Download - Photography Monthly 201105
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 1/116
ÛÈÐÛÎ×ÛÒÝÛ Ô×ÚÛ ó ÝßÐÌËÎÛ ÌØÛ ÓÑÓÛÒÌ×ÍÍËÛ ïî
ÓßÇ îðï
ìî ÐßÙÛÍ ÑÚ ÐØÑÌÑÙÎßÐØÇ Ì×ÐÍ ú ÌÛÝØÒ×ÏËÛ
ØÑÉ ÌÑÍØÑÑÌ ßÔÔ ÜßÇ
ú ßÔÔ ÑÚ ÌØÛÒ×ÙØÌ
}íòçç
ÐÔËÍæ
è ÐßÙÛÍ ÑÚÑËÎ ÎÛßÜÛÎÍ•ÞÛÍÌ ×ÓßÙÛÍ
ïê ±º ¬¸» ©±®´¼•- ¾»-¬ °¸±¬±¹®¿°¸»®- -¸¿®» ¬¸»·® -»½®»¬-ô ¬»½¸²·¯«»-¿²¼ ¿¼ª·½» ¬± ¸»´° §±« ½®»¿¬» -¬«²²·²¹ ·³¿¹»-
ÌÛÍÌ ÆÑÒÛ
Ø×ÙØóÛÒÜÞËÌ ÔÑÉÐÎ×ÝÛ
Ñ«® º¿ª±«®·¬»°®»³·«³ ½±³°¿½¬-
¿¬ ¾«¼¹»¬ °®·½»--¸±±¬ ·¬ ±«¬
ÚóÍÌÑÐ
ØÑÉÌÑ ÙÛÌ
ÛÓÑÌ×ÑÒ×ÒÌÑ ÇÑËÎ
×ÓßÙÛÍ
豬±¹®¿°¸§Ó¿-¬»®
Ü¿ª·¼ É¿®¼»¨°´¿·²- ¿´´
ÌØÛ ÚËÖ×Ú×ÔÓÚ×ÒÛÐ×È ÈïððÎÛÊ×ÛÉÛÜ
×- ¬¸·- ¬¸» ®»¬«®²±º ¬¸» ®¿²¹»º·²¼»®á
Õ×ÌÌÛÜ ÑËÌÿ
ܱ²•¬ ³·-- ±«® »--»²¬·¿´´¿®¹»ó½¿°¿½·¬§ ¾¿½µ°¿½µ ®»ª·»©
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 2/116
T h e L u m i x G F 2 s o l d w i t h a
v a r i e t y o f l e n s c o n fi g u r a t i o n s .
C h e c k w i t h d e a l e r f o r d e t a i l s
.
L u m i x G F
2 ,
1 / 2 5 0 s e c @
f 2 . 8 ,
I S O 2 0 0
‘‘GET OUT OF THE ORDINARY” “Like the shots it lets you take, the Lumix GF2 is a break from the ordinary. It does
everything conventional cameras can, but in a smaller, more compact body so youcan capture inspiration anywhere with ease. For photographers who like to look atthe world differently, it completely redefines what’s possible.”
Will Cooper-Mitchell uses the Panasonic Lumix GF2. D-SLR performance andinterchangeable lenses in a more compact body.
See more pictures taken by Will on the GF2 at panasonic.co.uk/acityexposed
Will Cooper-MitchellPhotographer
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 3/116
WWW.PHOTOGRAPHYMONTHLY.COM [3]
WELCOMEMAY 2011 | ISSUE 121
FROM THE EDITOR
EDITOR’S IMAGE | MATTHALSTEADTHIS IMAGE | BRYAN ALEXANDER
COVER IMAGE | MARK GILLIGAN
SOME PHOTOGRAPHERS HAVE A FAVOURITE PART OF THE DAY IN WHICH TO SHOOT, OTHERS ARE
HAPPY TO CAPTURE IMAGES, NO MATTER WHAT THE TIME OR THE CONDITIONS THEY FIND
THEMSELVES IN. Whichever of these categories applies to you, there is no doubt that the ability to be able
to handle any situation you might encounter is a vital component in becoming as good a photographer as you
want to be.
This month we have devoted the majority of the magazine to covering the challenges we all face with our
cameras – morning, noon and night. As always we have turned to the best photographers in their fields
worldwide to provide the advice you need to have the self-assurance to succeed, no matter what the
circumstances. We all like to be confident in what we are doing and I hope this issue makes you determined
to take risks, experiment and enjoy your photography even more than you do now.
Regular readers will I am sure have noticed that this month we have changed the way the magazine is bound. There was a time,
when I first started out in publishing more than 25 years ago, that ‘staple bound’ was a cheaper solution for magazines than the now
more prevalent ‘perfect bound’. However, times change and this is no longer the case. Our decision to change to the new format was
a photographic one; we wanted to let the amazing images we feature every month really sing across two pages without the bend in
the middle which magazine people call the gutter. So no more pictures in the gutter – that has to be a good thing!
Grant Scott
Editor, Photography Monthly
PM
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 4/116
T R O Y P A I V A
/ G A V I N G O U G H / T O N Y H O W E L L / S T E V E M c C U R R Y / Y A M A N I B R A H
I M
[4] PHO TO GRAPHY M O NTHLY MAY 2011
CONTENTSPHOTO MONTH9-13 ESSENTIAL NEWS FROM THE WORLDOF PHOTOGRAPHY, INCLUDING:
The latest book of images from Steve McCurry,
the 2011 Sony World Photography Awards,
Tokina’s new lens for full frame sensors and
a collection of work by influential American
photographer Robert Mapplethorpe.
26-45 SHOOTING IN THE MORNINGWe bring you the best tips and techniques to
help you get the most from photographing
in the early-morning light, wherever you are.
49-59 SHOOTING IN THE DAY
Follow the advice of some of the world’s best
photographers as they show you how to take
advantage of the sun to shoot all subjects.
60-75 SHOOTING AT NIGHT
Shooting in the dark can be rewarding and fun.
Find out how to use the night sky and extra
lighting to make inspiring and exciting images.
84 LARGE-CAPACITY
BACKPACKS
Photographers who need to go
further for longer to make the
images they seek have to carry a
lot of equipment, so Jessica Lamb
takes a look at the biggest and best
backpacks on the market.
24 HOURSSHOOTINGSPECIAL
GOONLINE
For greatphotographerinterviews visit
www.photography monthly.com
O N T H E
C O V E R
O N T H E
C O V E R
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 5/116
WWW.PHOTOGRAPHYMONTHLY.COM [ 5]
CONTENTS
READERS’GALLERY
Every month we feature the best ofour readers’ pictures that have been
posted in our online gallery
15
O N
T H E C O V E R
O N
O N T H E
C O V E R
REGULARS3 WELCOME
Monthly news from the Editor.
7 FRIENDS
Those who have helped us to put this
month’s issue together.
46 SUBSCRIPTIONS
Subscribe to Photography Monthly and
get the magazine for half-price.
TEST ZONE92 PREMIUM COMPACT
CAMERA ROUND-UP
Kelly Weech brings you the best
high-end compact cameras available
online for less than £300.
98 FUJIFILM FINEPIX
X100 RANGEFINDER
The new digital rangefinder from
Fujifilm is a thing of beauty. PM Editor
Grant Scott took one for a test drive to
find out if it could also take great images.
WIN STUFF ON PAGES 23, 79, 88
O N T H E
C O V E R
O N T H E
C O V E R
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 6/116
ModernTechnologyClassic Design
Inspired by the beauty and form of classic cameras from the
past, the FinePix X100 combines all the latest technical digital
innovations in a beautiful, traditional chassis which oozes
class and prestige.
T e Pofessional’s Choice
N O W
f o r d
e m o n s
t r a t i o
n
a t a s t o
r e n e a
r y o u
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 7/116
WWW.PHOTOGRAPHYMONTHLY.COM [7 ]
Cass Chapman
Journalist
Regular contributor Cass travels
around the world in the course of
her work, writing for a number of
publications, including our sister
title, Professional Photographer .
In this issue, as part of our
24 Hours of Shooting special, she
speaks to some of the world’s best
photographers to find out about
their work. For great images and
inspiration turn to page 25.
Rachael D’Cruze
Journalist
Rachael is also a regular contributor
to the magazine. She is based
in the South West of England where
she works as a journalist and
photographer. She contributes
regularly to publications ranging
from The Guardian to Total Guitar
magazine and is the second writer
this month to help in our 24 Hours
of Shooting special. Find out what
she learned on page 25.
Kelly Weech
Features assistant
Kelly loves nothing more than to
put into practice the advice we give
in the magazine. As a wedding
photographer she is always looking
for ideas and ways to help develop
her photography. This month
Kelly was interested in investing
in a high-end compact camera.
It’s a Steal, her roundup of the
best premium models available for
less than £300, is on page 92.
Jessica Lamb
Editorial assistant
Passionate about photography,
Jessica brings a fresh take on the
image-making world to the
magazine. As the guardian of our
website and Facebook pages, she
keeps you up-to-date with the
latest news and releases, and this
month looks at large-capacity
backpacks to help you stay out for
longer. Turn to page 84 for
Everything but the Kitchen Sink .
© Archant Specialist. Archant Specialist is part of Archant Ltd.
IWhilereasonablecare is takento ensurethe accuracy ofthe informationin Photography Monthly, thatinformationis obtained froma variety of sources and neither the publisher,the printers nor any distributor isresponsiblefor errorsor omissions.All pricesand data are accepted by usin good faithas being correctat the time of going to press.Pound conversion ratescorrectat the time ofgoing to press. Advertisementsare accepted for publication inPhotography Monthly only uponArchantSpecialist’s standard TermsofAcceptance ofAdvertising,copies ofwhichareavailablefromtheadvertising department.All advertisementsofwhichthe content isin wholeor inpartthe workofArchantSpecialist remainthe copyrightof Archant Specialist.Reproductionin wholeor in partof any matter appearing in Photography Monthly is forbiddenexcept by expresspermissionof the publisher.
Competition terms and conditions: I The closing date for competitions/giveawaysis displayed alongside the competition/giveaway online.I Employees ofArchant Specialist,and thoseprofessionally connected withthe competition/giveaway,for example,employeesof the sponsor company, arenot eligibleto enter.IUnlessotherwisestated,competitions/giveawaysare only opento UKresidents.I Prizesare as described and no alternativescan be given.I The editor’s decision is final and no correspondence will beentered into.IArchantSpecialist may wish to contactyou inthe future, or pass your detailsto selected third parties,to introduce new productsand servicesto you.If you are sending your entry by textanddonot wish tobe contacted,please add the word ‘NO’ tothe end of your text message. Ifyou aresending your entry by post,pleasetickthe appropriate boxeson theentry form.
Photography Monthly is published by Archant Specialist, Archant House, Oriel Road, Cheltenham, Gloucestershire GL50 1BB www.photographymonthly.com
ABC certified circulation(Jan-Dec 2010): 17,324
www.photographymonthly.com | [email protected] | 01242 211096
GROUP BRAND EDITOR Grant Scott
DEPUTY EDITOR Sean Samuels
MANAGING EDITOR Simon Reynolds
FEATURES ASSISTANT Kelly Weech
EDITORIAL ASSISTANT Jessica Lamb [email protected]
SPECIAL THANKS Rebecca Shaw,
Karen le Gallez and Mandy Pellatt
ADVERTISING DIRECTOR Eleanor Godwin
[email protected], 01242 211092
SALES EXECUTIVE Leigh Barr
[email protected], 01242 265895
SALES EXECUTIVE Amy Pope
[email protected], 01242 216054
CLASSIFIED SALES EXECUTIVE Bianca Dufty
[email protected], 01242 211099
GROUP COMMUNICATIONS MANAGER
Lucy Warren-Meeks, 01242 264783
PUBLISHING PRODUCTION MANAGER Kevin Shelcott
PRODUCTION TEAM LEADER Mikey Godden
REPROGRAPHICS MANAGER Neil Puttnam
SUBSCRIPTIONS/BACK ISSUES
CUSTOMER CARE 01858438832
ORDER HOTLINE 01858438840
VISIT www.subscriptionsave.co.uk
EMAIL [email protected]
HEAD OF DIRECT CUSTOMER MARKETING
Fiona Penton-Voak
SUBSCRIPTION MARKETING EXECUTIVELisa Flint-Elkins
[email protected], 01242 264751
MD SPECIALIST MAGAZINES Miller HoggWHOLESALE AND RETAIL DISTRIBUTION
If you have difficulty obtaining a copy of Photography
Monthly contact Seymour, 86 Newman Street, London
W1T 3EX; 020 7396 8000
FRIENDSEach month we introduce you to the people we work with to produce Photography Monthly
MEET THE TEAM
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 8/116
For more information: T +44 01293 583300 F +44 01293 583301 E [email protected]
manfrotto.co.uk
• D-profile tubing gives unparalleled torsional resistance.
• Lighter, stronger 100% pull-wound carbon fiber.
• Magnesium die castings for a further weight reduction to only 1.34kg (3lb).
• Created, designed and engineered in Italy. Continuously improved since the year 2000.
ANYTHING ELSE IS A COMPROMISE
190CXPRO4: 055CXPRO4
CX CARBON FIBER TRIPODS
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 9/116
WWW. PHOT OGRAPHYMONT HLY. COM [9]WWW. PHOT OGRAPHYMONT HLY. COM [9]
PHOTOMONTH
M I C H A E L K E N N A
IMAGESOF THESEVENTH DAY / Immaginidel Settimo
Giorno 1974–2009, edited bySandroParmiggiani,is a
captivating collectionof workby professional landscape
photographer MichaelKenna,who is known the world over
forhis hauntingand atmospheric landscape work.
Thisbook features images taken over more than30years. Kenna’s useof longexposures andHasselbladfilm
camerashas imbuedhis work witha sensibility thatis
eternaland enthrals viewers by revealingsecrets often
concealed to thenakedeye.
The 290black-and-white photographs in the book span
Kenna’s career, from early work shotin Englandin the
1970s toimageshe hascreatedin hisuniqueway from
travellingand commissions. Kenna’s work has beenfeatured in more than30 books andcatalogues, andis
includedin permanent museumcollectionsin theNational
Gallery, WashingtonDC, Shanghai Art Museumand Victoria
& Albert Museum, London.
Michael Kenna: Images ofthe SeventhDay / Immagini del
Settimo Giorno 1974–2009, edited by SandroParmiggiani,
is available in hardback throughItalian publisher Skira
Editore anddistributed byThames& Hudson,priced£34.95.ISBN 978-88-572-0688-2
www.skira.net
PM
All you need to know from the world of photography
For more onMichael Kenna and his
work, turn totheSeptember 2010 issue of
the magazineor gotowww.photography monthly.com
THEMASTERATWORK
Eiffel Tower, Study 3,Paris, 1987.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 10/116
[10] P H O T O G R A P H Y M O N T H LY MAY 2011
World Press Photo has published the
finalists of its first Multimedia Contest.
With the aim of showcasing the best
multimedia storytelling in visual
journalism, the international jury has
selected a total of six productions for the
short list. The winners will be announced
during the World Press Photo Awards
Ceremony on 7 May 2011. For more
information about the short-listed
productions visit the World Press Photo
website at www.worldpressphoto.org
THE MOVING IMAGERECORDED
Monks praying at Golden Rock , Kyaik S T E V E M C C U R R Y
A new pocket-sized monograph featuring
55 striking images by renowned
photojournalist Steve McCurry is
now available. This striking collection
of images captures his documentary
work at its best. The collection spans
his entire career, including all of his
most famous photographs, such as the
green-eyed Afghan girl, the temples of
Angkor in Cambodia and the Buddhist
monasteries of Tibet. The images are
accompanied by introductory essays and
picture-by-picture commentaries,
offering a comprehensive overview of
Steve’s work. The book is priced £7.95
from www.phaidon.com
STEVE MCCURRY INYOUR POCKET
Flower seller, Dal Lake, Srinagar, Kashmir, 1996.
Iggy Pop by Robert Mapplethorpe as
featured in a new book on the influential
American photographer. Mapplethorpe X7
is published by teNeues priced £50.
ISBN 978-3-8327-9473-6
www.teneues.com
CHAIRMAN OF THE BOARD
Targeting the extreme photographer or just
slightly clumsy, Fujifilm has launched a new
water, shock, dust and freeze-proof camera
featuring built-in GPS. Designed to survive
even the most boisterous activity, the
Fujifilm FinePix XP30 is freeze proof to
minus 10°C, waterproof to five metres,
shockproof to 1.5m and also sand and
dustproof. On the inside the Fujifilm XP30
features an impressive 5x, wide-angle, zoom
lens, 14-megapixel resolution and a broad
FUJIFILM XP30 RELEASEDselection of image
functions.
It also offers HD
movie capture of
720p at 30fps.
The XP30 is available
in five fun colours —
black, silver, orange,
blue and green — and
is available for around £199.
www.fujifilm.co.uk
Powering a Nation by Mike Ehrlich, Jessey Dearing, LaurenFrohne and Elena Rue and produced by Laura Ruel, ChadStevens and Don Wittekind.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 11/116
WWW.PHOTOGRAPHYMONTHLY.COM [ 1 1 ]
PHOTOMONTH
SKINS
The winners of the open category of
the 2011 Sony World Photography
Awards have been announced.
With more than 51,000 submissions
from 148 countries, the open
category was a single-image
competition, open to all amateur
photographers of any age or level of
experience. “The calibre and quality of
the open competition was superb this
urma, 1994. 2011 SONY WORLDPHOTOGRAPHY AWARDS
camera yourself with five blank pre-cut
paper foils to which you can apply your
own designs. The RS1500 is available
priced £89.99 from www.pentax.co.uk .
For more inspiration or to downloadsome of the ready-made skins visit
www.pentax.co.uk/chameleon
You can customise
the outside of the
new Pentax Optio
RS1500 compact
camera again and
again with yourfavourite images.
Ideal for the
style-conscious
photographer, the
RS1500 comes complete with
a protective layer. Inside it features a
4x wide-angle zoom, 14-megapixel CCD
sensor, 3in LCD display and HD video
recording (1,280 x 720p at 30fps) with
advanced movie shake reduction mode
which automatically compensates for blur
due to movement. It also has a number of
auto options such as face priority, smile
detection and natural skin. The OptioRS1500 comes with 10 ready-made front
skins, but you can also customise the
GOONLINE
We update the websitedaily to bring you news
as it happenswww.photography
monthly.com
GOOD NEWS FORSONY USERS
The acclaimed Nissin Di866 Professional
Speedlite is now available in a Sony fit.
Initially launched in September 2009
with a Canon or Nikon fit, the Di866
features a guidenumber of 60
(ISO 100/m at
105mm) and is
specifically
designed for use
with DSLR
cameras. It can
also be fired
wirelessly so it
can be used as a
master or receiver flash, features
high-speed synchronisation and offers a
fill-in sub flash 12 (100 ISO/m), which is
activated while the main flash is bounced.It includes a built-in wide-angle diffuser
and catch-light reflector. www.kenro.co.uk
year and often equalled that of the
professional category,” said competition
judge Astrid Merget, creative director of
the World Photography Organisation.
“It just goes to show that one can present
stunning imagery within a single
photograph, just as brilliantly as within a
full body of work. We particularly liked the
travel image entitled Going To Work by
James Chong from Singapore for his use
of composition and the way in which he
captured the beautiful light through the
trees.” The coveted L’Iris D’Or / Sony
World Photography Awards
Photographer of the Year will be
announced on 27April at a gala
ceremony held at the Odeon, Leicester
Square in London. To view the
shortlisted and finalist images for both
categories visit www.worldphoto.org
I G G Y P O P ,
1 9 8 1 , ©
R O B E R T M A P P L E T H O R P E F O U N D A T I O N
Going to work ©
J A M E S C H O N G C O U R T E S Y O F S O N Y W O R L D P H O T O G R A P H Y A W A R D S 2 0 1 1
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 12/116
[12] P H O T O G R A P H Y M O N T H LY MAY 2011
SOFT ON THE OUTSIDEThe new Hotrod Octa softbox is the
ideal accessory for strobists looking
to create a soft and even light forportraits. The Octa is available in two
sizes — 70cm and 90cm — and features
an inner diffusion panel and adaptor
plate with rods which support the
weight of the softbox for added
stability. The Hotrod Octa softbox,
priced £150 (70cm) and £168 (90cm),
is available from www.lastolite.com
Congratulations to David Donaldson forhis image Burning the Heather which is thewinner of our April Readers’ Challenge.
W I N N E R
READERS’CHALLENGE
The Queen Victoria cruise linerdocked against the Liverpool skyline.
The new Tokina AT-X 16-28mm f/2.8
PRO FX is the first in a new generation
of lenses designed for professional
digital SLR cameras with full-frame
(FX) image sensors. Ideal for
landscape or architectural
photography, the PRO FX offers a
super-wide-angle view and features a
newly-developed silent DC motor that
allows the lens to focus faster and
more quietly. Fitted with a new GMR
magnetic AF sensor, the lens offers an
increased AF speed and has three SD
super-low dispersion glass elements
throughout its optical design. It also
features Tokina’s exclusive one-touch
focus clutch mechanism which allows
the photographer to switch between
AF and MF simply by snapping the
focus ring forward for auto focus and
back toward the camera for manual
focus. The PRO FX is available with
either Canon or Nikon fit and is on sale
now with an RRP of £1,072.
www.kenro.co.uk
ALL IN THE FRAME
Based on the true-life experiences of four
combat photographers, Greg Marinovich,
João Silva, Kevin Carter and Ken
Oosterbroek, The Bang Bang Club tells
the story of how they documented the
ending of apartheid in South Africa
during the early 1990s. Published as a
book by Marinovich and Silva in 2000,
we hear the story is now a film which is
currently being screened in selected
theatres across America. Bonded by
friendship and their sense of purpose to
tell the truth, these brave photographers
risked their lives to tell the world of the
brutality and violence associated with the
first free elections in post-apartheid
South Africa. We can only hope this film,
starring Ryan Phillippe, Malin Akermanand Taylor Kitsch, makes its way to the
UK soon. www.thebangbangclub.com
THE BANG BANG CLUB
Three Merseyside-based photographers have setup an international appeal called The Print Aid
Project to help victims of the Tohoku earthquake
and tsunami in Japan. Renowned photographers
and designers from around the world have
donated images to be sold at the project’s
website to raise money for the International Red
Cross. One of the project’s co-founders, Dan King,
said: “Not everyone can afford to bid huge sums
of money in a charity auction, so we felt it was
important to have two strands to the project and
offer special-rate prints as well. We hope that
these will be really popular and raise a lot of
money for this important cause.” For further
details of the photographers involved and printsavailable visit www.theprintaidproject.com
IMAGES DONATED TOTOHOKU EARTHQUAKEAPPEAL
The Hotrod Octa softbox.
