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PhotoReview

A U S T R A L I A

$9.95 Incl. GST JUN-AUG 2012

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REVIEWS 4 Lenses Pentax K-01 FujiďŹ lm X PRO-1 Canon 5D Mark III

TECHNIQUE Printing photo books Shoot with long lenses When to replace equipment Copyright and watermarking Manage images as you travel

CAITLIN WORTHINGTON | Natural fashion PAUL GUMMER | Drawing the viewer in JEFF MOORFOOT | The accidental photographer

ISSUE 52 I S S N 1839-5899


contents Display your images on Photo Review’s gallery at www.photoreview.com.au.

PhotoReview

For magazine submissions, send Don a link to your images dnorris@photoreview.com.au

A U S T R A L I A

$9.95 Incl. GST JUN-AUG 2012

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INSIDE

Cover image by Caitlin Worthington See page 18. REVIEWS 4 Lenses Pentax K-01 Fujifilm X PRO-1 Canon 5D Mark III

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Editorial

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Products & Trends

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Photo Challenge

TECHNIQUE Printing photo books Shoot with long lenses When to replace equipment Copyright and watermarking Manage images as you travel

CAITLIN WORTHINGTON | Natural fashion PAUL GUMMER | Drawing the viewer in JEFF MOORFOOT | The accidental photographer

ISSUE 52 I S S N 1839-5899

INSPIRATION 10

PAUL GUMMER: DRAWING THE VIEWER IN Photography is ‘like a good novel, it’s like a piece of music, it’s like a movie, a painting – it’s an expression of your imagination,’ – and shouldn’t have to be a strict rendering of reality, argues Paul Gummer.

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CAITLIN WORTHINGTON: NATURAL FASHION Perth photographer Caitlin Worthington talks about the inspirations and techniques behind her ‘dreamy, not quite realistic’ fashion photography.

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JEFF MOORFOOT: THE ACCIDENTAL PHOTOGRAPHER Jeff Moorfoot took a circuitous route to photography and arrived late – but he hit the ground running and shows no sign of slowing down.

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contents

ADVANCED COMPACTS 59

PANASONIC LUMIX DMC-TZ30

LENSES 58

FUJINON XF 18mm f/2 R

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FUJINON XF 35mm f/1.4 R

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FUJINON XF 60mm f/2.4 R Macro

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SIGMA 150mm F2.8 EX DG OS HSM APO Macro

Editor Don Norris dnorris@photoreview.com.au Technical Editor Margaret Brown mbrown@photoreview.com.au Trade News Editor Keith Shipton keiths@photoreview.com.au Contributor Steve Packer

INSIDER

Creative Director DarrenRiches Waldren Aaron

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Publisher David O’Sullivan dosullivan@photoreview.com.au

WHEN TO REPLACE EQUIPMENT We dispel a few myths while exploring aging, obsolescence and your imaging equipment.

Publication Manager Pauline Shuttleworth pshuttleworth@photoreview.com.au

TECHNIQUE 37

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Accounts Manager Heather Hampson mpaccounts@photoreview.com.au

SHOOTING WITH LONG LENSES How to achieve the best results when hand-holding telephoto lenses.

Media Releases edmail@photoreview.com.au

COPYRIGHT AND WATERMARKING

Advertising Phone (02) 9948 8600 pshuttleworth@photoreview.com.au

Protect and identify your images before posting them online.

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Subscriptions One year (4 issues) $29.00 $36.00 including GST and delivery in Australia. See page 33 this issue or phone: (02) 9948 8600 or online: www.photoreview.com.au

PRINTING PHOTO BOOKS We investigate the most suitable and cost-effective media and systems for producing custom photo books.

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Photo Review Australia is printed on Monza SatinSatin Recycled Pacesetter PaperPaper with with ISO 14001 Environmental Accreditation Printed by Pegasus Print Group

MANAGING IMAGES AS YOU TRAVEL How to keep your digital photos safe and organised while you’re on the move.

PRINTERS

BUYERS GUIDE

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An affordable A3+ printer for photo enthusiasts and small businesses that occasionally require large, highquality prints.

DSLRS 55

CANON EOS 5D MARK III An upgrade to the EOS 5D Mark II with a new image processor, inbuilt HDR processing and similar AF and video facilities to the EOS-1D X.

