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Issue 30 14 Mar â&#x20AC;&#x201C; 7 Apr

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Canon shows it can Pentax Hot on the heels of the EOS-1D X Mark II comes the EOS 80D. Aimed at keen enthusiast photographers, it sports a new sensor, an advanced AF system and a big buffer

goes fullframe The rumours of a full-frame Pentax DSLR have been around for years. Better late than never, the Pentax K-1 has been announced and will be in the shops mid-April. What’s more, it promises to be well worth the wait! … continue reading on page 5

Three months into 2016 and Canon has already announced its second and third DSLRs of the year: second is the EOS 80D; third the EOS 1300D. And there’s also a new lens. The EOS 80D is a very different proposition from the EOS-1D X Mark II announced earlier this year, but it will affect far more photographers. It is a 24-megapixel APS-C DSLR with all the features needed for budding creative photographers to expand their

horizons and there’s a performance to match. Autofocus is handled by a new 45 all cross-point system and continuous shooting is possible up to 7fps. Add Wi-Fi, Full HD video, ISO performance up to ISO 25,600 and a vari-angle touchscreen and you have an enthusiast’s camera par excellence for £999.99 body only. The third DSLR is the entry-level, 18-megapixel EOS 1300D, which is set to retail for £289.99 body only.

The new lens is the EF-S 18135mm f/3.5-5.6 IS standard zoom priced at £439.99. This is the first Canon lens to use Nano UltraSonic Motor technology for very fast, silent focusing. The EOS 80D, EOS 1300D and 18-135mm f/3.5-5.6 IS will all be available from next month. There’s also a new Power Zoom adaptor; turn to page 6 for more. canon.co.uk

Photography News Issue 30 absolutephoto.com

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Borrow Olympus kit – free!

The Olympus Test & Wow service allows you to get your hands on some of the latest Oly gear totally free for up to three days. We caught up with photographer Marianne Coleman for the low-down on this freebie Here’s the scenario: you want a new bit of kit; you’ve spent hours looking at reviews, reading opinions and painstakingly going over spec. You want to be sure of your decision before parting with your hard-earned cash, so maybe you even pop into a camera store to get hands-on. Getting to test kit in a shop is great, but shooting out the front door of a busy high-street shop is not the most inspiring experience. This is where the Olympus Test & Wow service comes in. Test & Wow lets you borrow Olympus cameras, lenses and accessories for up to three days, and test them away from the store, in whatever environment you like! The easy part of looking for new kit is falling in love at first sight with the latest Olympus camera or lens, from the OM-D E-M5 to the vast PEN range, through to the so-beautiful-it-hurts new PEN-F. The hard part? Choosing a piece of kit that’s right for you. With such a diverse range of cameras to choose from and a vast array of lenses that lend themselves to a wide variety of subjects, making up your mind can be a minefield. Test & Wow was introduced last year across Europe, as Olympus wanted to give customers the chance to try before they buy. This simple, but generous service allows you to try kit out in an environment that suits you and your preferred photographic style, so whether you’re fed up with lugging about

your overweight DSLR kit and looking to move to mirrorless, or are a long-time Oly user looking to upgrade your camera body, or perhaps want a new lens for a special event, this service is not to be missed. How to Test & be Wowed So how does it work, and who can make use of it? We caught up with Olympus in-store specialist Clare Harvey-May who showed us in mere minutes how easy and quick the service is to get to grips with. “Pay a visit to wow.olympus.eu/en_GB/ and see what kits are available,” advises Clare. “Each item has a description so you can see exactly what it comes with. Once you’ve chosen your kit, simply select a dealer local to you from the drop-down menu and you’ll then be able to choose a convenient date to pick up your gear. You’ll need to fill out some details and accept the terms and conditions, then you’re done, leaving you to plan your shoot.” Sounds too good to be true? Lots of photographers have already been happily using the service, including Marianne Coleman who opted for the OM-D E-M1 PRO kit from her local store, Merchant City Camera in Glasgow. When we caught up with Marianne she explained that she found out about the service after browsing spec of Olympus cameras

Above You won’t be able to achieve shots like this stuck testing kit in store, but thanks to the Olympus Test & Wow service, you can take cameras and lenses away with you and really put them to the test in your own environment – all without spending anything.

I was so excited to find out that I could borrow an E-M1 and kit lens for a whole weekend at absolutely zero cost online and decided to give it a whirl after the jogwheel on her Pentax DSLR malfunctioned. Like many, Marianne had also come to the conclusion that there’s no need to lug around a cumbersome DSLR when a mirrorless model can do the job just as well – if not better – and at a fraction of the weight. “One can spend many, many hours researching to find just the right camera,” she explains. “I sat in my computer chair drooling over pictures of the Olympus OM-D series, but my goodness, it was a big commitment in expenditure. My first-ever DSLR was an Olympus OM-10, so nostalgia took over and I found myself so very, very in love with the about-to-be-released silver E-M5 Mark II. “There’s really no substitute for getting a camera in your hands and trying it out, yet standing in the camera store taking pictures isn’t much of an indicator of how the camera is going to handle in the pouring rain, late at night or buffeted by the salty wind of the seaside. I agonised. I dithered. It was such a lot of money to commit to an unknown, especially Micro Four Thirds – a system I had no experience with and had read mixed reviews of.” Thankfully for Marianne, Test & Wow meant she could try out a Micro Four Thirds camera. While the E-M5 Mark II hadn’t made it into the service at that point, Marianne jumped at the chance to try out an E-M1. “I wanted to know what Micro Four Thirds

was like, what having an electronic instead of optical viewfinder was like, and how useable the manual focus assist options were for someone like me with lots of beautiful ZUIKO glass to use from my sadly deceased OM-10. I was so excited to find out that I could borrow an E-M1 and kit lens for a whole weekend at absolutely zero cost.” It wasn’t just the fact that Test & Wow is free that impressed Marianne, it was also the ease. “It was so simple,” she says. “I filled in the form and I was able to borrow the camera the very next day. I left them my debit card details and I needed to bring my driving licence with me to collect it. The guys in the shop went through the kit with me. They showed me how to activate focus peaking and MF assist, as well as how the 2x2 switch mode worked for changing ISO and white-balance. “You get a full 24 hours with the kit, but because of Merchant City Camera’s opening hours I was able to borrow the camera on Friday and return it on Monday.” Testing & Wowing “I was a bit nervous,” confesses Marianne. “It might be free to try, but if you break anything, you do have to pay. My camera usually comes with me on all sorts of rugged terrain. The shop assistant gave me the whole kit: E-M1, battery grip and 12-40mm f/2.8 PRO kit lens, in a little, leather PEN bag with padded sections for each component. It

Photography News Issue 30 absolutephoto.com

Advertisement feature seemed durable enough, so off I went to the little island of Hilbre off the coast of West Kirby. You walk in wellington boots across the estuary at low tide to reach it, stepping in little pools of leftover seawater, slipping on seaweed covered rocks and keeping to everyone else’s tracks to avoid the quicksand. To get up onto the island itself it’s fun to climb the sandstone rocks, and so I did with my little E-M1 bag at my back. “It was a beautiful day and I used the E-M1 in manual mode and manual focus for the whole day. The EVF was so easy to use, and the manual focus options were great. Being able to do all my shooting, including rough checking of exposure quality, through the viewfinder was fantastic. It was a bright

sunny day, but I was also able to put the E-M1 through its paces in the shade back at home too, taking photos in a bluebell-littered stand of trees. “I returned the E-M1 unscathed, happy knowing that all I needed to do was wait for the E-M5 Mark II to come out. I’m now the proud owner of one, along with 12mm lens. I’m so pleased with my decision, and now I see the E-M5 Mark II is available on the scheme too! Thank you to Olympus for offering such a great service to nervous camera buyers. It got me off the Internet and out taking photos, which is what I should have been doing! In the near future I plan to use Test & Wow to try out the M.ZUIKO 60mm macro lens too.”

Above All you need to get you started on your professional journey with Olympus, the OM-D E-M1 PRO kit comes complete with the M.ZUIKO 12-40mm f/2.8 PRO lens and HLD-7 battery grip.

Marianne Coleman

Above One of the most portable photographic outfits you’ll find, the tiny OM-D E-M10 is small on size, but big on performance. Borrow it along with M.ZUIKO 14-42mm EZ pancake kit lens, a super-slim 45mm f/1.8 and the ECG-1 battery grip.

Free magazine! Download the latest free issue of Olympus Magazine and you could be in with a chance of winning a 45mm f/1.8 portrait lens Packed with the latest news, inspiring interviews, photo project ideas, competitions and much more, Olympus Magazine is the free digital title written by photographers, for photographers. This interactive monthly magazine features galleries of reader photographs, top tips and tricks from professional Olympus users, and regular behind-thescenes peeks at pro photographer Damian McGillicuddy shoots, as well as the latest events and workshops to book onto. The March issue puts floral photos in focus and looks at perfecting portraits with prime lenses. As well as an inspiring interview with Olympus pro John Nassari, there’s a chance to win a 45mm f/1.8 lens of your very own. Out every second Wednesday of the month, Olympus Magazine is free to enjoy on your desktop, or on iOS and Android tablets. olympusmag.co.uk

WIN a 45mm f/1.8 worth £280

Photography News Issue 30 absolutephoto.com

Pentax goes full-frame The rumours of a full-frame Pentax DSLR have been around for years and a prototype was shown back in 2014. Now the K-1 is finally here and due in the shops mid-April. Before we get to the camera’s features – and there are plenty – let’s start with the price. Body only it’s £1599.99. That is an attractive number for the features and resolution on offer, so while the K-1 will probably find most favour among existing Pentax users, those uncommitted to a system right now should take note. The K-1 houses a 35.9x24mm full-frame CMOS sensor with a 36.4-megapixel resolution capable of 14-bit Raw capture. For maximum sharpness there is no optical low-pass filter and image processing is handled by a new PRIME IV processor which claims to deliver superb image quality with smooth tonal reproduction and top-quality ISO performance of up to 204,800. The K-1 also has an AA Filter Simulator in case of moiré which is adjustable in strength. Like other Pentax DSLRs, the K-1 uses a sensor-based Shake Reduction system, this time a five-axis version, called SR II. This reduces shake caused by roll, yaw and vertical and horizontal shift. It’s said to have a 5EV benefit and the camera auto detects the direction of movement so when panning you get the desired effect without preselecting a mode. Astrotracer mode uses this sensor shift technology to track stars during long exposures so you can capture them without trails and there’s also the Pixel Shift Resolution system which has the camera capture four images of the same scene, moving the sensor by one pixel between each shot

and then merging them into a single frame. This captures 67% more light for more truthful colour rendition. Autofocus is handled by a new SAFOX 12 sensor module with 33 AF points across the frame. Of these, the 25 central ones are cross-type while the Real Time Scene Analysis system gives an improved tracking performance on moving subjects. Allied to this, the camera's continuous shooting can hit a maximum 4.4fps. The K-1 sports a flexible, tilt-type LCD monitor with a 3.2in screen and a 1037K dot resolution. The tilting mechanism, with its four support rails means the screen can be adjusted to lots of angles yet it’s strong enough to dangle the camera complete with lens and grip from it (see below). The monitor itself is an airtight design for improved visibility in bright daylight. And with the help of 87 seals, the K-1 body is dust proof, weather- and cold-resistant to as low as -10°C. An optical viewfinder provides a near 100% view and the bright image should enable easier manual focusing. Key camera information can also be superimposed over the viewfinder image itself to enhance handling. A feature not seen on any camera before is Pentax’s Operation Assist Light function which aids using the K-1 in darkness. LEDs light up parts of the camera helping you see what’s going on without a torch so, for example, the lens mount is lit, letting you change glass without fumbling. Other notable features of the K-1 include Wi-Fi, Full HD video, an integral GPS module, dual SD card slots and an ultrasonic vibration sensor cleaning mechanism. The

K-1 also accepts the optional D-BG6 power grip that takes six AA cells as well as the camera’s li-ion rechargeable battery. This grip boasts the same level of dust and weatherresistant construction as the K-1 body. While the Pentax K-1 doesn’t offer anything truly innovative (bar its LEDs), what it has is impressive and will make it appealing to current Pentax users and those uncommitted to a full-frame system. Its 36.4-megapixel sensor gives enough resolution for most and its promise of a leading high ISO performance gives extra appeal. We’ll be giving the K-1 a full test as soon as a sample arrives. At the K-1 launch, Pentax also introduced two full-frame/APS-C compatible lenses, the FA 15-30mm f/2.8ED SDM WR and the FA 28-

105mm f/3.5-5.6 ED DC WR, priced at £1499.99 and £549.99 respectively and both available later this spring. The fast aperture FA 15-30mm f/2.8 ED SDM WR has an 18 element in 13 group construction, with three extra-low dispersion (ED) elements to help deliver excellent image sharpness with minimal CA, distortion and coma. AF is handled by a Supersonic Direct-drive Motor (SDM) for near-silent, fast operation. The FA 28-105mm f/3.5-5.6 ED DC WR should be a good standard lens for the K-1. It has an optical construction of 15 elements in 11 groups with two aspherical and one ED. The lens has HD multi-layer coating, a quick-shift focus and is weather-resistant. ricoh-imaging.co.uk

Hands on At the Pentax K-1’s launch I got to spend a little time with a pre-production sample, so while I can report on its general handling its actual performance will have to wait. First impressions are very positive. It feels great to hold and the contoured handgrip fitted my paws well. It felt comfortable and secure enough to carry one-handed. The close proximity of the shutter release to the ISO and exposure compensation buttons made changing those settings while the camera was up to the eye very easy. The bright optical viewfinder shows 100% of the image and the information strip across the bottom is excellent. At this early stage and without using the K-1 properly, my favourite control was the speed function dial. It is a firmly click-stopped knob that lets you select a common function without having to go into a menu or use a function button. Here, for example, you can select exposure bracketing, HDR or Wi-Fi very quickly and with just one control. On the left side of the top-plate is the exposure mode dial with the usual PASM options but also modes such as TAv that existing Pentax users will be familiar with.

There are few full-frame DSLRs with articulating monitors and the K-1 joins that exclusive club. Pentax calls the K-1’s a Flex-tilt monitor and it does more than just fold out. The monitor is anchored by four supporting struts so it’s flexible and can be set at 90° for waist-level shooting or just angled for tripod use or low-level shooting. The mounting system is robust and I was dangling the camera with lens by its monitor with no signs of distress from the fixtures. There’s no reason why you'd do this in reality but it demonstrates the K-1’s build quality. It will be interesting to see how the supporting system handles grit and sand getting into the struts. WC

News Mark Cheetham, Ricoh Imaging

“The Pentax K-1 is aimed at the high-end enthusiast market but with its resolution and features it will attract some professionals as well. Existing Pentax users who have been waiting over ten years for it have an important part to play. We promised it in the past but it never arrived and I think existing Pentax users will form the backbone of the user base for it. “Saying that, the K-1 has enough features and benefits over the competition and, especially at the price point, will bring in users from other systems. “The camera is priced to attract users of CSCs because there are benefits of a full-frame sensor. We have also kept in mind where Pentax is right now with its existing APS-C cameras and how they are priced. If the K-1 came out at £2500 body I think it would alienate existing users. £1599.99 for the body is an aggressive price for its feature set but personally I think that is where we need to be to sell volume of the product. “When you look at the feature set, the things that stand out to me are build quality which is superb, the five-axis image stabilisation which is new to us and the high ISO performance. One of things users of the medium-format Pentax 645Z have told us is how easy to use the Raw files from that camera are, how superb the shadows look and how flexible the files are to work with. If the Raws from the K-1, PEFs and DNGs, react in the same way, we know they will be very easy to work with. “One feature that I really like, and is on our other cameras such as the K-3 II. but it sometimes gets forgotten about, is Composition Adjust. In Live View, using this feature you can move up or down and tilt the sensor. So when shooting macro really close up you can adjust composition without moving the camera on its tripod. For landscape, there is a feature in the menu called Auto Horizon Correction that will tilt the sensor to correct the horizon, too. “Astrotracer also uses the moving sensor where you shoot long exposures of the stars, causing them to remain as light sources rather than trails. The camera’s GPS system works out the movement of the Earth and tilts the sensor accordingly to keep the stars as stars.”

Photography News Issue 30 absolutephoto.com

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Sensational Sigma Sigma has announced a whole raft of exciting new products including cameras and lenses. There are two interchangeable lens cameras featuring Sigma’s X3 Foveon sensor. The sd Quattro features an APS-C sensor with 39-megapixel resolution, while the sd Quattro H features an APS-H sensor measuring 26.6x17.9mm for a resolution of 51 megapixels. The lens mount on both cameras is Sigma SA for which the company has a very wide range of lenses available. Foveon sensors are different from others on the market. A Foveon sensor has three layers – blue, red, green – of photodiodes so all visible light is captured at every pixel site for the truest colour reproduction. This means the way of determining resolution is different from other sensors. So with the sd Quattro the top layer has 19.5 megapixels and that is equivalent to 39 megapixels in total. With the sd Quattro H, the top layer has 25.5 megapixels, 51 megapixels in total. Sigma’s Dual TRUE III processor is designed to handle the large amount of information coming from the sensor without any data loss. Both cameras have a Super-Fine Detail exposure mode where the camera (on a tripod) makes seven exposures with one push of the shutter button to give an X3I Raw file for maximum information from the scene. Sigma’s dedicated software is needed to process Raws from the Foveon sensor.

A nice pair from Tamron Tamron announced two lenses, one a world’s first, the other a classic re-invented. Let’s start with the 30-year old classic, the Tamron 90mm f/2.8 macro. The latest version has gained Tamron’s proprietary Vibration Compensation (VC) shake reduction system with XY-Shift compensation for handholding success with an effective +3.5EV benefit. The USD autofocus motor provides fast, near-silent and accurate focusing for close-up distances as well as at infinity. This lens now sports a moistureproof and dust-resistant construction. The front element has a fluorine coat to keep the front element condensation free and make it easier to clean. The SP 90mm f/2.8 VC USD is also Tamron’s first lens with user-updateable firmware and

the ability to customise lens preferences via USB. Priced at £580, it is available in Canon and Nikon fittings now; a Sony fit while follow later. Moving onto the world's first, it’s the SP 85mm f/1.8 Di VC USD. It’ll be available in the same three fittings, but there is no guide price as we go to press. The world’s first claim is thanks to the addition of VC, making this optic the first fullframe 85mm lens with some form of shake reduction. Other highlights include the use of low and extra-low dispersion glass elements to minimise colour fringing. It is moisture-resistant and the Tamron USD focus motor gives swift and precise focusing. This lens will be available in the UK from late March. tamron.co.uk

Prices and availability of both sd Quattros were not available at the time of writing. Sigma’s additions to its lens range include the 30mm f/1.4 DC DN and the 50-100mm f/1.8 DC HSM. The 30mm f/1.4 DC DN is a standard lens for Micro Four Thirds and Sony E mount cameras and price is expected to be around £240 when it becomes available later in March. It’s a fast aperture lens with swift and smooth AF and optical quality is said to be comparable to Sigma top-end Art lenses. In the Art range is the 50-100mm f/1.8 DC HSM. Fullframe compatible, it offers a constant f/1.8 throughout the zoom range, which is very useful for low-light work and when shallow depth-of-field is desired. With exotic glass used in its construction we would expect optical quality to be very good. It will be available for Canon, Nikon and Sigma. Availability hasn't been announced yet, but the anticipated street price is £780. The Mount Converter MC-11 lets you mount EOS and Sigma SA mount interchangeable lenses onto Sony E camera bodies. Expected street price is £80. The final new product from Sigma is the EF-630 flashgun, a dedicated, highly featured flash unit with TTL flash, autozoom and high-speed sync capability. No price or availability has been announced yet. sigma-imaging-uk.com

David Parry, Canon UK “The EOS 80D sits slap bang in the middle of our DSLR line-up. It’s a great step-up from our 650D and 75OD cameras and it’s also a great second body for users of the EOS 7D Mark II, for instance, who want a lighter, smaller body. “This market sector is hugely important not just for Canon but for the whole photographic industry because it is at this stage that people get enthralled in photography and start buying lenses, accessories and getting more creative. The EOS 80D is ideal for those want to expand their photography and push the boundaries of what they shoot, with a great AF system, very good low-light capabilities, using the movie mode and so on. It will encourage people to enjoy their photography. “The AF is one of the camera’s highlights. It has 45 AF points, all cross-type and to have a similar system to the EOS IV of a few years ago on a product of this level is just incredible. “The 24-megapixel sensor is brand new, featuring improved dual pixel CMOS AF sensors which will work with all lenses – previously it was only with lenses after 2009. “The 18-135mm has nano USM technology and sits alongside our USM and STM lenses. Basically it lets you shoot movies very smoothly and is fast enough for high-speed stills shooting too where STM is less good. “Canon will be at this year’s The Photography Show so visitors can get their hands on the EOS 80D as well as its other new DSLR, the EOS-1D X Mark II, please come along and have a look.” Canon will be on stands D141 and E131 at The Photography Show.

Canon takes aim at the middle

Canon has had a busy year already and its latest launches include the EOS 80D, a 24.2-megapixel APS-C DSLR with a body price of £999.99. The CMOS sensor is completely new and works alongside the DIGIC 6 processor with a native ISO range of 100-16,000, expandable to 25,600. Also new is the 45 all cross-point autofocusing system, which offers individual AF points or points grouped in areas for tracking. With lenses with apertures of f/8, 27 AF points are available. The system also has impressive low-light capability, focusing even in moonlight. Exposure metering is handled by a 7560-pixel RGB+IR sensor, measuring both visible and invisible infrared light, and a Flicker Detection feature helps cope with flickering artificial light sources. The three-inch vari-angle Clear View LCD II touchscreen enables shooting at low level and convenient handling, while Wi-Fi means sharing pictures is quick and easy. Canon has also unveiled a new standard zoom lens, the EF-S 18-135mm f/3.5-5.6 IS priced at £439.99. This lens can be combined with the Power Zoom Adapter PZ-E1, priced at £129.99, for smooth zoom control for movies. The EOS 80D and 18-135mm f/3.5-5-6 will be available from April and the Power Zoom adapter from May. Read more about the EOS 80 and lens, left. Canon also announced the PowerShot G7 X Mark II, the first camera to use the DIGIC 7 processor. It features a 1.0in 20.1-megapixel CMOS sensor and sports a 4.2x f/1.8-2.8 optical zoom lens (24-100mm in the 35mm format). Sharp shooting at slow shutter speeds is assisted by an improved IS system with Dual Sensing technology, while handling is enhanced by the camera’s lens control ring. The G7 X Mark II will be available from April at £549.99. canon.co.uk

Photography News Issue 30 absolutephoto.com

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Over £600 of Interfit lighting kit to be won Head to the Photography News stand at The Photography Show for your chance to win one of four great prizes from lighting experts Interfit in our prize draw If you are visiting The Photography Show (19-22 March) at the NEC, come along to the Photography News stand F153 in the food gallery area behind the Canon stand. We have four great prizes from lighting experts Interfit worth over £600 on offer and to be in with a chance of landing one all you have to do is visit our stand and get your TPS badge scanned. You will automatically be entered into the prize draw which will be randomly drawn on the 11 April 2016. Don’t worry if you miss the show though, you can always enter through absolutephoto.com via the competitions page. First prize is an Interfit Proflash TLi – the winner has the choice of Canon or Nikon compatibility. This flashgun (tested on page 98) is the world’s first with a rechargeable and swappable Li-ion power supply. You get 650 full-power flashes per charge. The unit is highly specified and has great features like high-speed sync and rear-curtain sync. The second name picked will scoop the Interfit F5 Three-Head Fluorescent Lighting Kit with Boom Arm is worth £219.99. This is a cool-running continuous lighting kit that’s ideal for the home studio and suitable

for stills or video. The kit comes with two lighting stands, a boom arm with stand, softboxes, bulbs and leads. An Interfit Five-in-One 42in Reflector and Arm Kit goes to the third prize winner. This prize is worth £106.66 and is a godsend to keen portrait photographers allowing them to make the most of their flash or continuous light source without the need for an assistant. Last but certainly not least is an Interfit 19in Fluorescent Ring Light worth £85.99. This is a coolrunning fluorescent shoot-through light source to give a flat, shadowless lighting and with portraits you will get those lovely ring catchlights in the subject’s eyes. It’ll certainly lift your portraits into a new dimension. So remember, all you have to do to be in with the chance of winning one of these fabulous Interfit prizes is to come along to the Photography News stand and have your name badge scanned or visit absolutephoto.com, sign up to Photography News and then just enter your name and email address to be in with a chance. For full T&Cs visit the website. Good luck. interfitphotographic.com

Photography News Issue 30 absolutephoto.com

News

Win a week’s holiday in the Dordogne French Photographic Holidays is based in the beautiful foothills of the Dordogne and run by Paul and Pam Edmunds. In this issue, we have the chance for you to win a week’s tailor-made photo holiday for two so you can enjoy the scenery and Paul and Pam’s wonderful hospitality for yourself. It’s a prize package worth over £1900 and includes photographic tuition, too. Entering is easy. First you have to answer two questions. Get those right and you will be entered into the contest’s second stage where we will ask

you to send us one of your best landscape images. The winner will be informed by 8 April and the week’s holiday must be taken the week beginning 30 April. Part of the prize is also that we’ll talk to you about your trip, the experiences you enjoyed and the great pictures you took in the Dordogne in a later issue of Photography News. See page 31 for more details on how you can win this clicking holiday to France. frenchphotographicholidays. com

Profoto updates a classic Profoto has a new beauty dish for its B1 and B2 Off Camera Flash (OCF) systems. The OCF Beauty Dish is available now at the cost of £144, and for the price you get the dish, deflector plate, diffuser and a carrying bag. The OCF Speedring is bought separately at around £70. The Beauty Dish comes with a choice of white or silver inner; white gives a more even, slightly softer light while if you prefer a more punchy, high-contrast effect the silver option is the one to go for. Profoto has also introduced three different OCF Gel sets for those photographers who are keen to get creative with some coloured filters. The OCF Color Gel Starter kit costs £72 and includes ten popular colours as

well as the OCF Grid and Gel Holder. You also get two attachment pieces that enable you to switch between colours quickly. The OCF Color Correction Gel pack features 20 filters in different strengths of orange, blue and green that are designed to balance flash with sunlight, moonlight and fluorescent light respectively. The final kit is the OCF Color Effects Gel pack and here you can get to grips with 20 coloured gels including Rose Pink, Gold Amber and Peacock Blue. The gel packs are priced at £48 each. profoto.com/offcameraflash

Premium compacts from Nikon Panoramas with Polaroid Polaroid’s Panorama EyeBall head can rotate through 360° and lets you shoot panoramas remotely. It is available for £44.99 and is suitable for action cameras, CSCs and even smaller DSLRs. The free-standing mini tripod can be used on its own or mounted to a regular tripod. An infrared remote offers five speeds of rotation and the option of clockwise or anti clockwise travel. Its movement is smooth so it's ideal for shooting video footage, too. On a full charge the EyeBall head can offer three hours of continuous use and is powered by a USB rechargeable battery. polaroid.com

Not one but three top-end compacts have been introduced by Nikon. The new DL family features fixed Nikon zoom lenses so you pick the option that best suits your needs. There's the DL24-85mm f/1.82.8, the DL18-50mm f/1.8-2.8 and DL24-500mm f/2.8-5.6 priced at £549.99, £679.99 and £749.99 respectively. The quoted focal lengths are equivalents in the 35mm format. Each DL camera sports a 1in CX-format sensor that can give 20.8-megapixel stills in JPEG or Raw and 4K movies at 30p/25p. Lens aside, there are differences between the DL camera bodies; the DL24-500mm f/2.8-5.6 has a 2359k-dot OLED electronic viewfinder and a monitor while the others are monitor only. Focusing is handled by an Advanced Hybrid AF system while the EXPEED 6A processor is capable of shooting at 60fps with focus fixed at the first frame

or 20fps with continuous AF. Image stabilisation is provided by Nikon’s Dual Detect Optical VR system. SnapBridge, a low-powered Bluetooth technology, is featured on all DL cameras and allows constant connection between the camera and smart devices. The DL series will be in the shops later this summer. Nikon also added to its Coolpix range with the B700, A900, B500 and A300 priced at £359.99, £329.99, £219.99 and £129.99 respectively. Stocks will be available from April. The B700 has a 60x optical zoom lens while the A900 has a 35x zoom, and both offer 4K UHD video shooting and 20.3-megapixel still images. The B500 has a 16-megapixel sensor and a 40x optical zoom and the A300 has an 8x optical zoom with a 20.1-megapixel resolution. nikon.co.uk

Photography News Issue 30 absolutephoto.com

News

Nikon goes underground Over the past few months, Nikon has hosted a series of free #DiscoverDifferent events with the last one in February at a location in central London. We went along to see what they were all about. The location was the defunct Aldwych Tube station off the Strand and there were three separate groups of photographers attending, in the morning, early afternoon and late afternoon. The events were promoted through Nikon’s #DiscoverDifferent website asking for photographers keen to push their creativity further to apply. Attendees were selected randomly due to the huge interest and the limited spaces available. We went along to the midafternoon session. Joining instructions were provided well in advance of the day, so we turned up with cameras, cards and batteries ready and suitably attired. It was a dusty location and stout shoes or boots were suggested. Nikon gave everyone a branded warm jacket. The bigger group was divided into three smaller more manageable groups (five in ours) and these would rotate to each of the three photo opportunities spending around 40 minutes at each one.

After a health & safety briefing from TFL staff it was onto the serious business of the day. Our photographic hosts were experts from the Nikon School team, led by training manager Neil Freeman. Portable flash portraits was in the ticket area, there was light painting on one platform and a location portrait session on a disused Tube train on another. Our first session started with a briefing from Nikon training specialist Mark Higgins on how to set the cameras up to use the Nikon SB-910 Speedlights wirelessly in TTL mode and how to deal with low levels of light. Everyone had different model cameras so this took a few minutes but soon we all took turns shooting our model, Florence. There was plenty of time for everyone to take a variety of shots, not just with the flash but also using available light. The next location was shooting portraits on the platform and the train. Here, Neil went through the details of camera set-up, but as we had just set up for wireless flash our group was more or less ready to start shooting. Plenty of advice was provided, not just on camera and flash set-

up but also where to place lights, dealing with ambient light and advice on composition. Our last session of the day was light painting led by Artur Teixeira, Nikon Professional Services team member and Emily Mudie, training coordinator, using home-made LED light bars. Our group wasn’t experienced in this so camera setup, using tripods provided, took a few minutes. The idea was that Artur and Emily would walk, with the main lights switched off, down the platform and where the tracks used to be with their LED sticks as we recorded the streaks. It was definitely different standing where trains used to run in almost complete darkness while shooting light trails – but tremendous fun, too. After a couple of tries, the whole group got great images and our light painters tried more compositions and patterns. Soon we headed back upstairs and into the fresh air, where the next group were already gathering. It was a great (free!) experience so well worth attending. Look out for announcements for future events on Nikon’s Facebook page.

Images Nikon’s last #DiscoverDifferent event saw photographers shooting in the closed Aldwych Tube station.

nikon.co.uk

Super Lee

Lee Filters' Big Stopper 10EV ND proved a hugely popular filter among scenic photographers. It was soon joined by the 6EV ND Little Stopper and now we have the Super Stopper, a 15EV extreme ND filter. A straight onesecond exposure is turned into 16 minutes with the Big Stopper – and that becomes a staggering 8.5 hours with the Super Stopper. You may wonder why you would need such an extreme ND, but it has huge potential, not just because it allows very long exposures when the light levels are high, but also because it gives you more aperture control. You don’t always want massive depth-of-field so using the Super Stopper means you can avoid the smallest lens apertures where diffraction can also have a significant impact on image quality. The Super Stopper is said to have a very good white-balance even when used with the camera’s auto white-balance feature and any colour cast will be slight and easily removed. The Super Stopper will be available for Lee’s Seven5, 100mm and SW150 systems at £70.45, £103.82 and £132 respectively. The official launch is 19 March, the first day of The Photography Show, so make sure you check it out. See page 95 for a detailed review of the Super Stopper. leefilters.com

Lens from Laowa A lens brand not so well known in the UK at the moment is Laowa, but awareness will surely build thanks to lenses like the new 105mm f/2 STF lens. STF stands for Smooth Trans Focus, a special optical system designed to give smooth transitions between crisp in-focus areas to creamy defocused foreground and backgrounds This is a manual focus lens featuring 11 elements in 8 groups and a 14 blade iris. It uses an integrated apodisation filter to give superior bokeh, making it well suited to shooting portraits and is full-frame compatible. The 105mm f/2 STF has a guide price of £649.99 and there are fittings in Canon, Nikon, Pentax, Sony A and Sony E available. venuslens.net

Above The Super Stopper makes shooting long exposures on very bright days easy. This 1/125sec at f/11 scene became a 4mins at f/11 shot. It was done in AWB so the Super Stopper is very neutral too.

Photography News Issue 30 absolutephoto.com

News News in brief Limited edition Pentax Only 500 units of a special silver edition Pentax K-3 II will be available worldwide. The silver coating has been applied to the magnesium-alloy body to give this limited edition camera a premium appearance. It costs £789.99 body only and is available now. ricoh-imaging.co.uk More action from Ricoh Ricoh's waterproof WG-M2 action camera comes in a shock-resistant body and shoots 4K video with its 204° view lens. It has seven effect modes too, including monochrome and bleach bypass so you can add an individual style to your footage. It’s priced at £269.99 and will be on the shelves at the end of March. ricoh-imaging.co.uk

Outdoor bags from Nest Nest's Diverse 20 backpack costs £149.99 and offers various carrying solutions to suit different needs. The basic bag comes with two removable inserts – essentially two small separate bags – that can be stowed in the top of the bag or at the base via a zipped trapdoor. So you can have the top insert in to stow your camera and the bottom removed to accommodate your waterproofs and lunch; or if you have lots of kit, both inserts can be used. The inserts can also be used on the Diverse's removable waistbelt or with the supplied shoulder strap. Another option is to buy

the adjustable padded insert for £19.99 which turns the Diverse into a full-on photo backpack. The Diverse 20 is tested in the First Tests section of this edition. Also from Nest, the Hiker series has been expanded with the Hiker 60 and Hiker 80, priced at £69.99 and £79.99 respectively. Both are photo backpacks suitable for taking DSLR-size bodies with extra lenses. The 60 can take three lenses plus an 8in tablet, while the larger 80 will accept four to five lenses and a 14in laptop. Both are available in black or a camouflage design. nest-style.com

New from Novo Novo makes a range of ABS hard cases and camera support systems. The cases come under the name of Dura with three carry cases, 100, 200 and 300 on offer and one rolling case, the 400. Prices start from £79.99 and these super-tough cases are completely waterproof down to 5m, air-tight and very lightweight. All come with pre-cut diced foam inserts, too. Meanwhile monopods, tripods and ballheads come under the Explora brand. One

of the tripods in the range is the Explora 10. This is a four-section, carbon-fibre tripod with twist leg locks, boasting removable spiked feet and extending to 1.7m. It comes with the CBH-40 ball-head at a price of £229.99. The MP-10 monopod is also made from eight-layer carbon fibre and it has a guide price of £54.99. novo-photo.com

Special GR II Ricoh Company Ltd celebrates its 80th year in 2016, and to commemorate the occasion the Ricoh GR II Silver Edition has been launched. Its price is £579.99 and stocks will be available at the end of March. Get your order in early though – the camera is limited to just 3200 units worldwide. ricoh-imaging.co.uk

New mono supports from Manfrotto Six XPRO monopods have been introduced by Manfrotto. There are three models in the Prime range – one carbon fibre and two aluminium – and each states a maximum payload of 10kg. There are also two models – one carbon fibre and one aluminium – in the Over series. These two models offer greater maximum height compared with the Prime models. The final product from this line-up of launches is the Land, a five-section aluminium monopod that folds down to 41.5cm. Prices for these six supports start from £54.95. manfrotto.co.uk

Collectable Olympus OM-D In a month of limited edition cameras, here’s another, this time from Olympus. This OM-D E-M10 Mark II is finished in a fox brown coloured metal casing and comes with a premium quality leather strap and a unique lens cap. This edition is limited to 3500 units worldwide and is priced at £699.99. olympus.co.uk

Travel supports from Kenro Kenro has introduced a selection of tripod kits, particularly with the travel photographer in mind. Two ranges are offered, Standard and Professional, making a total of four tripods and a monopod. In the Standard range are the KENTR101 and KENTR102 selling at £69.95 and £99.95 respectively. Both are made from magnesium alloy and feature twist lock legs.