©
P E T E R C A R R
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 13/116
WWW.PHOTOGRAPHYMONTHLY.COM [13 ]
PHOTOMONTH
Underwater housing manufacturer
AquaTech has released a new line
of sound-reducing cases forprofessional DSLRs. Know as
sound blimps, they eliminate the
noise produced by a camera’s
shutter release, making them
perfect for quiet photography in
settings such as movie sets and theatres
or for sensitive wildlife photography.
However, they are not waterproof.
The camera is held in place inside the case
by custom-cut sound-dampening foam
which is so effective that the US company
claims a 98% reduction in noise.
The housing is made from polyurethane
and the controls from stainless steel,hard-anodised aluminium and
high-strength plastic. There are six
QUIET AS A MOUSE
models available to fit a variety of Canon
and Nikon cameras. All feature a tripod
mount, single quick-release clip with safety
latch and two-stage shutter release.
A variety of lenses may be used with
AquaTech’s range of interchangeable frontlens port systems which can be purchased
separately. www.aquatech.net
WORLD’S OLDESTPHOTOGRAPHYEXHIBITION OPENS
Now in its 149th year, the Edinburgh
Photographic Society International
Exhibition of Photography is open for
entries. A panel of distinguished
photographers will select approximately
200 entries from across the world for
display at the exhibition during this year’s
Edinburgh International Festival Fringe.
The closing date for entries is 17June 2011.
Entry forms and rules are available on
the society’s website at:
www.edinburghphotographicsociety.co.uk
For daily updates on news and all the releasesfrom the world of photography vist the websiteat www.photographymonthly.com
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 14/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 15/116
WWW.PHOTOGRAPHYMONTHLY.COM [15]
Dennis Keene
AnglesNikon D3000Nikkor 35mm
E D
I T O R ’ S C H O I C E
It has been a while since a graphic
architectural composition such as this
has caught my eye. But Dennis has got
everything right here to make him a
worthy winner. His use of perspective,
reflection, highlight and shadow
detail really made his image stand out
on our website.
Grant Scott, Editor
IMAGE OF THE MONTH
GALLERYUpload your images to www.photographymonthly.com, we choose the best and publish them the following month. Simple!
YOUR IMAGES
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 16/116
Tim Tapley Shy flamingo
Canon EOS 7DCanon 100-200mm
Georgia WiggsDrownOlympus C-5000ZEpoque wide-angle wet lens
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 17/116
WWW.PHOTOGRAPHYMONTHLY.COM [17]
READERS’ GALLERY
Luke MusharbashCorn in the wind Nikon D200Sigma 105mm Macro
Hajar ElouarratTaste of happinessCanon EOS 350DCanon 50mm
Pete Zelewski Shelter from the stormCanon EOS 5D MkIICanon 50mm
Benjamin LiLittle lanternNikon D3000Nikkor 50mm
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 18/116
[18] P H O T O G R A P H Y M O N T H LY MAY 2011
Adrian CoreFreathy at dawnCanon EOS 7DSigma 10-20mm
Sarah EllingtonThe mist Sony Cyber-shot DSC-H20
Tim TapleyCorn buntingCanon EOS 7DCanon 100-200mm
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 19/116
READERS’ GALLERY
WWW.PHOTOGRAPHYMONTHLY.COM [19]
Paul AllenLow landingCanon EOS 7DCanon 18-135mm
Scott EdwardsThe wild geeseFujifilm FinePix S3 ProNikkor 70-300mm
Adrian BiggsTulipNikon D300Nikkor 105mmVR Macro
Karl ShawHell in a helmet Nikon D3sTamron 70-200mm
Lucie AverillWhatever the weather II
Canon EOS 7DCanon 17-55mm
Robert HoMen at work
Nikon D70Nikkor 18-70mm
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 20/116
[20] P H O T O G R A P H Y M O N T H LY MAY 2011
Philip CozzolinoParis reflectionsNikon D80Nikkor 50mm
Cass Castagnoli A Victorian journey Canon EOS400DSigma 10-20mm
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 21/116
WWW.PHOTOGRAPHYMONTHLY.COM [21]
READERS’ GALLERY
Muda WirmarRide the wind Canon EOS 60DTamron 18-200mm
Robin JohnstonBoba takes pics
Nikon Coolpix L2
Bev DugganCar window
Canon Digital IXUS 860 IS
Darren MooneyDrop
Canon EOS-1Ds Mk1Canon 50mm
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 22/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 23/116
UPLOAD
&WIN!
IF YOU WANT TO SEE YOUR IMAGES IN THE MAGAZINE and have the opportunity to win
an 8GB Lexar Professional memory card and reader, visit www.photographymonthly.com and
upload your favourite images. We will choose the best work uploaded each month for inclusion
in the magazine, and the Editor’s Choice will wina card and reader. SD or CF, the choice is yours.
If you want the ultimate in memory cards, look no further than Lexar’s Professional range. Even if youshoot at machine-gun speeds, they’ll keep up; the 133x SDHC cards can sustain write speeds of20Mbps, while the 400x CF cards are even faster, at 60Mbps — and at that rate you will need
their 8GB capacity. That’s room for more than 5,000 RAW files from a 10-megapixel DSLR. So, if youwant to shoot away unhampered, secure in the knowledge that your pictures are being stored safely,start uploading your images to www.photographymonthly.com . For more details visit www.lexar.com.
W I N !
WWW.PHOTOGRAPHYMONTHLY.COM [23]
READERS’ GALLERY
Yaman IbrahimHot-air balloonNikon D7000Nikkor 70-200mm
Leila Murseljevic(g)Host Canon PowerShot S1 IS
Andy TaylorCrane
Fujifilm FinePix S1 ProSigma 70-300mm
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 24/116
: : w w w . f o c a l p r e s s . c o m : :
Focal Press Books are available wherever fine books are sold or through your preferred online retailer.
Join the Focal Press Monthly Photography Contest at www.focalpress.com
Photography technique, software video, and PDF tutorials are now available at!
Real Retouching
By Carrie BeeneISBN: 9780240814179
£24.99
Learn the retouching tips, tricks and
skills that author Carrie Beene has
developed over years of working
with the world’s most prestigious
companies and publications.
The Photoshop Darkroom 2
By Harold Davis and Phyllis DavisISBN: 9780240815312
£24.99
You asked for more and Harold and Phyllis Davis
have delivered — a brand new volume for advanced
creative digital transformations that will take your
images to the next level!
No Plastic Sleeves
By Larry Volk and Danielle CurrierISBN: 9780240810904
£21.99
Make an impact with your portfolio —
this essential guide will give you
everything you need to know about
displaying your images and making
them stand out from the stack.
ocal press book
Inspire the photographer
in your lifeWhether photography is a professionor simply a passion, be inspired
by the latest titles from Focal Press
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 25/116
PHOTO ZONE
THE TIME OF DAY OR THE TIME OF YEAR SHOULD NOT STOP YOU FROMBECOMING THE PHOTOGRAPHER YOU WANT TO BE. CREATIVE INSPIRATION CAN
COME AT ANY TIME, WHICH IS WHY WE HAVE GATHERED TOGETHERSOME OF THE WORLD’S BEST PHOTOGRAPHERS TO SHOW YOU HOW TO BREAK
THE RULES, HOW TO WORK WITH LIGHT AND HOW TO EMBRACEANY ENVIRONMENT YOU MIGHT ENCOUNTER.
INTERVIEWS BY RACHAEL D’CRUZE, CASS CHAPMAN AND SEAN SAMUELS
24 hours of shooting
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 26/116
[26] P H O T O G R A P H Y M O N T H LY MAY 2011
Burnham Lighthouse, Somerset . Getting tothe location early and knowing it well
helped me to get this shot. Shooting intothe sun can be tricky, so I check the screencarefully after capture. I exposed once forthe lighthouse and once for the overallscene, then combined the two exposureslater to achieve a more accuraterepresentation of the dramatic view.
HOW TO USE10-STOP NEUTRAL
DENSITY (ND) FILTERSTen-stop ND filters are a useful addition to the kit bag
of any landscape photographer. These dark panes of glassare designed to reduce the amount of light entering the lens,
enabling the use of a slower shutter speed and/or awider aperture. This means the available light, even on the
most overcast days, can be harnessed better and motion can becaptured to create atmosphere, for example, clouds drifting
overhead, the tide coming in and going out, and people ortraffic passing by in a street scene. All will blend into the
landscape with the use of a neutral density filter.When using a filter remember to compose andmanually focus your shot before you attach it.
Once on, it will be too dark to seeyour shot.
Based in Somerset, Tony Howell is a professionallandscape photographer with more than 30 years’experience. His clients include National Geographic magazine, the BBC, Royal Mail,the Tate, the National Trust and Penguin Books.
www.tonyhowell.co.uk
BIOGRAPHY – TONY HOWELL
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 27/116
WWW.PHOTOGRAPHYMONTHLY.COM [27]
24 hours of shooting Tony Howell
“I ALWAYS GETTO MY LOCATIONS EARLY, SO I CAN PICK THE
PERFECT SPOT TO SHOOT FROM AND SO I AMTHERE READY
ANDWAITING FORWHENTHE PERFECT LIGHT ARRIVES.
HOW TO SHOOT
SUNRISES
APPRECIATE YOURSURROUNDINGSIf you want to take great early-morning
shots you need to learn to appreciate thespecial qualities of dawn – the soft,
flattering light which is without the
contrast that becomes a problem later in
the day, the mist (and frost in winter)
which really lifts images. There’s also thefact that before the sun heats up the T
O N Y H O W E L L
MORNING
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 28/116
[28] P H O T O G R A P H Y M O N T H LY MAY 2011
land there is a lot less wind, so you can
use longer shutter speeds without the risk
of showing movement. I love that there
are so few people around too – it’s a great
time for landscape photography.
PRE-VISUALISEWhen you’re out and about during the day,
try to think how places would look in the
morning light. When I saw the tree in my
photograph I knew it would make a great
morning shot with mist and frost,
so I planned for these conditions monthsearlier and then went back.
BE PREPAREDGet everything ready for your shoot the
night before: charge your batteries, pack
your gear, make sure your car has fuel,
then set the alarm clock. If you are fully
prepared it’s just a case of forcing yourself
out of bed the next morning.
CHOOSE YOURLOCATIONPlan beforehand where you are going –
it’s unlikely that aimlessly driving aroundwill yield great photos. Do a recce of any
potential locations to help you plan whatshots you’d like to get in the morning light.
Recce at more sociable times of the
day and just imagine the morning light.
WATCH THE WEATHERWhen planning a shoot I always check the
weather forecast on the internet the day
before, to see if it’s what I’ve planned for
and if I’ll be able to get the shot I want.
This is a good habit to get into and will
save you getting up early for conditions
which aren’t conducive to good images.
USE A COMPASSInvest in a sun compass to check where
the sun is going to rise at different times
of the year. This is an incredibly useful
piece of equipment for sunrises – it means
I’m always in the right spot.
BE EARLYI always get to my locations early, so I can
pick the perfect spot to shoot from and so
I am there ready and waiting for when the
perfect light arrives.
MULTIPLE EXPOSURES
I’m not a fan of the HDR look in general,but I often take two exposures and
merge them later in Photoshop to
overcome lighting problems. For example,
with my shot of the lighthouse (previous
pages), I took two exposures: one for
the lighthouse and one for the rest of
the scene.
APPROACH CAREFULLYAlways take care when arriving at your
chosen location – you never know what
might be going on there and if you’re lucky
you might be greeted by deer, or other
animals which will add an extra dimensionto your landscape shots.
T O N Y H
O W E L L
Willow Man sculpture . I deliberatelymade the Willow Man [alongside the M5
near Bridgwater, Somerset] a silhouetteby simply shooting into the sun and
metering from the overall scene,then underexposing by one f-stop, which
has increased the colour saturationand made the most of the golden light.
Tony Howell 24 hours of shooting
MORNING
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 29/116
CambrianPhotography
NIKON • OLYMPUS • LEICA • CANON • BENBO • PANASONIC • MINOX
COLOR VISION • GITZO • FUJI • LOWEPRO • TOKINA • SIGMA • SLIK
TAMRON • PENTAX • MANFROTTO • AND MANY MORE...
Wednesday May 25th 2011The Cambrian Photography Open Day
North Wales' Largest Exhibition of Photographic & Digital Equipmentlast year took place at Cambrian Photography in Colwyn Bay and was
very successful.
If you missed out, visit us on Wednesday 25 May 2011 when we willbe holding the next event.
Our annual Open Day has been held on a Wednesday in May for overtwenty years and has been an opportunity for customers to meet up
with representatives from all the major manufacturers.
Doors open at 10:00am and we are here until 7:00pm.We look forward to seeing you.
www.cambrianphoto.co.uk
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 30/116
B R Y A
N
A L E X A N D E R
Bryan Alexander has worked in the Arctic for40years and spent an estimated 10 years of his lifein the region’s remote communities, writing andphotographing. Some of his Arctic shots haveappeared in the Visions of Earth pages of National Geographic magazine.
www.arcticphoto.co.uk
BIOGRAPHY – BRYAN ALEXANDER
LOOK FOR THEORIGINAL SHOTThis sequence of Arctic pictures taken
from an Inuit friend’s house at dawn inOctober 2008 is something that
happens once in a lifetime. This type of
cloud formation has been seen only over
the past five or six years; it’s a new type
of cloud and scientists are trying to getthe name classified.
HOW TO SHOOT COLOUR AT DAWN
[30] P H O T O G R A P H Y M O N T H LY MAY 2011
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 31/116
WWW. PHOT OGRAPHYMONT HLY. COM [31]
MASTER
DEPTH OF FIELDDepth of field describes how much of your
image, front to back, is in precise focus, andis often called the zone of sharpness. Any element
of your image that does not fall into this plane offocus will soften and eventually become blur (bokeh)the further away it falls from this plane.
In landscape photography shallow compression ofsubjects is a useful tool. By shooting with a
400mm lens set at f/5.6, you can achievefront-to-back focus, giving a wonderful
sense of compression, a stacking oflayers like a pop-up book.
MORNING
24 hours of shooting Bryan Alexander
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 32/116
[32] P H O T O G R A P H Y M O N T H LY MAY 2011
KNOW YOURENVIRONMENTPhotographing in the Arctic is different
in many ways to working in other places,
but in particular because the light is
so different. Where these images were
taken, the sun would have set for the last
time the following week, leaving the
landscape in darkness for the next four
months. The sun doesn’t appear above
the horizon, which means long twilights.
Then in the summer you have intense,
bright light and sunshine in the middle
of the night.
IT’S ALL IN THE TIMINGI believe I was in the right place at the
right time for these shots and didn’t
have much time to prepare for it. I was
about to leave a town [in northwest
Greenland] about 800 miles south of the
North Pole on the day these images
were taken when a friend alerted meto the dawn sky.
EXPLORE THE AREAI had to crank the ISO up to 800 to
shoot. I started from a vantage point
across the village where I was staying,
but then went down on to a beach
area and shot across that. This is where
these pictures were taken.
KNOW YOUREQUIPMENTA lot of camera equipment stops working
below a certain temperature, which iswhy I shoot predominantly with film
and a Canon F-1. This way I am able to
shoot down to minus 60°C all day long.
With digital equipment I start to noticeproblems at minus 30°C to minus40°C
and cameras have ground to a halt.
At these temperatures even something
as simple as breathing can affect picturequality and I have to control that to
GOONLINE
To see more landscapephotos in our gallerywww.photography
monthly.com
MASTERCOMPOSITION
Composition isn’t just about form;
it’s also about colour, especially colour
contrast, which you can use to your
advantage to focus attention on your subject.
Always try to find balance and make acomposition that harmonises with the subject,
so that the graphic elements you choose to
include - from working the diagonals
in your image to having the main subject
on the right or left, whatever your
preference - don’t overwhelm
subtleties inherent in
the subject.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 33/116
WWW.PHOTOGRAPHYMONTHLY.COM [3 3 ]
B R Y A N
A L E X A N D E R
24 hours of shooting
“AT THESE TEMPERATURES EVENSOMETHING AS SIMPLE AS BREATHINGCAN AFFECT PICTURE QUALITY.
24 hours of shooting Bryan Alexander
avoid a cloud of frozen breath getting in
front of the lens. In addition, with so
many of the key controls on the back ofthe camera, where my mouth is, when I
breathe it hits the back plate and I can’t
get the buttons to work or the wheels to
move, because they are iced up.Understanding the weather conditions
and knowing the capability of one’s
own equipment in such extreme
conditions is important to capturingsuccessful images.
Above and previous pages:Dramatic cloud formations as a
storm brews over Inglefield Bay,northwest Greenland.
MORNING
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 34/116
t’s fair to say I’m not the most
technical or practically gifted
individual. I’ve never put up a
shelf, tinkered with an engine or completed
an instruction manual. I was 14 when I
changed my first light bulb. I will never
wallpaper a room or build a shed. So it was
with some hesitation that I embarked on
a journey to construct a website using the
Clikpic system, a web service for
professional and amateur photographers
and artists.
You can sign up for a free 14-day trialbefore subscribing. The standard
subscription in the free trial, and the one I
opted for, is £35 per annum for a maximum
of 100 photographs. For the more prolific
snapper there’s a package to suit,
escalating through Intermediate (200
images), Professional (500 images) to the
Super Pro account with bulk load ability of
2,000 images – an option perhaps more
suited to clubs and societies or those
looking to sell images in large numbers.
One of the advantages of a Clikpic site is
that photographers can think about having
separate niche sites that may be more
search engine effective and may not beappropriate to include on the main domain.
Or you could just reinvent yourself as a
totally different photographer altogether.
I’ve photographed at weddings before, I
could create a site as wedding
photographer Richard Splash or combine
images from documented events and
Clikpic them together as event
photographer Hunter Nelson or perhaps
food photographer Charlie Shark. Then
again, perhaps not. The truth is I like my
work, and I like my name. As a
photographer I want to be accountable for
the images I unleash into the world. I don’t
even put a pseudonym on my stock.I think hard. I’m probably best known for
my quirky reportage style documenting
YES,YOU CAN
CANYOU BUILD IT?
Clikpic is an easy-to-use web service created especially for photographers and artists to
present their work on a website which they can style and edit themselves.
We put award-winning photojournalist PETER DENCH to the test to build himself a
Clikpic website and find out just how easy it really is.
I
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 35/116
ADVERTORIAL
the English but I have created skilled work
in advertising, corporate, fashion and
portraiture in particular where a
significant archive of eclectic individuals
has been produced. While I do have a few
portraits on my main site, the Clikpic
opportunity seems ideal to showcase them
all in one place. I edit a top 50 and
prepare the files for upload. True to form,
it’s only afterwards that I download
and print the 35-page Clikpic user guide
that states different file sizes are required.
This is not a problem. The oversized Jpegsare automatically resized. I’m advised
this may cause blurring or ‘artefacts’ but
detect none. Images are uploaded quickly
as singles without diminishing the colours,
saturation or brightness. Each image
can be assigned to a gallery, sorted,
captioned, dated, accredited and keywords
added on its own page.
Clikpic claims you can create and edit
your own website quickly, easily and very
cost effectively. I scoffed and with the
images uploaded prepared to dedicate the
next month on and off to creating the
ultimate Dench Portraits website.
Two and a half hours later I have the basicsdone to a standard that would have
been acceptable for the site to go live.
It seems the claim was correct. However, it
would be rude not to explore the depth
of choice offered by the system.
With this in mind, it’s advantageous to
have a clear idea of what type of site you
hope to achieve. Before you start, have a
careful look at the extensive sample sites
to visualise how you would like to apply the
templates to your own. The clearer you are
at the outset the easier it will be.
The first decision was to choose one of
the 11 site styles. I tried them all. Simple 2
with the black and blue combinationappealed to me. The background can be
jazzed up and customised with your own
ONEOFTHEADVANTAGES
OFA CLIKPIC SITE ISTHAT
PHOTOGRAPHERSCAN
THINKABOUTHAVING
SEPARATENICHESITES
THATMAYBEMORE
SEARCHENGINE
EFFECTIVEANDMAYNOT
BEAPPROPRIATETO
INCLUDE ONTHEMAIN
DOMAIN.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 36/116
repeat or single photographs but it worked
better, well – simple. In addition I wanted
it to reflect the style of my main site, which
it does. For 48 hours I skipped through
the Clikpic experience accompanied by
various snacks and beverages. The website
design oscillated from extremes.
Slideshows were applied, fonts pillaged
and colours liberally splashed around.One behemoth moment saw a blog,
calendar, guestbook and various
sub-galleries all applied. Caught in the
moment I contemplated going Super Pro.
You can upgrade your subscription at any
time; the price will be recalculated
according to how far along you are in any
one subscription.
All decisions can be previewed and
reversed. Personally, I prefer the undiluted
basics of photography, to see a photographclearly, cleanly and where possible
without distraction, gimmick or fuss.
You need to let the image breath and
confront the viewer with all four
fixed corners firmly in place. I found myself
stripping the website back to basics to
many of the default settings that suggest
Clikpic is in tune with what works visually.
I kept the default that selects images at
random to show on the non-optional
home page and the default text captioncolour but changed the rollover
highlight to white. The random home page
WITHINTHE CLIKPICSYSTEMYOUCANSETUPYOUR SITETOHAVEASHOPPINGBASKET FACILITYTHAT LINKSDIRECTLYINTOA PAYMENTPROVIDER(CURRENTLY PAYPALAND
GOOGLECHECKOUTSUPPORTED).
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 37/116
image was aligned top right, the text to the
top left. The system provided the
necessary tools for a photographer’s
website – it concentrated on the
photographs and showed them off
to their best effect, allowing for the images
to shine as the beauty queen while the
system performed as a buffeting, preening
and supporting aid.
I divided the portraits into two galleries
of 25 and arranged them in a grid formatof applied rows of five with the captions
located beneath. You can size the
thumbnails to crop and fit so they are all
square but mine looked strong and
balanced on the eye so were left as they
were. In addition to the gallery button
I kept the useful links and contact section.
Going live is done at the click of a
button. Between two and five minutes later
it was done and I began to mail out the link
to clients and post it on social networking
sites. Already having a Google Analytics
account I was able to add my Clikpic
domain and began receiving web trafficstatistics within 24 hours. The results it
showed were extremely encouraging.
You can work on your website while it’s
live. Selling online I think in time will
appeal. Within the Clikpic system you can
set up your site to have a shopping
basket facility that links directly into
a payment provider (currently PayPal
and Google Checkout supported).
You can use the shopping cart whether
or not you have integrated an external
system into your site. The order details
will either be sent to the payment systemfor the visitor to make a payment or
else they are saved in your admin system
for you to process as you wish.
It’s a welcome facility in the battle for a
photographer to regain control of fees
for sales without them being shaved off
by second and third parties.
