Documentos de Académico
Documentos de Profesional
Documentos de Cultura
G re at A F le n s u n d e r £ 50
st autofocus
The world’s cheape , we discover
TESTED lens is surprisingly good
Quality
street
Why going mirrorless
gives you an advantage
for candid urban shots
‘The ultimate
photo monitor’
Why Eizo’s ColorEdge CS2730
should be top of your wish list
Home vs
lab printing
Does DIY printing still
make more sense than
using a pro lab?
Looks good
enough to eat
The winning images from
Food Photographer of the Year
PLUS Steve McCurry ● Jarvis Cocker ● Lowepro PhotoStream ● Fujifilm X-A5
7days
COVER PICTURES © DAMIEN DEMOLDER / SONALI GHOSH/PINK LADY FOOD PHOTOGRAPHER OF THE YEAR 2018
A week in photography
The beautiful thing about guru Damien Demolder reveals why he loves
street photography is that you mirrorless cameras for street shooting (pg 12),
don’t need to go very far to do and shares technique tips and buying advice.
it, but the easy part ends there. Staying with gear choice, Andy Westlake
What to shoot and how, tests the world’s cheapest AF lens, the Yongnuo
In this issue without getting shouted at? What camera and YN 50mm, which he finds is surprisingly
12 Life without lens to use? Many questions abound in this good value, and we review the Eizo ColorEdge
mirrors complex genre, so we’ve done our best to CS2730 – a superb monitor for professional-
Damien Demolder enlighten you about gear and technique in this grade photo-editing.
tells us why he prefers issue. Former AP editor and seasoned street Nigel Atherton, Editor
mirrorless systems for
street photography JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
18 Recipe for
success
Feast your eyes on this ONLINE PICTURE OF THE WEEK
year’s winners of Pink
Lady Food Photographer
of the Year
30 Brighton rocks
Sixteen lucky AP readers
went on a photo walk with
Olympus in Brighton
32 When Harry
met... Jarvis
Cocker
Harry Borden looks back
on two shoots with the
former Pulp frontman
34 Printing: home
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
or away?
Matthew Richards
explains why labs can
sometimes be better than
home printing
39 Fujiilm X-A5
Audley Jarvis finds out
if Fujifilm’s latest launch
© GARRY SOLOMON
46 Eizo ColorEdge was uploaded to our Twitter page – from buds, then fully bloomed, to picture on Facebook, Instagram,
CS2730 using the hashtag #appicoftheweek. decaying and shrivelled. I varied the Flickr, Twitter or the reader gallery using
Edward Chester checks It was taken by photographer Garry backgrounds, experimented with #appicoftheweek. PermaJet proudly supports
out a top-class monitor Solomon. He tells us, ‘Unlike different lighting techniques and the online picture of the week winner, who will
for professional-grade landscape work, flower photography worked with large/small apertures. receive a top-quality print of their image on the
photo-editing keeps me busy and creative almost This shot uses a wide-open finest PermaJet paper*. It is important to bring
all year round. After picking up a few aperture to give a dreamy painting images to life outside the digital sphere, so we
Regulars pots of Anemones, I set about
capturing as many shots as I could
feel, natural light through a window,
and a reflective backdrop for bokeh.’
encourage everyone to get printing today! Visit
3 7 days www.permajet.com to learn more.
22 Legends
24 Inbox
28 Reader Portfolio
Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@timeinc.com.
49 Accessories CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 53.
51 Tech Talk Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
66 Final Analysis Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 53.
NEWS ROUND-UP
The week in brief, edited by
Amy Davies and Hollie Latham Hucker
BIG
Charlie Waite. Tickets cost £40, Sony’s own FE 24-70mm f/2.8 ‘Ostrich Horizon’ image wins
which includes entry to all the GM zoom lens, but without Fujiilm Award for Innovation
talks. Visit fotofest.co.uk for the benefit of Sony’s optical
more details. image stabilisation. Bath-based photographer Philip Field has
picture
won the much-coveted Fujifilm Award for
Innovation with his stunning monochrome
Snapchat launches new camera glasses scene ‘Ostrich Horizon’ at this year’s Pink
The social media network Snapchat has launched Spectacles 2.0, Lady Food Photographer of the Year. His
a follow-up to its 2016 version. The new glasses have an improved image was unveiled at the recent glittering
design, and can shoot still photos. They also have a smaller profile Champagne Taittinger reception in London, as
and are water resistant. The speed of image transfer and video part of the Finalists’ exhibition of 150 images.
transfer to Snapchat has also been improved.
