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T H E W O R L D ’ S B E S T-S E L L I N G D I G I T A L P H O T O M A G A Z I N E 20-26 M AY

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INSPIR AT ION IDE A S IN-DEP T H RE V IEWS

PHOTO PRINTERS TEST

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ARCTIC ART PRO TIPS FROM AN EXTREME PHOTO EXPEDITION

JOIN THE CLUB... Welcome to the world’s No.1 weekly digital photography magazine. If you’re already a reader, thanks for your continued support and involvement; if you’re new to Photography Week, you’ve come to the right place! In addition to expert advice, brilliant tips and step-by-step tutorials, every issue features interactive galleries of the best new photos, how-to videos on

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CONTENTS FIND OUT WHAT’S INSIDE THIS ISSUE NEWS

F E AT U R E

TTARTISAN 90MM F/1.25 UNVEILED FOR M-MOUNT

Fast portrait prime is affordable option for Leica full-frame users F E AT U R E

ARCTIC ADVENTURE

Join a wildlife pro tracking polar bears amid stunning icescapes PHOTOS

GALLERY

Our pick of the best reader Ĝĵ±čåŸ üųŅĵƤ±ųŅƚĹÚ ƋĘå ƵŅųĬÚ I N S P I R AT I O N

I N S P I R AT I O N

SPORTING HOT SHOTS

Shortlist unveiled for the World Sports Photography Awards CRASH COURSE

FINE ART ARCHITECTURE

PHOTOS

Create striking long-exposure mono images of buildings PHOTOSHOP

LEARNING CURVES

Master the powerful tonal tool for boosting contrast and more CRASH COURSE

PHOTOSHOP

JUS T 39¢/39p PER ISSUE!

GEAR

PHOTO PRINTERS

WHEN YOU SUBSCR IBE

Cover Image © Getty

Want to get your ŞĘŅƋŅŸƤŅüü ƼŅƚų ÏŅĵŞƚƋåų and onto the wall? å ƋåŸƋƤåĜčĘƋ ŞųĜĹƋåųŸ Ï±Ş±ÆĬåƤŅü ƋƚųĹĜĹč ŅƚƋ great-looking colour ±ĹÚ ĵŅĹŅ ŞųĜĹƋŸ ĜĹƤ± ƵĜÚåƤų±ĹčåƤŅü ŸĜǄåŸ

SEE T HE SUBS C R I P T ION PAGE FOR MOR E INFO

W H AT ’ S H O T THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

T TART ISAN RELE ASES 90MM F/1.25 FOR LEIC A M-MOUNT

New fast portrait prime is an affordable alternative to Leica’s own glass

Considering the hefty price of

hinese lens manufacturer

help compensate for this it incorporates

TTArtisan has announced the

± ƋųĜŞŅÚ ĵŅƚĹƋ ĜĹƤƋĘå ĬåĹŸ ÆŅÚƼ üŅų

XåĜÏ±ƤÚĜčĜƋ±Ĭ Ï±ĵåų±Ÿ ±ĹÚ ĬåĹŸåŸØ

90mm f/1.25 lens for M-mount

steadier shot composition. The lens is

ƋĘåŸåƤųå±ŸŅĹ±ÆĬƼ ŞųĜÏåÚ eųƋĜŸ±Ĺ

cameras, providing Leica full-frame

ÏŅĹŸƋųƚÏƋåÚ ŅüƤŎŎ åĬåĵåĹƋŸ ĜĹ ŸåƴåĹ

ĬåĹŸåŸ ±ųå ±Ƥčųå±Ƌ Ƶ±Ƽ ƋŅ åƻŞåųĜĵåĹƋ

camera owners with an ideal manual

groups, uses a 10-blade aperture

with more specialist pieces of glass

portrait lens at a very affordable price.

ÚĜ±ŞĘų±čĵØ ±ĹÚ Ę±Ÿ ±ƤĵĜĹĜĵƚĵ üŅÏƚŸĜĹč

without having to pay premium Leica

distance of 1m. It measures 97mm long

prices. Even at $770 (UK pricing is yet

M-series cameras such as the Leica M10

and 82mm in diameter, and has 77mm

ƋŅƤÆå ÏŅĹüĜųĵåÚš ƋĘå eųƋĜŸ±Ĺ Ŀǈĵĵ

and Leica M-E rangefinder mirrorless

front filter thread.

f/1.25 costs looks extremely good value

The lens is designed for use on digital

bodies, but is also compatible with older

TTArtisan makes five other lenses

when you consider that Leica’s slower

Leica M film cameras. This new piece of

üŅųƤƋĘå XåĜÏ± aěĵŅƚĹƋ× ƋĘå eųƋĜŸ±Ĺ

Summilux-M 90mm f/1.5 ASPH would

glass promises dreamy bokeh with its

50mm f/0.95, the TTArtisan 50mm

ŸåƋ ƼŅƚ Æ±Ïĩ ƊƐØíƖĂx âĂØŎĿĂţ

fast maximum f/1.25 aperture.

üxŎţĉØƤƋĘå eųƋĜŸ±Ĺ ƐĂĵĵ üxŎţĉØ ƋĘå

The TTArtisan 90mm f/1.25 is quite ±ƤƵåĜčĘƋƼ ĬåĹŸ ±Ƌ ŎţǈŎĩčØ ±ĬƋĘŅƚčĘ ƋŅ

The TTArtisan 90mm f/1.25 is

TTArtisan 21mm f/1.5, and the

available to order now from the

eųƋĜŸ±ĹƤŎŎĵĵ üxƖţí 8ĜŸĘåƼåţ

TTArtisan online store.

NAME: CHRIS MCLENNAN

CAMERAS: NIKON D850 & NIKON Z 7II New Zealander Chris is a professional travel photographer with 33 years’ experience whose work has seen him shooting for commercial clients in 60 countries and counting. He’s a Nikon New Zealand Ambassador, as well as a global ambassador for industry-leading brands Lowepro and Lexar. Chris heads photo expeditions to many exciting locations around the world, including Alaska, Papua New Guinea, Tahiti, the Solomon Islands, Mongolia, and Africa.

MIDNIGHT

SUN

Travel, landscape, and wildlife pro Chris McLennan shows a keen enthusiast the ropes in the pristine Arctic wilderness of Svalbard

NAME: AURORA LAMPSON

CAMERAS: NIKON D850 & NIKON D810 Aurora is from California, and works as a marketing and social media content producer for several global companies, including Lowepro. She has been studying photography for 10 years, starting with portrait and product photography, and as she’s started to travel more she’s developed a passion for landscape and wildlife photography. Aurora joined Chris on one of his summer workshops to the Norwegian archipelago of Svalbard, ĘĜčĘƤĜĹ ƋĘå eųÏƋĜÏ ĜųÏĬåţ

TECHNIQUE ASSESSMENT Chris started out by showing Aurora how set up her Nikon D850 to help her capture great wildlife shots in challenging conditions

GO-TO SETTINGS

Chris says… I suggested that Aurora set Aperture Priority mode and, instead of shooting wide open, she closed the aperture a little to ensure enough depth of field should she slightly miss focus. Upping the ISO to 400 or so ensures a fast shutter speed to avoid the risk of motion blur.

SHOOTING SUN-STARS

Chris says… With the sun so low on the horizon, it’s the ideal opportunity to include it in your landscape shots. For this, I suggested Aurora close down her aperture to f/16, as bright points of light take on the shape of the closed-down aperture blades, which makes for the most beautiful sun-stars!

CONTINUOUS HIGH & AF

Chris says… Always be ready to shoot in bursts to capture the unpredictable nature of wildlife. Set Continuous High-speed shooting in combination with Continuous autofocus. If you use the central AF point by default, you can crop to compose your shot later, but when you have more time to consider composition, you can set an off-centre AF point.

E CAMERA Nikon D810 LENS 70-200mm f/2.8 EXPOSURE ŎxƖǈǈǈ ŸåÏØ üxĂØ F kĉǈǈ

SUPER SHOT #1

urora had travelled halfway around the globe for what was to be an amazing experience on one of Chris’s photo expedition workshops. BåųƤÚåŸƋĜĹ±ƋĜŅĹ Ƶ±Ÿ XŅĹčƼå±ųÆƼåĹ (which aptly translates to Long Year City), in Norway’s remote Svalbard archipelago. Although her flight touched down at around 1:30am, the sun was shining just ±ŸƤÆųĜčĘƋĬƼ ±Ÿ ĜƋ ƵŅƚĬÚ Æå ±Ƌ Ŏ×ƐǈŞĵţ Firmly within the Arctic Circle, ƋĘĜŸƤĜŸ ƋĘå X±ĹÚ Ņü ƋĘå aĜÚĹĜčĘƋ Sun, and getting used to 24 hours of sunshine was going to take a few days. Longyearbyen is located at 78º cŅųƋĘØ ĵ±ĩĜĹč ĜƋƤƋĘå ĹŅųƋĘåųĹĵŅŸƋ settlement of any size in the ƵŅųĬÚØƤ±ĹÚ ĜƋűŸ ƵĘåųå eƚųŅų±Ø ĘųĜŸ and the rest of the expedition would be boarding the MS Polarfront, which would be their new floating home for the coming two weeks. The small group of ŞĘŅƋŅčų±ŞĘåųŸØ ± ÚŅǄåĹ ĜĹƤƋŅƋ±ĬØ ƵåųåƤƋĘå ŅĹĬƼ čƚåŸƋŸƤŅĹƤƋĘå ship, which Chris had chartered åƻÏĬƚŸĜƴåĬƼ üŅųƤƋĘå åƻŞåÚĜƋĜŅĹţ eüƋåų ŸŞåĹÚĜĹč ±ƤĹĜčĘƋƤĜĹ XŅĹčƼå±ųÆƼåĹØ they set sail to explore the

picturesque frozen Arctic wilderness, and the fascinating wildlife found within it. There was, of course, one animal that everyone had on their photography bucket list: ursus maritimus, otherwise known as the polar bear. However, as large as these iconic creatures may be, they’re also very elusive, and live in one of the most vast and remote habitats on the planet. Spotting these white-coated bears in the endless snow and ice wasn’t going to be easy. Fortunately, there were two expert polar bear trackers onboard, who Chris had worked with for several years. With their knowledge of polar bear ÆåĘ±ƴĜŅƚųØ ĘųĜŸƤųå±ŸŸƚųåÚ eƚųŅų± and the rest of the group that they were certain to spot some.