They also come complete with a single action ball-head. Both the KENTR201 and KENTR202 sit in the Professional line-up and cost £134.95 and £149.95 respectively. These models are also made from magnesium alloy and feature a space-saving design making them idea for travel. kenro.co.uk

Photography News Issue 30 absolutephoto.com

News

If you want to learn about how to take great pictures of the heavens, the RPS is hosting an Introduction to Astrophotography workshop on 3 April at the Marwell Hotel, near Winchester. Lilian Hobbs LRPS, the president of the Southampton Astronomical Society, will give technique and hardware advice on

RPS heads for the stars rps.org/events

worldphoto.org

Entry to the Environmental Photographer of the Year 2016 contest is now open. Amateur and professional photographers are eligible for the competition which is free to enter, with ten images permitted per person. Pictures must have been taken since 1 January 2015. The overall winner will receive £3000 and the Young (under 25) winner will scoop £1000. The deadline for entries is 18 April 2016. epoty.org

This year’s RPS International Print Exhibition is now open for entries. This exhibition, now in its 159th year, is the longest-running of its kind in the world and, as well as the prestige of having your work featured, there are cash awards totalling £4250 to be won. The closing date for entries is 31 May 2016.

underwaterphotography book.com

RPS calls for entries rps.org

Alex Mustard’s Underwater Photography Masterclass is published by Ammonite Press, costs £19.99, and is out April. With great pictures to inspire and expert advice on how to shoot underwater, this tome could be what you need to make more of your holidays. Gear, light advice and lens choices are all explained by the author who is one of the leading underwater photographers.

Capture the environment

On the bookshelf

greatphotographs.co.uk

The Sony World Photography Awards is an absolutely massive photography contest and this year it sees 21 British photographers short listed from a huge total of 230,103 images entered. Submissions came from 186 countries, and entries from the UK were up by 135%. Short listed images can be seen at London’s Somerset House from 22 April to 8 May. The overall winners will be revealed on 21 April.

how you can shoot stars, comets and much more using your DSLR or video camera and a telescope or spotting scope. The cost is £45 to non-members and £30 to RPS members and the day starts at 10am.

How to Take Great Photographs by Clive Woodyear

Published by RLG Publishing, this £9.95 paperback is out now. The contributors to this book read like a who’s who of photography with the likes of Art Wolfe, Harry Borden, Ralph Gibson, Mark Pain and Joe Cornish, with images included. The book is divided in subject sections and each picture is accompanied by an explanation from the photographer about how and why they chose the picture featured. The technique and gear used are explained, too.

Well done

Student winners announced From nearly 1000 entries, two students scooped first prize The winners of the Harman Technology UK Student Competition 2015 have been announced. Nearly 1000 entries were received and the Darkroom winner was Olivia Whitfield for her image 'Amelie’s Love', shot on Ilford HP5+ film. Mark Boulton won the Digital category with 'Vesper in the Shower'. Peter Elton, managing director at Harman said, “The image

composition and creativity on show in these entries was tremendously impressive. Not only in the worthy winners, but in many, many others. It’s exciting to see that the current crop of budding photographers has the potential to reach the top.” All the images that made the final judging stage can be seen on the Flickr feed below. goo.gl/LEbgXC

Photography News Issue 30 absolutephoto.com

Advertisement feature SureColor SC-P800 printer

Epson’s award-winner The SureColor SC-P800 inkjet has a lot to offer photographers who’re serious about printing their images, and it’s just been rewarded with a Photography News Award

Using the touchscreen Among the long list of improvements to the SC‑P800 over its predecessor is the provision of a tilting touchscreen LCD. This more intuitive interface makes it easy to scroll through functions and quickly ascertain the printer’s status. Features at your fingertips include: 1. Paper Size Offering up to 17in, the SC‑P800 offers a huge range of other sizes, too.

2. Maintenance The printer can be user maintained without having to call out an engineer – that’s useful extra functionality if time is money. You can keep an eye on the printer’s status and wireless connections through the Setup menu.

When was the last time you looked at the prints you put on your wall? Not a cursory glance either, a thorough study of the print quality. There are many high-quality labs around the country that will deliver fantastic results for you, but for real peace of mind and unrivalled quality control you can’t beat printing the images yourself, after all they’ll reflect well on your talent. Epson produces a huge range of inkjet printers and media to cater for every printing need and budget. When it comes to the professional, however, one model in the range stands out as a real workhorse that can sit at the heart of any photographer’s workflow, the SureColor SC‑P800. As a measure of its qualities, it was voted the Best Inkjet Printer by Photography News readers in its 2015 Awards. Outstanding versatility The SureColor SC-P800 replaces the Stylus Pro 3880, the previous pro model in the Epson line-up, and sports a range of new functions. One of the most significant for pro users is the option to use rolls of paper via the optional roll paper unit – perfect if you want to print panoramic images or onto canvas up to 17 inches wide. If you prefer to work on single sheets, the SC-P800 also accepts up to 17in paper width and up to 1.5mm or 850gsm thick stock. Despite this impressive media handling capability, it’s a relatively compact unit. It will comfortably fit into the corner of an office or studio, providing you leave enough space behind it to accommodate the heavier weight media that initially protrudes out of the back on loading. ‘Normal’ papers feed from the top and land in the extendable front tray. The SureColor SC-P800 uses the same Epson UltraChrome HD inks as the company’s large-format printers with nine pigmented inks delivering a huge range of colours and the deepest blacks of any A2 photo printer currently available. The inks are available in 80ml cartridges – an economical solution. Not only do you get great colour from the UltraChrome HD inks, they’re also designed to offer optimum longevity and reduce effects such as bronzing to keep your clients happy. The three level black ink technology ensures you get great mono results, too.

With the inks in place, the printer driver loaded and the nozzles checked, it’s time to get down to printing. Another notable addition over the 3880 is the wireless connectivity. It makes computer to printer connection remarkably easy. You can use an existing Wi-Fi network, or simply connect directly to the printer making it easy to print from a computer, smartphone or tablet. Epson Connect, Apple AirPrint and Google Cloud Print services are also possible. High-quality prints in minutes Once connected, a borderless A2 print in impressive quality is yours in minutes. Two printing resolutions are available – 1440dpi and 2880dpi – both are excellent, but if you stick with the lower resolution, those cartridges will last a little longer. You can output your prints through Photoshop, leaving the software to manage the colour accuracy and choose the necessary profiles for the variety of media tested. All compatible profiles are supplied as part of the driver installation process. Third-party media profiles are also supplied but you may need to download additional ones. Producing high-quality prints that you will be delighted with is extremely easy. Just as you would have produced test prints in the darkroom, getting the initial print right may take a few tries and a couple of pieces of paper, but this likelihood is reduced with an accurately (and regularly) calibrated monitor, plus a few minutes spent tweaking the settings. When it comes to servicing the printer, the maintenance tank is user replaceable, which means you won’t have to pay for an engineer. That means less downtime and reduced expense. It’s also easy to keep an eye on printer functions thanks to the tilting touchscreen menu. It’s hard to argue against taking more control of your printing output. Of course there’s the initial outlay for the printer, but doing so opens up a wealth of new opportunities that today’s photographer would be foolish to dismiss. epson.co.uk

3. Media Load Guide The SC-P800 takes paper and board up to 1.5mm thick. Use anything other than the Auto Sheet Feeder and step-by-step instructions for loading appear on the touchscreen LCD.

Inset images The nine pigmented inks are available in 80ml cartridges. This makes the SureColor SC-P800 more economical than smaller models. With the optional paper roll holder you can print panoramic images with ease.

Photography News Issue 30 absolutephoto.com

News In association with

Photo 24

You’re invited to join us for a 24-hour photo shoot in one of the world’s leading capital cities. It all starts at noon on 17 June Now in its fourth year, Photo 24 is a great photo experience that you can tailor to your own needs. There will be organised optional meet-ups at venues around the city for those who need help, whether technical or inspirational, but if you prefer to wander off on your own or work together in small groups then you can do that too.

You are also welcome to shoot the whole 24 hours, and many people do, but if you prefer to shoot in the evening and a few hours the next morning with time in-between for a meal and a sleep, you can do that too. It’s entirely up to you. What’s more, Photo 24 is free – although some optional experiences are charged.

Due to high demand and limited numbers, to be fair to everyone there will be a ballot for places. Full details of the ballot and the closing date for applications will be revealed in the next issue of Photography News. Issue 31 will be available from 11 April. nikon.co.uk

Pictures mean prizes

There will be photographic contests on a variety of themes running throughout Photo 24 to test your seeing skills. Last year, Mark O’Leary won a Nikon D750 full-frame outfit for the best overall picture (below left) taken during Photo 24. The D750’s 51-point AF system includes a Group Area AF mode and is quick enough to keep up with fast-action and the camera’s maximum 6fps continuous shooting speed. Add Wi-Fi, weather-sealing, two SD card slots, 3.2in vari-angle monitor and Full HD video shooting capability, and in the Nikon D750 you have a truly capable DSLR that can deliver almost anything asked of it. “I am really impressed with the Nikon D750,” says Mark. “It is capable of producing outstanding results even in low-light conditions. It has a very useful tilting screen, a vastly improved sensor and is quickly becoming a lighter replacement for my ageing D3. “I signed up for Photo 24 because I thought it would be a real challenge for me as most of my work is studio based. Photo 24 would take me out of my comfort zone – and could I last the whole 24 hours? “The weekend was well organised, and working in groups meant we felt secure and able to photograph corners of London which we would probably not normally have attempted, especially at night. Also, having the Nikon School in central London as a base was really useful and gave us the chance to recharge our batteries.”

Photography News Issue 30 absolutephoto.com

Thank you!

News

Nearly three years old, and Photography News is thriving. And it’s all thanks to you, reader… and the photographic trade…

I’ve been in photographic magazine publishing for longer than I care to remember, and before joining the business I was a keen reader. Yes, I have been around for a while and in all that time, I have never seen anything quite like Photography News. Well, of course, I edit the thing so I am mildly biased and am bound to say that, but how many of you have seen a tabloid-sized national newspaper whose focus (excuse the pun!) is solely on imaging – and is FREE! Let me tell you, you haven’t because Photography News is out on its own. Now in its third year, it goes from strength to strength. So, thank you, dear reader, for picking it up or reading it online and to our advertising clients for making Photography News the publishing success it has become. Rarely would you find me – or any editor – thanking advertisers. But in the case of Photography News – and I am not revealing any trade secrets here – the thing is free so guess who pays for it! I can tell you it’s not a Bruce Wayne-type philanthropist (he’s Batman to those wondering) nor an oil-rich state keen to invest its millions in a free photo newspaper instead of a football club. The fact that PN is free (have I mentioned that before!) is no guarantee of its success. Would anyone pick up a free newspaper without thinking they would get something out of it? At train stations during rush hour you can’t take a step without someone thrusting a free publication in your face; I admit I only take one if I’m going to read it. It’s only logical. Copies of PN go out to the UK’s camera clubs and through key independent photographic retailers. A recent initiative is distribution to colleges and universities running photography courses. As paper, print and couriers cost a lot of money we are not able to send

out lots and lots copies – enough for every member of a camera club for example – and that is why there is a free online edition. Register on absolutephoto.com and you get an email each time the latest edition is available. So if you are a club member and miss out in the scrum when copies arrive at your club, get your own copy online. Now where was I? Oh yes, I was saying that PN’s success is down to the fact that it is free and, equally importantly, it has stuff inside that photographers want to read – and this is where we, the editorial team, can pat ourselves on the back, and give a huge thank you to everyone who has contributed in some way. What you read From feedback, one of the first pages camera club members look at is Before the Judge. Here, a well-known photographic judge or exhibition selector reveals what they look for when deciding competition winners or picking pictures to ‘hang’. Despite identical objectives it is fascinating what different judges look for in a submission and really useful feedback for photographers wanting to gain recognition for their output. To be honest, it is such an interesting read I’d be disappointed if Before the Judge wasn’t enthusiastically received every month. Speaking of contests, in most issues we take a close look at the latest winners and contest launches and talk to the organisers asking them what they expect from entrants. This feature is another very popular one. Again that is no surprise given the numbers who enter the big yearly contests keen to scoop a big prize and gain national or even international recognition. One thing I would like is more salon/exhibition organisers getting in touch. PN offers great and free publicity to a keen audience so if you

Thank you, dear reader, for making Photography News the publishing success it has become want a higher entry level, then drop me an email in plenty of time. Before I bore you (too much) with all this ‘how great we are’ stuff, I’ll just say our reviews are popular too. Every month we test the latest kit in depth. While some magazines dedicate 1000 words to the latest Canikon DSLR, you won’t find the same coverage on a bag or the latest tripod. I’m proud to say you will in PN because we want to help you

make the right buying decision. Simples, as a meerkat might say. I have, naturally, assumed this isn’t the first time you’ve seen PN so please forgive me if you have got to here not having seen a copy before. All I can do is apologise and say read the panel to see how you can be a regular Photography News reader and be part of a publishing success story. Oh, in case I haven’t mentioned it before, it’s free!

Where to read Photography News At your camera club, photographic society, college or university We send copies to a great many UK clubs but omissions can occur, so if your club is not yet receiving PN let us know on info@ photographynews.co.uk. We can’t send copies for every member so we do rely on members circulating copies within the club – or registering to read it online. Or subscribe Get 13 issues of the print edition of Photography News delivered to your door for £19.99. Pick it up from these retail partners Calumet, Cameraworld, Castle Cameras, Jessops, London Camera Exchange, Park Cameras, WEX and Wilkinson Cameras. Many of these retailers have multiple outlets so check with your local store. Read it online Go to absolutephoto.com, sign up (or log in), go to Magazines >Photography News to read the latest issue. Then, when a new issue comes out, we’ll email you.

Photography News Issue 30 absolutephoto.com

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

Clubs

Camera club news

How to submit

We need words and pictures by 31 March for the next issue of Photography News, which will be available from 11 April. Write your story in a Word document (400 words maximum). Please include contact details of the club, exhibition or event – website, meeting times, opening times, whatever is relevant. Images should be JPEGs, 2000 pixels on the longest dimension, any colour space, and image credits should be included. If the story is an exhibition or event, please send a picture from the exhibition (not the publicity poster) or one from the event. If it includes people please identify them. Attach the Word document and JPEGs to an email and send to clubnews@photography-news.co.uk.

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

Perfect presentation Gateway Camera Club celebrated its members’ achievements recently over dinner at the Marina Spa Hotel, Dover. Local photographer, Glyn Bareham LRPS CPAGB presented awards to winners and runners-up. gatewaycameraclub.co.uk

10 August. The exhibition opens at the club on 6 September, with the awards and catalogues being sent out in October. newtonabbot-photoclub.org.uk

Points of View You’ve got until 23 March to see this exhibition by City of London & Cripplegate Photographic Society at The Barbican Library. cityandcripplegate-ps.org

Newton Abbot Photographic Club’s fifth South Devon Salon of International Photography opens for entries on 23 April. The salon is digital only. Run according to the Photographic Society of America’s salon rules and with patronage from the RPS, FIAP and United Photographers International, the salon attracts entries from around the world. It includes Open (colour and mono), Creative and Nature categories and details of the Salon’s selectors can be found on the club’s website, along with full details and the rules. Entry closes on 17 July and judging takes places 30-31 July, with notification emails sent on

Enter L&LPS’s exhibition There’s still time to enter Leicester and Leicestershire Photographic Society’s annual exhibition. Entry closes on 25 March, and categories include General Colour, Nature, Sports, Great Central Railway and Monochrome. landlps.org.uk

International Salon opens

News in brief

Deadline for the next issue: 31 March 2016

Hair of the dog by Chris Netton. Annual exhibition Eastbourne Photographic Society is holding its annual exhibition at the Da Vinci Hotel and Art Gallery in Eastbourne’s Howard Square. The exhibition runs from 30 April until 29 May and includes framed photographs from all members of the society. epscameraclub.co.uk

All in black & white Cotswold Monochrome invites entry for its 21st salon Now in its 21st year, the National Exhibition of Monochrome Photography opens for online entries on 11 April. This Cotswold Salon, which has PAGB and BPE patronage, invites black & white entries from all UK photographers. Entry closes on 11 May. Full details are on the website. cotswold-monochrome.co.uk

On a Parr with

To commemorate its 60th year, RB Camera Club is holding an exhibition at the Museum of Lincolnshire Life’s Gatehouse Gallery, in Lincoln. The exhibition is on from 26 March until 27 May with a change of images in late April.

Documentary photographer Martin Parr is visiting Bracknell Camera Club. President of the prestigious Magnum Agency, Martin Parr is well known for his observation of modern life. His images document the idiosyncrasies of British life. The event is open to non-members and members of Bracknell CC. It’s at Garth Hill College in Bracknell, on 25 April at 8pm. Tickets are £12 from the website.

rbcameraclub.co.uk

Award-winning photographer Martin Parr visits Bracknell

bracknell-camera-club.co.uk

60 years young

Photography News Issue 30 absolutephoto.com

Advertisement feature © Tristan Shu

Sponsored by Elinchrom

The joys of highspeed flash Mixing flash and daylight is a popular lighting technique, but it can be very difficult to get the best results, particularly in bright sun with a relatively distant and fast moving subject. Until now, you have been limited by technology not able to deliver sufficient power at shutter speeds faster than the camera’s usual flash synchronisation speed. Elinchrom has changed all that with the recent launch of the EL-Skyport Plus HS and HS flash head. And in fact, the EL-Skyport Plus HS has just been voted by readers of Photography News as Innovation of 2015 in its Awards. Use them together and you can enjoy the benefits of Elinchrom Hi-Sync technology and perfect flash sync at shutter speeds up to 1/8000sec with impressive levels of flash output. Furthermore, because the HS head is part of Elinchrom’s portable battery flash system, it works perfectly with the current ELB 400 pack, but it is also fully compatible with older Quadra Hybrid and Quadra packs.

Three technologies are used to allow correct flash synchronisation at fast shutter speeds, High Speed Sync, HyperSync and Hi-Sync. High Speed Sync needs a flashgun pulsing very rapidly throughout a short exposure. This gives a consistent, light but the downside is low power output so the flash source has to be close to the subject. With HyperSync, power is not so much the issue, but you can get a noticeable gradation across the image frame with part of the image significantly darker than the rest. It can also be very dependent on the camera or flash. Hi-Sync has similar benefits of HyperSync while delivering an evenly lit image free of gradation. That’s the end result, but Elinchrom has worked hard to make achieving the effect using the EL-Skyport Plus HS and HS flash head very straightforward and repeatable time after time. You can find out more about the technologies involved at the website. elinchrom.com/learn/hss-hs

Above Put Elinchrom’s EL-Skyport Plus HS and HS flash head to the test capturing fastmoving action with even lighting and you’ll be assured of images like the one above.

Photography News Issue 30 absolutephoto.com

Awards Gear of the year

Photography News Awards 2015: THE WINNERS The votes are in, they have been counted and verified and – cue trumpet fanfare – here are the products and services that you, the Photography News readers, voted as the very, very best of 2015. Well done to all the winners

We all know what counts is the end result and the equipment is not important. That said, we all love kit and that was proved beyond all doubt by the huge support our Awards received so thanks to everyone who got involved in the voting. Over the next few pages are the winning products so huge congratulations to all the winners, and hearty commiserations to those who didn’t get the support this time around – better luck next year. We’ll be taking a closer look at the winners in next few issues of Photography News.

Photography News Issue 30 absolutephoto.com

Awards PREMIUM COMPACT WINNER: Leica Q Nominations: • Canon PowerShot G1 X Mark II • Fujifilm X100T • Ricoh GR II • Sigma Quattro dp0 • Sony Cyber-shot RX1r II

ADVANCED DSLR WINNER: Nikon D810 Nominations: • Canon EOS 7D Mark II • Canon EOS 5D Mark III • Nikon D750 • Pentax K3-II

ZOOM COMPACT WINNER: Canon PowerShot G5 X Nominations: • Fujifilm X30 • Nikon COOLPIX P900 • Olympus TOUGH TG-4 • Panasonic Lumix LX100 • Sony Cyber-shot RX100 IV

SUPERZOOM WINNER: Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro Nominations: • Fujifilm XF18-135mm f/3.5-5.6R OIS WR • Nikon AF-S 28-300mm f/3.5-5.6G ED VR • Olympus M.Zuiko Digital ED 14-150mm f/4-5.6 II • Sigma 18-200mm f/3.5-5.6 DC Macro OS HSM C • Tamron 28-300mm f/3.5-6.3 Di VC PZD PRIME: WIDE-ANGLE WINNER: Sigma 24mm f/1.4 DG HSM A Nominations: • Fujifilm XF16mm f/1.4 R WR • Nikon AF-S 24mm f/1.8G ED • Olympus M.Zuiko Digital ED 8mm f/1.8 Pro • Samyang 21mm f/1.4 ED AS UMC CS • Zeiss Milvus 21mm f/2.8

CONSUMER DSLR WINNER: Nikon D7200 Nominations: • Canon EOS 760D • Nikon D5500 • Pentax K-S2 • Sony A77 II

TRIPOD: CARBON-FIBRE WINNER: Manfrotto 290 XTRA Carbon Nominations: • 3 Legged Thing Evolution 3 Brian • Benro FTA28CC • Giotto’s YTL 8353 • Induro GIT203 • Vanguard VEO 265CB

MEDIUM-FORMAT WINNER: Hasselblad H5D-50c Nominations: • Leica S007 • Pentax 645Z • Phase One XF with IQ3

WIDE-ANGLE ZOOM WINNER: Sigma 24-35mm f/2 DG HSM Art Nominations: • Canon EF 11-24mm f/4L USM • Fujifilm XF10-24mm f/4 R OIS • Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro • Sony Vario-Sonnar T* 16-35mm f/2.8 ZA SSM II • Tamron SP 15-30mm f/2.8 Di VC USD STANDARD ZOOM WINNER: Canon EF 24-70mm f/2.8L II USM Nominations: • Fujifilm XF16-55mm f/2.8 R WR • Nikon AF-S 24-70mm f/2.8E ED VR • Pentax 24-70mm f/2.8 ED SDM WR • Sigma 18-35mm f/1.8 DC HSM A • Tamron SP 24-70mm f/2.8 Di VC USD

CONSUMER CSC WINNER: Fujifilm X-T10 Nominations: • Nikon 1 J5 • Olympus OM-D E-M10 Mark II • Panasonic Lumix GF7 • Samsung NX500 • Sony A6000 ADVANCED CSC WINNER: Olympus OM-D E-M5 Mark II Nominations: • Canon EOS M3 • Leica T • Nikon 1 V3 • Panasonic Lumix GX8 • Sony A7S II

PRIME: STANDARD WINNER: Canon EF 35mm f/1.4L II USM Nominations: • Leica APO-Summicron-M 50mm f/2 ASPH • Sigma 50mm f/1.4 DG HSM A • Tamron SP 35mm f/1.8 Di VC USD • Tamron SP 45mm f/1.8 Di VC USD • Zeiss Otus 55mm f/1.4

ON-CAMERA FLASH WINNER: Pixapro Li-ION580 ETTL Nominations: • Canon Speedlite 600EX-RT • Metz 64 AF-1 Digital • Nikon SB-910 • Nissin Di700A + Air 1 • Phottix Mitros+

PRIME: TELEPHOTO WINNER: Zeiss Otus 85mm f/1.4 Nominations: • Canon EF 400mm f/4 DO IS II USM • Fujifilm XF90mm f/2 R LM WR • Nikon AF-S 300mm f/4E PF ED VR • Samyang 135mm f/2 ED UMC • Sigma 85mm f/1.4 EX DG HSM

PROFESSIONAL DSLR WINNER: Canon EOS 5DS/5DS R Nominations: • Canon EOS-1D X • Nikon D4s PROFESSIONAL CSC WINNER: Fujifilm X-T1 Nominations: • Leica SL • Panasonic Lumix GH4 • Olympus OM-D E-M1 • Samsung NX1 • Sony A7R II

TRIPOD: ALUMINIUM WINNER: Benro Mach3 TMA37AL Nominations: • Manfrotto MT055XOPRO3 • Mefoto Globetrotter A2350Q • Nest NT-6294AK • Slik Pro 700 DX • Velbon SUB-65

PORTABLE FLASH WINNER: Profoto B2 Nominations: • Elinchrom ELB 400 • Interfit S1 Monolight • Lencarta Safari 2 • Phottix Indra360 TTL MACRO WINNER: Tamron SP 90mm f/2.8 Di VC USD Macro Nominations: • Fujifilm XF60mm f/2.4 R Macro • Pentax D-FA 100mm f/2.8 Macro WR • Samyang 100mm f/2.8 ED UMC Macro • Sigma APO 180mm f/2.8 EX DG OS HSM • Zeiss Milvus 50mm f/2

MONOBLOC FLASH WINNER: Elinchrom BRX 500 Nominations: • Bowens Gemini 500R • Broncolor Siros 400 • Lastolite Lumen8 • Pixapro Storm 400 • Profoto D1 Air 250

VIDEO LENS WINNER: Zeiss Loxia 50mm f/2 Nominations: • Samyang 21mm T1.5 ED AS UMC CS • Samyang 50mm T1.3 ED AS UMC CS • XEEN 50mm T1.5 • XEEN 85mm T1.5 • Schneider FF-Prime 50mm T2.1 TELEPHOTO ZOOM WINNER: Nikon AF-S 200-500mm f/5.6E ED VR Nominations: • Canon EF 100-400mm f/4.5-5.6L IS II USM • Fujifilm XF50-140mm f/2.8 R OIS WR • Pentax 70-200mm f/2.8 ED DC AW • Sigma 120-300mm f/2.8 DG OS HSM S • Tamron SP 150-600mm f/5.6-6.3 Di VC USD

TRIPOD: TRAVEL WINNER: Vanguard VEO 204AB Nominations: • Benro Travel Flat FTF18CIB0 • Gitzo GT1555T • MeFOTO Roadtrip C1350Q • Nest Traveller NT-6234AK • Velbon Ultra 455

MAINS FLASH: POWER PACK WINNER: Broncolor Scoro S1600 RFS Nominations: • Bowens CREO 2400 • Elinchrom Digital 2400 RX • Profoto Pro-8a 2400

Photography News Issue 30 absolutephoto.com

Awards ROLLER/HARD CASE WINNER: Lowepro Pro Roller X100 AW Nominations: • Manfrotto Professional Roller 50 • Nest Odyssey 10 • Tenba Roadie Universal • Think Tank Airport 4-Sight • Vanguard Xcenior 48T FILTER WINNER: Lee Filters Big Stopper Nominations: • Cokin Nuances • Formatt Hitech Firecrest ND • Hoya ProND family • Marumi DHG Super Circular Polariser • Vu Sion Q ND Graduates CONTINUOUS LIGHT WINNER: Rotolight NEO LED Nominations: • Bowens Mosaic Daylight LED panel • Elemental CRYO 600 • Manfrotto Spectra900F LED • Rosco LitePad HO+ • Westcott Skylux LED

INKJET MEDIA: FINE ART FINISH WINNER: Hahnemühle William Turner 310gsm Nominations: • Canson Infinity Rag Photographique 310gsm • Epson Hot Press Bright 330gsm • Fotospeed Smooth Cotton 300gsm Signature • Innova Soft Textured Natural White 315gsm • PermaJet Museum 310

MEMORY CARD WINNER: Samsung SDXC Pro Plus UHS-1 Nominations: • Delkin Black SD • Lexar Professional 2000x SDHC/SDXC UHS-II • PNY Elite Performance SDXC UHS-III • SanDisk Extreme PRO SDHC/SDXC UHS-II • Transcend SDXC/SDHC Class 3 UHS-II SD

INKJET MEDIA: PHOTOGRAPHIC FINISH WINNER: PermaJet FB Gold Silk 315gsm Nominations: • Canson Infinity Photo Lustre Premium Resin Coated 310gsm • DaVinci Fibre Gloss Silk 310gsm • Epson Traditional Photo Paper • Fotospeed Photo Smooth Pearl 290 • Hahnemühle Photo Rag Baryta LAUNCH WINNER: Fujifilm X-T10 Nominations: • Canon EOS 5DS/5DS R • Leica SL system • Olympus OM-D E-M5 Mark II • Tamron SP35mm f/1.8 & SP45mm f/1.8 • Zeiss Milvus lens family

STUDIO/LIGHTING ACCESSORY WINNER: Hähnel Captur Nominations: • BounceLite modifier • Elinchrom EL-Skyport Plus HS • Lastolite Urban backgrounds • Magmod modifiers • Phottix Varos Pro BG Umbrella Holder SHOULDER/SLING BAG WINNER: Manfrotto Agile II Sling Nominations: • Billingham Packington • Lowepro Slingshot Edge 150 AW • Tamrac Stratus 8 • Tenba Shootout Sling Bag LE Medium • Vanguard Up-Rise II 43

INNOVATION WINNER: Elinchrom EL-Skyport Plus HS Nominations: • DxO ONE • Hähnel Captur • Leica SL EVF • Olympus High Res Shot mode • Phottix Indra360 TTL

RETAILER WINNER: Jessops EXTERNAL STORAGE DEVICE WINNER: G-Technology 4TB G-Dock ev Nominations: • Drobo 5D • Lacie d2 3TB • Samsung Portable SSD T1 • Seagate Backup Plus Desktop Drive • Western Digital My Passport Ultra Metal Edition

MONITOR WINNER: BenQ SW2700PT Pro 27in IPS LCD Nominations: • Apple 27in Thunderbolt • Eizo ColorEdge CX271 27in LCD • LG Digital Cinema 4K 31MU97Z 31in • NEC SpectraView Reference 272 LED • Samsung 28in UHD

HIRE CENTRE WINNER: Calumet Rental

INSURANCE PROVIDER WINNER: Aaduki Multimedia Insurance

PROCESSING LAB WINNER: Loxley Colour PHOTO BACKPACK WINNER: Lowepro Pro Trekker 450 AW Nominations: • Lowepro ProTactic 350 AW • Manfrotto Pro Light MultiPro-120 PL • Tamrac Anvil Slim 15 • Tenba Shootout Backpack 24L • Think Tank StreetWalker Pro

INKJET PRINTER WINNER: Epson SureColor SC-P800 Nominations: • Canon imagePROGRAF PRO-1000 • Canon PIXMA Pro-100S • Canon PIXMA MG5700 • Epson SureColor SC-P400 • Epson SureColor SC-P600

COLOUR MANAGEMENT DEVICE WINNER: X-Rite ColorMunki Photo Nominations: • DataColor Spyder 5 Elite • DataColor SpyderCHECKR 24 • ExpoDisc 2.0 White-balance filter • X-Rite ColorMunki Display • X-Rite ColorChecker Passport

BOOK SERVICE WINNER: Loxley Colour PHOTO WEBSITE PROVIDER WINNER: Zenfolio TRAINING PROVIDER WINNER: Jessops Academy

Photography News Issue 30 absolutephoto.com

Interview Profile

Mark Thackara Mark Thackara is European product manager – PEN for Olympus Europe so perfectly placed to answer questions about Olympus’s latest camera, the PEN-F

Biography Years in the photo industry? 33 years Current location Hamburg Last picture taken Last week at PEN-F launch When you were younger, what did you want to be when you grew up? An engineer but I failed to spot which end of a jet engine was which at a Rolls-Royce induction day so changed to economics – hence the banking crisis Dogs or cats? Neither, but if I had to choose, then I’d pick cats Toast or cereal? Cereal then toast Email or phone call? Phone call when I am in the right mood

A camera that feels great, takes stunning pictures and makes your clients envious at meetings

It is has been a couple of years since Photography News last caught up with you. How is it going in the world of Olympus and Micro Four Thirds? Is there anything exciting you want to tell our readers about, apart from the PEN-F of course, which we will get to later? The line-up is very strong and the road map looks great. The perceived gap in performance between ‘cameras that do not need a mirror’ and highend conventional DSLRs has been exceeded in many areas and in others it gets ever closer. The dedicated lens range available is getting pretty comprehensive and as product life cycles settle to more sensible periods of three to four years, we have a firmware programme that really keeps your camera up to date. Get on board! Have you any thoughts on the current camera buying market? The feedback from retailers over the all-important Christmas season seemed mixed with many saying that sales have been static at best compared with the previous year. How is it looking from an Olympus standpoint? Demand exceeded supply for us on key lines but Christmas has changed a lot – it is not at the crazy peak that it was when sub-£100 cameras were at their peak. Everyone is adjusting to ever-faster change. We saw some research recently that highlighted the pace of change. Trends like vinyl to CD took around 14 years while CD to MP3 took only seven and the switch is now even faster. Look at how smartphone photography has made the low-end digital camera market drop off a cliff. That is not a bad thing in many ways as no one could run a business on cheap product and a lot of it was not very good! Photography is largely back to film days as a considered purchase so having clear benefits is more important than it ever has been. But on very positive note, whereas 20 years ago maybe one person in five took photographs and then only a few times a year apart from the select few, today almost everyone takes photographs all the time. This means a huge audience is open to the joys of image taking and the potential for better results and experiences from a real camera. We are seeing this in the E-M10 and E-PL7 buyers who are the iPad generation. Let’s move on to Olympus’s latest camera launch which is in-store now and seems very exciting. The PEN-F sounds like an excellent product with a great features list and the look is very ‘retro’ for want of a better word. Please give us some background on the PEN-F, especially its overall design concept. And what is driving this retro trend from some camera brands including Olympus? We get back to cameras and cars. My favourite topics. Most cars have four wheels and the controls in familiar places; while technology allows some tweaking of this – the overall concept is pretty constant. The X factor sets them apart and however sensible we all may be, given the choice, a large number of us would like to go for the sexier car. Cameras are not so dissimilar. It is subjective and these things evolve but this design is driven by a team who wanted to give the PEN-F buyer the pleasure of ownership in the look, feel and the process – to try and make still photography almost meditative. I am thinking

of setting up a therapy centre for 21st century stressed-out citizens based around the PEN-F. Who is the PEN-F aimed at? Is it existing PEN users or does Olympus have people new to the brand in mind? That is simple. Both. It answers many requests from existing owners but will appeal to anyone who is ‘visually educated’. Imagine you’re an architect whose job is all about visuals but not necessarily photography. The PEN-F is a chance to have a camera that feels great, takes stunning pictures and makes your clients envious at meetings – sold. The second highlight on the Olympus press release about the PEN-F says it’s a ‘Collector’s item thanks to iconic design, build quality, high-grade materials and finish.’ Just for clarity, is the PEN-F a limited edition or is this just marketing speak? So you read the press release! Let’s say it’s a little bit of marketing speak. Whilst the PEN-F is certainly not seen as mass market, we will supply to demand – not finite numbers. Do not panic if you want one and they are out of stock. The PEN-F is the first Olympus Micro Four Thirds camera with a 20-megapixel resolution and this sensor does not have an optical lowpass filter (OLPF) for ultimate image quality. Can you expand a little on the technology behind the sensor, please? For example, no OLPF means higher risk of moire and false colour so how has Olympus dealt with that particular issue? Proving that we do listen to our customers, we took the no low-pass filter decision on the E-5 since most people asked for resolution first. Moiré is rarely raised and more easily handled than ever when it appears. The new higher resolution brings with it greater risk of digital noise at high ISO settings too. How has Olympus embraced that particular issue?