The website www.peterdenchportraits.
com is now a strong and useful tool for
the business and the brand. A Clikpic
website can be developed as your main
site. It can be as detailed as you want
it to be. If you have an idea of how you
want to customise your site, chances arethere is a way of doing so. The user
guide isn’t overwhelming and doesn’t
have to be read from cover to cover.
The answers can be extracted painlessly
by dipping in and out. If you do get
stuck there’s an email support team who
respond swiftly and clearly.
This sometime working pro is pleased.
Now I’m off to build a shed. Well maybe.
Using Clikpic’s admin system
and a choice of stylish
template designs, you can
create and edit your own
website quickly, easily and
very cost-effectively.
Visit www.clikpic.com fora free 14-day trial.
ADVERTORIAL
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 38/116
[38] P H O T O G R A P H Y M O N T H LY MAY 2011
WORK WITH THE
WEATHERThis shot from a boat was taken on
Kerala’s backwaters in 2001. Travelling
through India’s temple towns with a
friend and shooting stock images, I
sailed the backwaters on a converted
riceboat, the morning after a storm.
I noticed that the calm and tranquillity
really affected the light, creating a blue
hue on the undisturbed, early-morning
waters. I found that the overcast sky
created the blue colour you see that
bled on to the water.
COMPOSE CAREFULLYTo shoot light, you’ve got to really
understand exposure but, first
and foremost, you need a good eye
for composition.
USE NATURAL LIGHTThe light for the image of the Ethiopian
Orthodox Christian Church pilgrims
reading prayer books at dawn was
fairly tricky to manage with big
tungsten lights behind and to the left
of the subjects. These caused the
shadows, but it gave the image a nice
warm tone. I was also keen to get the
detail of the early-morning light in the
clouds which I managed on a
Canon EOS 5D at 24mm on a 24-70mm
f/2.8 lens at 1/30sec, f/4, ISO 1600.
HOW TO USE
NATURAL LIGHT
CREATIVELY
K A R O K
I L E W I S
Worshippers of the Ethiopian OrthodoxChristian Church on the day of Timkat(Epiphany), Lalibela, Ethiopia, 2007.
HOW TO
TELL A STORYWhen you shoot a travel theme, try to vary
the subject matter and treatment, otherwise
you run the risk of creating a very similar set of
pictures. Look for different viewpoints and angles;
use different lenses and subject distances,
and also shoot in both horizontal and verticalorientations. Try to imagine you are shooting a
photo story for a magazine, and go for a range
of shots that work as a whole to explain the
theme. As well as this stylistic variation,
try to shoot certain predetermined
subjects that fit
your theme.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 39/116
WWW.PHOTOGRAPHYMONTHLY.COM [39]
While travelling across Australia, KarokiLewis shot continually. When he returnedto the UK, he decided a Masters degree ineconomics was not for him and heretrained as a photographer. Since 2001,Karoki has been working on a long-termproject photographing pilgrimages incollaboration with the BBC.
www.karokilewis.com
BIOGRAPHY – KAROKI LEWIS
A traditional riceboat, converted intoa houseboat, at dawn on the peaceful
backwaters near Alleppey (Alappuzha),Kerala, south India.
24 hours of shooting Karoki Lewis
MORNING
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 40/116
K A R O K I L E W I S
Washermen work on the riverYamuna on a foggy wintermorning as the first rays of thesun strike the Taj Mahal, Agra,India, 1993.
THINK OUTSIDETHE BOX
Most images of the Taj Mahal in Agra,India, are taken within the palace’s
compound, but I found a Mogul pavilion
outside the Taj Mahal’s grounds from
which to shoot these images. Although the
weather was foggy, I climbed the pavilion
before sunrise while the area was quiet; a
rarity in India once each day begins.
The fog soon lifted and though there was
still a wisp along the river, that lifted
higher as the sun rose. The early-morning
light illuminated the marble and the fog
still covered the river below it, lifting to
reveal the fishermen. I was shooting with
Fujichrome Velvia film and used spotmetering to get the exposure right.
[40] P H O T O G R A P H Y M O N T H LY MAY 2011
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 41/116
24 hours of shooting Karoki Lewis
“TO SHOOT LIGHT, YOU’VE GOT TOREALLY UNDERSTAND EXPOSURE BUT,
FIRST AND FOREMOST, YOU NEED AGOOD EYE FOR COMPOSITION.
SHOOTING INLOW LIGHT
When working with low light, planning is the key.
Always try to visit the location the day before you
are going to shoot, so you know exactly how long
you’ve got before the light changes. Most professional
photographers believe there is a 10-minute window at
dawn for capturing the hazy dreaminess of the light at
that time of day. Before or after this point and
backgrounds and foregrounds are unlikely to match,
which means your image is unlikely to work. That said,
be prepared to think differently if things aren’t going
the way you expect and rather than give up,
hold on that little bit longer, because you
never know what might
happen next.
WWW. PHOT OGRAPHYMONT HLY. COM [41]
MORNING
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 42/116
[42] P H O T O G R A P H Y M O N T H LY MAY 2011
hands shake. I shot up to ISO 800, using a
Nikon D700.
DRESS PROPERLYThroughout the project, I didn’t have any
issues with my camera, but I quickly learnt
to layer my clothing properly and wear
waterproof boots. I tried to shoot in gloves,
but found this too clumsy and adaptedto feeling the cold on my bare hands.
HOW TO SHOOT IN
FLAT LIGHT
FIND THE LIGHTI love to shoot early in the morning
because the light is good and there are
few people around at this time.
This image was made in Prospect Park,
in Brooklyn, New York. I utilised the low
morning sunrise light to create the
orange-red quality that illuminates the
subjects, but found the perfect colour
and light when it was overcast. The image
was made during the winter of 2005.
Because it was snowing, as you look
farther toward the horizon the trees are
less distinct and starting to fade,
which is the reason why there is less
distinction between the grey skies and
the snowy ground.
DEVELOP A SERIESThis series, Urban Wilderness, came about
slowly. I took the first image in 2005.
In 2009 I decided to take more imagesthat were similar in feel, but different
enough so they formed a series.
Following praise from a portfolio review
in Santa Fe, New Mexico, I revisited the
work and developed the final series.
ABANDON THE TRIPODTo set up the Prospect Park images, I had
to abandon my beloved tripod because I
wanted to feature people in the shots.
As the subjects were walking quickly I
didn’t want to set up and miss what was in
front of me. So all the shots were
handheld, which was not easy, given thetemperature was cold enough to make my
Winter in Prospect Park, Brooklyn,New York, shot for the Urban
Wilderness collection.
“WHEN SHOOTING
DIGITAL, I LIKETOSHOOT EVERYTHINGAS FLAT ANDUNSHARPENEDWITHLOW CONTRAST SO ICAN PRESERVEALL THEINFORMATION.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 43/116
WWW.PHOTOGRAPHYMONTHLY.COM [4 3 ]
C O U R T E S Y O F J O S E P H
O .
H O L M E S A N D
J E N
B E K M A N
G A L L E R Y ,
N Y C
Brooklyn, New York, has been home for Joseph O.Holmes since 1984. After learning how to developphotographs from his father, he spent the first 20years of his career shooting with black-and-whitefilm. Having focused on street photographyand urban subjects, Holmes has been awarded,among other accolades, first prize in theMPLS Photo Center’s 2010 Portraits Exhibitionin Minneapolis, USA.
http://streetnine.com
BIOGRAPHY – JOSEPH O. HOLMES
24 hours of shooting Joseph O. Holmes
DEVELOP THE DETAILSWhen shooting digital, I like to shoot
everything as flat and unsharpened with
low contrast so I can preserve all theinformation. I find that every image needs
to have the contrast pumped up and
maybe brightened a little in
post-production. If there were lots of
footprints I bumped up the brightness orcontrast so they disappeared.
MASTER THE
ZONE SYSTEMThe Zone System is a technique for determining
optimal exposure and maximising the final tonal
range of your formulated image. It is an 11-step
gradation of reality, from pure black to pure white,
and each step equates to one full f-stop. Seeing in
black-and-white allows you to see how much of a scene
is recordable. It also allows you to understand failurein exposures from blown-out highlights, too many
midtones or too many shadows if these are not
wanted. Most importantly, however, if you
use zoning you can interpret the
scene as you want and deliver
your own unique creative
rendition.
MORNING
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 44/116
[44] P H O T O G R A P H Y M O N T H LY MAY 2011
GET UP EARLYTo make the most of the morning light,
you need to be at your location before the
sun comes up. I often get up at4am, so I
wake somewhat automatically now,
although I do sometimes use an alarm –
don’t forget to set yours.
CHOOSE WHEN TOSHOOTMornings are all very different – many of
them really aren’t very interesting, but
some are magical – so it pays to choose
carefully when you go out, as you can’t go
out before sunrise every morning. I get up,
look out of the window and decide, from
what I can see, if it’s a good morning for
photography. If there’s dew on my window
I know there will be dew on the grass –something I particularly like – so I go out.
WORK WITH THEENVIRONMENTMy preference is for cold, still mornings –
the stillness is important as I favour
macro photography and like using long
exposures. If you’re out on still mornings
make the most of the mirror-like
reflections on lakes and other water.
USE THE ELEMENTSLook for misty mornings, when the sun
gradually breaks through and overcomesmist and fog. The light on such mornings
often changes very fast – make the most
of this – landscape photos with a mixture
of sun and mist can be very interesting
visually. On misty mornings there will be
dew on the ground and the whole
landscape will be covered with
small droplets.
LOOK FORDETAILSThere are thousands of
opportunities for great macro
shots in the early morning – you
just need to bend down and look at
flowers, leaves, straw, and spider webs.
If you have a macro lens and a tripod you
can just dive into the microcosmos
beneath your feet. Look out for insects
too, as early in the morning some canappear frozen and make for great shots.
PLAY WITH THE LIGHTThe low morning sun provides great
opportunities for playing with the light.
Move around and try placing the sun
behind flowers and other subjects.
Sometimes the sun will appear big and red
because of dust in the atmosphere and
makes a great addition to your images.
MAKE THE MOST OFYOUR TIME
I find being out really early to besomewhat of a meditative experience and
I make the most of the peace and quiet.
When I’m out early I don’t come across
any other people, or dogs for that matter,
and can lie on the ground taking
photographs without people
watching me. I do sometimes
come across animals which
don’t show themselves in the
day – so keep quiet and you
might see some yourself.
STAY LOCALFind a couple of good locations
close-by that you can keep going to;
your life will be easier. If you’re constantly
driving long distances you’ll need to get
up much earlier and will be disappointed if
the conditions turn out to be poor when
you arrive. If you find local spots to visit,you can get into the habit of going before
work, so you’ll shoot more. I often go to
the same locations and always see new
things when I get there – I treat my work
as a development.
BE FLEXIBLEOf course I have visions of pictures I want
to shoot – things I want to show, subjects
and compositions I want to find, but I also
stay flexible and see what each morning
brings. Be open-minded and photo
opportunities will present themselves to
you – this can be very exciting, especiallyin the macro world.
HOW TO USE THE WEATHER TO YOUR ADVANTAGE
M A G N
A R
B Ø R N E S
Magnar Børnes is44 years old and lives inBergen, on the west coast of Norway. He runshis own company, through which he sells hisphotography and does graphic design work.Over the years he has gained considerablerecognition for his unique, impressionisticapproach to nature, which adds an abstractfeel to his photographs.
www.magnarbornes.com
BIOGRAPHY – MAGNAR BØRNES
Little boat. This was taken on an Octobermorning near Bergen. I was travellingalong the fjord enjoying the calm and
mist of morning and as the sun wasabout to break through, I spotted this
single fisherman rowing his boat.
GOONLINE
To see more macrophotos in our gallery
www.photography monthly.com
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 45/116
MORNING
24 hours of shooting Magnar Bornes
“BE OPEN-MINDED AND PHOTO
OPPORTUNITIES WILL PRESENT
THEMSELVES TO YOU – THIS CAN
BE VERY EXCITING, ESPECIALLY
IN THE MACRO WORLD.
Blue morning. I shot this earlyone summer's morning, beforesunrise. The dragonfly was sostill it was like it was frozen andI was able to use my tripod forlong exposure. I tried differentapertures, searching to get theright amount of blur on the strawin the background.
SHOOTING
MACROEarly morning or late evening are the
best parts of the day for macro work during
the spring, summer, or early autumn. It is at
these times that you are most likely to find a
smooth and warm light, and insects are in their
daily torpor, or temporary hibernation, making
them more sedate and easier to photograph.
Also consider carrying a light diffuser to
smooth hard light or a reflector to
brighten up any dark parts.
WWW. PHOT OGRAPHYMONT HLY. COM [45]
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 46/116
Just £6.50 a quarter by
Direct Debit, that’s just£26 for a year (usually£51.87) – SAVING 50%*
HALFPRICESUBSCRIPTION
£ 3 .9 9 £ 1 .9 9
a n i s s u e !
SUBSCRIBE TODAY!www.subscriptionsave.co.uk/pm
Or subscribe
to 13 issues(a year) for just £30.99
by credit/debit card –
SAVING 40%.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 47/116
► FREE access to the fully searchabledigital edition including the currentissue & back issue archive (as far backas July 2009) – worth £18 a year!
► Every issue delivered FREE directto your door
► Each issue is packed with inspiring,intelligent and entertaining features andimages from the world of photography
Great reasons to subscribe
01858438840PLEASE QUOTE 05PA
Code 05
¡
¡
YOUR DETAILS
Trmsnd conditions:*Save upto 50%in yron,ftr whichyoursubscriptionwillcontinu 25% sing in yrtwo. Dtilsof Dirct Dbit gurntilbl onrqust.Sings bsdon thusul corpricof £3.99 prissu nd13issuspryr. Plsllow 28 dys for dliry ofyourfirst issu.This is
UK only offr – fororssordrspls cll +44(0)1858438840 orisitwww.subscriptions.co.uk. Offr nds: 18/05/2011.
Wwill us th contct dtils supplidto communict withyou rgrdiyoursubscription.Pls tickif youdo not wishto rciinformtion
boutproductsnd srics fromarchntLtd by phons by posts or
othr crfully slctd compnis by phons by posts Pls tick if yo
would lik to rci informtion or offrs from archnt Ltd by SMS s or
mils. Pls tick if you wish to rci informtion or offrs from othr
crfully slctd compnis by SMSs or mils.
INSTRUCTIONS TO YOUR BANK OR BUILDING SOCIETY.Please pay Archant Specialist, on behalf of Direct Debits from the account detailed on thiinstruction, subject to safeguards assured by the Direct Debit Guarantee. I understand ththe instruction may remain with Archant Specialist and if so, details will be passedelectronically to my Bank or Building Society.
4 1 2 3 8 6
Rfrnc: (Offic us only
To the manager (Bank name)
Address
Postcode
Name(s) of account holder(s)
Bank/Building Society account numberBranch sort code
Service User Number
Name and full postal address of your Bank or Building Society branch.
YOU MAY CANCEL THE DIRECTDEBITATANY TIME AFTER THE FIRSTPAYMENTIS TAKENBanks and Building Societies may not accept Direct Debit instructions for some types of accou
Date
Date
Signature
Signature
DIRECT DEBIT
Mr/Mrs/Ms
Address
Postcode
Telephone no. Mobile no.
INSTRUCTION TO YOUR BANK OR BUILDING SOCIETY TO PAY BY DIRECT DEBI
s Please send me 13 issues of PhotographyMonthly for £6.50 a quarter – SAVING50% for the first year! It will continue for
just £9.73 a quarter – SAVING 25%thereafter.
PHOTOGRAPHY MONTHLYSUBSCRIPTION FORM
Card no
Start date Expiry date Issue no (Maestro only)
ORDER BY CHEQUE CREDIT/DEBIT CARD
s I enclose a cheque made payable toArchant Specialist for £30.99
s Please charge my Debit/Credit card£30.99
Photography Monthly,
FREEPOST NAT22147, MarketHarborough, LE16 9BR, UK(no stamp required if posted in the UK
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 48/116
Your favourite magazines are
now available on your iPad!Foto Mags Now is free to download via iTunes or the App Store and gives you the
chance to buy single editions and subscribe to Professional Photographer ,
Photography Monthly , Turning Pro, Which Digital Camera and World of Photography .
Foto Mags Now lets you expand features, scroll around the page, read text only,
access a photo gallery exclusive to each issue, listen to podcasts and view video content
exclusive to the iPad edition. If you don’t have an iPad don’t worry as Foto Mags Now
can also be downloaded on to your iPhone.
Foto Mags Now – your digital gateway to your photography magazines.
THE PHOTOGRAPHER’S GUIDE TO
TURNINGPRO PHOTOGRAPHY
WORLDOF
[48] P H O T O G R A P H Y M O N T H LY MAY 2011
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 49/116
24 hours of shooting Gavin Gough
G A V I N
G O U G H
Bangkok-based travel photographer Gavin Goughshoots for publications around the world and alsoteaches photography classes in Thailand. He tooka year off work in the UK to travel the world andbuild a portfolio. Feeling unable to return to anoffice job, he took the plunge shortly afterwardsto become a full-time photographer.
www.gavingough.com
BIOGRAPHY – GAVIN GOUGH
WWW.PHOTOGRAPHYMONTHLY.COM [49]
DAY
A Buddhist monk sits beside a temple window duringthe Phi Ta Khon (Ghosts in Masks) festival in Dansai,
Thailand. Shot with a Canon EOS-1Ds MkII, Canon EF85mm L f/1.2 lens – 1/100sec at f/1.2, ISO 50 (-1.3EV).
HOW TO SHOOT
CONTRASTS
WORK WITH SHADOWS
My portrait of a Buddhist monk by awindow was shot in Thailand during the
annual Ghosts in Masks festival which I
was commissioned to shoot for the
Lonely Planet travel guides. In the town
where this festival takes place is a small
temple, and inside I found a group of
monks who weren’t allowed to go out and
join the festivities. It was late afternoon
but the light was striking because it was
coming only from outside, resulting in a
strong, contrasting side lighting.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 50/116
[50] P H O T O G R A P H Y M O N T H LY MAY 2011
Walking through the square besidethe Koutoubia Mosque inMarrakech, Morocco. Shot with aCanon EOS-1Ds MkII, Canon EF24-70mm L f/2.8 at43mm –1/320sec at f/8, ISO 100.
Amankila Resort, Manggis, Bali,Indonesia. Shot with a Canon EOS 5DMkII, Canon EF 24-70mm L f/2.8 at
48mm – 1/3,200sec at f/2.8, ISO 100.
KNOW WHAT YOUWANTThis swimming pool shot was done for
Vanity Fair magazine’s annual travel
supplement and taken on Bali, at the
Amankila Resort in Manggis. I shot this
image at breakfast time on a Canon EOS
5D MkII and Canon EF 24-70mm L lens.
The objective was to obtain simple
compositions and a symmetrical,
balanced image; not the kind of shot I
would take often, but the sort of shot,
I felt, people would pick up on.
BE PATIENTIn the centre of Marrakech, Morocco, is
the big minaret of the Koutoubia
Mosque. Nearby sits a bright orange
wall that inspired me to use it as a
backdrop. I made a point of going there
in the late afternoon, sitting and
waiting for the right group of people to
walk past at the right time. I played
around with the composition a lot
before obtaining this shot,
accumulating more than 30 photos
before capturing this one. I was
particularly interested in the cultural
reference of this shot with the
husband and wife, because the wife is
walking two steps behind the husband,
which is so often the case there.
WATCH THE LIGHTI am not a photographer who likes to
use a tripod, so to set up I perched on
a fountain wall and waited while
getting the exposure right. I switched
to manual and kept a close eye on
the light as it was dropping. The light
and its effect on the wall colour
was the greatest challenge because
colour temperature changes
throughout the day. At midday, the
light is very blue. This shot was
taken just before dusk, so the orange
colour was enhanced by the
golden-coloured temperature of thesun. This was shot with a Canon G
A V I N
G O U G H
EOS-1Ds MkII and Canon EF 24-70mm L
lens at f/2.8 and 43mm.
USE A SPOT METERMy biggest piece of advice is that you
should learn to use spot metering.
Being able to spot meter off someone’s
face or the part of the picture you
want exposed correctly will producethe outcome you want.
MASTERING
SHADOWIn many ways shadows are photography
and should be embraced rather than avoided oreliminated. Consider shadow as the element thatmakes the subject stand out in an image rather
than detract from it. In doing so you will seek outshadow and be better prepared to work with it.
Shadow allows you to see three-dimensional formsin entirely new ways and will set the value and
tones of your images. Light and shadow gotogether; without one you could not have
the other. When shadow is used withlight, images start to
come alive.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 51/116
24 hours of shooting
DAY
24 hours of shooting Gavin Gough
WWW.PHOTOGRAPHYMONTHLY.COM [51]
“I MADE A POINT OF GOING THERE IN THELATE AFTERNOON, SITTING AND WAITING
FOR THE RIGHT GROUP OF PEOPLE TO WALKPAST AT THE RIGHT TIME.
ALWAYSUNDEREXPOSEI underexposed the shot of the Buddhist
monk to enhance the contrasts,otherwise the result would have been
bright highlights on people’s foreheads,
noses and cheekbones. The shadowy side
of the monk’s face and his robes have
almost gone to black, so if highlightsaren’t exposed in this sort of shot the
result is lots of details in the shadows
but the highlights getting blown out
beyond the latitude of what the camera
can cope with. I advise underexposing byabout a stop and a third.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 52/116
[52] P H O T O G R A P H Y M O N T H LY MAY 2011
BE FLEXIBLEMany of my successful images shot at high
noon are a result of me being flexible.
For instance, if you have a shoot planned
for a more conventional time of the day
such as sunset and you’re out doing
a recce or walking to your location at
high noon and you see an interesting
composition or subject, shoot it – you can
always go back if it doesn’t work.
Don’t allow opportunities to pass you by
because the lighting isn’t ideal.
USE A REFLECTORI always carry a foldable reflector in the
midday sun – they are small, lightweight
and effective. I use mine not only to
bounce some light into shadows, but as a
portable shade to reduce the light when
shooting nature macros at this time of day.
BE OPEN-MINDEDYou need to be positive, actively looking
around for subjects, shapes and shadows
which will work well with the harsh light.
There are also certain things which
happen only when you are out at this
time – some flowers, for example, openonly in the afternoon.
USE A POLARISERWhen shooting landscapes at high noon a
good trick is to compose so you just have
a slither of blue sky and then to use a
polariser filter. By doing this you can get
the most effective results from your
polariser which, with the sun overhead,
will darken all around the horizon and the
edges of your frame.
HOW TO SHOOT IN
THE MIDDAY SUN
THINK COLOURAND TEXTUREAt high noon the harsh light can make
textures disappear, but colours will be
bright and saturated – so look to make the
most of colour. That said, sometimes you
will find textures at high noon which
will be lost in shadows any later in the day.
