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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

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‘‘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



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



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



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



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



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

[email protected]

DEPUTY EDITOR Sean Samuels

[email protected]

MANAGING EDITOR Simon Reynolds

[email protected]

FEATURES ASSISTANT Kelly Weech

[email protected]

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


SALES EXECUTIVE Amy Pope


CLASSIFIED SALES EXECUTIVE Bianca Dufty


GROUP COMMUNICATIONS MANAGER

Lucy Warren-Meeks, 01242 264783

[email protected]

PUBLISHING PRODUCTION MANAGER Kevin Shelcott

PRODUCTION TEAM LEADER Mikey Godden

REPROGRAPHICS MANAGER Neil Puttnam

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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

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For more information: T +44 01293 583300 F +44 01293 583301 E [email protected]

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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.



[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.



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




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



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




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



Tim Tapley Shy flamingo

Canon EOS 7DCanon 100-200mm

Georgia WiggsDrownOlympus C-5000ZEpoque wide-angle wet lens




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




Adrian CoreFreathy at dawnCanon EOS 7DSigma 10-20mm

Sarah EllingtonThe mist Sony Cyber-shot DSC-H20

Tim TapleyCorn buntingCanon EOS 7DCanon 100-200mm



READERS’ GALLERY


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




Philip CozzolinoParis reflectionsNikon D80Nikkor 50mm

Cass Castagnoli A Victorian journey Canon EOS400DSigma 10-20mm




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



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 !


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



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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




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




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




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



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



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




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




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.



WWW.PHOTOGRAPHYMONTHLY.COM [3 3 ]

B R Y A N

A L E X A N D E R


“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



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



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.



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).



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




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.




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



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.




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.


MORNING




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.




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




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




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.




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TURNINGPRO PHOTOGRAPHY

WORLDOF




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


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.




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.




DAY

24 hours of shooting Gavin Gough


“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.




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




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.




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.




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.




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



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.




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’.”



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


HOW TO SHOOT ONTHE STREETS

Trafalgar Square. Aldersgate Street, London.

DAY

M A T T S T U A R T




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.



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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

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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 .



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



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.




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




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.



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




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.



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.




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.



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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.




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.





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.



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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


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


REAL T A K E N

F R O M

P M ,

A P R I L I S S U E



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


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




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

£

££

£££



[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.



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





Large-capacity backpacks Jessica Lamb

Weight: 1.94kg


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


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



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!


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



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




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.




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



Premium compact cameras


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


LENS 28-112mm /

4x optical zoom

SCREEN 3in OLED

MAX ISO 6400

FLASH Built-in


RAW Yes

TECHNICALSPEC

LOVE: CHIC DESIGN

& EASE OF USE

DISLIKE: LIMITED

VIDEO



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



[9 4 ] P H O T O G R A P H Y M O N T H LY MAY 2011

TESTZONE


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



RECOMMENDED MEDIASanDisk 16GB Extreme Pro

SDHC card. Price: £84.99


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




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


RAW Yes

TECHNICALSPEC


Depth: 43mm Weight: 233g (without battery)

RECOMMENDED MEDIAPanasonic 16GB Class 10

SDHC card. Price: £79.99

BEST FOR TRAVEL PHOTOGRAPHY


GOONLINE

For more news andreviews visit our site

www.photographymonthly.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.



TOP 5 FEATURES


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



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.


RANGE



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...”




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




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



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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

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stands ,cablesand carry cases

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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

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in BLACK, WHITE,

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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



CANON AF SPECIAL

14-24mm f2.8 G

ED £1319



WANTED

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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)

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Nikon D3S body

£3589U . K . S t o c k O N L Y

Canon

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MKIV body

£3399

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£1697

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body

£1147

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body £769EOS 60D +18-55mm IS £885

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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

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k O N L Y

CanonEOS

600Dbody

£649

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Nikon24-120mmf4 G ED VR

£859

Nikon28-300mm

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VR £737

Nikon 85mmf1.4 AF-S

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NikonD7000 body

£889D7000+ 18-105mm

£1049 U . K . S t o c k O N L Y

Nikon16-35mmf4 AFS VR

£869



Canon

70-200mmf2.8 L

£997

Nikon SB-600 £199

Nikon

SB-700

£259

Nikon

SB-900

£349



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Improve your camera skills on location in mid Wales

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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.


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.”



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.

photography monthly 201105

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