Having said that 16 megapixels was enough, we also said we would not go higher until sensor technology meant that the overall performance – noise and dynamic range was at least as good. This sensor achieves this. Add improved processing and we move forward. Many users will appreciate the provision of an EVF as well as a flexible monitor. Do you feel the EVF is a key selling point? While monitors have improved and you can even see things in sunshine now, lots of people prefer a viewfinder and you can see a lot more in a wider range of lighting conditions. The tiny adjustments to saturation and exposure now possible are more visible in an EVF. Creativity is a key sell on the PEN-F with the new Profile Control features, art filters and Colour Creator. It seems you are providing features so users can do more in-camera rather than having to get onto the computer. Is this the way Olympus is thinking now, based on user feedback? In a word, yes. It started with live view and art filters. We take a lot of notice of what users ask but also like to think ahead and inspire. Many of our innovations have been met with some skepticism by the industry and yet are now mainstays in many products – starting with dust reduction. I have a really, really long Powerpoint presentation I can share with you if you like. Lastly on the PEN-F, what is your personal favourite aspect or feature? I love that I can change my art filter directly while I am in ‘A’ mode but that is just me – it used to be a lot more fiddly. And finally, what else can we expect from Olympus in 2016? Any hints for forthcoming products or exciting events our readers should look out for? No hints, but it is Photokina later in September. olympus.co.uk

Photography News Issue 30 absolutephoto.com

Profile Biography

Before the Judge

Tony Worobiec

Each issue, a respected judge or exhibition selector shares their thoughts and experiences. This month, we hear from award-winning judge Tony Worobiec

Tony Worobiec He’s a fine-art photographer who has written 15 books, and has received many photography awards, both in the UK and internationally. Tony has also had his work featured in magazines, books, exhibitions and on album covers. As a member of The Royal Photographic Society (RPS), as well as other photography groups Tony has been judging competitions since the late 80s. Years in photography It must make me seem old, but I've been at it for over 36 years. Home club I'm a member of the RPS, a founder member of Arena, belong to the highly esteemed Landscape Collective UK, and regularly attend the Wimborne Digital Group. Favourite camera I have various favourite cameras including my much-prized Mamiya 7, however as I generally now work digitally, I have recently acquired a EOS 5D S, but still get excellent results from my EOS 5D Mark III. Favourite lens For its practicality and its excellent optical qualities, I rate the Canon EF 24-105mm. Another lens I like, particularly for landscape work, is my Canon 100-400mm zoom. Favourite photo accessories There are various photo accessories I regularly rely on, but the one I am guaranteed to take when I travel is my tripod (I wonder how often you have read that?). I’ve tried many tripods over the years, and they all eventually wear out, but I am currently using a Manfrotto MK 190.

Favourite subject Landscape; it's the best reason for getting out every day. Awards We have a drawer at home full of gold medals and ribbons from all over the world, but if I had to pick my favourite, it would be the bronze medal from The RPS International because it is the one International that attracts a large entry from the competitive professional sector. My friends from the Edinburgh Photographic Society occasionally remind me that I am still the only entrant to have achieved success with all six prints submitted in a single session. Finally, I was awarded my Fellowship from the RPS for a set of monochrome prints, way back in 1987.

Favourite photographers I have many, but I am forever picking up Joel Meyerowitz books.

Looking back I have judged just about every International within the UK, from Edinburgh to Guernsey. I was very recently invited to judge the Phoenix International in New Mexico, but because of other commitments had to withdraw. As a long-term member of the RPS, I was especially pleased to have been invited to judge both the RPS International, and the RPS Members exhibition. With a very heavy schedule of lectures and workshops (over 40 a year), I am not able to fit in too much club judging; of the few I have done recently, one I enjoyed was the Western Counties interclub competition, which required each club to submit a representative panel from a variety of its members on a single theme of their choosing. It is a pleasure and an honour to view the work of others, and it is a brilliant way of acquainting oneself to new developments and fashions within photography. This is particularly noticeable with international submissions. At International level there is no audience and no opportunity for giving feedback to the authors and even at national exhibitions, the opportunity for feedback is limited. While judging at club level puts you more firmly on the spot, it offers a better opportunity to constructively critique. As a professional teacher, I remember the first piece of advice I was offered, and that is if a student is handed back a piece of work covered in red ink, the experience will prove demotivating. Always to concentrate on the worst mistake and overlook the others. The same applies when judging other’s work, particularly at club level. Rather than list all the

faults, celebrate the strengths and if it is required, highlight a single area for improvement. The overall standard of club photography is improving due to several factors. First, with many photographers mastering editing software such as Lightroom and Photoshop, they can be more creative. Second, as more photographers appreciate the value of shooting Raw, critical issues such as exposure or contrast are being well handled. Shooting digitally is an incentive to be more adventurous and experimental, and if things don’t work photographers can start again. Visit the website of just about any camera club within the UK and it is hard not to be impressed. The standard of amateur photography is greatly improving too. There are more people taking photographs than ever, due in part to the smartphone revolution, which encourages users to work far more spontaneously. I have recently joined Facebook and I am seeing wonderful examples of photography on a daily basis. Flickr has also proven to be quite a revelation, and seems to engage younger photographers. We all enter photography with different experiences and this is reflected in our personal tastes and preferences. While there will be occasions when I do not entirely agree with a fellow panel member, by respecting their opinions, a sense of balance and fair play is retained. Photography is a vehicle for visual communication, and in the same way that a sentence needs clarity, so does a photograph. If there is a common failing, some aim to include too much. I was invited by the publishers David & Charles to write a book, The Complete Guide To Photographic

Words by Tony Woroblec

Above Infinity Bridge Stockton Composition to encourage readers not to consider composition in terms of rules, but to understand that there are numerous design principles we can dip into, and that the so-called rule of thirds is but one of many. The book also suggests that these design principles apply to other visual arts, such as art, graphic design and architecture; to fully understand composition, we should look at how other visual artists operate. It introduces the notion of “anticomposition” where the so-called rules are deliberately abused to promote a sense of disharmony. For example, I wonder whether Robert Capa ever worried that an image of a falling soldier wasn’t on the thirds? This book has now been published in various other languages. I also regularly do a one-day course for the RPS on developing compositional and critiquing skills. What is an ordinary snapshot? Part of the skill of assessing someone else’s photograph is to fathom what they were thinking when they took it. Often something that looks ordinary can prove anything but, so I am always wary about labelling a photograph an ordinary snapshot. Photographers have been employing techniques since the days of Fox Talbot, so this isn’t a recent phenomenon, however the secret is to apply any technique discreetly, so that it isn’t blindingly obvious. In the case of HDR, it is so easy to over-cook the image. Using Highlights and Shadows sliders in Adobe Camera Raw might offer a

subtle alternative. It can achieve the same result without revealing that distinctive hallmark that says HDR. I sometimes think that camera clubs demand too much from judges. Often, they’re expected to make an assessment within ten seconds, without having had the opportunity to view the work beforehand. Under that pressure, with dozens of members listening, it is hardly surprising that many resort to rote. I think those clubs that allow the judge to view the work a few days in advance usually experience the most satisfactory outcome. Photoshop has been a gamechanger, and those who have fully embraced its many facilities will always have an edge. While I am not an expert at this, I am always impressed by the originality and imagination in so many composites we see these days. By way of contrast, I greatly admire ‘straight’ photographs, but in order to excel; I sense you cannot afford to be a jack of all trades. Those who appear successful tend to specialise in one particular aspect. To reflect this divergence, the RPS has now subdivided its Visual Arts category. One piece of advice that I would give to club members is to aim for clarity: the purpose of any photograph is to communicate an idea, so you can’t afford to be vague. Ask yourself, does every element within this image contribute, and if not, adjust it until it does. tonyworobiec.com

What do you think? Above Sand dunes and breaker

Have you seen a photographic judge at work who you’d like to see profiled in Photography News? If so please drop us a line to opinion@photographynews.co.uk with the judge’s name and, if possible, their contact details.

Photography News Issue 30 absolutephoto.com

Advertisement feature

French clickin’ Competition

Discover the joy of a tailor-made photo holiday and win a week’s tuition for two in the Dordogne

Imagine the scene: you’re sitting by your tripod on a hillside overlooking the foothills of the Dordogne as they sweep away into the hazy distance, cable release at the ready, the sun sinks towards the horizon, warming the colours of the vineyards and ancient farms; turn around and the misty hills work their way skyward, affording ever more magnificent views. Already satisfied by your afternoon’s shooting, you know you’re about to be recharged by a traditional French four-course dinner and hospitality as you discuss your adventures, and what you’ll be photographing tomorrow. The Kronenberg is already on ice. If you’re thinking ‘get me on a plane – now’, you are not alone. That’s what’s on offer from French Photographic Holidays (FPH), an intimate and friendly company offering photo tours in one of France’s prime locations. Run by Paul and Pam Edmunds, FPH is hidden away in the French countryside just a short drive from Brantome, and the 17th century accommodation feels a world away from the modern world. The company has been offering residential photography courses for more than three years now and is looking forward to another busy season in 2016. We caught up with Paul, a professional photographer with

over 20 years’ experience, to discuss what makes FPH’s courses a special place to learn and enjoy your photography. “One of the things we do,” says Paul, “is really get to know what each individual visitor needs, so they can get exactly the right training or experience. For complete beginners to photography that means demystifying the digital process; and at the other end of the scale, where we’re dealing with experienced enthusiasts, it’s all about setting up a creative environment for them to excel, supplying local knowledge so they get to the right spots at the right times – as well as an up-to-date workstation to process their work.” Another area that Paul finds draws great results is in helping those who’ve just bought new gear but are struggling to get to grips with it. “We certainly find that manufacturers are putting more and more ‘fluff’ on their cameras to compete with other brands, and this confuses a lot of our guests,” he says. “We concentrate on helping our guests to find and use the core functions that really get results and avoid any of the gimmicks; aperture-priority, the importance of controlling depth-of-field, using Raw and so on.” The draw of new kit is certainly strong and people often think it will fill a gap in their shooting skills, which isn’t always the case. Paul

continues: “Guests often ask me do I think they need to upgrade their lenses, and my reply is always: learn to use what you have, it will soon become obvious whether you need to upgrade, or seek out other focal lengths to get the kind of shots you’re after.” After taking this in (along with a lot of Southern French sunshine and top-quality four-course meals made with home-grown seasonal vegetables and locally sourced ingredients), Paul finds that people invest more wisely: “Guests are often thinking of upgrading without really knowing what they’re selling, but after a week with us, they’re well prepared to decide whether a new purchase is actually necessary or not – and do it with confidence – most, in fact, produce top-quality results over the week’s shooting without any need to upgrade, which is a real eye-opener for them. Basically, they learn how to wring the greatest performance from their gear.” So, as well as the wonderful surroundings, comfy environment and top quality cuisine, it’s this hands-on approach to learning that makes a week’s tuition at FPH such a valuable experience: “A number of our guests are on their third or fourth visit here,” says Paul, “and one A-level student told us that she learnt more in one week with us than two years studying at college!”

Fact file French Photographic Holidays offers tailor-made seven-day residential workshops in the Dordogne region of France. Arrivals and departures are on Saturdays. Prices start at £950, and include full board five-star accommodation. Non-photographers are welcome at a reduced rate. Nearest airports and stations are Bergerac Airport (37 miles), Limoges Airport (42 miles), Bordeaux Airport (123 miles) and Angouleme Station (32 miles), and collection can be arranged. A week includes at least six ‘half day’ shooting trips with a maximum of four photographers per workshop, and all skill levels are welcome. Tripods and other accessories are available. frenchphotographicholidays.com frenchphotographic@gmail.com

0033 (0) 5535 47485

Enter now to win an amazing photo holiday! If you like the sound of a photographic holiday in a stunning location, get ready to experience it, as we’re offering readers the chance to win a week’s tuition for two courtesy of French Photographic Holidays, worth £1900 Here’s how the competition works: just answer the questions opposite and email your entry to competition@photographynews.co.uk. If you’re correct you’ll be entered into the second stage of the contest. We’ll contact you and you’ll have 24 hours to send us a landscape image for judging by FPH. Images must be entirely your own work, created solely by you, and no more than 2400px on the longest edge. Please state the camera and lens used to take your image. The closing date for first-stage entries is 3 April 2016 and the winning photographer and guest will need to be able to attend the week-long workshop beginning on 30 April. The photographer with the winning image will be informed by 8 April. The week includes full board accommodation at FPH’s guest house in Les Ages, Brantome, France. Bonne chance!

Answer the questions below to be in with a chance of winning Q1: In what region of France is French Photographic Holidays based? A: Dordogne B: Normandy C: Auvergne

Q2: How many days do French Photographic Holidays’ trips cover? A: 4 B: 7 C: 10

Terms & conditions This competition is only open to residents of the UK, aged 18 years old and over. The winner will be notified by email and images from the trip will be published in Photography News and on social media. Images submitted for the second stage may be used by French Photographic Holidays and Photography News in connection with the competition; copyright remains solely with the photographer. One entry per reader. Employees of French Photographic Holidays and Bright and their immediate families cannot enter. First-stage entries must be received by 3.4.2016. Entries not in accordance with the rules will be disqualified: by entering the competition, competitors will be deemed to have agreed to be bound by the rules. The prize does not include travel to France and must be taken as offered with no alternative. In the event that the prize cannot be supplied, no liability will attach to Bright.

Photography News Issue 30 absolutephoto.com

Camera Club of the Year

IN ASSOCIATION WITH

Round 5: The Power of Nature Closes: 04/03/2016

Camera Club of the Year 2015-16

How to enter First, your club’s competition secretary (or whoever is going to enter each month) must sign up at absolutephoto.com. Next, click on Members’ Area in the menu bar, then choose Camera Club of the Year 2015-16 from the drop-down list. Simply register your camera club and follow the upload instructions.

It’s the last chance saloon. Four clubs have qualified for the final so there is only one berth left. It’s time to pull out all the stops It seemed only five minutes ago that Camera Club of the Year 2015-16 was launched and already it’s the time to enter the final round. So, make sure your club’s entry is the strongest you can manage because there is just one berth left in this year’s final. We changed the entry process after feedback from last year’s successful event. For this year, we have had, in effect, five separate monthly competitions with the hightest-scoring camera club each

month qualifying for the final. The finalists will be told at the same time what will be required of them to keep it as fair as possible, but it will come as no surprise that it’ll be a matter of submitting a bunch of images – how many and on what themes will be revealed to the finalists shortly. If your club hasn’t had a go yet, it’s not too late; the final round’s theme is the Power of Nature. Turn over for Canon ambassador David Noton’s advice on tackling it.

To enter, register on absolutephoto.com. Then, go to the Members’ Area in the menu bar and click on Competitions and choose Camera Club of Year 2015-16 from the drop-down list. Then follow the instructions to upload images. We need five images from every club – make sure they’re on the theme. Any club or group is eligible to enter so long as there are at least five members. Online groups, internal company clubs and those clubs not affiliated to the PAGB can enter.

The Camera Club of the Year wins… … a Canon imagePROGRAF PRO-1000. This brand-new professional quality A2 printer is worth £1199.99. It uses a 12-colour Lucia PRO inkset that includes four blacks for excellent monochrome output. On appropriate media, Lucia PRO inks have impressive lightfast qualities. … an exclusive day with renowned professional landscape and travel photographer David Noton, enjoying a workshop and an illustrated talk.

Overall winner prize:

CANON imagePROGRAF PRO-1000 Five izes monthly pr

Overall winner prize:

N CANMO A PIX PRO-100S

DAVID NOTON exclusive day

Monthly winners The five monthly winners each get a Canon PIXMA PRO-100S worth £499.99. This is a professional quality A3+ printer, featuring an eight colour inkset with excellent lightfast qualities.

Its built-in Wi-Fi capabilities means wireless connection is possible so prints can be made from tablets and phones as well as the computer. canon.co.uk

After the closing date, the images will be judged by the experts at Photography News and top scoring club from that month will qualify for the grand final and win a Canon PIXMA PRO-1000 A3+ printer worth £499.99. The overall winners earn the accolade of the Photography News Camera Club of the Year 2015-16 and win a Canon imagePROGRAF PRO-1000, a professional 12-ink A2 inkjet printer worth £1199.99. Good luck!

Canon’s latest enthusiast DSLR Canon is targeting its new EOS 80D at those camera users who love shooting pictures and are on the cusp of getting more creative their photography. To accompany them on that exciting journey they are after a quality product that is flexible, capable and delivers a very high standard of picture quality. The EOS 80D could be their ideal camera. It uses a new 24.2-megapixel APS-C format sensor linked to Canon’s renowned DIGIC 6 processor. The native ISO range is 100 to 16,000, expandable to 25,600, so the EOS 80D is fully capable of handling very low lighting levels. That also includes its new autofocus system. It is very

sensitive and capable of accurate focusing even in full moonlight. The system uses 45 points, all of which are cross-type sensors so regardless of whether you’re shooting upright or horizontal format pictures, it can deal with all sorts of potentially tricky patterns too. The touch-sensitive monitor is a vari-angle design so ideal for shooting at low or high shooting positions. Add Full HD video capability, Wi-Fi connectivity for convenient image sharing on social media and you have a top DSLR with plenty of potential for users to grow into. canon.co.uk

Photography News Issue 30 absolutephoto.com

Camera Club of the Year

Round 4: Results

Images The Power of Nature has huge potential for creative interpretation so have a good think before sending in your entries. necessary. It does slow you down but it’s better that than getting home to find you have lots of out of focus droplets on your shots. Cloning out defects is an option in some cases but more often then not such droplet-afflicted shots are fit only for deletion. The physical challenges aside, think carefully about the theme and how to creatively interpret it. The Power of Nature could mean how glaciers have carved out the landscape or how derelict buildings are reclaimed by nature, so consider the obvious as well as more oblique interpretations of the theme. Good luck – and stay safe!

thunderstorm, then spray is a hazard. You need a strategy to keep your camera dry and your lens free of water droplets. Many cameras are weather resistant and even those that don’t claim to be can be remarkably resilient but there is no point taking any risks. Perhaps you might pack a stuff bag so that you can drape it over the camera when you’re not actually shooting, and instead of a standard lens cloth, take a microfibre travel towel for greater drying capacity. The same accessories are ideal at the coast too where salt spray is a real hazard. If you have protection filters on your lenses right now, you already know their benefits. If you haven’t now is time to invest – remember, the cost of replacing a UV or protection filter is much less than having to buy a new lens because you ruined the front element. Incidentally, when water spray is around, it is worth checking your lens front before every shot and giving it a towelling down if

We are all aware of the power of nature and it can be awesome, wonderfully photogenic and a real challenge to photograph. But also, as we have witnessed with the floods in parts of the UK at Christmas and new year, it can be totally devastating and dangerous. So it is apposite at this time to remind everyone that no picture is worth risking life and limb for. Please take care and think about what you are doing, whatever you’re shooting. Good preparation is really important. This doesn’t just mean charging the batteries and keeping your lenses nice and sparkling, because you are probably in a state of readiness to shoot pictures at any time anyway. It is more about considering your subject and what conditions you might have to deal with to get decent pictures. Some items you might have in your camera bag as a matter of course, but there again you might not. So, for example, if you’re thinking of capturing the beauty of a waterfall or the energy of a

Round 5: The power of nature

IN ASSOCIATION WITH

We asked for stunning images that creatively interpreted the theme of movement

Smethwick Photographic Society made it to the final with a set of five images that explored the theme brilliantly.

Smethwick Photographic Society

Peterborough Photographic Society

New City Photographic Society

Beckenham Photographic Society

West Wickham Photographic Society

Paragon Group

Harlow Photographic Society*

Blandford Forum Camera Club

Consett Photographic Society

Halstead & District Photographic Society

Cymru Monochrome

Parkwood Camera Club

Clockwise from centre: Full circle no hands by David Keel; Moving by Dinah Jayes; Damian at the Tate by Andy Fryer; Cascade over rocks by Alison Fryer; and Running through by Peter Gennard.

Macclesfield Camera Club

Brentwood & District Photographic Club

Dronfield Camera Club

City of London and Cripplegate PS

Wakefeild Camera Club

Wokingham & East Berkshire Camera Club

Dunholme Camera Club

Smethwick PS Roger Parry of Smethwick PS says “We are very pleased to have made the final. This round was the most challenging so far, trying to find some movement shots that were a bit different. We look forward to the final.”

Deal and District Camera Club

Harpenden Photographic Society*

Chapel Camera Club

Fraserburgh Photographic Society

Tonbridge Camera Club

Park Street Camera Club

Skegness Camera Club

Smethwick Photographic Society is well known in the camera club world for being successful, and now they have qualified for our final with a great performance in Round 4. Smethwick finished two points clear of the chasing pack, so our congratulations go to them. As well as a place in the final, Smethwick PS wins a Canon PIXMA Pro-100S professional A3+ photo printer. This month is the last chance to qualify for the final so good luck.

Scores

*Already qualified for the final

Photography News Issue 30 absolutephoto.com

Camera Club of the Year David’s kit for tackling the elements Canon EOS-1D X

Canon EF 24-70mm f/2.8L II USM This top-end zoom offers a constant f/2.8 maximum aperture. Just as important are the first-class results it delivers at f/2.8 so there is no need to stop down unless it is for greater depth-of-field. The AF system is very responsive and super-quick, while the lens itself is sealed to keep out dust and moisture.

EF 100-400mm f/4.5-5.5L IS II

David Noton

The Power of Nature is a challenging theme, so we asked Canon ambassador and ace landscape shooter David Noton how he would tackle the subject Mother Nature never fails to awe me; with her power, and her everchanging moods, from the raw violent energy of surging oceans and screaming winds to the sublime tranquility of a still, misty morning. As a landscape, travel and nature photographer my relationship with Mother Nature is complex, and not without its difficulties. I find her fickle, unpredictable and unreliable, at times, but even when she is angry she is exquisitely beautiful, and the success or failure of my work is largely down to her. Expressing her power, as well as her more tranquil moments is a job of a lifetime for me. There are so many aspects of the theme I like to shoot. Once stood on the lip of Iguazu Falls in Argentina alone in the darkness before dawn, my heart was in my mouth; the sheer force of rushing water all around me was intimidating. But that morning was one of the most exhilarating of my life. That’s the Power of Mother Nature for you; terrifying, yet utterly compelling and addictive. I’m inspired to try and capture the drama of being there in my photography. That’s not easy, as such moments are all about the assault on all our senses, and photography can only suggest the vision, but that’s the challenge. I would urge all readers to step back and consider how they can best convey the experience of being there in their images. That will often mean not trying to get it all in, but concentrating on one aspect of the scene which says it all. For example on the black sand beach of Reynisfjara in Iceland huge waves driven by winter storms were crashing on the beach and all around the distinctive arches and rock columns in a frenzy of tormented seas. Just concentrating on the form of the waves was the approach I took to portray the Power of Mother Nature that morning.

In respect of composition, I’d say keep it simple. That’s true for all photography, but when conveying the Power of Nature clean uncluttered compositions suggesting motion and energy will always work. Mother Nature at her angriest is not easy to be around; she tends to chuck water, wind, sand, snow, ice and untold elements around with abandon, which is hard on the photographer and the equipment. A pro-spec camera with good weather sealing and long-lasting batteries such as the Canon EOS-1D X will earn its keep in such situations. When conditions are really adverse just changing lenses can become a challenge; in which case being armed with just two such as the EF 24© David Noton

David uses the 100-40mm to isolate distant detail. As with its standard zoom brother, this telezoom is dust and moistureprotected so ideally equipped for use when the weather is against you. The integral IS system gives a 4EV benefit, which is really useful for a lens of this focal length. Another key benefit is its portability, making it well suited to travel and landscape work where weight could be an issue.

Masterclass: the Power of Nature

This pro-spec full-frame DSLR has all the attributes for photographing in the toughest conditions with a body that is dust and moisture-sealed and the shutter is tested to last 400,000 actuations.

IN ASSOCIATION WITH

Above Spending the night at Iguazu with the falls raging all around was an experience I will never forget.

70mm f/2.8L II and EF 100-400mm f/4.5-5.5L IS II will cover me for most eventualities. Long lenses can be very useful for isolating the detail of one blowing tree or crashing wave. I’d use filters only if I had to, such as to slow exposures to portray a bit of motion blur, or to hold back the sky with a neutral density grad, or to saturate colours with a polariser. I always remember though the advice of my college lecturer from decades back; if you’re thinking of using a filter, don’t. I only use them to tackle a specific problem. Using filters is only one aspect of being creative so think deep and be imaginative and use whatever technique you feel best suits your subject. Sometimes black & white can be very powerful for evoking drama and removing the distraction of colour. Use motion, and use fast shutter speeds to show energy. And always remember that it’s often the worst weather that can result in the best pictures. Finally, don’t forget the importance of personal safety. I have been swept away by the sea while shooting storm waves breaking on a headland in Cornwall. I lost a complete camera system but I know I’m lucky to be alive; it was touch and go. I have also been cut off by the rising tide; I’ve made all the mistakes. Now I practise what I preach; never, ever, underestimate the Power of Mother Nature. Always have an escape route, be prepared, and know that it only takes one rogue wave to end it all. davidnoton.com

Clean uncluttered compositions suggesting motion and energy will always work Above A couple dice with death while exploring the Cobb during a storm on the Jurassic Coast, Dorset. Shot with Canon EOS 5D Mark III and 70-200mm lens.

Photography in the Raw by David Noton A practical and inspirational guide from behind the lens of an internationally recognised landscape and travel photographer, Photography in the Raw examines the fundamentals of how to improve as a photographer; how to read the light, be in the right place at the right time and make the most of a situation to produce the best picture possible.

Photography News Issue 30 absolutephoto.com

Interview

This Land Joe Cornish

North Yorkshire-based, landscape photographer Joe Cornish teamed up with leading outdoors writer and campaigner Roly Smith, to explore 50 of Britain’s most amazing landscapes, which are brought together in This Land. We find out what sparked the creation of such a beautiful collection of images…

You’re one of the UK’s leading landscape photographers, but what first inspired your interest in this particular subject? This “particular subject” is the landscape of Great Britain. What first inspired my interest? Being outside as a youngster, on the moors or by the beach in my native Devon, or on family holidays by the sea in Cornwall. Running around, hopping between boulders, exploring rock pools, swimming and surfing, climbing trees, the physical joys of childhood. This land is in my blood, in my heart, in my soul. Having produced several books, what was your motivation behind creating This Land? The idea was that of the writer, Roly Smith. He asked me, he pressured me, he cajoled me! Having expressed misgivings about tackling such a huge and overwhelming topic I finally agreed to do it, partly because I think it is important sometimes to take a risk, even if you fail. Better that than die wondering ‘what if?’ Did you always intend to capture the images specifically for the book? The answer (probably rather annoyingly) is

that some images were made before the book was dreamed up, some were simply made as part of my practice as an active photographer and some were indeed made specifically for This Land.   Do you plan to visit specific locations or do you tend to explore and find something new to shoot? It really is a bit of both. Once the book was decided upon and we had planned out the places we wanted to include, then yes, it was necessary to go to the places to which I had not been and explore. I also revisited favourite old haunts and made new images for the book. What was the thinking behind your choice of locations? It might possibly look like a random choice, but in fact great care was taken to create balance. We wanted to acknowledge significant landscapes throughout the countries of Great Britain, but national and regional bias and difficulties arose immediately. The most glaring example is that of Ireland. Clearly, since it is about Britain we could not include anything from the Republic,

and geographically we both felt that Northern Ireland is much more part of Ireland than it is the island of Britain so we chose to focus solely on Great Britain rather than the UK. Does that make sense? I hope so, and apologies to anyone from Northern Ireland offended by this omission. It has to be said that focusing on the UK would have also made the book much more complicated and expensive to shoot, and it would have reduced the space available, which was already at a premium. Our love for mountains is also evident in the balance of locations and inevitably Scottish and Welsh landscapes therefore outnumber English ones, at least per head of population massively. We hope enough places from England are included to appeal to the legions of enthusiastic English hillwalkers, mountaineers, photographers and landscape experts. This is a selection, so inevitably many, many wonderful landscapes are missed. We have 50 places, but it might have been 500. How much research and preparation goes into a shoot? When you know the nature of the landscape

This land is in my blood, in my heart, in my soul

Above “This part of Hadrian’s Wall is one of the best sections to study its (now ruinous) construction and colour, and sense the flow of the landscape it once dominated.” Right “The Malverns is a unique range of hills, closely associated with the great English composer, Elgar. These British Camp earthworks and the skyline beyond have a fluidity and depth which, I think, echoes the space and atmosphere evoked in his music.”

Photography News Issue 30 absolutephoto.com

Interview

Photography News Issue 30 absolutephoto.com

Interview quite well, in some ways, not that much. I have given up (almost) worrying about the weather, for example. I will just pack my maps, wellingtons, wet-weather gear, tripods and cameras into the camper van and set off. Part of the magic of these experiences is the unexpected. Ultimately the pictures that you make are a distillation of effort, ideas and the light on the day in question. With luck, one or two of them will be worth working on.

Above “This image of the standing stones of Calanais was taken with a 5x4inch Ebony.” Below “One of the very last photographs made for This Land, this summit photograph epitomises the risks and endeavour required for mountain photography.”

What sort of challenges did you experience while shooting? It’s tempting to say ‘the usual ones’ because that’s true, but it sounds a bit tired and cynical doesn’t it? Certainly one of the hardest parts for me is the frustration of knowing that my carbon footprint is rising every time I get in the vehicle and set off down the road once again. I need to plant a rainforest by way of compensation, even though you do your best to use an economical vehicle, and drive it gently. Walking on hills and mountains is obviously hard. But in many ways that is precisely why I do it. Life without some hardship is not much of a life. Getting wet is less of a problem these days as good outdoor gear and wellingtons sorts that out. Does the light play ball? Of course not, most of the time. It’s important to be stubborn, persistent, resilient, philosophical and grateful when things do (occasionally) work for you. Good decisions can also load the cards in your favour too, and that all comes with experience. Did you shoot film for this project? If so, what cameras, lenses and film did you use? The film images in the book from my archive were nearly all shot with an Ebony 4x5inch view camera and various lenses, especially 90mm and 150mm. I used Fujifilm’s Velvia and Provia. Have you gone digital now? If so, what cameras and lenses did you use? “Gone digital” is a worrying phrase, as if I might have sold my soul to the devil. In practice I shoot digital; as a working colour photographer it would be difficult/impossible to function with film, since only a small handful of clients would be prepared to pay for large-format film, processing and scanning costs, or tolerate the delay in throughput. And although I find that I can cope with different formats okay, jumping

between digital and film exposure would be a step too far. I would also suggest that it took me at least five years to become reasonably comfortable with digital, and having taken up the digital challenge I had to concentrate fully on the relearning process. I now feel confident with it, and embrace the responsibility that comes with the understanding and interpretation of digital colour. I have used a number of different digital cameras over the years, but my current choice is the Sony A7R Mark II, and for mediumformat I use Phase One IQ280, on either Linhof, Cambo or Hasselblad camera bodies. I have lots of different lenses on the different systems that I use so it would be a bit complicated to list them all here. Do you favour any specific camera techniques, like using camera filters, for instance? I do use camera filters, both Neutral Density (ND) grad filters and also extreme NDs (or stopping filters) when appropriate. Almost all working landscape photographers I know use filters, even when they are post-production wizards and when blending exposures. I’m not sure if using a tripod counts as a special technique, because plenty of people don’t these days. However, I do, and I still find the tripod an essential component creatively. How much post-processing work do you carry out on your images? Some images are close to being straight from the camera, while others require considerable time to tease the best from them. The common thread is that I don’t want post-production to intrude on or dominate the image… in the sense that I don’t want to be able to see it myself. If I can’t see it I figure that other people shouldn’t be able to either. Do you prefer to shoot wide scenes or details in the location, and why? I don’t have a preference at all, I enjoy views and details equally and I feel that the variety is an important stimulus for me. If you take a look at This Land you will see that the balance between views and details is evident throughout the book. There may be a slight weight in favour of views, in the sense that I felt a responsibility to show the lie of the land.

Above “There is a sense of immersion in the process of shooting reflections, an intense scrutiny of proportion, line, light and relationship really comes into focus.”

Photography News Issue 30 absolutephoto.com

Interview

Fundamentally my photography is for me alone, it is my way of looking at landscapes, as an expression of an undying love for the outdoors…

Left “Looking directly down the vertical cliff face of Kilt Rock was a daunting prospect, but it gave an unorthodox perspective, made more interesting by a slightly extended exposure time.” Above Joe Cornish at work at The Roaches, Staffordshire, taken by David Ward.

This Land

What are your highlights from working on the This Land project? Not really one highlight, but overall it was wonderful to travel around the landscapes of Britain, that controversial yet immensely interesting political construct (and my home), and be reminded that it is varied and magical for landscape photography. How long did it take to create the book and what was involved? It depends on how you look at it. You could say that I only got to do the book based on reputation, and that is based on over 30 years as a photographer working on landscapes in Britain, (my first book was published in 1986). And the earliest pictures in the book, of Orford Ness, were shot for the National Trust in 1992. But it has taken three years since the first discussions, to the book being launched.

When it came to the final selection process how difficult was it to decide on which images to feature in the book? Errr, fairly difficult. I made the decisions, along with Joni, our designer. The writer, Roly, had some input on the cover and I must credit the publishers with leaving the picture selection decision-making process, the most important process in determining the success of the work, entirely to us. What do you hope to achieve with these images and book? What does anyone hope to achieve with a book? Obviously it would be nice if we sold one or two copies to people. Fundamentally my photography is for me alone, it is my way of looking at landscapes, as an expression of an undying love for the outdoors, and everything in the wild world in

particular. If that love finds some resonance with others, then I am of course happy and grateful for that. Are you pleased with the final result? Pleased? That sounds a bit complacent doesn’t it? Smug even. In reality I am anxious, and scared, because in spite of the fact that part of me couldn’t care less what anyone else thinks the truth is that, as a photographer, your images are your art, your life, and the closest thing you have to an expression of self. So if it fails it will be like a dagger through the heart. But hope springs eternal, so I am also a little bit excited as well. What’s next? I’d like to say, a long rest! There are one or two projects in the pipeline, but I can’t really talk about them at the moment.