EXPERT INSIGHT THE GOLDEN HOURS Chris says… The polar regions in summer are blessed with 24 hours of daylight and a golden sun that’s low on the horizon all day long, effectively stretching the coveted ‘golden hour’ for several hours. On the beautiful calm nights, many hours can be spent out on the bow of the ship photographing birds under the low sun; ƋĘåŸå Ĝĵ±čåŸ Ƶåųå ŸĘŅƋ ±Ƌ Ŏ±ĵţ FƤƚŸåÚ Continuous AF and Continuous High-speed shooting in Aperture Priority mode, as the birds can quickly fly across various lighting ŸÏåĹ±ųĜŅŸţ FƤåƻŞ±ĹÚåÚ ƋŅ ƖĂ üŅÏƚŸ ŞŅĜĹƋŸ ƋŅ make it easier to track the guillemots against the silky water.

Long in the tooth Oolar bears aren’t the only wildlife to be found in the Arctic, however. After a day at sea, the group arrived at Amsterdam Island, where Chris had an onshore excursion planned. He led Aurora and the rest of the group into

Golden light cast by the high sun lasts all night in ƋĘåƤĘĜčĘ eųÏƋĜÏ

CAMERA cĜĩŅĹ %íĂǈ LENS ƖǈǈěĂǈǈĵĵ üxĂţƅ EXPOSURE ŎxƖĂǈǈ ŸåÏØ üxƀţŎØ F kĉǈǈ

EXPERT INSIGHT BURST MODE Chris says… It’s always great to have the benefit of burst mode when shooting wildlife in action, but I still try to pick the peak moment. Even at 10 or 12fps, there’s always one image that stands out! FƋűŸƤåŸŸåĹƋĜ±Ĭ ƋŅ åĹŸƚųå ƋĘ±Ƌ you’re in Continuous AF mode to ensure all of the images in your sequence are in focus. 1

SUPER SHOT #2 the inflatable Zodiacs to travel ƋŅƤƋĘåƤĜŸĬ±ĹÚţ FƋ ƵŅƚĬÚ ƋƚųĹ ŅƚƋ to be an experience that Aurora would never forget. Before they embarked, Chris advised the group: “Choose your gear carefully as there’s not ĵƚÏĘƤŸŞ±Ïåſ Ƌ±ĩå ŅĹå Ï±ĵåų± ±ĹÚƤŅĹå ĬåĹŸØ ±Ÿ ƼŅƚ ÚŅĹűƋ Ƶ±ĹƋ ƋŅƤÆå ÏĘ±ĹčĜĹč ĬåĹŸåŸ ŅĹ ƋĘå choppy sea.” Aurora elected to attach her Nikon 70-200mm f/2.8 to her Nikon D810 backup body. “This will allow me the opportunity to capture the landscape in the background along with the wildlife while keeping a safe distance,” she reasoned. As the group approached the island some dark shapes appeared, bobbing in the waves close to the shore. As they got nearer their outlines became apparent: they were to have the good fortune of photographing ±ƤĬ±ųčå ĘåųÚ Ņü Ƶ±ĬųƚŸţ The juvenile walruses were very curious, and kept coming closer to the shore where the photographers were standing. “Looking back, a 24-70mm would have been great for this photo op, since the walruses were only

about two metres away from us,” reflected Aurora. “But it all worked out, as Super Shot #1 went on to win the Woods Hole Oceanographic Institution’s ‘Our Ocean in Focus’ photography contest!”

Bear necessities Over the coming days, the group explored the remote islands and ice sheets from the comfort of MS Polarfront. And then the moment had come… a beautiful young female polar bear had ÆååĹƤŸŞŅƋƋåÚţ The group were grateful to observe such an inquisitive, fluffy, white and healthy-looking bear from the deck of the ship as she wandered around, playing with large chunks of ice, and jumping from ice sheet to ice sheet. “We were careful not to make a sound,” recalls Aurora. “We wanted this moment to last as long as it possibly could.” ĜƋĘ Ęåų %íĂǈ ŸåƋ ƚŞ ŅĹ ± monopod to support her attached cĜĩŅĹ ƖǈǈěĂǈǈĵĵ üxĂţƅØ ±ĹÚ Ęåų Nikon D810 with 70-200mm f/2.8 around her neck, Aurora set both cameras to Continuous Highspeed burst mode, along with

EXPERT INSIGHT THE RIGHT MOMENT Chris says… When shooting wildlife there are many things to look for to help create a strong, emotive image. We followed this mum and her two cubs quietly along the ice in our Zodiac for some time, waiting for that special moment. In this shot the second cub nuzzles up to its mum while its sibling peers over the edge of the ice shelf, and the shot provides a exquisite glimpse into the world of these ƋųƚĬƼƤĵ±ųƴåĬĬŅƚŸƤĵ±ĵĵ±ĬŸţ

Continuous autofocus. “I don’t want to miss a moment, especially the fast-jumping action,” she said. After reviewing an initial batch of shots, Chris offered some feedback: “Don’t zoom in too much; pull back a little so that you capture some of the wider landscape that this beautiful creature lives in.” Bearing this in mind, Aurora captured sequence after sequence of the young bear as it rolled around on the ice, jumped between floes and climbed icebergs. Finally, the bear wandered off to a mound of snow, lay down, yawned and put her head down for a rest. Aurora took the opportunity to review her shots, and felt that Super Shot #2 best summed up the day’s exciting encounter. There were several days during which the expedition encountered polar bears and were fortunate enough to have the opportunity to photograph these incredible creatures in so many different scenarios: there were swimming bears, bears in the fog, bears on ice – in fact polar bears in almost every situation you could dream of. On one occasion, the group spent time onshore photographing reindeer. During this, they unexpectedly came across a large male polar bear, which was quite a surprise and definitely set hearts racing: despite their fluffy white

demeanour, these are, after all, dangerous predators. “You can find a polar bear anywhere at any time!” commented one of the guides as he led the group on a strategic retreat to their Zodiacs, so they could photograph this impressive specimen from a safe distance.

Creatures great and small But while the main theme of the trip was to capture polar bears, the variety of photo opportunities was endless. And while the bears and the other large Arctic-dwelling mammals were unquestionably the main draw, there was much more to see – and photograph – ĜĹƤƋĘå åŞĜÏØ ŞųĜŸƋĜĹå Ĭ±ĹÚŸÏ±ŞåŸ and seascapes. As the cruise continued, there were days when the waters were almost perfectly calm, reflecting dramatic clouds in the sky above. “It almost feels as if we’re cruising through a giant kaleidoscope of shapes and colours,” mused Aurora, admiring the tranquillity ŅüƤƋĘå ŸÏåĹåţ “This is a great opportunity to practice some birds-in-flight photography,” suggested Chris, gesturing towards a guillemot to the boat’s starboard side. eƚųŅų± Ę±Ú Ęåų cĜĩŅĹ %íĂǈ ƵĜƋĘƤŎĉěƖĉĵĵ üxƖţí ±Ƌ ƋĘå ųå±ÚƼ üŅųƤ± ŸĘŅƋ ƋĘ±ƋƤƵŅƚĬÚ Ï±ŞƋƚųå ƋĘå bird in its wider environment. Ensuring that she had a fast

ĘųĜŸ ÏĘåÏĩåÚ Ņƴåų eƚųŅų±űŸ Ĝĵ±čåŸ ±ĹÚ ŅýåųåÚ üååÚÆ±Ïĩ on her composition and settings

EXPERT INSIGHT BEHIND YOU! Chris says… Always keep a good eye on your subject. This bear had almost disappeared from sight when it stopped and looked back, giving Aurora a surprise photo op to capture a moody image of a polar bear in the mist after the moment had seemingly passed.