Keep your mind and your eyes open.
Joe Decker is a nature photographer living innorthern California. His work has been exhibitedacross the US, from the Los Angeles Center forDigital Art to the Smithsonian in Washington.
www.rockslidephoto.com
BIOGRAPHY – JOE DECKER
Joe Decker 24 hours of shooting
Lupin fields. This was taken in west Iceland.In early or late-day light, many of these busheswould be partially in shade, and so therewould be less of a sense of colour from thefield as a whole.
Poppy. I got this macro still-life shot of poppiesusing a diffuser to deal with the shadows thatwere cast from the Antelope Valley in California.
J O E
D E C K E R
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 53/116
WWW.PHOTOGRAPHYMONTHLY.COM [5 3 ]
DAY
J A C K Y
P A R K E R
24 hours of shooting Jacky Parker
WORK WITH YOURSUBJECTI shoot nearly all my work in my garden
and grow most of the flowers myself.
My garden is north-facing so I do have an
issue with light sometimes, but this just
forces me to improvise. To deal with this
problem, I tend to shoot with
diffused light. I never use a
flash, and try to shoot
subjects in diffused light
with bright sunshine inthe background. I have
some shrubs that are
bright and vibrant, so when
they are lit by the sunlight I
take them into the shade. This gives
images with a bright background and a
more diffused forefront.
FIND YOUR ROUTINEMost of my shots are done in the morning
because of the north-facing light, but I
have developed a routine that works.
For example, I will bring my subjects
closer to the house (my garden is an acreand a half) and use a clamp around the
Having received a camera from her husband whenshe began a diploma in horticulture, Jacky Parkerquickly discovered a love for shooting flowersand has been doing it ever since. In 2008 she was
named the Royal Horticultural SocietyPhotographer of the Year and was recentlynominated as a finalist in the InternationalGarden Photographer of the Year awards.She lives in Iver, Buckinghamshire.
www.jackyparker.com
BIOGRAPHY – JACKY PARKER
flowers to keep them in place. I very rarely
use a tripod, which means I can move
more easily in and out of the flowers.
CHOOSE THE RIGHTLENS
My latest discovery is the
Lensbaby series of creative effectlenses, including tilt-and-shifts,
which give a more painterly effect
to images of flowers. I particularly
like to shoot in diffused light with a
Lensbaby and light coming through trees,
as this combination gives good bokeh.
ADAPT TO YOURENVIRONMENTOne issue I have to consider when
shooting is the wind. I try to screen off my
subjects where I can or take them into my
greenhouse, which doubles as a studio.
An additional challenge is keeping thecamera still when shooting with such a
wide aperture, so when it is called for I will
shoot with a tripod, although I don’t like
doing this.
EMBRACE TECHNOLOGYI do a lot of post-production with textures,
using layer masks as well as preset
actions that can be bought off the internetto give the images a particular feel.
HOW TO WORKWITH YOUR
ENVIRONMENT
GOONLINE
For more advice andtechniques from the prosvisit the website atwww.photography
monthly.com
From top: Queen Anne’s Lace (Daucus carota),image taken in July 2009.Columbine ( Aquilegia vulgaris ), May 2009.Montbretia (Crocosmia Lucifer ), July 2009.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 54/116
[54] P H O T O G R A P H Y M O N T H LY MAY 2011
M A R K
G I L L I G A N
RESPECTTHESUBJECTI aim to take photographs that reflect the
captivating beauty of The Lakes and their
immediate terrain, which is striking but
also foreboding, almost menacing, in fact.
Normally images of The Lakes are taken
with a clear blue sky or white fluffy
Simpsons-style clouds. I don’t shoot like
this, because I feel this hostile, but
magnificent landscape invites and warns
at the same time. It’s that respect I strive
to achieve in my images.
TRAVEL LIGHTI shoot with a Canon EOS 5D MkII,
17-40mm L series lens, a couple of grad
filters, tripod and cable release. This lens
has never let me down and I like the way it
allows me to capture cloudscapes. I always
travel light and usually carry a 24-105mm
L just in case I need to get that little bit
nearer, which is rare because I like a wide
aspect. I shoot RAW and sometimes use
filters; usually though I will underexpose
and then work the images in Lightroom.
I am also never afraid to shoot on a high
ISO as I feel that can accentuate the
atmosphere and enhance the picture,
giving it a true feel.
DON’TBEAFRAID TOEXPERIMENTGreat Gable is a fabled and inspiring fell.
It is an iconic sight, but done to death.
I was on Wastwater one evening and went
right down to the shoreside looking for
something unusual to shoot. It was a grey
evening, perfect for me and raining.
I walked around and took up a position by
entering the shallow water with Wellington
boots on, and found an angle that was newto me. Normally I would use my 17-40mm
lens, but for this I used a 24-105mm on
maximum. The compression not only
pulled everything together, but also gave
a perspective I hadn’t seen before. I added
a ’stopper’ filter and a soft grad. Not only
did this slow down the water, but it also
allowed the light to really show a pleasing
illumination just before the island.
BE PREPAREDThe weather forecast for the Hardknott
shoot (far right, opposite page) was late
evening sunshine, but while I wasphotographing, there was a howling gale
HOW TO SHOOT IN
ADVERSE WEATHER
CONDITIONS
and it was pouring down. Fortunately I had
my trusted carrier bag with me, which I
always attach to the central column of my
tripod and fill with locally sourced stones
to stabilise it if needs be. The skies never
really cleared, but gaps did appear, which
acted like magical torches on the fells.
I climbed up and waited for a couple of
hours before this effect finally stopped.
KNOWYOUR SUBJECT
When thinking about sunset or duskphotography it’s important you
know where you are and what you are
trying to achieve. This may sound
obvious, but it is very important and
often overlooked. Local knowledge is
a vital component in preparation.
Normally I will have been to a locationmany times before I take a picture.
WORK YOUR
LOCAL AREAYou don’t have to travel far and wide to make
great landscape images. Consider what is
close to home and all around you. If you don’t
have to travel very far you are more likely to
see the location in all weathers and in all light,
which means you can build a greater
understanding of the location and can
choose your shots. You might even
consider creating a series of images
of the same location.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 55/116
WWW.PHOTOGRAPHYMONTHLY.COM [5 5 ]
24 hours of shooting Mark Gilligan
DAY
Calm after the storm, mid-June. Great Gable in cloud as the autumn rain begins
to pour on to Wastwater. Dusk sunshine illuminates Great Gable in
midwinter; View from the top of Hardknotttowards Esk Buttress, Eskdale.
When you begin to understand an area
and how it behaves, you will see that the
light is never the same, so you should let
the light and its effect on the terraindetermine how you capture the
environment. If there is water involved,
then those reflections will become
an integral component and have to be
taken into consideration.
FIND THE NEWANGLEI regularly walk around Wastwater in all
seasons, covering low and high vantage
points. On this January afternoon quite
literally as the last rays permeated
the clouds, only Great Gable was lit.
This lasted for just a few minutes before
it was gone. This is a very differentview of Great Gable with a hard and
clear winter light really defining this
magnificent fell. I changed from wide
angle to a 24-105mm L series lens and
placed it on full compression. I did not
use a grad filter for this shot, which is one
of my biggest-selling images.
USE THE LIGHTLet the light help you to create a
successful image. Remember that at this
time of day, as with sunrise, the window ofopportunity can be as little as 20 minutes.
The time of year is also a major factor,
because the seasons produce peculiarities,
so be patient and never be afraid to
experiment. You can obtain some
fantastic, atmospheric images when the
weather is at its most inclement. Don’t be
too ambitious. Photography is about
quality, not quantity. Prepare, take your
time and wait for that rush as the
landscape unfolds before you. Most of
all, enjoy this time of day, because it canprovide some great images.
Mark Gilligan is a wedding and landscapephotographer based in the Lake District.He is a multi-award-winning member of theBritish Institute of Professional Photographyas well as the Royal Photographic Society.He has a base and a permanent exhibition in
Nether Wasdale, Cumbria.www.wastwaterphotography.co.uk
BIOGRAPHY – MARK GILLIGAN
REMEMBER LOCATIONSI am always telling people that Wastwater
Lake is its own amphitheatre because it
plays its own dramas minute by minute.
I was shown this unusual location and kept
it in the memory bank for the perfect
day I had in mind to photograph it, which
is my image Calm after the storm.
I took only three pictures that day as the
clouds quickly closed on the opportunity
to shoot.
“LET THE LIGHT HELP YOUTO CREATE A SUCCESSFUL
IMAGE. REMEMBER THAT ATTHIS TIME OF DAY, AS WITH
SUNRISE, THE WINDOW OFOPPORTUNITY CAN BE AS
LITTLE AS 20 MINUTES.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 56/116
[56] P H O T O G R A P H Y M O N T H LY MAY 2011
HOW TO SHOOT IN
BRIGHT SUNLIGHT
LOOK FOR THE UNUSUALI am inspired every time I leave my front
door with my camera and the light is good.
There is a buzz in looking out for unusual
scenes from everyday life and then
showing the results to people who canconnect with the picture because they
recognise a scene from real life.
EXPERIMENTThe fact that you can have higher shutter
speeds in bright light means more
opportunities for capturing the moment.
It also means you can move the camera
around sharply and take instinctive
chances with framing and still get a shot
such as my shop picture (far right,
opposite page). Keeping your shadow out
of shots when the sun’s at your back can
be hard, but it’s something you learn tolook out for the more you shoot this way.
IT’S NOTABOUTTHE KITI use a Canon EOS 5D camera and a 16-
35mm lens. It’s basic stuff and not too
hard to use, which leaves me able to spend
virtually all my time looking for great
shots rather than wondering whether my
camera is set up correctly.
WORKWITH YOUR
SUBJECTSI love working in bright sunlight because
other people, my subjects, are encouraged
to come out and enjoy themselves.
I find most people’s moods lift when the
sun is shining and I am also happier to
have the sun at my back with plenty of
places to explore.
BE PATIENTI rarely have any problems taking these
images, apart from the difficulty oflocating the scene in the first place and S
T E P H
E N
M c L A R E N
“THE FACT THAT YOU CAN
HAVE HIGHER SHUTTER SPEEDS
IN BRIGHT LIGHT MEANS
MORE OPPORTUNITIES FOR
CAPTURING THE MOMENT.
Stephen McLaren is a London-based freelancephotographer whose clients include the Mayor ofLondon’s office, John Lewis, Phillips de Puryauction house and Electronic Arts. He is also theco-author with Sophie Howarth of the Thames &Hudson book, Street Photography Now.
www.stephenmclaren.co.uk
BIOGRAPHY – STEPHEN McLAREN
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 57/116
24 hours of shooting Stephen McLaren
A-Z , London. Shop! , Oxford Street, London. Flume, Hove.
DAY
then being in the right spot to do it justice.
That’s hard and I miss dozens of shots a
day because I am not in the right place at
the right time. The key lesson is to be an
optimist and trust that if you miss
everything one day, then the next day
could be different.
MASTER
STREET
PHOTOGRAPHYKnow your camera inside out so you can react
quickly in any setting and walk with your finger
on the release. If you are focusing manually with
a prime lens, have your lens pre-focused for
certain distances. Don’t be intimidated; most
people are happy to be photographed. Look
around you constantly. Be discreet;
looking beyond the subject after
shooting often helps. If you are
confronted simply smile and be
good-humoured.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 58/116
[58] P H O T O G R A P H Y M O N T H LY MAY 2011
USE THE LIGHTTO YOURADVANTAGEOften photographers are advised not to
photograph at midday because of the
steep angle of the sun, which produces
images without depth or, in the case of
people, unflattering shadows on faces.
However, this is not universal advice – you
can use midday light to your advantage by
paying attention to the situation.This light creates sharply defined
colour planes that can create
stunning images under the
right circumstances – you
just need to look.
LOOK FORSHAPESI call high noon shooting ‘bright
light photography’ because of the
brightness you get in the areas that are
exposed to the direct sunlight and the
contrast that it creates. This is great for
architecture photography as I want tobring out specific shapes that man-made
HOW TO USESHADOWSRichard Stultz has exhibited his photographs insolo and group exhibitions in the western UnitedStates and his work has been published in Camera
Arts and Black & White magazines.
www.richardstultz.com
BIOGRAPHY – RICHARD STULTZ
forms create and there’s nothing like
bright light photography to do this.
When you think of it, if you’re
photographing objects that have
primarily vertical planes, such as
architectural subjects, the sunlight at
midday creates the same sort of shadows
and has the same angle as sunlight in theearly morning or early evening on
objects that exist primarily in the
horizontal plane.
DON’TWASTELIGHT
I discovered the advantages of
high noon photography and how to
use the sun to my advantage because
I didn’t want to be sitting around doing
nothing during the middle of the day.
Over time I found subjects that were
suitable for this type of lighting.
It’s crucial to analyse your subject andvisualise how your photograph is going to
look. If you visualise, shoot and analyse
the results, and then go back and
do it again, your images will improve.
UNDERSTAND THE SUNIt’s very important to understand the
relationship of the angle of the sun from
two directions. The first is how high it is in
the sky and the second is how much it is
to the side – is it shining directly on the
subject at 90°, or is it shining at an anglefrom the side? Successful photography
requires using these angles to your
advantage. If you don’t have those angles
– for example, if the sun is shining straight
on – you won’t have anything to work with.
BE PATIENTSuccessful high noon photography is
about the light and how it affects your
subject, but it’s also about patience and
imagination. Sometimes you have to wait
until the sun has moved in the right
position and at other times you’ve arrived
too late and need to come back earlierthe next day. Just stick with it.
GOONLINE
For more advice andtechniques from the pros
visit the website atwww.photography
monthly.com
Richard Stultz 24 hours of shooting
Concert Hall, Los Angeles. This shot is really aboutwaiting for the sun to be in the best position. I had
seen this building a number of times but previouslythe light had never been just right.
R I C H A
R D
S T U L T Z
I CALL HIGH NOON
SHOOTING
‘BRIGHT LIGHT
PHOTOGRAPHY’.”
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 59/116
FILL UPA good breakfast is absolutely essential
for morning photography. You need to be
switched on and alert – you won’t be
without a good breakfast. The earliest I’ve
ever had to get up for a shoot is 2am, to
photograph Sainsbury’s shelf-stackers
at 3am, and I still had breakfast before I
left home.
SHOOTFOR THE LIGHTYou get beautiful light in the morning
which isn’t as orange as it is in the
afternoon, and lovely long shadows too.
However, there are going to be fewer
people around and therefore fewer
happenings to shoot, in terms of street
photography, so I tend to shoot for
the light in the mornings and for the
people later in the day. Obviously if I can
get both, that's ideal.
WATCH THEWEATHER
When the weather is good your photos willfollow suit – sunny pictures have a special
Matt Stuart is a street photographer based inLondon. He has been capturing accidentalmoments for the past 11 years, shooting on bothfilm and digital. His clients include Tate Modern,Tate Britain, furniture retailer MFI and the LondonSymphony Orchestra.
www.mattstuart.com
BIOGRAPHY – MATTSTUART
quality. Professional photographers,
including myself, are led by the light, so if
they know they’re going to get good
weather they’ll be champing at the bit to
get outside at 5.30am, so do make the
most of nice weather. That said, still
go out even when the weather isn’t great,
you can still get interesting street shots
in the rain.
BE PREPAREDMake sure you take enough memory cards
and spare batteries so you can stay outshooting all day if it’s going well –
there’s nothing worse than having to go
home because your card is full.
FOLLOW THE SUNIt pays to know where the sun rises and
sets in your area. I live in London so I head
to the East End for sunrise and Marble
Arch in the West End for the sunset.
Photography is all about the light and you
have to go where it’s best.
KNOWWHAT’S ON
Mornings can be dramatically different inthe same place – find out what’s going on
so you can prepare and plan accordingly.For example, on Monday mornings I
regularly photograph the weekly
deliveries – people humping boxes around
and moving stuff. I also know that this is
the time when commuters generally tend
to look glum.
FIND A SPOTIn the morning, I find it’s best to get a
good spot, with a nice flow of people, stay
there and shoot. Set up your equipment,
get your exposure right and then wait
for people to walk into your frame.
Save the dashing about for the afternoon,otherwise you’ll be knackered.
24 hours of shooting Matt Stuart
WWW.PHOTOGRAPHYMONTHLY.COM [5 9 ]
HOW TO SHOOT ONTHE STREETS
Trafalgar Square. Aldersgate Street, London.
DAY
M A T T S T U A R T
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 60/116
[60] P H O T O G R A P H Y M O N T H LY MAY 2011
NIGHT
T O M
M c G H E E
FIND A THEMEIt is the mystery of shooting at night
that really appeals to me. I feel that
people are different at night, they are
more chilled out and the world seems
to go into a dreamlike state. Think about
an aspect of night you like or what
it says to you and try to show that in
your photographs.
HOW TO CREATEATMOSPHERE AT
NIGHT
Now living in New York City, but Scottish-bornand Australian-raised, McGhee has had his workexhibited in galleries around the world,including Australia, the UK, mainland Europeand the USA. His clients include Sony, Microsoft,Suzuki Motorcycles and Mitsubishi Motors.
www.tommcgheephoto.com
BIOGRAPHY – TOM McGHEE
Tom McGhee 24 hours of shooting MASTER
CITYSCAPES
AT NIGHTDuring the day walk around the area you wish to
photograph and look for subjects that might make
good shots at night. Don’t dismiss shooting in bad
weather; even the cloudiest of nights will have a lot to
offer. When shooting at night bright lights quickly get
overexposed; think about this when framing the shot.
There is no hard-and-fast rule about removing or
including them, but you can start to lose detail inthe surroundings if these are not controlled.
Consider using a tripod and a shutter release
or the countdown timer built into
your camera.
Stoop. I went on to the rooftop of myNew York apartment and looked downat the street below and saw thesepeople outside their building,escaping the overheated apartments.
Another classic NYC image of peoplein the neighbourhood.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 61/116
BOOK NOW ON 01834 887 562
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 62/116
Tom Servais: Born in Miami in 1953, Servais moved to California at the age of 20 to ‘find himself’and pursue surfing. After taking several photography classes, he began his career as a photographerwith Surfer magazine. Fueled by the joy of turning his passion into a career, he travels the world in
pursuit of an endless summer.Photo data: SIGMA 18-250mm F3.5-6.3 DC OS HSM,1/1,000-second exposure at f/6.3.
O U R
W O R L D
TOM SERVAIS SHOOTS THE WORLD
WITH A SIGMA LENS.
A man hits the waves in the gentle rays of a setting California sun.
A versatile, high magnification zoom lens featuring Sigma’s original Optical Stabiliser
function and Hyper Sonic Motor throughout its impressive zoom range.
Available for Sigma,
Canon, Nikon, Sony, and
Pentax cameras
Matched lens hood included.
www.sigma-imaging-uk.com E-mail: [email protected]
SIGMA 18-250 F3.5-6.3 DC OS HSMmm
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 63/116
WWW.PHOTOGRAPHYMONTHLY.COM [6 3 ]
NIGHT
fellow photographer, just a willing friend.
They’ll be handy when it comes to taking
light readings and stopping passers-by
while you expose a shot; people usually
don’t mind being stopped, just ask politely.
DO A RECCEIf possible visit your planned location
the night before your shoot – it’s really
advantageous. This way you can judge
the amount of people traffic and find out
exactly what time day turns to night at
your location, as you usually only get a
small window of about 15 minutes of lightbefore it changes to
pitch-black.
UK photographers
have a unique
advantage in
summer, with the
late change from
day to night, so
take advantage of it.
GET THEREEARLYGet to your location at
least 30 minutes before youplan to start shooting. Plan where you will
position your camera well before the light
is how you want it, so you are ready to
shoot when the perfect light materialises.
BRACKET EXPOSURESIt’s not easy to judge your exposures at
night, therefore be sure to bracket so
you aren’t disappointed when you get
home. Use your histogram, rather
than your LCD screen which will be very
difficult to see clearly.
EXTRA GEAR
The night is a magical time, so make sureyou have extra memory cards and
spare batteries, so you don’t
have to stop shooting if
something amazing is
presented to you.
Also take a light meter
and light strobe or
portable flash to capture
still images over a long
exposure. You’ll also need
a torch so you can see
what you’re doing in the
dark. Food and water are, of
course, essential, as are a warmcoat and gloves in the winter.
THINK FILMA lot of my work is inspired by motion
films. At night the lighting is mostly
manmade and that has an effect on the
atmospheric quality of night
photography, especially when it has
recently rained or it’s a cold night with a
light mist or fog. This is why lots of edgy
films are shot on a street that has been
made wet – to capture the wonderful
colourful reflections you get. I always
think of [Ridley Scott’s sci-fi film] Blade
Runner when shooting New York at
night, as it is a surreal experience.
USE A TRIPODA sturdy tripod and cable release are
required for night photography, as you
are dealing with long exposures of
up to 15 seconds or more – so it is hardto handhold, even for seasoned
professional photographers.
PREPAREMake sure you’ve planned your shoot
thoroughly before leaving home. This is
especially important at night as you
have a limited window of time and things
aren’t as easy as they are during the day
– setting up your tripod or searching for
something in your bag, for example.
ASK A FRIEND
Take an extra person out shooting withyou, if you can – they don’t have to be a
BE READYTO REACT
Although planning is a crucial
part of shooting at night, you
still need to be open to grabbing
your camera and taking shots
quickly, so if something
interesting happens
you can capture it.
24 hours of shooting Tom McGhee
T O M
M c
G H E E
After the Deluge. When I took thisimage, I think I was channelling agreat film maker that I have alwaysadmired, Michael Mann. It remindsme of a mix between his filmCollateral and Martin Scorsese’sTaxi Driver .
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 64/116
A N D R E W
M c C O N N E L L
HOW TO LIGHT
PEOPLE AT NIGHT
GET TO KNOW THELOCALSThese shots were taken in the Sahara.
One half of Western Sahara is controlled
by Morocco and one half by the Polisario
Front. I shot on both sides of the border
over a four-month period in 2009. I spent
time with the refugees in each area, got toknow their families, and developed a bond
of trust that often gained me access to
their lives.
LIGHT THE DARKThe man in the sand dune was a wedding
guest I met. The light behind the sand
dune is from a far-off town, but I used a
small LED video light to light his face.
These are small handheld lights with 50 or
60 LED bulbs. I value the fact they are
dimmable from 0%-100% and they are
portable. To light the woman in the tent,
I had someone holding the LED video lightbeside her. When I held it myself, I used
Student Brahim Mohamed Fadinpictured in sand dunes near Smararefugee camp, Algeria, 2009.
