Photography News Issue 18

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Issue 18 | Photography News

Photography News | Issue 18

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Photography news

Produced by

PICK UP YOUR

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COPY! Issue 18

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17 March – 20 April

FREE 4-PAGE PULL-OUT

FLOOR PLAN AND VISITOR GUIDE!

D7200 tops DX range Changes have also been made to the camera’s buffer capacity, which was criticised in the previous model. Thanks to the inclusion of the EXPEED 4 image processor, the D7200 can record 27 Raw files or 100 JPEGs before pausing for breath.

Along with the D7200, Nikon has also unveiled the COOLPIX P900 bridge camera with a whopping 83x optical zoom, and has released details of its Spring cashback promotions. To find out more about all these announcements, turn to page 6.

Roll out the red carpet as we salute the best Will Cheung

Nikon has launched a new range-topping model in its DX format line-up. The D7200, which will be available from 19 March, replaces the D7100 at the top of the tree of models with an APS-C sized sensor and, while it may look very similar to its predecessor, some substantial changes lurk within. These include features taken from the company’s FX full-frame models, the most notable of which is the inclusion of a 51-point autofocusing system that operates in light levels as low as -3EV. This means it can focus in near-darkness.

The results are in!

World’s best photo equipment – as voted for by you

Trees company: R5 of Camera Club of the Year kicks off Don’t leaf it to the last minute to root out your shots

First look at the EOS 5DS plus E-M5 MkII and X100T on test π To find out more about the D7200 and the COOLPIX P900, go to www.nikon.co.uk.

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Latest from Canon, Olympus & Fujifilm rated

Issue 18 | Photography News

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Advertisement feature

★★★★★ - Olympus Magazine “THE MOST IMPRESSIVE FEATURE IS THE STELLAR 5-AXIS STABILISER SYSTEM”

“IT’S QUITE LITERALLY LIBERATING AND FOR HANDHELD SHOOTING, NOTHING ELSE I’VE TRIED COMES CLOSE”

“THE E-M5 MARK II IS A FANTASTIC CAMERA, THE PERFECT SUCCESSOR TO THE E-M5”

- John Nassari

- Edmond Terakopian

- Nicholas Goodden

THE

OM-D E-M5 MARK II

FROM THE PRODUCERS WHO BROUGHT YOU THE AWARD-WINNING OM-D E-M5 LENS FOUR THIRDS PRIME LIVE MOS SENSOR EFFECTIVE PIXELS 16.1 MEGAPIXELS MOUNT MICRO FOUR THIRDS REAR MAXIMUM TOP SHUTTER 2.36 MILLION DOTS FRAME RATE 10FPS SPEED 1/16,000SEC LCD 3IN VARI-ANGLE, 1,037,000 DOTS BODY MAXIMUM MAXIMUM VIDEO TRUEPIC VII (BODYWEIGHT ONLY) 417G MATERIAL MAGNESIUM ALLOY VIDEO BITRATE 77MBPS FRAME RATE FULL HD, 60P AF EXPOSURE POINTS 81 SYSTEM 40M HIGH RES SHOT (8 SHOTS COMBINED INTO A SINGLE JPEG USING SENSOR SHIFT)

IMAGE SENSOR EVF RESOLUTION PROCESSOR

WWW.OLYMPUS.CO.UK

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Advertisement feature

5

OLYMPUS OM-D E-M5 MARK II

What the pros thought Read the reviews from the professional photographers, who’ve already put the E-M5 Mark II through its paces John Nassari Professional photographer

★★★★★

“My first impression is that this camera offers a lot of strength. Its one-shot mode that allows you to take high-res images (40-megapixel) rivals some medium-format and heavy DSLR studio cameras. The inbuilt keystone correction (a verticals correction) gives me a tiny architecture kit.

“It’s fast for reportage and with the focus peaking function I can manually focus on an eyelid for studio portraits, which is a joy.

“The most impressive feature is the stellar 5-axis stabiliser, not only giving me options in movie mode but in low-light handheld photography.

I can confidently shoot a low-light church scene at shutter speeds of 1/15sec and not see camera shake.

With a true whisper mode on top of that, I can now shoot silently in almost dark conditions!

“And with the Wi-Fi function and my phone, I can send a high-res image straight to a client.”

π To find out more about John, go to www.johnnassari.co.uk.

Edmond Terakopian Professional photographer and film-maker

“The inbuilt stabiliser makes the Mark II probably the most able video shooting stills camera around. I shot the majority of my short film London Taxi (https://vimeo.com/118739910) completely handheld, something I would never do with a DSLR. In the past I’ve used various other rigs and systems but this built-in stabiliser is the best solution I’ve ever used; it’s much easier to master, making this a smooth and easy camera to shoot with. It’s quite literally liberating and

★★★★★

for handheld shooting, nothing else I’ve tried comes close.

“The headphone socket, live monitoring of audio during shooting as well as touchscreen silent control during shooting of ISO, aperture, shutter speed and audio gain, along with the variable frame rates, slow motion and an ALL-I quality setting means my work is of the highest quality and can accommodate a wide variety of client briefs as well as my creative ideas.”

π To find out more about Edmond, go to www.terakopian.com.

Nicholas Goodden Professional photographer

★★★★★

“The Mark II is a fantastic camera, a perfect successor to the E-M5.

Olympus has pretty much packed an E-M1 into a smaller and even better looking E-M5 and improved on so many aspects including the ergonomics and numerous customisable buttons. For anyone already using the E-M5 and still wondering if they should make the jump look at it this way: added Wi-Fi, a much better viewfinder, improved ergonomics and more buttons that can be customised, faster shutter

speeds, silent shutter – and the list goes on.

“The rotating screen allows me to shoot from otherwise tricky angles. The silent electronic shutter is key to my street photography and the mechanical shutter is otherwise quieter than ever. It’s a perfect camera for the urban environment, it’s not obtrusive nor is it intimidating, and it’s easy to carry around all day. I can see great applications for the Live Composite function in my urban work too.”

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

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Issue 18 | Photography News

6

Latest photography news

Nikon launches faster, smarter, more powerful D7200 It may look the same as a D7100, but some major upgrades lurk beneath the surface Nikon has unveiled the D7200, a 24.2-megapixel range-topping DX format DSLR. Although not a huge resolution upgrade over the 24.1-megapixel D7100, the new model has a number of specification tweaks compared to its predecessor and uses features taken from the full-frame FX format range, most notably the autofocus system. It’s also the first Nikon DSLR to offer Near Field Communication (NFC).

The 51-point AF system is sensitive down to -3EV, making it possible to achieve focus virtually in the dark. The system features 15 cross-type sensors around the centre of the frame and one central point that works down to f/8. Images can be captured at a maximum of 6fps in the DX format and 7fps in the 1.3x crop mode. Keep your finger on the shutter release and you’ll get up to 27 Raw files or 100 JPEGs at these speeds.

While this frame rate is the same as the D7100, the buffer capacity has been improved thanks to the inclusion of the EXPEED 4 processor. This also has a positive effect on ISO sensitivity with the native range now running from 100 to 25,600. Expanded, sensitivity on the D7200 stretches to 102,400 on the Hi2 setting.

NFC on the D7200 makes for simple wireless image transfers if you have an NFC-compatible smartphone or

tablet. Communication is achieved by touching the two devices together after which the image displayed on the camera’s 3.2in rear LCD will be transferred to the device. If you don’t have an NFC device, Wi-Fi is offered as a wireless alternative – just download Nikon’s free Wireless Mobile Utility app to get started.

The D7200 also provides a suite of video functions, accessed through the dedicated Movie menu. It captures Full HD movies at 25p or 30p and can offer 50p and 60p recording, but only in the 1.3x crop mode. Dual SD card slots should ensure you don’t run out of storage space while shooting, plus there’s also an HDMI output for an external recorder or monitor. Proving that Nikon takes audio capture just as seriously, the D7200 is compatible with Nikon’s new ME-W1 wireless microphone and also offers a range of built-in audio controls.

If you’re looking for new creative functions, the D7200 boasts new Picture Controls including Flat and Clarity. The former retains more detail and tone in highlights and shadows, while the latter allows precise control over fine detail. A timelapse movie function has also been added, along with the capability to shoot continuously with exposures of four seconds or longer to record star trails.

P900 zooms to 2000mm!

Alongside the launch of the D7200, Nikon also introduced the COOLPIX P900 bridge camera, which offers an 83x optical zoom extending from 24-2000mm (35mm equivalent). The 16-megapixel P900 can also shoot Full HD video, comes with a Vibration Reduction system that claims up to five stops of compensation, has a vari-angle three-inch rear LCD and offers a Dynamic Fine Zoom that digitally extends the focal length to a monstrous 4000mm!

Available from mid-March, the P900 will retail at £499.99.

Photography News | Issue 18

RIGHT With native ISO up to 25,600, improved buffering and new creative functions, the D7200 is Nikon’s rangetopping DX format DSLR.

Simon Iddon, group product manager, DSLR lenses and accessories, Nikon UK, said: “The D7200 is a class breed of camera that inspires excellence and creativity. Its advanced features make it an ideal camera for both experienced photographers and people looking to get started with a top-ofthe range camera. Nikon’s superb ergonomics and extensive range of DX and FX format lenses offer the freedom to shoot subjects with ease and without limitations. It’s now also simpler than ever to share your images using the sophisticated NFC or Wi-Fi function. The outstanding ISO performance and excellent AF system make the D7200 a cut above the rest and ensure outstanding image quality in any situation.”

Available from mid-March, the D7200 has a body only price of £939.99 or a kit price of £1119.99 with an 18-105mm. π To find out more, go to www.nikon.co.uk.

Nikon springs cashback deals

UP TO

£275

CASHBACK

Up to £275 can be claimed on Nikon’s Spring lens cashback promotion, which also has a bonus offer for customers buying selected digital SLRs at the same time. Buy one of 13 DX and FX lenses before 31 May and you’ll receive between £20 and £275 cashback, but if you also buy a D7100, D610 or D750 in body only or kit form at the same time you can claim additional cash, a compatible battery grip or a London-based training course. Cashback is fulfilled with Visa pre-paid cards and claims must be made by 28 June. π To find out more, go to nikon.co.uk.

π To find out more, go to www.nikon.co.uk/promotions.

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Latest photography news

Portable flash kits are go!

Profoto and Elinchrom in sync with new on-location systems On-location photographers have been spoiled this month with two new portable flash lighting kits launched. Profoto’s B2 is an entirely new product, whereas Elinchrom’s ELB400 is an upgrade to the existing Ranger Quadra line-up.

The B2 is a compact and lightweight offering with a head weighing 0.7kg and the battery pack 1.6kg. This makes it highly portable and, if you own a Canon or Nikon camera, it can be fired wirelessly with full TTL control via the optional Air Remote TTL-C/N unit. Available in one- and two-head kits, the B2 offers up to 250 watt seconds of power, a nine-stop range and can recycle in as little as 0.03 seconds. A modelling light is also provided, with the battery providing up to 215 full power flashes on a single charge. Check out our test in this issue.

Elinchrom’s ELB400 is also available in one- and two-head kits and offers 424 watt seconds of power, a 6.9-stop range and can provide up to 350 full power flashes on a single charge – 25% more than the original system. In addition to being more powerful than the original Ranger Quadra kit, the design now offers an OLED screen on the battery pack, 20% faster recycling, plus it’s compatible with existing Elinchrom accessories. π To find out more, go to www.profoto.com and www.pscdistribution.co.uk.

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7 NEWS IN BRIEF GREAT WESTERN Western Digital’s latest NAS (network attached storage) products – the My Cloud EX2100 and EX4100 – provide up to 12 and 24TB of storage respectively for sharing, back up and streaming. The drives can be accessed from anywhere and they’re both PC and Mac compatible. The two-bay EX2100 costs £239 for the unit and £399 for 4TB, the fourbay EX4100 costs £359 and £699 for 8TB. www.wd.com COMPETITION The 100 Mile Radius landscape photography competition is open to all amateurs and pros. Photograph a landscape/seascape within 100 miles of your home in any style you choose and submit it before 31 July 2015 to win prizes including a one photo book deal with Brown Owl Press. £10 entry fee.

100mileradius.info

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Latest photography news

And the winners are…

The votes have been counted in the Advanced Photographer Awards. So which products and manufacturers are being honoured?

Thanks to everyone who voted in our sister title, Advanced Photographer’s inaugural kit awards.

The Advanced Photographer Awards 2014 seek to recognise the best kit, retailers, services and trainers of last year, as chosen by readers. In many categories, it was a close-run thing, and only in a few was there a runaway winner. Regardless, in every case the winners thoroughly deserve their accolades. So without further ado, let’s reveal the Advanced Photographer Award winners of 2014.

n ADVANCED DSLR CAMERA Nominations: Canon EOS 5D Mark III, Canon EOS 7D Mark II, Nikon D810, Nikon Df, Pentax K3, Sony A77 II Winner: Canon EOS 5D Mark III

n PROFESSIONAL DSLR CAMERA Nominations: Canon EOS-1D X, Nikon D4s Winner: Nikon D4s

n BRIDGE CAMERA Nominations: Canon PowerShot SX60 HS, Fujifilm Finepix S1, Nikon COOLPIX P600, Panasonic FZ1000, Samsung WB2200F, Song Cyber-shot HX400 Winner: Nikon Coolpix P600

n PREMIUM COMPACT Nominations: Canon PowerShot G7 X, Fujifilm X30, Nikon COOLPIX A, Panasonic Lumix LX100, Sigma DP2 Quattro, Sony RX100 III Winner: Panasonic Lumix LX100

Photography News | Issue 18

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Latest photography news n ADVANCED CSC Nominations: Nikon 1 V3, Olympus OM-D E-M10, Olympus PEN E-P5, Panasonic Lumix GX7, Samsung NX30, Sony A6000 Winner: Olympus OM-D E-M10

n PROFESSIONAL CSC Nominations: Fujifilm X-T1, Leica M-P, Olympus OM-D E-M1, Panasonic Lumix GH4, Samsung NX1, Sony A7s Winner: Fujifilm X-T1

n MEDIUM-FORMAT BEST VALUE Nominations: Hasselblad H5D-40, Pentax 645Z Winner: Pentax 645Z

9 n TRIPOD: CARBON-FIBRE Nominations: 3 Legged thing X1.1 Brian Evolution 2, Giottos Silk Road YTL8353 3D, Gitzo Mountaineer GT2532, Induro CT113, Manfrotto MT055CXPRO3, Slik Pro 723 AF Winner: Manfrotto MT055CXPR03

n TRIPOD: ALUMINIUM Nominations: Benro A0570T, Manfrotto 190X, MeFoto RoadTrip A1350QIB, Nest Traveller NT6294AK, Sirui N-2004X, Velbon UT 53D Winner: Benro A0570T

n FILTER OF THE YEAR

n MEDIUM-FORMAT Nominations: Hasselblad H5D-50c, Hasselblad H5D-60, Leica S, Leica S-E, Mamiya 645DF+ with Leaf Credo 80 back Winner: Hasselblad H5D-50c

n STANDARD ZOOM Nominations: Canon EF 24-105mm f/3.5-5.6 IS STM, Olympus M.Zuiko Digital 12-40mm f/2.8, Pentax DA 16-50mm f/2.8 ED AL (IF) SDM, Samsung NX 16-50mm f/2-2.8 S ED OIS, Sigma 18-35mm f/1.8 DC HSM A, Tamron SP 24-70mm f/2.8 Di VC USD Winner: Sigma 18-35mm f/1.8 DC HSM A

n WIDE-ANGLE ZOOM Nominations: Canon EF 8-15mm f/4L Fisheye USM, Nikon AF-S Nikkor 14-24mm f/2.8G ED, Pentax DA 10-17mm f/3.5-4.5 ED (IF), Sigma 12-24mm f/4.5-5.6 II DG HSM, Tamron SP AF 10-24mm f/3.5-4.5 Di II LD (IF), Tokina 16-28mm f/2.8 AT-X Pro FX Winner: Canon EF 8-15mm f/4L Fisheye USM

n TELEPHOTO ZOOM Nominations: Canon EF 200400mm f/4 IS USM Extender x1.4, Olympus M.Zuiko 40150mm f/2.8, Samsung NX 50-150mm f/2.8 S ED OIS, Sigma 150-600mm f/5-6.3 DG OS HSM S, Tamron SP 150-600mm f/5-6.3 Di VC USD, Tokina AT-X 70200mm f/4 FX VCM-S Winner: Tamron SP 150600mm f/5-6.3 Di VC USD

n FIXED FOCAL LENGTH LENS

Nominations: B+W True-Match Vari-ND, Cokin Pure Harmonie family, Hoya ProND 1000x, Lee Filters Little Stopper, Marumi DHG Super Circular Polariser, NiSi UV370 Winner: Lee Filters Little Stopper

n CAMERA ACCESSORY Nominations: Black Rapid Sport strap, CamRanger, Hähnel Captur, Hüfa lens cap retainer, LensPen lens cleaner, PocketWizard PlusX Winner: Black Rapid Sport strap

n SHOULDER BAG Nominations: Billingham Hadley Large, Lowepro Urban Reporter 250, Manfrotto Advanced Shoulder Bag VIII, Nest Explorer 100L, Tamrac Pro 8, Tenba P415 Winner: Tenba P415

n PHOTO BACKPACK

Nominations: Bowens Mosaic Daylight LED Panel, Elinchrom Scanlite Halogen 300-650W, Interfit Stellar Fluo600, Lastolite RayD8 C5600, Rotolight RL48-B Stealth, Westcott Ice Light Winner: Bowens Mosaic Daylight LED Panel

n STUDIO ACCESSORY Nominations: Gossen DIGISKY, Lastolite Urban Backgrounds, Profoto Deep Umbrella family, Sekonic L-308S Flashmate, Studio Décor Roll Easy background system, Westcott Zeppelin Winner: Sekonic L-308S Flashmate

n INKJET PRINTER Nominations: Canon PIXMA MG5650, Canon PIXMA Pro-100, Canon PIXMA Pro-1, Epson Stylus Photo 1500W, Epson Stylus Photo R2000, Epson Surecolor SC-P600 Winner: Epson Stylus Photo R2000

n INKJET MEDIA Nominations: Canson Baryta Photographique 310, Chau Da Vinci Fibre Gloss 300gsm, Fotospeed PF Lustre 275gsm, Hahnemühle Photo Silk Baryta 310, Harman Photo Baryta FB, Permajet Distinction 360 Winner: Hahnemühle PhotoSilk Baryta 310

n MEMORY CARD Nominations: Delkin Cinema SDHC UHS-II Class 3, Lexar Professional 2000x SDHC/SDXC UHS-II, PNY Elite Performance, Samsung SDXC Pro Memory, SanDisk Extreme PRO, Transcend UHS-I Class 3 Winner: SanDisk Extreme PRO

n EXTERNAL STORAGE DEVICE Nominations: Drobo Mini, G-Technology G Dock ev, Lacie d2 Thunderbolt 2, Seagate Central, Toshiba Canvio Desk, Western Digital My Book Duo Winner: G-Technology G Dock ev

n LAUNCH OF THE YEAR

Nominations: Lowepro ProTactic 350 AW, Manfrotto Pro Light Camera Backpack: Revolver-8 PL, Nest Explorer 200L, Tamrac Expedition 6X, Tenba Shootout Sling LE Medium, Think Tank StreetWalker Pro Winner: Lowepro ProTactic 350 AW