This backwards glance from the bear shrouded in mist gave Aurora a surprise photo opportunity

CAMERA cĜĩŅĹ %íĂǈ LENS 14-24mm f/2.8 EXPOSURE ŎxĂǈǈǈ ŸåÏØ üxƀţŎØ F kƐƖǈ

SUPER SHOT #3 enough aperture to counteract the vibrations of the ship’s engines, she composed her scene to include the eddies from the boat’s wake in the bottom-right and the islands at the top, framing the bird gliding over the tranquil waters reflecting the dramatic skies above. With this serene image serving as a counterpoint to the shots of larger wildlife, Super Shot #3 was in the bag. “There were many nights when we became oblivious to the time, and would find ourselves photographing the birds and silky

golden waters until 2am in the morning, thanks to the midnight sun,” says Aurora. “During these åƴåĹĜĹčŸ FƤƵŅƚĬÚ üĜĹÚ ĵƼŸåĬü ŅĹ the deck with a couple of the other guest on the trip, laughing and continuing to take photos. åƤÆåÏ±ĵå ŅÆŸåŸŸåÚ ƵĜƋĘ ÆĜųÚŸ and, after the trip was over and we were back home, we joked about the number of bird photographs we ended up with.”

A stitch in time As they carried on cruising the frigid Arctic waters, the intrepid Aurora used a wide-angle lens to capture slices of the spectacular Arctic scenery

EXPERT INSIGHT SHOOT INTO THE SUN Chris says… The Arctic Circle is defined as the area within which the sun remains visible over a 24-hour period, and I encouraged Aurora to capture this image of the ‘almostsetting-sun’ at 10:30pm. I had Aurora shoot ŅĹ Ęåų %íĂǈ ƵĜƋĘ ± cĜĩŅĹ Ɩǈĵĵ üxŎţí ĬåĹŸØ and the aim was to capture both the sun ±ĹÚ ĜƋŸ ųåüĬåÏƋĜŅĹ ŅĹ ƋĘåƤƵ±Ƌåųţ åƋƋĜĹč ƋĘå aperture at f/16 helps to create a nice clean sun-star, as the narrower aperture causes the area of high-contrast light to refract off the aperture blades within the lens. The 20mm prime is my favourite for this effect.

CAMERA cĜĩŅĹ %íĂǈ LENS 70-200mm f/2.8 EXPOSURE 1/640 sec, f/14, ISO160

SUPER SHOT #4 photographers passed many vast and spectacular landscapes. ĘåƼ üŅƚĹÚ ƋĘ±ƋƤ±ƋƋåĵŞƋĜĹč ƋŅ Ï±ŞƋƚųå ŸƚÏĘ ŸÏåĹåŸ ĜĹƤ±ƤŸĜĹčĬå frame just didn’t do them justice, ŸŅƤ ĘųĜŸƤŸƚččåŸƋåÚ ƋĘ±Ƌ ƋĘåƼ ŸĘŅŅƋ ĵƚĬƋĜŞĬå Ĝĵ±čåŸ ƋŅƤŸƋĜƋÏĘ ƋŅčåƋĘåų as panoramas. This was a new experience for Aurora, made even more challenging as she’d be shooting handheld from a moving boat, but Chris reassured her that Lightroom would do a good job of lining up the images to create a seamless blend, as long as she kept her camera as level as possible.

Shooting in vertical orientation, she panned the camera smoothly but quickly, ensuring that there was a good overlap between the 10 frames she shot for the sequence that was to become Super Shot #4, ƵĘĜÏĘ Ƶ±Ÿ Ïųå±ƋåÚ ÚƚųĜĹčƤ± ŞŅŸƋě production session that evening.

Ships in the night Of course, this is a mere snapshot of the two weeks Aurora, Chris, ±ĹÚ ƋĘå ųåŸƋ Ņü ƋĘåƤčųŅƚŞ ±ĹÚ ÏųåƵ ŸŞåĹƋ ƋŅčåƋĘåųØ ±ĹÚ ƋĘåƤüŅƚų Super Shots were selected from dozens of contenders. But it was about much more than just the

photography, as Aurora recalls. “From sun-up to sun-still-stayingup we were treated to divine French cuisine and an incredibly friendly crew aboard the ship,” she says “Part of the appeal of these type of trips, and what I enjoy the most, are the people you meet. While the main focus is to take photos, we spent every night playing board games, chatting, and creating memories that will last a lifetime. Many of us have become lifelong friends, and we have ended up travelling to different parts of the world together on Chris’s other photo expeditions.” The ship the MS Polarfront parked up for the ‘night’ amongst the sea ice, high in the Arctic

AURORA’S COMMENT

This was one of the most amazing experiences ever! There were so many different photographic opportunities, and I learnt so much from shooting ŸƚÏĘ ±Ƥƴ±ųĜåƋƼ Ņü ÚĜüüåųåĹƋ ŸƚÆģåÏƋŸţ å ƵŅųĩåÚ ŅĹ composition for storytelling, exposure techniques, and how to use the different focusing options available to us dependent on the subject and context. We also spent time on post-production, and I came away with a series of images that I’m absolutely thrilled with! Instagram: @visionsbyaurora

CHRIS’S VERDICT

This was an exceptional journey and life experience that I had the privilege of sharing with a small group of photographers. The images that Aurora was able ƋŅƤÏ±ŞƋƚųå Ƶåųå ŅƚƋŸƋ±ĹÚĜĹčØ ±ĹÚ ĜƋ Ƶ±Ÿ ü±ĹƋ±ŸƋĜÏ ƋŅ see her delight at capturing such incredible images ŅüƤŸƚÆģåÏƋŸ ƋĘ±Ƌ Ƶåųå ƋŅƋ±ĬĬƼ ĹåƵ ƋŅ Ęåųţ Ęå ĵåĵŅųĜåŸØ images and shared experiences will be treasured for ±ƤĬĜüåƋĜĵåţ F Ï±ĹűƋ Ƶ±ĜƋ ƚĹƋĜĬ Fűĵ ±ÆĬå ƋŅ Ĭå±Ú ±ĹŅƋĘåų ƋųĜŞƤƋŅ ƋĘå ƴ±ĬÆ±ųÚú Instagram: @chris_mclennan1

ESSENTIAL GEAR

The kit Chris relies on for capturing pro-quality Arctic shots 1

3 NIKON 180-400MM F/4E TC1.4 FL ED VR 1 Chris says… The versatility of my Nikon 180-400mm f/4E TC1.4 is invaluable on wildlife shoots; with the flick of a lever I can engage the built-in 1.4x teleconverter, giving me ±Ĺ ĜĹŸƋ±ĹƋ ƖĂǈěĂƅǈĵĵ üxĂţƅ ĬåĹŸţ BĜŸƋŅųĜÏ±ĬĬƼ F ƚŸåÚ ĵ±ĹƼ large primes, but I was often losing a shot, or not getting the ÏŅĵŞŅŸĜƋĜŅĹ FƤƵ±ĹƋåÚ Úƚå ƋŅ ± ŸĜĹčĬå üŅÏ±Ĭ ĬåĹčƋĘţ

MY BAG! 2 Chris says… kĹƤ±ƤƋųĜŞ ĬĜĩå ƋĘĜŸƤƋĘåųå ±ųå ŸŅ ĵ±ĹƼ ŸĘŅŅƋĜĹč ŸÏåĹ±ųĜŅŸ ±ĹÚ ŸƚÆģåÏƋŸ ƋĘ±Ƌ FƤƋ±ĩå ± üƚĬĬ ų±Ĺčå Ņü ĬåĹŸåŸØ üųŅĵ Ŏĉĵĵ ±ĬĬ ƋĘå Ƶ±Ƽ ƋĘųŅƚčĘ ƋŅ ĂĂǈĵĵţ F Ş±Ïĩ everything I can; you can guarantee that if you leave a lens at home it will be the one you wish that you had with you! It’s also essential to have a very good sturdy backpack to

protect your valuable gear – I choose (and helped to design) ƋĘå XŅƵåŞųŅ {ųŅƋųåĩĩåų ĂĂǈ.

ICEBREAKER! 3 Chris says… Hiring an ice-rated ship to cruise the ĘĜčĘƤeųÏƋĜÏ Ƶ±ƋåųŸ ĹŅųƋĘ Ņü ƴ±ĬÆ±ųÚ ĜĹ Ÿå±ųÏĘ Ņü ŞŅĬ±ų Æå±ųŸ is something that sounds exotic and out of the reach of most people. However, I’ve done just that three times now, hosting groups of no more than 16 photographers. The small vessel is very manoeuvrable, and we can get to places bigger ships can’t access. Leaving Longyearbyen and heading towards the North Pole, we were 12 days without seeing another vessel on our perfect shooting platform. I describe this as a-once-in-a-lifetime adventure, but some guests have returned several times!

