitor and there are four virtual function buttons by swiping up, down, left and right. You get 46 selectable features with each.

Above There’s plenty of potential to customise the X-T30. The functions of the AEL, AF-L, four function buttons and rear input dial can be changed

Pre-Shot mode

Pre-Shot mode means that when the shutter release button is partially depressed, the camera

records images to its buffer, without actually writing them to card. Fully depress the release and

images in the buffer are written to the card, and subsequent images, too. At 30fps shooting rate, you

get ten frames before the shutter button is fully depressed and then up to 22 more afterwards.

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Camera test

Verdict

The front and rear input dials can have their functions varied as well, and the Q Menu can be edited, too.

However you like to use a camera, all tastes are catered for in the X-T30.

While the X-T30 is not aimed at action shooters, it has the potential to deal with quick-moving situations.

With the electronic shutter, you get 30fps with a 1.25x crop giving about 16 megapixels resolution and no blackout, and 20fps with the full APS-C frame. You get AE/AF tracking, too. With the mechanical shutter, the top continuous shooting speed is 8fps.

Features like Pre-Shot – which works with the electronic shutter – are great. You can just keep your finger on the button without actually taking any shots. At 30fps, Pre-Shot gives up to ten frames with the shutter button partially depressed, and then up to 22 shots when the shutter is fully depressed. At 10fps, you again get ten frames while the shutter button is partly depressed and up to 68 shots with the shutter button fully depressed.

A feature brought across from the X-T3 is the sports finder mode, which is available when using the mechanical shutter. It’s very handy for action shooting, giving you a split second more warning before the subject arrives in the image area.

If the proof of the pudding is in the eating, then the proof of the camera is in the pictures it produces. Well, there is no denying the Fujifilm X-T30 delivers in spades, and the pictures it produces are first-rate.

While there is much hype and interest in full-frame mirrorless capture, cameras like the X-T30 show why for a great many photographers, there is no need for the larger format. It gives topquality files, easily good enough for big prints, and brings genuine user benefits, like portability.

It’s rich in features, too, with AF points across 99% of the frame, an AF focus lever, fast burst shooting rates – and all this in a really portable body.

Did the X-T30 show any signs of performance weaknesses? In all honesty, not really. Some people might not like its look or the way it handles, but if you simply need a leading camera supported by an outstanding lens collection at an attractive price, there seems no point looking any further than the Fujifilm X-T30.

Features 23/25 Excellent sensor, AF system and focus lever are all positives Handling 23/25 The design is proven and enhanced with the addition of the focus lever Performance 24/25 Lovely image quality, responsive AF and fine exposures

For video shooting, the X-T30 can record 4K 4096x2160 at 23.98p/24p/25p/30p for up to ten minutes, and at Full HD you get up to 120fps for slow-motion effects (there is a crop in this mode). The ETERNA Film Simulation mode is provided if you want a desaturated feel to your footage (and stills).

To sum up, I really enjoyed using the Fujifilm X-T30. I liked

All tastes are catered for with the X-T30

its predecessor, the X-T20, too, but the X-T30’s BSI sensor takes image quality up a significant step, especially if you enjoy using higher ISOs – and its AF is much more assured and fast. The body is not weatherproofed, nor is there in-body image stabilisation, but build quality is impressive, it feels solid and many Fujifilm lenses have OIS built in.

Value for money 24/25 Sub-£1000 body with a top sensor gives the X-T30 huge appeal Overall 94/100 Another star performer from Fujifilm and sure to be a big seller Pros Sensor, focus lever, small body, AF, great value Cons Focus lever position, no weatherproofing, no in-body stabilisation

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Photography News | Issue 65 | photographynews.co.uk

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Interview Competition

Earth Photo 2019 Ahead of the approaching Earth Photo competition deadline we caught up with Marissa Roth, photographer and chair of Earth Photo 2019, and professor Joe Smith, director of RGS-IBG to find out more…

© Christian Aslund

Photography News: Why was the competition set up? What are its aims?

How many years has the competition been running for?

Joe Smith: This is the second year of Earth Photo, building on the success of the inaugural year in 2018. The aim of the competition and exhibition is to capture a sense of our everchanging world. The breadth of the categories allows for exploration from the micro to macro level. We’re particularly interested in bodies of work, so it differs from other photography competitions as we’re not preoccupied with one stand-out image, but rather photographs and films that enable a better understanding of the world around us.

PN: Can you tell us about your role within the competition and how long you have been involved with Earth Photo?

Marissa Roth: This is my second year as a juror on Earth Photo, and my ongoing involvement has been both as an advisor and selector. This year, I will be the chair of the jury committee and will also be teaching some photography workshops at the Royal Geographical Society (with IBG) as part of the competition.

PN: What prizes are up for grabs?

JS: £1000 will be awarded to one outstanding photographer, and winners will also be selected for each of the four categories: People, Nature, Place and Changing Forests. The category winners will each receive £250, and there will also be a Short Film prize. Winning work will be exhibited to audiences for free at the Royal Geographical Society (with IBG) in South Kensington, right in the heart of London’s Museum Quarter. The exhibition will then tour to a number of Forestry England sites.

PN: Can you talk us through the categories and what you expect to see? Have you found any categories more popular than others?

MR: We chose to maintain three categories

from last year’s competition, People, Place, and Nature as they encompass how humans exist, impact, interact and react to living on earth, affording the submissions a broad range of subject matter from geography to the environment. We added a different fourth category this year, Changing Forests, as we felt that given that Forestry England jointly developed Earth Photo with the Royal © Mark Benham

We chose to maintain three categories from last year’s competition as they encompass how humans exist

Geographical Society (with IBG), there should be an added emphasis on forests.

Based on last year’s submissions, which garnered many more than we expected and were of a very high quality, I hope to see the same level of work and commitment this year.

Submissions were from a wide range of global photographers, with many entering from the UK too.

Regarding the popularity of the categories, I’d say that Nature was, by far, the category receiving most submissions.

PN: What about the film category, why did you decide to include a Short Film award?

MR: We had a small number of films submitted last year, which were very strong. But since making a film involves a very different set of skills to making still photographs, we felt that we should make this a separate category with a specific juror with expertise in this field, to judge these.

Left Burnt Aftermath #3 – Walk by Mark Benham, 2017 Above Chinstrap penguin resting at Spigot Peak, the Antarctic Peninsula by Christian Aslund, 2018

PN: Who is on this year’s judging panel?

What are the judges looking for?

JS: People are often surprised by the number of Earth Photo judges, nine in total, really interesting individuals including artists and photographers, museum curators, society directors and geographical magazine editors.

But the aim of the project is to really draw attention to the number of voices that make up the conversation about our planet and the

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Interview © Hannah Maule-ffinch

© Glyn Thomas

© Rubén Salgado Escudero

Clockwise from above Geothermal power station and the Northern Lights, Iceland by Glyn Thomas; Barracks of Belgrade by Hannah Maule-ffinch; Solar Portraits 2 by Rubén Salgado Escudero way that we treat it, so it makes sense that the panel reflects the range of opinions, ideas and lenses on the world that are out there.

PN: How does the judging process work?

JS: The judging process is entirely digital.

Each judge has access to all of the photographs and films submitted. They go through these at their leisure over a period of ten days.

Parker Harris, respected arts producers, and

the project managers of Earth Photo, then collate all of the choices and begin work on the curation process. It’s fascinating to see how many votes each image receives and think about what it was that caught and held the judges’ attention.

PN: Can you talk us through last year’s winners and why their images really stood out to the judges? © Rosamund Macfarlane

Above Eagle Huntress Receiving by Rosamund Macfarlane

MR: Our overall winner last year was Rubén Salgado Escudero. His Solar Portraits series, depicting inhabitants of some of the world’s most remote places experiencing electricity for the first time through solar powered light bulbs, depicted hope and positive change.

We felt that the photographs were very strong on all levels, specifically content and technical skill, and that his dedication to this exceptional personal project, which he started in 2014, was noteworthy.

PN: How can our readers enter and what is involved in the entry process?

JS: The competition is open to all professional and amateur, national and international photographers of all ages. Entrants are invited to submit up to ten still photographs or films, and all photographs and films entered must have been completed since 1 January 2018.

You can apply at earthphoto.artopps.co.uk and the deadline is 5pm on Monday 6 May 2019. Please also provide a CV and a short statement about yourself and your submitted images/films.

PN: Do you have any advice for anyone thinking of entering?