$200,000
This would perhaps explain the graphic style
of his image. He says about the picture:
‘While travelling across the Serengeti, our
driver temporarily stopped while navigating
Essentially what
a dip in the terrain. At that moment, I
spotted a flock of ostriches walking across
photography is Cost of the world’s fastest camera
the brow of a hill in the fading light and was
able to quickly capture this shot before
is life lit up car – a modiied Lamborghini
Huracán – that keeps up with the
they disappeared.’ Sam Abell world’s fastest cars for shoots
National Geographic photographer for over 30 years
WPOTY disqualifies
winning image
AFTER a three-week specialist from the different animals. The
investigation carried museum itself along with experts would have
out by the Natural History two external authorities, a expected there to be at
Museum, one of the South American mammals least some variation
winning images from
2017’s Wildlife
Photographer of the Year
has been disqualified.
expert and a specialist
anteater researcher.
The team examined
high-resolution images of
between two individuals of
the same species.
The photographer
strongly denies the
1982
Sadly the house elves responsible for binding our
The image, ‘The Night a taxidermy anteater that allegations. Marcio Cabral
archives got a bit carried away with this issue, causing
Raider’, from the Animals is kept at a visitor centre co-operated fully with the
our studio photographer no end of headaches, but the
in Their Environment located at an entrance to investigation, supplying raw
bonkers cover still stands out. Who could fail to love the
category, was taken by the park. format images, including
concept of a crazed-looking model wearing a fetching
Marcio Cabral at the Emas Each of the five scientists those taken before and
Where’s Wally top? Highlights of the issue include a
National Park in Brazil. worked independently of after the winning image.
guide to choosing an SLR – chances are, many AP
Evidence was presented each other, but all came The image will be
readers will still be using the best of these 35-year-old
to the museum by third to the same conclusion – removed from the
film cameras. Considering this was a long time before
parties that it is highly likely that the overall posture, exhibition and the tour.
digital, some interesting innovations are being talked
the animal in the photo is a morphology, the position According to the BBC,
about, including solar-powered panels to recharge the
taxidermy specimen. The of raised tufts of fur and Cabral intends to return to
batteries on the Ricoh XR-S, and a widget for making
investigation called on five the patterning on the neck the park to collect
multiple exposures while keeping the film in place. We
scientists – two experts on and top of the head are evidence, which he hopes
are less sold on the Heath Robinson-esque solution for
mammals and a taxidermy too similar to depict two will exonerate him.
attaching multiple flashguns to an Olympus, however.
Generally, the onus was still on the photographer to do
a lot of the donkey work, so there was room for a lot of
‘World’s fastest’ 75mm lens revealed improvements – integrated autofocus systems on
mass-market cameras is the most obvious example.
AVAILABLE for Leica M, Sony and line-up. Each lens is handmade and has
Fujifilm X mounts, Meyer-Optik five elements in five groups, with a
Görlitz’s new Nocturnus 75mm minimum focusing distance of
f/0.95 lens is said to offer 0.9m and a 72mm filter
the widest aperture of thread. The lens will also
any 75mm lens. feature a clickless
It has 15 steel aperture ring, making it
aperture blades which ideal for video work.
feature an anti- It is expected to have
reflection coating and a retail price of 73,499,
joins its ‘little brother’, but an ‘early bird price’ of
the Nocturnus 50mm 71,899 will be available
f/0.95, in the company’s until 20 May on Kickstarter.
London Nights
In a major exhibition the Museum of London takes a
tour of London under the silver gloom of moonlight
and neon billboards, as Oliver Atwell discovers
n 1930 Virginia Woolf left her the Museum of London, all of which
‘London Nights’
runs at the
Museum of
London until
11 November.
I home in search of a pencil. She
didn’t really need one but she
needed an excuse to leave the
house. Woolf was an inveterate walker
and explorer of city streets. She would
show the many faces of the capital as
it sits under the blanket of night. In all,
the works of 50 photographers are
presented, and all have their own distinct
take on the nocturnal metropolis.