Nominations: Nikon D810, Pentax 645Z, Profoto B1 system, Samsung NX1, Sony Alpha A7s, Tamron SP 150-600mm Winner: Samsung NX1

n ON-CAMERA FLASHGUNS Nominations: Canon Speedlite 600EX-RT, iLux V850 Speedlite, Metz 64 AF-1, Nikon Speedlight SB-910, Nissin MG8000 Extreme, Phottix Mitros+ Winner: iLux V850 Speedlite

n PORTABLE FLASH

Nominations: Fujifilm XF56mm f/1.2 R APD, Nikon AF-S 20mm f/1.8G ED, Panasonic DG Nocticron 42.5mm f/1.2 ASPH , Samyang T-S 24mm f/3.5 ED AS UMC, Sigma 50mm f/1.4 DG HSM A, Zeiss Otus 55mm f/1.4 Winner: Zeiss Otus 55mm f/1.4

Nominations: Elinchrom Quadra Hybrid RX, iLux Summit 600c, Lencarta Atom 360, Profoto B1, Quantum QFlash X5DR, Strobies Pro-Flash 180 Winner: Profoto B1

n SUPERZOOM

n MAINS FLASH: MONOBLOCS

Nominations: Fujifilm XF18-135mm f/3.5-5.6 R OIS WR, Nikon AF-S DX 18-300mm f/3.5-6.3G ED VR, Olympus M.Zuiko ED 14-150mm f/4-5.6, Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM C, Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro, Tamron 28-300mm f/3.5-6.3 Di VC PZD Winner: Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro

Nominations: Bowens Gemini 500Pro, Broncolor Siros 400, Elinchrom ELC Pro HD 500, iLux Quattro 500Pro, Lencarta Superfast 600, Profoto D1 Air 500 Winner: Lencarta SuperFast 600

n VIDEO LENS

n MAINS FLASH: GENERATOR

Nominations: Canon CN-E 50mm T1.3LF, Samyang 50mm T1.5 AS UMC, SLR Magic APO HyperPrime 50mm T2.1, Tokina Cinema AT-X 16-28mm T3.0, Tokina Cinema AT-X 50-135mm T3.0, Zeiss CZ.2 70-200mm T2.9 Winner: Samyang 50mm T1.5 AS UMC

Nominations: Bowens Creo 1200, Broncolor Scoro S 3200 RFS 2, Elinchrom Digital 1200 RX, Profoto Acute2R 1200 Winner: Elinchrom Digital 1200 RX

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n CONTINUOUS LIGHTING

n INNOVATION Nominations: Fujifilm’s 1/32,000sec shutter speed, Lytro Illum, Profoto B1, Samsung NX1, Sigma DP2 Quattro design Winner: Lytro Illum

n WEBSITE PROVIDER Nominations: Amazing Internet, Clikpic, Layerspace, PhotoShelter, SmugMug, Zenfolio Winner: Zenfolio

n RETAILER: HIGH STREET Winner: Jessops

n RETAILER: ONLINE

Winner: WEX Photographic

n TRAINING PROVIDER Winner: Jessops Academy

n PRINTING SERVICES PROVIDER Winner: Loxley Colour

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Latest photography news

Manfrotto Canon offers gets in gear up to £250 cash

NEWS IN BRIEF SHOOT SHELLFIES Braun has introduced two selfie sticks: the Fun and Underwater.

Selfie Stick Fun is available in various bright colours with or without Bluetooth remote shooting and accepts devices up to 500g. The standard version is £14.28, the Bluetooth version is £24.84.

The Underwater stick supports up to 2kg and costs £30.78. www.kenro.co.uk

GO ONE TO ONE Club judge, lecturer and this month’s Before the Judge columnist, Huw Alban runs a range of 1-2-1 workshops at locations on the Dorset coast all year round. Each workshop is tailored to you, so you can focus on whatever aspect you wish. Available dates and locations are on the Workshops page of his website. He also regularly gives club talks, giving back to the camera club movement that so helped his photography. He’s fully booked for 2015 and is already taking bookings for 2016. www.huwalban.com

£250

CASHBACK

Buy selected Canon products before 6 May and you could claim up to £250 cashback under the company’s Spring scheme. Digital SLRs, lenses, flashguns, compact cameras, video cameras and printers are all included in the scheme with £250 being offered against the Canon EOS 5D MkIII body. Other highlights include £80 cashback on an EF70-200mm f/4L IS USM and £100 off a PIXMA Pro-1 printer.

If you buy any two products in the cashback offer you’ll also receive a free HD photo book worth £99. π To find out more, go to www.canon.co.uk/springcashback.

HIT THE STREETS A programme of street photography courses has been launched by London-based trainers StreetSnappers.

Courses are available in London, Liverpool and Oxford. Founder Bryan Lloyd Duckett told PN: “What makes us different is our element of photojournalistic training. Participants work to a brief and a deadline.” Numbers are limited to six or eight participants. Prices from £125 to £165. www.street snappers.com GREEN WITH ENVY Be the envy of your friends (and popular with your bank manager) with the limited edition Leica M-P Safari set. Just 1500 sets will be available worldwide featuring an engraved olive green Leica M-P, a chrome Summicron-M 35mm f/2 ASPH lens, leather strap and business card holder.

On sale for £7850. uk.leica-camera.com

UP TO

Inaccurate framing could be a thing of the past thanks to Manfrotto’s new XPRO tripod head. It features a geared action that enables photographers to move the head one step at a time in all three axes, which makes it easier to frame images precisely.

Manfrotto anticipates that the XPRO head will be most popular among macro and architecture photographers, but in reality it’ll be suitable for anyone looking for precise framing control. It weighs 750g, but will support up to 4kg of camera equipment, and it also uses the 200PL quick release plate that will be familiar to existing Manfrotto tripod users.

The XPRO is available now for £169.95.

Full UK launch for Lumix CM1 The Panasonic that’s part phone, part camera soon to be available all over the country

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

Nissin goes wireless with Di700A Nissin has introduced a wireless version of its Di700 flashgun. The Di700A features its own radio receiver that works with the new Nissin Commander Air1 for wireless shooting up to 30m away. The Commander is capable of triggering up to 21 compatible flashguns and can also be used to change flashgun settings including power output, zoom coverage and first or second curtain synchronisation.

The Di700A flashgun has a guide number of 48, covers lenses from 24mm to 200mm and has high-speed synchronisation up to 1/8000sec. Canon and Nikon fits are available now with a Sony variant arriving in May. The Di700A costs £209.94, the Commander Air1 £59.94, or the two can be bought in a kit for £239.94.

The Panasonic Lumix CM1 is going to be made available in the UK and Ireland following a successful trial launch. The CM1 – the world’s only camera with a one-inch sensor, Android operating system and smartphone functionality – will be available from midApril and is likely to offer the best image quality yet from a smartphone device.

In addition to the one-inch, 20.1-megapixel sensor, the CM1 also offers a fixed wideangle Leica lens (28mm equivalent in 3:2 ratio), a 4.7in LCD, 4K video capture and has all the features you’d expect from a top-end compact camera, including a Raw file format and focus peaking. NFC (Near Field Communication), Wi-Fi and Bluetooth connectivity are also all available.

The camera will come pre-loaded with Android 4.4 KitKat operating system, but this will be upgradeable to 5.0 Lollipop when it comes out in May. Prices are to be confirmed with a list of stockists already confirmed including Jessops, Warehouse Express, Cameraworld, LCE, Park Cameras, Wilkinsons Cameras and Harrods. π To find out more, go to www.panasonic.co.uk.

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

Photography News | Issue 18

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Advertisement feature MANFROTTO TRIPODS

Great for on the go!

The latest in Manfrotto’s 190 line-up of pro tripods is lighter and more compact to take you and your photography even further If a tripod is an essential part of your kit, it doesn’t matter whether you’ll be carrying it on a day trip to the Lakes or a holiday to Yosemite National Park. Wherever you decide to set up, you’ll want it to be equal to the job in all ways.

Manfrotto has long been associated with top-end tripods and its 190 range, in particular, has gained a reputation for being easy to use and high performing. Adding to that impressive heritage, there’s a brand-new tripod released in the 190 series: the new 190 go!. It takes lightweight to another level and as for being easy to use, setting up will take you no time at all; this latest 190 tripod really delivers on all fronts, for unlimited and totally spontaneous creativity.

The 190 go! is available from the end of March with an SRP of £159.95.

Slimline stats If you are going to be carrying around a tripod, the lighter the better. Shed the pounds with the 190 go! which is the most portable tripod in the 190 series. Weighing in at just 1.7kg, the 190 go! is a truly lightweight option which, depending on how you see it, either saves your back the extra work or frees up some kilos for even more gear in your bag. Even more impressive, it folds down to just 45cm in length. You still get plenty of height with the 190 go! though, as it extends out to a maximum of 146cm, offering you even more portability but giving just as much scope for shooting.

Spontaneous shooting Yes, it builds on the design heritage of the prestigious 190 series, but in terms of innovations, it’s got plenty, not least of which is a new twist locking system. There’s no juggling of kit whilst you try and wrangle your tripod open: all it takes is one hand to open and close the go! for an ultra-fast set‑up time, so next time you spot a great photo opportunity you can be ready to shoot in no time. The twist lock system takes up less room than a traditional lever too, adding to the 190 go!’s slimline profile. Once you’ve got your tripod open, setting the angle you want for its legs is no hassle either – in fact it’s easy and intuitive to do, leaving you even more time for photographing.

Reliable, flexible and compact, the 190 go! is the perfect travel companion Endless creativity The 90° column means that as well as getting great height from this tripod, you can also take things low to the ground.

The column doesn’t get in the way when you’re not using it, only coming into its own when you need a new, lower perspective. The 190 go! also includes an Easy Link attachment which can hold your accessories, from LED lights to reflectors, giving you even greater versatility.

Good looks Its distinct but subtle style makes it undeniably from the Manfrotto family of tripods. As with all Manfrotto tripods, you can expect quality like no other. Designed and manufactured in Italy, the 190 go! is made from premium materials and comes with up to a ten-year warranty.

Reliable, flexible and incredibly compact, the 190 go! tripod is the perfect travel companion for any photographer wanting portability and high performance.

No compromise necessary. π To find out more, go to www.manfrotto.co.uk.

www.absolutephoto.com

Issue 18 | Photography News

12

IN ASSOCIATION WITH

Camera Club of the Year 2014-15 Will Cheung

The last round’s theme is trees, and with that announced it’s time to think about finalising your club’s entry for our first Camera Club of the Year competition. Great prizes and fame await the winners Your camera club might have been entering month by month, or you might have decided to hang on until after Round 5’s theme was announced and then enter all 25 pictures.

If you have been entering round by round, there is still time to switch images if you prefer, so long as everything is in by 5 May 2015 ready for judging.

Will Cheung

The winning club gets… ... a brilliant Canon XEED WUX450 multimedia projector worth over £3000 to show off their winning shots and 25 subscriptions to irista, plus an exclusive experience day with international landscape and travel pro, David Noton!

CANON XEED WUX450 PROJECTOR

Of course, the crucial thing is to have 25 strong photographs that each interpret the relevant theme, as creatively as possible.

Technical proficiency we’d expect anyway and that means correct exposure, right colours and sharp where it matters – so tight depth-of-field control. Speaking of tight control, this also applies to highlights and shadows, so skilled use of editing software to get details in the right place.

Images should also be cropped to maximise picture impact. The adage ‘less is more’ is worth bearing in mind, so don’t be afraid to try different options before submitting your entry.

With those final thoughts, we look forward to your club’s entry. Remember, the closing date is 5 May 2015. Good luck everyone.

Canon has really put the cat among the pigeons with its two latest full-frame DSLRs launches. The EOS 5DS and EOS 5DS R both boast 50.6-megapixel resolutions, making them the highest resolution 35mm DSLRs on the market.

And all in a traditional-sized camera body. The two models are mostly identical, with the R variant having a low-pass cancellation filter for the ultimate resolution from the 50.6-megapixel sensor.

Neither camera will be in the shops until later this spring, and body prices have to be confirmed but are expected to be around £3000 each. That’s incredible value, because they offer medium-format resolution at a fraction of the price, and with the support of Canon’s massive collection of top-flight lenses. Canon has set the bar very high indeed with these two game-changing DSLRs.

David Noton

SPECS PRICE To be confirmed SENSOR 36x24mm CMOS, 50.6 megapixels, 8688x5792 pixels PROCESSOR Dual DIGIC 6 ISO RANGE 100-6400 (exp. ISO 50 to 12,800) SHUTTER 30secs to 1/8000sec plus B SHOOTING RATE Up to 5fps (up to 14 Raws or 50 JPEGs) METERING SYSTEM 150,000 pixel RGB-IR sensor with Evaluative, partial, spot and centre‑weighted measurement methods

CANON XEED WUX450 PROJECTOR + AN EXCLUSIVE DAY WITH DAVID NOTON The Canon XEED WUX450 multimedia projector, worth over £3000, is Canon’s most compact WUXGA projector. WUXGA stands for Widescreen Ultra Extended Graphics Array, so you get a 16:10 screen aspect ratio and a huge display resolution of up to 1920x1200 pixels. www.canon.co.uk

AUTOFOCUS POINTS 61, with AI focus, oneshot and predictive servo AF

David Noton is one of the world’s top photographers specialising in landscape and travel work. The winning club gets an exclusive day with David where he’ll be hosting a workshop and then providing an illustrated talk on his amazing images. www.davidnoton.com

Photography News | Issue 18

First, your club’s competition secretary (or whoever is going to enter each month) must sign up at www.absolutephoto.com.

Next, click on Members’ Area in the menu bar, then choose Camera Club of the Year 2014-15 from the drop-down list. Simply register your camera club and follow the upload instructions.

Canon EOS 5DS

EXPERIENCE DAY!

25 SUBSCRIPTIONS TO IRISTA The new way to manage, organise and share your image files online, irista supports JPEGs and Raws from most manufacturers and 10GB of storage space is available free on sign-up. The winning club, though, will get 25 free Value subscriptions that have 50GB storage capacity – which is normally £45 for a year’s subscription. www.irista.com

How to enter

DIMENSIONS 152x116.4x76.4mm WEIGHT 845g body only

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

Register your club today at absolutephoto.com

13

IN ASSOCIATION WITH

Round 5: Trees

It seems only five minutes ago that we launched our first Camera Club of the Year contest, but here we are announcing the final round and we want your best tree images Everyone, whether you live in the city centre or in the woolly wilds, has access to this round’s subject, trees. The challenge is how you can produce something creative and eye-catchingly different that will score well with the judges.

You may decide to get in close and explore the patterns of tree bark, perhaps side-lit for strong texture effects. At this time of year, when buds are just starting to appear, perhaps it is this aspect of a tree that appeals to your macro lens.

Getting in close and looking for detail can pay dividends, but the challenge will be looking for visually arresting images that are original and brilliantly observed. Getting in close to the trunk and looking straight up with a wide-angle lens can create a striking and very effective image, but it will have to be a special shot to earn high marks because it’s not a novel approach. That is not to say you should rule out tried-and-tested ideas, but seek out fresh, unusual views, something that will make the judges sit up.

Will Cheung

RIGHT The sky’s the limit with this theme. This shot was taken with a 15mm wide-angle from head height – this approach needs colour or drama in the sky.

BELOW RIGHT Interesting bark offers opportunities for intriguing closeups, and don’t be afraid to try turning the image sepia in your image editor.

Will Cheung

You might prefer to take a few steps back and consider a tree in its entirety, showing it in its environment. This could be a tree dwarfed by shiny tall office buildings or against a background of dereliction and urban decay. Both ideas could work well but make sure composition works and that the right aperture is chosen for the most effective depth-of-field to suit your picture. If you are in doubt, shoot at a variety of apertures and decide later during editing.

Whether you go for a singleton, a copse or a forest, good light is essential. A low sun either side- or back-lighting the subject can work really

well, while front-lighting is probably best avoided unless you’ve got an interesting sky or unusual weather. And speaking of weather, you don’t need bright sun for effective pictures. Mist, fog and even rain can all make for powerful pictures packed with mood. If it’s raining, watch for a rainbow because that can add a dash of magic to your picture and elevate it above the opposition’s efforts.

As it is the final round, that little bit of extra effort could pay dividends. And of course, if your club is going to enter all five rounds in one go, remember to get it all done before the ultimate closing date, Tuesday 5 May 2015.

IMAGE OF THE MONTH

Wayne Churchill Derby City Photographic Club Round 3, close-ups, attracted a feast of stunning imagery, from portraits and natural history to abstract and a great many water droplet images.

“Now if I had a penny for every water droplet image I’ve been presented with, I’d be lying on some tropical island supping cocktails,” says PN’s editor Will Cheung. “The thing is they are fun to shoot and technically challenging and the results, when everything falls into place, can be marvellous to behold. Like this shot from Wayne Churchill from Derby City Photographic Club – this is the best water-droplet shot I have seen for absolutely ages so it is my Image of the Month. Simply, I think it is beautiful, so well done Wayne.”

Other shots that made it to the final shortlist and deserve a shout out this month include: Agave by Ruth Wiseman, Halstead & District PS; Horse raspberry by Martin Smart, Wisbech & District CC; and New life

by Bill Ryder, Ayr PS.

Register your club today at absolutephoto.com

Issue 18 | Photography News

14

IN ASSOCIATION WITH

MASTERCLASS: TREES

David Noton

David’s top tips

It’s the final instalment in our series of masterclasses with David Noton, and to finish on a high we get David’s expert advice on how to photograph one of the most popular subjects in landscape photography: trees David Noton

David Noton

A GENTLE BREEZE “Using movement is very powerful. If you’ve got a wind blowing, the branches will express this motion whilst the trunks remain strong, sharp, graphic shapes.”

STILL AND STEADY “Generally speaking, you’d be working on a tripod, particularly if you’re going to use the movement of the trees blowing in the wind. In the woods it gets quite dark and exposures tend to be much longer because of the lack of light, particularly in the summer when the trees are full. A tripod is a must in those situations.”

INTO THE WOODS “When you walk into the woods, to use that old cliché, sometimes you can’t see the woods for the trees. It takes a while to really zone your eye in to what the possibilities are in the woods, but that’s a very fun challenge to do; to go into the woods and then walk out after several hours having produced an interesting picture.”

One of the most universally accessible, and certainly one of the most diverse subjects for any photographer to explore has to be trees. Being both a landscape and a travel photographer himself, David Noton’s photos feature more than a few trees, but what’s the key to doing such grand subjects justice? Trees can often be captured as a by-product of shooting outdoors, not really the main feature of a photograph but still adding interest, perhaps in the background, but those kind of shots don’t celebrate the breadth of photographic options that can be explored when you choose to make trees your focus.

“I think trees can serve all sorts of different purposes within pictures,” David begins. “They can give scale: for example, a mountain on its own will look like rock and ice. A distant peak is difficult to give any kind of scale to, but a tree dwarfed by the size of a mountain rising above it will serve to emphasise that scale.”