This Land brings together 50 locations, chosen by Joe Cornish and Roly Smith, that represent the variety of the British countryside. This Land is available from this month, priced at £30 franceslincoln.com joecornishgallery.co.uk/gallery/item/ this-land-pre-order

Photography News Issue 30 absolutephoto.com

Interview Tony Worobiec

Abandoned on the Plains

Fine-art photographer Tony Worobiec has been shooting for over 36 years and has had 15 books published. Together he and his wife Eva have spent their time travelling to America to capture deserted properties of the High Plains. We find out what the journey involved…

Interview by Jemma Dodd What sparked your interest in this subject? It was rather by chance; disillusioned by Yellowstone, with dozens of photographers lining up to take the same shot, my wife Eva and I decided to head to an area where we were unlikely to meet other photographers, and ended up in Eastern Montana. Almost immediately we were struck by the scale of the abandonment. On our return to the UK, we saw a review for a book called Bad Land by the excellent travel writer Jonathan Raban; we read it and everything slipped into place. By sheer coincidence, he had investigated the same area. As a consequence, we made four further trips, before the publisher AAPPL offered to do Ghosts in the Wilderness; Abandoned America. Having released Ghosts in the Wilderness; Abandoned America why did you decide to

go back over a similar ground and create a second book? What was your motivation? Initially it was just curiosity; since the publication of Ghosts we had engaged with other projects and had never returned. We just wanted to see how much the area had changed within the last 12 years. We also found it quite exhilarating driving vast distances over the northern High Plains, barely encountering vehicles on our travels. It is possibly as a result of this, that we included more landscapes in our new book than in the previous book. When travelling across America did you always intend to capture the images specifically for a book? Yes and no; we never dreamed that anyone would have been interested in our Ghosts in the Wilderness project, and we were totally surprised when we were contacted by Cameron Brown of Artists and Photographers Publication Limited, who offered us this opportunity. Similarly when we started the

Fragments of an American Dream project 20 months ago, it didn’t occur to us that it offered another publishing opportunity, although once we started to edit our images after the first trip, we realised another book was possible. With the following two trips, we became far more conscious about the balance and structure required for a possible book, so many of the shots were more targeted. Do you come across locations accidentally or do you know exactly where you’re heading? A bit of both; while we were familiar with some of the locations we featured, there were others that were new to us. For example, in the previous book we never explored western Minnesota, but based largely on a hunch, it proved to be quite profitable. With each of the three trips we had a definite travel plan, but because of the problems of weather, we invariably made a few impromptu changes. Places that functioned 12 years ago, that are now abandoned, offered fresh opportunities.

We also found it quite exhilarating driving vast distances over the northern High Plains, barely encountering vehicles on our travels

Red barn and moon, north of Plentywood “Photographed just a few miles short of the Canadian border, it’s hard to imagine an area more remote than this.”

Photography News Issue 30 absolutephoto.com

Interview How much research and preparation goes into a shoot? Quite a lot, but I must credit my wife Eva. It’d be inaccurate to suggest that most of eastern Montana and the Dakotas are abandoned; we witnessed pockets of abandonment. She noticed that while many of the communities along the main rail links were surviving, this wasn’t the case in many of the towns situated on spur lines. Moreover, with the advent of Google Earth, and the generosity of many other photographers posting images on Flickr, finding interesting locations was considerably easier than when we first started this project 19 years ago. What are the challenges when shooting this type of subject? The major challenge we constantly encounter is the tricky issue of trespassing. While here in the UK, nobody would bat an eyelid if you are seen in a deserted building, things are quite different in America. Moreover, since the publication of Ghosts in the Wilderness many American photographers are now attracted to this genre, which is frustrating some of the remaining locals. As a consequence, if we see a “No Trespass” sign, we respect it, if a property is locked or secured in some way, we walk away, and if we see a local, we ask for permission.

Ghosts in the Wilderness; Abandoned America was shot exclusively using film, why switch to digital for this book?

Technology moves on; while all our photographs for Ghosts were taken using medium-format cameras, we have found that the quality we can achieve using a full-frame DSLR is about the same. Moreover, when I was shooting on film, I needed to use two or three prime lenses, but lens manufacture is so good these days, that most of my shots were taken using just a 24-105mm zoom. Factor in the ability to see at a glance what you have captured, and somehow it’s a no-brainer. What gear do you use and do you use any specific techniques? I currently use a Canon EOS 5DS camera, but most of the images were taken using a Canon EOS 5D Mark III. Eva uses a Canon EOS 5D Mark II. In addition to the 24-105mm zoom, I also used a 100-400mm lens, particularly for some of the landscapes (I couldn’t help noticing that this is a technique many moviemakers use for their opening still shots). For some of the evening photographs I used a large Metz hammerhead flashgun off camera to illuminate specific buildings. What post-processing work was involved? As I was shooting in Raw, most if not all of the post-processing was done in Lightroom. Contrast was the major problem, but this was overcome by making adjustments using the Shadows and Highlights sliders. The grey skies we captured added to that sense

of pathos, but in order to make better use of these, a slight increase in Clarity was also applied. That was about the extent of it.

Finding interesting locations was considerably easier than when we first started this project Church west of Minot “Ten years ago it was incredibly rare to come across a seemingly abandoned church, but now this is becoming a more frequent occurrence, reflecting the continuing drop in the local churchgoing population.” Corrin School, near Miller “These old school desks could well be about 100 years old and are now extremely sought after.” Abandoned Dodge and elevator “This community, near from the Canadian border, used to be on a branch line of the Great Northern Railroad.” Boarded up window, Scranton “Some of the properties were so wrecked, that we wondered what was left to photograph. Here, with much of the roof missing, shafts of light created interesting patterns.”

In terms of representing the truth do you always capture what you see or have you ever moved objects about? There were two good reasons for not moving anything; first, if we did, the marks left in the layers of dust would be immediately apparent. Second, we were constantly being warned by local farmers that, particularly in summer, rattlesnakes would seek shelter in these buildings, therefore it was wise to leave things undisturbed, particularly at ground level. Do you prefer to shoot inside locations or shoot the location in the landscape? We enjoyed doing both; quite often a building could appear quite unremarkable from the outside, but considerably more interesting once you got inside. For us, the aim was always to establish a balance between the two. What are your highlights from the project? I discussed this with Eva at length and we concluded that just about every day offered us excellent photographic opportunities. There were no specific highlights.

How long did it take to create the book? As we both had experience of doing this sort of thing, it didn’t take too long. Once we made our selection of images, the hardest task was to write the accompanying captions, which needed to be brief, yet informative. As we travelled, we got into the habit of writing a diary, which certainly helped. When it came to the final selection process how difficult was it to choose the images? The key here was balance; not only did we want to ensure that we were both fairly represented, but also that we didn’t feature any specific subject at the expense of others. Paul Mitchell, the book’s designer, was also greatly helpful in this respect. What do you hope to achieve with these images and the book? First, we hope it encourages other landscape photographers to explore less obvious locations. Second, we passionately believe that adopting a personal project is the best way to develop as a photographer. tonyworobiec.com

Get the book

Abandoned on the Plains, Fragments of the American Dream by Tony and Eva Worobiec is out now and can be purchased for £15.99 from rhemediaphotography.co.uk Signed copies can be bought directly from the authors for £13.50 (includes postage and packaging). Send cheques and address to: Tony Worobiec, 48 Forest Edge Road, Wareham, Dorset BH20 7BX.

Photography News Issue 30 absolutephoto.com

Recommendations Pro Moviemaker

Welcome to the drone age Drones have been around for more than 150 years, but their development as a vehicle for commercial photography and filming is much more recent. So where have they come from and where are they going? Words by Terry Hope

1849 Earliest recorded use of an unmanned aerial vehicle. 22 August, Austria attacked Italian city of Venice with unmanned balloons loaded with explosives.

1980s NASA awarded Lockheed contract to study solar-powered HALE UAV for crop monitoring, military reconnaissance and communications.

2006 DJI founded in Shenzhen, China.

1916 First pilotless aircraft built during First World War. 12 September, the Flying Bomb, the Hewitt-Sperry Automatic Airplane made its first flight, demonstrating the concept of an unmanned aircraft, intended as ‘aerial torpedoes’ and early cruise missiles.

1982

2007

Israel used UAVs alongside their manned aircraft against Syrian aircraft during the Lebanon War.

Online community DIY Drones founded by Chris Anderson, 3DR’s founder and CEO, in US. Now numbers 26,000 members.

1940 Reginald Denny produced first largescale production, purpose-built drone, Radioplane OQ-2. Almost 15,000 of them were manufactured during Second World War.

1960/70s

1998

Surveillance became widespread. US spied on North Vietnam, Communist China and North Korea using Ryan Model 147 Lightning Bug series of drones.

Insitu Aerosonde drone, Laima, became first UAV to cross the Atlantic Ocean in under 27 hours.

Photography News Issue 30 absolutephoto.com

Recommendations

2015 2013

J anuary: PrecisionHawk’s lightweight LATAS (Low Altitude Tracking and Avoidance System) can be built into drone circuits.

January: First DJI Phantom unveiled – no stabilisation gimbal, no video downlink, and camera was an add-on. December: DJI Phantom 2 offers auto return, increased speed and flight time. An Add-on gimbal remotely tilts Zenmuse camera.

ebruary: FAA (Federal Aviation Administration) proposed framework for commercial use of F small drones: daytime only and within operators’ visual line of sight. April: DJI Phantom 3 offers visual positioning system. Pro model features integral 4K camera. ay: 3DR Solo claimed to be the smartest drone ever. Powered by two cameras, it’s designed for M the GoPro HERO. ay: Professor Martinez Carranza, researcher at Mexico’s National Institute of Astrophysics, M Optics and Electronics, announced new drone navigation system, not using GPS satellites. May: Lily comes with ‘follow me’ feature.

2009

2014

3D Robotics founded in Berkeley, California. It’s now the largest manufacturer of commercial drones in the US.

J une: DJI Matrice 100 is aware of its surroundings and can adapt its flight appropriately, offers 40 minutes’ flight time.

January: Intel and Ascending Technologies showcased prototype multi-copter drones capable of navigating obstacle course and avoiding people, using Intel’s RealSense camera module, weighing 8g.

J uly: Phantom 2 Vision+ released, with a three-axis electronic stabiliser, also featuring no-fly zone software. ovember: DJI Inspire 1 aimed at high-end N enthusiasts and pros, features navigational aids, arms that lift out of camera sight and removable, upgradeable gimbal. One of most popular UAVs to date. ovember: 3DR’s Aero-M, fully automated N mapping drone, can create highly accurate, georeferenced and orthorectified mosaics, offers flight time of 40 minutes and can photograph up to 250 acres per flight.

2010 eveloped by British defence firm QinetiQ, D solar-powered Zephyr smashed the world record for the longest ever drone flight – more than two weeks. arrot AR.Drone with flight-assisting P sensors was released at Consumer Electronics Show.

eptember: At IBC, ProDrone demonstrates its BYRD UAV (above), said to be world’s first S drone capable of folding into a conveniently sized package. eptember: DJI X5 gimbal and mirrorless Micro Four Thirds camera fits Inspire 1, designed S specifically for aerial photography and cinematography, accepts various lenses and captures 4K at 30fps. September: Dream QII Plexidrone available to pre-order from IndieGoGo. Easily assembled, the ultimate drone for backpackers.

2016 & the Future China & the US are developing hypersonic drones that can go 25x the speed of sound. Boeing is developing the solar-powered Solar Eagle, to stay in the air for five years. NASA’s proposed UAS Traffic Management System will track drone traffic and send operators alerts.

Ready to take to the skies? Turn over to find out how to subscribe to Pro Moviemaker magazine and read more articles like this regularly.

Photography News Issue 30 absolutephoto.com

Recommendations

The ultimate magazine for next generation filmmakers Whether you’re well versed in the craft of moviemaking or just getting started in motion, Pro Moviemaker magazine is the must-have addition to your kitbag. This bimonthly magazine is packed full of case studies from working pros, directors, DoPs and student film-makers; technique advice on

everything from lighting through sound editing to post-production; and in-depth gear reviews. Each issue covers all the hottest industry news, plus a dedicated section on everything aerial. Pro Moviemaker isn’t just a print magazine though, you can also follow us online at our dedicated website, promoviemaker.net and

join in the conversation on Twitter; we’re @ProMoviemaker. Read on to find out more about what you can expect from Pro Moviemaker magazine and go on, hit that little red button, you know you want to… promoviemaker.net

@ProMoviemaker

Features Once you’ve caught up on the latest industry happenings and entered a competition or two, Pro Moviemaker treats you to an inside look at the careers of some of the most successful commercial filmmakers. Learn what it takes to move from corporate videos to film and TV or discover how innovative wildlife filmmakers have to be to get the most awe-inspiring shots.

Movie Matters If you currently make money from your film-making (or aspire to) this is the section of the magazine for you. The regular Ask the Expert feature poses key questions to a panel of experts, while columnists like The Guardian photographer Dan Chung will update you on the state of the industry. Movie Matters also offers advice on subjects like crowdfunding, hiring a crew, improving your showreel and more.

Academy Ever since the ground-breaking launch of the Canon EOS 5D Mark II eight years ago the videography industry has been on a non-stop train of technological evolution. Don’t worry though if you don’t know your PAL from your ProRes, Pro Moviemaker is here to help you stay in the first carriage of that train by offering advice and projects for film-makers at every level. Need to brush up on your editing techniques or learn more about recording sound on location? Pro Moviemaker has you covered.

SUBSCRIBE Gear If you’ve got a DSLR, CSC or even a camera phone you can make a movie. However, if you’d like to deliver a more professional end product or start charging for your services, you’ll likely need to invest in a few extra gadgets. The gear section of Pro Moviemaker will help you navigate the vast waters of moviemaking equipment with full tests, buyers’ guides, head-to-heads, mini tests and more. Expect tests on the latest cameras and lenses from a movingimage perspective, plus round-ups on everything from batteries to colour-grading software.

Aerial Filmmaker Welcome to the drone age. Every issue Pro Moviemaker brings you the latest news, kit and features from the aerial videography realm. Learn all about the legalities of flying drones in the UK and abroad, plus how other filmmakers are incorporating them into their business to increase their bottom line. Pro Moviemaker’s editor Terry Hope is a qualified drone pilot so expect him to be test driving the latest quadcopters and waxing lyrical about the musthave aerial accessories.

AND SAVE Get six issues a year for just £21.99, visit bit.ly/1T3Z8 I 7 to find out more.

Photography News Issue 30 absolutephoto.com

Advertisement feature Profoto modifiers

Beauty is in the eye of the photographer The Profoto Off Camera Flash system offers an impressive array of light modifiers for its B1 and B2 systems and are now joined by two more exciting innovations © Sandra Aberg

Profoto has revolutionised the world of portable flash with its B1 and B2 Off-Camera Flash (OCF) systems. Both feature wireless TTL lighting control and Profoto’s high-speed sync technology with the Air Remote TTL control unit, which is compatible with many Canon and Nikon DSLRs. The Air Remote TTL control unit just makes light control very simple and with a wireless operating range of up to 300m, it is very convenient too. Perhaps less heralded, but equally worth talking about is the B1 and B2 heads’ ability to accept most Profoto modifiers. From the company’s extensive Light Shaping Tools range available for its mains powered flash

heads, the heads can take all but the Hard Box and Narrow Beam reflectors – so that’s a huge selection to choose from. However, Profoto also has dedicated OCF Light Shaping tools for the B1 and B2 heads including an extensive selection of softboxes and grids. These accessories have been tailor-made for location photography so are much lighter and more compact compared with Profoto’s standard collection of Light Shaping Tools. They are also quicker to assemble with fewer parts so they are fast in use too. Two exciting new products have been introduced to the Profoto OCF Light Shaping Tools family, the OCF Beauty Dish and the OCF Gel Set.

Beauty Dish When the original Softlight Reflector was launched back in 1980 leading fashion photographers nicknamed it ‘The Beauty Dish’ because of the lighting effect it produced. It was known for its ability to bring out the model’s beauty with a crisp, smooth effect. The OCF Beauty Dish is the modernday version of this classic modifier. Made from high-quality fabric, the Beauty Dish is designed to fold down to fit a small backpack and it is lightweight too so ideal for location work. The whole modifier including the speedring mount and supplied deflector plate weighs just 480g.

Getting it ready for use is quick thanks to a patent-pending design. There is no need to use force or bend rods to fix it to the OCF Speedring. When mounted it measures just 56cm across. Two finishes are available, white or silver. The white version gives a more even, slightly softer light and if you prefer a more punchy, contrasty effect the silver option is the one to go for. The OCF Beauty Dish is available now at the cost of £144 – the OCF Speedring is bought separately – and for the price you get the dish, plus a deflector plate, diffuser and carrying bag.

Photography News Issue 30 absolutephoto.com

Advertisement feature © Frederico Martins

Above The Profoto B1 and B2 Off Camera Flash systems revolutionised the portable flash market with features wireless TTL control and high-speed sync flash.

Profoto B1 & B2 Off-Camera Flash systems

Gel set The second new OCF Light Shaping Tool is no less exciting and has huge creative potential. The OCF Gel set features a wide range of coloured lighting gel filters. They are precut to fit Profoto B1 and B2 OffCamera Flash units and are held in place with a unique snap-on solution so no need for sticky tape. Three different OCF Gel sets are available. The OCF Color Gel Starter kit costs £72 includes ten popular colours and the OCF Grid&GelHolder, with two attachment pieces enabling you to switch between colours quickly.

The OCF Color Correction Gel pack features 20 gels filters in orange, blue and green, designed to balance flash with sunlight, moonlight and fluorescent light respectively. The final kit is the OCF Color Effects Gel pack and here we have 20 coloured gels including Rose Pink, Gold Amber and Peacock Blue. The gel packs are priced at £42 each. As part of the integrated Off-Camera Flash system, the OCF Gels can be used with the B1 and B2 heads as well as with any of the other OCF Light Shaping Tools. profoto.com/offcameraflash

One of the keys to great photos is lighting. A well-lit photo stands head and shoulders above the rest. Lighting doesn’t need to be complicated though and with the Profoto B1 and B2 off-camera flash systems, achieving slick expert-level shots is easy. The B1 has completely cordless TTL operation and is ten times as powerful as your average speedlight, making it your go-to flash for on-location shoots. On the other hand, the B2 is TTL ready too, can be used both on- and offcamera and is versatile enough to use as a gentle fill light or as your main light source.

Launch offer Buy a Profoto B1 or B2 Off-Camera Flash kit and you’ll get a free 2ft OCF Beauty Dish with an OCF Speedring. This special offer is available until 7 June; full details online.

Photography News Issue 30 absolutephoto.com

Technique

Wait for it... Long exposures

This month, try changing the way you think about exposures, because slowing your shutter from fractions of a second into the zone of minutes can add a simple, elegant beauty to the right kind of scene. Find out how to do it the right way with our guide…

Words & pictures by Kingsley Singleton While it’s true that long exposures are easier to shoot than ever before, they’re still the preserve of creative photographers; not people who just swing camera phones about. The reason is that a true long-exposure requires thought, planning, some skill, but above all the intention to create one. In fact, that’s what separates long exposure photography from simply shooting with a slow-shutter speed; the intention. Anyone can blur movement by accident with a slow shutter speed they didn’t mean to use; a long exposure has just the right amount of movement for the subject and the look you wanted: it’s precise; perfect. Shooting a subject with a long exposure won’t make the picture good on its own though – it can only add to what’s there, building on

the composition you’ve created. What’s more, some styles of composition work with long exposures and some don’t; and it’s important to find the right length of exposure for what you want to show. Yes, even after getting past the basics of setting up the camera in the right way there’s a lot to get your head around. But by the end of this guide we’re sure you’ll have it sussed. Why shoot long exposures? The main reason for using a long exposure is to render movement in a scene, which is a technique that has several uses; movement can apply the idea of time passing, it can suggest speed, and it can also make anything that’s static in the frame stand out, or look a lot sharper and more solid. For example, in a landscape image with a flowing river or stream, the sharp elements contrast with the

blur of the water; it’s the same with clouds moving past a skyscraper. With the right components, very long exposures can also create a minimalist beauty, clearly defining a lone subject as the focal point. You can even use nothing but movement for an impressionistic effect. And as mentioned before, it’s not just physical movement that long exposures can help with; in fact, given sufficient time, the light itself in the scene moves, creating a more rounded look to the illumination, lowering contrast and filling in shadows. What is a long exposure? A long exposure requires a slow shutter speed, for example one second or longer, and this affects the look of moving subjects – an effect called motion blur. Typically, at slow shutter speeds, anything moving in the scene

Very long exposures can create a minimalist beauty, clearly defining a lone subject

Above Shot at Hunstanton, Norfolk with settings of 2mins, f/8, ISO 100, these collapsing sea defences work with the long exposure to give a serene look.

Photography News Issue 30 absolutephoto.com

Technique 1/125sec at f/11, ISO 100

How to get started with long exposures There are lots of reasons why some long exposures work and some don’t, and many of them come down to subject choice, composition, length of exposure and timing, as discussed in the main text. Outside of those factors, if you get to grips with the basics of shooting long exposures with a neutral density filter you’ll be assured that your picture is at least sharp and well exposed. Here’s how... 1. Set up and meter Set the camera on your tripod, focus where desired and frame up the shot. In aperturepriority mode (A or Av), dial in the f/number you want to use, depending on the depth-of-field desired, for instance f/11. Set the ISO to a low level, like 100 or 200 and take a look at the resulting shutter speed. For example, let’s say it’s 1/4sec. 2. Switch to bulb mode and fit the ND Now turn the mode to bulb (B). On some cameras there’s no B so you’ll find bulb mode by going to shutter-priority (S or Tv) or manual (M), and then pushing the speed past the 30secs. The previous aperture and ISO should be carried over automatically, but if not, dial them in again. Check focus and framing again and then switch to manual focus to make sure there is no focus shift. Fit your neutral density long exposure filter. 3. Calculating the exposure To get the right shutter speed, take the metered value and adjust it by the strength of the ND filter, which is given in ‘stops’. So, if you’re using a three-stop filter (ND 0.9), double the length of the shutter speed three times; 1/4sec becomes 1/2sec, then 1sec, and finally 2secs. If you’re using a tenstop filter, it would be four minutes (from 1/4sec to 240secs)*. Make life easier with a smartphone app like Longtime Pro Exposure Calculator.

45secs at f/11, ISO 100

4. Long-exposure NR Most cameras have a long-exposure noisereduction (NR) function. This records a second, ‘dark’ frame after the first – usually for the same time – to remove digital noise caused by keeping the sensor charged for a long period. This mode slows down your shooting, so if you’re shooting for several minutes, turn it off. If you’re shooting Raw, NR might not have any effect anyway. 5. Shoot and time the exposure During a long exposure it’s necessary to cover the viewfinder eyepiece to stop light entering camera and flaring off the filter and/or overexposing the image. So cover the eyepiece either with your hand, a cap or the built-in blind. Finally, use a remote release so that you don’t jog the camera, activate the shutter. Time the long exposure with your watch, phone or the release itself, and close the shutter when the desired time has elapsed. *The longer the exposure, the less likely a simple calculation is to be accurate as very strong filters aren’t as easy to judge and more likely to underexpose. Therefore it’s a good idea to shoot in Raw, just in case. Also, the light may change during the time the shutter is open, so if the scene becomes darker, add some time; if it gets lighter, do the opposite.

Above One of the main reasons for using a long exposure is to simplify a scene and avoid a clutter of competing textures, as seen in the top image of Craster harbour, Northumberland shot at 1/125sec. In the bottom image, at 45 seconds, and with the waves blurred, the shapes and details of the harbour wall and the rocks are more easily enjoyed.

Photography News Issue 30 absolutephoto.com

Technique during the exposure will appear as a blur, and the amount of blur depends on two things; the speed of the subject and the length of time the shutter is open; therefore, assuming its rate of movement is constant, a subject will take on twice as much motion blur at 2secs as it does at 1sec. We’ll come on to what speeds are required for different effects later. So, if you know you want a long exposure, how do you generate a slow shutter speed? That depends on the exposure mode you’re using. For instance, in shutter-priority (T or Tv) or manual mode (M), you can simply dial in the speed you want up a maximum of 30 seconds and the aperture will close to compensate (up to a point). Alternatively, in aperture-priority you can set a very small aperture which will naturally force the shutter speed to lengthen. The best mode to shoot in for long exposures, however, is bulb (B). This mode lets you keep the shutter open for as long as you like using a lockable remote release. In T (time) mode one press opens the shutter and another closes it. Lower and slower Having decided the speed you want, you might find you can’t use it without overexposing and this is common when working in shutterpriority, manual or bulb mode. It happens because the shutter speed you want to use is letting in more light than can be compensated for by the aperture setting; it simply can’t be closed any further to create a good exposure. To deal with it, first try setting the lowest possible ISO setting to reduce the camera’s sensitivity to light. If the camera is still overexposing at your chosen settings, you’ll need to use a faster shutter speed, wait until the available light has fallen or use a filter. Stop the light Filters; this is where the real technical art of long exposures begins, because armed with the right ones you can shoot with speeds of many seconds or minutes, no matter how strong the light in the scene. The filters you need are neutral density (ND) types and long exposure (LE) filters, and while they do the same job – essentially, cutting the amount of light entering the camera by a given amount – there is a difference. ND filters are supposed Viewfinder covered

1 second

2 second

4 second

30 second

2.5 minutes

5 minutes

Above Here, you can see the effect of various shutter speeds on the water around Thurlstone Rock, Devon, and the length of exposure should be driven by the look you want to create. If some texture in the water is required, giving a more natural look, then a speed of around 30 seconds is fine. But for a more mist-like finish, the exposure needs to run into the minutes.

Viewfinder uncovered

Above When using long exposure filters to allow slow shutter speeds, it’s important to shield the eye piece, both to avoid overexposure and to stop internal reflections off the filter. Here light leaks could have spoiled a 30secs exposure of Seljalandsfoss, Iceland.

to keep colours neutral, while long-exposure filters, which cut out much more light, usually make no such claims, often warming or cooling colours. These colour casts can be corrected in Raw processing, or rather than use auto white-balance set a manual value. You can stack two ND or LE filters to multiply the effect, or combine regular NDs with graduated versions so highlight areas like the sky are better exposed. Watch out for vignetting when stacking screw-in filters. Using more than filter also has possible implications for image quality and the greater chance of flare. For more on picking an ND filter, and the strength you need see the panel. If you’re using a variable ND or LE filter, take care. These work fine most of the time, and even allow you to focus while they’re attached, by setting the filter to a low strength, then turning it back ‘up’ after locking the focus. However, don’t turn the bezel on the filter too far or results can be patchy, causing some areas to be under or overexposed. You’ll also find that shooting at very wide angles produces problems in terms of the coverage, the same way that polarising filters do (it’s on these that variable NDs are based). Moving scenes So what sort of scenes and subjects work well with long exposures? It’s no surprise that they’re used a lot in coastal photography, where there’s an ever-shifting mass of water

to blur, and in fact any moving water can look good when it’s recorded over a period of many seconds, rather than a fraction of one. However, the most important thing is simply to ask whether the scene looks better with or without blur, and if so, how much is required? Taking the sea as an example, there’s no right or wrong way to shoot it, only that which fulfils your motives. So, if you conceive of a peaceful, relaxing scene, a long exposure is a good route, where the texture of the water softens allowing the static elements to come to the fore. Other areas where motion blur can be useful is in shooting long grass and trees, where the latter will appear to shiver as they move in the wind. Or where busy, cluttered skies are drawing attention from a landscape or piece of architecture. The same goes for people in city scenes, because with the right amount of shutter speed you can turn them into a sinuous trail or remove them entirely to make busy streets into a ghost town. How slow should you go? Deciding on the length of exposure to use is much more important than finding subjects to blur; the former shows photographic intent, while the latter is just an excuse for a technical exercise – sure, learning to shoot long exposures can be a thrillingly eye-opening experience, but once you’ve done it, ultimately you’ll realise it’s just a means to an end.

Photography News Issue 30 absolutephoto.com

Technique

You can stack two ND or LE filters to multiply the effect, or combine regular NDs with graduated versions so highlight areas like the sky are better exposed.

Left Any moving subject will pick up blur during a long exposure, including the windblown grasses in the foreground of this 2mins view of Mount Snowdon from the Ranger Path. Here, although a 10-stop ND filter was used, a 2-stop graduated filter was also fitted to stop burn out in the sky. Below Long exposures will often enhance simple, square compositions, like the central framing of The Shard, and these boathouses on Llyn Dinas, Snowdonia (both 30secs at f/11, ISO 200).

Photography News Issue 30 absolutephoto.com

Technique Picking a neutral density filter Long exposures can happen quite naturally – all you have to do is hang around until your location has spun sufficiently away from the sun. But while patience is a virtue, neutral density (ND) and long exposure (LE) filters give you flexibility, the latter allowing very slow shutter speeds even in broad daylight. ND and LE filters block light from entering the camera, and their strength (how much they reduce the light) is measured in ‘stops’; a stop being a doubling or halving of an exposure value. A one-stop ND cuts the amount of light in half; meaning that a 1sec exposure becomes 2secs. Commonly, NDs come in strengths up to three stops and having a range of them is a good idea as it will allow you to get just the shutter speed you want. For example, although a strongish, three-stop filter might seem a good idea, it can block too much; get a one-, two- and three-stop filter and you can stack them to combine the strengths (though this risks vignette on screw-in versions). All filter companies offer a range of NDs, so there’s lots of choice. You can get screw-on NDs like a Hoya 77mm ND 0.6 (two-stop) filter for just £59 or, if you prefer using slot-in filters and a holder, try Cokin’s P-Series Full ND Kit, which fit DSLRs with APS-C sized sensors and includes three resin filters covering one, two and three stops, plus a holder for only £50. Both need matching to your filter size and the Cokin needs an adapter ring, but that’s only a few pounds. Then there’s LE filters, so called because they make no claims about leaving the colours in the pic neutral and often add a slightly warm or cool cast. There’s the famously brilliant Lee Big Stopper at around £100, which fits into the Lee Filter Holder Foundation Kit (£55). Or try Hoya’s screw-in 77mm Pro ND 1000 at £60. Both offer ten stops of light reduction. Finally there are variable filters which allow a range of light-absorbing strengths to be set; for example, check out Vü Filters 77mm Sion Variable ND which covers one to seven stops, adjusted by turning the bezel.

So, once you’ve decided that your composition needs a long exposure, what speed should you use? As mentioned earlier, this depends on the speed of movement in the scene and the amount of blur that you want to produce. Say for example you’re shooting at the coast and you want the viewer to feel the motion of the tide. That’s likely to need a shutter speed of two to five seconds, depending on the speed of the waves, which will produce pleasing streaks of surf. Use a shorter speed and there will be too much texture; longer and the tide will mist to the point of being invisible, or you may get the water coming in and out, which lacks direction. If, on the other hand you want the water to form a mist, making clear islands out of whatever’s in it – a sea defence, harbour wall or the end of a groyne – you’ll need a lot longer. Empty or still? Long exposures can cause problems with composition as well as adding to a scene; it all comes down to whether the blur makes large areas of a scene look empty or vacant in a bad way – or if that blur adds something to the arrangement you’ve created. Take a river for example: at a relatively normal shutter speed of 1/60sec or 1/125sec, the water will be textured; but slow this to a few seconds and the smoothness produced can make the water into a cleaner, simpler, more obvious lead-in, taking your eye to whatever’s in the distance.

Conversely, open tracts of blurred water can unbalance a picture, so unless the image is meant to convey a feeling of emptiness, it might be better to avoid a long exposure, or reframe so that there’s more ‘going on’. This is why very long exposures where most of the scene is blurred often work with central or symmetrical compositions; emptiness forces the eye onto the subject, and if it’s off centre that can sometimes look awkward. Try to work slower and visualise how the scene might look with its motion blur, because you’ll never get those three minutes back (and it’s six minutes with in-camera long-exposure noise reduction). On the subject of which… Noise in the nothing Very long exposures cause a build-up of digital noise in pictures, which is different from the grain produced by using high ISO settings alone; it comes from the sensor heating up during the exposure and leaves speckles (hot pixels) and casts, especially around the edges of the frame. To combat this, cameras have a long-exposure noise reduction feature, which is usually turned on by default when the shutter speed goes over a certain time, like 2secs. In this process, at the end of the exposure, the camera creates another of an identical length without actually opening the shutter. This is then compared to the first exposure, allowing the interference to be filtered out automatically.

The only problem here is that if you’re creating exposures of a few minutes, you’ll be doing a lot of waiting around on top of the shooting time. What’s more modern DSLRs don’t shower the image with noise like older models, so you may not need it at all if you’re only shooting for 30secs to a minute or thereabouts, so seek out the function in the menu and turn it off. Raw power When it comes to finishing off your long exposures in post-processing, the use of Raw format is a big advantage. This means that slightly over or underexposed pictures are easier to tweak during processing in Adobe Photoshop or Lightroom. Using the Exposure, Whites, Highlights, Blacks and Shadows sliders means you fine-tune an picture’s density and contrast while any minor colour shifts in the image can be resolved with the Temp and Tint sliders. But the advantages don’t end there. Using the HSL/Grayscale tabs let you apply a simple monochrome finish, which always suits the other-worldly look of long exposures. And if you want a subtle wash of colour, there’s the Split Toning tab right next to it. To create uniformity in your long exposures, you can also try toning them all the same way and also using the same Crop tool settings, applying either a square or a 5:4 crop, so that a harmonious series is created.

PN’s FREE Guide to

Brought to you by

The Photography Show 2016 Stage Guide & Event Diary Explore the show

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

The show floor will be alive with the buzz of competitions, on-stand demos and the launch of new technologies, plus some small, novelty events to entertain you and your friends.

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

Behind The Lens

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

Super Stage*

Product Theatre

Sessions led by technical specialists give an in-depth introduction to the use of specific camera models.

Featuring big names in photography. Chris Packham, David Bailey, Peter Dench, Bruce Gilden, Lara Jade and Scott Kelby are amongst the line-up.

Mobile & Social Stage

Live Stage

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

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

Video Theatre

Wedding & Portrait Stage

Workshop Theatre

Central Aisle

More popular than ever, this theatre hosts seminars which offer the skills and techniques needed to capture great footage on a camera; perfect for all levels of budding video maker. Practical workshops, covering topics from Lomography to framing, encourage you to turn your hand to something a bit different.

Dedicated to wedding and portrait photography, this stage hosts experts providing tips and tricks for taking creative, high-quality shots in a range of settings using live demos. Join some incredible professional photographers on this interactive and exciting live stage.

*Session requires an extra activity ticket as well as an entry ticket to the show. If you havent pre-booked your tickets at photographyshow.com by 19 March you can buy them from the box office at the show. Subject to availability.