PRO PORTFOLIO CHRIS MCLENNAN See his work and expeditions at www.chrismclennanphotography.com Instagram: @chris_mclennan1

NORTHERN LIGHTS This image of the

Northern Lights was captured on a photo expedition I led in Alaska. On this night there was a good show of lights and a little moonlight, which helped light the foreground landscape. Including the hut with the open door ±ĹÚƤųåÚ ĬĜčĘƋŸ ĘåĬŞåÚ ƋŅ ±ÚÚ ĜĹƋåųåŸƋţ

HIMBA GIRL F ŞĘŅƋŅčų±ŞĘåÚ ƋĘĜŸ ƼŅƚĹč BĜĵÆ± čĜųĬ ĜĹ ±ƤųåĵŅƋå Ş±ųƋ Ņü c±ĵĜÆĜ± ƵĜƋĘ ĵƼ cĜĩŅĹ %íĂǈ ±ĹÚ ƀǈěƖǈǈĵĵ üxƖţíţ Ęå åƻŞŅŸƚųå Ƶ±Ÿ ŸåƋ ĵ±Ĺƚ±ĬĬƼ üŅų ƋĘå Æ±ÏĩčųŅƚĹÚØ ±ĹÚ FƤƚŸåÚ ±Ĺ ŅüüěÏ±ĵåų± ŞååÚĬĜčĘƋ ĜĹ ± ŸŅüƋÆŅƻ ƋŅ ŞųŅƴĜÚå ± beautiful soft light on her face.

FISHING FOR SALMON I captured this ‘holy grail’ image of a bear fishing for salmon in Alaska. A bright overcast day allowed

me to get a good exposure on the white water and the dark bear, which fortunately turned its head in the right direction to have light in its eye at the crucial moment.

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JEAN-FRANÇOIS CLOUET “I took this photo in Les Olympiades, an area of residential tower blocks located in the 13th arrondissement of Paris.” https://bit.ly/3nfIgRm

THE WEEK’S MOST INSPIRING READER PHOTOS

COMMON GRACKLE

SHANNON O’SHEA “I took this photo of a common grackle at the Wildwood Lake nature reserve on the outskirts of Harrisburg, Pennsylvania.” https://bit.ly/3nVYfED

THE WEEK’S MOST INSPIRING READER PHOTOS

WHITE ORCHID

ANNA UTKINA “I shot this high-key close-up of a white orchid with my Canon EOS 5D Mark IV and EF 100mm f/2.8L IS Macro USM.” https://bit.ly/3vdJEYD

THE WEEK’S MOST INSPIRING READER PHOTOS

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I T ’ S C O O L , T H AT Images © The photographer and courtesy World Sports Photography Awards

THE BEST THING WE’ VE SEEN THIS WEEK

Marc Aspland/The Times James Chance/Getty Images

Morgan Harlow

Andy Hone/Motorsport Images

GAME ON: STUNNING IMAGES FROM THE WORLD OF SPORT World Sports Photography Awards reveals spectacular 2021 shortlist he World Sports Photography Awards have announced the shortlisted images for this year’s ÏŅĹƋåŸƋØ ŸĘŅƵÏ±ŸĜĹč Ĝĵ±čåŸ üųŅĵƤŸŅĵå Ņü the world’s leading sports photographers that capture the excitement, joy and disappointment of sport, as well as more intimate behind-the-scenes moments. The awards are open to professional and semi-professional sport photographers, and specialist sports photographic agencies.

Each photographer was able to submit up ƋŅƤƖǈ Ĝĵ±čåŸ ±ÏųŅŸŸ Ɩǈ ŸŞŅųƋĜĹč Ï±ƋåčŅųĜåŸØ ±ĹÚƤƋĘå ŸĘŅųƋĬĜŸƋåÚ Ĝĵ±čåŸ ƵĜĬĬ Æå ģƚÚčåÚ within general categories including Joy, Celebration, View, Determination, Speed ±ĹÚƤ{ųåÏĜŸĜŅĹØ ƵĜƋĘ čŅĬÚØ ŸĜĬƴåų ±ĹÚƤÆųŅĹǄå ±Ƶ±ųÚŸ üŅų å±ÏĘ Ï±ƋåčŅųƼØ ±ĹÚƤŅĹå photographer crowned overall winner. Ęå ƵĜĹĹåųŸ ƵĜĬĬ Æå ±ĹĹŅƚĹÏåÚ ŅĹ IƚĹå Ɩţ Click the link to see all the shortlisted images at the competition website.

SEE MOR E IM AGE S h t t p s : // bi t . ly/ 3hl r EHd

CRASH COURSE ESSENTIAL PHOTO SKILLS MADE EASY

SHOOT MONO ARCHITECTURE Looking for a more eye-catching way to shoot modern buildings? Adam Waring shows you how to slow down time by using ND filters There are many different ways to photograph urban architecture. While some HOUR commercial photographers want everything to look crisp, clean and bright, a fine-art approach might involve transforming buildings into fluid forms and shapes that are pleasing to the eye. Fine-art urban architecture is simple and pared ÚŅƵĹØƤüųŅĵ ƋĘå ÏŅĵŞŅŸĜƋĜŅĹ ƋŅ ƋĘå typically monochrome finish. In this project we’ll show you how to capture simple yet expressive mono architecture shots. We’ll be using neutral density filters to help ƚŸƤ±ÏĘĜåƴå ĬŅĹč åƻŞŅŸƚųåŸ ĜĹ Ú±ƼĬĜčĘƋØ which will render the cloud movement silky smooth behind our subjects. These shots work best with the camera pointed directly upwards to make the buildings appear more looming and impressive, while a wide-angle lens perspective accentuates the shapes ŅüƤƋĘå ÆƚĜĬÚĜĹčŸţ aŅÚåųĹ ŸƋųƚÏƋƚųåŸ suit this technique thanks to their clean lines, but you’ll still need to find the best angle. After the shoot, you can use our editing tips to convert your image into a black-and-white masterpiece.

STEP BY STEP SHOOT LONG-EXPOSURE ARCHITECTURE

TIME IT RIGHT

Check the weather before your shoot – you need cloud movement to create blur. Ideal conditions are light winds with around 60% clear sky to 40% cloud cover. Walk around your chosen location to find a suitable subject, and the best angle, before setting up your tripod.

SET A STABLE BASE

aount your camera on the tripod, ensuring that the head is securely locked, and point your camera directly up towards your subject. Block the viewfinder with an eyepiece cover (you can shut the eyepiece blind on some models) to prevent light leaking in during the exposure.

FRAME AND FOCUS

Engage Live View mode, and use this to compose the frame – a vertical or square composition that uses symmetry will keep things simple. Focus on the scene using autofocus, then switch to manual focus to lock the focus. Turn off image stabilisation if your lens has it.

QUICK TIP ND filters often add a colour cast to images. However, this can be rectified in software – and of course it isn’t a problem if you’re converting images to black and white

STEP BY STEP SHOOT LONG-EXPOSURE ARCHITECTURE

INITIAL EXPOSURE

In aperture priority mode, set an ISO of 100 and start with an aperture of around f/11. Take a test shot, and note the shutter speed your camera sets – the correct shutter speed to use once the ND filter is attached will be calculated from this value.

STOP THE LIGHT

Carefully attach a strong ND filter to your lens – we used a 10-stop Formatt-Hitech filter. Next, calculate your new exposure time – there are plenty of smartphone apps, and tables available online, that will save you the mental arithmetic. In our case, the 10-stop filter extends our exposure time from 1/125 sec to 8 secs.

FIRE AWAY

Switch to Bulb mode, and use a remote releaseƤto fire the shutter, timing the exposure. Review your shots, and adjust the exposure time accordingly if necessary. In stable light you can often lengthen the recommended exposure times byƤabout 25%.

QUICK TIP Vertical compositions generally work better than horizontal ones for this type of image, but a square aspect ratio can also be effective, evoking a traditional fine-art feel

STEP BY STEP MAKE A MONO MASTERPIECE

1 GO GREYSCALE

2 TWEAK SLIDERS

Open your image in Camera Raw, go to the HSL/Grayscale tab and check ‘Convert to Grayscale’. Next, move the sliders to fine-tune the tones in the image. We wanted to darken the sky, so we reduced the brightness of the greyscale tones representing blues and reds.

Now is the time to make more adjustments to the overallƤtones – we darkened the Blacks, and boosted Contrast. At this point you also might want to increase ƋĘåƤÏŅĹƋų±ŸƋ ÆƼ Ęå±ÚĜĹč ƋŅ ƋĘå ŅĹå ƚųƴå Ş±ĹåĬƤ±ĹÚ ±ÚÚĜĹčƤ± ŸĬĜčĘƋ ěÏƚųƴåţ

3 DARKEN THE CORNERS

4 CROP IT OFF

For a really dark and dramatic result, head to the Lens ŅųųåÏƋĜŅĹ Ş±ĹåĬØ ÏĬĜÏĩ ƋĘå a±Ĺƚ±Ĭ Ƌ±Æ ±ĹÚ ƋĘåĹ ±ÚÚ ± strong vigĹåƋƋå ô Ƶå ŸåƋ eĵŅƚĹƋ ƋŅ ěŎǈǈ ±ĹÚ aĜÚŞŅĜĹƋ ƋŅ ƖǈØ but the settings you choose will depend on the image. To selectively darken the sky we also added a graduated filter.

We experimented with different crops and compositions, using the Crop tool at the top of the Camera Raw window. Setting the aspect ratio to 1:1 will give you a square crop, which is effective for this genre of photography. Rotate the frame until you’re happy with the composition.