MR: My advice would be to really think through their submissions so that they are a cohesive group of images that tell a story or complete a small portfolio, where each image should be strong as a stand-alone photograph.

Also, please complete the information that

we ask for about the description of the images or short film, plus a CV. Last year, some very good submissions were disqualified because they were incomplete.

PN: Why do you feel photography competitions are important? How do you see the competition progressing in the future?

MR: I feel photography competitions, such as Earth Photo, are important as they offer a serious outlet for dedicated photographers to showcase their work. Hopefully, they could also inspire photographers to explore the world and make photographs.

I see Earth Photo progressing by continuing to attract high-quality photographs created by talented photographers and filmmakers who exemplify what it means to have a sense of wonder.

I’m certain that in the future we will be able to expand our venues where more of the work can be exhibited, and eventually we would like to publish journals that feature the annual winners.

Contact The Earth Photo 2019 deadline to submit is 5pm, 6 May. For more information and to enter visit earthphoto.artopps.co.uk

Photography News | Issue 65 | photographynews.co.uk

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Photography News | Issue 65 | photographynews.co.uk

Advertisement feature

Going pro

Thinking of taking the leap and going pro with your photography? Make sure you read our guide of what you need to consider and who to go to!

It’s a big decision to ditch your day job and go fulltime professional in your photography, and while you know your camera like the back of your hand and have

your shooting down to a tee, we’re sure you have lots of questions and some things you might not have even considered. There’s no shame in asking for help

Insurance – the big one

and guidance, and we’ve spoken to some of the experts across the industry to get those must-know questions answered.

Check it and get it right

Aaduki OK, so you’ve decided to take the plunge and turn pro. Now you’ve got to sort the big one: insurance.

No two photographic businesses are alike, so it makes sense to get your insurance cover tailored exactly to your business. So, what are the absolute insurance essentials you need for your business?

Think about theft, loss, accidental damage and if you are covered from home as well as the studio, garage, car or even abroad.

Professional Indemnity covers your liability for failing to produce work to what your clients consider a professional standard. It basically protects your business against the cost of settling or defending a client’s claim concerning the work you have done for them.

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injury or damage to property; they don’t have to be your clients, they could just as easily be a passer-by when you are working.

It's important to get a policy that is exactly right for you. If you have the support of an insurance policy in place you won’t be spending sleepless nights worrying about your business and bank balance being taken away from you. aaduki.com

X-Rite Correct colour in your images is essential on your journey to turning pro, especially if you’re looking to charge for your work. To put it simply, you’ll see different colour to what clients will see, so you can’t rely on your eyes to portray accurate colour and hope for the best. Imagine a client paying for your work, only to find that teal blue is now mint green, and your blossom pink is now cherry red.

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simply capture the Passport in your shoot conditions and take that image through to edit, using its software and plug-ins to enable you to create custom in-camera white-balance, evaluate shadow and highlight details, create DNG and ICC profiles and control colour shifting.

In post, you need to make sure your monitor is displaying your colours correctly, and when printing you need to be confident in the colours being produced. The awardwinning X-Rite i1Studio provides precise colour management across your entire colour workflow. The end result: prints that match your images across all devices. And with the time you save you can get back to focusing on what you love – making more images. xritephoto.eu

Photography News | Issue 65 | photographynews.co.uk

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Advertisement feature Buying prints and selling to clients

Enhance your skills and learn new ones

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The courses are especially relevant for those wanting to take the next step and turn their passion into a profession. Not only do the courses provide essential photographic knowledge for those starting out, they also cover more specialised techniques for those

Stand out from the crowd

wanting a challenge. The Lighting Theory & Equipment course (within the Portrait section) provides an extensive overview of studio lighting and equipment. It then puts this into practice in over 40 step-by-step tutorials showing one, two, three and four-light portrait lighting set-ups.

Karl Taylor courses are all presented in such a way that they cover fundamental concepts in practical and relatable formats.

From planning shoots to creating backgrounds, all the essential knowledge you need to grow as a photographer is covered.

Having run a photography business for more than 20 years, Karl

knows that great photography skills alone are not enough to guarantee success. Business and marketing skills are also key, which is why there is a section dedicated to the business of photography. Here, you can find out how to market yourself and grow your business and the course provides important documentation such as model release forms, copyright terms and conditions, marketing plans and pricing guidelines.

This powerful combination of content means the classes are a valuable tool for any aspiring photographer looking to turn pro. karltayloreducation.com

Get mentored SWPP When there is such a choice of representative organisations out there, you may ask yourself ‘Why The Society?’ The answer is very simple. If you are a newcomer to the industry or considering a career change then SWPP offers the most comprehensive range of educational seminars by cutting-edge speakers in the UK and Europe. The profile of SWPP’s membership contains many individuals who have enjoyed active careers in many of the traditional ‘professions’ and to whom ‘professionalism’ is second nature.

The Society is dedicated to providing quality training and mentoring to

Amazing Internet Why is it that you favour a particular coffee shop? The chances are it’s because their product suits your taste, and you know they’ll conduct their business in a way you like. You have confidence in their ability to provide what you want consistently well. The impression that they leave on you is part of this thing called ‘brand’, along with the visuals such as logo, colour scheme etc.

The most important thing when setting up a professional website is to ensure that it reflects your brand; in other words, you. This doesn’t just mean a nice logo. It means the whole look and feel of the site and marketing materials. It means the choice of images you show. Are they consistent in style and do they reflect the type of photography you want to create for your clients?

These things create an immediate impression on your viewer and are how they distinguish between you and the next photographer they look at. Stamp your individuality on your site visually and live up to the values that you set for yourself and your business. That’s the most important foundation your marketing can have. amazinginternet.com

all who ask and want to progress in professional photography without prejudice or discrimination.

If you are already in practice and want to gain that all important edge over your competitors, then SWPP can help you too. And what is more, your qualifications will be accredited in respect of your past achievements. The website is packed with training courses all year round to meet the diverse needs of the membership. In a quest for quality of training delivery, SWPP is also reducing the number of delegates on each course. swpp.co.uk/qualify.htm

Photography News | Issue 65 | photographynews.co.uk

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Interview © Lukas Schulze

Lukas Schulze Profile

An award-winning, globe-trotting sports photographer, Lukas Schulze has achieved a lot in just four years of professional work. Photography News caught up with him to discover how he does it

Photography News: Can you introduce yourself to PN readers, please? What is your day job, and where are you based?

Lucas Schulze: My name is Lukas Schulze, a 25-year-old sports photographer based in Düsseldorf, Germany. You can mostly find me walking around a football or sports stadium somewhere in Germany.

PN: How many years have you been a sports photographer?

LS: It was four years ago when I started an internship with the DPA (German Press Agency) who taught me the basics of how to be a news reporter. The internship lasted two years and I loved it. However, it was following an amazing trip to the 2016 Olympic Games in Rio de Janeiro when I made the decision to focus on sports photography, and I’ve never looked back.

PN: What came first: photography or sport?

LS: Growing up, I loved playing sports. I was most competitive at athletics and trained up to six times a week. Unfortunately I suffered an injury, which took more than two years to heal. During this recovery time I started

taking pictures at track and field competitions and soccer matches in my home town, selling my images to the local newspaper.

The injury I suffered, although detrimental to my physical participation in sports, helped me realise that photography was what I wanted to do in life, so I started studying photojournalism at college. I completed numerous internships all over the world, most notably with The Tennessean newspaper in Nashville, US. It was having opportunities like this outside Germany that helped develop and improve my English.

PN: What is your favourite sport and what is your favourite sport to shoot? Or are they the same?

LS: Handball is incredibly popular in Germany and always produces excellent images. It’s a non-stop sport, so is perfect for photographers like me who are always looking to capture that standout image right in the middle of the action.

There are many different events and styles of movement in athletics, which means from a photography perspective there is always something interesting to capture. As a former

From a photography perspective, there is always something interesting to capture

Above Lukas's award-winning image taken at the FINA World Swimming Championships

athlete, I know how the sports men and women feel during moments of pain and euphoria.

This certainly makes it easier to capture those ‘gold medal’ moments.

PN: Are there any sports that you do not enjoy shooting?

LS: There are some sports that aren’t always as entertaining or interesting from a photography perspective, but you can’t let that hold you back. I always try to find something interesting in every event I shoot. The athletes put so much effort and passion into the sports they love – it’s my job to simply capture the moments that matter.

PN: What has been your best or most satisfying assignment so far?