In the woods it gets quite dark and exposures tend to be much longer because of the lack of light. A tripod is a must in those situations It’s not just in epic landscapes that trees can be captured creatively. Even right up close there are plenty of inspirational shots to be had, as David found when he was last in Sequoia National Park in California, home to some of the biggest trees in the world. “Trying to show the scale of those trees was very difficult photographically, because you move backwards to get it all in and they just soar skyward,” he recalls. “I just photographed up close, showing the girth of their trunks, which goes a long way to suggesting the vast size of the trees themselves.”

One of the most obvious places to shoot trees is most likely the woods, but it is actually one of the David Noton

most challenging locations in which to achieve a first-class shot. “Woods and forests are very difficult to shoot in because of contrast,” David explains.

“The best lighting situation is very flat, low‑contrast light, the opposite of what we normally look for in landscape photography.” Although it may take time for your eye to adjust to the environment and pick out photo-worthy compositions, spending time doing so can be rewarding.

Shooting on his Canon EOS 5D Mark III, David finds that he often uses the live view LCD screen when photographing this kind of subject. “I find live view really useful for double‑checking my composition after I’ve composed a frame through the eyepiece,” he says.

In terms of lenses, the choice is huge: from a wide-angle lens, such as the Canon EF 16-35mm f/2.8L II USM (pictured left), to a short telephoto like the Canon EF 85mm f/1.2L II USM, which is ideal for homing in on details like tree roots. π To find out more, go to www.davidnoton.com.

ABOVE LEFT Aspen trees in the snow near Muleshoe, Banff National Park, Alberta, Canada.

ABOVE RIGHT The Canal du Midi near Castelnaudary, Languedoc-Roussillon, France.

RIGHT The autumn colouring of a tree blowing in the Mistral wind, Pays Du Gard, Languedoc, France.

Photography News | Issue 18

Watch and learn For more tips, David’s DVD Photography in the Raw offers practical advice on all kinds of subjects, from how to read the light to how to capture the best picture in any situation. Copies can be purchased from his website, at prices starting from £24 and going up to £32.40 for a Full HD edition.

Register your club today at absolutephoto.com

Latest photography news

15

Photo 24 2015

In association with

Advanced Photographer’s third Photo 24 in London is scheduled for 20-21 June and it’s going to be bigger and better than ever before © Chas Bedford

© Will Cheung

© Dion Hitchcock

What will you shoot in your 24 hours in London? Go solo with a project of your own, or enjoy our range of inspiring photo opportunities? Themed challenges and competitions will get you thinking creatively.

Sponsored by Nikon and Nikon School, this year’s Advanced Photographer Photo 24 is scheduled to start at noon on Saturday 20 June and finish at 12pm the following day. It’s a 24-hour festival of photography centred on one of the world’s most photogenic and historic cities.

What’s more you can enjoy the experience of spending 24 hours out shooting with your camera in the company of a load of like-minded and very enthusiastic photographers.

www.absolutephoto.com

Our sister title, Advanced Photographer is hosting the event. They’ve planned some interesting experiences and workshops, which will involve a charge and places will be limited, but the main event itself is free to every participant.

Details will be announced in PN issue 19, which is out on 20 April. But, if you can’t wait that long, look out for the next issue of AP (out on 9 April), or keep an eye on our Twitter feed @Photo24London and website at www.absolutephoto.com.

So if you, and perhaps a few like-minded friends, fancy a photographic experience with a difference, make a note of 20-21 June in your diary. We look forward to your registration, and seeing you in London for the summer solstice.

Visit the brand-new interactive Nikon stand at The Photography Show to see the latest camera line-up, including the acclaimed Nikon D750, the new Nikon D5500, D7200 and a selection of COOLPIX compact cameras.

Issue 18 | Photography News

Photography News | Issue 18

www.absolutephoto.com

Camera clubs

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

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

17

HOW TO SUBMIT Allow plenty of time. Photography News comes out around the third week of the month. For the next issue, which comes out 20 April, we need words and pictures by 7 April.

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

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

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

Deadline for the next issue: 7 April 2015

M Janes

Reason to celebrate Newent & District Camera Club have the perfect reason to celebrate: the club marked its 50th year last month. They celebrated the occasion with a dinner on 3 February, exactly half a century after the club’s founding, which was masterminded by the local milkman.

Guest of honour at the dinner was Jack Smith, a founder member and now club president. Afterdinner entertainment was an enjoyable talk from Brian Swinyard MA, ARPS. Five decades after its foundation, the club has almost 40 members (it began with 20) and its bank balance has increased a bit too – it was £19.65 in 1970.

Newent & District Camera Club meets on Tuesdays, from September to April at Newent Library.

Open for entry Submit to L&LPS this month and your image could be on show in May There’s still (just!) time to enter Leicester and Leicestershire Photographic Society’s Annual Open Exhibition. You have until 28 March to get your submission into one of the categories: General Colour, Sports, Great Central Railway and Monochrome. Members can also enter images in a fifth category: Nature.

Entries will be selected on 15 April by Bob Rowe ARPS, CPAGB, and the exhibition takes place on 15 and 16 May at Christchurch, Clarendon Park Road, Leicester. π To find out more about the exhibition, go to www.landlps.org.uk.

Competition time Show off your images with Neath & District Photographic Society’s Annual UK Salon. With four categories – Colour Open, Monochrome Open, Industry and Nature, the competition is digital only, but you can enter by post.

Entry closes on 11 April and selection takes place on 25 and 26 April. If you’re successful, you’ll hear in May, but the date for the presentation is yet to be confirmed, so no need to get the glad rags ready yet. www.absolutephoto.com

IMAGE Last year’s winner: Liquid Lunch by Jamie MacArthur.

π To find out more about the salon, go to www.neathphotographicsociety.co.uk.

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

NEWS IN BRIEF GO INTERNATIONAL WITH HOYLAKE With a target acceptance rate of 30%, Hoylake Photographic Society is inviting entries to its International Photographic Exhibition 2015.

Entry is already open and closes on Monday 20 April.

Judging takes place over the weekend of 2 and 3 May. As well as the six sections – Colour Open, Monochrome Open, Nature, Photojournalism, Photo Travel: The Western World and Photo Travel: Rest of the World, the exhibition this year is also offering a new award for the most successful club entry. This award will recognise the four highest scores from the six highest scoring members in a club. www.hoylakephoto. org.uk

Smallest club wins big f8 Image Group lands the top prize at WCPF Inter-club DPI competition The seven member strong f8 Image Group beat off 46 other clubs to be named overall winner at the recent Western Counties Photographic Federation (WCPF) Inter-Club DPI Competition in Exeter. It’s unusual for a small club to win the event outright, so they were exceptionally pleased. As they’d walked off with the top prize, the Small Club trophy went to Zen Photo Group. The second placed club was Bristol PS. f8 and Bristol now go forward to the PAGB Inter-Club competition, held in Warwick later this summer. In third and four places were Dorchester CC and Newton Abbot PC respectively.

Individual awards went to Zen Group’s Pam Sherren (gold medal), Exmouth PS’s John Perriam (silver medal) and Bristol’s Greg Duncan (bronze medal), and six ribbons as well as 17 highly commended certificates were also awarded.

Judges were Jay Charnock FRPS, David Gibbins ARPS, APAGB, EFIAP, BPE4* and PAGB President Leo Rich ARPS, EFIAP/g, APAGB, DPAGB, BPE3*.

The annual competition is one of the main events in the WCPF calendar. This year, it was attended by more than 200 photographers from the region.

ABOVE European Roller Food Pass by David Morton.

RIGHT The Pink Hat by Pam Sherren, gold medal winner.

π To find out more about the competition, go to www.wcpf.org.uk.

Issue 18 | Photography News

18

Opinion BEFORE THE JUDGE

Huw Alban MEET THE JUDGE

Each issue, a respected judge or exhibition selector shares their thoughts and experiences.

This month, Huw Alban tells us how he took matters into his own hands Words by Huw Alban

Huw Alban: Huw

qualified as a judge in 2013, having become disenchanted with the judges plying their views at his local club. He decided it made sense to ‘get out there and do it better yourself’ rather than grumble about it.

Home club:

Warminster Camera Club in Wiltshire

Favourite camera: Canon EOS 5D

Favourite photographers:

The two that have influenced me the most, Steve Gosling and David Tarn

Favourite subjects: Reaction is important to me, whatever the subject. As long as I react to the subject I will try to create an image that encapsulates that reaction.

Awards won: None.

I had a go at an RPS but after attending an assessment day where almost everyone who showed work got slated, I figured what was the point?

I prefer my images and my camera club lectures to stand for themselves.

When I first joined a camera club, in 2005 in Northamptonshire, it was one that did not hold competitions. It was a conscious choice by the club, as they felt that competitions were too pressured and would put off newer, shyer members from getting involved. At the time I was happy with this approach, and it wasn’t until 2010 when my family moved to Dorset that I got my first taste of camera club competitions… and oh boy was I in for a shock!

I should make the point that at the time I was quite confident in my own ability. I’d had work appear in magazines and books, had entered and gained recognition in some of the more wellknown photographic magazine competitions, and even had work in an art gallery, but all of that did not prepare me for the wide range of opinions and ability of the people who were going to comment on my pictures.

My tipping point came in the only club evening that I have ever walked out of, and I mean properly stood up and just left the room in disgust. I can’t even remember who was judging that evening, but one of my images was amongst the first in the digital section. It was an image that had come seventh in one of the larger photographic magazine competitions (round one of APOY 2009) and that I’d also sold on numerous occasions as a framed print through the art gallery. It was a successful image.

The opening statement from the judge, however, was (and you’ll need to imagine a broad West Country accent): “I don’t likes blurry water.”

After which the judge in question went on to comment that his wife felt that this was the winner but he disagreed, and if the author was in the audience could he see them in the break in order to get a copy of the file, so he could print it for his wife to frame. I’d entered three images that evening, all containing an element of blurry water. The evening went downhill from there, and not only for me but for every member of the club, until I just couldn’t listen any longer. So I left.

At home that evening Mary-Louise, my wife, endured the full effect of my competition frustrations. I was fuming. But she patiently listened and when I had got it all off my chest suggested that I take up a long-standing offer from the then Warminster Camera Club chairperson to attend the next Western Counties Photographic Federation (WCPF) judging seminar. Her rationale was that if I felt the standard of judging was really that bad, why didn’t I get out there and do something about it?

The seminar was excellent and a real eye‑opener. In fact, it was Ken Holland (Issue 14) who mentored the group that I was in on the day.

Having listened to the advice and guidelines that were shared during that day it really was (and to some extent still is) quite shocking how much is

My approach to a competition night is firstly to remind the audience that what they are about to hear is simply my opinion

actually ignored in the real world. I still have, and still constantly refer to, the notes that I made on the seminar day. They have very much become the bible from which I work when constructing the commentary for the club competitions that I assess.

My approach to a competition night is firstly to remind the audience that what they are about to hear is simply my opinion. As an opinion it isn’t wrong, and it isn’t necessarily right either, it is just an opinion. It is an opinion shaped by my own artistic experience and knowledge, and my own photographic approach. Currently, I always ask for the images up front in order to have some preparation time. I use that time carefully to ensure that each and every opinion expressed is backed up with a ‘why’ statement. I firmly believe that a competition night should be as much of a learning experience as any other club night, and unless the audience understands why the opinion has been expressed (whether they agree with it or not), nothing will be gained. I include this fact in my opening statement: that I always hope that everyone will grasp the rationale behind my commentary and go home having learned something that they will add into their own method or approach. Prior to delivering the commentary, I review it multiple times to ensure that there are no gaps, that all criticism is constructive, and that I am completely comfortable and confident with the winners.

I still choose to have typed notes in my hand on the evening, not that I really need to refer to them; by now the commentary has been run through so many times that I could do it almost with my eyes closed. But I find that it is a great memory jogger, and a great way for me to be able to check that I’ve said everything and, most importantly, that all my reasoning has been mentioned. On multiple occasions, I’ve been asked whether club members can actually take these typed notes home with them. This implies to me that there must be some value in what I’m saying, for clubs to want to hold on to them. π To find out more, go to www.huwalban.com.

What do you think?

LEFT Huw Alban’s “successful image”.

Photography News | Issue 18

Have you seen a judge at work who you’d like to see profiled in Photography News?

Or perhaps you’ve been judged and don’t like what you heard? If so, write to opinion@photography-news.co.uk with the judge’s name and, if possible, their details.

www.absolutephoto.com

www.absolutephoto.com

Issue 18 | Photography News

20

Opinion SPEAKERS’ CORNER

Safety first Brian Law prides himself on always painstakingly backing up his images, but after nearly setting his house on fire, he decided to rethink his strategy and hopes others will learn from his mistakes Words by Brian Law ARPS, CPAGB

I know quite a few people, including one ex‑Lancashire & Cheshire Photographic Union (L&CPU) committee member, who have lost large numbers of images, both Raw and processed, due to hard drive failures when their data was not backed up. In two of the instances the individuals involved spent between several hundred and several thousand pounds – successfully, I am pleased to say – to recover the obviously valuable images.

I would like to think that I am nearer the other end of the spectrum. On my laptop I assiduously back up all my documents and emails on a monthly basis. On my desktop machine, where I do all my image processing, I use Karen’s Replicator to carry out regular and frequent backups of my images to an additional 2TB hard drive housed within the computer. I can recommend Karen’s Replicator: it’s a free piece of software which can be programmed to carry out incremental backups of any files or folders at any prescribed interval.

In addition to my 2TB backup drive, I have a 1.5TB drive as a primary store for images, a 320GB drive for music and non-photographic material and a further 320GB system drive containing all my software. A sensible approach, you may think: plenty of capacity, all images backed up, and data types stored separately. However, that’s where the problem started.

I had just finished sorting and renaming 32GB of image files from a recent holiday, so I started a manual backup of this data and left the computer running in my study while I went off to get dinner.

Squaring up for an evening of serious image processing, I returned to my study an hour or so later to find the room filled with a fog and pervaded with a strong smell of electrical burning. Fortunately there were no flames evident but I hastily pulled out all the plugs, and, after opening the windows and allowing the air to clear, I removed the side panel from the computer. Peering inside suggested no obvious damage, though the innards were pretty warm. Plugging the computer back in showed it to be completely dead.

I took it off to the local menders and indeed the power supply had gone. However, a more thorough inspection by the computer technician showed that the power leads connecting to the 2TB hard drive had burnt through and partially melted the connector on the drive itself. Evidently the power supply was of the incorrect rating to handle four disk drives (plus a DVD writer). Had I not returned to the computer when I did, it could have gone up in flames, with the potentially disastrous consequence of the house catching fire!

I think there are a number of valuable lessons to be learnt that are worth passing on to other photographers and computer users.

Photography News | Issue 18

Firstly, when I built the computer the capacity of the power supply unit was probably adequate for a high-spec processor, a hard drive and a DVD writer.

However, as I added extra drives the demand on the power supply exceeded its rating. If you have built your own machine and added extra drives it’s worth checking that everything matches in terms of power requirements. A basic system, with a reasonable processor, single hard drive and single DVD writer, probably needs a power supply rated at 300W. For every extra drive you probably need a further 50W. The lower the specification and the cheaper the power supply, the lower its power rating will be. If in doubt, pay the extra for a top-spec power supply.

One telltale sign: does the fan on your power supply run continuously and loudly? Mine did, but with a new high-spec power supply it’s now extremely quiet.

Backing up your images is absolutely essential and something everyone should do. However, if my only backup had been the 2TB drive inside the machine and it had caught fire, I would have lost my primary copy and my backup! So don’t rely on an extra drive in your computer: have a third backup, stored away from it. Mine was in the bottom of my wardrobe, but if the house had caught fire I could

BELOW Death and the Maiden by Brian Law, inspired by a 1926 photo by pictoralist William Mortensen. BELOW RIGHT The inside of Brian’s computer, indicating the damage and scorching to the 2TB drive.

have lost that too. Cloud-based storage is another option, although you are relying on a third party and upload and retrieval speeds are only as good as your Internet connection.

All my most recent holiday images were still on the memory cards: I always leave these on the card for as long as possible and only reformat the card before I next need to use it. However, my cards and camera were all in my study with my computer – which is not that smart if you want to insure against potential disaster.

Much of this may be familiar to you, but if it’s not and you take your photography seriously, you need foolproof backup systems in place. Create a well thought-through backup system and enjoy your (disaster-free) photography.

Don’t rely on an extra drive inside your computer: have a third backup, stored away from it

π To find out more about Brian Law, go to www.brianlawphotography.co.uk.

WHAT DO YOU THINK? Do you have any backup experiences (or disasters) to pass on? Or have you set up an efficient backup system and want to offer advice? Whatever your comment, let us know your thoughts at opinion@ photography-news.co.uk.

www.absolutephoto.com

www.absolutephoto.com

Issue 18 | Photography News

22

Advertisement feature X-SERIES TURNS 5

Fujifilm’s famous five 2015 marks the fifth birthday of Fujifilm’s X-series. We pick the highlights of what has been a very busy few years…

It’s hard to believe that Fujifilm’s X-series didn’t exist five years ago. As a camera and lens range, it is now so established as a major player in the world of CSCs and high-quality compact cameras that it seems to have been an industry cornerstone for decades, yet the first camera didn’t appear until September 2010. So, as that fifth birthday rapidly approaches, we thought it was worth taking a look at what has made the range such a success.

Design Few could deny that one of the key attributes of all X-series models is the way they look. Nobody does retro quite as well as Fujifilm, with the design being as much about function as it is form. Comparisons have been drawn with other classic brands but, in truth, X models are classics in their own right and while we would never suggest buying a camera on the basis of looks alone, we’d forgive you if it was a Fujifilm!

X-Trans sensor technology Innovation is at the heart of everything Fujifilm does, and nowhere is this more evident than X-Trans sensor technology. Challenging the standard of CCD and CMOS sensors, the company set out to produce an alternative

that could deliver superior results without requiring the bulk of a full-frame camera. Now in its second guise, the X-Trans sensor delivers colour accuracy and sharpness that is virtually unsurpassed in cameras of the same size.

Film Simulation modes Fujifilm has been a photographic manufacturer for the past 80 years, which means it has a long heritage of producing films before the advent of digital. Many of these films were favoured by photographers, so the company created a unique set of Film Simulation modes to recreate them digitally. Set in-camera, the modes offer superb versatility and the sort of colours photographers know and love.

Lens range When the XF lens range was first introduced, just three prime optics were launched, leaving some scratching their heads. Since then, the company has added further zooms and primes to make it one of the most comprehensive available. Optical quality from these lenses is paramount, with photographers the world over switching systems after seeing the results achievable. What’s more, Fujifilm regularly updates its lens road map so that customers can see which lenses are coming – and when.

Viewfinder advancements Alongside X-Trans sensor technology, the viewfinders that are used in the X-series cameras set the benchmark for quality and versatility. Offering a combination of optical and electronic technologies to produce hybrid finders in many of the X-series models – and the Real Time viewfinder in the superb X-T1 – they offer a high level of information and provide a highly accurate rendition of the scene being captured.

‘Kaizen’ philosophy Fujifilm works to a simple Japanese philosophy known as ‘kaizen’, meaning ‘change for better’. In camera terms, this means that the company will always look to improve the X-series, not only in terms of the latest models, but also the existing ones. Fujifilm, therefore, is unique in releasing (often extensive) free firmware updates to improve camera performance.