Tickets cost often tread the walkways of London The exhibition, perhaps in an effort to
from £10. Entry under the blaze of day and black of night, compartmentalise such a free-ranging
is free for those allowing her mind to absorb the sights, subject, is divided into three sections.
under 16. For sounds and smells of the early 20th- London Illuminated shows us the capital
more details, century cityscape. So often she would lit by the gloaming of twilight and, as the
visit www. look into the faces of fellow travellers and sun gradually vanishes behind the
museumof imagine what it must be like to occupy horizon, the artificial light of streetlamps,
london.org.uk their bodies. The result of this particular neon billboards and car headlights. Dark
1930 expedition was her beautiful essay Matters explores the more unsettling
Street Haunting: A London Adventure, side of the city. Anyone who has had to
© NICK TURPIN
which captures the bliss of urban tread the back streets of London will
wanderlust. In particular, it encapsulates know the feeling of threat and
what it is to move like a ghost through the vulnerability only too well. Last, we have
streets of London in the hours of night, Switch On… Switch Off… where we ‘All 50 photographers
never knowing what you’ll see. witness Londoners throwing off the have their own take on
This essay is an ideal complement to shackles of work and drinking
this collection of images presented by themselves insensible while brushing the nocturnal metropolis’
© RUT BLEES LUXEMBURG
© BRIAN GRIFFIN
Spud
By Brian Griffin, Gost Books, £35, 224 pages,
hardback, ISBN 978-1-910401-21-7
Back in 2017, Brian Griffin
undertook an artist’s residency in
Béthune-Bruay in France. He was
approached largely due to the links
between that region and Griffin’s
native Black Country, both in its
landscapes and its industry. Having
arrived, Griffin soon hit upon
From ‘Through A Glass Darkly’ by Nick Turpin something – the location was just 10 miles from the
constantly moving front line during the First World
War. What was striking about this was that the area
now hosts a large potato field and a McCain Oven
Chips factory. Griffin then made a grim realisation
– the soil being used to grow the potatoes was host
to the blood of countless dead soldiers.
And so a project was born. This strange collection of
images document Griffin’s obsession through portraits,
landscapes and still-life images that communicate
Griffin’s strange view of the world. There’s an uneasy
yet alluring weirdness to them that may not always be
easy to decipher but always seem to make sense
within their own strange internal logic.
++++ Oliver Atwell
A
mong the top news stories to adapting non-native Sigma Art lenses
break at this year’s CP+ using the Sigma MC-11 converter.
Camera and Photo Imaging
Show in Japan included A switching conundrum
Sigma’s decision to start making their For photographers like me, who own a
highly rated Art lenses in Sony E-mount. few Sigma lenses and are considering the
Sigma’s Art line-up has only been available switch from DSLR to mirrorless, the
in Canon, Nikon and the company’s own thought of losing so much money trading
SA-mount, leaving those with Sony Alpha in used lenses and buying the equivalent
7-series cameras who’d like to use Sigma new lens in E-mount is very disconcerting.
lenses with little choice but to use a smart One alternative is to take up Sigma’s
adapter. I’ve used various smart adapters mount-conversion service. From £240 a
over the years, including Sigma’s MC-11, to lens, Sigma will change the relevant parts
pair Sigma Global Vision lenses and Canon for a new mount and adjust the internal
EF-mount lenses with Sony A7-series core system accordingly. The cost of
cameras. However, I've never been100% converting my two Sigma EOS-mount
satisfied by the autofocus response time, lenses (50mm f/1.4 Art and 35mm f/1.4
which I found to be sluggish when shooting Art) to E-mount wouldn’t be cheap
fast-moving subjects or working in (£480), but when this price is compared
high-pressure situations. In truth, I’m not
fond of the idea of mounting a lens to an
adapter. I get that they're a good way of
testing the waters and make sense if you
to what I’ve been offered for selling both
lenses second-hand (£440 to MPB in
good condition) and rebuying the lenses
from new (£1,548) in E-mount, there’s a
Face
time
are running two systems side-by-side, but big saving to be made. Realistically, if I was
to me they feel like a temporary solution to trade in all my Canon gear and switch
before fully committing to a new system. entirely to shooting Sony, I’d be looking at
The first Sigma lenses to arrive in spending a lot more than £480 to
E-mount will be the 14mm f/1.8, 20mm convert my Sigma glass. But it’s good to
f/1.4, 24mm f/1.4, 35mm f/1.4, 50mm see a third-party lens manufacturer trying
f/1.4, 85mm f/1.4 and 135mm f/1.8. Each to help photographers make the switch on Take your portraiture skills
lens has the same optical design as those what is such a big and costly decision.