ALTERNATIVE SOFTWARE FOR MONOCHROME SHOTS SILVER EFEX PRO This specialist monoprocessing software has plenty of controls for finetuning your images, or you can choose preset effects that emulate around 20 popular film types.

LIGHTROOM Lightroom offers an easy Ƶ±ƼƤƋŅ Æ±ƋÏĘěŞųŅÏåŸŸ Ĝĵ±čåŸţ Open an image, then head to the Develop tab. Set Treatment to Black & White ĜĹƤƋĘå ±ŸĜÏ Ş±ĹåĬØ ±ĹÚ Ƌ±ĩå your edits from there.

PH OTOS H O P LEARN ESSENTIAL EDITING SKILLS FAST!

D O W NL O A D T HE P R O J EC T F I L E S

h t t p s : // b i t . l y/ 3b 6 l Y N k ON A PC OR MAC

HOW TO...

TAKE CONTROL WITH CURVES

W AT CH T HE V IDEO h t t p : // b i t . l y/ 2p g h p z e

Get to grips with this powerful and versatile tonal adjustment tool that’s available in Photoshop, Camera Raw and Lightroom f all the tonal adjustment tools available to you in Photoshop, Curves is without doubt the most powerful – it can do the jobs of most of the other tone-tweaking tools, plus some things they can’t do: it can lighten or darken tones, alter colours, boost contrast, correct colour casts and more – Curves might just be the ultimate image-editing tool. Unfortunately for some, there’s

another curve that gets in the way: ƋĘåƤŸƋååŞ Ĭå±ųĹĜĹč Ïƚųƴåţ ƚųƴåŸ Ï±Ĺ be difficult to grasp for the uninitiated, and you might even be tempted to disregard the tool and return to the simpler sliders and settings on offer åĬŸåƵĘåųåţ ƚƋ ±ĹƼŅĹå ƵĘŅƤŸŞåĹÚŸ ± little time experimenting with Curves will be rewarded with a responsive, highly versatile tool that offers a Úåčųåå Ņü ÏŅĹƋųŅĬ ĬĜĩåƤĹŅ ŅƋĘåųţ

The Curves toolset can be found ĜĹƤXĜčĘƋųŅŅĵØ ±ĵåų± ±Ƶ ±ĹÚ Photoshop, with a simplified version ĜĹƤ)ĬåĵåĹƋŸţ FĹ ƋĘĜŸ ƴĜÚåŅ ƋƚƋŅųĜ±Ĭ ƵåűĬĬƤüŅÏƚŸ ŅĹ ƋĘå ŅĹå ƚųƴåƤŞ±ĹåĬ ƋĘ±ƋűŸ ±ƴ±ĜĬ±ÆĬå ĜĹ ±ĵåų± ±Ƶ ±ĹÚ XĜčĘƋųŅŅĵØ ƚŸĜĹč ĜƋŸ ƋŅŅĬŸ ƋŅ ĬĜüƋ Ņƚų portrait, boost the contrast and tweak the colours. but almost everything that Ƶå ÚĜŸÏƚŸŸƤÏ±Ĺ Æå Ƌų±ĹŸĬ±ƋåÚ ƋŅ ƋĘå Curves command in Photoshop.

WANT MORE PHOTOSHOP TUTORIALS? CHECK OUT PRACTICAL PHOTOSHOP

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GROUP TEST

PHOTO PRINTERS Turn your digital images into attention-grabbing ŞųĜĹƋŸ ƵĜƋĘƤŅĹåƤŅü ƋĘåŸå ĜĵŞųåŸŸĜƴå ĜĹĩģåƋ ŞųĜĹƋåųŸ ith so much working from home going on these days, printers have become indispensable tools for many of us. But printers aren’t just for workaday jobs like creating documents and spreadsheets; they can also turn your digital images into physical ŞĘŅƋŅŸţ FĹÚååÚØ ŸŅĵå Ņü ƚŸ üååĬƤƋĘ±Ƌ ±

digital photo only becomes ‘real’ when ĜƋűŸ ŞųĜĹƋåÚ ŅĹƋŅ ± ŸĘååƋ ŅüƤŞ±ŞåųØ ų±ƋĘåų ƋĘ±Ĺ åƻĜŸƋĜĹč ŞƚųåĬƼ ĜĹƤƋĘå ÚĜčĜƋ±Ĭ ųå±Ĭĵţ For this group test, we’ve started small, but not too small. We’re kicking off with four A4/8.5-inch models that are eminently suitable for creating mono and colour documents, while also working

ƵåĬĬ ±Ÿ ŞĘŅƋŅ ŞųĜĹƋåųŸ üŅųƤŅƚƋŞƚƋƋĜĹč bordered or borderless glossy prints ĜĹƤŞŅŞƚĬ±ų ŸĜǄåŸ ĜĹÏĬƚÚĜĹč ĉ ƻ ƅěĜĹÏĘØ ĂƤƻƤƀěĜĹÏĘØ eĉ ±ĹÚƤíţĂ ƻ ŎŎěĜĹÏĘţ åűĬĬ ƋĘåĹ ƵŅųĩ ŅƚųƤƵ±Ƽ ƚŞ ƋŅ ŸŞåÏĜ±ĬĜŸƋ ŞĘŅƋŅ ŞųĜĹƋåųŸ ĜĹƤeƐxŎŎěĜĹÏĘØ eƐťxŎƐěĜĹÏĘ ±ĹÚ eƖxŎƀěĜĹÏĘ ÏŅĹüĜčƚų±ƋĜŅĹŸţ Matthew Richards

GROUP TEST PHOTO PRINTERS

A4 PRINTERS

Canon Pixma TS6350/6320

Canon Pixma TS8350/8320

£80/$70

£140/$100

ƴ±ĜĬ±ÆĬå ±Ÿ ƋĘå ƅƐĂǈ series in the UK and ƋĘå íƐƖǈ ĜĹ ƋĘå Ø this multi-function printer is available in black or white finishes. Like many Canon five-ink printers over the years, ĜƋ Ę±Ÿ ±Ĺ ŅƴåųŸĜǄåÚ ŞĜčĵåĹƋě based black cartridge for crisp, rich black text, while photo printing is based on dyebased cyan, magenta, yellow and black inks. Replacement cartridges are available in standard, XL and XXL options, the last of which gives the ÆåŸƋƤåÏŅĹŅĵƼØ ±ĬƋĘŅƚčĘ ± üƚĬĬ ŸåƋ ÏŅŸƋŸƤ±ųŅƚĹÚ ƊŎǈǈxâŎƖĂţ

Performance Print speeds are quick, matching the pricier Pixma íƐĂǈxíƐƖǈţ eŸ ƵĜƋĘ ŅƋĘåų five-ink printers we’ve seen from Canon, this model produces excellent photo output, with vibrant yet realistic colour rendition for landscapes and pleasantly warm, flattering skin tones. However, mono photo printing is relatively lacklustre compared with the eƐť ±ĹÚ eƖ ŞųĜĹƋåųŸ ŅĹ ƋåŸƋţ

PRINT SPEED

0.32

9 */ 45% 26"-*5:

0.85

" 45% 26"-*5:

1.95

" #&45 26"-*5:

MINUTES TO PRINT

*U IBT B OFBS JEFOUJDBM QSJOU TQFFE UP UIF 91 GPS TUBOEBSE RVBMJUZ " QSJOUT CVU JTçGBTUFS JO IJHI RVBMJUZ NPEF

INK COST 1.79

$045 1&3 .- b

2.31

$045 1&3 .-

0.50

1.00

1.50

2.00

2.50

Ink costs are slightly higher than for the Epson 91 " JODI QSJOUFS FWFO XJUI UIF PQUJPOBM 99- DBSUSJEHFT

TECH FOCUS Print size: " JODI Resolution: Y EQJ Inks: 1JHNFOU CMBDL EZF DZBO NBHFOUB ZFMMPX CMBDL Interface: 64# 8J 'J #MVFUPPUI

VERDICT Representing excellent value for money, this JTçB GBTU BOE DBQBCMF EVBM QVSQPTF QSJOUFS GPS CPUI EPDVNFOU BOEçQIPUP PVUQVU BMUIPVHI JUT mono prints are lacking.

FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL

oing one up on the {Ĝƻĵ± ƅƐĂǈxƅƐƖǈ five-ink printer, this ĵŅÚåĬ ±ÚÚŸ ±ƤÚƼåěÆ±ŸåÚ ĜĹĩ ĜĹ ‘photo blue’ flavour. The idea ĜŸ ƋŅ åƻƋåĹÚ ƋĘåƤÏŅĬŅƚų ŸŞ±Ïå as well as enabling smoother graduations in the likes of blue skies in photo prints. The printer itself is available in black, white or racy red, going by the UK model numbers of íƐĂǈØ íƐĂŎ ±ĹÚ íƐĂƖ respectively. Other enhancements over its more budget-friendly ŸĜÆĬĜĹč ĜĹÏĬƚÚå ± ĉţƐěĜĹÏĘ colour touchscreen and an SD/ HC/XC memory card slot for standalone photo printing. Performance The print quality in terms of colour rendition, tonal range ±ĹÚ ųåƋåĹƋĜŅĹ ŅüƤüĜĹå ÚåƋ±ĜĬ ĜŸ excellent, and there’s plenty ŅüƤƴĜÆų±ĹÏƼ ŅĹ Ƌ±Ş ƋŅ ÚŅ üƚĬĬ justice to rich landscape colours, while skin tones look very natural. Even so, the level of enhancement from the extra ÆĬƚå ĜĹĩ Ï±ųƋųĜÚčå ŅüƋåĹƤĬŅŅĩŸ ĹåčĬĜčĜÆĬå ĹåƻƋ ƋŅ ƋĘå ƅƐĂǈţ

PRINT SPEED 0.32

9 */ 45% 26"-*5:

0.85

" 45% 26"-*5:

1.95

" #&45 26"-*5:

MINUTES TO PRINT

1SJOU TQFFET GPS WBSJPVT TJ[FT BOE RVBMJUZ TFUUJOHT QSPWFE FYBDUMZ UIF TBNF BT GPS UIF Canon TS6350/6320.