After winning the Louis Valtueña HumanitarianPhotography Award, Andrew McConnell, who isbased in Nairobi, Kenya, travelled to WesternSahara where these shots were taken. They havebeen featured in the Financial Times and took a firstprize in the 2011 World Press Photo Awards.
www.andrewmcconnell.com
BIOGRAPHY – ANDREW McCONNELL
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 65/116
24 hours of shooting Andrew McConnell
NIGHT
WHAT IS
KELVIN?Kelvin is the measured colour temperature
of light. The lower the kelvin value, the warmer
the colour; the higher the K value, the cooler the
colour. Taking control of this measurement when
making images allows you to better record what you see.
It also offers you a world of creative possibilities,
enabling you to give your images the atmosphere you
want. In essence you are adding filters at the point of
capture in the traditional sense. By using colour in
this way you can lift flat scenes and make them
abstract or you can simply accentuate what is
already there. Use this control to shoot in
conditions you would never haveconsidered before.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 66/116
[66] P H O T O G R A P H Y M O N T H LY MAY 2011
my other hand to set off the shutter for a
long exposure. I lit each subject for a
second and then switched the light off,
though the exposure ran on for 10-20
seconds. The most invaluable light source
was natural moonlight. I couldn’t work
without any moonlight at all but also
found that if the moon was too large it was
impossible to shoot. A half-moon was the
ideal lighting.
BE OPEN TO NEWTHINGSThe woman in the tent is Bedouin and I
took this image in Polisario-controlled
Western Sahara. She lived in the desert
with her family and animals, and moved
with the rains, following a very traditional
lifestyle. The shot of the woman with the
teapot is in Moroccan-controlled Western
Sahara, which was the most difficult place
to work. Having been given the contact
details of activists, I found the experience
rather covert as I had to meet subjects at
night and take them out in the desert to
photograph, as they were too frightened
to have any taken in the city.
KNOW WHAT YOU WANTI shot at night because I wanted to reflect
the desperation of the subjects’ lives.
Having spent time with so many people,
some of whom had horrific life stories to
share, I felt it was important to capture
them in a way that spoke of theirexperience. Seeing so many as forgotten,
living in dark and dire circumstances, I
realised I should reflect this by shooting
them literally in the dark.
BRING OUT THE BESTDETAILSI have used Photoshop to balance the light
and sometimes bring the subject up
a little or to draw out the landscape if it
seemed too dark, just to get the contrast
right. I wanted to portray the subjects’
circumstances as dark, but I needed their
faces and their surroundings to speak outof that literal darkness. A
N D R E W
M c C O N N E L L
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 67/116
WWW.PHOTOGRAPHYMONTHLY.COM [67]
NIGHT
24 hours of shooting Andrew McConnell
Dada Mohammed Keheland, facing page, Djimi
Elghalia in differently
controlled areasof Western Sahara.
“THE MOST INVALUABLE
LIGHT SOURCE WAS
NATURAL MOONLIGHT.
I COULDN’T WORK WITHOUT
ANY MOONLIGHT AT ALL BUT
ALSO FOUND THAT IF THE
MOON WAS TOO LARGE IT
WAS IMPOSSIBLE TO SHOOT.
A HALF-MOON WAS THE
IDEAL LIGHTING.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 68/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 69/116
24 hours of shooting Sam Cooper
S A M C
O O P E R
EXPERIMENTFor this image of Alex Robertson, called
Soul to Soul, I wanted to use my fisheye
lens in a different way. I wasn’t exploring
all the ways it could be used to captureaction. The conventional idea behind
using wide-angle and fisheye lenses is
that you can get closer to the action, but
for this shot I took a few steps back and
found a whole new perspective. I used a
Sigma 10mm f/2.8 fisheye lens to
capture this action on a Nikon D50 for
its incredible off-camera flash sync rate
of 1/500sec, which is important foranyone shooting action sports.
NIGHT
Alex Robertson – Soul to Soul .
Sam Cooper is an amateur extreme sportsphotographer with aspirations to turn pro. He isself-taught, but is a natural talent with a real eye
for lighting and capturing action at night.www.flickr.com/photos/sam_cooper_photography
BIOGRAPHY – SAM COOPER
HOW TO LIGHT ACTION AT NIGHT
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 70/116
[70] P H O T O G R A P H Y M O N T H LY MAY 2011
S A M C
O O P E R
I also had two Canon 540EZ Speedlites
linked up with CyberSync gear, with one to
my right at half the power and a diffuser
to gently light the scene. The other
flashgun was to my left at a quarter the
power, to freeze Alex in midair and add
tonal difference to the lit areas.
CHALLENGE YOURSELFFor the image of Alex Robertson (above) I
had several inspirations which contributed
to the overall look. One was a Flickr
contact of mine, J. Wedelstädt; another
was the body of work called The
Accidental Theorist by photographer
Edgar Martins. The artists’ symmetrical
and borderline geometric approach to the
work they produced was a breath of fresh
air to me. I challenged myself to produce
images that reflected the same qualities.
To achieve the look, I used two Canon
540EZ Speedlites set at a quarter of the
power. I used a Nikkor 50mm f/1.8 prime
lens because I wanted a shallow depth of
field to help the rail and Alex to really
stand out from the rest of the l it scenery.
STAY ALERTI love the beautiful and quite frequently
bizarre architecture that litters the
streets of Barcelona. It’s not very often
you get to shoot somebody, in this case
skater Richard Manning, performing a
stunt or trick upon a giant match, so you
have to grab it while it’s there.
PICK YOUR FOCUSThis was the first time I had used two
off-camera flashes – a Canon 540EZ
Speedlite and a Vivitar 285HV flashgun,
both set to half power with a cheap eBay
trigger and receivers to set them off –
so there was a fair bit of experimentation
with positioning the flashguns.
One problem I can remember was how
to light the scene without lighting the
grass a few feet behind the object.
I didn’t want to light this up, as I felt it
made the shot messy and diminished
the potential impact of the scene, so Iplaced the flashguns further off to
the side of the matchstick as opposed to
straight on.
HAVE FUNThere is so much fun to be had from
working at night, whether you’re shootingan already lit scene, a light painting or
light trails. The best thing I’ve ever done
when lacking solid ideas is popping on
some headphones with some inspiring
music and going for a walk. As long as
you keep your eyes and mind open to
everything around you, scenes which youhave walked past a hundred times before
Alex Robertson – Soul .
“MY PERSONAL PREFERENCE WHENUSING FLASHGUNS AT NIGHT OR
DURING THE DAY IS TO MAKE THE LIGHT
SEEM AS NATURAL AS POSSIBLE.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 71/116
WWW.PHOTOGRAPHYMONTHLY.COM [7 1]
might jump out at you all of a sudden with
how it’s lit, or a certain bend in the road
might seem perfect for car light trails.
BALANCE THE IMAGE
I think a successful action image shotat night strikes a good balance between
showing it is night, but
also lighting up the
scene and freezing the
action. My personal
preference when using flashguns
at night or during the day is to make thelight seem as natural as possible. By this I
mean watching closely the lighting
extremes. Careful flash placement
and control over your flashguns and
the light they emit is the key element,
but it’s simply down to trial and error, and
trying different lighting techniques to findwhat works best for you.
24 hours of shooting Sam Cooper
NIGHT
GOONLINE
For more advice andtechniques from the pros
visit the website atwww.photography
monthly.com
Richard Manning – Royal to Royal.
MASTERCAPTURING
ACTION WITH FLASHUsing a number of flashguns will help to freeze
action and get the exposure right in your action
images if you want the subject, foreground and
background well-lit. As a guide, it’s better not to
have flashes pointing in the same direction as the
camera, nor back towards the camera, as this will
interfere with your shot. Consider focusing the
camera in advance, hold the composition and wait
for the subject to come into shot. Most action
has a peak and there’s no substitute
for practice, but work with your
subject and don’t push
them too far.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 72/116
[72] P H O T O G R A P H Y M O N T H LY MAY 2011
NIGHT
Troy Paiva 24 hours of shooting
DON’T BE AFRAID TOEXPERIMENTNight shooting is a complex task.
There are a thousand things that can go
wrong during those minutes when the
lens is open. If you are adding light, it
complicates the situation by a factor of 10.
There is a lot of trial and error involved.
I use the preview on the camera to see if I
have the shot; if it's not right, I open the
lens for another two-minute exposure andtry again. Sometimes it can take
five attempts before I’m happy with the
composition and lighting.
IT’S NOT ABOUTTHE KITBack in the film era I used a 1960s vintage
Canon FX body and a variety of used,
off-brand, wide-angle lenses. I shot with
outdated film which, when combined with
the reciprocity failure associated with
eight-minute exposures, made the images
grainy and artefact-filled, very much like
today’s toy camera work, but before it waspopular. The aesthetic of shooting these
junky old places with junky old gear just
felt right to me. By 2004 though, all my
labs had closed and Kodak discontinued
my favourite film (160T), so I stopped
shooting for about a year. Then Canon
released its first CMOS sensor cameras,
which were the first models that could
take noise-free time exposures. I bought a
Canon EOS 20D and the ability to preview
the image on the back of the camera
revolutionised night photography and lightpainting. I’m still shooting with that 20D,
now superseded by a dozen models, so it
could be argued that I’m still shooting with
junky, outdated gear.
WORK WITHTECHNOLOGYMuch of my work is straight out of the
camera, but occasionally I will use
Photoshop to crop, level horizons, alter
white balance, sharpen, clone occasional
lens flare or dodge and burn, which are
traditional darkroom techniques just
moved into the digital realm. SometimesI’ll combine multiple frames from the
same camera set up to incorporate two
different light painted sections of the
image, or to double the star trail length or
(as in the case of the image Any port in a
storm) to combine two focal lengths to get
an impossibly large depth of field.
ALWAYS BE PREPAREDOver the years I’ve learned to streamline
and simplify my methodology.
My exposure formula is simple: full or near
full moon, ISO 100, two-to-four minutes
at f/5.6-f/8. I use the preview to fine-tune
the exposure early in that night’s
shooting, and then rarely deviate from it
all night. I carry the camera on a tripod
and all my other equipment fits into my
coat pockets: one strobe and a few
flashlights, and some gels. In my
experience, the fewer the technicalvariables, the fewer the problems. T
R O Y
P A I V A
HOW TO USE LONG EXPOSURES AT NIGHT Wandering the deserted back roads of theAmerican Southwest, Troy Paiva has explored theabandoned underbelly of America since the 1970s.As well as exhibiting his work, he has beenpublished in books and magazines, and alsoteaches night photography in the US.
www.lostamerica.com
BIOGRAPHY – TROY PAIVA
The lap of luxury . The inviting interior of a 1973Cadillac Coupe deVille. This four-minute exposure was
lit with an LED torch from the far side of the car andthree pops of red-gelled strobe, intentionally placedto create the shadow of the rearview mirror and pull
texture from the ground and dirt on the rear window.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 73/116
creative freedom without compromise
www.bowens.co.uk ‘Bowens’® and ‘the power behind the picture’® are registered trademarks of Bowens International Limited.
PocketWizard® is a registered trademark of LPA Design. All other trademarks are the property of their respective owners.
© 2011 Bowens International Limited.
TravelPak Battery
System
Control Panel
Small & Large
Batterypaks
G M 2
0 0
G M 4
0 0
2 5 0 C
5 0 0 C
2 5 0 R
5 0 0 R
5 0
0 P r o
7 5 0 P r o
1 0 0 0 P r o
1 5 0 0 P r o PRO Range
R Range
C Range
GM Range
Compatible with Pulsar &
PocketWizard trigger cards
Compatible with Pulsar &
PocketWizard trigger cards
Compatible with Pulsar &
PocketWizard trigger cards
WINNERS
Studio Flash System
Gemini 500RPortable Flash System
Travelpak
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 74/116
T R O Y
P A I V A
SHOOT WHAT YOU LOVEI love the truly strange feeling of being in
a completely abandoned military base, or
a junkyard alone in the middle of the night.
I love moving through these haunting
places and the camera frame during the
exposure, like a ghost. It’s romantic and
evocative and it makes me feel alive. I love
that I’m adding something to the scene,
accenting it. I’m putting my mark on the
subject, like graffiti, but without actually
leaving a trace that I was ever there. I love
controlling the mood and atmosphere of
the scene with lighting. It’s very ‘hands-on’
and hard to do well, so I guess I love achallenge too.
KEEP PRACTISINGPractise, practise, practise. Set up in your
garage, somewhere you can make the
room dark, lock the lens open and start
throwing light around. Shoot your bike,
your water heater, anything, lighting it
from every angle and distance you can
think of, with every kind of light you can
get your hands on. When you download
the images to your computer, note how
white balance affects each type of light.
See what works and what doesn’t. No one
except you has ever to see these images,
but you’ll be more prepared for when you
actually go out and capture something youreally want to shoot.
SHOOT WHAT YOU SEEAfter more than 20 years, I’m still just as
driven and obsessed with photographing
abandoned landscapes as I was when I
first started, but with most of the roadside
abandonments of my youth now gone, I’ve
expanded my subjects to junkyards,
decommissioned military installations,
amusement parks, industrial sites and
other disused and forgotten places. PM
Any port in a storm. This 1960 Chrysler Newportsurvived a recent clean-up of the yard. The foregroundcar was lit with xenon and snooted LED torches.The rest of the scene is lit by full moonlight.This image is a combination of two exposures, onefocused on the grille, the other on infinity.
[74] P H O T O G R A P H Y M O N T H LY MAY 2011
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 75/116
NIGHT
RESEARCH
YOUR SUBJECTIf you are photographing a familiar landscape
or other subject matter, look at work that has
been done before and if possible try to talk to
these photographers. Local knowledge and
information is invaluable and will help you to create
something truly unique. Research will also enable
you to tell a story with your images. If you want
to unearth a hidden mystery or previously unseen
element, then knowing what has gone before
is important. It might also help you
to prepare for any eventuality or
change in plan you might
encounter.
24 hours of shooting Troy Paiva
“NO ONE EXCEPT YOU HAS EVER TO SEE THESEIMAGES, BUT YOU’LL BE MORE PREPARED FOR
WHEN YOU ACTUALLY GO OUT AND CAPTURESOMETHING YOU REALLY WANT TO SHOOT.
WWW. PHOT OGRAPHYMONT HLY. COM [75]
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 76/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 77/116
WWW.PHOTOGRAPHYMONTHLY.COM [77]
Be prepared to change venues once you
feel you have exhausted the place where
you are photographing.
When shooting people, a different
environment can alter the mood completely.
Familiarise yourself with your equipment
so the camera is an extension of your eye.
(Autofocus is helpful here.)
A good portrait can come from a good
conversation, so get to know your subject.
Natural curiosity is an asset.
EMILY’S ESSENTIALS
E M I L Y A N D E R
S E N / J A N U S Z P O D R A Z I K
To read more of Emily’s columns visitwww.photographymonthly.com
This month Emily revisits the
chance encounter at a party in New
York that led to an opportunity to
create a portrait of the celebrated
US photographer Nan Goldin.
WHILE IN NEW YORK IN 1983, I VISITED AN
ENGLISH FRIEND OF MINE, JANE WARRICK.
Jane was a writer and photographer, and had studiedat the Royal College of Art in the environmental media
department. This course produced some of the mostexperimental artists from the RCA.Living in New York,
Jane had met like-minded artists, includingAllen Frame, another writer and photographer.
On my second day in the city, Jane invited me toaccompany them both to a friend’s 30th birthdayparty. We travelled downtown to the Bowery on theLower East Side, which was an area of factories
and industry that was deserted at night. We arrived atone of the factory buildings, rang the bell and thenwalked up a couple of flights of stairs to the party,which was being held in a loft apartment.The low-ceilinged room we entered was decorated
with colourful fabrics and lit only by candles andlow-wattage bulbs. There were about 50 people there;it was noisy, smoky and full of energy. Unlike anEnglish party, everyone here was networking. I was
introduced as a photographer from England to manypeople, including Philip-Lorca diCorcia (who wasunknown at this time). I was also introducedto photographer Nan Goldin, whose party it was.
She was lively and friendly, and made me feelwelcome. I met many of her friends,whomI recognised later in a slide show of her workandsubsequent book entitled The Ballad of Sexual
Dependency , which Allen helped her to edit.Later that year Goldin came to London to show her
slide show at the Institute of Contemporary Arts.It lasted more than an hour and comprised slides of
her friends taken over many years. It was projectedin a dark auditorium with a haunting soundtrackranging from the Velvet Underground to The Beggar’s
EMILY ANDERSENEmily is a veteran portrait photographer. A selectionof her images forms part of the National Portrait
Gallery’s permanent collection.
Opera. These were the friends that Goldin calledher family. They are intimate and loving photographs –sometimes startling and sometimes tragic.
Eleven years later, in 1994, I was staying in Munich
with a friend, Kirsten Martins, who is a journalist forBavarian Radio. She reports on photography and film,and was asked to interview Goldin,as she wasshowing her slide show in Munich. I went with her to
meet Goldin and to reintroduce myself. I asked if shewould mind being photographed; she said she wouldlike that and we arranged to meet the nextday.
I met her on a bright, sunny day at the factory
where she was showing The Ballad . I travel lightifpossible, particularly when abroad, so I can concentrateon taking photographs rather than looking afterequipment. I had with me two Hasselblad 500C/Mbodies, 80mm and 120mm lenses, three film backs, a
Polaroid back, Minolta 3 flash, ambient meter and aMetz45CL flash with diffuser. I had the backs loadedwith Fuji Pro 400 colour film and HP5 400black-and-white film. The Metz flash was on a bracket
that also held the camera. I didn’t use the flash,because I liked the available light.Flash can alsointerfere with the conversation, which I wasconcentrating on as I began to take the photographs.
It was a strange position to be in, directing another
photographer,but she was happy to do what I asked tomake the photograph work. I shot a roll of colour andblack-and-white of Goldin in frontof an old factory wall.
I then suggested we go to Kirsten’s house for lunch.We tooka cab and talked all the way about mutualfriends and how the European audience responded toher work. Once atthe house I thought this might be the
time to get a portrait thatwould work. We sat on asmall balcony and continued talking. This is where Itook the photograph above. I shot it on black-and-whitefilm at 1/60sec at f/2 for a shallow depth of field.
While in Munich, Goldin was asked to recommendphotographers for a book and generously suggestedme for the Our Mothers project edited by VivianeEsders and published by Stewart, Tabori & Chang.
This was a collection by 72 women photographers ofportraits of their mothers with text about theirrelationship.The book was launched with an exhibitionat the Institut Français in London and toured to theInstitut Français d’Écosse in Edinburgh and then to Les
Espaces Communs in Paris in 1996. To promote the bookI was interviewed for BBC Radio4’s Woman’s Hour .
It was a great party that I wentto in New Yorkin1983 and, like many extraordinary events in life,
you don’trealise how significant they are until manyyears later.www.andersenphotographic.org
PM
Nan Goldin, shot inKirsten’s house, Munich.
EMILY’S PEOPLE
“ITWASA STRANGE POSITIONTO BE IN, DIRECTING
ANOTHER PHOTOGRAPHER, BUT SHEWAS HAPPYTO DO
WHAT I ASKEDTO MAKETHE PHOTOGRAPHWORK.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 78/116
NEW E-PL23-inch display, Live Wheelfeature menu, Bluetooth®
capability and kitted withnew smaller virtuallysilent 14-42mm lens.
LOVED BY PROS. MADE FOR YOU.Looking for outstanding image quality and control but not complicated menu screens or baffling photographic
jargon? The innovative and easy-to-use LIVE GUIDE makes true SLR quality as simple as point and shoot. Set
everything just like the pros – only without the fuss. Find out how it works at www.olympus.co.uk/pen> SHOOTING GREAT PICTURES HAS NEVER BEEN SO EASY.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 79/116
MAY ISSUEISSUE PODCAST
The Editor of Photography
Monthly , Grant Scott, and
deputy editor Sean Samuels
speakabout their experiences
shooting 24 hours a day. Goes
live on April 20 2011.
APRIL ISSUE
ISSUE PODCASTThe Editor of Photography Monthly , Grant Scott,
and deputy editor Sean Samuels speakabout
what caught their eye and the latest innovations
from Focus on Imaging 2011 at Birmingham NEC.
SPECIAL PODCASTNIKON MASTERMIND FINAL
The final contestants of our Mastermind quiz,
sponsored by Nikon, go head to head to see who
will win the Nikon D3s worth £ 4,200.
MARCH ISSUE
ISSUE PODCASTGrant Scott and Sean Samuels speak to National
Real Racers covers Formula 1 in the 1950sand 1960s from the drivers’ perspective andfeatures images from the KlemantaskiCollection documenting the golden age ofmotor racing through the eyes of the menwho lived it. With original commentary fromF1 driving legends Sir Stirling Moss, Sir
Jackie Stewart, Sir Jack Brabham and JohnSurtees, as well as team manager Sir FrankWilliams, the book explores all aspects of arace weekend. For your chance to win acopy, worth £27.50, enter our competitionat www.photographymonthly.com
WE’RE ONYOUR
WIN!
In case you missed them…
PODCAST
Geographic photographer Jim
Richardson about his wonderful
landscape work made in the
Hebrides. They also discuss
the latest news from the world of
photography.
FEBRUARY 2011ISSUE PODCAST
Grant and Sean discuss their time at the CES Show
in Las Vegas and reveal all their favourite things,releases and dishes from Sin City.
SPECIAL ISSUETEST ZONE AWARDS SPECIAL PODCAST
Grant and Sean discuss the winners of this
year’s Test Zone Awards, as featured in the
December issue of the magazine.
JANUARY 2011MASTERS SPECIAL PODCAST
In this month’s masters special podcast, Sean
speaks to Steve Bloom about his creative
approach to photographing wildlife, his careerand the future of photography.
Thanks to everyone who has listened to our monthly podcastsover the past two years. In case you missed any, they are availablevia the website and can be downloaded from iTunes.
WAVELENGTH
WWW.PHOTOGRAPHYMONTHLY.COM [79]
RACERS
DECEMBER 2010ISSUE PODCAST
Grant and Sean speak to British professional
photographer Jake Chessum, who has shot many top
rock bands and celebrities, abouthis approach to
capturing group portraits. Jake shares his passion
and advice to help you take better photographs.
MASTERS SPECIAL PODCAST
In this month’sspecial podcast, Sean speaksto our
Lighting Master,Neil Turner, about how he uses
flashguns to add depth and atmosphere to family
and group portraits.
NOVEMBERISSUE PODCAST
Grant and Sean speak to professional
photographer James Appleton and discover how
he captures extreme colour in his landscape
images. They also discuss their time at Photokina
2010 in Germany. PM
THEBACK
CATALOGUEAll of our podcasts featuringphotographer interviews and
industry news specialsare available online at
www.photography monthly.com
REAL T A K E N
F R O M
P M ,
A P R I L I S S U E
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 80/116
Capturing great audio is a challenge for both enthusiastand professional film makers, so this monthJOHN CAMPBELL takes a look at some simple accessoriesto help you record superb sound. He also has some greatfilms for you to watch and catches up on the latest news.