available in Canon, Nikon and Sigma The introduction of Sigma E-mount up a notch with excellent
SA-mount, and all the lenses will work lenses is likely to see the demand for the advice from top pros
with Sony’s Continuous AF (AF-C) and Sigma MC-11 decline; however it still has
high-speed autofocus capabilities – a role for photographers who’d like to try
something not previously available when the Sony A7-series before putting all their
eggs into one basket. The good news for
THE V EWS EXPRESSED N TH S COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME INC. (UK)
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Technique STREET PHOTOGRAPHY
Damien Demolder
Damien is a photographer, journalist, judge and educator
who shoots almost all types of subjects with a wide range
of equipment. A former editor of Amateur Photographer,
he gives club talks and teaches photography across the
country. See www.damiendemolder.com
Life without
mirrors
Small and silent cameras have long been prized in
street photography. Here’s why Damien Demolder
prefers mirrorless systems for observing everyday life
n truth, any camera can be used streets. I have come to the conclusion that
12
KIT LIST
▲ Standard lens
I love the Panasonic Leica DG
Summilux 12mm f/1.4, but
Fujifilm has a nice XF 35mm
f/1.4R and Olympus has the M.
Zuiko Digital ED 25mm f/1.2 Pro.
▲ Wide lens
Wide lenses are great for
including the environment.
I like the Leica DG Summilux
12mm f/1.4 for Lumix or the
Fujinon XF 16mm f/1.4 R WR.
▲
Mid-tele lens
I find long lenses don’t
retain a connection
with the subject.
I like a moderate
tele between
75-85mm, like
Leica’s DG
Nocticron 42.5mm
f/1.2 for Lumix.
▲ Small cameras
The Lumix DC-GX800 is an
amazing tiny model, and the
Lumix GX9 is a bit bigger but
more advanced. Fujifilm’s
X-Pro2 and the PEN F also
give first-class results.
▲ Slightly bigger
cameras
Slightly larger models, more
like DSLRs, include the Olympus
OM-D E-M1 Mark II and OM-D
E-M5 Mark II, Fujifilm X-T2
and Lumix G9 or G80.
13
cameras have silent modes that allow Using live view enables you
to hold the camera away
you to take pictures with no giveaway from your face so you can
sounds at all. This not only means that in a take in the entire scene
quiet place you can take pictures, but that Panasonic DC-GX9, 25mm,
if the first frame isn’t what you wanted, 1/2000sec at f/1.4, ISO 200
you can shoot again and again without
your subject moving out of your way.
Size and weight are important when you
are spending a day trying not to stand out.
Mirrorless cameras won’t put your back
out and can remain concealed in a coat
pocket or discreet bag. There is nothing
like a giant camera bag to advertise the
fact that you are taking pictures!
One of the other real benefits is the
ability to shoot in live view without a
massive delay. From a short distance, I
like to hold a camera away from my face to
take in the composition on the rear screen.
The distance allows me to see the whole
image in one glance, which makes it easy
to see how elements at opposite ends of the
frame relate to each other. The other
benefit is that you don’t look like a proper
photographer, so people are even more
inclined to ignore you.
My favourite mirrorless models also have
touchscreen controls that make moving AF
areas around so much quicker to achieve.
In a fluid situation, where you can’t be sure
about exactly where the subject will be in
the frame, it’s a godsend to be able to
simply touch the back screen at the right
moment and have the camera focus on that
spot – and even trip its shutter at that exact
moment, which is seen in some models.
The downsides
There are some downsides to using
mirrorless cameras for your street
Why it works
Here’s a shot I took when I was working at
Amateur Photographer. I’ve picked it mainly
because I think it works, but also because it
was shot on quite a basic model: the Kodak
EasyShare P880 bridge camera. It appeals
to me because of its simplicity, the graphic
elements of the environment and the
immediately obvious subject. It also shows an
everyday scene in a manner we may not have
seen before, which helps to create impact and
a positive first impression.