π To find out more about the Fujifilm X-series, go to www.fujifilm.co.uk.

Four key X-series models Every model in the X-series has proved popular with a wide range of photographers, but this quartet is worthy of special mention. They shaped the range into what it is today, quickly becoming bywords for style, quality and innovation

2010

X100: This is the original X-series model.

Oozing style and delivering superb quality images from the fixed lens and APS-C sized sensor, the X100 was an instant hit. It’s a great go-anywhere model that has spawned two updated versions, namely the X100S and the recently launched X100T.

Photography News | Issue 18

2011

X10: Hot on the heels of the X100, the X10 brought superb image quality to the compact camera market. Offering all the hallmarks of the Fujifilm X-series, it is testament to the designers that the zoom range and sensor size have remained the same in later incarnations: the X20 and X30.

2012

X-Pro1: A groundbreaking design from the start, the X-Pro1 was both the first interchangeable‑lens model in the X-series and the first to offer Fujifilm’s X-Trans sensor technology. Still the flagship of the range today, it offers a robust build and superb image quality for the discerning photographer.

2014

X-T1: Breaking the rangefinder-style design convention, the stylish X-T1 combines digital SLR looks and handling with the X-Trans sensor technology.

A masterpiece of classic styling, there’s much to praise on the X-T1, although the Real Time viewfinder is arguably its stand-out feature.

www.absolutephoto.com

Competitions

23

INTERVIEW

Shooting stars The doors for entry to the Astronomy Photographer of the Year competition are open, so we popped in and caught up with Dr Marek Kukula, public astronomer at the Royal Observatory Greenwich and competition judge, to discover more © Chris Murphy

Interview by Megan Croft How did the competition originate?

Astronomy Photographer of the Year began as a way to celebrate the International Year of Astronomy in 2009. At the Royal Observatory we were aware that digital cameras were revolutionising the world of amateur astrophotography, enabling members of the public to take pictures of the night sky that 20 years ago could only have been taken by professional astronomers using powerful telescopes. These stunning photos were appearing in web forums and astronomy magazines and we wanted to give them wider recognition.

Six years later, the competition has grown enormously. Each year there’s now an exhibition of the winners at the Royal Observatory, and a lavish book of all the shortlisted images is published by Collins. For 2015, Insight Investment has come on board as a sponsor, enabling us to expand the competition with many new categories and prizes.

How did you get involved?

My job as public astronomer is all about getting people excited about space and explaining the latest discoveries in astronomy, planetary science and cosmology in an accessible way. Beautiful pictures are one of the most engaging ways of getting people’s attention and making them want to find out more, so it was an obvious thing for me to get involved with. Also, I really love space pictures.

When the Observatory asked if I’d like to become a judge on the competition I obviously said yes straight away.

Why have the categories been rethought?

The number of entries has increased year on year, from about 400 in 2009 to more than 1700 from 50 countries on every continent except Antarctica in 2014. Astrophotographers are imaginative and innovative people so we were also seeing an expansion in the range of photographic subjects. It was starting to become clear that the competition itself needed to expand in order to fully reflect this range and diversity.

For example, we always get a lot of stunning pictures of the aurorae – the Northern and Southern Lights – but we weren’t even able to shortlist many of them because they were competing with equally stunning photos of night-time landscapes, meteor showers and other atmospheric phenomena. By creating a new Aurorae category I hope we’ll be able to showcase more of these incredible images.

Is it possible to capture competition-worthy images with an ordinary camera?

Yes – absolutely! The main point to make is that for many types of astrophotography you just need an www.absolutephoto.com

Even if you live somewhere urban, there’s still a lot in the night sky to see and photograph

ABOVE Coastal stairways by Chris Murphy (New Zealand) won the Sir Patrick Moore prize for best newcomer for 2014.

ordinary camera – so every photographer already has the basic kit. Objects in the night sky are relatively faint, but by playing around with your exposure settings you’ll start to get a feel for how to capture views of the sky. A cool thing to try is a long‑exposure shot with the camera pointing towards the North Star. As the earth rotates, the other stars appear to circle the pole and their images are drawn out into curving star trails.

For shots of small or very faint objects, such as planets, nebulae or galaxies, you do need a telescope – preferably with a motor to track the sky as the earth rotates. You can buy a simple attachment to connect up your camera and there are plenty of ‘how to’ guides on the Internet.

What skills are required?

The same as for any type of photo: an eye for a beautiful shot and a willingness to experiment with your camera. You do need to be comfortable in the dark, though – your night vision takes about 20 minutes to reach its full strength and any artificial light will ruin it immediately. A good tip is to use a red torch or bicycle light as red light doesn’t have such a strong effect on night vision. Wrap up warm too – even in summer!

Are there certain locations better suited to shooting the night sky?

If you go somewhere really dark, away from the light pollution of towns and cities, you’ll definitely be able

to see more of the natural wonders of the night sky.

But even if you live somewhere urban there’s still a lot to see and photograph. Just going behind a building to block out immediate sources of light pollution such as nearby security lights and streetlights will help, or check out the Dark Sky Discovery website (www.darkskydiscovery.org.uk) for a list of the best observing sites in your area.

Are there any exciting astronomical events for photographers to look out for and capture this year?

Every year there’s always something different and interesting to see. Jupiter is putting on a good show at the moment and a partial eclipse of the sun will be visible from the UK on 20 March.

Always be extremely careful when observing or photographing the sun, however – it could damage both your camera and your eyes. There are plenty of websites that give comprehensive safety advice for solar photography.

What are the most memorable images you’ve come across in the competition?

The winning photos are always exceptional. In 2011, we had an incredible picture of Jupiter taken

by Damian Peach that almost looked as though it had been taken by the Hubble Space Telescope.

And last year we had a photo taken with a camera strapped to a weather balloon 25km above the Rocky Mountains.

Issue 18 | Photography News

24

Competitions

© James Woodend

© Bill Snyder

CLOCKWISE FROM RIGHT James Woodend’s Aurora over a glacier lagoon was the overall winner in 2014.

A highly commended photo of the VenusLunar occultation taken by O Chul Kwon.

People and space category winner Eugen Kamenew’s photo.

A highly commended shot by Patrick Cullis.

Prizewinning shots have been taken by absolute beginners using ordinary cameras. An eye for a beautiful pictures is by far the most important thing © Patrick Cullis

How is the judging panel selected and what will they be looking for this year?

The judges have deliberately been selected to bring a very wide range of expertise to the panel. We have professional research scientists like Professor Chris Lintott and Dr Maggie Aderin‑Pocock from the BBC’s The Sky At Night show, and expert astrophotographers like Will Gater and Pete Lawrence, but also people from the worlds of the press and the arts.

Are the judges looking for extraordinary astronomical sights or technical ability – what’s the balance?

Ultimately we’re all looking for beautiful images that make you go ‘wow’! The competition is as much about artistry as it is about science and high-level photography skills. Having said that, when an image breaks new ground or displays an incredible degree of technical competence, that definitely counts in its favour. And, as a scientist, I always have a soft spot for images that highlight interesting astronomical phenomena or tell a compelling story about our relationship with the cosmos.

© Eugen Kamenew

Are there any sights that you’d like to see more of in the competition?

Planetary photography is one of the most technically challenging areas – but challenges seem to bring out the best in the astrophotography community. It would be great to see more shots of planets such as Venus and Mars.

What is the best advice you can give to someone who fancies their chances in the competition this year?

Some astrophotographers have years of experience and a backyard full of expensive kit. Don’t be put off!

Photography News | Issue 18

© O Chul Kwon

Bill Snyder’s shot of the Horsehead Nebula won in the Deep Space category in 2014.

Prizewinning shots have been taken by absolute beginners using ordinary cameras and basic telescopes. An eye for a beautiful picture is by far the most important thing.

Think twice about submitting ‘glamour’ shots to the People and Space category, please! It’s generally rather cold at night, so it just looks really odd if people are standing under the stars without the appropriate attire…

What would you say to tempt readers to have a go at astrophotography and enter the competition?

The night sky is one of the wonders of the natural world – and it’s freely accessible to everyone. Plus, if you win, your photo will go on display at one of the most famous observatories in the world. π To find out more, go to www.rmg.co.uk.

Reach for the stars Grab your camera, get your coat on and head outside, as there’s still plenty of time to get your entry in before the competition closing date of 16 April. If you’ve already got a Flickr account, submitting your images is simple: just save them to your public photostream and use the online entry form to complete the process. If you aren’t already on Flickr, it’s easy enough to set up an account (www.flickr.com).

You can enter up to five images and this year there are eight categories to choose from. Winners will be announced on 17 September and if you scoop the top prize you’ll be in for a £2500 windfall!

www.absolutephoto.com

Advertisement feature

25

THE MAGIC OF MEDIUM-FORMAT

SPECS

PENTAX 645Z

PRICE £6800 body only CONTACT www.ricoh-imaging.co.uk

With a 51.4-megapixel resolution, a top ISO of 204,800, excellent handling and supported by a system of first-class lenses, the Pentax 645Z has rocked the world of medium-format digital imaging so let’s take a closer look

SENSOR 51.4 megapixels, 14-bit 44x33mm, 8256x619 pixels CMOS IMAGE PROCESSOR PRIME III ISO RANGE 100-204,800 SHUTTER 30secs-1/4000sec

Image quality

MAX FRAME RATE 3fps continuous shooting

The 645Z’s 51.4-megapixel resolution comes into its own when you need to capture every nuance of a detailed scene in a file that can be enlarged for big prints. Assuming a working resolution of 300ppi the sensor’s size equates to a print size of 27.5x20.6in – without any interpolation. Of course the file size means little if the detail is poorly defined, but as you can see from the enlarged section here, that’s not a concern. Also, the original DNG Raw file was processed with no software sharpening so there’s potential for even better results.

AUTOFOCUSING 27 AF sensors CREATIVE FEATURES Up to 2000 multiple exposures on a single frame EXPOSURE SYSTEM Fully featured with PASM modes plus three metering methods including spot and multi-segment VIDEO Full HD BODY DESIGN Weather and dust sealed, freeze proof to -10°C BATTERY 650 shots capacity MONITOR Articulating 3.2in STORAGE MEDIA Dual SD card slots

Digital medium-format capture came of age when the Pentax 645Z was launched last year. It offers the key benefits of a bigger imaging sensor and very high megapixel count and has slick handling and impressive high ISO performance too. All that might not sound like a great deal, but in a market where cameras were prohibitively costly, with some models costing £20k plus, the Pentax 645Z is in the shops at £6800 body only. Truly gamechanging cameras are few and far between but without doubt the Pentax 645Z is one of them.

The Pentax 645Z’s heritage is long established with the original film model coming out more than 30 years ago. Since then Pentax has continued to innovate and add lenses and accessories to the system so 645Z buyers have a good choice of optics to deal with almost every need.

Imaging performance of the 645Z is exemplary, as you can see from the images featured here, but one aspect that’s less easy to quantify is handling.

Until now, medium-format cameras could be slow to use and combined with poor battery capacity meant they were most at home in the studio. By contrast, the Pentax 645Z is great in the studio but equally happy in the great outdoors with a battery that can deliver more than 600 shots from a full charge and weather-sealing that means it’ll happily continue to perform even in poor weather conditions. Add an articulating monitor for convenient shooting and the option of shooting up to 3fps, and the Pentax 645Z is a camera to be reckoned with.

Let’s take a closer look at its performance, in particular its resolution and high ISO capability. π To find out more about the Pentax 645Z, go to www.ricoh-imaging.co.uk. www.absolutephoto.com

DIMENSIONS (WXHXD) 156x117x123mm WEIGHT 1.55kg

Ultimate image quality Shot at Dungeness using a Pentax HD DA 645 28-45mm f/4.5ED AW SR zoom at 43mm with the camera mounted on a tripod. The exposure was 1/80sec at f/11 and ISO 100, the resulting DNG Raw file was processed in Adobe Lightroom.

ISO performance

The Pentax 645Z is great in the studio but equally happy in the great outdoors

With a 44x33mm CMOS sensor and PRIME III processor under its bonnet, the Pentax 645Z’s 51.4-megapixel sensor is very impressive at high ISO settings. Few situations will need ISOs in the order of ISO 12,800 or 25,600, but if they are required, you can shoot with the knowledge that the 645Z will produce highly detailed files that will stand considerable enlargement. The examples here have not been put through any noise reduction processing, so you could consider its potential too.

Of course, should you need even more sensitivity when light levels are poor, the camera can be used at up to ISO 204,800, although image quality naturally falls away.

Nevertheless, a sharp-but-noisy image is still preferable to one that’s blurred but clean.

ISO 12,800

ISO 25,600

Awesome ISO performance The Pentax-D FA 55mm AL (IF) SDM AW standard lens, again with the 645Z mounted on a tripod, was used for this low-light scene. The base ISO 100 exposure was 2secs at f/5.6. The DNG Raw files were processed in Adobe Lightroom with no noise reduction applied.

Issue 18 | Photography News

Advertisement feature

26

PROFOTO B2

Power on the move

Profoto has unveiled its spectacular new B2 lighting system which, like its B1 sibling, is designed to take the concept of powerful, professional off-camera flash to a whole new level

Lighting has come a long way over the past few years, and in the wake of more powerful and flexible solutions for those working on location, the whole concept of off-camera flash has finally come of age. No longer does the professional photographer have to rely on available light, because the introduction of powerful new products such as the Profoto B1 has made the whole business of taking complete control of lighting outside so much easier.

Now the Profoto line-up has been enhanced still further with the introduction of a smaller and lighter sibling, the B2, and with the company’s OCF family further strengthened with the introduction of a new selection of softboxes and accessories, there’s now an extensive and flexible system in place. It could change the entire approach to pro location shoots in the future: suddenly all the advantages of the studio can now be fully realised outside.

But let’s take a more detailed look at the new B2. A 250W/s fully asymmetric pack and head system, the B2 builds on the legendary build quality, innovative design and ease of use of the B1, a product that won a TIPA award for best lighting product in 2014. How powerful is it? Well, in simple terms it puts the power of five average speedlights in a lightweight package that’s capable of shooting in bursts of up to 20 frames per second and delivering 215 full-power 250 Joule flashes from a single charge.

Despite its awesome power, the B2 is approximately the same weight as a standard speedlight, making it extremely versatile. In addition to handheld and stand-mounted use, the B2 fits on to a bracket attached to the camera and is discreet enough not to get in the way when shooting.

Working with the B2 The B2 has been designed to be lightweight, portable and extremely easy to set up and use. All you need to do is attach the pack to a head, an Air TTL to the camera, switch them both on and start shooting. Because you can work with Photography News | Issue 18

TTL flash control, it really can be that simple. If you want to retain full control of the unit, that’s not a problem either: a single button-push will switch the system over to full manual control.

The professional user looking for a truly flexible system that can be finely adjusted to suit the circumstances of any particular job won’t be disappointed. Power can be independently adjusted in 1/10th stop increments across the unit’s nine-stop range on either of the two outlets. Freeze mode is also available, allowing short-duration flash down to 1/15,000sec. At full power, the unit recycles in 1.35 seconds, while at lower power settings the user can enjoy a blisteringly quick refresh rate of 0.03 seconds.

There are two main buying configurations for the B2. The B2 To-Go kit, costing £1412, consists of the B2 Off Camera Flash pack, a B2 head, one battery and one mains charger packed in its carrying bag and location shoulder bag. For the more ambitious the B2 Location Kit, costing jsut £1915, comes with all of the above, plus a second head and a second battery.

Light-shaping tools What is truly exciting about the launch of the Profoto B2 is that it’s part of an overall strategy that has clearly been extremely well thought through. The B1 and B2 products are not at all intended to be mutually exclusive: in fact, many photographers will mix and match both products, choosing the heads that best suit the job they’re working on. The B2 is the more portable product of the two, while the B1, with its 500W output, is the more powerful.

Cleverly, Profoto has designed the accessories for its expanding OCF system to be fully interchangeable, and alongside its launch of the B2 it’s also introduced a new range of products that will benefit those using the B1 as well.

These OCF light-shaping tools are designed to be lightweight and extremely fast to set up, offering the photographer the

ability to easily change the mood and style of light when the pressure is on.

Made from the same high-quality materials as the Profoto Umbrella Deep Silver and each at around a third of the weight of its RFi equivalent, the company has introduced four new softboxes. All have captive (sewn in) front diffusers and a removable inner diffuser. For every softbox, there is also an optional 50º softgrid available, which is a bottle-top design that slips over the front edges.

The new softboxes have been created specifically for the B1 and B2 lights, and they use a dedicated, newly designed OCF Speedring. In addition, Profoto has produced an OCF Snoot, which reduces light spread to create a crisp light with almost no spill; a beautifully engineered barn door kit that allows the user to attach gels and control light spread; and a grid kit comprising 10º, 20º and 30º grids. The grids can be used in combination with the snoot and barn door.

All in all, it’s a fantastic system, which now caters for an even wider range of photographers. For those who have been sitting on the fence wondering whether OCF is for them: take a look at what it could do for your photography and take control of your location lighting!

π To find out more, www.profoto.com/uk/offcameraflash. www.absolutephoto.com

27

Advertisement feature CASE STUDY

Simeon Quarrie Wedding, corporate and commercial photographer Simeon Quarrie, already an enthusiastic user of Profoto’s B1 lighting kit, recently had the chance to take the B2 with him on a destination wedding in Cancun, Mexico, and he was delighted with the extra options it offered him.

“I work with flash on every wedding,” he says. “I started working with Profoto packs a number of years ago with the 7B, and it provided me with an aesthetic and a feel to my work that helped me define a style. From there I moved on to the B1 and that’s primarily what I’m still using, though from now on I’ll use it in tandem with the B2. When I shot in Mexico, I often shot with both packs together, and I did the same with a shoot just last week in India, but the B2 is so flexible and powerful I can also see me using it on its own.

“What I love about the B2 is its size. Because it’s so small, when I’m travelling to a destination or I’m on location, it’s great. Getting this through an airport is easy: I’ve got a backpack with the Off-Camera Flash Pack in it, a head, a spare battery and my camera, all inside the same bag.

That’s nuts! I love the fact that I can also fit lightweight modifiers in the bag as well, and carry the entire system with me.”

Simeon also loves the fact that the B2 is so versatile.

“The amount of power this baby outputs gives me options,” he says. “Working with this is so similar to the way that you might be working with on or off-camera flash with a speedlight, but this unit not only has so much more power but it also gives you access to the full gamut of Profoto modifiers, which I think is key. There’s also the fact that it offers TTL, which again is similar to speedlights, and it’s a non-scary introduction to bigger flash packs.”

The compact size of the B2 is a big plus for Simeon, and its lightweight nature opens up new possibilities. It’s less of a strain to carry about, is easier to hold at arm’s length on a stand for overhead lighting and, even with a modifier in place, it’s not top heavy. “Now, when I’m working with a small head, I’m happier to get my lights up higher,” he says,

“and for people to hold it over a client, because there’s no strength required.

“The fact that it’s so light also means that I can travel around with it a lot more. When I was working with the 7B, and then later the B1, I would think to myself ‘should I take it?’ Size does come into play and it’s not always practical.

The B2 Off-Camera Flash Pack is so compact that I can keep it in my bottom drawer next to my hard drives; it’s the same size. It just sits there, so if someone asks me if I have time to do a quick shoot I can just say yeah, bring it out and use it.