SOUNDBURST
[80] P H O T O G R A P H Y M O N T H LY MAY 2011
HOLD THE FRONT PAGE
THE RUMOUR MILL
CONQUERING THE DARKNESSSequences shot on DSLRs for blockbuster
movies such as Iron Man 2 and 127Hours ,
and top TV dramas including House , Numb3rs
and 24 have proved the acceptability of
these cameras among professional film makers
and of using the footage produced alongside
more traditional video. Thanks to the DSLRs’
portability, guerilla film making with this kit is
now hitting the mainstream and it is
exciting news that director of photography
Matthew Libatique, who shot Oscar-winning
film Black Swan , used a Canon EOS 7D and
EOS-1D MkIV to shoot sequences for the film on
the New York subway. I don’t advocate illegal
filming, but sometimes you just have to do it.
This is what Libatique did. With very few lights,
he managed to shoot the sequence at a
whopping ISO 1600. It is only because DSLRs
have such large sensors that the grain is
minimised when shooting in low light, making
this achievable. However, I dare say that
there was a fair bit of work to do in post-production.
http://www.cinematographers.nl/PaginasDoPh/
libatique.htm
RUNNING THE GAUNTLETWe have seen how DSLRs are increasingly
being used by journalists all over the world,
and how the multi-functionality and
portability of these cameras lend themselves
to the world of news gathering. I’ve mentioned
previously Steve Chao, Matt Allard and Dan
Chung’s reports of major events and lately
they’ve been witnessing and recording the
horrific events as they unfolded in Japan.
This footage, shot for The Guardian , shows
how important convergence has become in the gathering of news, especially as
most media companies now deliver news through a range of platforms.
www.dslrnewsshooter.com
It is rumoured that at NAB
2011, the world’s biggestshow for videoprofessionals, Sony willfocus on life beyond HD.It is widely believed thatwithin the next three yearswe will see cinemastandard resolution of 4K(4,096 x 2,160 pixels) onconsumer displays at a
reasonable price. At a Sonydevelopment site, 4K SRmemory cards have beenseen with data rates of 5Gbps, as well as aCineAlta camera thatshoots 4K. Watch thisspace to see if it happensin the timescale set.This will shift high quality
into the hands of allconsumers, from entrylevel to pros, and if thisprogression is trulyexponential, within six toeight years we will see 8Kdevelopments. It has alsobeen rumoured that digitalmedia business Avid willbe producing a non-linear
editing system showingpractical 4K editing. If so,we will see all NLE editingfollowing suit. Again thiswill affect all consumers,as upgrading your softwarewill become increasinglymore expensive – but don’tworry, not for a while yet.
To read more of John’s Film School columns
visit www.photographymonthly.com
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 81/116
WWW.PHOTOGRAPHYMONTHLY.COM [81]
FILMS TO WATCH
HDSLR maestro Philip Bloom will be
holding a two-day workshop in
Brussels with Larry Silverberg.
The dates are April 30 and May 1, so
you’ll have to book it all last minute,
right now! This will be an intensive
course, but essential for anyone
looking to develop their skills as a film
maker. Philip is always extremely
generous in giving out information and
sharing his knowledge so it will be
a really worthwhile investment of your
time and money. The class fee is495
euros (£430).
www.trueactinginstitute.com/europe/
Submissions for the 55th BFI London
Film Festival are now open and the
deadline for short films of less than 30minutes is 24 June 2011, so you need
to get your skates on if you are
LOWPRICE
Rycote has developed a low-cost portable recorder audio
kit specifically designed for pocket sound recorders.
It supports any portable recorder that has a 1/4in female
thread, with the 1/4in to 3/8in swivel adaptor.The suspension can be attached to a 3/8in male thread,
mic stand or boom pole, or a camera hot shoe. You are
also able to swivel the recorder by 180°, so when
recording multiple speakers, you can point the unit in their
specific direction. For £106, this is a great option.www.rycote.com
MIDPRICE
The RØDE Blimp is a completewindshield, pistol grip and shock-mounting
accessory for RØDE’s NTG-1, NTG-2 and NTG-3
microphones, as well as any third-party shotgun
microphone up to 325mm long. With its ability to record
quality audio, the kit very much pulls its weight at a priceof £238. Most companies state that their system is best
suited to their own microphones, but the important thing to
consider is the length – in this case, 325mm, which will
allow you to use shotgun microphones up to that figure.
www.sirentechnology.co.uk
TOPPRICE
The Sennheiser MKH416-P48U PG2-WS7 kit may seem
expensive at £780, but the company is one of the leaders inthe microphone field. This package includes a suspension
unit, RØDE pistol grip and windshield, and the Sennheiser
MKH416-P48U microphone, which is the standard for all
sound recording professionals.www.proav.co.uk
PM
KIT CHECKFor new film makers, sound can be thelast thing on your mind, but in reality
good sound recording is as important, ifnot more so, than the quality of yourimages. By adding a windshield andsuspension unit, which help to stopunwanted noise being recorded, you cangreatly increase the quality of your audio.There are a range of these kits availableat various prices. All do pretty much thesame thing, but the more you pay, thebetter quality you will get. Be awarethough that when you are looking forone to buy, you must know the type ofmicrophone you have, as this determinesthe size of suspension unit you need.
BIOGRAPHY
John Campbell received his MA in film
from the International Film School, Wales.
He won the cinematography award at the
Bristol International Film Festival for a
short film called Blue Morning You in 1999. He now
works as a freelance film maker for public bodies andarts organisations across the UK and mainland Europe.
EVENTS IN YOUR AREA
FLYSlightly different, but equally compelling to
watch is Fly by Finaev Valentin, which was
also shot on a Canon EOS 5D MkII. It is astunning illustration of control over depth of
field. Just buying a HDSLR won’t
automatically give you the ability to shoot
this well, but understanding the physics
behind your camera will. The editing, mixed
with great direction and photography,
elevates this piece above the norm. With alittle work, you too could be shooting this
well. So don’t get disheartened if your initial
attempts are not as good as you see here;
instead, use them as an inspiration and a
goal to aim for. http://vimeo.com/groups/dslrfilms/videos/
10604448
AURORA BOREALISIf you love to shoot high-quality time lapse,
this next film, Aurora Borealis time lapse
2010, shows one of nature’s most beautifulsights: the northern lights. I have been lucky
enough to witness them and this film brings
this phenomenon to life. Photographer Tor
Even Mathisen used the Canon EOS 5D MkII
and Canon 16-35mm f/2.8L II lens to capture
the aurora in all its glory. http://tittentem.no
THE ICE BOOKAlthough you don’t get to see this movie as
a whole, the production of The Ice Book
shows an aspect of film making that is
accessible to us all. With a little ingenuity
and a great idea, you can produce astunning piece of art. The Ice Book was shot
entirely on a Canon EOS 5D MkII and uses
the techniques of a pop-up book to tell of
a mysterious princess who lures a boy into
her world. Along with the MkII, creators
Davy and Kristin McGuire used builders’lights for lighting and a cheap cloth for their
green screen. The couple had no idea how
to make pop-up books, but they persisted
and created a beautiful film. I hope
this inspires you in the same way it has me.
www.theicebook.com/Home.html
FILMSCHOOL
Shooting film on your DSLR John Campbell
thinking of entering. To get your short
film considered, complete the form
online on the BFI website and send
a DVD copy of the film, plus a
synopsis. There are no entry fees.
The programme will be finalised
between July and September. If you’re
lucky enough to be successful you
will hear from the organisers by the
middle of September. The festival runsfrom 12 to 27October. To find out
more, go to www.bfi.org.uk
£
££
£££
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 82/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 83/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 84/116
[84] P H O T O G R A P H Y M O N T H LY MAY 20 11
PHOTO ZONE
Large-capacity backpacks Jessica Lamb
EVERYTHINGBUTTHE
KITCHENPhotographers venturinginto the great outdoors oftenneed to have much of theircamera equipment and manypersonal items close to hand.Here JESSICA LAMB selectssix of the best large-capacitybackpacks on the marketthat will provide greatprotection for all your kit.SINK
NATIONAL GEOGRAPHICEARTH EXPLORER LARGEBACKPACK 5737www.geographicbags.com £229.99Weight: 4.50kg
Internal dimensions (HxWxD): 40cm x 32cm x 16cmExternal dimensions: 60cm x40cm x 30cm
Fabric: Hemp-blend
Weather cover? Yes
Contents checklist: One DSLR body, several lenses up to 300mm,
17in laptop, flash unit, batteries and cables.
The attractive Earth Explorer bags from National Geographic p rovide
protective, stylish and comfortable carrying options for today’s
travelling photographer. The large backpack i s split i nto two interior
sections but the divider is easily removable to create one large
space. The lower section contains movable dividers which allow
you to adjust the compartments to fit and protect your cameras
and lenses perfectly. The upper section of t he backpack can
then be used for personal items and accessories, including
food and clothes, ensuring these won’t get anywhere near
your photographic equipment. The large Earth Explorer has
space for all your needs; it has various pockets on the exterior and
a padded rear chamber, which is perfect for laptops. It even has
pockets on the waistbelt for smaller items that you might need to
get to quickly. To ensure that the bag is easy to carry, all of its
straps are padded and adjustable. This model also has adjustable
connecting straps on either side and underneath, allowing you to
attach items such as a tripod, sleeping bag or walking stick.
It seems National Geographic has thought of everything with this
backpack; it even comes with a waterproof cover.
Why not add: The National Geographic Explorer Adventure camera
strap, which lets you carry your camera safely round your neck,poised for the next shot but leaving your hands free. RRP: £19.95.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 85/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 86/116
www.kata-bags.com £249.99Weight: 4.82kg
Internal dimensions (HxWxD): 54cm x 38cm x 28cm
External dimensions: 58cm x45cm x 31cm
Fabric: Lightweight ripstop fabric
Weather cover? Yes
Contents checklist: Up to two DSLR bodies, two long telephoto lenses or up to 12 smaller
lenses and flashguns.
Kata has focused on protection with the BP-502 backpack. It features Thermo Shield Technology
(TST) which uses specially designed padded shields to protect the areas most likely to be
subjected to shocks. Unlike the other bags in this review, the Kata BP-502 has one maincompartment for your camera equipment, featuring an adjustable padded dividing system.
The main camera compartment is easy to get to by means of the quick-access padded flap
at the top, which means you can open and grab your camera in a hurry without having to
open the whole bag. With the Kata BP-502 having just the one main compartment it does leave
less room for personal items and food and drink; however, there are smaller pockets on the
front and inside the bag as well as a laptop chamber on the back. When out and about, it is
useful to have a bag that will adapt to all possible terrains and this model has an optional
Insertrolley which can be turned into a rolling case after a few simple adjustments. The straps
of the BP-502 are all padded and feature additional secure points to fix other items or bags
to the backpack. The shoulder straps also feature a camera harness which will support your
camera safely, leaving your hands free but keeping it poised and ready for action.
Why not add: A Kata Insertrolley – the BP-502 backpack can be transformed from a backpack intoa
rolling case simply by sliding the trolley through the integrated sleeve on the backof the bag.The trolley has an extendable wheel systemto preventlarge, heavy bags from toppling over and can
be collapsed to a manageablesize, making it easy to carry when not in use. RRP: £45.
TAMRAC ADVENTURE 10 5550www.tamrac.co.uk £139Weight: 2.39kg
Internal dimensions (HxWxD): Top compartment: 30cm x 28cm x 17cm; bottom: 28cm x 29cm x 14cm
External dimensions: 64cm x 36cm x 27cm
Fabric: PolyTek tightly-woven fabricWeather cover? Yes
Contents checklist: One DSLR body with grip and lens attached, numerous additional lenses,
flash unit, 17in laptop and accessories.
The Adventure series of backpacks from Tamrac is the latest addition to its range of light and compact
carrying systems. The Adventure 10 is split into two compartments: the lower one has padded dividers
that can be moved to create secure spaces for your camera and lenses, while the top is for personal
items. The two sections of the backpack are accessed by double zips and are completely separate to
ensure personal items and food or drink do not come into contact with your camera equipment.
This particular model features a memory and battery management system which allows you to file
your memory cards and batteries safely, with specific compartments for used and new ones, which is
useful when you’re in a hurry. The comfortable, foam-padded harness strap is designed to distribute
the weight of the backpack to make it comfortable to carry for long periods. You can customise yourbackpack with the Tamrac Strap Accessory System which allows you to add additional Tamrac carrying
products. You can also add tabs to the bottom of the bag with the Modular Accessory System (MAS)
which will allow you to carry a tripod. The Adventure 10 looks sleek and attractive, and is available in
two colour combinations – red/black and grey/black.
Why not add: The Tamrac MAS large belt attaches round your waist to provide additional
space for smaller items. Various cases can be attached to the belt, including ones for flash,
lenses and water bottles. The belt and straps are padded for comfort and feature quick-release
buckles. RRP: £25 (belt only). The attachable cases vary in price and are sold separately.
KATA BP-502 GDC
EXTRA-LARGE BACKPACK
[86] P H O T O G R A P H Y M O N T H LY MAY 2011
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 87/116
WWW.PHOTOGRAPHYMONTHLY.COM [87]
Large-capacity backpacks Jessica Lamb
Weight: 1.94kg
Internal dimensions (HxWxD): 46cm x 27cm x 18cm
External dimensions: 53.5cm x 32cm x 22cmFabric: Polytex
Weather cover? Yes
Contents checklist: Two DSLR bodies, 11 additional
lenses/flashes and further accessories.
The shock-resistant, dust-tight and splashproof Daytour
230 from Hama is the largest camera backpack in its
range. It is split into two sections, but unlike the other
backpacks that I have selected, the Daytour 230 has its
protective camera chamber at the top. This model can
be opened up into one compartment, giving you more
room to pack your gear. This backpack is designed with
strength in mind and has a tough rubber base to supportits weight. However, although it looks simple and
smooth there are several pockets and compartments
that have been neatly tucked away. The top opening
flap has three pouches to hold memory cards and
batteries, there are two zipped pockets on either sideand you can also attach a tripod on the front of the
bag using the small mesh pockets for support. The only
thing lacking is a good space for personal items.
You can put food and other small essentials in the
bottom section but you might be struggling should you
want to take an extra jacket or change of clothes.
Having said that, the shoulder and waist straps have
tabs so you can attach other items if necessary.
The Daytour 230 has extra padding on the back with
cushion panels and the straps are also cushioned and
contoured for added comfort.
Why not add: The Hama neoprene camera strap.
This secures a camera round your neck, leavingyour hands free to shoot. RRP: £19.99.
Weight: 2.24kg
Internal dimensions (HxWxD): 52.5cm x 30cm x 18.5cm
External dimensions: 53.5cm x 33cm x 24.5cm
Fabric: Water-resistant ballistic nylon
Weather cover? No
Contents checklist: One DSLR body, up to four
lenses as well as cables and memory card/
battery holders.
Lowepro’s bags all look neat and are designed with
ease of use in mind and the DryZone Rover is a good
example with its compact feel and clever compartment
system. As with many large-capacity backpacks the
DryZone features two separate compartments; the
lower one holds your photographic equipment and is
completely waterproof, while the upper one can store
personal items and food and drink. An interesting
feature is the removable hydration system – a
lightweight water reservoir to keep you refreshed.
The DryZone Rover has a built-in tripod mount which is
quick and easy to use. The one thing missing is a
secure laptop compartment; the backpack is slightlysmaller than some we have selected so maybe this is a
choice for the travelling photographer carrying slightly
less gear. The back panel and contoured shoulder
straps are all well padded for comfort, essential when
you are on the move day after day. This model is also
accepted as hand luggage on international flights.
Why not add: The waistbelt on the DryZone Rover
has accessory tabs allowing you to attach
additional cases, flashguns, memory cards and
digital cameras. The cases are available online and
priced individually.
Weight: 3.23kg
Internal dimensions (HxWxD): 42cm x 31cm x 15cm
External dimensions: 46cm x 33cm x 28cm
Fabric: 600D nylon
Weather cover? Yes
Contents checklist: Up to two DSLR bodies with
attached lenses, additional lenses, 15.5in laptop
and other accessories.
The lower section of the M-ROCK Zion 670 is for
camera equipment and the upper one is for
personal items, though it can be modified to meet
specific requirements. If you remove the internal
accessory bag there is further room for lenses and
accessories. On the rear of the backpack there is a
padded compartment with room for a laptop,
paperwork or documents, and on the front are two
separate zipped pockets for smaller items.
The fronts of these two pockets have elastic cords
to securely hold a tripod which is supported by the
leg pocket at the bottom. The M-ROCK Zion 670
comes with water-resistant exterior zippers, 600D
nylon fabric and closed-cell foam reinforced with
plastic inserts, providing excellent protection for
the bag’s contents. Like many of the bags we have
selected, the Zion 670 has attachment rings or tabs
on the outside padded straps, allowing you to add
additional carrying accessories.
Why not add: The M-ROCK 698 trolley can be
attached to any of the backpacks from this
maker; it can be slotted into the luggage loop at
the rear of the backpack and secured by Velcro
straps. The handle has two lock positions and is
easily extended and packed away.
RRP: £27.95.
LOWEPRO DRYZONE ROVER
M-ROCK ZION 670
HAMA DAYTOUR 230 www.hama.co.uk £139.99
www.m-rock.com £153.95
www.lowepro.com £218.99
PHOTO ZONE
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 88/116
FOR YOUR CHANCE TO WIN a copy of Dinka:
Legendary Cattle Keepers of Sudan, by Angela
Fisher and Carol Beckwith, worth £47.50,
simply upload your best ‘golden hour’ pictures
to the Photography Monthly gallery.
This monumental 30-year review of the Dinka
people contains 224 pages and more than 120 images with
personal accounts from world-renowned photographers Fisherand Beckwith. Living in harmony with their cattle, the Dinka
have survived years of war, only to find their culture on the
brink of vanishing. Up to 7ft 6in
tall, the Dinka were referred to
as ‘gentle’ or ‘ghostly’ giants by
the early explorers and this
one-of-a-kind collector’s edition
presents a breathtaking
collection of poignant images
charting a way of life that has all
but vanished. To get you started
and inspired, we have included
some of your pictures and others
by the PM team, but we’re sure
you can do better than us!
[88] P H O T O G R A P H Y M O N T H LY MAY 2011
READERS’ PICTURES
W I N !
TAKING
PICTURES
Barri Elford Sunrise
Muslianshah Masrie Sunrise at Papuma beach
To enter and for full terms and conditions, visit
www.photographymonthly.com
David FelthamQuayside sunset
Allyn Thomas Silent sunset
Toh Eng Chy Sunset at B
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 89/116
GRANT SCOTT— EDITORPHOTOGRAPHYMONTHLY
This was taken very early in the morning
at low tide on Brighton beach. I often like
shooting directly into the sun just to see
what happens and in this instant it
created interesting graphic reflections.
SEAN SAMUELS — DEPUTY EDITORPHOTOGRAPHYMONTHLY
This shot was taken on the beachfront in
Worthing on the south coast of England.
People travelling home from work in their
cars added a little touch of detail to
the silhouette created by shooting into
the setting sun.
The view from my parents’ flat beside
the Exe estuary in Topsham, Devon, is
spectacular at any time and in all
weathers, but somehow the sun starting
to set over the Haldon hills always creates
a particular air of tranquillity.
REBECCA SHAW—ARTEDITORPROFESSIONAL PHOTOGRAPHER
I took this image last year while on holiday
in Spain. We had just eaten in a first-floor
restaurant which proved the best position
to capture the sunset. The scene seems
peaceful but it was very loud, with music
playing and people talking.
READERS’ CHALLENGE
Upload to our gallery to win prizes The golden hour
WWW.PHOTOGRAPHYMONTHLY.COM [ 89 ]
PM TEAM PICTURES
Allyn Thomas Silent sunset
For more readers’ images and to upload to thegallery visit the website atwww.photographymonthly.com
SIMONREYNOLDS—MANAGINGEDITOR
PHOTOGRAPHYMONTHLY
Andy Rose Sunset from the woods
Tommy Higgins Sunset
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 90/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 91/116
WWW.PHOTOGRAPHYMONTHLY.COM [91]
TESTZONE ONLY THE VERY BEST KIT
HARNESS THE LIGHTThe softbox produces a narrow band of light, making
it very useful for creating side lighting for
full-length portrait work or as a soft hair light. It is
also good for creating elongated catch lights.
FOR THOSE ON THE MOVEBecause it can be used with battery-operated
flashguns, this softbox can provide a reliable studio,
no matter where you are or where you go.
EASY TO USEYour flashgun simply slides on to a shoe mount
attached to an adaptor plate for a quick setup
of the unit. Attaching the diffusion panel takes
no time at all.
BUILT TO LASTThe stitching, framework and plastic elements in
the softbox are durable and well-made.
EASY TO TAKE DOWNWith a bit of practice you won’t find it troublesome
to take down and pack away.
TWICE THE PLEASUREIt is available in two different sizes – 30cm x 120cm
and 40cm x 120cm. Both options come with an inner
diffusion panel and an adaptor plate with rods.
IT WON’T BREAK THE BANKAt £120 for the smaller model and £132 for the
larger softbox, it’s an affordable lighting solution.
COMPACT SIZEThis bit of kit is light and can easily be transported
by the photographer on the move.
www.lastolite.com
PM
6
8
7
5
4
3
2
1
Each month we bring you the reviews you need to make sure you buy the right equipment, for the right reasons
TOPTIP!For more news and
reviews on the latestkit and technologyvisit the website atwww.photography monthly.com
8 REASONSTO BUY
LASTOLITESOFTBOX
We recently got our hands on
Lastolite’s Hotrod Strip softbox,
which is perfect for strobist
portrait work. We love the concept
and here are the reasons why.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 92/116
[92] P H O T O G R A P H Y M O N T H LY MAY 2011
This compact, lightweight, yet solid design
is the first-ever Canon compact to feature
Hybrid IS technology, which provides
improved image stabilisation for macro
photography. The popular lens control ring,
introduced with the PowerShot S90,
is now more flexible, while a
bright, f/2.0 lens, combined
with Canon’s HS System,
provides an even more
powerful support for
low-light and creative
photography. The PowerShot
delivers even exposures and
a natural range of colour,
easily producing the blurred
backgrounds and sharp subjects
that many compacts struggle to achieve.
Although the S95 does not feature the
hand grip found on the other cameras in
this roundup, it has adopted the tactile
surface finish found on Canon’s EOS 7DDSLR to improve handling.
A useful addition is the High Dynamic
Range shooting mode which allows you
to capture high-contrast scenes closer to
how they appear to the human eye.