The shot is of someone walking across the
Millennium Bridge in London – which doesn’t
sound very interesting in its own right. The fact
it was a bright November morning adds a layer
of frost on the glass and a strong backlight to
create clear shadows against an illuminated
panel. I studied the shapes and looked for
echoes and contrasts in the surrounding area,
and used the corner of the Tate Modern to
Make use of strong graphic form a collection of triangles and hard edges
shapes and lines to create a that work well with the shapes and lines in the
striking composition middle of the frame. The man stands out partly
Kodak P880, 10.8mm, 1/2500sec
because he is the only natural form in a frame
at f/8, ISO 100
filled with hard edges and angles.
Recipe for
success
Feast your eyes on the winners of this year’s
Pink Lady Food Photographer of the Year
f you like food and enjoy Nigel Atherton and deputy editor
18
© DEBDATTA CHAKRABORTY
19
Jade Nina
Sarkhel, UK
Food for Sale
Rex Bakery
‘Straddling a gutter,
I captured the
bullet-ridden walls of
one of Mumbai’s oldest
bakeries,’ recalls Jade.
‘The bakery churns out
18,000 pãos (baps)
a day, operating 24/7
and selling bread
through the keyhole
counter overnight. Bread
is given for free to those
who can’t afford it. It’s
places like this that knit
communities together
in India.’
Canon EOS 5D Mark III, EF 24-70mm
f/2.8L II USM, 1/80sec at f/2.8,
ISO 160
© GUILLAUME FLANDRE
Guillaume Flandre, UK
Food for the Family
Family Dinner
‘This picture was taken at my grandparents’
apartment,’ explains Guillaume. ‘It’s a tradition in
my family to go there on Christmas Eve for dinner. Like
every year, my father and grandfather had gathered in
the kitchen to cook for the family. I happened to walk by
and noticed how they were framed by the door. I didn’t
have my camera, so I ran to the bedroom to grab it,
returned to that spot and waited for the perfect moment.
It happened so quickly, I shot only this one frame.
‘The lighting wasn’t optimal, so I had to open up to f/1.4.
Including the drapes in the frame made the scene all the
more theatrical, even though this moment was quite
ordinary. This was the last time we’d celebrate dinner
here together as my grandfather passed away the next
year, making this picture even more meaningful to me.
Fujifilm X-T1, Fujinon XF 23mm f/1.4 R, 1/160sec at f/4, ISO 640
20
FOOD PHOTOGRAPHY
Aniko Luef, UK
Food Bloggers
Honeycomb
Runny lavender
honey is being
drizzled over broken pieces
of honeycomb decorated
with dried lavender buds.
‘Honeycomb has a quite
captivating texture and
shape that draws many
food photographers’
attention to this subject,’
says Aniko.
‘I broke the honeycomb
into little pieces and
stacked them on a plate.
It’s lavender honey, so I
used some dried lavender
petals, too. This shot was
made on a rainy, grey day
when the natural light was
low, so the scene was lit
by a softbox on the right.
I also wanted to give a
little bit of movement, so
I dripped some honey on
the top of the stack with
a honey dipper.’
Canon EOS 6D, Sigma 85mm f/1.4 DG
HSM Art, 1/10sec at f/1.8, ISO 400
© JADE NINA SARKHEL
© ANIKO LUEFF
John Carey, UK
The Philip
Harben Award
for Food in
Action
Calum in his
Pie Room
This is a picture of
the inimitable Calum
Franklin in his wonderful
Pie Room at Holborn
Dining Room in London. A
master of his craft, he is
executive head chef and
pie-creator extraordinaire.
‘Pie-making is a traditional
craft and one that I know
Calum has put a significant
amount of effort into
researching and testing,’
says John. ‘I wanted to
show his dedication, some
© GRZEGORZ TOMASZ KARNAS
Canon EOS 5D Mark III, EF 24-105mm Dog Shower Grzegorz. ‘It is around 45°C out there.’
f/4L IS USM, 1/125sec at f/13, ISO 320 Fujifilm X-T2, Fujinon XF 16-55mm f/2.8 R LM WR
21
Legends
of photography
© STEVE MCCURRY/MAGNUM PHOTOS
Zhengzhou,
China, 2004.
Shaolin monks
training
Steve
to reach a place of mental and layered compositions, frames-
physical meditation: a non- within-frames and saturated
© ULRICH PERREY/AFP/GETTY IMAGES
McCurry
everything you need to know. photographers. McCurry’s
status is such that, in 2010,
Going to the root Eastman Kodak put the last
of Buddhism roll of film they ever produced
This image is part of a larger in his hands – a fitting gift for a
set of work taken roughly photographer who for decades
between 1985 and 2013 has extolled the virtues of film,
McCurry’s work can be considered that found the dauntless though he’s not averse to
the touchstone for creative travel photojournalist and former
Magnum member investigating
shooting digital.