INK COST 1.79

$045 1&3 .- b

2.31

$045 1&3 .-

0.50

1.00

1.50

2.00

2.50

3VOOJOH DPTUT BSF JEFOUJDBM UP UIF $BOPO 54 CPUI QSJOUFST VTF UIF TBNF DBSUSJEHFT BQBSU GSPN UIJT POF T BEEJUJPOBM CMVF JOL

TECH FOCUS Print size: " JODI Resolution: Y EQJ Inks: 1JHNFOU CMBDL EZF DZBO NBHFOUB ZFMMPX CMBDL CMVF Interface: 64# 8J 'J #MVFUPPUI

VERDICT 8JUI JUT FYDFMMFOU IBOEMJOH BOE CVJME RVBMJUZ UIF 54 JT B TVQFSC NVMUJ GVODUJPO QSJOUFS UIBU T FBTZ UP MJWF XJUI 5IF CMVF JOL DBSUSJEHF EPFTO U TFFNçUP BEE NVDI UIPVHI

FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL

GROUP TEST PHOTO PRINTERS

A4 PRINTERS

Epson EcoTank &5

Epson Expression 1IPUP 91

£550/$550

pson EcoTank printers come with high-volume ĜĹĩƤƋ±ĹĩŸØ ƵĘĜÏĘ ƼŅƚ can replenish with bottled ĜĹĩţ Ęå ) ěƀƀǈǈ ÏŅĵåŸ ƵĜƋĘ two sets of high-capacity ĜĹĩ ÆŅƋƋĬåŸØ ŸƚüüĜÏĜåĹƋ üŅųƤƚŞ ƋŅ ŎĉØǈǈǈ ĵŅĹŅ ÚŅÏƚĵåĹƋŸ ±ĹÚƤƐØĉǈǈ ƅ ƻ ĉěĜĹÏĘ ŞĘŅƋŅŸţ Ink levels are easy to ĵŅĹĜƋŅųØƤƵĜƋĘ ƋĘå Ƌ±ĹĩŸ ƴĜŸĜÆĬå through windows in the front panel. Scanning, photocopying and printing from memory cards are based on a pushÆƚƋƋŅĹ ĜĹƋåųü±Ïå ƵĜƋĘ ± ƖţƀěĜĹÏĘ screen, rather than the XPíƅǈǈűŸ ƋŅƚÏĘŸÏųååĹ ÚĜŸŞĬ±Ƽţ

Performance Photo print speeds are fairly pedestrian, especially compared with the Canon A4 printers on test, which use a similar combination of ÚƼåƤ±ĹÚ ŞĜčĵåĹƋ ĜĹĩ ƋƼŞåŸţ Print quality is good overall but, ƵĘĜĬå ÏŅĬŅƚųƤųåĹÚĜƋĜŅĹ ĜŸ ŧƚĜƋå ±ÏÏƚų±ƋåØ ƋŅĹ±ĬƤ±ÏÏƚų±ÏƼ ÏŅƚĬÚ ÆåƤÆåƋƋåų× ÆųĜčĘƋƤĘĜčĘĬĜčĘƋŸ ĜĹ ŞųĜĹƋŸ Ï±Ĺ ĬŅŅĩƤŸĬĜčĘƋĬƼ ÚƚĬĬØ ±ĹÚ Ú±ųĩ ĬŅƵĬĜčĘƋŸ ±ųåƤ± ĬĜƋƋĬå lacking in definition.

£130/$250

PRINT SPEED

0.7

9 */ 45% 26"-*5:

2.17

" 45% 26"-*5:

4.88

" #&45 26"-*5:

MINUTES TO PRINT

1IPUP QSJOU TQFFET BSF SFMBUJWFMZ TMVHHJTI DPNQBSFE XJUI BMM PG UIF PUIFS " JODIçQSJOUFST PO UFTU

INK COST 0.17

$045 1&3 .- b

0.20

$045 1&3 .-

0.50

1.00

1.50

2.00

2.50

"MUIPVHI JOL JT DIFBQ UIF QSJOUFS JUTFMG JT SFMBUJWFMZ FYQFOTJWF BOE ZPV IBWF UP QBZ everything up front.

TECH FOCUS Print size: " JODI Resolution: Y EQJ Inks: 1JHNFOU CMBDL EZF DZBOçNBHFOUB ZFMMPX CMBDL Interface: 64# &UIFSOFU ç8J 'J

VERDICT *OL JT DIFBQ CVU UIF QSJOUFS JT FYQFOTJWF TPçZPV IBWF UP QSJOU BO BXGVM MPU PG QIPUPT UP CSFBL FWFO 5IF DPMPVS PVUQVU JT TBUJTGZJOH CVU UIF UPOBM SBOHF TFFNT UP CF MJNJUFE

FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL

ucking the trend of combining pigment ±ĹÚƤÚƼåěÆ±ŸåÚ ÆĬ±Ïĩ inks for document and photo ŞųĜĹƋĜĹčØ ƋĘå £{ěíƅǈǈ ųƚĹŸ ŅĹ six dye-based inks – CMYK, ŞĬƚŸƤŞĘŅƋŅ ÏƼ±Ĺ ±ĹÚ ŞĘŅƋŅ ĵ±čåĹƋ± ƋŅƤÆųŅ±ÚåĹ ƋĘå ÏŅĬŅƚų ŸŞ±Ïåţ )ƴåĹ ŸŅØ ĜƋƤŞųŅÚƚÏåŸ pretty solid-looking text. Drop for drop, ink costs about Ŏǈ ƋĜĵåŸ ĵŅųå ƋĘ±Ĺ üŅų ƋĘå )ŞŸŅĹ )ÏŅ ±Ĺĩ ) ěƀƀǈǈØ ±ĬƋĘŅƚčĘ ƋĘå £{ěíƅǈǈ ĜŸ ĵƚÏĘ ĬåŸŸ åƻŞåĹŸĜƴå ƋŅ ÆƚƼţ XĜĩå ƋĘå )ÏŅ ±Ĺĩ ) ěƀƀǈǈØ ƋĘåųåűŸ ± ƖţƀěĜĹÏĘ ÏŅĬŅƚų X %Ø but this time it’s a touchscreen without the surrounding array of push-button controls. Performance Epson six-ink photo printers are somewhat renowned for their vibrant-looking output, and the £{ěíƅǈǈ ĜŸ ĹŅ åƻÏåŞƋĜŅĹſ ĜĹÚååÚØ colour saturation and contrast can sometimes look a little lurid, especially in ‘photo enhance’ mode. Steer clear of that option, though, and photo output is more accurate for colour and tone. Print speeds are generally very fast.

PRINT SPEED 0.22

9 */ 45% 26"-*5:

0.83

" 45% 26"-*5:

2.28

" #&45 26"-*5:

MINUTES TO PRINT

4VQFS GBTU GPS Y JODI QSJOUT JOçTUBOEBSE RVBMJUZ NPEF BOE SBQJE GPS " TUBOEBSE QSJOUT UIF 91 TMPXT OPUJDFBCMZ BU JUT IJHIFTU RVBMJUZ TFUUJOH

INK COST 1.73

$045 1&3 .- b

2.00

$045 1&3 .-

0.50

1.00

1.50

2.00

2.50

$BSUSJEHFT BSF BWBJMBCMF JO TUBOEBSE PS 9- PQUJPOT UIF MBUUFS PGGFSJOH CFUUFS FDPOPNZ BOE OBSSPXMZ CFBUJOH $BOPO " JODI SJWBMT

TECH FOCUS Print size: " JODI Resolution: Y EQJ Inks: Cyan, light cyan, magenta, light NBHFOUB ZFMMPX CMBDL Interface: 64# 8J 'J

VERDICT 5IF EZF CBTFE TJY JOL DBSUSJEHF MJOFVQ TIPVME UIFPSFUJDBMMZ CFçNPSF QIPUP GSJFOEMZ CVU XF QSFGFS UIF PVUQVU RVBMJUZ PG $BOPO T " inch printers on test.

FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL

GROUP TEST PHOTO PRINTERS

A3 AND A2 PRINTERS

Canon 1JYNB 1SP

Canon JNBHF1SPHSBG 1SP

£455/$599

Ęå {Ĝƻĵ± {ųŅěŎǈǈ Ę±Ÿ long been our favourite eƐťxŎƐěĜĹÏĘ ŞųŅěčų±Úå printer for creating photo prints on glossy paper. Running on eight dye-based inks, including black, grey and light grey, it delivered sumptuously smooth glossy prints with immaculate colour rendition. Ęå {Ĝƻĵ± {ųŅěƖǈǈ Ƌ±ĩåŸ things up another notch. A new and improved range of inks aims for greater colour space, superior vibrancy and deeper reds, blues and blacks. There’s also a new three-inch colour LCD screen and compatibility with Canon’s Professional Print & Layout software, as well as with wide-ranging fine-art media from the likes of Canson and Hahnemühle.

Performance Print speeds are very quick and, ±Ÿ ĜŸƤŅüƋåĹ ƋĘå Ï±Ÿå ƋĘåŸå Ú±ƼŸØ the difference in print quality between standard and highest quality modes can look fairly negligible. Even in standard ĵŅÚåØ ƋĘå {ųŅěƖǈǈ ÚåĬĜƴåųŸ fabulous photo print quality.

£730/$899

PRINT SPEED

0.55

9 */ 45% 26"-*5:

1.12

" 45% 26"-*5:

4.25

" #&45 26"-*5:

MINUTES TO PRINT

0 2.5 5

10 15 20

*U T B WFSZ GBTU QSJOUFS JO BMM RVBMJUZ NPEFT BOE QSJOUT BSFçQSFUUZ NVDI UPVDI ESZ POçPVUQVU

INK COST 1.43

$045 1&3 .- b

1.11

$045 1&3 .-

0.50

1.00

1.50

2.00

2.50

%ZF CBTFE JOLT BSF PGUFO DIFBQFS UP QSPEVDF CVU SVOOJOH DPTUT BSF B MJUUMF IJHIFS UIBO GPS UIF 1SP

TECH FOCUS Print size: " JODI Resolution: Y EQJ Inks: %ZF DZBO QIPUP DZBO NBHFOUB QIPUP NBHFOUB ZFMMPX CMBDL HSFZ light grey Interface: 64# &UIFSOFU 8J 'J

VERDICT 5IF 1JYNB 1SP JT TJNQMZ UIF CFTU JO UIF HSPVQ GPS QSJOUJOH PO HMPTTZ QIPUP QBQFS BOE SFQSFTFOUT B TJ[FBCMF VQHSBEF PWFSçUIF PMEFS 1SP 4 NPEFM

FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL

lthough it’s a pigmentbased printer, the imagePrograf ProƐǈǈ ÚåĬĜƴåųŸ ŸƚŞåųÆěĬŅŅĩĜĹč output on glossy as well ±ŸƤĵ±ƋƋå ±ĹÚ üĜĹåě±ųƋ ĵåÚĜ±ţ This is enabled by the printer’s ĘųŅĵ± kŞƋĜĵĜǄåų Ï±ųƋųĜÚčåØ which smooths out the finish when printing on glossy photo paper, so that there’s no difference in the reflectivity of ÚĜüüåųåĹƋƤÏŅĬŅƚųŸ ±ĹÚ ƋŅĹåŸţ Unlike Canon’s previous pigment-based printers, the {ųŅěƐǈǈ åĹ±ÆĬåŸ ÆŅųÚåųĬåŸŸ output on matte and fine art media, instead of just on glossy, semi-gloss and lustre papers. Performance Ęå ĹåƵ ŎǈěÏ±ųƋųĜÚčå XƚÏĜ± Pro ink system delivers a wide gamut (colour space) with rich, vivid colour rendition, as well as high-fidelity black-and-white ŞĘŅƋŅ ŞųĜĹƋĜĹčØ ƵĜƋĘ ±ĵ±ǄĜĹčĬƼ ÚååŞ ƼåƋƤÚåƋ±ĜĬåÚ ÆĬ±ÏĩŸţ Ęå {ųŅěƐǈǈűŸ ŞųĜĹƋ ŧƚ±ĬĜƋƼ ĜŸ spectacular in all respects, and ƼåƋ ĜƋűŸƤŸƋĜĬĬ ŞųåƋƋƼ ŸŞååÚƼ üŅų ± pigment-based printer, even in its highest quality mode.

PRINT SPEED 1.05

9 */ 45% 26"-*5:

3.37

" 45% 26"-*5:

9.97

" #&45 26"-*5:

MINUTES TO PRINT

0 2.5 5

10 15 20

*U T QSFUUZ RVJDL GPS B QJHNFOU CBTFE QSJOUFS o BCPVU UXJDF BT GBTU BT UIF &QTPO 1 JO JUT UPQ RVBMJUZ NPEF

INK COST 1.21

$045 1&3 .- b

0.93

$045 1&3 .-

0.50

1.00

1.50

2.00

2.50

*OL DPTUT BSF DPNQFUJUJWF CVU OPU BT MPX BT GPSçUIF MBSHFS TDBMF &QTPO 4VSF$PMPS 1 " JODI QSJOUFS

TECH FOCUS Print size: " JODI Resolution: Y EQJ Inks: Pigment cyan, photo cyan, magenta, photo magenta, yellow, NBUUFçCMBDL QIPUP CMBDL HSFZ SFE $ISPNB 0QUJNJ[FS Interface: 64# &UIFSOFU 8J 'J

VERDICT 0VUQVU GSPN UIJT WFSTBUJMF QSJOUFS MPPLT TVQFSC POçCPUI HMPTTZ BOE NBUUF NFEJB BOE UIF 1SP FEHFT BIFBE PG UIF 1SP GPS CMBDL BOE XIJUF QSJOU RVBMJUZ

FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL

GROUP TEST PHOTO PRINTERS

A3 AND A2 PRINTERS

Epson &YQSFTTJPO 1IPUPç91

Epson SureColor P900

£230/$300

f twice as big is twice as čŅŅÚØ ƋĘĜŸ )ŞŸŅĹ eƐxŎŎě inch photo printer beats ĜƋŸ Ÿĵ±ĬĬåų £{ěíƅǈǈ eĉxíţĂěĜĹÏĘ sibling. It delivers double the maximum print area, but remains reasonably compact and light. Unlike the other largeformat printers on test, this )ŞŸŅĹ Ş±ÏĩŸƤ± ÆƚĜĬƋěĜĹ ŸÏ±ĹĹåų and a SD/HC/XC card slot, ÆųŅƚčĘƋ ƋŅčåƋĘåų ÆƼ ± ĉţƐěĜĹÏĘ touchscreen. As with Epson’s £{ěíƅǈǈ eĉ ŞųĜĹƋåųØ ƋĘå £{ěĿƀǈ runs on six Claria Photo HD dyeÆ±ŸåÚ ĜĹĩŸØ ƵĜƋĘƤ±ƤÏŅĹƴåĹƋĜŅĹ±Ĭ ‘photo’ line-up.

Performance Photo print quality is virtually identical to that of the smaller £{ěíƅǈǈţ Ęå ŸĵŅŅƋĘĹåŸŸ Ņü graduations in blue skies and the quality of skin tones are very good. Again, the ‘photo enhance’ option is best avoided if you’re after good colour accuracy. As with any dye-based ŞųĜĹƋåųØ ƋĘå £{ěĿƀǈ ĜŸ ÆåŸƋ suited to glossy output and, unlike the other large-format printers on test, black-and-white ŞĘŅƋŅƤŅƚƋŞƚƋ ĜŸ ųåĬ±ƋĜƴåĬƼ ŞŅŅųţ

£1,087/$1,195

PRINT SPEED 9 */ 45% 26"-*5:

0.25

" 45% 26"-*5:

1.02

4.58

" #&45 26"-*5:

MINUTES TO PRINT

0 2.5 5

10 15 20

1SJOU TQFFET BSF RVJDL UBLJOH POMZ TMJHIUMZ MPOHFS UIBO GPS UIF TNBMMFS 91 QSJOUFS GPS BOZçEJSFDUMZ DPNQFUJOH TJ[F

INK COST 1.78

$045 1&3 .- b

1.89

$045 1&3 .-

0.50

1.00

1.50

2.00

2.50

5IF PQUJPOBM 9- DBSUSJEHFT TVSQSJTJOHMZ IBWF B MPXFS DBQBDJUZ UIBO GPS UIF TNBMMFS 91 CVU JOL DPTUT XPSL PVU BCPVU UIF TBNF

TECH FOCUS Print size: " JODI Resolution: Y EQJ Inks: %ZF DZBO MJHIU DZBO NBHFOUB MJHIU NBHFOUB ZFMMPX CMBDL Interface: 64# 8J 'J

VERDICT 5IF 91 JT B HPPE PQUJPO JG ZPV XBOU BçNVMUJ GVODUJPO EVBM QVSQPTF EPDVNFOU BOEçQIPUPçQSJOUFS UIBU DBOçHFOFSBUF MBSHFS scale output.

FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL

ŞŸŅĹűŸ ƚųå ŅĬŅų {ƀǈǈ eƐťxŎƐěĜĹÏĘ ŞųĜĹƋåų ŠƊƅƀĿxâíǈǈš ĵĜčĘƋ seem an obvious fit for this group test, competing against ƋĘå ±ĹŅĹ {ųŅěƖǈǈ ±ĹÚ {ųŅěƐǈǈ ĵŅÚåĬŸţ ƚƋ ƵĘĜĬå ƋĘå eƖxŎƀěĜĹÏĘ {Ŀǈǈ ĜŸƤĵŅųå åƻŞåĹŸĜƴåØ ĜƋ čĜƴåŸ ųåĬ±ƋĜƴåĬƼ ŸƚŞåųŸĜǄåÚ ŅƚƋŞƚƋ from a printer that’s only about ƋĘå Ÿ±ĵå ŸĜǄå ±ĹÚ ƵåĜčĘƋ ±Ÿ ƋĘå ±ĹŅĹ eƐťxŎƐěĜĹÏĘ ĵŅÚåĬŸØ ±ĹÚ ĜƋŸ ĂǈĵĬ Ï±ųƋųĜÚčåŸ Ę±ƴå ƋƵĜÏå ƋĘå Ï±Ş±ÏĜƋƼ Ņü ƋĘå )ŞŸŅĹ {ƀǈǈűŸ cartridges, resulting in significant savings for ink costs. Handling is excellent, with an additional pull-out feeder at the front, ideal for fine art media and relatively thick poster board. As well as a colour touchscreen, the printer features a translucent top panel and interior LED lighting, so you can check your prints as they’re being made. Performance Colour and mono print quality are both excellent, although the ±ĹŅĹ {ųŅěƐǈǈ ģƚŸƋ Ę±Ÿ ƋĘå åÚčå for really deep blacks, and the )ŞŸŅĹűŸ ŅƚƋŞƚƋ ŅĹƤčĬŅŸŸƼ Ş±Şåų looks less smooth.

PRINT SPEED 1.37

9 */ 45% 26"-*5:

3.5

" 45% 26"-*5:

18.75

" #&45 26"-*5:

MINUTES TO PRINT

0 2.5 5

10 15 20

1SJOU TQFFET TMPX ESBNBUJDBMMZ PO UIF WFSZ IJHIFTU RVBMJUZ TFUUJOHT BMUIPVHI UIFSF DBO CFçOFHMJHJCMF WJTVBM EJGGFSFODF

INK COST 0.76

$045 1&3 .- b

0.84

$045 1&3 .-

0.50

1.00

1.50

2.00

2.50

)FMQFE CZ SFMBUJWFMZ IJHI DBQBDJUZ NM JOL DBSUSJEHFT UIF 1 IBT WFSZ DPNQFUJUJWF running costs.

TECH FOCUS Print size: " JODI Resolution: Y EQJ Inks: 1JHNFOU DZBO MJHIU DZBO WJWJE NBHFOUB WJWJE MJHIU NBHFOUB ZFMMPX NBUUF CMBDL QIPUP CMBDL HSFZ MJHIU grey, violet Interface: 64# &UIFSOFU 8J 'J

VERDICT 5IF 1 JT NVDI JNQSPWFE PWFS UIF QSFWJPVT 1 XJUI TFQBSBUF JOL DIBOOFMT GPS CPUI UIFçQIPUP CMBDL BOE NBUUFçCMBDL JOLT ZJFMEJOH IJHI RVBMJUZ SFTVMUT

FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL

GROUP TEST PHOTO PRINTERS

HOW THE PRINTERS $0.1"3&

Canon Pixma TS6350/6320

Contact

Canon Pixma TS8350/8320

Epson EcoTank &5

www.canon.co.uk

Epson Expression 1IPUP 91

Canon Pixma 1SP

www.epson.co.uk

Canon imagePrograf 1SP

Epson Expression 1IPUP 91

www.canon.co.uk

Epson SureColor P900

www.epson.co.uk

Street price

£80/$70

£140/$100

£550/$550

£130/$250

£455/$599

£730/$899

£230/$300

£1,087/$1,195

Number of inks

'JWF

Six

'JWF

Six

Eight

Six

Photo ink type

%ZF POF QJHNFOU

%ZF

1JHNFOU $0

%ZF

Pigment

Max print size

" JODI

Max print resolution

Y EQJ

Input trays

1x cassette, 1x rear

2x cassette, 1x rear

1x rear, 1x manual

2x cassette, 1x rear

1x rear, 1x front

6x4 photo speed

19 sec

42 sec

13 sec

33 sec

1 min 03 sec

15 sec

1 min 22 sec

51 sec

2 min 10 sec

50 sec

1 min 10 sec

3 min 22 sec

1 min 02 sec

3 min 30 sec

NJO TFD "

N T "

Photo cartridge capacity

NM 99-

70ml

NM 9-

12.6ml

14ml

NM 9-

50ml

Cost per photo cartridge

b 99-

£12/$14

b 9-

£18/$14

£17/$13

b 9-

£38/$42

Photo ink cost QFSçNM

b 99-

£0.17/$0.20

b 9-

£1.43/$1.11

£1.21/$0.93

b 9-

£0.76/$0.84

Interfaces

64# 8J 'J Bluetooth

USB 2.0, Ethernet, 8J 'J

64# 8J 'J

USB 2.0, Ethernet, 8J 'J

Memory card slots

None

4% )$ 9$

None

4% )$ 9$ .4

None

LCD display

JODI 0-&%

JODI DPMPVS touchscreen

JODI DPMPVSç-$%

JODI touchscreen

JODI DPMPVSç-$%

JODI DPMPVS touchscreen

CD/DVD printing

:FT

Built-in scanner

Y EQJ

Dimensions 8çYç%çY )

Y Yç NN

Weight

6.3kg

6.6kg

8kg

6.7kg

14.1kg

14.4kg

8.7kg

14.8kg

(standard quality)

A4 photo speed (standard quality)

Photo speed CFTUçRVBMJUZ

THE W INNER IS... $"/0/ *."(&130(3"' 130 or top-quality photo output, ƋĘåƤ ±ĹŅĹ Ĝĵ±čå{ųŅčų±ü {ųŅěƐǈǈ ĜŸ ±Ĺ ŅƚƋųĜčĘƋ ƵĜĹĹåųØ making excellent use of pigmentbased inks to deliver spectacular quality on matte and fine-art media, üŅųƤÆŅƋĘ ÏŅĬŅƚų ±ĹÚ ĵŅĹŅ ŞĘŅƋŅŸţ Ę±ƋƤŸ±ĜÚØ ƋĘåƤ ±ĹŅĹ {Ĝƻĵ± {ųŅěƖǈǈ dye-based printer wins out for an ultra-smooth finish on glossy paper. :ŅĜĹč Ĭ±ųčåų ƋŅ ±Ĺ eƖxŎƀěĜĹÏĘ ŞųĜĹƋåųØ the pigment-based Epson SureColor {Ŀǈǈ ĜŸ åƻÏåĬĬåĹƋ üŅų ÆŅƋĘ ÏŅĬŅƚų ±ĹÚ

mono prints, but is less convincing ƋĘ±ĹƤƋĘå ±ĹŅĹ {ųŅěƐǈǈ ŅĹ čĬŅŸŸƼ Ş±Şåųţ )ƴåĹ ŸŅØ ƋĘå ƚŞŸĜǄåÚ ŞųĜĹƋ capability is particularly impressive considering that the Epson is about ƋĘåƤŸ±ĵå ŸĜǄå ±ĹÚ ƵåĜčĘƋ ±Ÿ ƋĘå ƋƵŅ ±ĹŅĹ eƐť ŞųĜĹƋåųŸţ:ŅĜĹč ŸĬĜčĘƋĬƼ Ÿĵ±ĬĬåų ƋĘ±Ĺ eƐťØ ƋĘå eƐxŎŎěĜĹÏĘ )ŞŸŅĹ )ƻŞųåŸŸĜŅĹ {ĘŅƋŅ £{ěĿƀǈ ĜŸ ± ƴåųŸ±ƋĜĬå ±ĬĬěųŅƚĹÚåų ƋĘ±ƋƤÚåĬĜƴåųŸ čŅŅÚ ŞųĜĹƋ quality from its conventional range of six dye-based inks. In the A4/8.5-inch camp, our

favourite printer is the Canon {Ĝƻĵ±Ƥ íƐĂǈxíƐƖǈØ ƵĘåųå±Ÿ ƋĘåƤ ƅƐĂǈxƅƐƖǈ ĜŸ ± ĬĜƋƋĬå ĬåŸŸ ųåüĜĹåÚƤÆƚƋƤƚĹÆå±Ƌ±ÆĬå ƴ±Ĭƚå üŅų ĵŅĹåƼţ ĘåƤ)ŞŸŅĹ )ƻŞųåŸŸĜŅĹ {ĘŅƋŅƤ£{ěíƅǈǈƤĜŸ ±ĹŅƋĘåų ƵŅųƋĘƼƤÏŅĹƋåĹÚåųØ ƵĘĜĬåƤƋĘå )ŞŸŅĹ )ÏŅ ±Ĺĩ ) ěƀƀǈǈ works out ƴåųƼƤŞųĜÏåƼ unless you make lots of prints.

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