You can take three different exposures
of the same scene before the S95 will
analyse and combine these shots to create
a single image in-camera, resulting in
both good highlight and
shadow detail.
The PowerShot S95
also has HD movie
capabilities, but only at
a modest 24fps and it
will not let you use the
optical zoom or autofocus
while filming. Nevertheless, the
digital zoom is still available and
stereo audio recording makes up for this
drawback to some extent.
Current S90 owners won’t find too many
reasons to upgrade, but the S95 is an evenmore attractive proposition as a compact
for serious users.
WHAT IS HYBRID IS TECHNOLOGY?Canon’s Hybrid IS technology compensates
for angular camera shake (rotational) and
shift camera shake (linear). Any sudden
changes in camera angles can significantly
blur images which are taken during
standard shooting, whereas blur caused by
shift-based shaking, when a camera moves
parallel to
the subject,is more
pronounced in
macro and other close-up
photography.
www.canon.co.uk
CANON POWERSHOT S95AVAILABLE FROM £247 4/5
PMRATING
Buy the Canon WP-DC38
housing for the S95 to
venture into the deep
blue sea and capture
underwater shots.
£214.
TOP TIP
BEST FOR MACRO PHOTOGRAPHY
LOVE: ARRAY OF
CREATIVE
FEATURES & GOOD
BUILD QUALITY
DISLIKE: NO HAND
GRIP
DIMENSIONSHeight: 58.4mm Width: 99.8mm
Depth: 29.5mm Weight: 170g (without battery)
RECOMMENDED MEDIASanDisk 8GB Extreme Pro SDHC
card. Price: £59.99
SENSOR 10 megapixels
LENS 28-105mm /
3.8x optical zoom
SCREEN 3in 460k-dot LCD
MAX ISO 3200
FLASH Built-in
VIDEO 1,280 x 720 at 24fps
RAW Yes
TECHNICALSPEC
Scanning the internet we found that four of our favourite compacts are now availableIT’S A
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 93/116
Premium compact cameras
WWW.PHOTOGRAPHYMONTHLY.COM [93]
TESTZONE
Taking the best elements of its rivals and
blending them into an attractive package,
the Olympus XZ-1 is not a compact to go
unnoticed. Optimising the performance of
the state-of-the-art i.ZUIKO digital lenses
with a fixed zoom, 10 megapixels and
1/1.63in CCD sensor, the XZ-1 is a
small but serious piece of
photographic kit. It is
probably the closest
thing to a system
camera, accepting
accessories ranging
from an external
viewfinder through
hotshoe mounted and
wirelessly controlled
flashguns to macro LED
lights and more.
The XZ-1’s TruePic V image
processing engine – the same as
that used in the Olympus PEN series –optimises picture quality, while art
filters provide the user with exciting new
tools to express their creative side.
Advanced users will appreciate the direct
control over camera functions through
the control ring and control dial.
A dedicated movie button means you can
begin HD movie recording instantly and
apply exposure compensation before
starting to record a video
clip, but that’s about it.
On a more positive
note, you can use the
optical zoom while
filming and also
have the camera
apply any of the
art filters to movies
as you shoot.
Delivering superb image
quality with great colours
and good overall tonality due
to the fast and sharp i.Zuiko lens,the Olympus XZ-1 is an attractive addition
to the market.
WHAT IS TRUEPIC VIMAGE PROCESSING?The TruePic V image-processing engine
is the same as the one featured in the
Olympus E-5 DSLR. It delivers clearer,
higher-resolution images by exploiting
the full performance of the lens.
The XZ-1’s sophisticated noise reduction
system
works
effectively
without
obliteratingdetails, allowing
high-sensitivity shooting at
ISO 6400, and beautifully
reproduces delicate colour changes.
www.olympus.co.uk
OLYMPUS XZ-1AVAILABLE FROM £258
SENSOR 10 megapixels
LENS 28-112mm /
4x optical zoom
SCREEN 3in OLED
MAX ISO 6400
FLASH Built-in
VIDEO 1,280 x 720 at 30fps
RAW Yes
TECHNICALSPEC
LOVE: CHIC DESIGN
& EASE OF USE
DISLIKE: LIMITED
VIDEO
DIMENSIONSHeight: 64.8mm Width: 110.6mm
Depth: 42.3mm Weight: 275g (without battery)
RECOMMENDED MEDIALexar 8GB 133x Professional
SDHC Card. Price: £38.98
BEST FOR DOCUMENTARY PHOTOGRAPHY
TOP TIPThe accessory port at the top of
the body accepts PEN series
accessories, such as the VF-2
Electronic Viewfinder, the
SEMA-1 Microphone Set,
capable of stereo recording,
the FL-14 External Flash or
the MAL-1 Macro
Arm Light.
for less than £300. KELLY WEECH puts all four to the test to find our ultimate best buy.STEAL
5/5
PMRATING
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 94/116
[9 4 ] P H O T O G R A P H Y M O N T H LY MAY 2011
TESTZONE
Premium compact cameras
The 10-megapixel Samsung EX1
incorporates a range of advanced features,
including a high-performance 1/1.7in CCD
imaging sensor and one of the most
impressive lenses ever found on a compact
camera – a 24mm f/1.8 ultra-wide-angle
Schneider-Kreuznach. Together with
Samsung’s re-engineered and
faster DRIMeIII imaging
processor, the EX1
captures high-quality
images, regardless of
the lighting
environment; paired
with Samsung’s Dual
Image Stabilisation
technology the EX1’s
lens ensures blur-free
images. While some people
will find the 3x zoom limiting, it
does help to ensure that the picture
quality remains high throughout the focal
range. It offers an excellent all-round
performance from what is still a compact
camera which can easily be carried in your
pocket.
It provides plenty of versatility and
creative control, including ISO expansion,
shutter priority, aperture priority and full
manual shooting modes. The dual-control
dials on top make the EX1 easy to handle
and also mean you will rarely have to
search further into the menu to make
minor tweaks. I particularly liked the EX1’s
3in, swivelling AMOLED
screen. The rotating display
allows precise framing ofimages from just about any
angle, including
overhead shots or those
low to the ground.
This camera
lets you
compose
and take a
picture
with the minimum
amount of fuss.
The lack of any HD
video mode or burst mode for RAW
shooting is a disadvantage, but the
superior handling, high build standard
and seamless results in the quality of
photographs more than make up for the
EX1’s few deficiencies.
The launch of the NX10, followed now by
the EX1, confirms that Samsung is a
serious competitor in the digital camera
marketplace. Watch this space.
WHAT IS AN AMOLED
SCREEN?Compared to the traditional
TFT-LCD found on most
digital cameras, the EX1’s
AMOLED tilted screen produces a higher
contrast ratio, deeper blacks and more
accurate, vivid colours, even when viewed
from an angle or in direct sunlight.
The EX1’s AMOLED display is also moreefficient when it comes to power
consumption, allowing photographers to
maximise battery life and shoot for longer
on a single charge.
www.samsung.com
SAMSUNG EX1
AVAILABLE FROM £262
DIMENSIONSHeight: 63.2mm Width: 114.3mm
Depth: 29.2mm Weight: 356g (without battery)
RECOMMENDED MEDIASanDisk 16GB Extreme Pro
SDHC card. Price: £84.99
SENSOR 10 megapixels
LENS 24-72mm /
3x optical zoom
SCREEN 3in 460k-dot AMOLED
MAX ISO 3200
FLASH Built-in VIDEO 640 x480 at 30fps
RAW Yes
TECHNICALSPEC
LOVE: BUILD QUALITY &
VIVID AMOLED TILTED
SCREEN
DISLIKE: NO HD VIDEO
RECORDING
4/5
PMRATING
BEST FOR LANDSCAPE PHOTOGRAPHY
Protect your lens with the
Kiwifotos LA-52EX1 Lens Adapter
which provides a 52mm filter
mount to add effects filters and
other lens accessories to the
Samsung EX1. £14.99,
available from
www.digitalmediastore.co.uk
TOP TIP
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 95/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 96/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 97/116
Premium compact cameras
TESTZONE
VERDICT:
It was a tough task to choose an overall winner; however, the Olympus XZ-1 has certainly
made a lasting impression. I love that it has taken some of the best parts from the pricierDSLRs in the Olympus range and also from its rivals to create a classic compact.
The DMC-LX5 combines an elegant design
with an array of useful features to give the
user total control. It features a wide
24mm, f/2.0 Leica DC Vario-Summicron
lens which goes up to a respectable
90mm. It ensures a range of dynamic and
richly coloured shots with a wide
perspective in four aspect
ratios,4:3, 3:2, 16:9 or 1:1,
making it a versatile
piece of kit.
The large 1/1.63in,
10.1-megapixel,
ultra-sensitive CCD
achieves
high-resolution
images with less
noise, particularly in
low light, a definite
improvement when
compared to its
predecessor, the LX3.
A maximum ISO of 12800 will allow you
to shoot almost in pitch-black conditions
without needing to use flash.
The DMC-LX5 allows users to experiment
with exposure, selective focus and
compensation, as a DSLR would, but for
those days when you just want to point and
shoot, the Intelligent Resolution
technology automatically detects outlines,
detailed texture areas and soft gradation
areas to produce images which are clear
and crisp with a nice all-round tonality.
The DMC-LX5 can also record HD movies
in AVCHD Lite with high sound quality in
motion Jpeg format.The excellent manual
control is a big selling
point of the DMC-LX5. The jog
dial enhances operability
and the focus switch has
been relocated on the
lens barrel, making
the camera
straightforward to
use. My overall
verdict is that this
camera is the ideal
choice for someone
who is looking for
a top-quality camera
as a pocket-sized backup
to a DSLR.
WHAT’S THE BIG DEAL ABOUT THELEICA LENS?The legendary Leica lens is manufactured
in Germany and is renowned across the
world for its expressive colours, remarkable
depth and superb performance. LEICA DC
lenses offer minimal distortion even within
wide shots, which means straight lines are
actually depicted as such. In addition,
an advanced multi-coating process is
applied to LEICA DC lens surfaces to help
prevent fogging caused by flare and
ghosts that can occur at extremely high
light levels. Images are both rich in detailand in contrast.
www.panasonic.co.uk
PANASONIC LUMIXDMC-LX5
AVAILABLE FROM £269
SENSOR 10.1 megapixels LENS 24-90mm /
3.8x optical zoom
SCREEN 3in 460k-dot LCD
MAX ISO 12800
FLASH Built-in
VIDEO 1,280 x 720 at 30fps
RAW Yes
TECHNICALSPEC
DIMENSIONSHeight: 65.5mm Width: 109.7mm
Depth: 43mm Weight: 233g (without battery)
RECOMMENDED MEDIAPanasonic 16GB Class 10
SDHC card. Price: £79.99
BEST FOR TRAVEL PHOTOGRAPHY
WWW.PHOTOGRAPHYMONTHLY.COM [9 7 ]
GOONLINE
For more news andreviews visit our site
www.photography- monthly.com
LOVE: THE LEICA LENS’S
PIN-SHARP IMAGES,
ATTRACTIVE RETRO DESIGN
& EXCELLENT MANUAL
CONTROL
DISLIKE: PRICE OF
VIEWFINDER AND
ADDITIONAL ACCESSORIES
5/5
PMRATING
TOP TIPIf you want to have a more
familiar DSLR feel, buy the optical
viewfinder for extra flexibility with
composition. However, it doesn’t
come cheap at £195. A wide
range of optional accessories
is also available, including
filters and external
flashes.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 98/116
TOP 5 FEATURES
[98] P H O T O G R A P H Y M O N T H LY MAY 2011
1 GREAT VIEWFINDEROne of the best viewfinders wehave come across.
2 BUILD QUALITYRetro looks and retro build quality see areturn to a fondly remembered past.
3 GRAPHIC INTERFACEEasy to use and clear to read. This is
a menu that is a joy to rove around.
I ONCE OWNED A VOIGTLANDER RANGEFINDER.
I CAN’T REMEMBER WHERE I BOUGHT IT OR FOR
HOW MUCH BUT I CAN RECALL THE IMAGES I SHOT
WITH IT, the beautiful chestnut leather
case that caressed it and the fun I had
working with it. Sadly, I no longer own
it and where it disappeared to is a mystery.
Talk of the launch of the Fujifilm FinePix
X100 brought back fond memories of that
camera but also of the first one I can
remember my father using in the 1960s –
a Fujica 35 Auto-M, which was cradled in a
similar chestnut leather case to that of the
Voigtlander; two memories which make me
feel warm about photography. Without that
Fujica and my father, my passion for
photography would not have been sparked,
so it is with great joy I can say its latest
offering triggers a similar excitement.
While waiting for the X100 to arrive I
started to explore the dangerous highways
and byways of the eBay vintage camera
landscape, particularly the region marked
rangefinder, the type of camera that
dyed-in-the-wool photojournalists still
swear an oath to as the only true way.
Master a rangefinder and you are a
photographer; fail to do so and you are
doomed to a world of ‘snappery’.
There is still strong demand for the
rangefinders of yesteryear. Ignoring the
Russian Leica copies and their like, I cameacross tempting Leica M6s at a buy-it-now
price of £2,300, Nikon S3s on a similar
basis at £683 and rangefinders by Contax,
Canon, Olympus, Rollei and Minolta at all
manner of prices. The truth is that
rangefinders were once big business and
they still have a following; now Fujifilm has
come up with a rangefinder for the 21st
century and, hallelujah, it is affordable!
The X100 is an extremely good-looking
camera and it feels like an extremely
well-made and built one too, with its
magnesium alloy body and metal controls.
It’s one of those cameras which just feels
and looks right, and presents me with the
problem of sounding like a fawning
reviewer paid to like a camera. Well, I am
and I’m not! It’s just right and that
needs to be said for all the right reasons.
The controls are the right size, not too big
or small. They are in the correct place
and easy to use and work out. All of the
graphics are refined and resolved, and say
class. I have yet to take a picture and
I am already in love with this camera on
its looks alone.
Those looks, I should add, are furtherheightened by the matte black box with
black satin lining it arrived in. There is no
doubt Fujifilm sees buying this camera as
an event and has done as much as it can to
make it one worth savouring.
One definite click and we are up and
running with the all-new graphic interface,
and it’s a beauty – by far the easiest
interface I have come across for months, if
By the time PM Editor GRANT SCOTT got his hands on the much-discussed and
much-anticipated Fujifilm FinePix X100 that he had first seen at Photokina
in Cologne last September he had already fallen back in love with the concept.
As he explains, the reality did not disappoint.
“IT IS APHOTOGRAPHER’SCAMERA,A CAMERA LOVER’SCAMERA ANDIT IS A JOY TOWORK WITH.”
COMING INTO
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 99/116
TESTZONE
Camera review Fujifilm FinePix X100
4 PRICEIt may not be cheap but when compared toits competitors it’s a bargain.
5 DETAILIf God is in the details the FinePix X100must be one of his disciples.
WWW.PHOTOGRAPHYMONTHLY.COM [99]
RANGE
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 100/116
not years. The graphics are well considered
and easy to navigate which, with the
addition of the function button on the
template, meant that I had customised all
of the functions to my personal way of
shooting within minutes, with not a manual
page turned. In hand the X100 feels rightbut it is a small camera despite its APS-C
CMOS sensor more often found on DSLRs.
This is a camera for people who love
cameras and photography, and as such
there is no specific auto mode; instead the
individual controls can all be set to auto
based on your personal preferences,
including the aperture, shutter speed and
ISO. In effect setting the aperture and
shutter speed to auto is the equivalent of
setting the X100’s AE mode. As with most
launches these days the X100 is fitted with
a movie mode which records at 720p/24fps
with stereo sound which is activated
through the menus rather than a dedicated
control. All image
adjustments in movie
mode are automatic
and movie capture is
capped at 10 minutes.
So it’s there but it’s
not an obvious
benefit for the street photographer hoping
to capture both stills and moving image.
You can view images through either the
viewfinder or LCD screen and, by using the
AE/AF buttons, run through a gamut of
options for viewing, including RAW
conversion, multi-frame, slide show,
favourites and panorama.
Although the multiple viewing functions
bring the X100 firmly into 2011,
it has a few nice touches which nod firmly
to photography of the past, including theoffset viewfinder and the custom image
presets which allow you to shoot on
legendary Fuji films such as Provia, Velvia
and Astia, as well as the standard
monochrome and sepia. As an ex-Velvia
photographer this was an unexpected but
interesting inclusion.
The X100 offers a continuous shooting
rate of either 3fps or 5fps with a burstmode which has a maximum of 10 Jpeg or
eight RAW images while offering options for
exposure bracketing, film simulation
bracketing, dynamic range bracketing and
ISO bracketing. Like so many cameras
today, the X100 is fitted with a motion
panorama mode, complete with a horizon
guideline to aid horizontal orientation.
The resulting photos are 7,680 x 1,440 for
a 180° horizontal panorama, 5,120 x 1,440
for a 120° horizontal panorama, or slightly
bigger for vertical panoramas. This can be
viewed on the screen or via the viewfinder
and brought a cry from one of the PM staff
that it was like being on a submarine!
The X100 also has a built-in RAW converter,
which can take into account exposure
compensation, dynamic range, white
balance and several other manual image
adjustments. You can also use the
converter to apply film simulation modes.
I loved the X100’s high-quality dedicated
control dials. Aperture is ‘old school’ and
sits comfortably at home on the lens barrel,
offering me the opportunity to work on the
old maxim ‘stick it on 5.6 and you will be
okay!’ while shutter speed and exposurecompensation get their own dials on the
top of the camera. Fujifilm claims that the
TTL contrast AF is particularly quick and
responsive, due to the high-speed CMOS
sensor read-out and “the EXR processor’s
enhanced focusing system”, and I have to
agree with them. With AFdetecting the
entire screen, they report 49-point
metering. You can select between manualfocus, single autofocus and continuous
autofocus via a switch on the left side of
the camera. Autofocus can be set to area
or multi and there is an AF assist lamp
on the front, which can be turned on and
off in the menus.
Manual focus is achieved by using the
lens ring which is aided by a distance
indicator along the bottom of the screen,
which can be set to indicate metres or feet.
A focus check feature then brings up an
enlarged portion of the centre of the
screen to help determine whether you’ve
hit an accurate focus. You can even use
the menus to change whether the focus
ring adjusts in a clockwise or
counterclockwise direction. The ISO does
not have its own control dial, but can be
altered easily via the menus and/or the
function button for quick changes, which I
found to be the easiest way to work.
The camera offers all the standard ISO
options from 200 to6400, plus a number
of increments in between (for a total of 16
settings). There are two extended ISO
range options:
a low ISO and high ISO setting, with an
equivalent of ISO 100 and ISO 12800.
The aperture is located right where it
belongs along the barrel of the lens and
there are two metal grips on either side of
the lens to help you make accurate
adjustments. The aperture options are:
f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16 and auto.
Aperture is controlled with a nine-blade
aperture diaphragm. The shutter speed
also gets an old-school dial on the top of
the camera. The X100 supports bothbulb (B) and time (T) modes, as well as
shutter speeds of 1/4sec to 1/4,000sec.
“IT ISABSOLUTELY STUFFED FULL OFWHITE
BALANCE OPTIONS...”
[100] P H O T O G R A P H Y M O N T H LY MAY 2011
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 101/116
WWW.PHOTOGRAPHYMONTHLY.COM [ 1 0 1 ]
TESTZONE
Camera review Fujifilm FinePix X100
For more news and reviews visit our sitewww.photographymonthly.com
While bulb mode keeps the shutter open
for as long as you depress the shutter
button (up to 60 minutes), time mode
allows you to select a time between half
a second and 30 seconds (in 1/3EV steps).
You can engage shutter priority or aperture
priority modes by setting the aperture
or shutter to auto. When shutter speed is
set to auto, the range narrows to
1/3sec-1/4,000sec (or 1/4sec-1/1,000
at f/2-f/5.6). You can also set a minimum
shutter speed down to 1/4sec.
The more I go through what this camera
can do and how it is set out, the more I am
starting to realise what a photographer’s
camera this is. It really does feel as if
Fujifilm has taken a wishlist and ticked
every box. The X100 delivers everything
I want from a camera and more.
For example, it is absolutely stuffed full ofwhite balance options. Not only does it have
the expected straightforward auto WB, but
it also offers fine, shade, fluorescent 1
(daylight), fluorescent 2 (warm white),
fluorescent 3 (cool white), incandescent
and underwater. You can also take a custom
white balance reading and store at least
two different ones for future use.
More importantly, it also gives you the
ability to set sophisticated white balance
alterations by either changing the white
balance along two scales (red to cyan or
blue to yellow), or by selecting a specific
kelvin value. This is a true pro’s camera.
At 2.8in the LCD screen is a little smaller
than on most DSLRs these days with a
resolution of approximately460,000 pixels
and, much to my delight, it does not
flip out or rotate. But I rarely use the screen
other than for a quick review of images so I
was much more excited by the X100’s
viewfinder which is really something
special. What makes it so special? Well, it
displays shooting information and a ‘bright
frame’ through electronic overlay, which
means that you can use the optical
viewfinder and still see a live histogram,
aperture and other info. The brightness of
the overlay is automatically adjustedaccording to the brightness of the screen.
Most importantly, the electronic bright
frame can be offset for automatic parallax
correction (ie the frame can compensate
for the difference between the position of
the viewfinder and that of the lens).
The viewfinder alone could well make
people buy this camera; other
manufacturers please take note.
The X100’s custom-developed APS-C
CMOS sensor has been created for use
specifically in conjunction with the fixed
23mm Fujinon lens which, according to
Fujifilm, has 10 times the sensitivity of a
conventional compact camera sensor.
The lens is non-collapsible, with a fixed
focal length of 23mm (35mm equivalent:
35mm) and a maximum aperture of f/2,
and is composed of six groups of eight
lenses. It also features a built-in ND filter
(equivalent f-stop reduction of 3) to
enhance depth-of-field shooting even in
bright conditions.
What do I think of this camera? Near the
beginning of this review I did warn you that
I might well come over as a fawning
reviewer and I apologise if I have, but it is
rare to come across a camera which is this
good; when I do, I feel it is my duty to letyou know just how good it is. It is a
photographer’s camera, a camera lover’s
camera and it is a joy to work with; quite
simply it is my next camera purchase when
funds allow. Fujifilm claims the X100 will
“reignite your love of photography”.
I can safely say that I never lost mine, but
it has brought back those warm feelings
that I used to have about my cameras.
RRP: £1,020.99.
www.fujifilm.co.uk
PM
LOVE
LOOKS: BUILD:
VIEWFINDER: SENSOR
HATE
I WOULD PROBABLY
LOSE THE LENS CAP
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 102/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 103/116
WWW.PHOTOGRAPHYMONTHLY.COM [103]
This month KELLYWEECHanswers your questions
about kit to help youmake the right choices.