“I absolutely love the B2,” sums up Simeon, “and I would definitely recommend it for someone who’s a stand-alone wedding photographer and wants to work with something that’s small, that they can move around, and be versatile with. You can maybe get a shot of the cutting of the cake and can then move it around for the first dance.

“Because it’s so small, you can easily cover things such as bridal preparations. Not working with a big light and a big pack and yet still having all these options is incredible.” π To find out more, go to www.wearevivida.co.uk.

IMAGES Taking the Profoto B2 to a destination wedding offered photographer Simeon Quarrie a great deal of versatility. Thanks to the kit’s compact size, low weight and ease of use, even holding it aloft over the happy couple held no fear.

www.absolutephoto.com

Issue 18 | Photography News

Photography News | Issue 18

www.absolutephoto.com

Competitions

29

WIN A SHOOT

Pentax portraits You’d better be quick – or you could miss the chance of a lifetime!

ENTER BY 22 MARCH AT WWW. PENTAXCOMP. CO.UK

About the Pentax 645Z The sensational new Pentax 645Z medium-format camera boasts an effective resolution of 51.4 megapixels, super-fast AF and a top ISO of 204,800, all in a robust body. The camera offers brilliantly slick handling, whether you’re shooting on location or in the studio, and the 76 dust- and weatherproof seals mean it will also work perfectly in challenging outdoor conditions, down to temperatures as low as -10°C. The innovative CMOS image sensor measures 43.8x32.8mm, approximately 1.7x larger than a full-frame 35mm sensor, and it works together with Pentax’s PRIME III imaging engine to produce images of outstanding accuracy and colour fidelity. With the exceptional quality of Pentax lenses, this anti-aliasing filter-free design sensor can resolve the finest details, producing images for the most critical use.

Until now, medium-format digital cameras have suffered from limited battery capacity, slow continuous shooting speed and limited high ISO range. The Pentax 645Z has features and handling equal to a top-end APS-C or 35mm format DSLR, with a battery that can deliver up to 650 shots per charge, and continuous shooting at 3fps, with a large buffer to minimise write times.

Of course, there is much more, including live view, Full HD video capability, tiltable 3.2in monitor, twin SD card slots and the option of shooting 14-bit Pentax or Adobe DNG Raw files.

And you get all this performance at a very competitive price: the Pentax 645Z body costs £6799, or £7699 with the 55mm lens. π To find out more, go to www.ricoh-imaging.co.uk.

An unmissable event… this will be an amazing once-in-a-lifetime experience, with the chance to use the Pentax 645Z, one of the world’s most sought-after cameras, in a professional situation The medium-format Pentax 645Z is just as much at home out in the woolly wilds getting cold and wet as it is in the studio shooting with flash or natural light. And our sister title Advanced Photographer has a unique indoor opportunity for four readers to try the Pentax 645Z for themselves on a specially organised location shoot at a select venue in Northampton. Pentax 645Z medium‑format cameras, a selection of lenses and models will be provided, as will professional flash lighting kit. If using studio flash is new to you, don’t worry, as the AP team will be available to help you achieve the effects you want.

This is an unmissable event, so if you are free on 10 April 2015, make sure you enter, because this will be an amazing once-in-a-lifetime experience, with the chance to use the Pentax 645Z, one of the world’s most sought-after cameras, in a professional situation. The 645Z is a 51.4-megapixel camera that sells for £6799 www.absolutephoto.com

body only, so it’s the most affordable mediumformat camera around, and it’s fully featured with super‑fast, very responsive AF, a truly versatile exposure system and ISO up to 204,800.

On the day, all you have to do is get to the venue, in plenty of time for a 10am start (travel to the location is at your own expense). There will be a briefing about the camera and then the shoot begins in earnest. More detail will be provided to the four selected photographers.

To stand a chance of coming along to this exclusive event, you’ll need to let us see your best portrait picture. It can be any style, taken in the studio or outdoors, and the pose can be full face, head and shoulders or three-quarter length. The choice is yours, but we want to see good use of light and a creative interpretation of your subject.

Advanced Photographer will be running a major feature on the event, so it’s also the chance to see your images from the shoot in print.

How to enter To be in with a chance of joining us for this amazing photographic opportunity, all you have to do is submit your best portrait photograph.

Images should be low-resolution JPEGs, 1000 pixels along the longest dimension (maximum file size 2MB), and you must have the high-resolution files available in case the judges from Advanced Photographer and Ricoh Imaging want a closer inspection. Entry images should be submitted via the online form at pentaxcomp.co.uk.

The closing date for entries is midnight on Sunday 22 March.

Please remember that you must be available on Friday 10 April 2015 to enter this competition, as we can’t change this date.

Full terms and conditions are available at pentaxcomp.co.uk/terms.

Issue 18 | Photography News

Photography News | Issue 18

www.absolutephoto.com

PN’s FREE Guide to

The Photography Show 2015 Exhibitors

Find us on stand D61

PLUS Full exhibitor listings & floor plan inside!

The Photography Show 2015 Stage Guide & Event Diary

Brought to you by

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 exhibitor listing and floor plan for more details!

Live Stage Join some incredible professional photographers on this interactive and exciting live stage as they demonstrate how to tackle a diverse range of shoots, from unique, challenging subjects to portrait, wedding, fashion and more.

Beginners’ Masterclass* Learn about different camera systems and lenses, what camera controls actually do and how to use simple artistic ideas to create impact with your images. Also covered are simple software techniques to help organise and improve your pics.

Adobe Theatre From exploring the basics of Lightroom to getting a handle on colour management to perfect your workflow, these expertled sessions from Adobe will have you mastering and improving photo editing skills in no time.

Nikon School Visitors to the Nikon stand can benefit from the free seminars run by the Nikon School throughout each day. There is no requirement to book for the seminars, however they can get very busy and we have a first come, first seated policy.

IGPOTY Garden Experts from IGPOTY will be on hand to offer tips and advice on garden photography, alongside portfolio critiques and talks on gaining value from your pictures. Visit the garden and capture great macro images of the plants and flowers.

Filmmaker Theatre Whether you are experienced in the art of film-making or you’re at the beginning of the road, these sessions from a line-up of experts are designed to bring tips, tricks and techniques to all abilities of aspiring film-makers.

Streetscape Streetscape is an exciting new urban street stage hosted by a range of professionals showing you how to capture the best street photography. They’ll be exploring lighting, angles and colour to create awesome urban street shots.

Behind the Lens Join highly respected professionals in intimate workshops and seminars focusing on a range of genres, skills and techniques.

Whatever your level of photography, you’ll find these sessions invaluable for taking your photography forward.

Pro Conference* Whether you are an established professional or just starting out in your photographic career, this conference aims to improve your business by tackling issues such as copyright and your rates as well as opening the door to additional revenue streams.

Super Stage* This is your opportunity to hear from some of the world’s most inspirational photographers. The Photography Show has gathered a whole bevy of incredible artists, all renowned in their genres for their phenomenal images.

*Session requires an extra activity ticket as well as an entry ticket to the show. If you havent pre-booked your tickets at www.photographyshow.com by 17 March you can buy them from the box office at the show. Subject to availability

Saturday 21 March 1000 - 1200 1015 - 1055 1030 - 1105 1100 1100 - 1130 1100 - 1130 1100 - 1140 1100 - 1140 1105 - 1140 1130 - 1200 1130 - 1210 1145 - 1225 1150 - 1225 1200 - 1230 1200 - 1240 1200 - 1300 1225 - 1300 1230 - 1310 1230 - 1300 1230 - 1310 1300 - 1340 1300 - 1400 1315 - 1355 1330 1400 - 1430 1400 - 1430 1400 - 1440 1400 - 1440 1400 - 1500 1430 - 1510 1445 - 1525 1500 - 1530 1500 - 1530 1500 - 1540 1530 - 1600 1530 - 1610 1530 - 1610 1600 1600 - 1630 1600 - 1640 1615 - 1655 1630 - 1700 1630 - 1710 1700 - 1740 1700 - 1740

Drop In Sessions Video Editing in Photoshop Camera and Lens Choice Tom Stoddart: Photojournalist’s Life Step Into the Garden Art of Urban Portraits Creative Cloud Mobile Apps, Tools for Photographers Travel Photography The Basics of Exposure One Flash, Two Flash, Three Flash, Four Capturing Extreme Action from Script to Screen Lightroom: Mastering the Basics Tips and Tricks for Making Great Pictures Street Life Shooting in the Street 121 Portfolio Critiques Photo Software Skills for Beginners Colour Management: Perfecting your Workflow The Art of Wedding Photography Lighting Stepping into The Moving Image Take & Make Great Photos Photographing your Garden and Trees 3D Printing in Photoshop for Photographers Mary Ellen Mark: Seeing the Extraordinary in Reality The Principles of Light Photographing your Garden and Trees Lightroom and Photoshop Working Together A Photographic Journey to a Peruvian Silver Mine 121 Portfolio Critiques Multimedia Shooting Hidden Gems in Photoshop for Photographers Taking Up The Challenge Graphic Moments in the Street Africa’s Best Photographic Safaris From Ordinary to Extraordinary How to make your Photos look amazing with Photography Plan Camera sound De-Mystified Tim Flach: Who’s Upside Down - Us or the Bats?

Drone Photography and Filmmaking, an Introduction Q&A: Know Your Stuff Live What’s in the Creative Cloud Photography Plan Become a Better Photographer in 3 Shots 4K Cinematic Film Crafting in M43 Format Lightroom and Photoshop Retouching Workflow Creative Landscape Photography

Sunday 22 March IG AT BM ST IG SS AT BL BM LS

Monday 23 March

Tuesday 24 March

1000 - 1200

Drop In Sessions

IG

1000 - 1200

Drop In Sessions

IG

1015 - 1055

Video Editing in Photoshop

AT

1015 - 1055

AT

1030 - 1105

Camera and Lens Choice

BM

How to make your Photos look amazing with Photoshop

1100

Martin Parr: An Insight into the Photographer, ST Curator and Editor

1100

Michael Kenna: Influences, Inspirations and Magic

1100 - 1130

Step Into the Garden

IG

1100 - 1130

Monetising Your Photography

IG

1100 - 1130

Making Rainbows

SS

1100 - 1130

Making Rainbows

SS

1100 - 1140

Lightroom: Mastering the Basics

AT

1100 - 1140

Video Editing in Photoshop

AT

1100 - 1140

HS2 – Walk the Line

BL

1100 - 1140

Wild Britain

BL

1105 - 1140

The Basics of Exposure

BM

1130 - 1200

The Beauty of Imperfection

LS

ST

1000 - 1200 1015 - 1055 1100 - 1130 1100 - 1130 1100 - 1140 1100 - 1140 1130 - 1200 1130 - 1210

1130 - 1210

We're all Filmmakers now

FT

1130 - 1210

Essentials of documentary filmmaking

FT

FT

1130 - 1200

The Secrets of Food Photography Revealed

LS

1145 - 1225

Lightroom: Mastering the Basics

AT

AT BM SS BL IG BM

1150 - 1225

Tips and Tricks for Making Great Pictures

BM

1200 - 1240

Feel the Fear

BL

1200 - 1240

Achieving Amazing Results with On-Camera Flash

BL

1200 - 1300

121 Portfolio Critiques

IG

1200 - 1300

121 Portfolio Critiques

IG

1230 - 1300

Mastering your Photographic Skills

LS

1225 - 1300

Photo Software Skills for Beginners

1230 - 1310

Hidden Gems in Photoshop for Photographers

AT

1230 - 1300

Shoot and Tell for Amazing Wedding Portraits LS

1230 - 1310

Colour Management: Perfecting your Workflow

1230 - 1310

Capturing Extreme Action from Script to Screen

FT

AT

1230 - 1310

Videographer vs Stills Photographer

FT

1300 - 1330

Making the Best of your Garden Photography Through Raw Capture and Processing

IG

1300 - 1330

Photographing your Garden and Trees

IG

1300 - 1340

Reportage Photography for Weddings

BL

1300 - 1340

Travelling Light: Images on the Move

BL

1300 - 1400

Step Into the Garden

IG

1315 - 1355

3D Printing in Photoshop for Photographers

AT

1315 - 1355

AT

1330

Susan Meiselas: The Motivation Behind the Image

1300 - 1400 1315 - 1355

ST

What's in the Creative Cloud Photography Plan

1330

1400 - 1430

Photographing your Garden and Trees

IG

Simon Norfolk: The Passions and Inspirations that get my Work in the Best Magazines

ST

1400 - 1430

1400 - 1440 1400 - 1440 1400 - 1500 1430 1430 - 1500 1430 - 1510

AT LS FT BL IG AT ST

BM

SS IG AT

1400 - 1430

Art of Urban Portraits

SS

1330 - 1400

How to Find the Right Team for you

LS

1400 - 1440

Lightroom and Photoshop Working Together

AT

1400 - 1430

Erasing the Fear to see we are all Connected

FT

1400 - 1440

Behind the Image

BL

1400 - 1440

1400 - 1500

121 Portfolio Critiques

IG

Colour Management: Perfecting your Workflow

AT

BL

1430 - 1500

An Improvised Shoot with the Naked Photographer

LS

1400 - 1440

Next Generation of Photography

BL

1400 - 1500

121 Portfolio Critiques

IG

1430 - 1510

The Moving Image: An Introduction

FT

1430 - 1500

Advanced One Light Set Ups

LS

1445 - 1525

Hidden Gems in Photoshop for Photographers

AT

1430 - 1610

We're all Filmmakers now

FT

1445 - 1525

Creative Cloud Mobile Apps, Tools for Photographers

AT

IG FT AT IG SS BL LS AT FT

1500 - 1530

Taking Up The Challenge

IG

1500 - 1540

Street Life

SS

1500 - 1540

Wild Britain

BL

1530 - 1600

The Art of Wedding Photography Lighting

LS

1530 - 1610

How to make your Photos look amazing with Photography Plan

AT

1530 - 1610

Capturing Extreme Action from Script to Screen

FT

1600

ST SS BL AT LS FT AT BL

1500 - 1530

Taking Up The Challenge

IG

1500 - 1530

The Principles of Light

SS

1500- 1540

From Aerial to Automotive

BL

1530 - 1600

The Descendants: A Historical Portrait Project LS

1600

Lynsey Addario: It's What I Do: A Photographer's Life of Love and War

Martin Parr: An Insight into the Photographer, ST Curator and Editor

1600 - 1630

Graphic Moments in the Street

SS

1530 - 1610

Videographer vs Stills Photographer

FT

1600 - 1640

Do you Ever Feel Confidence is Holding you Back?

BL

1630 - 1710

Lightroom and Photoshop Retouching Workflow

AT

1630 - 1700

The Art of Wedding Photography Lighting

LS

1700 - 1740

Connecting with your Landscape

BL

1715 - 1755

Travel Photography editing workflow with Photography Plan

AT

1600 - 1630

Bulb Mode

SS

1600 - 1640

Soviet Ghosts

BL

1615 - 1655

What's in the Creative Cloud Photography Plan

AT

1630 -1700

Advanced One Light Set Ups

LS

1700 - 1740

Lightroom and Photoshop Retouching Workflow

AT

1700 - 1740

Land, Sea and Sky

BL

ST

1145 - 1225 1200 - 1230 1200 - 1240 1200 - 1300 1230 - 1300 1230 - 1310 1230 - 1310 1300 - 1340 1300 - 1330

1445 - 1525 1500 - 1530 1500 - 1540 1530 - 1600 1530 - 1610 1530 - 1610 1600 - 1630 1600 - 1640 1615 - 1655

Drop In Sessions Creative Cloud Mobile Apps, Tools for Photographers Monetising Your Photography Hit the Streets with One Light Cherubs Portrait: Building the Perfect Business for You How to make your Photos look amazing with Photography Plan Going Beyond the Bland The Moving Image: The Professional Approach Lightroom and Photoshop Retouching Workflow Street Lighting: Beyond the Basics Why Marketing Matters 121 Portfolio Critiques The Art of Wedding Photography Lighting Colour Management: Perfecting your Workflow Shooting Films and Editing 4K Becoming a Brand and Why it Matters Making the Best of your Garden Photography Through RAW Capture and Processing Step Into the Garden Hidden Gems in Photoshop for Photographers Drone Photography and Filmmaking, an Introduction The Social Media Talk Video Editing in Photoshop 121 Portfolio Critiques Don McCullin: Photographing Conflict The Beauty of Imperfection Capturing Extreme Action from Script to Screen What's in the Creative Cloud Photography Plan Erasing the Fear to see we are all Connected Drone Aerial Photography: A Revolution in Elevated Imagery The Art of Pregnancy and Newborn Photography Lightroom: Mastering the Basics Professional sound for DSLR de-mystified Graphic Moments in the Street 3 Market Trends are Changing Nursery & School Photography 3D Printing in Photoshop for Photographers

IG AT IG SS BL AT LS FT AT SS BL IG LS AT FT BL IG IG AT SS BL AT IG ST LS FT AT SS BL LS AT FT SS BL AT

Key IG = IGPOTY Garden AT = Adobe Theatre FT = Filmmaker Theatre SS = Super Stage

Every effort has been made by the publishers to ensure that information contained regarding The Photography Show 2015, 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 2015 in this publication.

BM = Beginners’ Masterclass ST = Streetscape BL = Behind the Lens LS = Live Stage

Issue 18 | Photography News

B11

Come and See Canon’s awarding winning product range and get hands on with new products including the EOS 7D Mark II, EOS 5DS and EOS 5DS R. Canon’s range of PIXMA and large format printers will be on the stand for you to see the quality of your images in stunning print.