Saturday 19 March

Sunday 20 March

10:15-10:45

Combining Lightroom and Photoshop CC in your AT retouching workflow

10:30-11:30

Cut your own, quality mounts

11:00-11:30

Video editing with Photoshop CC and the Photography Plan

11:00-11:40

New landscape photography

BTL

11:00-12:30

Finding your (professional) voice on Instagram – Dan Rubin

11:30-12:00

Styling tips for beautiful food photography

11:30-12:10

Augmented photography: The next revolution in VS professional photography

11:30-12:15

In-depth with: The Fujifilm X-Pro2

11:45-12:15

Making your photos look amazing with Lightroom

12:00-12:30

Monday 21 March

10:15-10:45

Combining Lightroom and Photoshop CC in your AT retouching workflow

10:30-11:30

Cut your own, quality mounts

11:00-11:30

3D printing with Photoshop CC and the Photography Plan

11:00-11:30

Overcoming church wedding challenges

11:00-11:40

Landscape photography, whatever the weather

11:00-12:30

Nothing is brilliant – Chris Packham

11:30-12:00

Fearless flash photography

11:30-12:10

4K filmmaking and the transition from stills photography to moving images

Is your mobile phone better for you than a dedicated camera

11:30-12:15

In-depth with: Fujifilm X-Pro2

12:00-12:30

Low-light portraits: A shot in the dark

11:45-12:15

12:00-12:40

Life in the wild

BTL

Making your photos look amazing with Lightroom

12:00-13:00

Double mount, double impact

12:00-12:30

My story so far: Music -hotography and social media

12:30-13:00

Hidden gems in Photoshop CC for photographers AT

12:00-12:30

12:30-13:00

The beauty of Bollywood: the art of photographing dance

Take your portraiture from ordinary to extraordinary

4k film-making and the transition from stills photography to moving images

12:30-13:10

12:00-12:40 Escape the photography rut: Inspiration and re-invigoration

BTL

12:00-13:00 Double mount, double impact

12:30-13:00

Using mobile apps in the imaging workflow

12:45-13:30

In-depth with: Leica Q

13:00-13:30

The new era of building your brand through social media

13:00-13:40

Oceans to chalk streams: adventures in underwater photography

BTL

Organising your photography with Lightroom and the Photography Plan

13:30-14:00

Who, why and how: the fundamentals of photographing people

13:00-13:40

The key to great images on the road

13:30-14:10

Transitioning to professional video from photography

13:15-13:45

Colour management with Datacolor – Perfecting AT your workflow

13:30-14:30

Lomo’Instant WIDE camera workshop

13:30-14:10

Diary of a wedding cinematographer

13:30-15:00

An interview with David Bailey

14:00-14:30

Colour management with Datacolor – Perfecting AT your workflow

13:30-14:30

Lomo’instant WIDE camera workshop

13:30-15:00

10-year evolution – Lara Jade

13:15-13:45

14:00-14:30

Lights, camera, Internet; navigating the landscape of visual content in the digital era

14:00-14:30

UK GARRISON PARADE

14:00-14:30

What sets you apart from the crowd?

14:00-14:40

Becoming the editor of your blog

BTL

12:30-13:10

Combining Lightroom and Photoshop CC in your AT retouching workflow

10:30-11:30

Cut your own, quality mounts

10:30-12:00 The stuff they don’t tell you – Scott Kelby 11:00-11:30

Hidden gems in Photoshop CC for photographers AT

11:00-11:40

Candid street photography

11:00-11:40

Three decades and I still know nothing

11:30-12:00

11:00-12:30 11:30-12:00

The stuff they don’t tell you – Scott Kelby

BTL SS

Think big with small equipment: studio in your kit bag

11:30-12:10

Digital film: Love what you do

11:30-12:15

In-depth with: Fujifilm X-Pro2

11:45-12:15

Making your photos look amazing with Lightroom

12:00-12:30

Achieving high-end wedding portraits

12:00-12:30

Desktop photo editing on your mobile

12:00-12:40 Potraits: a collaboration

BTL

12:00-13:00 Double mount, double impact

12:30-13:00

Creative fashion photo shoot

12:30-13:00

Using mobile apps in the imaging workflow

12:30-13:10

Exploring Fusion: Incorporating film-making into VT your photography business

In-depth with: Leica Q

12:45-13:30

In-depth with: Leica Q

13:00-13:30

How to become Instagram famous

13:00-13:40

A journey into landscape photography

BTL

13:00-14:40 Women in photography: field work

Cut your own, quality mounts

Surprising ways to bring feeling and emotion into WP your portraits

14:00-14:30 The new era of building your brand through social media

10:30-11:30

Hidden gems in Photoshop CC for photographers AT

Combining Lightroom and Photoshop CC in your AT retouching workflow

11:00-11:30

Digital film: Love what you do

14:00-14:30 Lighting for portraits

10:15-10:45

11:00-11:30

12:45-13:30

14:00-14:30 Hidden gems in Photoshop CC for photographers AT

Tuesday 22 March

10:15-10:45

13:15-13:45 13:30-14:10

Colour management with Datacolor – Perfecting AT your workflow Digital film: All the right ingredients

14:00-15:00 Take it or leave it – Bruce Gilden 14:00-14:30 Portraits on your mobile

14:00-14:30 The art of the quick portrait

14:00-14:30 Video editing with Photoshop CC and the Photography Plan

14:00-14:45

In-depth with: Pentax full-frame

Capturing and posing newborns

Digital film: All the right ingredients

11:30-12:15

In-depth with: Fujifilm X-Pro2

11:45-12:15

Making your photos look amazing with Lightroom

12:00-12:30

My 365-day Instagram photography journey with MS an iPhone

12:00-12:30

The non-posing approach: Creating natural couple shots

12:00-12:40 Frame by frame: A career in time-lapse photography

BTL

12:00-13:00 Double mount, double impact

12:30-13:00

Creative fashion photo shoot

12:30-13:00

Using mobile apps in the imaging workflow

12:30-13:30

Panel discussion: Four perspectives on making stills and motion work

12:45-13:30

In-depth with: Leica SL

13:00-13:30

The new era of building your brand through social media

13:00-13:40

Every picture tells a story

BTL

13:00-14:30

From here to there – Alec Soth

13:15-13:45

Colour Management with Datacolor – Perfecting AT your workflow

13:30-14:00

Charity picture raffle draw

VS SS

BTL

11:30-12:10

MS BTL

14:00-14:30 Nice day for a white wedding

14:00-14:30 The best camera is the one you have with you

14:00-14:30 Video editing with Photoshop CC and the Photography Plan

14:00-14:40 120 hours in India

BTL

14:00-15:00 Lomo’Instant WIDE camera workshop

14:00-14:40 Augmented photography: The next revolution in VT professional photography

14:30-15:00 Photography as therap: The journey to pro

14:00-14:45

In-depth with: Pentax full-frame

14:30-15:00

Styling and photographing the seasons

14:00-14:40 Opera By The River: The 11-month project

BTL

14:30-15:10

Action photography and film

14:00-14:45

14:45-15:15

Fundamental imaging techniques of postproduction

15:00-15:30

Finding the extraordinary in the ordinary: DSLR, Instagram and video

15:00-15:30

Mastering the shallow depth-of-field portrait

15:00-15:40

My world of fashion photography

BTL

15:30-16:00

Mastering the basics of Lightroom

15:30-16:00

Strike a pose

15:30-16:10

Learning to fly: an introduction to film-making with drones

15:30-16:30

Lomo’Instant WIDE camera workshop

15:00-15:40 Ten tips for a better business

16:00-16:30

A glimpse into the world of documentary photography

15:30-16:00 Lighting and posing: The ultimate challenge

16:00-16:30

How to create content that gets you noticed on social media

15:30-16:00 Mastering the basics of Lightroom

16:00-16:30 Nice day for a white wedding

BTL

Travel kit and how to look after it

15:30-16:10

16:00-16:30 The art of the app

16:00-16:40 16:00-17:30

An afternoon with Nick Danziger

16:00-16:40 Inspired by plants

BTL

16:15-16:45

Using mobile apps in the imaging workflow

16:30-17:00

Syncing flash at high speed

16:00-16:40 The image is in your hands

BTL

16:30-17:10

A photographer’s guide to filmmaking

16:15-16:45

17:00-17:30

Instagram and beyond – what comes next?

17:00-17:30

Using Adobe Slate & Behance to publish your work

17:00-17:30

17:00-17:40

Overcoming your fears: shooting street and portraiture around the world

BTL

17:00-17:40

In-depth with: THETA 360Photo and video

14:30-15:10

Diary of a wedding cinematographer

14:30-15:00 Exploding balloons: The art of creative action photography

14:00-15:00 Stuck in a rut? Is it time to push your creative boundaries?

14:45-15:15

Augmented photography: The next revolutions in professional photography

Fundamental imaging techniques of postproduction

14:30-15:10

Fundamental imaging techniques of postproduction

15:00-15:30

The art of the quick portrait

14:45-15:15

Fundamental imaging techniques of postproduction

The new era of building your brand through social media

15:00-15:30

The non-technical portrait guide

15:00-15:40 Learning to fly: An introduction to film-making with drones

15:00-15:30

A glimpse into the world of documentary photography

15:00-15:40 Creating creativity

BTL

15:00-15:40 The passion, the photograph and the moment

BTL

Tips on smartphone photography

15:30-16:00 Creating a portrait

15:30-16:00 Final: 60 seconds to change to life

15:30-16:00 Photoshop CC for photographers

15:30-16:30

16:00-16:40 Sports photography in the modern era

BTL

16:15-16:45

15:00-15:30

In-depth with: Theta 360Photo and video

A photographer’s guide to film-making

16:00-16:30 The art of one-light portraits

Using Adobe Slate & Behance to publish your

BTL

work Organising your photography with Lightroom

and the Photography Plan Snap happiness

BTL

Stuck in a rut? Is it time to push your creative boundaries?

16:00-17:30

The picture in-between – Peter Dench

16:15-16:45

Making your photos look amazing with Lightroom

16:30-17:00

Atmospheric objects are everywhere

17:00-17:30

Travel photography tips with the Photography Plan

17:00-17:40

Exploring the Northern Ireland landscape

BTL

Making your photos look amazing with Lightroom

Key AT = Adobe Theatre WT = Workshop Theatre BTL = Behind The Lens SS = Super Stage LS = Live Stage VT = Video Theatre

PT = Product Theatre MS = Mobile & Social Stage WP = Wedding & Portrait Stage CA = Central Aisle

Every effort has been made by the publishers to ensure that information contained regarding The Photography Show 2016, including session times, is correct as going to press. However, Bright Publishing Ltd, The Photography Show and the exhibitors and advertisers included herein cannot accept responsibility for any loss, inaccuracy or omission resulting from the publishing of any information regarding The Photography Show 2016 in this publication.

Photography News 2016 Floor Plan

Innova Art

Just Limited

Photoxport/Noritsu

QB Fig Eversure Bags Computers

Hasselblad

Zeiss

Acebil Europe Ltd

Benel

National Trust

Photobook Concept

PAGB

myistick

Photo-Me International

Lenses For Hire

Nisi Filter

KMS

Photoguard

WhiteWall

Photoshop Digital

The Calendar Printing Company

Innova Art

Super Stage

Nikon

Bessel

Iris Albums

Click Group

RK Photographic

Light Blue

Creativity Backgrounds

Towerga

Delkin

Crumple

GotPhoto

nphoto The Societies

Plot-It TomTom Bandit Action Camera

Cameraworld

Nikon

Viewfinder

Panasonic

Manfrotto

Olympus

Fujifilm

Total Mast Solutions

Registration & welcome

GF Smith

Black Magic

London Camera Exchange

Tamron Intro2020

Sigma

3 Legged Thing

Format Festival

DJI

Kenro

Superframe

HHJ

Novachrome

Easy Glass Prints

Camkarts Longridge Mount Cutters

CBL Distribution

Plastic sandwich

Ouse

Vanilla Photobooks

Aperture Books

AJ's

Swains

DS Labs

Jaci's Lodge

Sony

Kowa Optimed

Flaghead

TG Print

CamFi

Global Distribution

RĂ&#x2DC;DE Microphones

Plustek

One Vision Imaging

LensPimp

Training by Lumiere

Product demo theatre

Arcoalbum

Reprochimica

Nikon

Hahnemuhle Fine Art

Vanguard World

Big Crocodile CakeSmash Props

Olympus

AOP

Lencarta

Lensbaby

Workshops Sony

sponsored by Loxley Colour & SmugMug

Western Digital

Print Foundry Master Photographers Association

Wedding & portrait stage

Future

Canson

Sood Studios

Video

Reg cafe furniture store

Behind the lens

Fotospeed

Serif

Little Green Man Technologies

Paramo

Photography News 2016 Floor Plan

Yuneec Drone Flying Zone

Hobby Mounts/Polar Pro Rotolight

Staff room Staff room Staff room

Canon Stage Shootproof Synology

Life Media

Canon Meeting Room 1

Adobe Theatre

Intellectual Property Office

Live Stage

SillyJokes

Bauer Magazines

Dewi Publishing

CEWE

Glover & Howe Insurance

SmugMug

Streetsnappers

That's A Cool Picture

Canon Meeting Room 2

BIPP

Samsung SSD

Kamerar LumaPix

Loxley Colour

Jill-E Inspired Designs Photogear

Phot-R TurnsPro

Canon Store

Dreambooks UK

robertharding

EOS Mag Loxley Colour

Disabled Photographers Society

Eddycam

Eppoc Ltd

PhotoFinca

Remember My Baby

Henwig

Sirui/EVE

Photomac

Store

Creative Photography Wales

Canon

Interfit ClickPrint

The Magic Touch

Scuba Travel

Odessos Colour

Associated Telecom

DIY Framing

Photography Farm Photokraft

Canon

TH Swiss

Gillis London

MTF Services

RSPB Topaz

Costco

Mobile & Social stage

Latent Light

Bob Guide Books Dogs Silvershotz

Frith and Co

Lens Locker

Reflecmedia

Beauty Gate

Guild of Photographers

GMC Magazines

World Photo Adventures

Ilex Press

Infocus

Newbornart Focal Point Photography Imaging Training

Parrot UK

USB2U

AKM Music

Rotatrim Dunns

Kaleidoscope Framing

Paramo

Coetzer Nature Photography

Lomography

Top-Teks

Permajet

Speed Graphic

Profoto

Digital Photo Solutions

Mac Group

Panzer Cases

Lee Filters

LinhofStudio

Booth experience

Yuneec Drone Vehichle Area

Photobarn

Colorworld Imaging

Booked Images

Studio Answers

MTA

SRB

LA Photo Party

Bowens Pro Networking Lounge

Epson

Baby Prop Shop

Silverstream TV

The Flash Centre

Ricoh Imaging

Pixapro

Leica

Tetenal

The Old Truman Brewery

Calumet

Barber Shop

9 Images

Royal Photographic Society

XY Imager

Wacom

Color Confidence

Studio 24

JP Distribution

Eizo

Snapper Stuff

Hague Camera Supports

Nest

Digital Distribution Bouncelight

Snapper Stuff

Photobooth.co.uk

Sim 2000 Imaging

Versatrigger

Women in Photo

Bagwise.com

System insight

Nominimum

Nomad

Kitschretro

UK Highland Photography

Aaduki

YESSS Electrical

Mac Wet

Contour Design

Halsys

Lumecube

Studio Photography Paniz

Multiblitz

Alpha

Dorr Foto

ate

1901 Fotografi

Artsy Couture

USB Makers

Exhibitor listings

Photography News Issue 30 absolutephoto.com

Advertisement feature

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Spring selection

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Photography News Issue 30 absolutephoto.com

Advertisement feature

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Photography News Issue 30 absolutephoto.com

Technique Lighting academy

Quick as a flash Start using high-speed sync mode for full control over your flash-lit exposures Words & pictures by Kingsley Singleton Springtime means flowers, sunshine and showers; but capturing them all at once can be difficult. For the daffodils on this page, I wanted to shoot with a shallow depth-of-field and a fast shutter speed so that any movement from them in the wind was stilled, and the water was frozen into droplets. I also wanted to use some flash to balance the light and add sparkle to the water. That causes some technical problems and if you’ve ever tried a similar shot, using flash in bright ambient light, you’ll know that it usually means compromising your exposure settings or fitting a neutral density filter. What is flash sync speed? The main problem for me here is that the shutter speed won’t go as high as I want it to compensate for the wide aperture because it’s limited by the camera’s maximum flash sync speed; that’s the highest shutter speed the camera can use with a flash without causing errors. Typically, this might be a speed like 1/160sec, 1/250sec or 1/320sec and, beyond it, the flash either won’t fire at all (if it’s connected to the camera), or if it does you’ll get problems; the flash can be too weak, or more commonly it won’t seem to cover the whole of the frame giving a banded look to the light. The latter error can look like a dark bar across one side of the image, and while this is obvious if you’re shooting against a plain subject, it be less obvious in real-world situations, showing up more like a intense graduate filter (see panel far right). Typically, when using a hotshoe-mounted speedlight or when the flash is fired by an intelligent wireless method, you won’t be able to set a speed faster than the maximum sync at all, with the shutter firmly locked, even in manual mode. That leads to overexposure, only correctable by closing the aperture (or fitting an ND); fine in some cases, but not a good route if you want a shallow depth-offield and frozen movement as I did. High-speed flash The alternative is using high-speed sync (HSS) flash, a system provided on certain speedlights and studio flash heads that lets you shoot at a wider range of shutter speeds, albeit with some limitations (we’ll come onto these later). Using HSS means you can shoot much more easily in bright ambient conditions, use wider apertures to blur the background, and faster shutter speeds to freeze movement. For the daffodils image, which was shot in a back garden, hence the need to blur a distracting background, I framed

up so that the sun was about 90° from my position. Daffodils will turn to follow the sun throughout the day, so if you want to see their faces in the pictures, the sun will always be on the same side as you. What that means is no backlighting effect, hence one of the requirements for using a flash. First I needed to calculate the exposure for the ambient light, which of course is done automatically in aperture-priority (A or Av) mode; dialling in the aperture I wanted (f/4) at ISO 100 gave me a shutter speed of 1/1000sec. This is well beyond the maximum flash sync speed of the Nikon D810 I was using (1/250sec), so if the flash was connected in the normal fashion at that point, and a shot was taken, it would be overexposed by two stops and much too bright. As discussed, I could have stopped down the aperture here, setting it to f/8 and thereby slowing the shutter to 1/250sec in return. However, that wasn’t an option. Setting the HSS mode Instead, I needed to activate the HSS mode of the camera and flash. On the Nikon D810 (and similar Nikon DSLRs), this is done from the Custom Setting Menu, in the Bracketing/ flash menu, Flash Sync Speed sub-menu (e1). Using the 1/320 s (Auto FP) setting means you can now shoot in HSS mode with compatible flashes. However, in aperture-priority mode, the shutter speed is still limited, so I needed to switch to manual mode (M) and re-enter the settings required for the shot (1/1000sec, f/4, ISO 100). Next I positioned and switched on the flash – an Interfit S1 head – placing it about 4ft behind the daffodils to give the desired backlighting. I added a spill-kill reflector at this stage to direct the light and stop it flaring into the lens. To use the HSS functions of this flash I also added its accompanying S1 Remote to the camera’s hotshoe and switched the flash’s mode to manual (from TTL). After a couple of test shots, I decided the best power setting was at 6.0 (the equivalent of ¼ power), which added enough of a highlight to the flowers without overexposing their edges. Next, I needed to add some water, which came from a garden hose, held above the flowers rather than waiting for the weather. This meant protecting the flash, so I wrapped the head in a bin liner (not something you should do for extended periods, especially as HSS flash creates a lot of heat, but fine for a few shots and better than a wet flash). Fortunately, the power is fully controllable from the remote, so there was no need to leave any part of the S1 flash head uncovered.

Above The mission here was to create a picture with a real springtime feel, so I chose a bunch of daffodils as the subject and added a sprinkling of water from a hose to simulate a seasonal shower. To give the water and the flowers an extra twinkle, I set up a flash behind the flowers to protected it from the ‘drizzle’ using a bin liner. I shot on a Nikon D810 with a 70-200mm f/2.8 lens at around 200mm (again to avoid a dowsing) and used the flash’s HSS mode to allow a fast shutter speed.

Photography News Issue 30 absolutephoto.com

Technique 1/1000sec at f/4, ISO 100

1/4000sec at f/4, ISO 100

1/250sec at f/4, ISO 100

Above It’s important to get the general exposure balanced with the light from the flash. Fortunately, the Interfit S1’s high-sync speed mode works the same as continuous light so it can be calculated along with the ambient light. Here, 1/1000sec was fine, but 1/4000sec was too fast, darkening the backdrop in an unrealistic way. At the camera’s regular sync speed (1/250sec) it was very overexposed.

1/1000sec

Freezing the water With the flash firing, and the water running, another test shot was required to confirm that the ‘raindrops’ were sufficiently frozen. At the 1/1000sec shutter speed there was still a little too much movement for my liking, so I increased the shutter speed to 1/2000sec. Not wanting to change the aperture setting, this meant raising the ISO to 200 to get the same ambient exposure level. Due to the method of high-speed flash used by the Interfit S1 – a series of rapid pulses which works like continuous light so not visible to the naked eye – no adjustment is required in the flash power, because it responds just like the ambient light. However, the range is affected and the faster the shutter speed you use, the closer the flash will need to be to the subject to get the desired effect. Magnification and shutter speeds Shutter speed is very important in freezing the movement of the water in this shot, but the speed you need is governed by the rate of the

water and the magnification of the lens you’re using. You can’t do much about the former, but try shooting at different focal lengths and you will notice some changes in the shutter speed it takes to stop the droplets. This is simply down to how far the water moves across the frame in the time the shutter is open; at a wide-angle and low magnification, it won’t be far – possibly just a few pixels – so you might get away with a slower shutter speed; but longer focal lengths and higher magnifications will show more movement and therefore faster speeds are required. In the second set of images – those with the orchid – I shot indoors, against a window to get the backlighting, while using the Interfit S1 as the main light. Here, a macro lens was used along with a water spray to generate the droplets, and because of the hugely enlarged subject, the shutter speed needed to be faster; 1/4000sec. Going back to the power of the flash being reduced as the shutter speed rises, this also meant that the S1 needed to be closer, at around 2ft.

High-speed flash sync explained Flash sync problems are caused because of the way the shutter in your DSLR or CSC works. The design that’s common to the vast majority of cameras is called a focal plane shutter and it has two curtains, one of which controls the start of the exposure (called the ‘first curtain’), and one at the other the end (called the ‘second’ or ‘rear curtain’). Modern cameras have vertical-travel shutters; older film cameras have horizontal-travel shutters. For an even exposure (see below), the entire sensor needs to be revealed by the curtains at the point the flash is fired; ie. the first curtain must be completely open before the second begins to close. The fastest shutter speed where this happens is called the flash sync speed or X-sync. At shutter speeds beyond the maximum flash sync speed this isn’t possible because, to create the short exposure, the second curtain is closing over the top of the sensor before the first curtain has revealed the bottom. Therefore only a small part of the sensor is exposed at any time. Imagine the flash going off at that moment and you can see how a dark band is caused – that part of the sensor wasn’t uncovered at the point the flash was fired. High sync modes get around this in several ways. The most common is highspeed sync (HSS), and it’s found in many speedlights and some studio-style heads, like the Interfit S1 used here. In HSS mode, the flash fires a series of very short pulses throughout the exposure, rather than the normal single flash. This creates something that’s very similar to a continuous light source, so each part of the sensor is lit throughout and no shadow is created. The issues of HSS mode are in terms of power and range; the flash often needs to be closer to the subject as output is less and, just like available light, brightness drops as the shutter speed increases. Additionally, lots of battery power is used to generated the thousands of pulses. 1/500sec in HSS mode

1/2000sec 1/125sec

1/500sec 1/500sec in normal mode

1/2000sec

Above At a lower magnifications, or with slower moving water, longer shutter speeds can be used. Try some test shots to make sure what works. Here, 1/1000sec was blurring the water too much, but a speed of 1/2000sec fixed the issue.

1/4000sec

Above The need to stop the water’s movement means picking the correct shutter speed. However, the more magnified the view, the faster the water will appear to cross the frame, so the higher the shutter speed will need to be. Even at 1/2000sec on a 105mm macro lens, the drops are still blurred, but 1/4000sec stops them dead.

Above The flash sync speed is the highest shutter speed usable with flash without problems; the latter being illustrated as a dark bar on the image, a shadow caused by the shutter curtain. You can see the effect for yourself by connecting a flash to your camera using a PC sync cable and shooting at a manual shutter speed faster than the maximum sync. Such problems are avoided when a dedicated flashgun is mounted in the camera’s hotshoe. The two ‘talk’ to each other so that the maximum flash sync speed is not exceeded – high-speed flash sync has to be deliberately selected.

Photography News Issue 30 absolutephoto.com

Technique 1/4000sec at f/4, ISO 200

The gear we used For this month’s Lighting Academy technique we used an Interfit S1 flash (£799), although it will work in a similar way using any flash with a high-speed sync mode. The S1 certainly has lots going for it (see our review in PN27), including the aforementioned HSS mode that works consistently well. The flash can be used both from its chunky Li-ion battery giving well over 300 full-power flashes per charge, giving you lots of options on location, or through an included AC adapter in the studio. In combination with the Interfit S1 remote accessory (£80), the flash operates wirelessly up to 100m with full TTL (Canon E-TTL ll and Nikon i-TTL) metering, and there’s lots of power with a maximum output of 500Ws. Of course, the flash also operates manually and power is controllable over seven stops in 0.3EV steps (in TTL it’s calculated in 0.1EV steps for increased accuracy). The HSS mode allows shutter speeds of up to 1/8000sec to be used – depending on the camera. The S1 is has a solid build, too, with its casing made of aluminium rather than a plastic shell, but it’s still portable at 2.85kg including the battery. The head also uses popular S-fit style modifiers, so there are plenty of options there. For more info, head to interfitphotographic.com.

Indoor set-up Although it’s shot indoors, the picture at the top of the page uses the same principles as the exterior shot. It’s a bit easier to practise inside, so give it a try when you’re starting out with HSS flash. In this set-up, the backlighting comes from the natural light through the window, and the flash is used as the key light. In the behind-the-scenes shots you can see how the effect is created using a water spray instead of a hose or rain, so it’s easier to control (and avoids getting wet). With the 1/4000sec shutter speed underexposing the natural light slightly for a more studio-style look, the Interfit S1 remote is set to manual mode, and camera’s flash sync speed set to 1/320sec Auto FP and finally the HSS mode’s flash power is controlled to correctly expose the orchid and the water – its lowest setting of 5.0.

Photography News Issue 30 absolutephoto.com

Advertisement feature

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Print perfection Hahnemühle’s rich 430-year history of paper making places it perfectly to satisfy the exacting demands of discerning photographers and printmakers everywhere. We take a close look at the company’s heritage and its inkjet product range

Paper manufacturer Hahnemühle was founded in 1584 and based in Dassel, Germany, and the company remains there to this day. It began solely as a maker of mould-made writing paper, while now the company makes paper for industrial and fine art use. Hahnemühle’s team of paper technologists are perfectionists and by using the finest pulp and formulations that are several centuries old produce papers of the finest quality. Furthermore, working closely with artists and photographers, they are constantly improving papers to suit modern-day needs as imaging technology evolves. The company also prides itself on delivering quality rather than quantity and its 180-strong expert team produces papers that are distributed globally and have a reputation second to none. Of course, the challenge now in photography is delivering products that can satisfy the critical demands of modern image-makers using very high resolution cameras and the latest inkjet printers that are capable of delivering ink to the paper surface in absolutely minute quantities. Hahnemühle’s credentials as one of the world’s leading makers of premium photographic inkjet paper is without question, but it counts for nothing if the results do not meet the high standards demanded by today’s photographer. It is a serious responsibility to

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Contact Hahnemühle For more information on Hahnemühle’s products including size availability and stockists please visit the website. On the website you can also access free ICC profiles for Hahnemühle’s papers. Profiles characterise the colour gamut for the paper, printer and ink in use to get the best output. Profiles are available and there is also an archive for older printers, plus instructions on how to install and use them correctly. hahnemuehle.com uksales@hahnemuehle.com 08453 300 129

Photography News Issue 30 absolutephoto.com

Advertisement feature Digital FineArt Collection Four finishes are available in the Hahnemühle Digital FineArt range with the option of different weights and various surface structures to suit different needs and tastes. The premium coating on the original artists papers ensures prints have an exclusive tactile quality, give supremely detailed images and also excellent conservation qualities

to the standard required by museums and galleries (ISO 9706). To help you get the most from the Digital FineArt Collection free ICC profiles are available for download from the Hahnemühle website. Profiles for most popular current printers are available and there is an archive for profiles to suit older printers too.

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A very popular series of papers among photographers with the option of seven finishes, all with wide-colour gamut ideal for critical photographic output. Four surfaces feature barium sulphate or baryta in their coating to give a rich tonal reproduction comparable to that from conventional analogue papers used in chemical darkrooms. Of course, the baryta papers work well with all sorts of images, but they are even more impressive for monochrome photographs where you want the extremely deep blacks and crisp midtone reproduction. Among this series’ many highlights perhaps FineArt Baryta is the one to try if you are new to the range. Its wide colour gamut and high image definition will give your photographs, especially monochrome, the impact and tonal depth they deserve.

Seven surface finishes are offered in the Smooth Matt FineArt collection including the very popular Photo Rag. Bamboo, the world’s first digital fine art paper made from bamboo fibres, is 90% bamboo and 10% cotton and has a weight of 290gsm. It is especially suited to warmtoned monochrome and colour images. Photo Rag comes with options so if you want a double-sided paper you can go for Paper Rag Duo or if your preference is for the smoothest possible matt, then Photo Ultra Smooth is the material to use. Photo Rag itself is available in 188, 308 and 500gsm weights and the fine, smooth finish suits colour and black & white pictures giving results with great depth and excellent tonal gradation.

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If your preference is for papers with even greater haptic, look no further than the choices offered by the Textured Matt FineArt range. Five surfaces are available including William Turner, voted by readers of Photography News as Best Inkjet Media: Fine Art Finish 2015. This genuine mould-made paper is offered in 190 and 310gsm weights and has a rich matt watercolour texture suitable for outputting traditional artworks as well as photographs. Other textured matt options include German Etching, a heavyweight board with a velvety smooth, fine texture surface very popular for artwork and photography and Albrecht Dürer, a mould-made watercolour paper that will give photographs an effective art finish.

Many photographers aim for a more painterly approach with their images and this set of Hahnemühle papers provides that option. Made from cotton or polycotton, six surfaces are offered, from Canvas Metallic with its striking metallic gleam on a fine structured fabric for a unique effect to Monet Canvas, a heavy cotton canvas with a natural white base, perfect for art reproductions and highquality photo output. Leonardo Canvas is another eye-catching product and its fine, smooth structure is ideal for art and photographic use and it is both water-resistant and hard-wearing. If your taste is for a matt coating and a more vivid linen structure, then Canvas Artist is the product to try.

Photography News Issue 30 absolutephoto.com

Recommendations

If you’re making money from your photography – or would like to – you should be reading Professional Photo magazine. Offering a unique blend of inspirational images, insightful interviews, unmissable advice and definitive equipment reviews, it’s a must-read for all fulltime and aspiring professional photographers. Published 13 times a year, Professional Photo prides itself on catering for a broad range of photographic palettes. “We recognise that wedding and portrait photography are the mainstays of the professional arena and we make sure that there’s high-quality content in every issue to satisfy those needs,” says editorial director Roger Payne. “But we also know that professionals don’t want a magazine that pampers purely to those needs. It’s like a football fan only wanting to read about one team. “With this in mind, we offer a more diverse mix of content, which broadens horizons, entertains, educates and – occasionally – challenges. There’s absolutely no reason why a wedding photographer can’t learn something from a wildlife photographer, and vice versa.” Further underlining how well the title is in tune with the professional market, Professional Photo also comes with a free copy of Pro Moviemaker magazine six times a year. Recognising that the remit

We offer a diverse mix of content, which broadens horizons, entertains, educates and – occasionally – challenges of the modern professional is no longer constrained to capturing still images, Pro Moviemaker focuses on using anything from a digital SLR upwards to shoot movies and makes essential reading for professional photographers looking to broaden both their skills and revenue streams. Turn the page to learn more about Professional Photo.

Front covers Highlighting a few of the recent interviews, technique features, tests and inspirational images from Professional Photo.

Photography News Issue 30 absolutephoto.com

Recommendations Unmissable interviews You photograph the way you are as a person, so if you’re a pain in the arse there will be a little bit of that pain in your photographs

Anton Corbijn, Jerry Ghionis, Lynsey Addario, Clive Arrowsmith, Bob Martin, Lara Jade, Harry Borden, Richard Bradbury; just some of the world’s leading professional photographers who have featured in Professional Photo over the last 12 months. Thanks to these interviews, our readers now know why Anton Corbijn still shoots on film, how Lynsey Addario copes documenting the horror of war zones, why Bob Martin thinks you need the best gear to get the best shots and how Richard Bradbury was inches away from disaster while shooting for Guinness World Records in America. But as well as dispensing great stories, our top pro interviews also pass on unmissable advice that will change the way you look at your photography. To quote wedding photographer Jerry Ghionis: “You photograph the way you are as a person, so if you’re a pain in the arse there will be a little bit of that pain in your photographs.”

Brilliant business advice It’s more challenging than ever to be a professional photographer, but the business advice in Professional Photo will guide you through the minefield and help you make the right decisions. Whether you’re looking for new ways to make money or simply make more money from what you currently do, we’re here to help. The past few issues has seen a wide range of subjects covered, including how much you should be charging for weddings, how to make money by imparting your photographic knowledge onto others and how to get the best return on your marketing spend. Can you afford to miss out on priceless advice like this?

Inspiring projects Having a personal project not only gives purpose to your picture taking, it can open up new avenues of opportunity. That’s why so many professionals shoot them and why they feature in every issue of the magazine. Recent subjects have included the last days of a coal mine, tattoos and the RNLI and not only have these produced some superb images by the photographers responsible, they’ve led on to commissions, books and exhibitions – and in some cases all three! Don’t miss the chance of a healthy dose of inspiration.

Photography News Issue 30 absolutephoto.com

Recommendations In-depth techniques Irrespective of how much experience you may have in a particular area, it’s never too late to add to your skills and take on some extra advice. Our features are always written by professionals in the know who are happy to pass on the money-making techniques they’ve learned to help you do the same. Recent months have seen us teach you how to create stunning editorial lighting effects using portable flash outdoors and explain why tilt-andshift lenses could help boost your bottom line as well as run detailed guides on post-production and printing techniques that your clients will love you for.

Get featured yourself While much of the advice in Professional Photo comes from seasoned professionals, we also like to feature the stars of tomorrow, which could include you! Our regular Rising Star section features upcoming talent from a broad spectrum of photographic disciplines and every one of them both tells a fascinating story and offers an interesting insight into what it takes to break into the world of professional photography. If you’d like to be considered as a Rising Star yourself do get in touch by email: rogerpayne@bright-publishing.com.