LS: I loved working at the FINA World Swimming Championships in Budapest in 2017 and the 2018 UEFA Champions League Final in Kiev. The 2018 FIFA World Cup in Russia and 2018 Youth Olympic Games in Argentina were also fantastic assignments.

The FIFA World Cup is without doubt the hardest assignment I have ever faced. I was travelling around Russia for five weeks and

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Interview © Lukas Schulze

I love using prime lenses because you are able to use wider apertures to get a different style covered 19 matches in the process – you can only imagine the number of flights and lack of sleep as a result. I remember I used to land in the morning, head to the game, take pictures, and then head back to the airport, ready to fly to the next city and start the process all over again. The two questions I always asked myself during this time were when do I get to sleep and when can I eat?

It was five demanding weeks, but it was a dream come true. I was at the heart of a sporting event the whole world was talking about. I was witnessing history unfold right in front of my eyes, capturing moments on my Nikon D5 that will last a lifetime.

PN: Have you had shoots where nothing has gone right?

LS: Unfortunately, I missed Gareth Bale’s iconic bicycle kick during the Champions League Final in 2018. My finger was a frame too late, and that still haunts me!

PN: What has been your most difficult assignment so far?

LS: Every assignment is a new challenge, but the unprecedented amount of travelling for the FIFA World Cup in Russia made that trip a real test.

PN: What is the most memorable sports picture you have taken?

LS: My most memorable image is a picture from the FINA World Swimming Championships in Budapest, which I covered for Nikon. I managed to capture a swimmer travelling through the water. His movement somehow

© Lukas Schulze

PN: Sports photography seems a very competitive field, so what is it you do that you feel is unique?

LS: Every photographer’s objective is to take the picture no one else has. I love using prime lenses, because you are able to use wider apertures to get a different style in your pictures. Some argue that with fixed focal length lenses you lose an element of flexibility, but in my opinion, you actually acquire more creativity.

This page, clockwise from top Veszprem vs Paris Saint-Germain, taken on a Nikon D5; high diving, shot on a Nikon 1 AW1; Schalke 04 vs SC Freiburg, photographed using a Nikon D5 created a splash that looked like a fish. (Image left). It was a truly unique moment, which I’m delighted won the 2018 Istanbul Photo Award in the single sports category.

The D5 helped a lot to get this shot. The precision of the autofocus, the camera’s 12fps continuous shooting speed and a little bit of luck really worked together perfectly.

PN: Why do you use Nikon equipment?

LS: In my opinion, Nikon equipment is the most reliable, accurate and robust out there, especially when you pair it with the sharpness and quality of Nikkor lenses.

I usually use the Nikon D5 with the AF-S 105mm lens and the AF-S 35mm f/1.4 G. The D5, while lightweight and compact, offers exceptionally wide coverage, which is imperative in my line of work. When used in conjunction with Nikkor lenses, it delivers accurate subject recognition at even

the highest of speeds – perfect for fast-paced sports photography.

Since the launch of Nikon’s Z 6 last year, I have been using the mirrorless camera more frequently. It’s so light and portable, especially when used in combination with the AF-S 35mm f/1.4G lens.

PN: What shooting advice do you have for our readers who attend events, but don’t have the accessibility that professionals like you have?

LS: I would recommend heading down to your local sports venue and setting yourself the objective of taking an image you don’t think anyone else will be able to take. Try and look behind the scenes to find those unique moments and angles, and don’t be scared to challenge yourself and your equipment in the process.

© Lukas Schulze

PN: Have you any advice for readers who want to do your job?

LS: Practise hard and don’t follow the photography crowd. You need to trust yourself to get that special picture. Be proud to be different.

Contact

PN: What is the sports picture you want to take but haven’t managed yet?

LS: That’s a really good question. I’m most proud of the picture from the swimming competition in Budapest, as I know nobody else will be able to take something like it. But you never know what will happen next, which is the most interesting thing about being a photographer – that life-changing image could be right around the corner.

PN: What’s the next big event you are looking forward to?

LS: I’m really looking forward to the 2020 Summer Olympics in Tokyo. It can be quite difficult to get there, so I am keeping my fingers crossed!

Enjoy more of Lukas’s amazing action imagery on his website schulzelukas.com

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Camera test Specs Prices EOS RP body with EF-EOS R mount adapter £1399, EOS RP with RF 24-105mm f/4L and EF-EOS R mount adapter £2329.

Sensor 26.2 megapixels, CMOS with optical low-pass filter and integrated cleaning system. DIGIC 8 image processor. Capture 14-bit CR3 Raw. Sensor format 35.9x24mm, 6240x4160 pixels Lens mount Canon RF. EF and EF-S lenses can be used via EF-EOS R mount adapter, EF-EOS R control ring mount adapter or EF-EOS R drop-in filter mount adapter. EF-M lenses not compatible ISO range ISO 100-40,000, expansion to ISO 50, 51,200, 102,400 Shutter range 30secs to 1/4000sec, bulb, flash sync at 1/180sec Drive modes Single, continuous low, continuous high. Max 5fps. Max 4fps with AF tracking Exposure system PASM modes with 384 metering zones. Evaluative, partial, spot and centre-weighted metering Exposure compensation +/-3EV, AEB Monitor 3in, 1.04 million dots, touchscreen Viewfinder 2.36 million dots EVF, 59.97fps (smooth), 29.97fps (power saving) Focusing Phase detect AF with Dual Pixel CMOS AF, working range EV -5 to 18 Focus points 4779 AF positions, 88% horizontal and 100% vertical coverage.

Face+tracking+eye AF Video RF/EF lenses: 4K, Full HD, HD. 4K 3840x2160 (25, 23.98fps), 4K time-lapse Connectivity Wi-Fi, USB-C, Bluetooth, HDMI out (Type C, Mini) Other key features 23 custom features, water and dust resistance, DLO correction, Raw processing with Creative assist Battery LP-E17, 250 shots at 23°C Storage media 1 x SD/SDHC/SDXC, UHS II Dimensions (wxhxd) 132.5x85x70mm Weight 485g body and battery only

Canon EOS RP Canon launches its second EOS R model, joining Nikon and Panasonic with a two-pronged assault on the full-frame mirrorless camera market Words and images by Will Cheung Nikon and Panasonic launched into the full-frame mirrorless camera market with almost identical cameras – the key differences being the resolution and price.

Canon has taken a more traditional approach, with cameras that not only have different feature sets, but also look and handle differently. First, we saw the 30-megapixel £2349 EOS R – and now it has been joined by the EOS RP, a 26.2-megapixel camera that sells for £1399 and comes with the EF-EOS R mount adapter, which

means Canon EF and EF-S lenses can be used with full compatibility.

For the legions of Canon EOS DSLR system owners out there, that is clearly great news, and the EOS RP offers a potentially compelling and affordable route into the wonders of full-frame mirrorless photography.

For those with no DSLR commitments, the EOS R is simply a relatively low-cost entry into fullframe shooting. While EOS R lens options are limited to four Canon models right now, this will soon change. I tried the RF 24-105mm f/4 L IS USM and RF 35mm f/1.8 IS Macro STM lenses with the Canon EOS RP. The other two lenses are

The EOS RP offers an affordable route into the wonders of full-frame digital photography

Contact canon.co.uk

Images The EOS RP’s body design is typically Canon, which means current EOS users will find themselves at home with the controls. It also has a vari-angle, three-inch touchscreen, which can be used for the Touch & Drag AF for quick focus selection

the RF 50mm f/1.2L USM and the RF 28-70mm f/2L IS USM. The EOS RP, as its price tells you, is more of an entry-level camera than the EOS R, but there are still plenty of great features to tuck into.

The sensor is a 26.2-megapixel unit giving maximum file sizes of 6240x4160 pixels, so plenty enough for large photo-quality prints. An optical low-pass filter is fitted to cut down chances of moiré patterning and false colours, while the higher resolution EOS R is OLPF-free.

To minimise any resolution loss caused by the OLPF, the EOS RP has Canon’s Digital Lens Optimizer (DLO), which also communicates with the attached lens to give realtime lens corrections.

The CMOS sensor features Dual Pixel AF with 4779 positions that operates down to -5EV, and works with the DIGIC 8 processor to give Canon’s more compact CR3 Raw files – there is no Dual Pixel Raw option on this model.

I shot plenty of low-light and night pictures with the EOS RP and had no problems with the AF searching or giving up, provided there was some edge or detail to lock on to. I did have a few issues with where the camera focused, but that’s a point we will get to later.