PN’s floor plan: The Ph Brought to you by D61

E61

CONTACT www.canon.co.uk

IGPOTY book signing

A31

A41

A64

B32

B42

B31

B41

C31

Selfie Wall

A51 B52

B1

A70

B53

A61

A71

B62

B72

B61

B71

B51 B49

B3

Canon

Calumet

B11

B2

VISIT STAND D61

For the full range of Tamron Samyang, Hoya, Velbon, Tokina and other products

Main Entrance

D61

A60

A30

IGPOTY

A56

A68

Mobileography

A62

G21

B21

C51

C61

D51 D61

Fujifilm D1

D21

Nikon

Manfrotto

D31

D41

E61 E51

D21

E62

F1

F51 F41

F61

F45

F2

F52

G1

G51

G41

G53

G70 G68

H65

H67

H69

J65

J67

J69

H23

H9 H11

J21 J22

J23

H12

H29

J31

J41 J42

H45

H51

H47

J45

J51 K52

G69

G65

H24

H42

H22

H31

H41

H5

H21

G67

J61

G57

G42

C51

Super stage

Photography News | Issue 18

G32

G66

H61

G61

G20

G58

H1

G19

G63

G31

G21

G45

B49

F69

F32

F67

F31

F21

Lomography & Framing Workshops

Subscribe to Photography News today! Visit www.absolutephoto.com

hotography Show 2015

B80

B86

B92

B96

A101

B102

A122 A123 A124

A117 A118

A111

Live Stage

A121

A119

B91

B81

B97

B95

B82

B101

B111

B121

B123

C131

C120 C124

C132

C122 C125

C81

C91

C101

C111

C123

C120

C121

D131

E101

E121

E123

30 under 30s

K86

K92

K93

J121 J113 J112

J114

Filmmaker Theatre

Subscribe to Photography News today! Visit www.absolutephoto.com

Photowall

K82

J101

G132

H71

H135 H136

H134

H132

J95

G129

J91

G128

J85

E131

F132

G125

J92

J81

Behind the Lens

F130

J92

H131 H123

H101 H105

H122

J74

G94

J73

J75

G127

Adobe Theatre G131

G102

H91

H84

H72 J71

H82

F91

F134

G121 G93

H81

H71

F121

G105

G81 G72

F122

G100

G101

G95

G71

G113

G92

F123

F71

F101

F82

F124

F91 F81

Food Gallery

E91

D121

Photowall

E81

D20

Streetscape

E71

D107

D91

G101

D81

E61

D132

D106

D71

B111

Photowall

A95

A100

f ll or lea Fu bit er hi ov ex gs tin lis

A91

A97

A87

A103

A81

A96

A74 A82 A84 A86 A88 A90 A92

G91

s

A72

B101 & B102

J121

J124 J125 J126

Bowen’s Studio & Technique Stage

Bowen’s Trade Lounge

Issue 18 | Photography News

The Photography Show 2015 Exhibitors n 3 Legged Thing n 3Xm Solution n Aaduki Insurance n Adobe Theatre n Advanced Camera Services n Adventa n Aj’s n Akm Music n Al’s Hobbies n Am Albums n Amateur Photographer n Aperture Books n Artsy Couture n Aspire Photography Training n Association of Photographers n Athentech Imaging Inc n Avenger n Azden

F61 D106 A96

n B+W n Baby Prop Shop n Barrett & Coe Ltd n Benel Bv n Benq n Bessel Studio n Blackmagic Design n Bob Books n Bowens International Limited n Broncolor n Bushnell

D41 A121 J95 B71 F21/F31 A51 C91 J91 G81 H21 D41

n Cactus n Calumet n Cameraworld n Cameraworld n Camranger n Canon n Canson n Carl Zeiss n Case Logic n Cbl Distribution Ltd n Cbre Urban Photographer Of The Year n Cewe n Coetzer Nature Photography n Cokin n Color Confidence n Color Confidence n Colorama n Colorworld Imaging n Costco n Cosyspeed GmbH n Creative Advice Network n Creative Photography Wales n Creativity Backgrounds n Crumpler n Cyberlink Europe Bv n Delkin Devices n Difox n Digilabel UK n Digital Camera n Digital Photo n Digital Photo Solutions n Digitalalbum n DIY Framing n Domke n Dorr Foto n Droneflight n DS Colour Labs n Dunns Imaging n DxO n Easycover n Eizo n Elinchrom n Elinchrom n Enlight Photo n Eos Magazine

A56 A119 H45 H11 H23 K92 E131 G93 A123 G65 G102 B95 D41 D61

H61 B21 D51 E51 D61 B11 G41 B51 B121 J61 A74 G127 A71 D61 F21 F31 D41 F52 H9 J125 G131 C132 A61 B72 C124 B52 A86 G68 F32 J121 K52 G95 J101 H61 B91 G72 J92 H72 F21/F31 G101 B31 G121 G121 A91 B1

n Epson n Expert Shield n ExpoImaging n Eyelead Bluetech

D81 A62 F21/F31 B96

n Fig Bags n Flaghead Photographic n Focal Point Imaging Ltd n Foolography n Format Festival n Fotospeed n Franzis Verlag GmbH n Frith & Co n Fujifilm n Future

H22 J31 F122 J111 A111 E81 F132 J42 D21 F32

n G-Technology n GF Smith Photographic n Gitzo n Glover & Howe n Gotphoto n Guide Dogs n Guild of Master Craftsman Publications

F101 B3 D41 H101 J74 A117 J51

n Hahnemühle n Hasselblad n HHJ Trading n Hire A Camera n Horrizon Hobby n Hot Press By Wessex n Hoya n Hprc n Hungry Eye n Ianiro n ID Station n Impossible London n Infocus Photography Insurance n Innova Art n Inspired Photogear n Intro 2020 n Ismartphoto.com

G21 H21 C131 B80 G32 G100 D61 G19 A81 B32 H61 G20 J71 E62 D131 D61 H91

n James Cropper n Jill-E Designs n Johnsons Photopia Ltd n Just Limited n Kaleidoscope Framing n Kenko n Kenro n Kitschretro n Kowa Optimed n KSM Trading GmbH

F121 D132 A30 A56 E121 D61 F82 A118 H1 B111

n Lastolite n Lee Filters n Leica n Lencarta n Lens Locker n Lensbaby n Lenses For Hire Ltd n Light Blue Software n Linhof & Studio n Lishuai Presented By Proav n Lomography n London Camera Exchange n Longridge Mount Cutters n Loxley Colour n Loxley Colour n Lux S n Lytro

D41 G51 C31 F91 H67 F123 A87 A88 G45 G128 G42 C81 J67 F71 F81 J65 E61

n Mac Group Europe Ltd n Macphun Software n Macwet n Made Photo Booths n Magneflash n Magpie Accessories n Manfrotto

D120 B92 A122 C120 H135 G70 D41

n Marcello Strada n Marchwood Optics n Master Photographers Association n Megalabs n Metz n Minox GB n Mta Ltd n My Istick

G91 B72 B123 H105 D61 F124 G31 A97

n N-Photo n National Trust n Native Digital n Nec n Nest n Newbornart Photography Training n Nikon n Nikon n Nisi Digital n Nomad of Market Harborough n Nova Albums n Novachrome n Novo n nPhoto

F32 A68 B42 F21/F31 F134 H81 D31 E31 B62 A100 H82 G69 F134 B81

n Olympus n Olympus n One Vision Imaging n OnOne Software n Opticron n Ouse Valley Processing

B49 C51 G61 E101 J124 H69

n Panasonic n Paper Spectrum n Paramo n Peak Design Ltd n Pentax n Permajet n Pexagon Technology n Photo Clam International n Photo-Me International n Photobarn Training n Photography Farm n Photography Week n Photographyprint.co.uk n Photoguard n Photomac n Photoplus n Photoshopdigital n Photovalue n Photovoice n Photoxport/Noritsu n Picture Bloc n Pixapro n Plastic Sandwich n Plot-It n Plustek n PNY n Polarpro n Practical Photography n Practical Photoshop n Prisma Box n Profoto n Psdclip

C61 J85 G57 G58 C111 B41 K93 D107 A64 G132 A103 F32 G92 B53 H12 F32 J45 D101 H123 A95 J102 D91 J113 F1 J112 G94 H136 J121 F32 J114 F45 A90

n RCheliGURU Ltd n Redwood Pro Lab n Remember My Baby n Reprochimica 2 Srl n Ricoh Imaging n Rk Photographic n Røde Microphones n Rolleiflex UK Ltd n Roskerr n Rotatrim n RSPB

J23 H5 A84 H41 C111 A70 H47 H132 J21 H71 G113

n Samyang n Sarlo Albums n Schneider n School of Photographic Imaging n Scratch Ideas n Shootproof n Shoulderpod n Sigma Imaging n Silvershotz Pty Ltd n Sim Imaging n Simlab Plus n Sinar Photography AG n Sirui n Slik n SLR Magic n Smugmug n Snapperstuff n Snapperstuff n Sony UK n Sood Studios n Speedgraphic n SRB Photographic n Steadicam n Sun-Sniper n Superframe n Swains International plc n Synology UK Limited n System Insight n Tamrac n Tamron n Tecco n Tetenal n The Bureau of Freelance Photographers n The Click Group n The Disabled Photographers’ Society n The Flash Centre n The Fray Fix n The Guild of Photographers n The Ilex Press n The Magic Touch n The Photographer Academy n The Photographic Alliance of Great Britain n The Royal Photographic Society n The Societies n Thule n Tiffen n Tokina n Top-Teks Ltd n Topaz Labs n Total Mast Solutions n Towergate Camerasure n TYI Trade n UK Highland Photography n Ultimat n Usb2u n Usbmakers.com

D61 B86 D41 E131 G67 F130 G66 B82 J126 F41 A60 C31 E71 D61 F134 F69 B101 B102 D71 G1 G53 B2 H61 A31 H65 H61 C125 H122 D61 D61 F21/F31 C101 J81 B61 H51 G105 A124 J75 J69 J73 E91 H134 C123 J41 B121 H61 D61 G125 K82 F2 A41 K86 A101 G71 H131 A72

n Vanguard World n Vanilla Photobooks n Velbon n Viewfinder Photography n Visible Dust / Redged

H31 F67 D61 D1 A82

n Wacom n Wedbooks.eu n Western Digital n Westpoint Peripherals Ltd n What Digital Camera n Whitewall n xww.4X90.Com

F51 J22 H42 C122 E131 E123 H24

n X-Rite n Youphoto S.r.l n Zenfolio n Zenfolio

F21/F31 H84 G63 G65 *Correct at time of going to press

THE ADVANCED PHOTOGRAPHER’S CHOICE 2014 ADVANCED PHOTOGRAPHER AWARDS – BEST TELEPHOTO & BEST SUPERZOOM

Photography News | Issue 18

SP150-600MM & 16-300MM www.absolutephoto.com

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Issue 18 | Photography News

36

Competitions

Will Cheung

Samsung Shoots:

THE BEACH The Samsung NX1 can blaze away at 15fps, so it’s perfectly suited to action photography, but its 28.2-megapixel resolution and growing lens range means it has vast potential for scenic shooting too, as ten keen enthusiasts show here

Our sister magazine, Advanced Photographer, recently made an offer that no keen photographer could possibly refuse: to spend the day indulging their passion for photography at the beautiful Suffolk coastal town of Aldeburgh. Samsung kindly loaned us Samsung NX1 cameras and several large boxes full of NX lenses for the experience. Each reader was issued with an NX1, 16‑50mm f/2-2.8 standard zoom and a 50-150mm f/2.8 telezoom, and then a pool of wide‑angle lenses and macro lenses was also available for anyone to use during the day. Everyone who took part in the shoot was also given a 16GB Samsung SD card.

The concept of the day was simple: after a briefing where PN’s editor Will Cheung (below left) went through the camera’s basic features, our ten readers were let loose on the quiet, unsuspecting town of Aldeburgh. There was no restriction in

Photography News | Issue 18

terms of subject matter or technique, so our readers could basically shoot whatever Aldeburgh had to offer. With picturesque buildings, fishing boats and a shingle beach, the potential was enormous.

The weather plays a huge part in scenic photography, and photographers have to learn to go with the flow and to make the most of whatever transpires. On this occasion, we experienced wall‑to-wall sunshine and blue sky and, despite the heavy morning frost, temperatures rose quickly to comfortable levels by late morning.

A couple of hours into the shoot, several readers were heard bemoaning the lack of any interest in the sky – because a plain blue sky can be just as awkward to work with as a plain cloudy sky. Luckily, by around lunchtime a few fluffy clouds arrived, just to add that extra interest overhead. A few polarisers were seen in use, and some readers even went for extreme long exposures with their Big Stoppers. The only issue here was that the pretty, fluffy clouds were shuttling across the sky quite sedately, and that an exposure of at least two minutes was needed for good movement. With the sun shining very bright, this wasn’t possible even with the NX1’s lowest ISO setting.

The photo shoot finished at 4.30pm and with the sun sinking fast behind the town, it was time for our intrepid ten to hand back their Samsung kit and wend their way home, tired but happy!

For the full story of the shoot, see Advanced Photographer, issue 57, out on 7 May.

ABOVE The ten lucky readers who got the chance to explore top Samsung kit on a sunny seaside photo shoot, aided and abetted by PN’s editor Will Cheung and Kingsley Singleton.

About the Samsung NX1 The highly featured Samsung NX1 is aimed at the experienced photographer and has features never seen before, including a 28.2-megapixel BSI sensor, an AF system covering 90% of the image area and the ability to shoot full-resolution images at 15fps.

The NX1 is in the shops now and stockists include Jessops, Park Cameras, WEX and, of course, Samsung’s website. π To find out more about the NX1, go to www.samsung.com.

www.absolutephoto.com

www.absolutephoto.com

Issue 18 | Photography News

38

Camera review SPECS PRICE EOS 5DS £2999.99, EOS 5DS R £3199.99 body only CONTACT www.canon.co.uk SENSOR 50.6 megapixels (total: 53), CMOS, 36x24mm, 8688x5792 pixels PROCESSOR Dual DIGIC 6

FIRST LOOK

Canon EOS 5DS

At £3000 for the body, Canon’s latest DSLR isn’t cheap, but after sampling a pre-production model Roger Payne has already got a kidney on eBay

ISO RANGE 100-6400 (expandable down to 50 and up to 12,800) SHUTTER 30secs-1/8000sec, plus B MAX FRAME RATE 5fps for up to 510 JPEGs or 14 Raw files METERING SYSTEM 150,000 pixel RGB+IR sensor. Evaluative, partial (6.1%), spot (1.3%), centre-weighted EXPOSURE MODES Scene Intelligent Auto, program AE, shutterpriority AE, aperturepriority AE, manual, Custom x3 EXPOSURE COMPENSATION +/-5EV in 0.3 or 0.5EV stops, AEB 2, 3, 5 or 7 shots, +/-3EV in 0.3 or 0.5EV stops AUTOFOCUS MODES AI focus, one shot, predictive AI servo FOCUSING POINTS 61 MONITOR Fixed 3.2in, 1040k dot resolution VIDEO Full HD at 30p STORAGE MEDIA Dual card slots: CompactFlash (UDMA 7 compatible), SD, SDHC, SDXC DIMENSIONS (WXHXD) 152x116.4x76.4mm WEIGHT 845g (body only)

Words by Roger Payne Is it just me, or are Canon producing exciting DSLRs again? Maybe the company had become the victim of its own product life cycles, but I can’t help thinking that the prosumer section of their product line-up has been moving a little glacially of late. We’d had the Canon EOS 5D Mark III, of course, but that was in 2012 and we had to wait until late 2014 before the 7D Mark II arrived. In between we’d had the perfectly

capable 70D, but this was hardly enough to get the blood coursing through the veins of your serious photo enthusiast.

But it turns out those Canon guys had been teasing us all along as, hot on the heels of the really rather spectacular 7D Mark II, we’ve got this: the EOS 5DS. Oh, and the 5DS R, of course. The only difference between the two is the fact that the 5DS R features a low-pass cancellation filter. This doesn’t mean that the low-pass filter has been removed from in front of the sensor, just that its effect is cancelled out. The

A big change over the 5D Mark III? EOS 5DS or 5D Mark III? Our at-a-glance guide to key aspects of both models’ specifications should give you some pointers:

Photography News | Issue 18

upshot? Even sharper pictures, allegedly. Much like a stripped-out sports car, you pay more for what is effectively less in the 5DS R; approximately £500 more, to be precise.

Although a number of pros have been secretly using the new camera, I first got to grips with both models at the UK press announcement last month.

While these can often be a bunfight, with only a couple of new models between a room full of journalists, Canon had a sensible allocation, enabling me to build up a proper picture of the camera.

5D MARK III

5DS

RESOLUTION

22.3 megapixels

50.6 megapixels

NATIVE ISO RANGE

100-25,600

100-6400

PROCESSOR

DIGIC 5+

Dual DIGIC 6

MAXIMUM FRAME RATE

6fps

5fps

CONTINUOUS BURST CAPABILITY

18 Raw, 16270 JPEGs

14 Raw, 510 JPEGs

METERING

63-zone dual-layer SPC

150k pixel RGB+IR sensor

AF POINTS

61

61

MAX. VIDEO FRAME RATE

30p

30p

CARD SLOTS

2

2

www.absolutephoto.com

Camera review

39 Joel Santos

David Noton Fernando Guerra

camera shake by designing a new mechanism that controls the movement of the reflex mirror. As a result, both cameras feature a new Mirror Vibration Control System that sets out to reduce vibrations caused by internal movements. Cams are used to drive the mirror up and down, reducing the ‘slapping’ effect that other, non-damped mirror mechanisms can suffer from. As luck would have it, a quieter overall shutter sound is a welcome by-product of this engineering feat. Naturally, I have no idea how the camera would perform without this feature installed, but even with it on board, I still found that camera shake was quite easy to induce, although it’s important to point out that I was using a pre-production version.

With such large file sizes, not to mention the camera’s ability to shoot at up to five frames-per-second for more than 500 JPEGs, the 5DS needs some serious on-board processing power, which is duly provided in the form of Dual DIGIC 6 processors that chunk through data at a suitably rapid rate.

Videographers may feel that with all this processing power Canon could have been a little more lavish with video functionality, but any talk of 4K was quickly dismissed by the Canon hierarchy, who went on to explain that the 5DS is all about the still image.

Eberhard Schuy

Owning a DSLR with a grand pixel count isn’t always an A0-sized bed of roses

THIS PAGE All the images on this page were taken with either the EOS 5DS or 5DS R by Canon Ambassadors. I’m not this good at photography! www.absolutephoto.com

Quentin Caffier

Big numbers Naturally, the sensor is the headline-grabbing statistic, with the 50.6-megapixel full-frame sensor somehow ludicrously making the Nikon D810’s 36.3-megapixel offering seem inadequate.

You don’t really appreciate just how big the resulting files are until you see the pixel dimensions: 8688x5792. We’re going to need a bigger hard drive. By comparison, files out of my 5D Mark II, which I’ve comfortably enlarged to A2, measure 5616 pixels on the LONG side. Mockingly, the EOS 5DS also offers 1.3x and 1.6x cropped options, which produce 30.5- and 19.6-megapixel files respectively. There’s also a 1:1 ratio option.

Hasselblad should probably look away now.

As Nikon D810 users will be quick to tell you, however, owning a DSLR with a grand pixel count isn’t always an A0‑sized bed of roses. Such sensors are far less forgiving, in terms of both camera shake and optical quality. It’s fair to say that you need to be confident of your hand-holding ability, even if you’re into the realms of what may be considered safe hand-holding shutter speeds. Buy an EOS 5DS and your tripod may well spend less time rattling around in the boot of the car.

Canon engineers were clearly well aware of the perils of creating this megapixel monster and set about countering

Getting creative When it comes to capturing still images, the EOS 5DS bristles with features. The autofocusing system offers a very healthy 61 points, 41 of which are cross-type, while moving subjects can be tracked both in terms of colours and faces using Intelligent Tracking and Recognition AF, or iTR to its friends down the pub. Likewise, accurate exposures are highly likely with the 150k pixel RGB+IR metering sensor that also incorporates Flicker Detection to optimise the exposure under artificial lighting. While all of this technology is, without doubt, fiendishly clever, the latter is worthy of special mention. Rubbish old human eyesight can’t pick up variances in artificial lighting, which is constantly changing its level of brightness, albeit by pretty minuscule amounts. The 5DS, however, identifies these variances and takes the picture only when the light source is at its brightest. This all happens in a matter of milliseconds.

Alongside the new sensor, there’s also the new Fine Picture Style. This is provided to draw out every last ounce of detail from the sensor and, like other Picture Styles on other EOS cameras, can be fine-tuned to your own preferences. Talking of fine-tuning, alongside the pre-requisite PASM exposure modes, there are also three Custom functions on the exposure mode dial, so you can have favourite settings ready to go.