His career has not been
photography, writes Oliver Atwell Buddhism throughout Asia. without controversy,
Although Buddhism is well nonetheless. In 2016 it was
ack in March 2010, can confidently say McCurry’s known in the west, it has revealed that McCurry had
B Steve McCurry
told AP: ‘Most of
my images are
grounded in people. I look
for the unguarded moment…
images deal with intimacy and been a challenge for
empathy between subject and
viewer. We look into the faces
and we see lives lived.
However, applying this
photographers to capture its
essence. Intrigued, McCurry
went to the root and captured
what he saw.
digitally manipulated his
images. McCurry’s apologetic
response was that he defined
his work as ‘visual storytelling’
rather than straight
experience etched on a person’s principle to one of McCurry’s McCurry’s Buddhism work documentary. But newsworthy
face.’ This quote could easily most famous shots, ‘Shaolin sits comfortably within a as this was, the revelation had
apply to any number of his Monks Training, Zhengzhou, prolific global career that, at all done nothing to dull the edges
images. Look at those haunting China’ captured in 2004, is corners, has served to capture of a photographer whose
eyes in his ubiquitous portrait, tricky. The hanging monk in lands that might seem distant images have graced the pages
‘A fghan Girl’ taken in 1984, the foreground displays a and unreachable to many of us. of magazines such as National
and we can get some sense mask of impassivity – it His work in India, for example, Geographic and Vanity Fair,
of why his images resonate communicates nothing. has become the default countless other publications
so strongly. Setting aside his The monk and his Buddhist aesthetic when we conjure and numerous gallery
flawless technical ability, we brethren in the background are mental images of the country. walls the world over.
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Inbox
Interesting suggestions,
A 45L rucksack may well be although a trolley might be less
‘designed to carry’ but the human useful for street, documentary
frame isn’t (‘Gitzo Adventury or wedding photography, where
backpacks revealed’, 7 Days, AP you need to be able to access
28 April). I doubt I could even lift a your gear quickly when a photo
full one off the ground. My ‘small opportunity arises. It’s true
game-hunting’ macro kit consists though that the onerous weight
Email ap@timeinc.com and include your full postal address. of a Nikon D7100 and Nikkor of SLRs and associated lenses
Write to Inbox, Amateur Photographer, Time Inc. (UK), Pinehurst 2, Pinehurst Road, 105mm Micro lens with Nikon’s and accessories is a major
Farnborough Business Park, Farnborough, Hants GU14 7BF Close-up Speedlight (SB-R200) reason for the increasing
guns attached. It weighs nearly popularity of lighter mirrorless
LETTER OF THE WEEK 2kg, and a couple of hours with systems – Geoff Harris,
that dangling from the wrist is deputy editor
about my limit. Add all the
AP is the best accessories needed for a day’s
hike, and there’s a serious weight
problem that’s not solved by any
Can any readers help?
Attached is a photograph upon
which I hope that you or your
On 23 April, I was visiting my best
friend of 30 years who was in bag design. readers can shed some light. The
hospital recovering from a stroke. Trolleys offer a solution. Use one photograph depicts some of the
With his good arm, he handed of these and you can hike to a site staff of the Racine Photo Process
back to me the AP 21 April issue and arrive reasonably fresh to do Co., and I believe it was taken
and said that out of the five some photography. The only one around 1919. I deduced this date
different photography magazines designed for photographers is the because the man in the back row
I had given him the previous Stealth Gear – a beach trolley who is second from the right is my
week, Amateur Photographer was design useful for many purposes, grandfather A W Margrove, and
the best; he read it from cover to but rather too bulky for a hike as it he is wearing the silver war badge
cover. He and I are both retired cannot negotiate stiles or kissing which was given to former soldiers
professionals, and we used to work gates, and its wheelbase is too in the First World War who were
at our local evening newspaper. wide for rough terrain. Standard injured in service (he was shot in
AP is the only photography For John, a Nikkor105mm folding trucks drag your bag the leg) and then demobbed early.