EPSON ARTISAN 1430

COLOUR MANAGEMENT 62

DATACOLOR SPYDER4 ELITE Datacolor’s flagship Spyder colorimetric system.

Design by itechne [www.itechne.com] Impressive Print Solutions aaron@impressiveprint.com.au phone (03) 9421 8833 Distributed by NDD Network Services Photo Review website by itechne All content in Photo Review Australia is protected under copyright and cannot be reproduced in any form without written consent from the publisher. Photo Review Australia is published by

MIRRORLESS INTERCHANGEABLES 56

PENTAX K-01 A sophisticated mirrorless camera with an APS-C sized sensor and the ability to use Pentax K-mount lenses.

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FUJIFILM X PRO-1

NET EFFECT 64

OUR WEBSITE FINDS Our editor was ‘just browsing, thank you’ when he came across this basket-full of gems.

A premium interchangeable-lens compact camera for professional photographers and serious enthusiasts.

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Media Publishing Pty Limited ABN 86 099 172 577 Office 4 Clontarf Marina Sandy Bay Road, Clontarf NSW 2093 Australia Ph: (02) 9948 8600 Fx: (02) 9948 0144 Em: edmail@mediapublishing.com.au Photo Review website: www.photoreview.com.au

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Inspiration

Afon Rhaeadre Fach, North Wales

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Inspiration

drawing the viewer in

Mangaweka, New Zealand

FOR PAUL GUMMER, GREAT PHOTOGRAPHY IS ALL ABOUT THE EXPRESSION OF FEELING. By Don Norris

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Inspiration

Tui, New Zealand

‘I’m actually in the darkroom,’ Paul Gummer chuckled down the phone line. ‘It’s the only room that doesn’t get used these days.’ The disused darkroom in question is on the campus of Paul’s employer, UCOL (the Universal College of Learning), in Palmerston North on New Zealand’s North Island. UCOL was founded in 1902 as a technical institute. It now has three campuses and provides a wide range of diploma and degree courses to international and local students. Paul’s department, which has a photographic imaging program, offers highly regarded courses to aspiring photographers and designers. While the primary focus of UCOL’s photography program is on establishing the sound technical and business skills modern photographers must have to succeed, the artistic and creative dimensions of their practice are also nurtured. ‘In my teaching, I use the analogy of journalism and poetry,’ Paul explained. ‘Journalism is very factual. It takes you there, you get the information and it’s all great. But usually once you’ve read it, you don’t really want to read the story a second time - and certainly not a fourth or fifth time. But poetry you can read a hundred times and you never quite understand it fully and every time you see something different. There’s an enduring quality about it.’ That may not sound like the sort of sentiment you’d necessarily expect to hear in the cut-and-dried world of technical education, but then Paul Gummer isn’t your typical technical education senior lecturer either. Prior to joining UCOL, Paul worked as a freelance

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Glastonbury Abbey, England

photographer in the UK where he specialised in architectural work. A fellow of the New Zealand Institute of Professional Photographers and a Master of the Australian Institute of Professional Photographers, Paul was named the NZIPP Creative Photographer of the Year in 2008, then the NZIPP Landscape Photographer of the Year in 2009 along with the New Zealand Professional Photographer of the Year. Giving the local competition a rest, in 2010 he crossed the ditch to win the AIPP’s Australian Landscape Photographer of the Year award. Although he was born and grew up in England, Paul’s mother is Australian and it was here that he undertook his formal photographic training during the 1980s. He attended the Photography Studies College in Melbourne, a private college run by practicing professional photographers. ‘They just got to the heart of the matter and talked about pictures and good ways to make them,’ Paul said. ‘They exposed us to lots of great photographers - mostly Americans actually. I once asked my tutor why they didn’t show any English photographers. He just looked at me and said, “Paul, there aren’t many”. In his view you got to Bill Brandt in the ‘30s and then it kind of dried up until the ‘70s. ‘So I discovered people like Wright Morris, Walker Evans and landscape photographers like Eliot Porter and the obvious ones like Edward Weston and Ansel Adams.’ Like most photography students, he started out with a 35mm camera and a few lenses but, ‘during my