Body design is typically Canon, so current EOS users will find

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Camera test Performance: ISO Original image

This low-light image was taken in Venice on the EOS RP fitted with the 35mm f/1.8 lens. The base exposure for the ISO 100 shot was 16secs at f/5.6 and the camera was fixed on a Vanguard VEO 2 Go 265HCB carbon fibre tripod with shots taken using the self-timer.

The Raw files were processed using the latest version of Canon Digital Photo Professional editing software, with no noise reduction applied.

The EOS RP delivers a fine ISO performance. My test images were very clean and performance

differences between ISO 100 and ISO 800 were minimal. Fine detail was smoothly and crisply rendered and there was no sign of grain at the higher speed. There was some quality fall off at ISO 1600 and a little more at ISO 3200, but you would have to be very fussy to criticise, because images still looked impressive.

There was minor grain at ISO 3200, but easily minimised with noise reduction in processing.

Grain and some detail loss were both in evidence at ISO 6400 onwards, but the results

were perfectly acceptable, even for critical use. By ISO 12,800 and ISO 25,600, the high colour noise levels were less acceptable.

I didn’t have an EOS R to do a direct side-by-side comparison between the two cameras, but looking at shots taken at similar speeds, the EOS RP gives finer but more colourful noise from ISO 3200 upwards. At speeds around ISO 12,800, the EOS R gave a distinct, coarse but sharp neutral grain, while the EOS RP’s noise was smudgy, with colour artefacts.

ISO 100

ISO 800

ISO 1600

ISO 3200

ISO 6400

ISO 12,800

ISO 25,600

ISO 51,200

ISO 102,400

Images Between ISO 100 and 800, fine detail is crisp, with no sign of grain. Quality starts to fall off at ISO 1600 and 3200. At ISO 6400, both grain and detail loss are evident, but acceptable. Only at ISO 12,800 and 25,600 do noise levels become less acceptable

Fine detail was smoothly and crisply rendered and there was no sign of grain themselves at home with this new camera very quickly.

The on/off control is on the left side of the body, an exposure mode dial sits on the right with the shutter release and a command dial. The rear is home to a vari-angle, three-inch touch monitor, a four-way control way and the various buttons for AE lock, focus zone selection and playback. There is no focus lever, which a shame, so if you prefer a physical control to shift the focus point around, the process is slower.

You can, however, use the touchscreen for the camera’s Touch & Drag AF feature, so focus point selection can be done by finger.

This is very quick and works when the eye is up to the viewfinder. The downside as a left-eyed user is I found I almost always moved the

Images Shot using flash with the Canon EOS RP fitted with the RF24105mm lens at 1/60sec at f/6.3, ISO 200. Model Meg Biffin (Instagram: @meg_biffin) was posing on the Pixapro stand at the recent The Photography Show, with lighting

by Gavin Hoey

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Camera test Performance: exposure latitude To test the exposure latitude of the EOS RP’s Raws, a sunny Venice was the setting for this exposure bracket shot with the RF 24-105mm f/4 lens mounted on the EOS RP. The metered correct exposure was 1/200sec at f/11 and ISO 100.

Exposure correction was done in the latest version of Canon Digital Photo Professional software. The software has a +/3EV correction limit.

Tonally, the underexposed files fared best, although in the case of the -3EV and -2EV shots, noise was evident, especially in

areas of even tone. The -1EV and correctly exposed shots looked the same.

Overexposure is less kind.

The +1EV Raw recovered well, but the +2EV shot has cyan highlights – and this was even more evident with the +3EV shot, so it looked rather anaemic. The same level of overexposure to Raws shot in dull light were recovered much more successfully.

Overall, though, the Raws from the EOS RP responded reasonably to exposure abuse and recovered well.

Original image

AF point with my nose. I tried both touch sensitivity settings, but that didn’t help. The touch sensitivity area can be altered, though, and making only the left-side of the screen touch sensitive helped, but I still had issues.

In the end, for focus point changing I used the four-way pad.

The default way of moving the AF point around is pushing the AF selection button and then using the four-way pad, so this was a twostage process. A custom function gives direct control with the fourway pad and this was OK, although the single AF point did not move very quickly around the screen.

The EOS RP has the usual Canon selection of zone, face detect and wide AF zone options, too. I mostly stuck with single point or AF fourpoint expansion. The wide zone face detect mode worked reasonably well, but did not prove reliable.

I took the EOS RP to a music gig and when going for a wide shot with the three guitarists in the frame, the face detect consistently picked up on in the dimly lit guy on the far left, where I expected the AF algorithm to logically go for the brightly lit lead singer, dead centre of the frame.

That’s why I stick with single point or small zone AF and here the EOS

Above The Canon EOS RP comes with the EF-EOS R mount adapter which enables EF and EF-S lenses to be used with full compatiblity.

We tried the EF 24-70mm f/4 (left) with the EF-EOS R and AF was impressively swift in a wide range of lighting situations.

RP did well with swift, accurate AF, even in bad lighting.

On the EOS R, we saw the first appearance of the menu function swipe bar – which is not on the EOS RP – and you can’t help but get the feeling that Canon is trying out some new controls as a live experiment. If they are well received, no doubt we’ll see them on forthcoming models. I was so frustrated with the EOS

-3EV

-2EV

-1EV

0

+1EV

+2EV

+3EV

Images For the exposure latitude test, the exposure was 1/200sec at f/11, ISO 100. The Canon EOS RP Raws coped with underexposure better than overexposure, with the +3EV looking a little anaemic.

Overall, the camera handled the exposure abuse well

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Camera test

I enjoyed the camera’s ability to deliver well-exposed, correctly focused shots and its decent high ISO performance R’s multi-function swipe bar that I ended up switching it off completely, so it was literally a waste of space.

One feature on the Canon EOS RP is a control lock lever, placed around the rear input dial. It’s the first time such a feature has been seen on a Canon camera. Sadly, I can’t see much point of the lock control on the EOS RP. The idea of locking out key dials or features is sound in principle, but why so prominent? To me, that switch would be perfect as the on/off control, so one-handed switching on and shooting is possible, and then tuck a more comprehensive lock option in the custom menu. Fujifilm has done exactly that.

While you can select four features to be locked – the lens control ring, touchscreen and the two input dials – the lock control’s core function can’t be changed.

The EOS RP has plenty of controls that can be changed and customised – 12 buttons for still shooting and ten for movies. For example, the multi-function button has 31 options including off, the AF lock has 33 options and the four four-way directional buttons have 24 each.

To access commonly used features, there is a Q Menu. This works with the touch monitor – except that it didn’t for me, because

I had the touch feature off due to the AF zone/nose issue, as previously mentioned.

You can just push the set menu and then use the four-way pad to navigate to the required function.

The camera handily remembers what was last used, even after turning the camera off.

Battery life is a claimed 240-250 shots. This seemed generous and I averaged about 10% fewer shots than this, but I spent more time than usual reviewing shots. For a busy shooting day, you will need a spare.

– or a power bank for USB charging.

Overall, I enjoyed using the EOS RP, despite some of the niggles mentioned. It would have been wonderful if I could have enjoyed touch functionality without the AF/nose issue or had a focus lever.

But I had to live with those issues and enjoyed the camera’s ability to deliver well-exposed, correctly focused shots and its decent high ISO performance.

Out-of-the-camera JPEGs looked good and there is room to have some fun with the colour/filter options.

My processed Raws looked lovely, too. I had no option but to use the rather clunky Canon DPP at the time of testing, The Lightroom/ Photoshop update came through a tad too late.

Verdict With the EOS RP body and lens adapter costing £1399, Canon is aiming for serious sales and it would be a surprise if this camera didn’t do well in the shops. That price, full-frame, mirrorless, image quality and compact size is such a potent combination. Add compatibility with existing EOS/ EF-S lenses and you have all the ingredients for a big seller.