Definitive tests You can read equipment reviews all over the place these days, but you can only read equipment reviews written for working professionals in one place: Professional Photo. First, only equipment relevant to pros is tested and second, it’s reviewed properly using a combination of scientific and field tests. That means when we say the Canon EF35mm f/1.4L is the sharpest lens we’ve ever tested we can say it with impunity as we’ve got the facts to prove it! When new models come out, we also offer detailed looks at the specification and what it means to you plus, where possible, we’ll speak to fellow professionals who have been using the cameras in beta format to get early indicators to their capabilities. Don’t rely on what you read online from people who’ve never even touched the camera, take your buying advice from pros in the know!

When we say the Canon EF35mm f/1.4L is the sharpest lens we’ve tested we can say it with impunity

Photography News Issue 30 absolutephoto.com

Recommendations

If you’re a confident photographer who’s looking to take their skills further Advanced Photographer is the magazine for you. Exclusively digital and perfectly designed for your iPad, Kindle or tablet, every month Advanced Photographer brings you eye-opening techniques and trusted reviews, as well as interviews with the world’s most talented photographers and the best competitions to test your mettle and grow as a creative force. Get inspired to shoot new subjects and take on fulfilling photo projects – you won’t look back with Advanced Photographer . Designed exclusively for digital, so you can enjoy it from start to finish on your tablet. Beautiful high-resolution shots from the best image makers around the world. Expert shooting and editing advice, plus ways to brush up on your existing skills. Inspiring projects and cutting-edge creative work from the most talented photographers. Rigorous tests on the latest kit.

You can find the free Advanced Photographer apps in the Apple App Store and the Amazon Kindle Store, and subscribe to the monthly mag, or buy individual issues. For more info head to absolutephoto.com

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Photography News Issue 30 absolutephoto.com

Camera test Specs Price £999.99 body only, £1199.99 with M.Zuiko Digital 17mm f/1.8, £1099.99 or with M.Zuiko ED 1442mm f/3.5-5.6 EZ Sensor 20.3-megapixels, 5184x3888 pixels, 12-bit Raws Sensor format Micro Four Thirds ISO range 80-5000, 6400-25,600 extension Shutter range Focal plane shutter 60secs1/8000sec, electronic shutter 60secs-1/16,000sec. B up to 30mins (4mins selectable in the menu). Flash sync 1/250sec or up to 1/8000sec in Super FP mode

Olympus PEN-F From Olympus’s Micro Four Thirds stable emerges the PEN-F, a modern thoroughbred with a design pedigree that stretches back nearly six decades. So has it got what it takes to race ahead of its rivals? Review by Will Cheung

Drive modes Maximum continuous high 10fps, 16 Raws in continuous mode Metering system 324 multi-pattern sensing system with ESP measuring, spot, centreweighted, highlight and shadow Exposure modes PASM, Bulb, Time, Live Composite, i-Auto, Scene modes, Art filter, Photo story, Movie, HDR, My Mode Exposure compensation +/-5EV in 0.3, 0.5 and 1EV steps. AEB in 2, 3, 5 and 7 frames Monitor Tiltable LCD touch panel, 3in screen, 1037K dots resolution Focusing Contrast detect AF with predictive, eye detect and tracking AF. Manual focus with enlarged focusing area or focus peaking. Focus points 81 points – All points, group target (nine areas), single target normal, single target small. 800 points in manual selection, magnified view mode Video Full HD 1920x1080 Connectivity Wi-Fi, USB 2.0, mini HDMI Storage media SD cards Dimensions (wxhxd) 124.8x72.1x37.3mm Weight 427g body only Contact olympus.co.uk

The original Olympus PEN that came out in 1959 was very much about ease of use, portability, attractive design and high performance. Jump forward to 2016 and the PEN-F’s core philosophy is identical. Pick up the PEN-F and even alongside its stablemate, the OM-D E-M5 Mark II, it feels small and petite. Its offset EVF also helps to give a realistic rangefinder experience. Despite its diminutive stature the PEN-F is packed with features and that includes a 20-megapixel, lowpass filter-free sensor, the highest resolution yet seen on an Olympus Micro Four Thirds camera. Much has been said about the PEN-F’s legacy design and looks and I must admit I am very taken by the retro feel, and a couple of the controls are straight off the Leica III series dating from the 1930s. Go online and see for yourself. The PEN-F’s on/off switch looks like the film rewind dial while the Creative Control Dial is the spitting image of the Leica’s frontmounted slow shutter speed dial. Lovely – and very practical too. Aesthetics aside and as I am on the subject, this Creative Control Dial is really interesting and potentially very useful. In five widely separated, firmly click-stopped settings you have the positions of ART, CRT, COLOR, MONO and off. These options let you fine-tune your in-camera JPEGs.

ART gives rapid access, with the rear input dial, to the PEN’s 28 art filters – 14 actual effects plus variations on a theme – while CRT lets you very precisely control colour vividness and hue. COLOR and MONO are new and very interesting modes. In COLOR you can set up three profiles and in each one you can fine-tune how vivid you want 12 colours to record. You can make a universal adjustment but where it is interesting that you can, for example, increase the vividness of yellows and oranges and desaturate greens and blues. Clearly, it depends on the subject as well as your tastes but I thought this was rather fun. In MONO, you are stimulating the effect of eight colour contrast filters with three different strengths. Traditionally, mono photographers used to carry yellow, orange and red filters as a matter of routine – usually to enhance sky detail – and this is what you get here and then some because you have the options of magenta, blue and cyan too. Raws shot with the art filters and profile modes have the appropriate data applied you can have the exact same (or any other) effect applied during processing in the supplied Olympus Viewer 3 software. Overall handling is very sound and there is serious potential if you want to customise camera set-up. The brand’s considerable experience

I am very taken by the retro feel, and a couple of the controls are straight off the Leica III series dating from the 1930s with shoe-horning controls into small spaces is much in evidence on the PEN-F and the layout is good and doesn’t feel cluttered. The on/off control has already been highlighted and it is good that it is unlikely to be moved while putting the camera into a bag. The same applies to the exposure compensation dial. It does not have a lock but the click-stops are firm and the flush design and the presence of the thumb grip prevent accidental use. A dial with a lock is the exposure mode dial. One push of the centre button and it’s fixed, push again to rotate it. At the base of this dial is a lever which, depending on what’s set, brings in the colour profile graphic or the shadow/highlight function. The shutter release is lovely and smooth – and even has a screw thread for a cable release – and that is helped by the input dial surrounding it which makes it great resting spot for the forefinger. The input dial itself is great to use, being large, tall and with a knurled finish for positive action.

Although I had no issues with using the controls on the back-plate the body’s lack of height does mean you have to adjust the grip (with my average-sized hands) to get the thumb to the various controls. After some use with the default set-up of the four-way control where ISO and drive settings can be adjusted, I changed that to move the single AF point around the 81 points. Composing with the monitor you can use the touchscreen to move the AF point around. A menu option lets you set the camera to spot meter from the active AF point if you prefer. I did have the touchscreen active initially but then found my nose was moving the AF point with the camera up to the eye. The touch feature can be turned off or set so that it turns itself off while the eye is at the EVF. The monitor itself can be folded out to the side so perfect for selfie shots as well as shooting at a low or high level. Alternatively, it can be folded facing inward for a realistic rangefinder shooting experience.

Photography News Issue 30 absolutephoto.com

Camera test Performance: ISO Early Micro Four Thirds format cameras suffered from colourful and blotchy noise, but those days have long been left behind as the PEN-F shows with a capable ISO performance. There was the risk that cramming 20-megapixels into a 17x13mm sensor would compromise top-end ISO image quality, but that doesn’t seem to be the case here. The base ISO 200 exposure was 1/2sec at f/8 with this scene taken at twilight. The Raws were processed through Olympus Viewer 3 with no noise filter applied. No in-camera noise filter was used either. Images were viewed on-screen at 100% to make a judgment. Images are very clean at the lower ISO speeds and it was by around 1250 that you can see the beginnings of noise in areas of even tone but image quality was still impressively high. I think if you had to, even ISO 3200 could be used for

critical purposes and good-size enlargements. There is quite obvious noise in areas of plain tone but it’s certainly not objectionable and its impact is can be mitigated with some noise reduction in software. Detail degradation is well controlled and images at this speed don’t look mushy. By ISO 6400, noise is evident and more obtrusive but to be honest, quality is still pretty good and it is only beyond this speed that noise levels shoot up and images look very gritty. For curiosity’s sake, I shot the same scene on the 16-megapixel Olympus OM-D EM-5 Mark II. Side-by-side comparison reveals that the EM5 Mark II has a better noise performance noise from ISO 800 onwards although to be fair, there is little in it and that differential is maintained up to ISO 25,600. Going back to the PEN-F, it’s a very usable camera at higher ISOs for top quality results.

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 6400

ISO 12,800

ISO 25,600

OMD E-M5 Mark II ISO 1600

Full-frame image

Full-frame Normal Raw

Performance: High Res Shot mode The PEN-F’s 20 megapixels is enough resolution for most purposes but if you want even more then the camera’s High Res Shot is what you need, assuming the subject suits. In this mode the camera’s electronic shutter takes eight sequential shots with the IS system moving the sensor half a pixel between each shot. The files are then combined incamera – the process takes a few seconds – to give a higher resolution result. The camera needs to be on a tripod during the whole process and any attempt at shooting moving subjects

High Res shot JPEG

just did not work. I did try handholding for a picture of a building on a sunny day and even at 1/1600sec I got multiimaging effects. The self-timer mode does not work in High Res Shot but when setting the mode you get the option of setting a time delay before exposures are made. You are also limited to a top ISO of 1600, a minimum aperture of f/8 and the IS mode is switched off automatically. The resulting High Res Shot JPEGs and Raws are 50 megapixels and 80 megapixels respectively. In file size terms this is 20MB and 130MB respectively, as opposed to 10MB and 18MB in normal shooting.

High Res Shot Raw

Opened in Photoshop, a High Res Shot JPEG measures 8160x6120pixels and the Raw 10,368x7776pixels. For comparison a normal full resolution file is 5184x3888pixels. Shooting simultaneous JPEG and Raws in High Res Shot mode, you get an .ori file which is normal sized Raw file but needs to be processed in Olympus Viewer 3. The shots here were done with the 17mm f/1.8 lens at f/8 and ISO 200. Images were processed identically with no sharpness added using Olympus Viewer 3. The extra detail gain is obvious so if you want the ultimate image quality from the PEN-F then High Res Shot mode is worth using – but remember, it only works on static subjects with a tripod-mounted camera.

Photography News Issue 30 absolutephoto.com

Camera test Shot in low interior daylight with 17mm f/1.8, 1/100sec at f/1.8 and ISO 1600

Shot with 14-150mm f/4-5.6 at 18mm using 1/10sec to test IS, f/16 and ISO 200

Shot with HDR1 mode using 9-18mm f/4-5.6 at 9mm, 1/30sec at f/8, ISO 200

Shot with 14-150mm f/4-5.6 at 67mm, 1/500sec at f/11, ISO 200, Color Profile mode, aperture-priority AE, ESP metering

Shot with 14-150mm f/4-5.6 at 14mm, 1/500sec and f/11 at ISO 200, vivid picture mode

Photography News Issue 30 absolutephoto.com

Camera test Performance: profile modes

Control Shot in iEnhance mode, no colour profile setting applied

All change You can also universally change the vividness of all 12 colours at one time

Contrast tweak Profiles can be tweaked further with the Highlight/Shadow control

Go wild Light blues and reds set to a high vivid setting and taken down

Straight mono This was with the mono mode with no internal filter applied

Filter it Color Filter Red at +3 to lighten reds and darken blues and greens

The three blues were set to their most vivid

Taken in normal i-Enhance mode

The PEN-F is the first Olympus to sport Color and Mono profile modes. In fact, it is the first time picture modes that are customisable to this degree have appeared. In both settings up to three different profiles can be stored so no problem if you set up one each for scenics, portraits and street, for example. For this test, to give an idea of the actual effect, I shot a datacolor SpyderCheckr test chart with a LED daylight-balanced lighting panel. In the pictures titled Go wild and Filter it, a close-up of the camera’s monitor shows the profile settings used. The shots are straight-out-of-the-camera JPEGs. For Go wild, I went for extreme settings in the Color Profile mode to ensure the differences could be seen in print. Essentially I boosted the red sector and parts of the light blue spectrum to +5 while taking all the other colours including the darker blue zone down to -5. As you can see, there’s plenty of potential to create an individual look and the effects are not too extreme. With the Mono Profile, you can see that the use of a strong red filter did exactly what a red filter used with monochrome film should do, ie. transmit red light so the red patch is very pale while green and blue light is blocked out so the relevant colour patches are almost black. With Raw files, the profile data is embedded into the file and in Olympus Viewer 3, the image can be processed with the same settings used on the JPEG – or you can tinker to your heart’s desire. Left The Color Profile mode is clever and useful but if you are expecting massive colour swings you are likely to be disappointed. But there is a change (whether is noticeable in print here is another matter) and viewing the JPEGs on screen, the shot with its blues turned up did look different from the straight i-Enhance picture.

Performance: image stabilisation Olympus uses a five-axis IS system and very effective it is too. For my test I took handheld pictures of Worthing Pier five times with the focal plane shutter at each speed from 1/10sec to 1/30sec using the Olympus 14-150mm f/45.6 at 150mm – so equivalent to 300mm in the 35mm format. It was a calm day and I was standing on sandy beach. I didn’t expect too much at 1/10sec but three out of five were very sharp when viewed on-screen at 100%. It was a similar scene at 1/15sec and by 1/20sec and 1/30sec success rate was even higher. Of course, all sorts of variables kick in with IS but I was impressed with the PENF’s system and when needed it allows sharpshooting at remarkably slow shutter speeds. There’s also the option of the vibrationfree electronic shutter that can help even more when shooting at slow shutter speeds. In sum, the PEN-F’s IS system showed itself to be very capable. Right Excellent sharpness with the help of the PEN-F’s IS system. Shot with the Olympus 14-150mm f/4-5.6 at 150mm, 1/10sec at f/13 and ISO 200.

Verdict We all want different things from a camera but I reckon the Olympus PEN-F has most bases covered. If you want a great looking, very capable camera with enough fun features to explore, the PEN-F fits the bill nicely. If handsome good looks are secondary but the ability to deliver first-rate pictures time after time in all sorts of lighting comes first, the PEN-F delivers here too. I got consistently accurate exposures in a wide range of lighting conditions, the AF was swift and accurate and auto white-balance was almost always on the money. The five-axis IS system gave a good account of itself and the camera continued to deliver fine pictures in heavy rain too. In terms of ultimate image quality, the camera’s 20-megapixels resulted in excellent image quality even at ISO 3200 and there’s no problem getting large exhibition-quality prints. The Olympus PEN-F is a very fine camera and I loved using it. It is the most expensive Olympus Micro Four Thirds camera but I think it is worth the money.

Features A potent mix designed to appeal to keen as well as more casual, wannabe shooters

24/25

Performance Impressive in every department so no moans here

24/25

Handling Lovely, positive controls, lengthy menu structure a minus though

24/25

Value for money Its £999 body price does make it the most expensive Olympus Micro Four Thirds in the shops

22/25

Overall Highly priced but highly specified and its looks will appeal to many potential buyers Pros Color and Mono profile modes, retro looks, performance, image quality, tiltable monitor Cons Price

94/100

Photography News Issue 30 absolutephoto.com

Preview Specs Price £5199 body only Sensor 20.2-megapixel, 35.9x23.9mm CMOS, 5472x3648 pixels Image processor Dual DIGIC 6+ Shutter range 30secs-1/8000sec, plus B Drive modes One shot, AI servo AF Metering system 360,000 pixel RGB+IR metering sensor with 216 zones offering evaluative, partial (6.2%), spot, AF point linked spot, multi-spot and centre-weighted metering Exposure modes Program AE, shutter-priority AE, aperture-priority AE, manual, bulb, custom x3

First look

Canon EOS-1D X Mark II

It looks like an update to the EOS-1D X, but there’s more than subtle tweaks here. The Mark II is the fastest and most powerful DSLR yet from Canon, read on to see how it shapes up and turn to page 86 to find out how two users rate it Written by Roger Payne

Exposure compensation +/-5 stops in ⅓ or ½ stop increments, AEB +/-3 stops in ⅓ or ½ stop increments Monitor 3.2in touchscreen Clear View LCD II with approx 1620k dots ISO range 100-51,200, expandable to 50 and 409,600 AF system/points 61 points – max of 41 cross-type AF points including 5 dual crosstype at f/2.8 and 21 cross-type at f/8. Number of cross-type points depends on the lens in use. AF working range -3 To 18EV Depth-of-field preview Yes Flash sync 1/250sec Flash exposure compensation +/-3 stops in ⅓ increments with EX series Speedlites Max frame rate Approx 14fps with full AF/AE tracking for unlimited JPEGs and 170 images with CFast 2.0 card. Max 16fps in Live View mode with mirror locked up and exposure and AF locked in the first frame Video 4K (4096x2160 pixels) at 60p and 30p, Full HD (1920x1080 pixels) at 120p, 60p, 30p, 25p and 24p. Max duration of 29mins, 59secs Dimensions (wxhxd) 158x167.6x82.6mm Weight 1340g (body only) Contact canon.co.uk

For the past seven years, Canon and Nikon have been indulging in a very slow game of flagship DSLR tennis. In 2009, Nikon served up the D3s, with Canon then volleying the EOS-1D Mark IV back a matter of days after. The rally continued three years later when the Nikon D4 and Canon EOS-1D X hit the shelves and now, in 2016, shots have been fired again; first by Nikon with the D5 and now by Canon with the EOS1D X Mark II. While there’s little point in comparing the two models – chances are you’ll be a Nikon or Canon user with no intention to swap – it’s interesting to note how the two companies are refining their respective technologies to produce sharper, faster and – ultimately – better cameras. And Canon’s latest tweaks appear to have produced a DSLR that’s likely to moisten the palms of many. If you refer to the comparison panel (page 91) you’ll see that major changes from the EOS-1D X may, at first, appear quite subtle. But in much the same way that squeezing extra horsepower into an already high-performing supercar can involve extensive alterations to multiple components, finding extra frames-per-second and a more precise AF system is not simply a question of bolting in a new piece

of tech. These things take time, and in the years between the original 1D X being introduced and the Mark II version getting set to make its debut in May, Canon has clearly been keeping its designers busy. Sensor refinements So let’s start with the full-frame sensor, which on paper simply has a few more megapixels – 20.2 compared to 18.1 on the 1D X. But, in the spirit of the rest of the camera, there’s much more to it than that. Technically speaking, the dynamic range on the sensor remains unchanged, but now there’s reduced read and fixed pattern noise across the ISO range. The benefit of this comes in post-production where you can boost shadow areas without them becoming full of noise. So, if you tend to underexpose as a rule, or shoot in high contrast conditions, you should be able to recover shadow detail more easily. While post-production will help you get more from the shadows, there are some additional functions working hard to help you get better results straight from the camera and they could cut down your computer time. The original 1D X had peripheral brightness and chromatic aberration corrections to help iron out lens related issues

Canon’s latest tweaks appear to have produced a DSLR that’s likely to moisten the palms of many in-camera and these have now been embellished with the distortion correction function from the EOS 7D Mark II and a new diffraction correction that should combat the drop in image quality when using smaller apertures. Lens correction functions that were previously only available through DPP – Canon’s proprietary Raw converter – have now been incorporated into the camera and can be applied either as JPEGs are shot or through incamera Raw processing. In fact, it’s notable the amount of effort that’s been put into producing good JPEGs from the 1D X Mark II, which is presumably in response to many photo agencies now making it their file format of choice. Given this, it’s no surprise to see the Fine Detail Picture Style plucked from the EOS 5DS and 5DS R, which emphasises detail and gradation of tones; the new option of Ambience Priority white-balance, which

more easily eliminates the warmth from tungsten lighting; and Flicker detection that counteracts the subtle variances in light levels when shooting under artificial light. On a different note, but still sensor related, photographers who use the 1D X Mark II for extended times in hostile environments may also want to make use of the hot pixel remapping function, which is integrated into the sensor cleaning system options. This isn’t designed to cut down visits to your local Canon service centre, more to deal with the issue if you’re thousands of miles away from one. Use the camera for prolonged periods in hot climates and there is the chance the sensor could develop a hot pixel or two. With this function, you can remap the sensor to remove them so your shots aren’t affected. Look at it as the photographic equivalent of a run flat tyre. … continue reading on page 90.

Photography News Issue 30 absolutephoto.com

Preview

Canon has clearly been keeping its designers busy

Images Canon wasnâ&#x20AC;&#x2122;t intent on creating a completely new experience for EOS-1D X users. The Mark II will be familiar, but subtle changes, such as deepening and narrowing the handgrip, demonstrate that the company has listened to its customer base.

Photography News Issue 30 absolutephoto.com

Preview Andy Rouse Wildlife and aviation photographer Andy has seen both sides of the Nikon/Canon divide. Initially a Canon user, he made the move to Nikon, but then switched back when the EOS-1D X was announced. He got a preproduction Mark II version back in midDecember but, considering how happy he was with its predecessor, opened the box with an air of scepticism… Photography News: When a new model comes out, what do you look for first? Andy Rouse: Whether I can instantly go out that minute and use it. Instruction manuals are no use to me. My big fear when a manufacturer makes changes to a camera is that they’re going to mess it up – it has happened before. I think the EOS-1D X is the best camera in the world with the best AF system in the world, so if Canon was going to build on that I didn’t want them to make mistakes. As soon as I got the camera, I went out with it that night. I shot at Tower Bridge and various other London locations just to convince myself that everything was OK. PN And were you convinced? AR I shot at ISO 200 and the quality was astounding. The level of detail is way beyond what the 1D X was capable of. The most obvious difference was in the shadow detail where you’d normally get some noise, even at 200. I applied HDR to the images and found that I could brighten the shadows without any noise appearing. They sharpened well too and the colours looked great straight out of the camera. PN After this initial trip, what did you shoot? AR It was the worst time of year for me to test the camera – hard for wildlife and no one was flying air-to-air because it’s so cold, so I went and photographed kingfishers. You need 1/2000sec to capture them and you have to shoot at f/11 and above, which is tough enough in sunlight, but I spent three days in torrential rain. With the EOS-1D X, ISO 8000 was the limit, but on the first day with the Mark II I shot at ISO 10,000 and 16,000 and the results looked more like those I’d get between 4000 and 8000 on the original. To get the extra speed, I was underexposing by two stops and then lightening the shots in post-production, but you can see the results here. There’s no colour noise in the shadows at all; there is pattern noise but I like that because it’s the same as film. When I went back the next day, the weather was even worse so I shot at ISO 25,600 and 32,000 but I still got images that could be used commercially up to A2.

There are many functions that aren’t new, but they’ve been tweaked and are right. Canon has produced an epic camera

Above and below right Even though kingfishers are notoriously too fast for autofocusing, Andy Rouse did try it with this kingfisher, and the EOS-1D X Mark II caught a few shots as the bird emerged from the water. With the magpie, AF locked on fast. Below Shooting in abysmal weather, the EOS-1D X Mark II turned in results with no colour noise, even at high ISO settings.

PN How were you processing the images? AR With Canon’s Digital Photo Professional (DPP). I haven’t used it much in the past, but this latest version is excellent. I loaded the files in, did very little apart from using the built-in noise reduction and was impressed with the quality. DPP does take some of the noise out, so whatever it’s doing it’s very good at it. PN How did you find the autofocus performance on the 1D X Mark II? AR Kingfishers are very fast and I’d never tried autofocusing on them with any other camera as I know they can’t keep up, but the 1D X Mark II did get a few. I did use the autofocusing on the magpie; another very difficult subject. The AF was very fast – it locks and holds the focusing point much quicker and is discernibly better than the 1D X. On subsequent shoots, the f/8 support was great. I often use a 2x teleconverter so being able to move the focus point around the frame and know that the focus will be accurate is superb. I’m not a live view shooter generally, but I did an owl workshop a few days ago and I shot a lot on live view and it worked really well. The face tracking was particularly useful, it

was quick and responsive giving me another option as sometimes I don’t always want to lift my head to the look through the viewfinder so I can keep an eye on the bigger picture. PN What else stands out for you? AR I shot some video of the kingfishers – Full HD at 120 frames-per-second and it looks amazing. Early tests with 4K are equally impressive. I was also heartened to see the exposure simulation capability, very handy when you’re using filters, and the viewfinder leveller is handy too. In general, I’ve also found the camera to be better balanced. PN Overall impressions? AR There are many functions that aren’t new, but they’ve been tweaked and are right. Canon has produced an epic camera and I’m constantly finding new things to like about it. The fact that it gives me a fighting chance to get good pictures is great and when I do get the shots, even at high ISO, the quality is there. Modern pros don’t know what they’re going to be doing from one day to the next and they do need one camera that’s going to do it all – including video. This is that camera. andyrouse.co.uk

Photography News Issue 30 absolutephoto.com

Left and above These two images show the quality on tap from the EOS-1D X Mark II. The full frame is on the left and while the one on the right is heavily cropped, it’s still perfectly suitable for publishing. Below The EOS-1D X Mark II improves the chances of getting a good shot by 50%, according to Eddie Keogh’s calculations.

Eddie Keogh Sports photographer Eddie has been shooting sport for the past 30 years, covering a wide range of disciplines including rugby, tennis, athletics and – his first love – football as well as shooting for corporate clients such as Rolex, Rolls-Royce and O2. When we spoke to him recently about the EOS-1D X Mark II he’d only had limited time with the camera using it to capture indoor cycling and the opening weekend of the Six Nations rugby championships. He was also about to use it again, to shoot the FA Cup replay between West Ham and Liverpool for the Reuters agency, which turned out to be quite eventful. Photography News: You haven’t had the camera long, what are your first thoughts? Eddie Keogh: I’ve really only used it for a couple of days, but I had a good chance to use it at the opening games of the Six Nations. I went to Scotland v England and then Ireland v Wales. In Murrayfield, the floodlights are very average at best, but the camera coped extremely well. The original 1D X is a great camera – it was a step up at the time and your expectations in terms of what’s possible are met. It’s only when you get given a new camera and it’s explained what it can do that you realise how much it’s going to help your picture-taking. PN: What do you think are the key gains for sports photographers? EK: Two things are really helping me. The extra frames-per-second is crucial, although that’s no good if I’m shooting 14 out of focus frames-per-second. But the focusing is faster and the tracking seems much better. These are the biggest things that will affect my day-to-day work because I’m getting more pictures and that means more choice when it comes to editing.

I’m working at a level where even the slightest thing makes a difference. Tonight [at West Ham v Liverpool], I’ll be sitting literally shoulder to shoulder with other agency photographers and my images need to stand out. We have this thing called ‘Dangle by the Angle’, which essentially means you can be beaten by another photographer sitting three metres to your left because in his picture of the action the referee’s arse wasn’t in the way or he could see the action better. In football and rugby there are a lot of people on the pitch and very often your view can be obscured by someone. West Ham is one of the worst places to shoot because you’re positioned where the substitutes warm up, so you can have a third of the game when you have people stretching in front of you – they don’t care that you’re trying to take pictures -– so sometimes you can get a goal picture and other times there will be someone standing in front of you. If I’m shooting more images more quickly, though, I’m more likely to get the shot and the 1D X Mark II gives me that advantage with its frame rate. PN: What else does the frame rate mean in practical terms? EK: If someone is diving through the air going for a ball, instead of getting four frames with the 1D X, I might get six with the Mark II – it’s improving my chances of getting a good shot by maybe 50%. You’d be crazy not to use the 14fps because there’s no disadvantage – you’re giving yourself many more options. PN: What about the focusing system improvements? EK: The camera certainly tracks action better. At the Six Nations, I was shooting sequences of players running or being tackled and they were all sharp. Most of my shots are taken using the central focusing point, but I can confidently move the focusing point left and right depending on where the player

is in the frame and still get sharp images. If I’m shooting someone on the left wing, for example, I’ll move the spot to the left and leave space to his right because I know someone is going to come in and challenge him. PN: Speed is of the essence with your business, so how do the FTP and wireless options help? EK: I didn’t use the new wireless transmitter at the Six Nations, but Canon tells me it’s three times faster than the current one that I have used. The extra flexibility with the FTP connections is also welcome. I’m heading to West Ham today, then I’ll be at Arsenal next week, then Chelsea and, as I work for Reuters, I also have to send to lots of different FTP addresses depending on the subjects I’m shooting. Before we only had five settings and it was a bit of a pain – I had to copy a setting, keep it on my laptop and then when I finished the job I’d re-install the old one. But now, 20 should be enough.

PN: What other features does the EOS-1D X Mark II have that will help you to work better in the future? EK: I like the fact that the camera feels the same; it’s like working with the 1D X. However, the buttons feel different and the card door feels much better now. I’m also a fan of the Crop and Send function. It’s rare that a sports picture is put out without being cropped by the agency. With the 1D X the whole frame would go, arrive at Reuters and someone on the picture desk would crop it, lighten it, sharpen it and whatever else it needed to get it sent out and be used. Now, I can crop it myself in camera, then resave the JPEG on the card and send that new file, which also has my copyright information embedded in the metadata. This is a great help if I want to crop a picture in a certain way. eddiekeogh.com

Photography News Issue 30 absolutephoto.com

... continued from cover

The 1D series has always been about speed and the frame rate from the new model is, unsurprisingly, the fastest yet

Speed demon The EOS-1D X Mark II will naturally appeal to a wide range of professionals, but there can be little doubt that sports and actions shooters are among the primary targets. The 1D series has always been about speed and the frame rate from the new model is, unsurprisingly, the fastest yet. At full tilt, it will capture 14 framesper-second with both autofocus and autoexposure active throughout. Switch to live view shooting with the mirror locked up and the AF and AE settings locked in from the first frame and this jumps to 16 framesper-second. No matter which way you cut it, this is an astonishing performance and has to be witnessed to be believed. Perhaps even more impressive, however, is the fact that this isn’t just for a short burst. With a CFast 2.0 card in the primary card slot you can make the most of this speed for an unlimited number of JPEGs or up to 170 Raw files. The CFast card compatibility is in part responsible for this performance, helping with the buffer capacity – at 440MB/sec it offers write speeds almost three times faster than a CF card – but the inclusion of the new Dual DIGIC 6+ image processor should also take some credit as it deals with the high-speed signal read-out from the

sensor and chunks through the data to write it to the card. While we’re heaping praise on the Dual DIGIC 6+ processor, it should be acknowledged that it also conjures up the capability to deliver 4K video at 60p for up to 29 minutes, 59 seconds and captures Full HD footage at up 120p for highquality slow motion. Individual 8.8-megapixel frames can also be grabbed from 4K movies. The very process of shooting at 14 frames-per-second is a little mind-boggling when you consider that there are some mechanical processes at work to make this all happen, not least of which is the reflex mirror which has to shift out of the way at the same rate of knots. The mirror speed is also integral to AF accuracy, which is why a new rapid return mirror has been developed. Mirror ‘bounce’ has to be kept to a minimum to make this combination achievable so the 1D X Mark II uses two motors; one to drive the mirror, the other to cock the shutter. Both motors also feature elastic floating supports so users feel less vibration and the action is quieter. The other half of the speed equation is, of course, the focusing performance and new systems and algorithms are at work to help deliver that headline frame rate. The previous AI Servo III

system recognised when you were photographing a subject that was accelerating or decelerating. The 1D X Mark II features AI Servo III+ which uses information gathered from the gyro sensor in the lens (assuming it has one) to work out when you’re panning. From this data it uses an algorithm to ensure you get better results. But you don’t have to be panning to get improved focusing results. A new algorithm, coupled to the EOS Intelligent Tracking and Recognition system, improves tracking capabilities, especially in situations where the subject may suddenly change direction. Read Eddie Keogh’s interview (previous page) to see how well this works in reality. While there are no additional points on the AF system, the number of cross-type points has been improved and – teleconverter users take note – 21 of them now support f/8. For the first time in a Canon fullframe DSLR, focusing is tied in with the rear LCD, which now features touchscreen capabilities when Live View mode is active for stills or during movie shooting. In both cases, you can select the focusing point simply by touching the relevant position on the 1620k rear screen. When capturing movies, the AF speed can be varied for smoother, cinematic transitions.

And there’s more While at this point I’ve covered off the key aspects of the EOS-1D X Mark II’s specification, it’s only when you really start to delve deeply that you discover how far reaching the changes are – and how much Canon has listened to the feedback from users. The more observant among you will notice a small lump on the pentaprism, which houses the camera’s internal GPS device – another first for the EOS-1 series. Activate the GPS and it will hook up to US, Russian or Japanese GPS satellites for greater location accuracy and then add geotag information into image metadata. Steps can also be tracked, should you then wish to import that data into mapping services. While wireless capabilities aren’t integrated into the camera body, a new wireless transmitter – the WFT-E8 – will soon be available, although the existing WFT-E6 is also fully compatible. The E8 gives you two additional benefits; the faster 802.11ac standard (which is up to three times quicker than the standard 802.11n connection) and the fact that you have the ability to control most of the major functions, including for the first time the ability to start/stop movie recording, through the Canon Camera Connect app on Android and iOS devices.

Photography News Issue 30 absolutephoto.com

Preview Head to head: How the Mark II compares to the EOS-1D X? While sharing what is essentially the form factor of the original EOS-1D X, many changes lie beneath the Mark II’s magnesium-alloy skin. According to Canon’s website, these are the headline variances likely to most appeal…

Above The soon-to-be-released WFT-E8 transmitter will offer EOS-1D X Mark II users the faster 802.11ac standard, plus the ability to start/stop movie recording through the Canon Camera Connect app.

CANON EOS-1D X MARK II

CANON EOS-1D X

Resolution

20.2 megapixels

18.1 megapixels

Image processor

Dual DIGIC 6+

Dual DIGIC 5+

AF points at f/8

61 points/21 cross-type (all selectable)

1 cross-type

Metering sensor

Approx 360,000 pixel RGB+IR sensor (dedicated DIGIC 6 processor)

Approx 100,000 pixel RGB sensor (dedicated DIGIC 4 processor)

ISO sensitivity

Auto 100-51,200 expandable to 50 and 409,600

Auto 100-51,200 expandable to 50 and 204,800

Continuous frame rate

Max approx 14fps with full AF and AE. Max approx 16fps in Live View mode

Max approx 12fps with full AF and AE. Max approx 14fps in Live View mode

GPS

Built-in with auto time update

External accessory

Movie function

4K up to 50/60p for up to 29mins, 59secs

Full HD up to 25/30p for up to 29mins, 59mins

High frame rate movie

Full HD to 100/120p

n/a

Movie

Dual pixel CMOS AF with touchscreen LCD

Contrast-detect AF

If an FTP connection is more your thing, there have been substantial improvements here, too. On the 1D X, just five settings could be saved, whereas now up to 20 are available, along with the capability to name each one, something which pro sports shooters are sure to appreciate. With the more prestigious sporting venues offering dedicated services for photographers, once the connection has been made and renamed, it should be much easier on subsequent occasions. Just choose Old Trafford, Murrayfield or Wembley, for example. GPS bump aside, it’s hard to see many cosmetic differences, but they’re there. Canon was clearly keen to make the camera as familiar as possible to existing 1D X users and it has achieved this. But the handgrip has been deepened and

narrowed to make it easier for small-handed photographers to hold, plus there’s an index finger indent to make it more comfortable. On the front of the camera the ridge has been removed between the depth-of-field preview and Multi Function 2 buttons to make them easier to access when you’re wearing gloves, while if you peer through the eyepiece you’ll find a customisable viewfinder, which includes a handy leveller. Summary You can pre-order a Canon EOS1D X Mark II now, although you won’t get your mitts on it until May. In that time you can do one of two things. First, you can save up. At £5199 for the body, this is clearly not going to be to everyone’s financial taste, although most major retailers are

There’s little doubt that this is an incredibly accomplished DSLR offering interest-free options and extra incentives if you to sign up now. Second, you can start to get very excited about what exactly you’re going to get. There’s little doubt that this is an incredibly accomplished DSLR and working my way through the specification, it’s hard to see exactly how the EOS-1D X Mark II could be improved upon in the future.