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first year, one of my tutors noticed I liked landscape and asked if I’d ever thought of buying a field camera. I said, “what’s that?” having never heard of them. In the end I got a 5x4 wood and brass camera. Pretty soon after that, all my camera gear was stolen, The police got the 5x4 back because you can’t sell wooden view cameras for drugs money in a pub, apparently.’ ‘I couldn’t afford another 35mm kit, so I did everything on 5x4. From there I started to develop an approach to shooting landscapes. And then someone asked if I’d ever thought of doing architecture for a living.’ While he hadn’t considered architecture before then, he was happy to try his hand and he began taking pictures at the famous artists’ colony of Montsalvat. Inspired by the work of the great English photographer of cathedrals, Frederick Evans, Paul soon became a regular visitor to Montsalvat with his 5x4. So frequently did he appear, that eventually ‘the people there said “would you like a key and let yourself in?”.’ Frederick Evans, said Paul, ‘described himself as a photographer of shadows and I saw myself the same way.’ To achieve the extremely long scale look of Evans’ platinum prints, Paul soon found himself having to learn the art of the very long exposure (10-20 minutes, typically) and its companion discipline, pull development in highly diluted developer. Although it’s been years since he worked in the darkroom, Paul’s style still retains a strong connection


Inspiration

Courgettes

with analog photographic techniques. Burning and dodging in the darkroom has been replaced with layers and curves in Photoshop, but the intention remains the same. ‘It’s about trying to express some sort of feeling in the picture - as opposed to just recording the subject,’ he said. ‘I think that’s what the darkroom could do for me; pull me away from record shots and into something emotive. But I didn’t realise I was doing it for years - I just did it. In two words, it’s about intuition on the part of the photographer and about conveying feeling.’ With his landscape photographs, Paul said, ‘‘I’m trying to take people on a journey to another place. I want them to see something they recognise - yet to feel transported to another world, in a sense. It looks recognisable, but somehow it’s not. I think that’s where long exposures and water came in. I’ve always had an attraction to water,’ he explained, ‘and to the whole thing of long exposures making it look dreamy and misty and other-worldly and yet at the same time retaining a sense of accessibility so that it’s not surreal.’ ‘I look for good light,’ he added. ‘I look at the long-range weather forecast and if I’ve got a day or two off, I’ll book the time when I think the weather’s interesting. Otherwise I photograph when it’s flat light because I can do things with it. If I’ve got a flat image, I can do a lot with that. I can add all sorts of things, burn, dodge and so on and tweak colour. But strong sunshine just kills it for me.

“Frederick Evans described himself as a photographer of shadows and I saw myself the same way.”

Hill Village, Italy

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tips: organising

organising tips:

Managing images as you travel HOW TO KEEP YOUR DIGITAL PHOTOS SAFE AND ORGANISED WHILE YOU’RE ON THE MOVE. By Margaret Brown ravelling with a laptop is commonplace, although these T days many laptops are being replaced by more portable ‘tablet’ devices. Unfortunately, while they provide an attractive platform for viewing your photos as you travel, most tablets are designed for consuming media, rather than creating or managing it. Many smart-phones have higher-resolution cameras than most tablets and provide a wider range of adjustments. They can also be easier to use. However, both types of devices, while fine for grabbing quick snapshots, are difficult to use for creative photography because their control suites are so limited. They are also JPEG-only, with all the compromises inherent in that file format (see below). Being able to email shots you’ve taken with the built-in camera in your mobile device while you’re on the move is extremely convenient. But, if you’re at all serious about your photography and want to come home with memorable images of your trip, you really need to take a dedicated camera. This raises the issue of how to manage your highresolution images as you travel and ensure the shots you take are stored and backed-up safely when you need to free up space to capture more. It’s not as simple as it may seem.

Tablet computers provide attractive viewing platforms for images and videos and can make it easy to share files, but their storage capacities are limited. Adding a USB thumb drive, as shown here, can extend storage for some tablets.

CAPTURE TO STORAGE Backing-up image files is essential as you travel. When you review the day’s shots each night, you need an efficient way to transfer image files from a camera to a safe storage system plus sufficient storage space to accommodate the files you want to keep.