Above The EOS RP turned in a solid high ISO performance. This was shot with the 24-105mm lens with an exposure of 1/250sec at f/4, ISO 6400. The band were Martin Turner (ex Wishbone Ash) playing The Quay Theatre, Sudbury

Features Plenty for first-time and experienced full-frame shooters alike

23/25

Handling 22/25 Generally, very good but a few minor niggles Performance 23/25 Turns in sharp, accurately exposed shots time after time Value for money Full-frame for this money is compelling

Left The EOS RP’s meter performed really well, even in very contrasty light Above left Low light didn’t faze the EOS RT’s AF system too much Above right Another example of the EOS RP’s good metering skills

24/25

Overall 92/100 The EOS RP offers a low-cost entry into full-frame photography Pros The price is right, produces impressive images, compact Cons Some points of handling, limited lens options, battery life not great, one SD card slot

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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

Specs

X-Rite ColorChecker Passport Photo 2 £111.60

Price £111.60 What’s in the box ColorChecker Classic Target, Creative Enhancement Target, White Balance Target, 18% Grey Target, carrying lanyard SYSTEM REQUIREMENTS Windows • Windows 7/8/8.1/10 with latest service pack installed • 512GB RAM • Up to 500MB disk space • Powered USB port • Monitor resolution of 1024x768 Mac • • • • • •

OS X 10.7 and later 512GB RAM Intel Core Duo CPU or better Up to 500MB disk space Powered USB port Monitor resolution of 1024x768

Supported profile format DNG Compatible software supporting DNG profiles Adobe Lightroom 2 or newer, Adobe Bridge CS3 or newer, Adobe Photoshop Camera Raw 4.5 or newer, Photoshop CS3 or newer, Photoshop Elements 7 or newer Dimensions (hxwxd) 125x90x9mm Weight 80g Contact colorconfidence.com

X-Rite offers a range of colour management devices to help photographers achieve accurate colours in their workflow. Its ColorChecker Passport Photo has recently been upgraded to v2, with the addition of a 18% grey target. The 18% grey card can be used to take a meter reading from or to give a neutral area

to sample with the white-balance dropper for accurate results. Opposite the grey card is a white-balance target.

Two colour options are provided, too, a 24 colour patch and a creative enhancement target, and are all in a robust, pocket-sized protective case.

The case has multi-positional hinges to suit different situations.

The idea is to simply include the Passport in your shots, ensuring that it occupies at least 10% of the frame.

For a portrait, just ask your model to hold it – so that’s easy enough. For more distant scenes, just hold or place it in the same lighting as the subject.

The X-Rite ColorChecker Camera Calibration ICC software lets you make a DNG profile, an ICC profile and a Dual Illuminant DNG profile.

Profiles are specific to each camera, so even if you use two cameras of the same model, you need to create separate profiles.

The DNG/ICC profiles are specific to a single lighting condition, but use the Dual Illuminant option and

the profile can be used with images taken in different situations – but the passport shots must be done with the one camera.

The ICC profile is produced from a converted TIFF file (but no bigger than 150MB), while the DNG profiles means you’ll (probably) have to convert your Raws to DNGs first.

With the ColorChecker software open, all you do is drop the file onto the interface and, a few seconds later, you’ll see that the software has detected the passport and you are ready to create the profile. You can do this manually if the software doesn’t pick it up.

Click ‘Create Profile’ and it will be saved to the relevant profile folder.

I used Lightroom and, there, the created profile can be found in the Develop module and it can be quickly applied to your images.

The process isn’t difficult, only takes a few minutes, saves editing time and ensures your colours are correct, so the effort is worthwhile. WC

Above The new X-Rite ColorChecker Passport Photo 2 contains four targets in a tough, pocket-sized case. This includes the new 18% grey target, a white balance target and two colour charts

Verdict The X-Rite ColorChecker Passport Photo 2 is an essential and simple workflow device if you want a colour correct workflow, and well worth the investment.

Pros Passport is rugged and small enough to be left in the camera bag Cons Nothing

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First tests Specs Price £219 In the box Bag, spiked feet, tools and low angle adapter Leg locks Twist Legs material Carbon fibre Monopod option Yes, available Load capacity 6kg Folded length 40.6cm Leg sections Five Leg angles 21°, 50°, 80° Max height (centre column down) 1.24m Max height (centre column extended) 1.64m Minimum height 16cm with low angle adapter 40cm min height with centre column in place Bubble level No Head T-50 ball head Plate fitting Arca-Swiss compatible, QS-64 plate supplied Weight 1.27kg Contact vanguardworld.co.uk

Below Vanguard’s latest fivesection carbon fibre tripod has an Arca-Swiss compatible ball head, a set of spiked feet and a short centre column

Vanguard VEO 2 Go 265HCB £219 Vanguard photo accessories are known to provide great value for money, and its new VEO 2 Go 265HCB is the sort of value deal that we have come to expect. At £219, this is a five-section carbon fibre tripod that comes completes with an Arca-Swiss compatible ball head, a set of spiked feet and a short centre column to allow very low shooting viewpoints.

And there’s more. One leg (the one with a handgrip) unscrews to provide a monopod option, and the two-section centre column gives an impressive shooting height for such a short pod. With the twist grip legs fully extended at their normal splayed position, the camera platform is 125cm off the ground. Bring the two-section centre column into action and this extends to 163cm.

In bare figures this might not mean much, but the camera at that height means I am very slightly looking up at the camera monitor. In 2010, the Office for National Statistics said the average man was 5ft 9in (175.3cm) – that’s me, and this travel tripod is more than tall enough for me.

Of course, you can’t judge a tripod on its maximum extension, and there are plenty more out there that extend far taller. But remember: this is a travel tripod and in that context the 265HCB appeals.

Low-level shooting is supported, too. A replacement short column is supplied and, with this in place and the legs fully splayed, the camera platform was just 16cm off the ground. The centre column can also be reversed for an even lower position.

I took this tripod on a photo trip to Venice where one of my objectives was night photography with a medium format GFX 50R. I took two lenses: the 32-64mm f/4 standard and 120mm f/4 macro, plus a cable remote release.

The GFX 50R has an electronic shutter and a maximum shutter speed of 60mins, so with the self-timer or the latest FUJIFILM Camera Remote app the remote release is redundant, but I like to have the hardwire option.

The pod with its legs reversefolded easily fitted the width of

I did a two minute exposure at maximum height. Bingo! No problem at all the suitcase and its weight of only 1.27kg meant that my support bag of cables, adapters, chargers and other paraphernalia was heavier.

I literally got the tripod two days before my trip, so my only chance to check stability was at home, but I was reasonably confident of a solid performance. I did check weights, too. The GFX 50R and 32-64mm combined is in the 1600g region, so well within the 6kg max load quoted in Vanguard’s specs.

But maximum load and stability are not the same, so I started conservatively. To be honest, the shots I was taking didn’t need maximum leg extension anyway.

My shortest exposures were 15secs and the longest was two minutes.

Checking images at 100% in-camera showed fabulous sharpness. Luckily I was blessed with calm weather, although there was a gentle breeze on a few nights. When a breeze was

present, I shielded the camera with my body, which is standard technique whenever tripod shooting.

When I needed the height, I had no issues with using the centre column fully extended. As part of my test, I did a two minute exposure at maximum height, using the ten second self-timer to let the camera settle down. Bingo!

No problem at all.

I should stress that the conditions with no wind and solid ground were just about perfect for long exposure shooting. I would be more wary and not shoot at full extension if there was a stiff breeze. I did try electronic and mechanical shutter shots, too, but found no difference to tripod stability.

To be honest, now that I have seen my shots on a big monitor, I am impressed with the 265HCB and have no reservations about its ability as a travel tripod. Of course, it has limitations, but for its size it packs a powerful punch. WC

Above The tripod was perfect for night photography and long exposure shooting in Venice, as there was solid ground and no wind

Verdict A good travel tripod needs to offer that delicate balance of portability, usability and stability. Get one out of kilter and that product’s viability as a travel pod is compromised.

Having spent a couple of weeks with the Vanguard VEO 2 Go 265HCB, I can attest that this is a good, very good travel support.

At its price it’s a bargain and, used with consideration, will suit full-frame and, as I found, even medium format shooting.

Pros Very good maximum and minimum heights, monopod option, compact and light Cons Five sections means set-up is slower

Photography News | Issue 65 | photographynews.co.uk

Photography News | Issue 65 | photographynews.co.uk

39

First tests Specs Price £299.99, TTL Remote £71.99, spare battery £59.99 In the box 1x Badger Unleashed 250Ws head, 1x Badger Unleashed 2900mAh battery pack, 1x charging cable, 1x quick start guide Max power 250Ws Power range Nine stops (250Ws-1Ws) Shooting modes Manual, TTL, High speed sync (HSS) Battery 14.8V, 2900mAh lithium-ion cell Capacity 430 full power flashes Sync modes Sync port IR, optical cell, Interfit manual and TTL remotes Colour temperature 5500K +/-100K Sync speed 1/250sec, 1/8000sec in HSS Strobe mode Yes, up to 90 flashes at 99Hz (With Interfit Gen 2 TTL remotes) Groups Five A, B, C, D, E. (Groups D and E will be unlocked with Interfit Gen 2 TTL remotes from spring 2019) Channels 15 (Limited to eight when using Interfit Gen 1 TTL remotes) Flash duration 1/757sec – full power, 1/8710sec – 2 Recycle time 1.5sec – full power Modelling lamp 15W, 1250Lm, 5500K, 90+ CRI Dimensions 12.7x15x17.8cm Weight 2.3kg Remote TTL Price £71.99 Availability Canon, Nikon, Sony Features Precise power adjustment in manual, TTL and high speed sync Sync speed Up to 1/8000sec Operating range 100m Power Two AAAs

Badger Unleashed 250W TTL/HSS £299.99 Photographers needing portable lighting have never had it so good with so many battery-powered studio light solutions on the market.