Photography News Issue 30 absolutephoto.com

Recommendations

Like Fujifilm X-series? You’ll love the Fujifilm X Magazine. Whether you’re a dedicated Fujifilm X-series user, or are considering your very first model in the range, the Fujifilm X Magazine is a must read. Available to download to your tablet or mobile, or to view online, the FREE magazine brings all that’s great about X-series into one place.

Interviews with X-Photographers See brilliant images and read amazing stories from Fujifilm X-Photographers from all over the world. See inspiring images Be inspired by superb images from fellow Fujifilm X-Photographers and read the stories behind how they were created. Win great prizes! Every issue gives you the chance to win one of the latest pieces of Fujifilm X-series equipment. Start taking better images Learn new techniques and get more from your X-series camera with our handy tips and in-depth guides to functions. Get the latest news Read all about the latest Fujifilm launches, plus equipment reviews to help you make the right buying choice every time.

Search for Fujifilm X Magazine in the App Store and Google Play or visit en.fujifilmxmagazine.eu to see the latest issue.

Photography News Issue 30 absolutephoto.com

First tests

First tests Accessories

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

Hähnel ProCube Twin Charger £49.99

Specs Price £49.99 In the box ProCube charger, UK, Euro and US plugs, 12V car lead, AA tray, tool for swapping battery holders Compatibility Two models: Canon: LP-E6, LP-E8, LP-E17 Nikon: EL14, EL15 Olympus: BLN-1, BLS-5 Sony: NPBX1, NP-TW50 Other features Integrated 2.1A USB charger – detects and charges most USB devices Contact hahnel.ie

Swapping from camera battery holder to another is a simple process and takes seconds.

We all know the importance of having fully charged batteries and the charger that came with your camera does an excellent job so you might be wondering why gadgets like this Hähnel ProCube exist. The appeal of the ProCube is its versatility. It comes with mains adapters for the UK, Euro and the US plus there is a 12V car charger lead and then there’s a tray that accepts four AA rechargeable NiMH cells. But the very clever thing is that the ProCube comes with twin battery holders that are suitable for a wide range of different cameras. Two models of the Hähnel ProCube are available, one for

Canon and Nikon and another for Olympus and Sony products. In each kit, you fit the battery holder relevant to your camera. Obviously it depends on what cameras you own but in all probability you will fit one battery holder and never change it. But if you have to, the process to change holders takes seconds. A little tool that comes supplied is used to release the attached holder and then you just unplug one holder and replace it with the new one before clicking it into position. You can charge one cell or two at the same time and the LCD panel tells you percentage charge of the cells.

The AA battery charger sits on top of the camera tray – minus any cells – and is held in place with magnets which means you can’t fit it incorrectly. If there is any downside it’s that four cells have to be loaded before charging starts. The final charging option is via a USB socket. Here you can charge your smartphone, tablet or even your bike light – but not while camera batteries or AAs are being charged. Charging time is respectably fast. A Nikon EN-EL15 cell took 105mins to charge from 8% to 100% charge. A set of four flat 2900mAh NiMH cells took 90mins. WC

Verdict The ProCube is a neat gadget that works really well and its versatility gives it a major advantage over the charger that came with your camera. Pros Versatile, performs well, good price Cons Four AAs charged at a time, no Fujifilm module option yet

Photography News Issue 30 absolutephoto.com

First tests

Lee Filters Super Stopper from £70.45

Specs Price £103.82 100mm, £70.45 Seven5, £132 SW150 Filter type Extreme long exposure solid ND Filter factor 32,000x, 15 EV Optical density 4.5 Colour temperature In this test, 6670K Construction Optical glass, 2mm thickness In the box Exposure guide Contact leefilters.com

The Lee Filters Super Stopper is being launched at The Photography Show at the NEC, 19 March. Visit the Lee Filters stand for more information No filter, AWB

Super Stopper, 10,000K

Super Stopper, 6670K

Super Stopper, AWB

Super Stopper, 8830K

Super Stopper, 5560K

You can’t credit (blame!) a photographic style to one accessory, but there is no doubt that when Lee Filters christened its 10EV, 1000x neutraldensity filter the Big Stopper, it gave extreme long-exposure photography a memorable sobriquet. It’s the Hoover of photographic ND filters! The Big Stopper has been followed by the Little Stopper, a 6EV ND filter more suited to use in lower lighting levels, and now we have the Super Stopper, a 15EV ND filter that is available in Lee’s Seven5, 100mm and 150mm filter ranges. The Super Stopper is not just about making long exposures even longer, although some people will do that with it, but it’s more about being able to shoot very long exposures in good light or using wider apertures. In bright sunlight, at ISO 100 and f/22, using a Big Stopper might only let you shoot at 8secs or 15secs. With some fiddling around like adding another ND, a polariser or setting ISO 50 if you have it, you may eke out a longer

exposure. You could even combine the Big and Little Stoppers and you have a 16EV ND but using two filters has possible quality implications. The simple solution is the Super Stopper. A single filter fix that means a daylight meter reading of 1/125sec at f/11 that is eight seconds with the Big Stopper becomes four minutes with the Super Stopper. Perfect for slow-moving clouds and gently ebbing water on a bright day. I started my test by seeing if the Super Stopper was accurately delivering 15EV of light absorption. Lee does state that there can be batch differences and the filter factor can sometimes vary. The procedure was simple enough. A light reading of the scene was taken and a picture was made. Then an exposure with the filter was calculated, before adding the filter to a tripodmounted camera, closing the eyepiece blind and taking the shot. If anything I thought my sample could be slightly denser but only marginally, so I was

going to stick with the 15EV filter factor for now. Next I did a white-balance test. The Big Stopper is blue with AWB and Lee suggests a manual 10,000K white-balance setting to offset this – I appreciate many users do the adjustment in Raw processing. Lee also says this is changing and newer filters might need a lower Kelvin setting. With the Super Stopper, I started with AWB and then shot at settings on my Nikon D800 from 10,000K down to 5560K. It was a sunny day and I thought a manual Kelvin setting of 7140K looked best, as far as I could tell with me and the camera shielded from the sun under a travel towel. I was pretty close. Back home later, I saw that the 7140K image was slightly over-warm, but not unattractively so, and I reckon 6670K would be the setting I’d use in the future for accurate in-camera shots. With white-balance and filter factor tested I was ready to shoot some extreme long exposures. My non-

Four-minute long exposure

filtered scene was exposed for 1/125sec at f/11 and ISO 100 so that translates to eight seconds at f/11 with the Big Stopper, and four minutes at f/11 and ISO 100. The result is shown above. As mentioned earlier, a key benefit of the Super Stopper is that you can get away from the need to set small lens apertures and still enjoy long exposures. So while a 10EV ND might need f/22 to get a decently long exposure, the Super Stopper means you can shoot at f/4 so you have more control over depth-of-field. Of course, avoiding the minimum apertures means you make the most of your expensive lens – f/16 and f/22 even in top lenses means diffraction and less sharp images. Yet another benefit of this is that shooting at wide apertures means less depth-of-focus (sharpness behind the lens) so all that grot on your sensor that is so evident at f/22 is rendered less obtrusive at wider values. That could save a great deal of time with the clone tool. WC

Above A four-minute exposure taken using the Lee Filters Super Stopper, and various whitebalance settings used with it.

Verdict I am a fan of long exposures and enjoy shooting them, and now I have a one-filter solution to making them in bright light and I have more aperture options, too. That makes me very happy, and I think that the addition of the Super Stopper to Lee’s range is very, very welcome so it comes highly recommended. Pros Very long exposures on bright days made easy, filter factor means you can shoot long exposures at mid-apertures Cons Extra care needed shielding the camera in bright light

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First tests

Benro Mach3 TMA38CLV3 £479 Travel tripods offer great stability for their size and that is why they are rightly popular, especially when you are out on the off-chance that you might need the extra support. But when you need maximum support there is nothing to beat a full-size tripod and the TMA38CLV3 from Benro’s Mach3 collection certainly qualifies as a full-sized support. The legs are carbon fibre which helps to keep weight down. The legs with the V3 ball head weigh in at 2.6kg, which is impressive for a tripod of this specification and quality. The leg locks are twist grips which work well and you don’t have to be too vigorous with tightening to lock the legs firmly. The grips are also quite large which makes them easier to get hold of and being rubber makes them comfortable to use on cold days with bare hands. I certainly appreciated the foam leg grip for the same reason. Gloved hand use is no problem at all. I replaced the default rubber feet with the supplied spiked feet. The four-section legs fully extended gives a very useful height. I’m 1.75m tall (5ft 9in in old money) and with legs splayed to their default position and with the centre column down, I was eye level with the camera monitor. To use the viewfinder meant standing on tippy toe for me. Should you need a really high perspective, extending the centre column gave me that option – obviously then using the tilt monitor to frame the shot. Camera stability at maximum leg extension with the centre column down is good. On a very windy day I did fully extend the pod for test purposes and you could feel vibration in the legs but that would apply to

any tripod – it is one area where aluminium legs can be better than carbon-fibre options. Getting a low shooting position is good. With the standard (reversible) column you can get a camera to 48cm while using the supplied short centre column you can get as low as 28cm. I’ve been using our test sample since last autumn and have enjoyed its reassuring presence in a wide range of conditions. It has been set up on solid ground, on sandy beaches, used on gale force days and in the mud and I’ve always been happy with the results. The inevitable consequence of using a tripod on a sandy beach is grit in the leg locks even when you take measures to avoid it. I did extend the bottom legs by about six inches to try to keep the leg lock section above the sand. That was the theory but that got scuppered by the incoming tide, so I did end up with sand and salt water in the leg locks. Once home, I unscrewed the affected leg locks, gave them a good fresh water rinse to wash away any grit and salt and reassembled them once dry and grit-free. No tools were needed to do this and the tripod was soon restored to normality. The V3 ball head is a quality piece of kit. Robustly made and easy to use, it sports a spirit level and locks solidly with minimal effort. It also accepts Arca Swiss plates. The main locking knob has a friction control and on occasion I did somehow manage to inadvertently adjust this while I was carrying it or during its journey in the car boot but that was cured with a piece of tape. Using the head is a pleasure because it has a very smooth positive action that’s very reassuring. WC

Specs Price Kit £479, individually TMA38CL tripod £339, V3E head £170 In the box TMA38CL carbon-fibre tripod, V3E head, quick release plate, carry case, spiked feet, short centre column, tools, bag Leg sections Four Material Legs 9x carbon fibre with magnesium castings and twist leg locks Max height 1.88m, centre column extended 1.63m, centre column retracted Min height 46cm Max load 14kg Closed length 69.6cm Weight 2.6kg Contact benroeu.com

You don’t have to be too vigorous with tightening to lock the legs firmly

Images The Benro TMA38CLV3 is a high-quality, capable tripod and gives a performance that is comparable with more expensive market rivals. It is available as a legs only option if you already have a tripod head.

Verdict I used a wide variety of cameras, including medium-format film, and various long lenses on the Benro and it performed perfectly well. While I didn’t wander too far from the car or climb serious hills, I did on several occasions spend all day out walking and shooting and the Benro proved an excellent, amenable and very stable companion. If you are in the market for a full-sized carbon-fibre tripod you have got to consider this one. Pros Excellent stability, useful maximum height, handling Cons Ball head tension adjust control could be firmer

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First tests Specs Compatible cameras (stated) Nikon D810, D800, D700, D750 D7100, D7000, D5200, D5100, D5000, D500, D300, D300S, D3200, D3100, D200, D70S (Canon version: 5D Mark III, 5D Mark II, 6D, 7D, 60D, 50D, 40D, 30D, 650D, 600D, 550D, 450D, 400D Digital, 1100D, 1000D) Compatible speedlights SB-900, SB-910 (Canon version: 600EX-RT, 580EXII) Guide number 58m (100 ISO at 105mm setting) Recycle time 1.5sec (full power) Colour temperature 5600K TTL function Yes Power levels (manual) 1/1 to 1/128 Power range 8 stops Power increments ⅓ stop Beam coverage 24 to 105mm (plus 14mm wide angle panel) Manual zoom Yes Flash exposure lock Yes Sync modes 1st Curtain, 2nd Curtain, high speed sync (up to 1/8000sec) Flash duration 1/300 to 1/20,000sec Stroboscopic mode Yes, up to 100 flashes at 100Hz Wireless flash functions Master, slave (S1/S2), Off Wireless groups/channels 3 groups/4 channels Max wireless range 15m indoors/10m outdoors Modelling flash Yes AF assist beam Yes (automatic)

Interfit Strobies Pro-Flash TLi-N TTL speedlight £229 A good speedlight is an important part of any photographer’s kit, giving you far greater lighting options than the pop-up unit on your camera can supply, and with greater versatility and portability than most studio heads. Even if you have a speedlight that’s only a few years old, it’s worth looking at the latest to see what else they can offer. For instance, here’s the Interfit Strobies Pro-Flash TLi, a speedlight which comes in Nikon (TLi-N) and Canon (TLi-C) fits with identical specifications. I tested the former on a Nikon D810 DSLR. The headline features are wireless TTL shooting (e-TTL on Canon, and iTTL on Nikon), high-speed sync (HSS) and the use of a new Li-Ion power pack, rather than the AA cells usually found in such models. The new power pack gives the flash plenty of oomph (it has a guide number of 58 at ISO 100 and at the 105mm zoom setting), but perhaps more impressive are the recycle times and the number of flashes you can expect per charge. The recycle time is only 1.5sec at its full power setting, which is plenty faster than Nikon’s SB-910 stated 2.3sec. And the battery life is certainly excellent too; it’s rated at 650 full-power flashes on a single charge and that was born out during the test. It showed no sign of running out of juice at well over 800 shots, and although many of these were lower power settings, it means you can go all day without worry – in fact, it outlasted the D810. That makes it a lot more capable than anything running on AAs alone. The only downside is that, while you can easily grab an emergency fistHigh Speed Sync

full of AAs from any convenience store, the power pack needs to be plugged in for full recharge. Therefore, you might want to budget for an additional cell (the Pro-Flash TLi STR246 will set you back around £45); I’d invest in one, even if the battery’s staying power makes running out of juice unlikely. Price-wise there are certainly cheaper guns out there with similar specifications, but as a product designed to compete with the flagship speedlights, the TLi does its job well at a very competitive cost; it’s around £100 cheaper than Nikon’s SB-910, and doesn’t lack sturdiness. The unit is big, solid, and at 540g, it’s no featherweight. It felt about right when mounted on the 980g Nikon D810, but if you’re planning for it to ride on a smaller body then it will likely feel a bit top heavy. That said, of course the flash will often be used off-camera, where the weight isn’t an issue (apart from in your kitbag), and it didn’t show any signs of toppling on a stand. The flash head has a very positive feel, which actually verges on stiff. It turns smoothly throughout its +/180° rotation and -7° to 90° tilt and by the end of a week’s intensive use, showed no slackening. The locking ring is also well designed (you’d think that was to be expected, but many are too small and close to the body to be comfortable), and the included stand adds a solid footing. The only frustrating thing – and the TLi isn’t alone in this – is that the catchlight panel and wide-angle diffuser need to be hooked out with a fingernail, which is occasionally fiddly and can’t be operated in gloves. The

diffuser doesn’t cover the whole flash head either, and while it added spread, it didn’t cover the frame without vignetting at 14mm. Unlike many speedlights, the button layout on the TLi is easy to navigate, and because the unit is large, there’s plenty of room between each input. Operation is straightforward and switching from manual to TTL or multi (stroboscopic), is as simple as repeated presses of the mode button. The Select Dial and Set button then adjust the options, like manual power (1/1 to 1/128 in 1/3 steps), or the number and speed of flashes. Setting up the wireless triggering is just as easy; you hold the Wireless button until an icon flashes, then use the dial to set it to Master, Slave, S1 or S2; the group and channel can also be set at this point. Just like Nikon’s Creative Lighting System, which I’ve used a lot, the TLi flash uses optical triggering; it’s controlled with a pre-flash (from the either your pop-up in Commander

Regular sync speed

Triggering options Hotshoe, wireless control port, optical slave cell, 2.5mm sync port Flash ready indicator Yes (light and beep) Auto power dump Yes Vertical rotation -7° to +90° Horizontal rotation +/-180°

mode, a compatible speedlight, or the TLi in Master mode). Most of the time this works fine, but it can’t compete with a radio trigger in terms of range, and it requires line-of-sight, so the Optic Control Sensor (the big red bit at the front) has to pick up the preflash. Range is actually higher indoors, and works up to around 15m, while outside it maxes out at 10m. This can mean a hitand miss experience (though it’s mostly hits), but understand the system’s limitations and it’s sound. For radio triggering there’s the transmitter and receiver for Strobies Pro-Flash at £40 (a receiver is £15), but TTL is then off the menu. Metering is good however, and exposures were consistently on (or very near) the money. The HSS mode is very easy to use and works excellently. HSS is vital when you need to work at shutter speeds over the camera’s sync speed (usually from 1/160sec to 1/320sec). To activate it on compatible Nikon cameras simply go into the shooting menu and set the Flash Sync Speed to one of the Auto FP options (on the Canon version there’s a button on the flash). Then it just works, on or off camera – a flash symbol with an H next to it on the LCD telling you you’re good to go. In HSS mode (which goes to a maximum 1/8000sec) the flash output is reduced, but shooting at 1/2000sec at f/4 (ISO 125), I got perfectly good illumination at around 2ft from the flash – however, there’s no distance scale on the LCD. KS

Power supply 11.1V/2000mAh Li-Ion battery (Pro-Flash TLi Battery – STR246)

Verdict

Power Saving Yes (auto 90secs, 60mins in slave)

The Pro-Flash TLi is a very well-appointed speedlight that integrates perfectly with Nikon’s Creative Lighting System and the flashguns that support it. That triggering system isn’t perfect in terms of range and coverage, but used within its limitations, it’s very good. The build of the flash is also to be commended, and it’s extremely easy to use.

Flashed per charge 650 (full power) Recharge time 3 hours Dimensions 64x76x190mm Weight (with battery) 540kg Contact interfitphotographic.com

Above Using the regular sync speed (1/250sec) I picked up blur as Rocky moved his head in these shots, but in High Speed Sync mode (with the shutter speed at 1/500sec) there’s less chance of getting any, although the flash range does drop so the flash often needs to be moved closer.

Pros Affordable, powerful, highquality lighting and lots of options Cons Not the cheapest out there, no distance scale

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First tests

Vanguard VEO 37 £69.95 We all know the advantages of having a tripod handy when we’re out shooting but let’s be honest, they’re not very convenient to carry around. Not only that but a tripod tells the world you’re packing a camera. The Vanguard VEO 37 is a messenger/camera shoulder bag that offers an elegant and discreet tripod carrying solution that has a quickly accessible bottom compartment with its own dedicated zipped trapdoor. The bag itself can be set up in different configurations to suit the demands of the day. So, for instance, the stiff U-shaped base of the bottom tripod compartment can be inverted so you have a deep bag suitable for a full-frame DSLR with two or three lenses. There’s enough headroom for a 70-200mm f/2.8 in an upright position. If it’s a CSC or tripod day, then the U-shaped base can be flipped to take a travel pod and the top section of the bag can take a good-sized CSC outfit – or a more modest full-frame/ APS-C DSLR set-up. I easily got an Olympus OMDE-M5 Mark II with lens attached, plus three other lenses. With a couple of extra dividers, even more lenses can be fitted in without rubbing together – perhaps Vanguard could provide more dividers as standard for more options. Within the main

compartment there is a laptop/tablet pocket and that is available even if the tripod bay is in use. It was wide and deep enough for a 11in MacBook Air. There is a slip-in pocket along the back of the bag for a map or book and at one end is an elasticated pocket for a water bottle. Along the front is a zipped compartment suitable for filters and other accessories. Within this pocket is a rain cover and also a fold-out two-compartment flap imprinted with a storage card logo to indicate its purpose. These pockets are large enough to stow a couple of spare batteries which is handy. The final stowage area is the tripod compartment. Clearly, it can’t take a full-sized tripod but it will happily accept a travel tripod – or a long lens. I tried it with a Vanguard VEO 236AB and VEO 265CB and Gitzo GT1555T and each fitted perfectly happily when in their legs folded back configuration. The zipped trapdoor keeps the tripod safe during transit but makes getting at it easy too, even without having to put the bag down. Fully laden, with tripod, laptop and camera system, the VEO 37 is obviously quite a weight but carrying it off one shoulder or slung across the chest is comfortable, thanks to its wide strap and there is a plenty of height adjustment available too. WC

Specs Price £69.95 Colours Black only Leg sections Four Material 600D polyester Compartments Main one with U-shaped base that can be flipped to give the tripod compartment and a tablet/laptop pocket. Front section has extra pockets including a fold out card and battery pocket and a rain cover. Water bottle pouch and rear, non-zipped pocket. External dimensions (wxhxd) 40.5x31x23cm Internal dimensions (wxhxd) 39.5x28.5x19.5cm Closed length 69.6cm Weight 930g Contact vanguardworld.co.uk

The fact that the bag does not shout ‘expensive kit inside’ appeals too

Verdict The Vanguard VEO 37 is a neat and versatile carrying solution. I often take a travel tripod with me on trips to town in case the urge to shoot long exposures comes and not having it on a separate strap or attached to the outside of a backpack was very welcome. The tripod aside, the VEO 37 has enough room to suit whether shooting full-frame, APS-C or Micro Four Thirds and the fact that the bag does not shout ‘expensive kit inside’ appeals too. In summary, the VEO 37 at under £70 is excellent value and certainly worth having, whether as your main bag or a travel light option when you don’t need your full kit. Recommended. Pros Tripod compartment, good storage capacity, practical in use Cons More dividers would be nice

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First tests

Portable memory G-Tech G Specs Drive ev ATC £145

Price ev ATC 1TB USB 3 £145, ev ATC 1TB Thunderbolt £186, ev Raw 1TB £105

If you need a conventional hard drive to survive the most arduous conditions this G Drive ev ATC could be your dream partner. The core unit is the G Drive ev RAW which is a standalone external drive that can be used on its own via its USB 3.0 connection or in the G-Dock ev swappable drive housing via its SATA connection. Adding the ATC case takes protection levels up a couple of notches and that is the combination on test here. Slide the unit into the ATC case, lock it in and it’s watertight and protected from pressure, shock and dust. The case has a built-in USB lead which tucks away when not in use and the end has a rubber protective cap to stop dust and sand getting in. The whole unit does feel impressively robust so even though the combination is bulky the price for that reassurance is not high. Clearly, you’re not going to need this level of protection in normal situations but perhaps if you are going on safari or on a photo holiday to the tropics where the extra protection will be well worth considering then it will be worth it. According to the Blackmagic Design app write speed was 39.2MB/s and in practice the tested speed was 35MB/s using the USB 3.0 port of a Mac Mini. WC

Interface Drive USB 3.0 and SATA (for use with G-Dock ev), case USB 3.0 Data transfer speed 136MB/s Compatibility Windows 8, 8, and 7 via reformat Mac OS10.7 or higher In the box All terrain case with USB cable, G-Drive ev RaW, USB cable Dimensions (lxdxw) Drive 135x83.5x16.5mm Case 164x108x30.5mm Weight Drive 180g Case 230g Contact g-technology.com

Samsung T3 SSD 2TB £596.99 Samsung has been at the vanguard of solid state drive (SSD) development and the T3 is its latest introduction. The T3 is a premium SSD and very compact with it – it’s smaller than an average business card – so it’s eminently pocketable and an excellent and very portable data storage solution. It is also rugged. The metal case is shock resistant and will survive a two metre drop or a force of 1500G. There is an integrated Thermal Guard to prevent overheating in extreme temperatures. While I didn’t kick the drive around the office to test its robustness I did leave it unprotected at the bottom of my work bag for a couple of weeks and regularly data transferred to and from the drive. It proved totally reliable in that time. The drive comes complete with 256-bit encryption software to protect your SSD’s contents should it fall into the wrong hands. It is a useful security measure. Of course, if you do forget the password your data is at risk so while Samsung can supply a reset password, the stored information will be lost if it’s used. The SSD T3 has an USB 3.1 (gen 1) interface and a USB C to USB A cable is supplied. Using the Blackmagic Design app the tested write figure was 38MB/s while a data transfer test of 5GB of data showed the speed to be 34.6MB/s which is better than CrystalDiskmark tested write speed of 32.6MB/s. WC

Specs Price 250GB £98.99, 500GB £151.99, 1TB £301.99, 2TB £596.99 Interface USB 3.1 (Gen 1), USB 3.0 and 2.0 Data transfer speed 450MB/s Compatibility Windows 7 or higher Mac OS10.7 or higher Android KitKat v4.4 or higher In the box T3 SSD 2TB, USB 3.1 Type C to Type A cable Dimensions (lxdxw) 74x58x10.5mm Weight 51g Contact samsung.com

Verdict

As far as normal external hard drives go the price of the G-drive ev ATC is on the high side, but this is on a TB by TB comparison. This G-Tech unit is worth a serious look is because of the ATC case that gives a very high degree of protection to the drive inside. The fact that the drive can also be used in a G-Tech dock gives it an extra appeal.

The Samsung SSD T3 2TB is not cheap but SSD drives relative to conventional hard drives are expensive. Prices will come down in time but right now, the Samsung SSD range is a little expensive for its capacity, technology and build quality. So while this 2TB device from Samsung is close to £600 for your money you get a high capacity SSD that is tiny, reliable and very rugged too.

Pros High protection levels, system compatible Cons Size, price

Pros Small, SSD reliability and speed Cons Price

WD My Passport Wireless 2TB £169.99 We are very much living in a wireless age and features like Wi-Fi and Bluetooth, among others, are must-have features. That includes storage now with peripherals like this 2TB portable hard drive from Western Digital. Compared with a wired hard drive, the My Passport Wireless unit is quite heavy, probably because of its battery – it weighs in at 355g. Battery life is a claimed six-hours continual video streaming. Charging is via the unit USB 3.0’s connection. The unit also has an SD card slot, so with your laptop you can back up your cards when travelling. Power the unit up and 25secs later a blue LED confirms the Wi-Fi is working and then you can connect up to it, assuming the appropriate app has been installed. On a Mac, you can access the drive by going to Go>Network and then you’ll see the drive and SD icons on the computer. Now you can move information between the computer and drive. With a tablet or phone you need to install the WD My Cloud app and join the My Passport network to view, download or share JPEG images. Connecting up and using the My Passport Wireless proved no problem at all. Wi-Fi range seemed good too. There is the option of

Specs Price 500GB £113.99 , 1TB £134.99, 2TB £164.99 Interface SD card slot, USB 3.0, Wi-Fi Data transfer speed USB 3.0 up to 5GB/s, SD 2.0 up to 25MB/s Compatibility Windows 8.1 or higher, Windows 7, Windows Vista Mac OSX Lion, Snow Leopard, Mountain Lion and Maverick

connecting wirelessly directly to the unit or using your home network or public Wi-Fi. For our timing tests we connected directly to the Passport. Upload/download speeds wirelessly are slower than when hard-wired. Moving 3GB of data wirelessly from the Passport to the iMac Mini took six minutes for around 9MB/s while with the USB3.0 connection it was under one minute for around 50MB/s. Using the Blackmagic Design Disk Speed Test app gave a write speed of 89.4MB/s. CrystalDiskMark quoted a much slower 32MB/s. Backing up an SD card with 6GB worth of pictures took 35 minutes for less than 3MB/s. Speed is not always the priority while reliability is, and I had no issues. WC

In the box Wi-Fi mobile storage, USB 3.0 cable, USB power adaptor, quick install guide Battery life 6hrs (claimed) continuous video streaming Dimensions (lxdxw) 127x86x29.8mm Weight 355g Contact wdc.com

Verdict The My Passport Wireless proved a reliable hard drive and the wireless connection option worked well. I suppose the question is, as a photographer, do you need it? On the plus side, you can back up SD cards so handy for travel, but you need a laptop so might as well take a wired hard drive – the weight of a cable and standard external hard drive will be lighter than the Passport Wireless. Being able to view JPEGs on the large high-res screen of your tablet while on location could be a benefit. More and more cameras have Wi-Fi but the process of viewing a number of images is slow but with this drive, you can go through JPEGs on your SD card quickly without having to download them. Pros Reliable, SD card slot, decent battery life, fast through USB3.0, wireless works Cons Weight, no compelling reason to buy

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Photography News Issue 30 absolutephoto.com

First tests

MagMod MagSnoot flash modifier £40

Specs Price £40 (plus £20 MagGrip) Internal camera compartment 21x22.3x9cm

hairlight effect

Selected compatible speedlights Canon: 380EX, 420EX, 430EX, 430EX II, 540EZ, 550EX, 580EX, 580EX II, 600EX-RT; Metz: 44 AF-1, 52 AF-1, 52 AF-2, 58 AF-1, 58 AF-2; Nikon: SB-24, SB-25, SB-26, SB-28(DX) SB-50DX, SB-80DX, SB600, SB-700, SB-800, SB-900, SB910; Olympus: FL-50R, FL-600R; Pentax: AF540FGZ, AF540FGZ II, AF360FGZ; Phottix: Mitros, Mitros+; Pixapro: Li-Ion580, Li-Ion580ETTL, Li-Ion580ITTL; Sigma: EF-610; Sony: HVL-F60M, HVL-F58AM, HVL-F56AM; Vivitar: DF-286, DF-293, DF-383, DF-483, DF-583, 385HV; Yongnuo: YN560, YN560-II, YN560-III, YN568EX-II, YN565EX

Spot on backgrond

Dimensions 12.7x12.7x6.4cm (folded) Weight 272g Contact magnetmod.com essentialphoto.co.uk

Spotlight effect

Although you can get good results from your speedlights just as they come out of the box, there’s no doubt that using modifiers on them brings benefits; without modification, and despite most featuring small built-in diffusers and reflector panels, the light is usually either too harsh, or not able to be directed where you want it. The first (and often only) modifier people go for is a diffuser, which will spread and soften the light. Less common is the use of kit that restricts light, like grids and snoots. This isn’t surprising, as diffusing the light makes it less contrasty, softens hard shadows and produces a more flattering style of portrait. But after some experimentation, many photographers find what’s missing is that ability to direct the light, producing crisper results, and highlighting only certain parts of the subject, so you can achieve hairlight, sidelight or spotlight effects. These styles, used in conjunction with a key light, can really add something special to your lighting set-ups, so getting the right kit is vital. Enter the MagSnoot, part of the MagMod system, which, like the other parts of the range offers an innovative design based on silicone rubber and magnets. The MagSnoot is used in conjunction with the basic MagGrip accessory, and if you’re unfamiliar with the system, this is essentially a rubber collar that stretches over your speedlight’s head, and to which a range of modifiers are then fitted. The MagGrip can be bought on its own (for around £20), or as part of the MagMod Basic Kit (£70), where you also get a MagGrid and MagGel filter holder and gels (both of which we enjoyed in issue 25 of PN). You can

No lighting from snoot

also get the MagSnoot as part of the complete MagMod Kit at around £220. The MagSnoot attaches to the MagGrip with the same reassuring snap as the other products in the lineup, thanks to the very strong magnets used (due to the latter, none of the MagMod range should be left around items sensitive to magnetism, such as speakers, hard-drives or your bank cards). And because of the lightweight silicone rubber used (the unit weighs only 272g), when fitted, the MagSnoot feels light and therefore doesn’t put much pressure on the flash head; so where some devices would make it topple forward it’s rock solid. Its silicone construction also contributes (literally) to the MagSnoot’s flexibility; unlike a regular, rigid snoot, the modifier can be pushed and pulled, folding in on itself, or extending to provide four different lengths, and therefore focus or widen the beam of light. So, in its retracted position, the MagSnoot gives a 40° spread of light, making it similar in output to the MagGrid; but pull the rubber out to the next section and it narrows to 20°, then 15°, and finally to 12.5° at stage four. In fact, due to its integrated gel slot, which can hold up to two gels you could get away with buying just the MagSnoot (rather than the MagGrid and Gel), but as you’ll want options for multiple guns there’s no harm in having both. A set of gels on its own costs £20. In use, the MagSnoot feels great, with the rubber springing out easily and holding firmly in place where desired. This collapsible design also means that it folds neatly down to only 6.4cm thick, making for easier transportation in its included bag. Folding isn’t quite as straightforward

Above The MagSnoot attaches to the basic MagGrip collar via magnets, and its silicone rubber design can be extended to channel the light as desired. as extending the snoot; I found it easiest using two hands, but it can be done with one; it just takes practice. The silicone rubber is surprisingly strong, with both good elasticity and retention of its original shape; nor does it split or tear under prolonged handling. The only real issue, as previously observed in the MagMod design is that its rubbery finish sees it getting a bit fluffy after repeated use as it picks up lint; that doesn’t affect its operability of course, but you might want to wash it down occasionally. The inner of the MagSnoot is the same black rubber which does cost a little power due to the lack of reflection, but it still has an impressive throw due to the channelling effect of the design. Tested on the Interfit Strobies ProFlash TLi speedlight (also reviewed this issue), adding the MagGrip was a bit of a stretch due to the size of the

flash head, but it went on fine in the end. Exposure through the snoot was a little inconsistent in TTL mode and had a tendency to hot-spot as it was focused. More consistent results were found using manual power settings. The light produced is lozenge shaped rather than circular (and becomes more so as the flash head is zoomed) which could be a problem if you’re after a perfectly round spotlight effect, but I didn’t find it an issue for hairlight or sidelighting effects. An issue related to the shape of the light is that it’s always going to look horizontal or vertical, and therefore the flash needs to be angled to fit it to the subject. The MagSnoot can’t be easily rotated as it only has two magnets (not four as in the MagBounce’s circular design), but this doesn’t affect the shape anyway; only tilting the flash over changes the orientation. KS

The silicone rubber is surprisingly strong, with both good elasticity and retention of its original shape

Above We got some very good results from the MagSnoot, using it to create simple but effective effects like hair and background lighting – a big improvement on the key light alone.

Verdict With plenty of snoot and grid options out there for speedlights, the MagSnoot faces some stiff competition, but it fares well. The MagMod system it’s based upon is incredibly easy to use, and the MagSnoot fits in perfectly, providing loads of effects in a single package. If you’ve bought into the MagMod system already, it’s a great addition; it’s also a decent reason to invest if you haven’t already.

Above By extending or folding the rubber snoot the light output can be channeled from its 40º to a minimum of 12.5º.