You want more creativity? There are the in-camera Multiple Exposure and HDR modes that appeared on the EOS 7D Mark II, and an integral timer that allows you to create time-lapse movies capturing as many frames as your battery – and your patience – will allow.

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Camera review Hands on A big sensor does not a big camera make: the EOS 5DS has the same form factor as the EOS 5D Mark III, which means that it will be instantly familiar to a number of photographers.

As a 5D Mark II user, I certainly didn’t feel alienated by the design of the camera, although it does feel comparatively chunkier in the hand, just as the Mark III does.

The user-defined rear LCD menu is a great extra function as is the opportunity to change what appears on the overlay in the viewfinder. In the case of the former, you can create a Quick Menu on the rear LCD offering rapid access to the features only you use. It doesn’t replace the existing Q Menu, it just gives you the chance to create one of your own.

Naturally, I started by putting only one function on it, then loads, before finally settling on the ones I really wanted. God, I’m such a kid. The viewfinder overlay is slightly less bespoke, but still useful. You can choose from a suite of camera functions, such as battery status, to appear at the base of the viewfinder. It enables you to keep a closer eye on a larger range of functions without having to delve into the menus.

While all of this tells you what the camera has and does, it doesn’t really tell you the important stuff; how it feels. The word that springs to mind is ‘dependable’. The magnesium‑alloy casing wraps the entire body in a weather‑resistant shell that oozes solidity and durability. The rear LCD, although fixed, is bright and easy to read. The shutter mechanism is wonderful as it flips up and down in its newly controlled manner.

The viewfinder (100%, by the way) is large and bright and, generally speaking, this feels like a great camera.

Fine Picture Style mode To squeeze every last bit of detail out of that sensor, Canon has added a new Fine Picture Style for optimum sharpness.

Viewfinder overlay A customisable overlay is available in the viewfinder. This is in addition to the traditional LCD at the base of the finder and allows you access to extra information, such as battery status, without having to lower the camera from your eye.

For stills photographers Although the EOS 5DS offers video functionality, it’s really designed for stills photographers after a robust camera that will work in all weathers.

It’s for this reason that the rear LCD is fixed – it was felt that an articulated screen might have compromised weather resistance.

Dual card slots The 5DS has two slots, one for CF/UDMA cards and the other for SD cards. With 50.6 megapixels to play with, you’ll soon be filling them up!

Initial verdict It’s important to appreciate exactly what the EOS 5DS means to your photography before you rush out and pre‑order one. While it may seem like the perfect model for bragging rights among your photo mates, anyone who buys the camera on this principle, or based on the theory that more pixels = better photographs, will fall flat on their face. Fifty megapixels is not something to brag about, it’s something to be a little bit scared of. But in a good way.

I may have only used it for an hour or so, but it’s very clear that the EOS 5DS is a camera that demands both respect and impeccable technique. You need to be vigilant about camera shake, and you need to be prepared to invest in better glass, but if you’re prepared to do both of these things, the chances are you’ll start capturing your best pictures ever. I’d never suggest that a camera will make you a good photographer, but the EOS 5DS will almost certainly make you a better one.

Photography News | Issue 18

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Kit review SPECS CONTACT www.profoto.com/uk PRICES £1415.50 B2 250 AirTTL To-Go kit including B2 generator, li-ion battery, B2 head with protective cap, B2 location bag, carrying bag, battery charger 2.8A B2 head £450 li-ion battery £150 car charger 1.8A £69 B2 AirTTL extension cable 3m £130 ENERGY RANGE 1-250Ws (9 f/stops) SHORTEST; LONGEST FLASH DURATION 1/15,000sec; 1/1000sec RECYCLING 0.03-1.35secs FULL POWER FLASHES FROM ONE CHARGE 215 DIMENSIONS Generator (incl. battery) 16x8x17cm Head (excl. stand adapter) 10.3x10cm WEIGHT Generator (incl. battery) 1.66kg Head (excl. stand adapter) 0.70kg

ON TEST

Profoto B2

With its B1, Profoto took location flash lighting to a new level. The B1 system offers the convenience of speedlights with auto TTL metering plus the power and modifier line-up of a mains-powered flash head Words by Will Cheung Last year, Profoto launched its B1 system, a battery-powered studio flash system and the first with full TTL exposure control for Canon and Nikon DSLRs. It was quite possibly one of the most exciting innovations for many years in the world of lighting, merging the worlds of studiobased flash and portable flash and bringing them bang up to date.

Not content with that, Profoto has followed up with the introduction of the B2 system. Again it’s a battery powered flash system, but this time the very compact heads are connected to a separate power pack with leads, rather than having the battery on board as with the B1.

Is it Profoto’s answer to the popular Elinchrom Ranger Quadra? Well kind of, in that it is a reliable, consistent and portable light source, but the

ABOVE Pro shooter Andy Kruczek took the B2 250 Air TTL To-Go kit out on an exclusive portrait location shoot, photographing model Molly Victoria Owen. Here he added a little extra drama courtesy of a 20° grid.

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B2 is much more sophisticated when partnered with the Profoto Air Remote TTL control (Canon and Nikon options are available). And there is the option of full auto TTL flash control; manual is available too should you prefer to be in total control.

Out of the box It’s impossible not to be impressed with the B2 as you unpack it. For a start the heads feel reassuringly solid and you get the impression that it will survive hard use and even moderate user-inflicted abuse. The B2 heads use the same modifier fitting as existing mains-powered Profoto heads and the flash tube is protected by frosted diffuser glass.

The neat thing with Profoto heads is that there is no fitting bayonet as such to fight with – no need to marry the two components up and then to lock the unit in place. On many heads it is possible to accidentally bend the bayonet fitting which makes life more awkward. With a Profoto unit, the modifier simply slides on to the head and it is then locked in position with a gripping clamp mechanism. Neat, robust, secure and effective.

The B2 power pack weighs in at 1.66kg, complete with the lithium-ion rechargeable battery – the battery on its own is a mere 387g, and B2 heads weigh around 680g each. In the supplied shoulder bag, you can squeeze in the B2 power pack, two heads, spare battery charger and mains lead. Add a bag with a couple of stands and modifiers of your choice and you have a very portable and versatile location lighting system.

It is also very easy to use. There are even nice touches like white spots on the leads and pack to help correct insertion. When using the Air Remote TTL control, and with the Air option selected on the power pack, you can wirelessly adjust output in 1/10EV, turn the modeling lamp on and off, and turn off one of the heads if both are connected.

The Remote Air’s working range is excellent.

If you prefer, the units can also be used manually and here again flash output can be adjusted wirelessly using the Air Remote: press A, B or C to control heads individually. You can assign heads to a group too, so you can have group A as your main light with groups B or C as a fill-in, for example. Or have both heads in the A group.

The system is extremely flexible and the design and handling of the Air Remote are excellent, with no scrolling through menus needed to find the group or flash head you want to adjust.

The B2s can also be fired in slave mode, where they are triggered by picking up the burst of light from another flash source. There is also a standard mini phone socket to accommodate radio triggers such as those from PocketWizard and Cactus. Of course, with such third-party remotes you have to use the B2s manually.

With a single head connected you’ll be able to get up to full power – indicated by the number 10 on the pack. Fit two heads and flash A gives 9.9 and flash B 6.1 as maximum output. With both heads at maximum output I got 140 bursts and still had one bar remaining on the battery indicator. Recharge times start at around one second and after 80 flashes this just about doubled. After 120 bursts an exclamation mark showed and recycling was around four seconds. Basically, battery capacity is excellent and spares are available at £150 should you need backup or extra capacity.

Verdict The B2 system is a solid, beautifully engineered piece of kit, but it does much more than look the part: it’s great to use and delivers excellent results.

The controls are smooth with no stiffness and will stay that way for a very long time.

Simply, there is not much to dislike about the B2 system, and a great deal to enjoy. If you are in the market for a quality, easy to use, portable lighting system you should consider the B2.

PROFOTO B2 FEATURES

25/25

PERFORMANCE

24/25

HANDLING

25/25

VALUE FOR MONEY

23/25

A full house including auto TTL with an Air Remote TTL

It works very, very well and has impressive battery capacity Neat design, compact heads, compatible with the Profoto modifier system. Brilliant to use

Quality costs, and no exception here, but the B2 still delivers a lot for your investment

OVERALL 97/100 A lovely and very impressive portable lighting system PROS Build quality, great to use, compact, modifier fitting, manual or full TTL option CONS A serious investment

Issue 18 | Photography News

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Camera test SPECS PRICE £899.99 body only, £1099.99 kit with M.Zuiko ED 12-50mm f/3.5-6.3 EZ CONTACT www.olympus.co.uk SENSOR 17.3x13mm Micro Four Thirds, 4608x3456 pixels ISO RANGE 100-25,600 SHUTTER 60secs-1/8000sec (mechanical shutter), 1/16000sec (electronic shutter), Time, Bulb, flash sync at 1/250sec

FULL TEST

Olympus OM-D E-M5 Mark II

MAX FRAME RATE Up to 10fps continuous METERING SYSTEM Digital ESP with 324 areas, centre-weighted and spot EXPOSURE MODES PASM, scene modes EXPOSURE COMPENSATION +/-5EV AUTOFOCUS MODES High speed imager AF, SAF, CAF, manual, 81 AF areas IMAGE STABILISER 5-axis sensor shift – yaw/pitch/roll/vertical/ horizontal, 5EV benefit MONITOR 3in vari-angle STORAGE MEDIA 1xSD, SDHC, SDXC, UHS-I/II compatible DIMENSIONS (WXHXD) 123.7x85x44.5mm WEIGHT 469g (including battery and card)

PN had a first look at Olympus’s new Micro Four Thirds model last issue, after a specially organised launch event. Now it’s time for a more considered verdict Words by Will Cheung Three years is an age in digital imaging, so you’d expect the OM-D E-M5 Mark II to have significant feature and performance benefits compared with the Mark I. But are those improvements enough to tempt existing Mark I owners to upgrade, and is the package good enough to attract wouldbe CSC buyers currently contemplating Fujifilm, Panasonic or Samsung?

Having had several days of using the two cameras side by side, often shooting the same scene with the same lens, I think I can say without fear of contradiction that existing E-M5 buyers should definitely think about upgrading, and to all those prospective CSC buyers: you must give this camera a look.

Physically, the Mark I and Mark II are very similar but there are some notable and worthwhile changes.

The On/Off switch has moved to the left of the top‑plate, the two input dials have been revamped and the monitor is now fully articulated. For low‑level shooting, in upright or horizontal formats, it’s a delight to use, which will please selfie shooters as well as those seeking more interesting viewpoints for their images. For me, it’s a shame Olympus didn’t go the whole hog and put the On/Off switch around or close to the shutter button, to make turning the camera on a truly one-handed operation.

Photography News | Issue 18

The exposure mode dial has gained a locking button identical to the E-M1’s in use. One push and the dial is locked in place; another push and the dial rotates normally, and you rely on the firm click-stops to keep the setting in place.

The two command dials are excellent and much better than the original E-M5’s dials. They are bigger and taller, and the milling makes them positive to use. Their position has also been slightly altered, so there is no longer any need to adjust the thumb’s position from the rear curved grip to use them.

That right-hand side of the top-plate is well populated with buttons. Expect to spend a little while getting used to their positions. With three function buttons (and another on the 2x2 control) and the customisable record button, it can take time to memorise what each does.

Olympus is proud of the camera’s image stabilisation skills, claiming a +5EV gain. It is certainly impressive, and several modes are available too.

I achieved razor-sharp handheld images at 1/4sec and 1/5sec that are identical to those from control shots taken using a tripod. Out of five attempts using the 12-40mm f/2.8, I was getting four sharp at these speeds, which is very good indeed.

Generally, the exposure and focusing systems did their job very well indeed. I left the camera mostly in aperture-priority AE and 324-zone multi-pattern metering, which proved consistently reliable in a wide variety of situations.

Autofocusing was a little more inconsistent, particularly when lighting levels dropped, and in low‑contrast situations. In very dim interiors, the system occasionally searched and failed to lock on.

Mostly, though, it was spot-on, and it wasn’t long before I started to recognise situations where the AF might struggle and was prepared for it.

In summary, the E-M5 Mark II proved a lovely camera in use, with handling and performance that are easily a step or two ahead of the original E-M5.

ABOVE The MkII’s articulated monitor is perfect for taking very low-angle shots like this without too much back pain.

Exposure was 1/160sec at f/2.8 and ISO 200.

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Camera test

43

ISO performance The digital noise performance of Micro Four Thirds cameras seems to improve with every new model and indeed the E-M5 Mark II represents a marked improvement over the original E-M5.

These Raw shots from the E-M5 Mark II fitted with the 12-40mm zoom were processed through the supplied Olympus Viewer 3 software with default settings.

I reckon that, if I had to, I’d happily use ISO 3200 or even ISO 4000 without worrying

ISO 100

too much about noise levels, knowing that I could reduce noise later in software. To be fair, there was still light in the sky for this twilight shot and a night image might show more noise, but even so, the signs are very promising.

As a comparison, also shown is a set of shots from the E-M1 and E-M5. You can see that the Mark II’s noise is much finer than the E-M5’s, while precise detail is better rendered than the E-M1’s results.

ISO 800

OLYMPUS OM-D E-M5 MARK II ISO 1600

ISO 3200

ISO 6400

ISO 12,800

FULL-FRAME IMAGE

E-M1 and E-M5 MkI high ISO comparison You wouldn’t expect there to be a huge difference between the images from the E-M1 and the E-M5 Mark II, given that they share the same sensor and processor, but the more marked difference is in how the original E-M5 compares with the MkII version. Noise is far more prominent on the original model at both 6400 and 12,800.

ISO 6400

High ISO noise reduction FULL-FRAME IMAGE

ISO 12,800

A night scene was shot using the E-M5 Mark II and 12-40mm f/2.8 zoom, and high ISO noise reduction applied at the three strengths available: low, normal and high.

ISO 3200 to 25,600 settings were tried, although only ISO 6400 is shown here.

Simultaneous Raw and JPEG files were shot and as it seems noise reduction is applied to both files, the results from the processed Raws is shown here. At ISO 6400, using normal or even high NR seems to benefit the image without affecting fine detail, so it’s definitely worth using. At higher ISOs, the NR seems to have more impact, so should be used with a little more caution.

ISO 6400 NO NR

ISO 6400 LOW NR

ISO 6400 NORMAL NR

ISO 6400 HIGH NR

OLYMPUS OM-D E-M5 ISO 6400

ISO 12,800

OLYMPUS OM-D E-M1

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Issue 18 | Photography News

44

Camera test Keystone Compensation

LEFT The Keystoning feature was used to straighten the interior of Ely Cathedral. Aiming the 9-18mm wide-angle zoom upwards gave the inevitable converging verticals. To the rescue came Keystone Compensation to straighten the verticals. Exposure here was 13secs at f/11 and ISO 200.

In a way, this camera feature is like having a built-in perspective‑control lens. It is applied to JPEGs only, although it can be used when the JPEG and Raw recording option is selected, so you may think that the Raw is altered too, but it isn’t. It can’t be used at the same time as High Res shooting.

This is a simple and very handy feature and can be used to deliberately distort subjects, as well as to correct converging verticals. Once it’s selected, the two command dials are used to adjust the image horizontally (front dial) or vertically (rear).

It helps, although it’s not essential, to have the camera on a tripod and the grid lines on the EVF/monitor showing to aid correct adjustment.

If you shoot a lot of architectural and interior images, this could be an absolute godsend and is likely to significantly reduce the time you spend correcting perspective in post‑production. Plus it’s good fun just to play around and see what creative effects you can come up with by distorting your images!

Shooting HDR Unlike some cameras’ HDR functions, which don’t work in Raw mode, the E-M5 Mark II’s HDR feature works whatever image quality mode is set, but the final effect is applied to the JPEG only. In both HDR1 and HDR2 settings the camera takes four consecutive shots very rapidly, so hand-holding is possible, and these are merged into one. HDR2 is for ‘super-high contrast’ settings, as the Help menu suggests.

You get one merged JPEG and one Raw file (not four) if simultaneous JPEG/Raw shooting is selected. If you like to make your HDRs in software, there’s the option of 3-, 5- or 7-shot brackets at +/-2EV and 3- or 5-shot brackets at +/-3EV.

HDR1

HDR2

RAW

The verdict

ABOVE This is a blow-up from a High Res Shot JPEG and the resulting file is 7296x5472 pixels. You can see it is more finely detailed than the interpolated Raw image, so if you need a big file and have a suitable subject, this mode is worth using.

High Res Shot mode High Res Shot is ingenious and works, with limitations. The camera takes eight shots within a second, the image sensor moving 0.5pixel in different directions with each shot, to give one big file. Size is increased: a standard Raw is around 15MB, while a High Res Shot Raw is 104.5MB; a standard JPEG is 8MB but a High Res Shot JPEG is over 17MB. However, if anything in the scene is moving, overlapping effects will result. Some movement is OK if there are no definite edges. I got a fine shot of moving fluffy clouds but if something with strong edges, like reeds, is in the foreground, the overlapping won’t look right. A solid tripod (or calm conditions) is essential too. A High Res Shot taken on a very windy day was unusable, probably due to camera buffeting. You also can’t select anything smaller than f/8 or faster than ISO 1600 and the self-timer can’t be used, although you can set a delay between shutter button being depressed and image being taken.

If High Res Shot is selected with Raw and JPEG output, you get an .ORI file in addition. This is a Raw format image at normal Photography News | Issue 18

As more and more photographers look for more compact and portable cameras, whether to replace their DSLR or to have two systems running side by side, the competition in the CSC market is hotting up.

Olympus has a strong hand, with its PEN range and models like the E-M1 and E-M10. The E-M5 Mark II does nothing but reinforce Olympus’s hand, and it’s a terrific camera selling at a competitive price. At less than £900 for the body only, it represents great value even if you sidestep the limited appeal of the composite mode and the High Res Shot mode, which is a great idea but not that practical in many situations.

The E-M5 Mark II offers excellent image quality, swift and accurate AF and generally responsive handling. Taken together, these qualities make for a lovely camera that deserves wide success, which it will undoubtedly get.

OLYMPUS OM-D E-M5 MARK II

ABOVE A file from a standard Raw original resized in Photoshop, using the Bicubic Smoother option, from 4608x3456 pixels to 7296x5472 pixels. In print-size terms, this is resizing from a 15x11.5in to a 24x18in print at 300ppi.

Raw file size, ie. around 15MB, and not the High Res Shot size of 114MB. This is handy because if you find later that the High Res Shot didn’t work, for whatever reason, you still have a Raw. However, bear in mind that third-party software might not support .ORI format, so unless you use Olympus Viewer 3 it’s a good idea to shoot a standard Raw as a backup.

When it all comes together and the subject is right, the results from High Res Shot mode are impressive.