The Badger Unleashed 250W TTL/ HSS might have an unusual name but it tells you what’s on offer and its cool looks certainly make a change from the usual anonymous black boxes.

It is a rechargeable battery-powered unit with an output of 250Ws and with the optional £72 Remote trigger gives TTL flash metering and High Speed Sync (HSS).

The 250Ws power output is at the lower end of what you expect of a studio flash but it is nevertheless very useful and practical for many situations.

Its compact, lightweight body features an on-board battery which has enough juice for around 430 full power flash bursts, a 15W LED modelling lamp, a nine EV power range selectable in 0.1EV steps and uses the popular S-type modifier mount.

The unit’s on/off switch is on the base of the unit, and its key controls are on the unit’s back panel. Control layout is simple and obvious, thanks to a large LCD panel and clearly identified, prominent buttons with the expected beep, slave cell and modelling light controls. No complaints here.

I checked output using a Gossen flash meter set to ISO 100 using a standard 7in spill kill reflector on the front with the light 1m and 2m away.

The power range is 2 to 10 in 0.1EV steps and at 10 I got f/16 at two metres and f/32.3 at one metre. At the 2.0 setting I got readings of f/1.4.8 and f/2.8 at two and one metre respectively, so no problem if you want to shoot at wide lens apertures. The power level control was not as precise as you’d expect, but that’s not an issue in practice.

Recycling at full power was just over one second and from one full charge I got 424 full power flashes, which is excellent. One small moan is that the battery can’t be charged in the unit so you will need a spare if you are planning of doing a lot of shooting.

I also did some flash duration tests with a domestic fan running. It’s

Above This was a simple straight shot with the Honey Badger and a standard reflector in place with the camera and flash working in TTL mode. It was taken on a Nikon D850 fitted with a 50mm f/1.4 lens with an exposure of 1/60sec at f/5.6 and ISO 100. The model was Rob Stevens (facebook.com/rob.stevens.771) and the image taken at a Welshot Imaging event, welshotimaging.co.uk difficult to be scientific but looking at my HSS test shots, at the power setting of 2 flash bursts were shorter than 1/8000sec. At power level 10 flash duration was around 1/800sec – both figures are in line with the quoted spec.

In HSS mode, the power output range is limited from 8 to 10. Test shots were done with the same reflector but with a Nikon D810 and ISO set to 200.

At power level 10 and 1/500sec my test shots at f/16 looked fine, if a tad dark, but easily corrected in editing so perhaps f/11 is a more realistic setting to use; but that’s good. At 1/1000sec, the f/11 shot looked fine as did the f/8 shot at 1/2000sec. By the time I got to 1/8000sec, I needed f/4 for a bright

exposure, but overall this is a very good power performance in HSS mode.

On my test shots there was some fall-off in flash coverage towards the top of the frame from 1/1000sec and faster; bear in mind that you might need to do some editing to correct this.

To check white-balance consistency as power changed, test shots were done on the D810 after a custom whitebalance reading was taken. There was some colour shift as you went through the power range but it was not hugely significant, with lower settings being slightly cooler. There was a much more noticeable colour shift in HSS mode where test shots looked warmer – though easily corrected of course. WC

Above An uncorrected Raw taken in HSS mode with the Nikon D810 set to a shutter speed of 1/8000 and an aperture of f/4; the ISO was 200

Above An uncorrected Raw that shows light output is marginally more cool at lower output settings. Here the lowest setting of 2 was used

Contact interfitphoto.co.uk

Verdict Photographers needing portable lighting have never had it so good

The Badger Unleashed 250W TTL/ HSS is terrific value at £300 plus £72 for the TTL trigger. It works well with quick recycling and capacity, has decent output levels, is good to use and portable for a studio type unit.

For the price of a decent speedlight and at a good price for a battery powered studio type flash, the Badger Unleashed comes highly recommended.

Pros Compact, S-mount, capacity, output range, good performance Cons Nothing at this price

Photography News | Issue 65 | photographynews.co.uk

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First tests Specs

PermaJet FB Pearl 300 From £32.95

Prices A4 25 sheets £32.95 £1.26 a sheet; A3 25 sheets £64.95 £2.60 a sheet; A3+ 25 sheets £81.95 £3.28 a sheet; A2 25 sheets £125.95 £5.04 a sheet; 17inx15m £114.95; 24inx15m £144.95; 44inx15m £259.95 Compatibility Dye and pigment inks Base weight 300gsm Thickness 0.34mm Whiteness 94 Optical brightening agents No Coatings Single coated acid-free Contact permajet.com

PermaJet’s media stable goes from strength to strength as its product range expands in both enthusiast and professional sectors.

At recent The Photography Show PermaJet launched FB Pearl 300, a paper that replaces the now discontinued FB Satin 310 with immediate effect.

FB Pearl joins PermaJet’s fibre based baryta collection and is free of optical brightening agents to give great-looking prints with good resistance to fading.

Pearl finishes can vary from a fine stipple with a satin sheen to a smoother, semi-gloss finish. FB Pearl 300 sits in the latter category and has a lovely, air-dried gloss look with an off-white base.

The paper is free of optical brightening agents (OBAs) so you don’t expect brilliant white, and this paper is not as creamy as some

FB Pearl 300 is very well suited to exhibition and competition work non-OBAs papers. I like the restrained, white base that doesn’t glare and really lets the image show off, whether it is colour or black & white.

My test prints were made on an Epson SC-P800 with Epson inks.

Generic profiles are available from the PermaJet website. I created my own for colour and mono prints using an X-rite i1 Studio outfit then went through my repertoire of test images and threw in a few new files, too. Subject matter ranged from polar bears in the snow to moody landscapes rich in dark tones.

I loved the results I got from FB Pearl 300. My print featuring a colour test chart looked lively with crisp, snappy contrast and rich colours came out nicely saturated without being excessively over the top or garish. But delicate pastels came out well, too, and didn’t seem overpowered by stronger colours. Accuracy was spot on.

For my monochromes, the characteristic I look for in a paper is the ability to deliver a slightly contrasty look and FB Pearl 300 certainly gives me that. A good Dmax is promised by the paper’s spec and it delivers on that front and the blacks looked impressively deep without any muddiness. This

Image FB Pearl 300 gives plenty of depth and impact in finished images lovely black performance was accompanied by smooth mid-tones and snappy highlights.

I think FB Pearl 300 is very well suited to exhibition and competition work where you need a paper that presents images at their best with plenty of depth and impact. And it does this, but without compromising delicate tonal transitions or losing crisp highlights.

On finished prints, whether viewing from straight on or obliquely, there were no distracting reflections or surface glare in the pearl surface finish.

Prints also handled well and proved resistant to fingerprints, scuffing and surface abrasions in normal situations. If you do inadvertently land a greasy finger in the print surface, it’s not a disaster and it should be removable without any permanent harm done. WC

Verdict PermaJet’s new baby is a lovely paper that performs very well indeed. It’s great with a wide subject range and seems very well suited to contrasty, richly coloured scenes and gutsy black & whites, too. The subtle surface and laid-back white base helps to show off images at their best.

If you’re after a smooth, semi gloss coupled with the ability to show off a wide range of subject matter successfully, PermaJet FB Pearl 300 is worth a seriously long look.

Pros Great for vibrant colour and monochrome images and good with delicate hues, too Cons Nothing of note

Photography News | Issue 65 | photographynews.co.uk

Photography News | Issue 65 | photographynews.co.uk

42

First tests Specs Prices LEE100 holder £83, LEE100 polariser £234, LEE100 105mm polariser ring £42.