Pros Easy to use, range of effects, light, sturdy and small Cons shape of light, can’t rotate through 90°

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First tests

Rotolight Anova V2 Bi-Colour £1258.99 You need a continuous light source for shooting video but it’s also worth considering one for still photography too, especially with the availability of high-output, lowpower consumption LED units. The Rotolight Anova V2 Bi-Colour unit is the sort of thing you can expect if you want a pro-level LED light. It can give an output equivalent to 3500W of tungsten bulbs (imagine the heat!) and the light it produces is flicker-free. Output can be adjusted to the situation with a range of 3150K to 6300K. Two Bi-Colour options are available, the Standard 50° (the one we tested) or the Ultrawide 110°. The latter gives a wider light spread with a softer character, while the former gives a tighter beam of light output, with even coverage for a 35mm lens in the 35mm format and a punchier effect. A cheaper fixed 5600K output unit is also available. The basic kit comes with a yoke to hold the light on a standard lighting stand, while going for the Pro kit gets you a custom flight case and a set of six-blade barn doors. The light is ready to go straight out of the box and all you have to do is plug the 15V DC transformer into the mains. The unit can also be battery powered with a V-lock battery – a standard battery type in the broadcast and video industry. The large red dial on the back allows you to select the mode and adjust settings once in the appropriate mode. Rotate this to select the mode you want and then push it to then make your adjustments. Pushing it in again takes you back to the mode options. It is here, for example, where you

adjust colour temperature and overall brightness. Holding down the button as you rotate it makes changes in bigger steps – with brightness, changes are in 10% steps rather than 1%. Remote control of the light is possible from an iPhone or iPad with the optional Rotolight Magic Eye, £4.99 from iTunes. Look closely at the LEDs on the front of the Bi-Colour unit, while the light is at a low power setting or off for comfort, and you’ll see that there are two colours, white and pale orange. This is what gives the unit its colour controllable output so if you want to balance light in a domestic environment or perhaps give fill-in typical daylight, you can and very accurately too with the unit adjustment in 50K steps. As part of the test, I shot a Datacolor SpyderCheckr test chart using a camera with AWB set and selected preset Kelvin values to match the light’s output in Kelvin – 3150K, 4500K, 5500K and 6300K. We also took custom white-balance readings. Brightness levels were set at 100%, 50% 25% and 13% and images shot at the aforementioned Kelvin settings. As you can see from the unadjusted JPEGs, accuracy is very good and it’s only at 3150K where the pictures are noticeably on the warm side of neutral. Of course, this might well be a camera variable so you need to check with your own kit. Regardless, it is easily resolved with a custom WB reading. Colour consistency at different output levels was impressive too so once you are happy with the look

Anova 5500K, camera 5500K, 100% brightness

Specs Prices Option of two heads, Ecoflood 50° Standard, or 110° Ultrawide £1258.99, Pro Kit Upgrade (includes barndoors and flight case) £1497.60, barn doors £149.99. Rotolight Magic Eye app from iTunes £4.99 In the box 6-piece gel filter kit, yoke, power supply 110-240V, regional power cable, extension cable Colour output 3150-6300K in +/-50K steps Overall CRI CR= >95 (100 is standardized daylight) Power consumption 39W at 5600K, 100% output Dimensions (wxhxd) 44x49.3x10.7cm Weight 3.1kg with yoke, 4.96kg with yoke and barn doors Contact rotolight.com

of the shots, adjusting output won’t upset colour balance. Light output was measured with a Gossen Digipro F lightmeter set to ISO 200. At 100% brightness with the lighting unit at a distance of two metres the light reading was 1/60sec at f/2.8, at 50% it was f/2 and at 25% f/1.4.3. In sum, the proportional output that you can get is very accurate too. To check evenness we lit a blank wall – again from two metres and with the barndoors fully folded back – and took meter readings as well as actual test pictures. Coverage is consistent. Our Standard 50° unit was consistent to +/-0.2EV across the field of view of a 50mm lens from the light’s position and +/-0.3EV with a 35mm lens. WC

Anova 5500K, camera 5500K, 13% brightness

The light is ready to go straight out of the box and all you have to do is plug the 15V DC transformer into the mains

Anova 5500K, camera AWB, 100% brightness

Anova 3150K, camera 3150K, 100% brightness

Left For the test pictures we used a Nikon Df to photograph a Datacolor SpyderCheckr chart and a Gossen Digipro F to measure output. For the colour temperature tests the same Kelvin values were set on the camera and the Anova.

Verdict The Anova V2 Bi-Colour is a professional quality lighting unit with a price and performance to match. It is an excellent unit delivering a high-quality light with the ability to accurately control the colour of its output which makes it very versatile. The Anova is also built to last so if you need a solid, LED continuous light you should give it some serious consideration. Pros Build quality, controllable, colour performance, even coverage, cool running Cons Price

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First tests Specs Price Diverse 20 £149.99, Diverse 20 Full Insert £19.99 Colours Black Material External: waterproof 210D ripstop nylon Internal: 210D nylon Compartments Main compartment has two removable inserts that can be used as separate bags. Optional Diverse Full Insert Dimensions (lxwxh) External: 28x23x53cm Internal top: 25x18x25cm; bottom: 25x18x23cm Weight 1.85kg including two inserts Contact nest-style.com

How you see yourself using the two inserts and the optional Full Length Insert is key to whether the Diverse 20 will appeal to you

Nest Diverse 20 £149.99 This is the latest photo backpack from Nest and it’s based on a modular design making it very adaptable to different needs and occasions. The large main compartment has two removable inserts or pouches and you can have both in, just one in use, or both out and replaced by an optional Full Length Insert which costs £19.99. The supplied inserts can be used as bags in their own right. A shoulder strap is provided or one can be fitted to the Diverse 20’s removable waist strap so you have a photo belt system with the roomy pouch held in place by a Velcro tab and two clips. It is worth highlighting that the waist strap just slides out so there’s no life or death struggle with Velcro to free it as you get with some backpacks. Just undo two clasps and the belt slides out. The inserts are well padded internally so offer great protection but they are also rather stiff-bodied too so don’t mould to your body. Clever idea, though. The insides are fully lined with Velcro-receptive material so no problem customising the interior. Each pouch can take a full-frame DSLR and an extra lens or two – obviously depending on the camera and lenses in question. I got in a Nikon D800 with a lens fitted and one extra zoom. The pouches are quite deep but not deep enough for a 70-200mm f/2.8 on its end (this lens did fit lying down, though), but a CSC standing end on easily fits with space under the camera for more stuff. A four-lens Olympus OM-D system fitted with no problem at all. How you see yourself using the two inserts and the optional Full Length Insert is key to whether the Diverse 20 will appeal to you. Most people, I suspect, will stow their camera kit in the top pouch and

use the bottom one for less used items. The downside of the bottom pouch is that it has to be removed from the body of the bag to get at its contents so perhaps this is where filters, cleaning kit and less frequently used lenses should be stowed. For outdoor photographers this bottom pouch will probably be removed in favour of a large area for waterproofs, food and other essentials. Nest offers another option with the Full Length Insert that fills the backpack’s main compartment. The supplied dividers and Velcro friendly innards mean you can configure this to suit, for example, a DSLR fitted with a long telephoto lens, or a couple of bodies with three or four fastaperture zooms. The insert lets you stow gear in the bottom of the bag and you can get at it via the side trapdoor. Load the Diverse up and, of course, it gets heavy, but one good thing about it is that it’s not heavy to start with, weighing in at around 2kg on my scales with the two standard inserts. With the Full Length Insert, it is even lighter at 1.7kg. Aside from the main compartment there is plenty of other storage space available too. There is a zipped pocket on the top flap, on one side is a tall hydration water pocket and on the back is a 10in tablet pocket. The tablet pocket exterior is not padded so make sure your tablet has a protective cover, especially as also on the back are retaining straps and a retractable foot pouch for a tripod. A waterproof cover is also provided. Fully loaded, the Diverse 20 proved a comfortable burden. Of course, everyone’s physiology is different but for me the padded area of the bag’s base nestled comfortably into the small of my back. WC

Verdict The Nest Diverse 20 is an interesting backpack and has appeal if you need a versatile carrying solution for the great outdoors. The two inserts or pouches means you have stowage capacity for plenty of kit, but when you need to stow personal items they can be accommodated with no problem at all. From a purely photographic perspective, the interest deepens when the Full Length Insert is added to the equation. While it does not offer the flexibility of the two inserts you can carry more kit and using the bottom section of the bag becomes practical. So if you like the idea of the Diverse 20 budget the extra for the insert. Then you get a spacious photo backpack with plenty of potential when it comes to customising it for different occasions and is designed to keep your kit safe in inclement conditions. Pros Good capacity, flexible, removable inserts usable as separate bags or as pouches on the removable waist strap Cons You need the Full Length Insert to exploit the bag’s potential

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Photography News Issue 30 absolutephoto.com

Advertisement feature

Take a photo trip Buyers’ guide

LEARN NEW LIGHTING SKILLS

www.pauls-events.uk 07930 462906 paulseventsuk@gmail.com

TRAIN IN AMAZING PLACES

fotocourses.co.uk forestside@btinternet.com 01425 479257

Based in Ringwood, Dorset on the edge of the New Forest, Foto Courses is operated by Gary Fooks LRPS, a successful professional photographer. Gary’s company has been offering training since 1996 and now provides all sorts of courses from day trips with one-to-one training to full residential affairs. “Photographers can expect to learn how to master their camera while having a lot of fun,” Gary says “and they’ll learn to give their pictures impact.” All skill levels are accepted, while cameras, lenses, tripods and flash equipment can all be provided if required. As a digital expert, Gary also offers training in Photoshop, Elements and Lightroom, where he helps photographers understand the fundamentals of postproduction, such as Raw and layers. Prices start from just £35 for online training to £150 for a day’s 1-2-1 tuition. Residential courses in the UK start at £395. These workshops include accommodation and meals. Born and bred in Purbeck, Gary’s vast knowledge of that area and the New Forest means you’ll visit stunning locations at the best times to combine the local scenery with the best light. And if you’re into shooting motor sport, there are one-day racing courses at Goodwood, Silverstone F1 and Brands Hatch. Foto Courses also provides trips around Europe, including Paris, Venice, Florence and Prague, all of which cover four days, starting at £750. Feel like shooting a little further away? There are also fantastic trips to New England (six days) and a photo tour of the famous Route 66 (two weeks). “Our customers come back again and again,” says Gary, “because our trips are not just courses they’re an experience.” Just mention Photography News when booking for £50 off residential courses.

Foto Courses

ENJOY EXOTIC FRENCH VIEWS

frenchphotographicholidays.com frenchphotographic@gmail.com 0033 (0) 5535 47485

FIND THE UK’S BEST VIEWS

Owned and operated by John and Gail Gravett, Lakeland Photographic Holidays (LPH) has been offering residential photo courses since 1999. Based in Braithwaite near Keswick, LPH’s courses place you right in the middle of one of the UK’s most beautiful landscapes, but the company also offers regular international tours to the likes of Italy, India and the US. John has been a professional photographer for more than 30 years, as well as having images and tutorials published in many leading photographic magazines. Lakeland provides full board, licensed accommodation in en-suite rooms, and workshops start with a camera clinic, where you’ll be taught to “set up your camera for improved workability”. Workshops are varied, so there’s plenty to suit a range of interests such as dedicated black & white courses and Photoshop and Lightroom training, while trips are tailored to the amount of walking you want to do. There are also special four-night young-persons’ workshops in the summer for 16-18 year olds, and even younger photographers are welcome with a parent or guardian. “The days are finished of with a delicious dinner in our dining room,” says John, “and there are evening assessment sessions where guests’ photographs are reviewed and constructive feedback offered.” Right now Lakeland has rolled back their courses to 2014 prices, so you can save at least £50 on a variety of shooting breaks. There’s a four-night workshop available from 20 March for £550 and an Easter Special on 25-29 March; this five-night fully escorted tour will see you shooting the daffodils in all their glory (£760). On 10 April there’s an ‘active walking’ five-night trip with John, also for £760. Plus Lakeland is offering a Tuscany trip on 17 April at a special offer price of only £1450, a saving of £150.

Paul’s Events, owned and operated by Paul McLachlan and based in Reading, offers a complete package when it comes to studio photography, of which training is a huge part. Paul certainly has the experience to do it, having been teaching photographers the finer aspects of lighting with flash, exposure and model craft for over 20 years. “Although many of my friends were photographers, I constantly found them asking me how to do things, especially when we moved onto studio and studio lighting,” he says. All Paul’s courses offer bespoke one-to-one training so the pace and content is customised for each photographer. “This ensures each and every course is optimised to achieve their objectives,” Paul says. “In fact I don’t really like to call them courses, as it sounds too rigid – with this flexibility I’m able to fit all needs and budgets.” As well as comprehensive, bespoke, one-toone coaching in his clean, modern, air-conditioned and fully equipped studio, Paul also runs day and weekend events. Coming up are glamour and nude shoots perfect for either beginners or experienced photographers. At these events, where you can be working in a small group or one-to-one, you’ll be sure of dealing with experienced models with a fun and creative outlook. On 16 April, 3 June, 12 August and 7 October, you can enjoy the backdrop of a Grade II Jacobean manor house and gardens in Berkshire, working with both natural light and flash. Paul is also offering three weekends at an 18th century mansion in Carmarthenshire, on 13-15 May, 1-3 July and 2-4 September with beautiful interiors, parkland and rivers.

Lakeland Photographic Holidays

Paul’s Events

lakelandphotohols.com info@lakelandphotohols.com 01768 778459

French Photographic Holidays From their beautiful 17th century home near Brantome in the Dordogne, Paul and Pam Edmunds run French Photographic Holidays (FPH), which has been catering to photographers for the last three years. Typically offering a week’s tuition, including up to six half-day trips into the French countryside and villages, workshops cover all skill levels and are tailored to individual needs. Advice also covers workflow, processing and printing tutorials, with a maximum of four photographers per workshop, and an Apple Mac workstation for each guest to use, so you’ll get plenty of one-to-one advice from Paul. A professional photographer for the last 21 years, Paul has worked in the graphic arts industry for almost double that time. But his interest started even earlier, at around five years old; “my father worked for a large photographic studio in Vauxhall and I would go to work with him on a Saturday morning, it always fascinated me!” “For fans of portraiture,” says Paul “there’s also access to our fully equipped studio and a model shoot is offered for an additional €50, which can be divided between guests.” And if you need to persuade your other half, quality accommodation is also at the heart of what FPH offers and with five-star facilities: all-inclusive breakfast, lunch and a four-course evening meal provided by culinary expert, Pam; ‘non-participating’ guests can also stay at reduced rates. “We always help guests get the best results they can from their equipment,” finishes Paul, “and one of our earliest guests said she learned more in one week than the previous two years at college!”

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Photography News Issue 30 absolutephoto.com

Advertisement feature

Holidays are great – everyone knows that – but photo holidays are even better! After all, who wants to spend all day by a package holiday pool when they could be splashing the cash on a proper shooting experience. Book the right photo break and you’ll find photographic holidays and training experiences can be amazing fun, and there are courses and trips to suit all tastes and wallets. Here you’ll find a few of the best in the UK and abroad...

CAPTURE THE NORTHERN LIGHTS

lightsoverlapland.com info@lightsoverlapland.com 0046 0760 754300

Through his commercial photography, Paul Reiffer had the opportunity to travel to some amazing locations around the world, gaining in-depth knowledge of those locations. This, along with many requests for tuition over the years, led him to introduce his respected workshop programme. “The goal of our workshops,” says Paul, “is to offer something unique; we stepped away from traditional options, instead offering all-inclusive photo experiences with small groups (max. six), luxury transfers, non-shared hotel accommodation, great food and even things like helicopter shoots where appropriate – all for a fixed cost. We’re able to cater for photographers of all abilities, but each workshop location is assigned a recommended level to ensure everyone gets the best out of it.” As a huge advocate of getting shots right incamera, Paul spends time teaching people how to accurately capture the scene rather than relying on correcting issues in post. “As such, key elements of all our workshops are the filter and camera setting discussions, in combination with post-processing sessions to make any final minor adjustments that are required. We’re there to ensure you get the best from your equipment and images each day – with a debrief and guidance offered between shoots.” “It’s always great to work with groups of people,” Paul concludes, “and get to understand what they’re looking for in their images. We’ve had scenarios where, while one photographer was getting mad at the birds in a lone tree ruining their scene, others have been desperate for them to return after being scared away. Our job is simple – to help make sure everyone gets the shot they’re looking for.”

CREATE AMAZING SCENIC SHOTS

Paul Reiffer

paulreiffer.com info@paulreiffer.com 0208 123 0250

Greece Photo Workshops Aimed at photographers with a passion for travel and sophisticated living, a photo tour with the excellent Greece Photo Workshops will see you returning not only fulfilled by an unforgettable photographic holiday, but also having experienced a little of Greece’s heart and soul. The company’s ethos, is that the best way to TAKE discover and experience a location is through TOP PICS IN its locals: “Our experienced photographers HISTORIC aspire to bring together like-minded people GREECE eager to explore and truly experience, amazing, rarely seen places in Greece, while learning or further polishing their skills in photography. Overall, though, our photography principle is the basic rule of the arts: first, feel; then, create.” Always choosing destinations they know well, Greece Photo Workshop’s’ 2015 calendar includes the Cycladic island, Tinos, the surprising medieval island of Chios, the deep blue Amorgos, the uncanny stone built Mani and the magnificent Athens. As part of a fully organised photography package guests can expect traditional Greek hospitality in a homely environment and a high standard of service; authentic, sophisticated accommodation, local cuisine, comfortable transportation by car or van and training and direction from inspired and skilled photographers. Workshops cater for all skill levels, and groups, usually 6-10, are small to ensure all the contact time you need. Want something more bespoke? Greece Photo Workshops also provides tailor-made photography vacations for the ultimate personal Greecephotoworkshops.com photography experience upon request. You can info@greecephotoworkshops.com check out the company’s website, or find them on 0030 6944 588 344 Facebook at greecephotoworkshops.

Lights Over Lapland

StreetSnappers

Based in Sweden and operating in the beautiful Abisko National Park, Lights Over Lapland specialises in trips and workshops shooting the amazing but elusive Northern Lights. Well, elusive isn’t quite the right word here, as the park’s micro-climate provides the highest chance of seeing auroral activity, and therefore the best opportunity for shooting. Lights Over Lapland is the brainchild of Chad Blakley, once a wedding photographer who escaped the ‘bridezillas’ of New Orleans to set the company up with his wife and co-founder Linnea. The first of its kind in the Abisko area, it offers a range of trips to suit all skill sets. For instance, beginners and those who just want to experience the lights can enjoy a single evening’s shooting with cameras and other kit provided. All trips are conducted by world-class photographers from the UK, and groups are kept to a maximum of ten, so there’s plenty of opportunity to learn and receive oneto-one guidance on tricky subjects such as focusing and exposing in low light. For more serious enthusiasts, there are weeklong expeditions (full board accommodation). Chad says that “even those with no low-light and astro photography experience will have a complete understanding by the end of the week – and a portfolio of amazing shots to prove it.” Again, camera gear and winter clothing can be provided, and you can also create your own customisable aurora holiday. Chad says the company has never had a week’s tour that lacked auroral activity and feedback for the trips is amazingly positive – they’re ranked highest in the Abisko National Park on Tripadvisor. You can also check out Lights’ Facebook page to see how many people have been blown away by their trip.

Street photography is one of the hardest styles to master; a mix of technique, quick thinking and confidence. So if candid photography is your thing you need a course specifically tailored to you; enter StreetSnappers. The company’s principal and course tutor is Brian Lloyd Duckett, a full-time photojournalist and commercial photographer with a lifetime of urban experience having pounded the streets as press photographer. Brian also lectures on street photography and is writing a book called Mastering Street Photography, due in the autumn. “Our full day masterclass involves an hourand-a-half of intensive tuition before hitting the streets,” he told PN, “and groups are small (max. six), so there’s plenty of time for one-toone coaching.” So, what are the most important things readers will take from their day? “Beyond the technical skills, we instill confidence and good observational skills – the ability to capture a great moment. They’ll learn how to be ‘invisible’ on the streets making shooting easier and understand the legal and ethical issues in street photography, too.” One-day workshops range from £95 to £145, and vary from beginners guides at a variety of lively London locations, to days designed around events; the latter are perfect for photojournalism, such as the EU Referendum on 23 June. Longer courses are available, and StreetSnappers also runs courses in Venice, Prague and Rome, with Paris and New York to be added this year. No prior knowledge of street photography is needed and Brian tells us he also gets lots of other professionals, particularly “wedding photographers who find it an excellent way to develop their documentary shooting skills”.

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Photography News Issue 30 absolutephoto.com

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Photography News Issue 30 absolutephoto.com

Technique Photo school

Camera class

Everyone has to start somewhere, even pros, and in Photo School we look at the core skills every beginner needs. This month, how focusing affects depth-of-field and using High-Pass sharpening

Words & pictures by Kingsley Singleton

1. Front-to-back sharpness

In the past few issues we’ve covered lots of ways to improve focusing on a variety of subjects, such as picking the correct AF mode and AF area. But where you focus isn’t just about getting solitary subjects sharp; combined with the aperture setting, it can also have a great effect on a picture’s depth-of-field, so whether you want a landscape with front-toback sharpness, or a portrait with very shallow focus, it’s good to know. When thinking about depth-offield, the first place to turn is your aperture setting, or f/number; this controls the size of the aperture in the lens and, for the most part, large apertures (low f/numbers, like f/1.8, f/2.8 or f/4) give a shallow depth-offield, keeping just as small part of the scene in focus, while small apertures (high f/numbers, like f/16 or f/22) keep most of the scene in focus. Then it’s on to where to focus...

2. Shallow focus effects

3. Shoot without focusing Above Focusing can be used to affect the depth-of-field in several ways – a great deal of an aperture’s effect depends on where in the scene the focus falls. In this way you can ensure the greatest depth-of-field or the shallowest. What’s more, learn how much of the scene will be in focus at a given distance and aperture, and techniques like panning are easier.

1. Where to focus for the greatest depth-of-field If you’re shooting landscapes or other scenes and want the picture to be sharp from the foreground to infinity, you can follow a system called hyperfocal distance focusing. This ensures the maximum depth-of-field at any given aperture, so it helps you keep as much sharpness in the scene as possible. The hyperfocal distance is the distance from the camera where you need to focus the lens to achieve the maximum sharpness. The depth-offield will then extend from that point to infinity, and from half the focused distance back to the camera. The tricky part is calculating it, because the hyperfocal distance changes depending on the sensor size

of your camera, the focal length you’re shooting at and the aperture you’re using. Or rather it would be if there weren’t loads of free apps to do it for you; go get one and try it out. Something to remember is that hyperfocal distance works on a principle of ‘acceptable sharpness’, meaning while the point of focus will always be the sharpest area, objects away from it and within the zone will still be perfectly legible, but might now be tack-sharp. Areas outside of it are deemed unacceptably soft. Therefore, whether you should use the hyperfocal distance depends on the type of scene you’re shooting; if the foreground or background is the most important part, you should still focus there, regardless. And if the background isn’t at infinity (which we can practically call the horizon), then it may not be required at all. It’s also worth noting that at very small apertures like f/16 or f/22, the depth-of-field will in theory be greater, but the effects of diffraction (where the light path is disrupted as it passes through the small iris), somewhat negates the effect. 2. Where to focus for the shallowest depth-of-field Just as there’s a point at which depthof-field is maximised, you can tailor your focusing and composition to produce the shallowest depth-offield, too. Basically, at a consistent aperture, the closer you focus, the shallower the depth-of-field will appear. So, in practice, if you’re not achieving the shallow focus required, you need to either move towards the subject, or have them come closer to you. Conversely, if you’re struggling

Software skills High-Pass Sharpening The High-Pass method is a versatile and flexible way of adding sharpness to images in Photoshop or Elements. However, High Pass isn’t an automatic route like Unsharp Mask or Smart Sharpen so you won’t find it under the Filter>Sharpen menu (or Enhance>Sharpen in Elements). It’s instead found by going to the Filter>Other… menu and it involves using Layers and Blending Modes. But give it a try and you might prefer it. High Pass highlights edges in the image, just like Unsharp Mask, so after applying you get what appears to be an image made up of outlines. This is blended with the original to increase edge contrast and add clarity. Because you control how fine these edges are, it can be used to add fine sharpening in some areas, and also change the contrast of the image more widely. As employed here, you can see both methods used on a single image, which allows us to apply a grungy, highly detailed, almost HDR look. Next month: Expert hints & tips for using Smart Sharpen.

to focus because the depth-of-field is too shallow, you can increase your distance from the subject a little. Again, a depth-of-field calculator app for your phone will show you how the zone of sharpness gets smaller as you focus closer to the camera, but it’s dependent on sensor size, focal length and aperture. For example, though shooting at a wide aperture like f/2.8 on a typical 85mm portrait lens the depth-of-field is around 2m when focusing on a subject who is 10m away, at 2m distance from the camera, it shrinks to only 8cm. All lenses have a minimum focusing distance, and you should try to work a little away from this as minor movements after focusing could see the focus fall away from where you want it, and ruin the picture. 3. How to shoot without focusing Once you know the relationship between focusing and depth-of-field, you can then apply these effects to improve your shooting speed in situations where focusing is counterproductive or might mean you miss an opportunity. This is useful, when you’re shooting candid street and documentary photography where you don’t want to draw attention to yourself, or when you’re shooting moving subjects which at a consistent distance, like the side of a race track. For instance, using a 50mm lens on a full-frame DSLR if you set the aperture to f/11 and the focus ring to about 7m, you will know that everything from around 3m to 20m will be in focus. Next month: More essential camera skills explained.

Original

1. Duplicate the image

2.Add some High Pass

3. Repeat the effect

Open the file to sharpen and copy the picture onto a new layer with Layer>New>Layer via Copy (or Ctrl+J). Now desaturate the layer with Ctrl+Shift+U, which keeps the colours neutral when blended. Next, in the Layers palette (Window>Layers), click where it says Normal and change the new Layer’s Blending Mode to Overlay. In this way, global contrast will be added to the picture, but changing the Blending Mode is vital to adding the High-Pass effect.

Go to Filter>Other>High Pass… and you’ll now be able to set the level of High Pass to be added via the Radius slider. First use the loupe view to find a part of the scene where you can judge the level of sharpening – the focal point is the best bet. Now set the Radius; a low setting creates a tightly controlled effect and restricts the sharpening to fine details; a higher radius gives a more cloudy effect which looks more like a change in midtone contrast.

Here we first added High Pass with a high radius of 20px, to Layer 1, which gives a more contrasty look to the image. Next, Step 1 was repeated, allowing us to add a lower Radius High-Pass effect for a more high-frequency look. Because of the Blending Mode, the two can both be seen, even on separate Layers. Also thanks to Layers, the Opacity can be controlled and it can be masked or deleted where it’s not required. To finish, go to Layer>Flatten Image and save as a new version.

Final

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Photography News Issue 30 absolutephoto.com

Competition

Editor’s letter

The show WIN! must go on

A Samsung memory card! Capture life’s special moments across all devices with the ultra-reliable Samsung SD memory cards. Samsung’s latest SD cards can write data at an impressive 50MB/s and read data at an even higher 90MB/s. The cards are also amazingly reliable being water, temperature-, X-ray-, magnet- and shockproof, so shooting in the most challenging conditions isn’t an issue. We have one massive 64GB Samsung PRO SD card to award to one eagle-eyed winner. Just complete the wordsearch below, and you’ll find one word in the list that’s not in the grid. Email us on puzzle@photography-news.co.uk with that word in the subject box by 10 April 2016. samsung.com and search for memorycards

I’ve always enjoyed going along to photographic exhibitions. Years ago, I used to go to Photography at Work which alternated each year between Wembley and Harrogate, and this evolved to become Focus on Imaging which then transformed to become The Photography Show in 2014. Indeed, if you are reading these words, you might well be doing so while enjoying a well-earnt sit-down and cup of tea at The Photography Show. On the subject of shows, if you get the chance the biennial Photokina in Cologne is worth a couple of days of your life – 2016’s dates are 20-25 September. The show is truly massive and comfy footwear is essential but the whole imaging world will be there and the show makes a serious noise about actual pictures. Of course, big shows are not everyone’s idea of fun. Crowds, expensive parking, very poor to poor catering facilities and the risk of spending some cash is anathema to many and that’s fair enough. Perhaps it’s my innate masochistic streak that makes me think photo shows are worth a visit. Or maybe it is because I’m a sucker for a bargain. I bought a couple of really nicely priced stripboxes one year, never to use them, and another time I bought a pre-owned Noblex 35mm panoramic camera having had my purse strings loosened by a couple of lunchtime pints. That camera was fun and did get serious use – so much so, when I tried to trade it in last year the dealer told it was fit for junking only. Darn, I spent a lot of money at the time on it too. Last year, I was modest in my spend and took out a show offer for a half-price 16x12in book. I thought it would make a nice portfolio of my favourite snaps. It took me ten months to get

round to populating it with images and placing my order but the finished article arrived a week later. Great service, lovely quality and easily the best £42 I have ever, ever spent at a photographic show. Will I buy anything this year? Who knows? I have recently bought several lenses as I was tempted by a good cashback deal and then bought a film camera specially for a couple of personal projects I am working on so, to be honest, do I truly need anything? The answer is clearly no, but ‘need’ and ‘want’ are uncomfortable bedfellows in my head. If you’re walking the show and you spot me about to hand over my credit card for some impulse purchase you could do me a great favour and just hustle me away from the salesperson. I will be grateful. Truly. Going back to TPS, it is remarkable how far the show has come in a short period. I’ve always thought that we, the photographers of the UK, deserve a good annual exhibition that has standing nationally and internationally. With all due respect to its forebears, we have finally got a show we deserve. Of course, I am at risk of being premature here because this year’s event could be a massive flop but that doesn’t seem likely and I think most of us will be leaving the NEC with a spring in our step, happy that we had a great experience, gained some knowledge or inspiration, or simply snapped up a bargain.

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Photography News Issue 30 absolutephoto.com

Advertisement feature Spring cashback offers

Spring into action with Canon Enjoy a photo day out with Canon at The Photography Show – and grab a bargain too! Visit The Photography Show at Birmingham’s NEC between 19 and 22 March, and drop by the Canon stands, D141 and E131, for a chance to get hands-on with the company’s award-winning range – Canon bagged four trophies in the Photography News Awards 2015. The company is showcasing its photography kit, from enthusiast compact cameras to top-level professional DSLRs, as well as its Cinema cameras and extensive range of printers. Experts

Specs Sensor size/type 36x24mm CMOS Resolution 20.2 megapixels

will be on hand to demonstrate products and answer your questions on all four days of the show. Canon is also hosting a live stage where you can watch inspiring and educational presentations from some of the best in the business, such as Canon Explorers Andy Rouse and Simeon Quarrie. There’s a full programme on offer, from first thing on Saturday morning right through until Tuesday afternoon.

£150

Sensor size/type 1.0 type backilluminated CMOS

CASHBACK

Resolution 20.2 megapixels ISO sensitivity 125-12,800

Shutter speed range 30secs to 1/4000sec

Shutter speed range 1- 1/2000sec

Dimensions (wxhxd) 144.5x110.5x71.2mm

Dimensions (wxhxd) 112.4x76.4x44.2mm

EOS 6D

For those who want high-quality images the EOS 6D DSLR boasts 20.2-megapixels in a full-frame sensor, so you can capture images that are full of detail and clarity. While big on quality the EOS 6D is compact and lightweight for a DSLR weighing just 775g, making it perfect for long days and travelling, and with its tough construction it can certainly withstand the rigours of travel photography. With a full-frame sensor you have extra control over depth-of-field, meaning you can really make your portrait images stand out. If you’re a fan of night photography then you’ll be pleased to know that you can keep on shooting and still produce stunning images even after dark thanks to an IS0 range of 100-25,600. If you can’t wait to share your memories, built-in Wi-Fi and GPS let you record your location and share your images or Full HD videos with your friends and family while on the go.

Specs

Weight 377g (with battery and card)

Resolution 4800dpi

Resolution 8.29 megapixels movies; 12 megapixels stills

Inks 10 single inks

Lens 27.3-273mm 35mm equivalent, f/2.8-5.6 max aperture

Speed A3+ approx. 3m 35s

PowerShot G5 X

Looking for a compact camera, but don’t want to compromise on image quality? Look no further, the PowerShot G5 X might be small in size, but it really packs a punch with a one-inch backilluminated CMOS sensor and 20.2-megapixels. An electronic viewfinder allows you to see a real-time preview of your settings so you can see exactly how your shot will appear, before you press the shutter. If you love soft background blur in images then you can achieve beautiful results with the bright f/1.8-2.8 lens. Whether you’re out searching the streets for inspiration in the day or exploring in the evening you can capture crisp images thanks to the Optical Image Stabilizer, helping you to create sharp and blur-free shots. Get even more creative and change your angle with the help of its large threeinch vari-angle touchscreen.

£75

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Print sizes A3+, 35x43cm

£50

Frame rates 4K/1080, 720p

Weight 1.04kg (with battery and lens hood)

£40

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Specs

Sensor size/type 1.0 type CMOS

Dimensions (wxhxd) 131x115x238mm

canon.co.uk/springcashback16

Specs

ISO sensitivity 100-25,600

Weight 775g (with battery and card)

Among the many products available to ‘touch and try’ will be the EOS 6D DSLR, PowerShot G5 X compact, XC10 Cinema camera and the PIXMA PRO-10 printer, described below. Along with other products at the show, they’re all included in Canon’s spring cashback event. Subject to full terms and conditions – check the website for details.

CASHBACK

XC10

So many cameras offer stills and movies, but for quality movies, you need a camera with the emphasis on moving images, which is where Canon’s Cinema cameras come in. From that range comes the compact, yet creative XC10. This lightweight camera is easy to use, so it’s perfect if you’re just getting to grips with movies. That’s not to say that it’s short on ability though – it offers 4K/Full HD video capture, as well as high-quality 12-megapixel stills. Its built-in lens offers a 10x zoom, the equivalent of 27.3-273mm in 35 mm terms, complete with image stabilisation to prevent the shakes from ruining your videos. ISO sensitivity up to 20,000 and a built-in ND filter mean you can keep shooting in low light. No less than 12 stops of dynamic range record extremes of highlight and shadows, ensuring the maximum range of tones in your videos.

Dimensions (wxhxd) 689x385x215mm Weight 20kg

PIXMA PRO-10S

It’s a common refrain these digital days that we’re guilty of not printing our photos often enough. Change all that by investing in a PIXMA PRO-10S A3+ printer, and give your photography the presentation it deserves. With ten pigment-based LUCIA inks, including deep blacks, the PRO-10 produces outstanding gallery quality prints that’ll last. Three dedicated black inks create beautiful mono masterpieces. To further enhance the density of blacks and expand the colour gamut, the PRO-10S uses Chroma Optimizer clear ink. And as the inks are individual, you only need to replace the one that runs out, not all of them. There’s a vast choice of media too, as it’s compatible with most quality papers. The PRO-10S is Wi-Fi and Ethernet enabled, plus it can work with your tablet or smartphone using the CANON print app. It can also print directly from cloud services with the PIXMA Cloud Link so there’s no need to mess around with cables and cards. So the only question really is where will you put your new printer?

Photography News Issue 30 absolutephoto.com