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tips: organising

Storage requirements vary with different types of photographers. Casual snapshooters who seldom shoot video clips could probably get by with around 16GB of storage space for a fortnight’s trip. Tablet-based storage could be an option for these photographers, although they may require an additional USB thumb drive to provide back-up security and space for data overflow. In contrast, serious photographers will need at least 200GB – and probably more, particularly if they shoot raw files and/or record video clips. A portable hard drive is currently the only choice for high-volume shooters, although it needs to be carried with you throughout your trip. (Make sure it’s packed in a different carrying case from your computer.) You must also balance the need to preserve the files you want to edit and print while at the same time having easily accessible JPEG versions for sharing. Some cloud-based storage services (see below) make image sharing easy as they automatically resize the copies of shots you send without changing your originals. Uploading images to a tablet is another option that can achieve the same result. Important image files can also be copied to an optical disk, which is easy to post home while you’re en route. Most photolabs around the world offer back-up to CD or DVD as a service. Even though the storage capacity of disks is limited, they’re cheap enough to make disk storage a worthwhile option for photographers who shoot raw files and want to preserve their integrity until they return home. ISSUES TO CONSIDER If you’re determined to travel light, the first decision you must make is which file formats you’ll shoot – and whether you plan to record any video clips. Both raw files and video are data-hungry and you’re likely to fill an 8GB memory card in a few hours if you shoot mainly in either format. In fact, if either raw or video shooting is your main focus, you might as well forget about using a tablet and stick with your laptop. But, even if you’re a JPEG-only shooter, before you replace your laptop with a tablet for travelling, there are a few additional issues to consider: 1. There’s a limit to the amount of data a tablet can actually store. At entry level you get 16GB, rising to 64GB with premium products. Space fills quickly when you try to store JPEGs from your 16-megapixel (or higher) camera – and even faster if you shoot movies and/or raw files. Some tablets can’t handle raw file formats and a some provide no facilities for expanding the on-board memory.

2. Syncing files between your regular computer and a tablet’s file system can be difficult. In the case of the iPad, files are treated as components of each app’s workspace and transferring them from one device to another involves cables, add-on accessories, iTunes and a lot of toggling. Bluetooth and WiFi are available in the iPad 3 and also in many Android machines. Some Android tablets have USB interfaces and/or SD card slots that provide several options for memory expansion, including the ability to connect portable hard drives. However, transferring files between devices can be tricky and is often slow. 3. Moving images off a tablet also requires a fair bit of bandwidth, particularly when you have large files. While travelling you’re often dependent on the WiFi hotspots in cafes, at airports and in hotels (although some provide plug-in internet access). At best, these places provide a limited service that’s good enough for sending emails and basic browsing. But don’t try sending 16GB of image files. 4. Bandwidths are smaller and costs are significantly higher if you try transmitting files via your telecom’s services, either as an upload from a 3G tablet or via a smartphone. And you can easily exceed your monthly data allowance if you try uploading a single day’s shots this way. Given all these obstacles, travelling with a laptop still has a lot going for it, particularly if you buy a high-capacity portable hard disk drive for backing-up your files. Even a fairly basic laptop should have at least one USB port plus enough storage capacity for a couple of weeks’ shooting. But that doesn’t necessarily mean you should ignore the cloud storage option.

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DSLR baseplate with 1/4” thread and rubberised base. Follow focus system with adjustable lens collar to fit up to 105mm diameter lens focus ring.

CLOUD STORAGE An attractive solution when travelling is to store files ‘in the Cloud’; in other words, online. Tablets and cloud storage may seem like a marriage made in heaven, but making that marriage work isn’t as simple as you think. There’s an ever-present worry that the transfer of files could be interrupted, the provider’s servers might crash or somebody may interfere with your data. And even when things run according to plan, you require a reliable way to download the files you’ve stored when you need them. Getting all these factors right is a pretty big ask even though much of the technology infrastructure is available to make it both possible and efficient. Fortunately, there’s nothing particularly new about cloud-based storage. If you have a Gmail, Yahoo, Hotmail or Windows Live email account it’s where your emails are stored. The same is true for photographers who use Google’s Picasa Web Albums.

Create professional focus results with the most critical part of the rig, this gear driven follow focus system will enables slip-free and accurate movements. Cinema standard 0.8 mod, fits on industry standard 15mm rod with 60mm rod distance. Adjustable locking system to fit different diameter lens sizes.

Matte box is available. Rubberised ergonomic handle is angle adjustable to provide comfortable and firm grip. Available from quality photographic retailers & online stores.

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Preview: Photo Review Jun-Aug 2012 Issue 52  

Preview: Photo Review Jun-Aug 2012 Issue 52

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