Three new kits also available: the LEE100 Landscape Kit at £140, which includes the LEE100 holder and 0.6 ND medium grad; the LEE100 Long Exposure Kit at £229, which includes the LEE100 holder, Big Stopper, Little Stopper and 0.6 ND hard grad; and the LEE100 Deluxe Kit at £540 which comes with the LEE100 holder, LEE100 polariser, Big Stopper, 0.6 ND medium grad, 0.9 ND hard grad, 1.2 ND medium grad, 50ml ClearLEE filter wash and ClearLEE filter cloth What’s in the box Holder, slot removal tool and three pairs of slot holders for one, two or three filters, pouch Dimensions 14.4x12.2x1.4cm (including locking pin and two slots) Weight 70g (two slots attached, no adapter ring) Contact leefilters.com

Lee Filters LEE100 Filter System Holder £83 Perfection is hard to come by, but the Lee Filters 100mm system folder gets pretty close. It has been around for 25 years, which tells a tale in itself.

Perhaps with the influx of filter brands from the Far East, Lee thought it was time to innovate. So based on user feedback, product testing and its manufacturing expertise, we have the LEE100 holder, a precision injection-moulded, rugged holder that is 16% lighter than the original.

My kitchen scales had the new holder (two slots, no adapter ring) at 52g and the old adapter (two slots and with the 105mm accessory ring) at 70g.

Its curvy design, satin finish and traces of blue give the new holder a stylish, contemporary look.

The modified design also means it’s quick and simple to set up the holder to use one, two or three slot filters. No screwdriver or screws needed. All you need is the supplied tool.

Importantly for current users, with the new holder all existing 100mm filters will fit.

The exception to this is the polariser. Those with an existing 105mm polariser need to buy the 105mm polariser ring for £43. The filter screws into this and then it can be used just like the new polariser.

The new Lee polariser sells for £234 and features lightweight, high light transmission glass with a gentle warm tone.

Whether you use the new polariser or an old one in a ring, it is best to take the holder off the camera. That’s not to say the polariser can’t be attached with the holder on the lens because it can, thanks to a smooth locking action. But removing it is definitely easier and safer with the holder in the palm of the hand.

Several newer filter systems (Benro, H&Y, Kase, Marumi) feature rear-mounted, cog-driven polarisers.

Some have executed the concept better than others but Lee has resisted taking this route perhaps because of the impact on existing users as well as for design reasons.

Whatever the case, and there are pros and cons for both methods, the front-mounted polariser is tried and tested and in the case of the LEE100 holder, helped by its clever locking action.

With the locking pin at three o’clock, its spring action lifts up to fit the

holder onto the lens mounted adapter ring. Nothing new there and the holder can be freely rotated and removed quickly. But you have options and the locking pin can be rotated to lock the holder in place so there is no chance it can fall off as you relocate. The wider blue nodule at six o’clock fully locks the holder in place; at 12 o’clock the holder is half-locked so it can still be rotated but can’t be detached.

The new holder is great to use. I have on occasion managed to knock

the old holder off the lens and that is one situation that will not arise now.

Also being able to lock the holder in place is handy during polariser use.

I used my two slot holder and polariser on an 18mm wide-angle (on 35mm full-frame) with no vignetting problems.

The polariser itself worked perfectly and looking at before and after shots could see no negative impact on image quality, nor did I see any evidence of flare. WC

Top image This shot was taken using the LEE100 polariser to cut-out any glare and saturate the sky. Shot on an 18-55mm lens on a Fujifilm X-E3. Image left The LEE100 holder with grad and LEE100 polariser in place. Image above The smooth action locking knob has three posiitons: neutral, half lock and full lock

Verdict Improving on perfection isn’t easy but you can say that Lee has done a great job with its LEE100 holder and it works really well. I’ve no doubt most loyal Lee users will love it and will upgrade in due course.

For the uncommitted wannabe filter user, however, with magnetic frames and rear cog driven polarisers offering viable alternatives, the choice has never been wider, which is great news for photographers everywhere.

Pros Compatible with existing Lee 100mm filters, quick to change slots, locking action Cons Not much, polariser is pricey – and the supplied case could be smaller

Photography News | Issue 65 | photographynews.co.uk

Photography News | Issue 65 | photographynews.co.uk

Photography News | Issue 65 | photographynews.co.uk

45

First tests Specs Price Nissin MG20 £475, Air 10s wireless remote £140 In the box MG10, magnesium L-bracket, eight AA battery magazine, 26650 li-ion battery magazine (no batteries supplied), Air 10S release (Canon/ Nikon), case, ball head, filter holder and wide-angle diffuser Guide no GN80 at 200mm, 47.5 at 35mm, 165Ws Zoom coverage 24-200mm, 18mm with diffuser Power source 2x 26650 li-ion batteries (4000mAh or higher), eight AA rechargeable Recycling time 1.5-3.5secs – 2.8secs with 2x li-ion, 3.5secs with AAs Capacity 200 full flashes with AAs, 500 2x li-ion 5000mAh Colour temperature 5600K Flash duration 1/167sec to 1/10,000sec Wireless mode 2.4Ghz with Nissin NAS system.

Nissin Air 10s for full function Power range Manual mode: 1/1 to 1/256 in 0.3EV controls by Air 10s Modes TTL, M, first and second sync, HSS up to 1/8000sec, red-eye reduction Modelling light 8W LED, 25 steps controlled by Air 10s – four hours of power with mAh batteries Shutter release Wireless by NAS or cable Dimensions (hxdxw) 21x14.5x80cm Weight 975g (no batteries) Remote TTL Price £71.99 Availability Canon, Nikon, Sony Features Precise power adjustment in manual, TTL and high-speed sync Sync speed Up to 1/8000sec Operating range 100m Power Two AAs Contact nissindigital.com

Right The Nissin MG10 was used in TTL mode to record the balance of ambient light with a little blip of flash. The exposure was 1/100sec at f/2.5 and ISO 400 on a Nikon D850 with a 50mm f/1.4 lens. The model is Alex Couchman, photographed at a Welshot Imaging academy event, welshotimaging.co.uk

Nissin MG10 £475 Hammerhead flashguns used to be de rigeur among pro photographers, but as hotshoe flashguns gained power and sophistication their popularity waned. Despite that, hammerhead options are still available.

The Nissin MG10 is a top-end unit with an impressive amount of power under its bonnet (GN80, 165Ws) and plenty of user flexibility. It is a member of the Nissin Air System (NAS), which offers wireless control using 2.4GHz. To get the most from the MG10 you need an Air 10s Commander remote trigger (around £140), available for Canon, Fujifilm, MFT, Nikon and Sony, offering manual, TTL flash and high-speed flash sync.

The MG10 comes with two battery holders, one that accepts eight AA cells and the other for two 26650 rechargeable li-ion cells (at least 4000mAh). To get the best recharging speeds and shooting capacity, you’ll need 26650 cells – used for vaping and high power LED torches.

Online, I found them available for £12-15 for two, although for my test I stuck with AAs. When shooting full power at 100% output with new high-quality alkaline AA cells, recycling took three seconds.

Once powered up, you need to pair the flashgun with the remote control – the units remember each other when powered off. The supplied quick start guide in the trigger box and on the lid of the outfit box could be clearer and simpler. In the end, I downloaded the PDF instruction manual from nissindigital.com and that helped greatly.

An L-grip comes with the MG10 and this allows the unit to be placed on the right or the left of the camera and the height can be adjusted, too.

The good news is that when mounted onto the camera, you a get robust combination – with a Nikon D850, the flashgun’s body provides a solid grip.

The flash head can be rotated and bounced too. A wide-angle diffuser can be fitted to give light coverage to 18mm. Without it, the zoom head covers from 24mm to 200mm reflector.

The zoom head reflector itself can be taken off to allow flash modifiers to be attached. When it is in place, it can slide back and forth on its own which isn’t the best design.

Taking off the zoom reflector reveals two separate flash tubes and the 8W modelling LED lamps. There are few controls on the MG10 itself;

Top You can choose to fit the unit on either side of the camera with the supplied L-bracket Above left The LCD could have been clearer; it’s overly complicated if you have all four groups working in manual Above right The flash head can be tilted and rotated so ideal for bouncing flash. Here, the head is shown without the zoom head group and channel selectors, open flash, PC sync socket and a standard 1/4in tripod socket. There is also a socket for an external power supply.

The heavy lifting of flash control is handled by the Air 10s trigger, which has a 100m working range and a micro SD card slot for firmware updating.

It takes a little time – with the aforementioned PDF instructions – to get the hang of using the trigger.

Remotes vary in their usability and personally I didn’t find the Nissin overly intuitive and it seemed more complex than it should be.