YOUR QUESTIONS
I am looking for a reliable, portable
hard drive to back up digital
files from my PC. I am on a budget
but would be willing to pay up to £100.What would you suggest?
Verbatim’s Store ‘n’ Go portable hard drive has
1TB of capacity and features USB 3.0 technology,
which gives ‘Super Speed’ transfers up to4,800
megabits per second. Measuring only 127mm x
82mm x 20mm and weighing 185g, this hard drive
has a stylish, slim design, making it an attractive
and handy option. The drive comes with a single
cable that provides both data and power
connections, eliminating
the need for a separate
power supply.
It is backwards
compatible with USB
2.0 host devices at
USB high speed and
works with Windows
2000, XP, Vista,
Windows 7, Mac OS X 10.1 or
higher and Linux kernel 2.6 or
higher. It is available in six
neon colours. RRP £99.99.
www.verbatim-europe.co.uk
I need a reflector to use for portraits
and want a good all-rounder. What is
your advice?
Lastolite is the original manufacturer of
collapsible reflectors and produces a range of
reflectors which are high in quality and durability.
I particularly like the TriGrip reflectors, which
feature a moulded handle with securing strap,
allowing even more accurate positioning of the
reflector with just one hand. It also means that
light can be directed to all those awkward spots,
under the chin and
eyes, for example,
without the need for
stands or supports.
The securing straps
also allow you tosupport the reflector
without gripping the
handle, reducing the
pressure on your wrist and
fingers when it is held for any
length of time.
If you shoot alone and require
both hands, then the new TriGrip
bracket is an ideal solution.
The TriGrip reflector’s moulded
handle is placed into the bracket and
secured with the strap. The ball joint
connector then enables you to
position the reflector exactly whereyou want, leaving your hands free to
Q operate the camera.
This allows the reflector to
be attached to an extending
handle, lighting stand, tripodor any other type of fixing
bracket, although a spigot
connector may be required.
At £75, the bracket is
a good investment if you
do not have the luxury
of an assistant to hand.
The reflectors are
available in various duo colour
combinations featuring white, silver, soft
silver, sunfire, sunlite and gold. They come in
45cm, 75cm and 1.2m sizes, with prices starting
from £50.
www.lastolite.com
I want to buy a compact system
camera. I am considering the
Olympus PEN E-P2 or Sony NEX-5.
What factors are worth considering before I
make an investment?
The Olympus PEN E-P1 took the market by
storm and the PEN E-P2 was hot on its heels just
five months later. It comes in black or silver and
includes minor upgrades with the addition of a
port for a new high-resolution electronic
viewfinder or external microphone, two new art
filters, AF tracking and i-Enhance ‘colour
boosting’ function. However, the PEN E-P2’s core
features remain the same as its predecessor.
These include a 12.3-megapixel DSLR sensor,
built-in image stabilisation, ISO speeds of up to
6400, RAW format support, HD 720p quality
video with continuous autofocus, a 3in LCD
screen, 3fps continuous shooting and a
Supersonic Wave Filter dust reduction system.
In comparison the Sony NEX-5 (above)
features a 14.2-megapixel Exmor APS HD CMOS
sensor, 25-point contrast-detect autofocus
system,49-segment exposure meter and 3in
tilting LCD panel with 921,600-dot resolution.
On the face of it, these specs exceed those ofthe Olympus PEN E-P2, but the latter has
image stabilisation sensor shift, which
helps to eliminate blur caused by
small camera movements, while the
NEX-5 relies solely on the lens to do
this. However, Sony has disclosed
the basic specifications of its
E-mount for interchangeable single lens
cameras, without fee, to manufacturers of
lenses and mount adaptors, including Carl
Zeiss AG, Cosina, Sigma and Tamron. It opens the
door for these makers to develop products
conforming to E-mount specifications.
The PEN E-P2 is marginally slimmer than theSony NEX-5 and has 19 lenses available compared
Q
with Sony’s
three. In my
opinion the PEN E-P2
has a certain DSLR charm
about it, particularly in its appearance and the
way in which you take an image. However, the
NEX-5 is probably more appropriate for the mass
market and for those who are not looking for as
much control or variety of accessories.
Your choice may also come down to price.
The Olympus PEN E-P2 14-42mm kit black
(including electronic viewfinder) has an RRP of
£919.14 while the Sony NEX-5 with 16mm kit is
£559, which is a big difference and may sway
your choice. I advise you to go into your local
Jessops shop and get your hands on both
cameras before you make a final decision.
www.olympus.co.uk www.sony.co.uk
I want to take my portraits to the
next level and wonder if it is worth
paying the much higher price of
the Canon EF 50mm f/1.4 USM over the Canon
EF 50mm f/1.8 II?
Both lenses
give images of
a good quality,
but changing
your lens is
not essential
to improve
your portraits.I recommend
you spend time in a good bookshop or online
getting inspiration from the work of some of the
greats from different eras, such as Richard
Avedon, Irving Penn, David Bailey, Helmut
Newton and, of course, Henri Cartier-Bresson.
As for the two lenses you mention, the Canon EF
50mm f/1.8 II is much cheaper (RRP £130
compared to £450) and at 130g weighs less than
half that of the Canon EF 50mm f/1.4 USM (290g),
which may be a contributing factor in your
choice. However, if you are taking pictures every
day you may want the more robust quality of the
costlier lens.www.canon.co.uk
PM
Q
Q
UPGRADE
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 104/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 105/116
ContinuousDaylightBalancedLighting KitsEZ -FLO 2 head softbox kit (shown) . . . . .£179.74Super Coolite 4 (4 x 55Watt )2 head soft box kit .. . . . . . . . . . £285.95
EX150 Mk2Home Studio Kit
Elinchrom
Lumen8 ProStudio Flash
LUMEN8 400w/s 2 head kit. . £430.00
Inc Stands, 2 brollies,
cables & carry bag
Lastolite Lastolite Interfit SKD Muslin LEE Filters
Bowens
Sekonic
Expodisk
60cm Cubelite . . £84.5090cm Cubelite . £103.3090cm Cubelitekit . . . . . . . . . . . £329.70Ezybox Hotshoe from.. . . . . . . . £84.50
LASTOLITE Triflector Compact and easy to use,
Triflector is three panels on onelighting stand. Hinge mechanisms
make all panels individuallyadjustable to get light exactly
where you need it.The Sunfire/Silver version comes
with a stand . . . £131.50Triflector without stand. . . £112.70
LASTOLITE Cubelite,Ezybox Hotshoe
Lastoli te Baby poser . . . . . . . . .£98.60Lastolite Posing tubs .. . . . . . .£197.00
LASTOLITESAVAGE
Background paper
1 roll (2.75m x 11m) . . . . . . . . . . . . . £41.72
Triple hooks (MN045). . . . . . . . . . . . £35.69 XPan set . . . . . . . . . . . . . . . . . . . . . . £73.49Interfit INT312 wall mountingk it for up to 3 ro lls . . . . . . . . . . . . . £69.38
All prices are correct at time of going to pressand include V.A.T at the current rate. E&OE.
Studio Kit Direct. Bridgnorth. WV16 5JB
STUDIO KIT DIRECT
D Lite2 Kit 200/200
Softbox K it . . . . . . . . . . . . . . . .£485.00D Lite4 Kit 400/400Softbox K it . . . . . . . . . . . . . . . .£529.00BXRi 500/500 Softbox Kit . . . .£824.50BXRi 500/250 Softbox Kit . . . .£776.00BXRi 250/250 Softbox Kit . . . .£735.00
New D Lite kitscome with 2 x
66cm soft boxesplus a 16cmreflector andSkyport EcoTransmitter,
stands ,cablesand carry cases
Interfit
It’s what your hotshoeflash has been waitingfor! NOW IN STOCK
Buy On-Line at...
www.studiokitdirect.co.uk
Gemini 200/200studio in a bag . £485.11 Gemini 400/400 studioin a bag . . . £556.60
Gemini 250R 2 head kit . . . . .£807.84Gemini 500R 2 head kit . . . . .£875.04
New Type R kits - new features include5 stop power range in 1/10th stop, dualpower control, auto power dump,optional plug-in trigger cards for Pulsaror Pocket Wizard plus lots more!See web for other kits
Gemini 200/400 shown
Gemini 250Rshown
Sekonic's highly rated, awardwinning meters are available in awide range of models to suit allsubjects and shooting conditions.
L308 S . . . . . . . . . . . . . . . . .£135.74L358 . . . . . . . . . . . . . . . . . . .£225.39L758D . . . . . . . . . . . . . . . . . .£394.54
If you own a digital slr or video camera, youneed one of these.
Replace your grey andwhite cards with the
EXPODISK digital white balance filter.
Available from
58mm to 82mm, £48.50 to £79.50.
We stock a wide range of
backgroundsupportsystems
From a host of respectedbrands including.....
Lastolite 1108 £140.39
Manfrotto MN314B £209.52 All above have telescopic cross bars
Interfit COR756 £101.21Plus a range of Lighting Stands
and Auto Poles- please see our website
NEW!! Crease resistantfabric in Black or White insize 8 x 10ft only £40.84
We carry huge stocks of Lee Filters - ifit’s listed on the website - it’s in stock!
Example prices...Big Stopper 10xND Glass Filter. . . . £96.00B+W Kaseman 105 mm circ polar. £219.13
Foundation Kit at thecentre of the Lee Filterholder system and isprimarily designed totake 100mm filters,
although other sizes canbe adapted to fit.
Once constructed, the holder clips easilyonto the adaptor ring and can then berotated to your exact requirements, Thisalso enables optimum use of grad andspecial effect filters. . . . . . . . . . . . . £60.69
Starter Kit includesan assembled filterholder, a 0.6 NDgrad, a cleaningcloth, and a Coral 3grad with extendedcoloured portion that
can be used as both a graduate and an allover warm up. All packed in the new threefi lte r tr ip le pouch . . . . . . . . . . . . . . £142.99 Adaptor rings from. . . . . . . . . . . . . . £19.40W/A adaptor rings from .. . . . . . . . . £41.72ND grad sets from . . . . . . . . . . . . . £173.62Resin sets from . . . . . . . . . . . . . . . . £94.97
Ind resins from . . . . . . . . . . . . . . . . . £44.94Multi f il ter pouch . . . . . . . . . . . . . . . £34.80105mm polariser r ing. . . . . . . . . . . . £35.35Standard lens hood . . . . . . . . . . . . . £88.75
Improve yourresults TODAY!
Heads & Accessories arelisted on our website
Kit contains 2 Heads withStands, Soft Box, Brolly & DVD
£203.47EX150 3 head kit £339.90
BackgroundsSuper size 10 x 16ft, also 10 x 20ft
- Mill Dyed for the truest
and richest colours
in BLACK, WHITE,
CHROMA KEY
GREEN & BLUE
- from £64.32
each.Mottled now in 8colours 10 x 16ft -heavy muslin to ourown design andspecification - machinewashable Great Value!
£66.95 each.
Collapsible, ReversibleBackgrounds6701 Black/Whitewith train . . . . . . . . .£176.691.8m x 1.5m . . . . . .£93.90
2.1m x 1.8m plus
1.5m train . . . . . . . .£159.69WHITE VINYL ROLLS 2.75 x 6 metre
on alloy tube £194.03
HiliteBackgrounds
from £214.47See web or ring for details
Buy On-Line... www.studiokitdirect.co.uk Tel: 01746 769 768Stellar X 300/300 twin brolly kit £417
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 106/116
CANON AF SPECIAL
14-24mm f2.8 G
ED £1319
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 107/116
WANTED
...Buy-In Hotline 01803 852400 or email [email protected]
We are happy to reserve new and used stock for customers travelling long distance.
Prices subject to change without notice so please check availabilty to avoid disappointment.Family Run Pro Dealership with Friendly, Knowledgable Staff. Part Exchange Welcome.
Prices correct when compiled 05/04/2011 and inc VAT @ current rate. E&OE.
Quality and Service from one of the U.K’s Best Stocked Pro Dealer’s 27-29, Bolton Street, BRIXHAM. Devon. TQ5 9BZ. (OPEN 7 DAYS PER WEEK)
Mail order: 01803 852400 Email: [email protected]
Nikon D3S body
£3589U . K . S t o c k O N L Y
Canon
EOS 1D
MKIV body
£3399
Canon
EOS 5D
MKII body
£1697
Canon EOS 7D
body
£1147
U .K .
S t o c k
O N L Y
U .K .
S t o c k
O N L Y
Canon EOS 60D
body £769EOS 60D +18-55mm IS £885
Canon
70-200mm
f2.8 IS LII
£1789
Canon 300mm
f2.8 IS L U
£3999
Nikon
D700 body
£1799
Nikon
D300s
body
£977
U . K . S t o c k O N L Y
NikonD90 body
£539Nikon D90+ 18-105mm
£669
Nikon 200-400mm f4 VR
£4299
Nikon 500mm f4 AFS
VR £5849
U . K . S t o c
k O N L Y
CanonEOS
600Dbody
£649
NEW !
U . K . S t o c k O N L Y
Nikon24-120mmf4 G ED VR
£859
Nikon28-300mm
f3.5/5.6 G ED
VR £737
Nikon 85mmf1.4 AF-S
£1299
www.mifsuds.com updated daily - 1024 bit encryption
NikonD7000 body
£889D7000+ 18-105mm
£1049 U . K . S t o c k O N L Y
Nikon16-35mmf4 AFS VR
£869
U . K . S t o c k O N L Y
U . K . S t o c k O N L Y
Canon
70-200mmf2.8 L
£997
Nikon SB-600 £199
Nikon
SB-700
£259
Nikon
SB-900
£349
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 108/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 109/116
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 110/116
C L A S S I F I E D
T o p l a c e a n a d v e r t i s e m e n t c a l l B i a n c a
D u f t y
o n
0 1 2 4 2
2 1 1 0 9 9
[Classified]
COURSES
Don Bishop PHOTOGRAPHY
LIGHT & MOOD PHOTOGRAPHIC WORKSHOPS
One to one Landscape photography workshops with Don Bishop ARPS
Single or multi day photographic workshops and experience days on flexibledates of your choice for beginners and keen amateurs alike.
West Country based including Exmoor and Somerset coast,Somerset levels,Devon and Dorset coast.
Also available; steam railway in the landscape photo workshops for those lookingfor something different.
Full details available on www.donbishop.co.ukTel: 01278 784825 email: [email protected]
www.photographytuition.co.uk
Improve your camera skills on location in mid Wales
and the Brecon Beacons. Ideal for all abilities. 1:1 only £70.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 111/116
C L A S S I F I E
D
T
o p l a c e a n a d v e r t i s e m e n t c a l l B i a n c a
D u f t y
o n
0 1 2 4 2
2 1 1 0 9 9
[Classified]
ACCESSORIES
COURSES
Improve your skills with a Photography Course in VeniceSmall Groups - visit our website for details
www.photographyandpaintingholidays.comor call:
Bob Atkins - 01892 871596 [email protected]
INSURANCE
STUDIO HIRE
STUDIO HIRE ONLY£25.00 per hour fully inclusive
www.riversidestudios-middlesbrough.co.uk01642 220942
www.farrowhousetraining.comemail: [email protected]
Tel. 01803-528663
Courses in Photoshop, Elements and Lightroom
from an Adobe Certified Instructor
Tuition in small groups. Also 1-to-1 and
tailored courses. Comprehensive course
notes and unlimited after-course support.
FARROWHOUSE
TRAINING
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 112/116
C L A S S I F I E D
T o p l a c e a n a d v e r t i s e m e n t c a l l B i a n c a
D u f t y
o n
0 1 2 4 2
2 1 1 0 9 9
[Classified]
PRINTING AND PROCESSING
www.abacusprinters.co.uk
Quality colour printers to the artistic world for over 22 yearsPROMOTIONAL POSTCARDS, GREETINGS CARDS
CHRISTMAS CARDS, GICLÉE PRINTS & FINE ART REPROS
contact us for a free sample pack
01229 885361
Abacus (Colour Printers) Ltd, Lowick, Nr Ulverston, Cumbria
WORKSHOP & TOURS
Nikon 5000 EDSlide/Film ScannerCan collect and
pay by cash
Tel : 07980 803203Email: [email protected]
WANTED
HOLIDAYS AND COURSES
WANTED
Recycling yourmagazine means that it could
come back as a newspaper within
7 days.
This means using
less raw materials which in-turn
helps the environment
To advertise here
please contact
Bianca DuftyTel: 01242 211099
Email: [email protected]
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 113/116
C L A S S I F I E
D
T
o p l a c e a n a d v e r t i s e m e n t c a l l B i a n c a
D u f t y
o n
0 1 2 4 2
2 1 1 0 9 9
[Classified]
To advertise here please contact Bianca DuftyTel: 01242 211099
Email: [email protected]
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 114/116
The weather bestowed a great gift upon us during this
visit with a far higher-than-average rainfall, which
caused ephemeral rivers to flow and make green the
Namib Desert. This process was at its most
spectacular around Sossusvlei, deep among the high
orange dunes of the Namib-Naukluft National Park.
There is some dispute over the meaning of its
name, with choices including dead end marsh or place
of gathering water, but the spot marks the end of the
ephemeral Tsauchab river course. Visitors who drive
the 40 miles into the sands are normally presented
with a drab clay pan. However, perhaps once a
decade, heavy rains in the Great Escarpment about
60 miles to the east cause the arid bowl to become
a lake mirroring the dunes. I felt extremely privileged
to have witnessed this extraordinary event, but
also felt certain any images I made would fall short
of conveying my sense of wonder.Wonderful as this sight was, it paled in comparison
to my experiences in Dead Vlei. This is widely known
for the surreal juxtaposition of skeletal camel thorn
trees, dead for more than 600 years, standing on
a white clay pan almost surrounded by great dunes,
hundreds of metres high.
I and another photographer walked into the pan
in the chill, pre-dawn light for our last shoot in the
desert. Within a few minutes of our arrival, just as the
first light was caressing the dune summits, ghostly
tendrils of mist began to edge over the crests
and reach out into the pan. The mist soon filled
the bowl between the dunes. Golden light reflected
from the sand and filtered through the mist,transforming the already eerie scene into something
beyond words.
[114] P H O T O G R A P H Y M O N T H LY MAY 2011
DAVID WARD
This month David ponders theexperiences that make a successfulimage packed full of emotion.
ARE YOU SITTING COMFORTABLY? ARE YOU
SURE? I thought I saw some fidgeting at the back.
Okay, all settled; then it’s time to tell you a story.
Once upon a time in a land far, far away, a group of
intrepid photographers tried to capture a scintilla of
the sense of wonder they felt from travelling through
manifold mystical and magical landscapes…
Actually what I’m about to tell you isn’t a fairy tale,
but neither is it a documentary. It is something
in-between these worlds which, rather interestingly,is a space shared by the photographs we make.
The journey referred to above is one I undertook
with a group through the amazing desert scenery
of southern Namibia. We started by visiting a primeval
quiver tree forest before moving on to abandoned
diamond mine townships and from there to towering
dunes in the heart of what is considered the oldest
desert on the planet.
It might have been my last journey to a country
that has managed to move me more than almost any
other. So it was a bittersweet experience, as I have
no doubt this awareness invested my photographic
efforts with a particular expectation.
Even though I have travelled there before, theNamibian landscapes of southern Africa I encountered
on this journey amazed and surprised me.
David is a professional photographer with morethan 20 years’ experience. He shoots large formatand is drawn to the abstract image.
To read more of David’s columns and formore advice from the pros visit thewebsite www.photographymonthly.com
D A V I D W A R D
FSTOP
Skeletal camel thorn trees, Dead Vlei, Namibia.
Every surface was quickly coated in dew and our
clothing became cold and clammy, but we were
impervious to physical discomforts, rushing from one
photographic opportunity to another and frantically
trying to capture a tiny fraction of the wonder we felt.
Surely capturing some spark of the wonder we
feel is what all photographers try to do, irrespective
of the subject matter we’re shooting? Afterwards, my
companion and I agreed that for the two of us
to be almost alone amid this splendour was one of
the most moving natural events of our lives.
So you might ask if I feel my images do the
experience justice. But that’s the wrong question.
The photograph is what it is. It may be written
by the light of a particular event but it represents
only a tiny fraction of the sensory input surrounding
that event. Even a 3D movie isn’t much better.
A photograph can never stand in for the physicalreality, so we shouldn’t imagine that we can do
more with it than make an imperfect statement about
how we felt. Indeed what we say can even be at odds
with our experience because, as I’ve pointed out
before, photographs quote out of context. The single
image has to stand (or fall) independent of specific
context and it does this by appealing to wider cultural
or natural contexts. Does t he accompanying
image work within these parameters? I think so.
www.into-the-light.com
PM
GOLDEN LIGHT REFLECTED FROMTHE SANDAND FILTERED
THROUGHTHEMIST,TRANSFORMINGTHEALREADYEERIE SCENE INTOSOMETHING BEYONDWORDS.”
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 115/116
A U S T R A L I A
C a m e r a
C A N A D A
P h o t o L i f e
C H I N A
C h i n e s e
P h o t o g r a p
h y
F R A N C E
R é p o n s e s
P h o t o
G E R M A N Y
d i g i t ! • F o t o
H i t s
M a g a z i n
• I n p h o
I m a g i n g
&
B u s i n e s s • P h
o t o g r a p h i e
• P h o t o
P r e s s e
• P
r o f i F o t o
G R E E C E
P h o t o g r a p h o s • P h o t o b u s i n e s s H U N G A R Y
D i g i t á l i s F o t ó I T A L Y
F o t o g r a f i a R e f l e x • F o
t o G r a p h i a N E T H E R L A N D S
F o t o g r a f i e F + D
• F o t o V i s i e • P / F P
O L A N D
F o t o S O U T H
A F R I C A
P i X
M a g a z i n e
S P A I N
A r t e
F o t o g r á f i c o
• D i o r a m a
• F o t o / V e n t a s • F V / F o t o
- V í d e o A c t u a l i d a d
• L a
F o t o g r a f í a A c t u a l U N I T E D
K I N G D O M
D i g i t a l P h o t
o
• P h o t o g r a p h y M o n t h l y • P r a
c t i c a l P h o t o g r a p h y • P r o f e s s i o
n a l P h o t o g r a p h e r U N I T E D
S T A T E S
o f A M E R I C A
S h u t t e r b u g
If you need expert advice on which are the best photographic, video and
imaging products, look out for products with the TIPA Awards logo. Every year the editors of 30 worldwide leading photography and imaging magazines vote to decide which new products are the very best in their respective categories.The TIPA awards are judged on quality, performance and value, making them the independent photo and imaging awards you can trust.
5/11/2018 Photography Monthly 201105 - slidepdf.com
http://slidepdf.com/reader/full/photography-monthly-201105 116/116