FEATURES

25/25

PERFORMANCE

24/25

HANDLING

23/25

VALUE FOR MONEY

24/25

Difficult to think what else you’d need It produces excellent pictures with minimum fuss Great to use, but lots of buttons to get used to £899 buys a lot of camera – and in a neat package

OVERALL 96/100 A definite step up from the Mark I and a very fine camera PROS Feature-rich, great to use CONS High Res Shot limitations, aspects of handling fiddly

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Issue 18 | Photography News

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Camera review SPECS STREET PRICE £999 CONTACT www.fujifilm.eu/uk SENSOR 16.3 megapixels APS-C X-Trans CMOS II, 23.6x15.6mm IMAGE SIZE 4896x3264 pixels

ON TEST

Fujifilm X100T Roger Payne gets his hands on the third model in the Fujifilm X100 series, but is it all he’d hoped for? He takes it for a spin to see if it goes above and beyond its predecessors

ISO RANGE 200-6400 expandable down to 100 and up to 51,200 AUTOFOCUS MODES Single, continuous EXPOSURE COMPENSATION +/-3EV in 0.3EV stops, bracketing available SHUTTER 30secs-1/32,000sec, plus B and T (combination of mechanical and electronic shutter functions) METERING 256-zone metering multi, spot, average EXPOSURE MODES Program AE, shutterpriority AE, aperturepriority AE and manual SHOOTING SPEEDS 6fps MONITOR 3in, 1040k dot resolution

Words & pictures by Roger Payne

STORAGE 55MB internal memory, SD, SDHC, SDXC DIMENSIONS (WXHXD) 126.5x74.4x52.4mm WEIGHT 440g (including battery and memory card)

When I write, I use a fountain pen. When I shave, I use shaving soap and a bristle brush. When I listen to music, I do so through hi-fi separates.

That’s not because these are the easiest or most efficient options, it’s because of the way using these items makes me feel. Doing all of the above is, to me, an intensely satisfying experience, one that goes a considerable way beyond the basic function of the task itself. If you can appreciate this mindset, you’ll appreciate the Fujifilm X100T. It may not represent the easiest or most efficient way to take photographs, but it makes the picturetaking process immensely satisfying.

Fujifilm’s X100 series – now in its third incarnation – is a triumph of aesthetics over conformity. There are certainly cameras out there that handle better, are easier to navigate around and are better specified than the X100T, but they reside in a homogenous mass of middle-ground design and functionality; they do everything well, but they don’t really do anything differently. You simply cannot tar the X100T with the same brush.

As the father of the X-series, the original X100 first came to market in March 2011, and opinions were divided. Yes, it looked stunning. Yes, it delivered brilliant results, but what had happened to the autofocusing? Slow and ponderous, the AF frustrated. The X100S followed in early 2013, with improved AF and a new sensor at the top of a list of considerable changes. Now we have the X100T,

The Fujifilm X100T may not represent the easiest or most efficient way to take photographs, but it makes the picture-taking process immensely satisfying Photography News | Issue 18

which is more about fine-tuning. Tweaks abound, although existing X100S users may not consider them significant enough to upgrade.

Despite looking remarkably similar to its predecessors, the T does feature a plethora of design changes. The aperture ring on the fixed 23mm lens now offers third-stop steps, while the manual focus ring, shutter speed dial and exposure compensation dial (now offering +/-3 stops) have a more grippy surround. Around the back, there’s a larger and more detailed LCD, while the button layout has been shuffled. Ironically, the most significant external design change is also the least obvious. Whereas the X100 and X100S only had one function button that could be overridden, the X100T has seven – one on the top-plate, the four surrounding the Menu button and two on the left of the rear LCD. This is both good and bad. Good in that you can get the camera set up perfectly to your needs. Bad in that I regularly forgot which function I’d assigned to what button.

Both sensor and processor remain unchanged from the X100S, but there are alterations to the T’s viewfinder, which now boasts extra functionality, including an electronic rangefinder. This manifests as a small window representing an enlargement of the selected focusing point in the bottom right corner of the finder when the optical viewfinder mode is activated. If you’re autofocusing, it offers a useful extra visual check for sharpness, but it really comes into its own when manually focusing.

Here, the electronic rangefinder can use a digital split image or focus peaking to help confirm sharp focus. It’s certainly a useful addition but you do need to keep your eye straight to the viewfinder.

Look slightly off-centre, and you can get a ‘ghost’ of the rangefinder encroaching into the frame.

Other viewfinder improvements? The display rotates depending on the orientation of the camera, but only in the electronic viewfinder mode.

There’s also an automatic parallax correction mode where the framing alters depending on how close you are to a subject.

A maximum shutter speed of 1/32,000sec is made possible thanks to the T’s new electronic shutter although, by nature of its design, it won’t help you freeze really fast-moving subjects. That’s because the shutter ‘rolls’ to achieve this kind of speed with the sensor being progressively scanned. Any movement during this shutter roll will lead to image distortion. That said, 1/32,000sec is perfect for using the lens’s f/2 maximum aperture in bright conditions. And if the light’s still too bright, the X100T has a built-in three-stop ND filter that can be quickly switched on.

Other useful additions include the Classic Chrome Film Simulation mode, which offers muted tones remarkably similar to Kodachrome emulsions of old, plus there’s now Wi-Fi connectivity. I’m repeatedly told by people younger than me that wireless is the way forward, but I remain unconvinced, especially when you consider the frustrations I had with trying to get the X100T and my iPad to chat to each other.

But let’s get back to where we came in. The X100T may not be the best functioning camera I’ve ever used, it may have its quirks, but as soon as you see the results, all those minor indiscretions evaporate. Viewing an X-Trans image for the first time is, for me, as exciting and eye-opening as watching a print appear in a tray of developer.

The X100T delivers outstanding sharpness and delicious colours almost every time you press the shutter and that is what makes it so special. www.absolutephoto.com

Camera review

47

ISO performance FULL-FRAME IMAGE

ISO 1600

ISO 3200

ISO 100

ISO 200

ISO 400

ISO 800

ISO 6400

ISO 12,800

ISO 25,600

ISO 51,200

ABOVE The X100T’s larger sensor helps to ensure a top ISO performance. The native range is ISO 200 to 6400 and available in JPEG and Raw formats. Expansion to ISO 100 and 12,800 upwards means there’s the JPEG option only.

The verdict If you’ve never owned an X-series camera before and have the X100T on your radar, I have one piece of advice: buy one.

Don’t moan about what it doesn’t have, instead celebrate what it offers and tailor your photography accordingly – your pictures will improve. If you already have an X100S, your decision is more tricky.

Consider carefully whether the additions will be of benefit to your picture-taking.

Personally, I’m not convinced there’s enough to warrant a swap.

FUJIFILM X100T FEATURES

23/25

PERFORMANCE

23/25

HANDLING

22/25

VALUE FOR MONEY

24/25

Has all that it needs, but some will bemoan lack of tilting/touchscreen LCD

AF good, not infallible. Image quality is exceptional Design changes generally positive, but multiple Function buttons can confuse (me) Not cheap, but what price would you put on revolutionising the way you take pictures?

OVERALL 92/100 A flawed genius, but aren’t they all?

ABOVE Auto white-balance performance from the X100T is generally sound. Here’s a mixed light scene (tungsten and daylight) and the camera coped pretty well.

www.absolutephoto.com

PROS Superb image quality, better functionality, innovative features CONS Flaky Wi-Fi, fixed LCD, ERF ‘ghosting’

Issue 18 | Photography News

Photography News | Issue 18

www.absolutephoto.com

49

Technique PHOTO SCHOOL

Camera class Everyone has to start somewhere, even pros, and here we look at the core skills you need. This month: how to read a histogram for better exposures, and use Lightroom’s Adjustment Brush Words & pictures by Kingsley Singleton

The most significant improvement of digital cameras over film versions is the screen. Not just because it lets you compose and review pictures, but because you can assess whether the exposure is correct via the histogram. A histogram is the closest thing you have to a ‘true’ reading of the scene; unlike your eye, it’s not subjective or fooled by ambient conditions. So if you’ve ever shot something you thought was fine only to find out it’s over or underexposed later, then a quick glance at the histogram could have told you already.

You can bring up the histogram for images you’ve already shot, and on some cameras add it to the screen or viewfinder while you compose, letting you assess the scene in real time. n What is a histogram?

A histogram is a chart that displays precisely the tonal values in the image or the scene. In its most common form, the horizontal axis illustrates the lightness of the tones; from pure black at the far left, through the shadows, midtones and highlights, to pure white at the far right. The vertical axis shows how many pixels are grouped in each of those zones – the higher the level, the greater the number of pixels of that shade in the scene. On many cameras you can also get a colour histogram, showing the brightness of the individual red, green and blue channels within the picture.

ADOBE LIGHTROOM

Software technique The Adjustment Brush Lightroom has several local adjustment tools, but the Adjustment Brush is the most versatile, letting you make a variety of selective enhancements. Unlike the Graduated Filter and Radial Filter, the Adjustment Brush can be used in a completely unrestricted way.

This means you can literally paint in the changes right where you want them, for example making the picture lighter or darker, or more or less colourful.

You can adjust the brush’s size, the hardness of its edge and how rapidly your adjustment is applied to the picture. You can also use multiple brushes to build an effect. You’ll find the Adjustment Brush icon in the Develop module, underneath the Histogram, or access it quickly with the K shortcut key.

The brush features most of the same adjustments as the Basic tab, but it’s important to set it up correctly before you jump right in. Here’s what to look for. www.absolutephoto.com

n How to read a histogram Like any exposure tool, the histogram is there to ensure that the picture looks the way you want it, so broadly speaking there’s no one ‘perfect’ histogram to aim for. For example, if you see a large clump at the left of the chart, indicating lots of black in the scene, that could be good or bad depending on the type of shot.

If you’re shooting a dark scene or a silhouette, it’s okay.

But if you’re shooting a subject where you want lots of midtones instead of black areas, it’s not so good and your shot is likely to be underexposed. n What is clipping?

If an RGB histogram hits either end of the chart, parts of the image are ‘clipped’, and have lost any variation in the tones. Therefore there’s a loss of detail and most of the time that’s to be avoided. If you’re viewing a colour histogram, you’ll see that it’s possible for one colour to be clipped, but not the others, and so long as not all the colours are clipped there’ll be some detail retained. n How to improve exposures Having read the histogram, it’s time to adapt your shooting settings, for example using exposure compensation via the ‘+/-’ button. So, if the picture is too dark dial in a positive amount, like +1 EV, and check again. If it’s too light, do the opposite.

HISTOGRAM biased to the left (underexposed)

HISTOGRAM in the centre (correct exposure)

HISTOGRAM biased to the right (overexposed)

NEXT MONTH: More easy-to-follow camera and Lightroom tips to improve your shots.

BRUSH SETTINGS At the bottom of the palette are the Brush settings. You can have two brushes on the go at once, using the A or B options, to swap quickly between them.

You can also delete or fade out edits you’ve made using the Erase option. The Size control governs how big the brush is, and Feather sets the softness of its edge (you’ll usually want this set high so your edits blend well with the rest of the picture).

FLOW & DENSITY Flow allows you to build up your adjustments quickly or slowly, depending on the setting. Doing this slowly looks more natural, so unless you want the whole adjustment to take place with one brush sweep, set this to a low number.

Density caps the overall amount of adjustment applied.

So if you were applying +2.00 of Exposure and set the Density at 50 you’d only get +1.00 in total.

MASKING OPTIONS The Auto Mask option, if ticked, will use edges within the picture to guide the brush, making it easier to adjust complex areas. In the example here, see how the mask has stuck to the shape of the hill, making it easier to apply changes there. To see where you’ve brushed, turn on the Mask Overlay with the shortcut key O, and cycle through the overlay colours using Shift+O.

BRUSHES & PINS The Brush has an inner and outer circle, illustrating its Size and the amount of Feather.

Each time you paint with a new brush you’ll get a ‘pin’ and you can click between these to make adjustments (use Show Edit Pins under the image preview if you can’t see them). You can increase or decrease the overall adjustment you’ve made by clicking a pin and dragging left or right.

Issue 18 | Photography News

Photography News | Issue 18

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Issue 18 | Photography News

Photography News | Issue 18

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Issue 18 | Photography News

Photography News | Issue 18

www.absolutephoto.com

www.absolutephoto.com

Issue 18 | Photography News

Photography News | Issue 18

www.absolutephoto.com

www.absolutephoto.com

Issue 18 | Photography News

Photography News | Issue 18

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Issue 18 | Photography News

Photography News | Issue 18

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Issue 18 | Photography News

62

Prize wordsearch

Win new Samsung memory!

You can capture all life’s special moments securely with Samsung’s ultra- reliable new range of high performance PRO SD cards. PRO cards support UHS-I and offer read speeds of up to 90MB/s. They are also water and shockproof, and resistant to extreme temperatures, X-rays and magnets, plus they come with a ten-year limited warranty.

We’re giving away one 32GB PRO SDHC card to each of two lucky winners. Just complete the wordsearch below, and you’ll find one word in the list that’s not in the grid. Email us on puzzle@ photography-news.co.uk with that word in the subject line by 20 April 2015, and you could be a winner!

π To find out more, go to www.samsung.com/ memorycard.

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Aperture Autofocus Automatic Background Battery

Cap Case Clarity Coating Compact

Element Fill Flare Flash Hue

Ink ISO Pancake Ringflash Tether

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Photography news

Produced by Bright Publishing Ltd,

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

Photography News | Issue 18

EDITORIAL TEAM Editorial director Roger Payne Editor Will Cheung FRPS 01223 499469 willcheung@bright-publishing.com Contributing editor Kingsley Singleton kingsleysingleton@bright-publishing.com Features writer Megan Croft megancroft@bright-publishing.com Sub editors Lisa Clatworthy, Hannah Bealey, Debbie Poyser & Ian Farrell

ADVERTISING TEAM Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Sales executive Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com Key accounts Maria Francis 01223 499457 mariafrancis@bright-publishing.com DESIGN TEAM Designers Katy Bowman, Lucy Woolcomb & Mark George Design managers Andy Jennings & Alan Gray

PUBLISHING TEAM Managing director Andy Brogden Managing director Matt Pluck Head of circulation Chris Haslum As well as your local camera club, you can pick up Photography News instore from: Calumet, Cameraworld, Castle Cameras, Jessops, London Camera Exchange, Park Cameras, Wilkinson Cameras

n Photography News is published on the third Monday of every month by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. n No part of this magazine can be used without prior written permission of Bright Publishing Ltd. n Photography News is a registered trademark of Bright Publishing Ltd. n The advertisements published in Photography News that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. n The content of this publication does not necessarily reflect the views of the publisher. n While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. n Street pricing at the time of writing is quoted for products.

www.absolutephoto.com

Advertisement feature

Cash in with Canon’s cashback offers With Canon you know you’re investing in quality, but you can make your money go even further by taking advantage of Canon’s unmissable cashback offers

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EF 16-35mm f/4L IS USM SPECS IMAGE STABILISER 4 stops CLOSE FOCUSING DISTANCE 0.28mm FILTER THREAD 77mm DIMENSIONS (DXL) 82.6x112.8mm WEIGHT 615g

Broaden your photographic horizons with the ultra wide-angle EF 16-35mm f/4L IS USM lens. It’s no ordinary zoom – as well as being lightweight, it also puts in an impressively high performance.

Three aspherical and two UD elements give you corner-to-corner clarity and work to virtually eliminate chromatic aberrations. Flare and ghosting are near enough banished and that’s all down to a Super Spectra Coating, which also renders your pictures with accurate colour balance and enhanced contrast.

To make your foreground subjects really pop, a nine-blade circular aperture diaphragm results in super-smooth out-of-focus backgrounds. Adding to this zoom’s more than impressive credentials, its four-stop image stabilisation technology comes into its own when shooting handheld in low light or when using the macro setting.

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PIXMA PRO-10S SPECS PRINT RESOLUTION Up to 4800x2400 dpi NUMBER OF INKS 10 PHOTO PRINT SPEED A3+ with border, approx 3mins 35secs WIRELESS Yes

Achieving gallery-quality pictures doesn’t always have to mean an expensive trip to the printers. The PIXMA Pro-10S has a ten-ink pigment based system that delivers professional colour and mono prints as small as 10x15cm right up to A3+ size – it’s quick too, printing a bordered A3+ high-quality print in less than four minutes.

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DIMENSIONS (WXHXD) 689x385x215mm WEIGHT 20kg

cables – ideal for when you’re short on space. One of the great benefits of the PIXMA Pro-10S is being able to print directly from Cloud services such as Facebook, DropBox and Google Drive. You can also print straight from your smartphone or tablet.

As well as being suitable for printing on a range of papers, you can easily print labels directly onto CDs. Act fast to make the most of the £75 cashback offer on this top-end printer.

Travelling light doesn’t have to mean compromising on picture quality. Ditch the accessories and heavy camera kit, all you need for pro-style photos on the go is the PowerShot G7 X. Yes it’s a compact, but size is about all it’s small on. An intelligent design means that behind its superior-build metal body, it packs in a sizeable one-inch CMOS sensor. Lightweight and super light sensitive, the G7 X is the pocket-sized powerhouse.

Carry less, travel more and take even more pictures. That’s what the G7 X is designed for and with a fixed zoom lens, it’s even easier to take the perfect picture. The bright f/1.2-2.8 lens works in tandem with the sensor to let in loads of light for extra detailed shots, and portraits with professional bokeh backgrounds. It’s a 4.2x optical zoom lens too, so you can get right up close to your subject.

Add in five-axis image stabilisation and you can shoot tripod-free confidently and still achieve pin-sharp results.

It might be considerably slimmer than a DSLR, but it still offers high-end, intuitive shooting, with a control ring and customisable buttons. Shoot off-the-cuff pictures using the touchscreen, which is intuitive to use and tilts to let you get the best view of the scene.

What’s more, Canon is offering £40 cashback on the PowerShot G7 X. A great offer for an even greater camera.

SPECS

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SENSOR SIZE/TYPE 1in back-illuminated CMOS RESOLUTION 20.2 megapixels ISO SENSITIVITY 125-12,800 SHUTTER SPEED RANGE 1-1/2000sec REAR LCD 3in tiltable, 1040k dots DIMENSIONS (WXHXD) 103x60.4x40.4mm WEIGHT 304g (including battery and memory card)

www.canon.co.uk/springcashback

Issue 18 | Photography News

Advertisement feature

Photography news

Produced by Bright Publishing Ltd,

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

Photography News | Issue 18

EDITORIAL TEAM Editorial director Roger Payne Editor Will Cheung FRPS 01223 499469 willcheung@bright-publishing.com Contributing editor Kingsley Singleton kingsleysingleton@bright-publishing.com Features writer Megan Croft megancroft@bright-publishing.com Sub editors Lisa Clatworthy, Hannah Bealey, Debbie Poyser & Ian Farrell

ADVERTISING TEAM Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Sales executive Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com Key accounts Maria Francis 01223 499457 mariafrancis@bright-publishing.com DESIGN TEAM Designers Katy Bowman, Lucy Woolcomb & Mark George Design managers Andy Jennings & Alan Gray

PUBLISHING TEAM Managing director Andy Brogden Managing director Matt Pluck Head of circulation Chris Haslum As well as your local camera club, you can pick up Photography News instore from: Calumet, Cameraworld, Castle Cameras, Jessops, London Camera Exchange, Park Cameras, Wilkinson Cameras

n Photography News is published on the third Monday of every month by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. n No part of this magazine can be used without prior written permission of Bright Publishing Ltd. n Photography News is a registered trademark of Bright Publishing Ltd. n The advertisements published in Photography News that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. n The content of this publication does not necessarily reflect the views of the publisher. n While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. n Street pricing at the time of writing is quoted for products.

www.absolutephoto.com