This is probably not helped by the LCD display which, if you have all four groups working, is just a mass of

graphics and fractions and confusing to read. As it happens, I was using only one flashgun so I kept it simple and turned everything off and left one channel working.

Manual power output can be varied from full power down to 1/256th power, so if you want to shoot at very wide apertures or just have the tiniest blip of flash, you can.

With a flash meter, I tested the MG10 at full power with its zoom head and no other modifier at 50mm and at ISO 100. I was getting f/16.7 at two metres, so there is plenty of power on tap whether shooting at a distance or for bounce flash. Setting minimum output at 1/256th gave a reading of f/1. WC

The heavy lifting of flash control is handled by the Air 10s trigger

Verdict The Nissin MG10 is a top-end flashgun with plenty of power – in output and in capacity – in reserve, so would suit photographers shooting events and the like.

I reckon that most users will use the Nissin MG10 fixed to the camera and in this form it performs well in TTL, HSS and manual modes. The Air trigger takes getting used to and could be more user friendly, and I personally found the zoom head design clunky, especially for a flashgun with pro pretensions, although it worked well enough.

Pros Power, L-bracket for left and right-side use Cons Poor quick start guide, over fussy trigger display, needs unusual batteries for best performance, zoom head design

Photography News | Issue 65 | photographynews.co.uk

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First tests Specs Prices Capture One Express Fujifilm 12 Free Capture One Pro Fujifilm 12, perpetual license £109, annual plan £8 monthly, perpetual license with three Style packs £178, perpetual license with six Style packs £247 Minimum system requirements Windows: Windows 7, 8, 10, 8GB RAM, 10GB of free hard disk space, Intel or AMD CPU with two cores, colour calibrated 1280x800 24-bit monitor Mac: OS 10.12.6 and newer, 8GB RAM, 10GB of free hard disk space, Intel CPU with two cores, colour calibrated 1280x800 24-bit monitor Fujifilm Film Simulation modes 16 including Fujifilm Velvia, plus auto, linear, film extra shadow, film extra contrast Contact phaseone.com

Capture One Express Fujifilm 12 £Free Something for nothing is always a good thing, so if you own a Fujifilm camera then downloading this free software is a no-brainer. Sony owners have their own free version, too.

Capture One software is made

by Phase One and the Pro version is a highly regarded, capable editing software. Very cleverly, Phase One has collaborated with Fujifilm and Sony, and produced softwares dedicated to cameras from those brands.

For each brand, two variants are available. Capture One Pro Fujifilm/ Sony costs £109 for the full, perpetual version or £8 a month on subscription.

As you’d expect, the Pro version has more editing features and such niceties as instant tethered capture with camera control.

Pay the money and the Capture One Pro Fujifilm is a great value software. However, if you want a real bargain, download the free Express version that has full Fujifilm Raw support and a raft of editing features – this is the version we’re testing.

The software opens with the tool tabs on the left side, thumbnails along the bottom and the selected image in the middle. You can change the window to suit how you prefer to work.

The eight tabs have a left-to-right logical workflow, so Library is far left, then Quick, Lens, Color, Exposure and so on. Under each tab are all the Raw editing controls you expect including exposure, noise reduction and lens corrections. You’ll find the Fujifilm Film Simulation settings here, too.

Before you can do anything, you need to import your images and decide how you prefer to work. You can use catalogues that suit larger collections of images and you can have any number of catalogues. Or you can work in sessions, with one session per memory card/shoot, for example.

The import and preview generating process is slower than Lightroom.

Importing 196 files took just over ten minutes – those same files imported and previewed in one minute using

Verdict Capture One Express Fujifilm 12 is free so if you have a Fujifilm X Series (or Sony) camera it seems really daft not to download and at the very least try it.

I use Adobe Lightroom for my workflow and I don’t see myself changing that because Capture One catalogues are bigger and slower, but working in sessions is perfectly fine, so it will play a significant role because it is very good with Fujifilm X-Raws. The free version lacks certain features such as spot removal and gradient tools I need, though, and if I continue to enjoy Capture One’s Raw processing skills, which is very likely, I can see myself going for the fully featured version very soon. Until then, I’m very happy with the free one.

Something for nothing is always a good thing

Above The interface of Capture One Express Fujifilm is clean and offers a good degree of personalisation, so for example, the top toolbar can be populated to suit your needs, and the tool bar shown here on the left can be moved to the right

Lightroom. In my workflow, I name and date folders so I can view files in their folders while images can be keyworded, colour labelled or starred to help find images. You can also create your own collections and drag images into them, so there are plenty of options to suit your workflow.

As with using any new software, it took a little while to get into a way of working and to appreciate how it handled. I ended up exporting many versions of the same few images with different settings applied to check the final results in Photoshop and in print.

The live preview of course gives a very good indication of effects, but the exported file can still look different, so doing this just gives a better feel of the software’s potential.

The free version does offer considerable control so no problem with adjusting highlights/shadows to get rich, fully toned images and clarity/structure to crispen up midtone separation. As well as clarity/ structure (with the choice of four application methods) detail can also be tweaked with sharpening and noise

Pros It’s free, works really well with Fujifilm Raws, and it’s free!

Cons Slow importing and creating previews; inevitably it is not as well endowed as the paid-for version

reduction. The Sharpening menu includes a halo suppression slider.

Being able to apply Fujifilm’s Film Simulation modes in post is very much a good thing, too, and of course there’s the option to use the simulation modes as starting points and fine-tuning them to produce an individual style that you can save for future use. There are plenty more built-in presets, and if you are playing with different effects you can make virtual copies with the variant feature.

Of course, there are features missing – spot removal tool and gradient filter are two examples – but they are reserved for the paid version, which is fair enough. For a free software, though, Capture One Express is impressive and offers great editing potential. WC

Capture One Express in action Original image

Capture One Express Fujifilm

Lightroom CC

Enhanced details in Lightroom

Original shot was taken on a Fujifilm GFX 50R with GF3264mm f/4 R LM. The exposure was 1/450sec at f/13 and ISO 400. The Raw was processed through Lightroom (normally and with an Enhanced Details DNG file) and Capture One Express Fujifilm. Of course, given the potential of both

softwares the images here just give an idea of what is possible with not too much editing; mostly highlight and shadow control, noise reduction and sharpening.

Superior quality can be squeezed out in both cases with more attention.

Photography News | Issue 65 | photographynews.co.uk

Photography News | Issue 65 | photographynews.co.uk

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Competition

Editor’s letter

One hell of a show Many thanks to the thousands of you who came along to The Photography Show at the NEC and picked up a free copy of Photography News. It was great to meet so many readers, new and old.

PN is 65 issues old, so we have been around for more than five years, yet many people have never heard of us. Because we are a free publication, we do not appear on newsstands so we are not in WHSmith and supermarkets.

Awareness is something we are continuing to build on and of course it helps if you spread the word, too, so please mention PN to your photographer friends.

Less than 48 hours after leaving the NEC I was on a plane for Venice, one of my favourite cities in the whole world for the simple reason that there is so much to photograph there.

I went there for a week last year and was exhausted by the time I got home. This year was no different, and as I write this on the plane home my aches have aches.

My shooting plan this year was simple: to continue working on my projects. I have

WIN!

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one on tourists enjoying St Mark’s Square and another on gondoliers. I was keen on some night shooting, too. Yes, I know there’s nothing startlingly original or new here, but that is irrelevant with personal projects where you define your own parameters of success.

I wanted to shoot Venice at night last year, but I made the mistake of going when it was warmer and there were many more people around late.

Going earlier this year definitely helped and the streets were quieter even from 9pm – obviously the popular areas and busy thoroughfares didn’t get quiet until the wee early hours.

On the five nights I spent out late, I got a good selection

of work and enough images to at least give my project a solid foundation – and I’m already thinking about an autumn return.

A U-turn back to TPS and another photography hotspot: London. One subject I could not escape was Photo 24, which centres on London.

We’ve had six Photo 24s and the event has built up a loyal and committed (mad!) group of fans.

As I write this, we do not have a sponsor for this event, but even if we do not, as I explained to everyone who asked, we will at the very least host an informal meet-up in London in June.

Our meet-up might not have the polish and razzamatazz of Photo 24, but I think the chance to meet and share the experience is worthwhile.

I’ll put something on the PN website, on Facebook and here in print when decisions have been made.

Until the next time, have a great month.

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Aperture Barrel Cap Circles Cloth

Coating Depth Elements Filter Flare

Fluorine Focusing Front Glass Groups

Hood Iris Rear Shade Single

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