magazine I subscribe to. Every issue macro lens was a lucky find through the mud and have It was issued to prevent these men
inspires and teaches me something independent axles which cause from being unfairly targeted by
new. I agree that photography is brilliant therapy for mental the wheels to twist on anything but people, mainly women, who
illness. I had my first breakdown in July 1977 and as a result I flat ground. The festival trolley thought that such men had
am often in deep lows. Luckily I am married to the most kind and design is better as it has a raised avoided military service. He was
patient wife, and for my creative needs I turn to photography. platform; the cheap wireframe one discharged in November 1918,
Just holding a camera in my hands and concentrating on trying from motorway service stations many months before the rest of
to capture how I feel inside about the subject is fulfilling, be it a works to a point, but the wheels the army.
character at a public event, a landscape in the woods, the birds in are poor. A better design is an He went on to establish his own
my garden, or our beautiful nearly two-year-old granddaughter off-roader with pneumatic tyres. photography business – Empire
whom I can also record videos of with my camera. It’s about time camera bag Studios in Edmonton, North
For a number of years now, I have wanted a decent lens for manufacturers turned their London at 61 New Road, Wood
photographing blossoms. I am a Nikon man, but after reading a attention to trolley design or Green – and retired in 1961.
Tamron lens brochure, I found myself drooling over the 90mm included an athlete with each Throughout The Second World
macro lens. So I went to our local independent photographic of their bags. War he did war work for the police
retailer to order the lens, but discovered a second-hand Nikkor Darwyn Sumner among other things and travelled
105mm VR Macro lens in excellent condition and cheaper than
a new Tamron. I bought it, and the next week, AP’s macro special
issue (24 March) came in the post.
John Heywood
LETTER OF THE WEEK WINS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
© JOHN PENBERTHY
photo competition
for amateur
In association with photographers
is now open
Amateur Photographer
of the Year Competition
Picture of Racine Photo Process Co. staff; John’s grandfather is in the back row
1 2
3 Broad boathouse
3 Having ventured
out in hope of
capturing a colourful 4
sunset above the
boathouse at Hickling
Broad, Norfolk,
Christopher was met
with the complete
opposite. Thankfully
the dark clouds added
some extra drama to
the shot.
Sony A7 II, 28-70mm
lens, 1/3sec at f/11,
ISO 100, 0.6 ND Grad
28
UR PICTURES IN PRINT
NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY
29
CHARD BOND
ADVERTISEMENT FEATURE
Brighton
rocks
Sixteen AP readers spent a day in
Brighton with Olympus – a day that
started out with heavy rain but ended
Richard Bond
Current kit: Sony A6000
Shoppers in
the bohemian
North Laine
12-40mm lens, 1/80sec at
f/5.6, ISO 200
A
hands very well and was easy to use, with the buttons well
to spend a day with the company’s flagship OM-D E-M1 Mark II on a spaced and not easy to mistakenly press. There was nothing
photo walk around Brighton, and also try out some of the excellent to dislike about it, except having to hand it back at 5 o’clock.
lenses in the Olympus range. AP Editor Nigel Atherton was the host
and tour guide for the day, which started with heavy rain and ended with sunshine
and blue sky – giving the participants a year’s worth of seasonal weather all in one ‘The weight
afternoon. Technical experts from Olympus were also on hand to help the
participants get the best out of the equipment, most of whom currently own saving is
DSLR systems and are looking to make the switch to mirrorless.
Here we show a selection of the superb pictures taken by AP readers
considerable
during the day, along with their thoughts on the camera and the system. and the image
quality doesn’t
seem to suffer
at all’
30
© KEITH TAYLOR
Dramatic clouds over
Brighton Palace Pier
12-40mm lens, 1/200sec at
f/14, ISO 200
A nicely observed
© KITTY PHILLIPS
juxtaposition
12-40mm, 1/1000sec at f/2.8
Kitty Phillips
Current kit: Canon EOS 5D Mark II
I loved the fact that it is not as
large or heavy as my own camera,
and that it is totally silent when you take
a photo – both of which are just what
I’m looking for to enable me to do more
street photography.
It took a while to get used to but that
is always the way when trying out a new
camera. I would definitely consider
investing in one as it’s so portable for
everyday use.
Ian Bartlett
Current kit: Fujifilm X-T2
I actually used the PEN F with the
M.Zuiko 25mm f/1.2 lens. The
combination was great to use, and I fell
in love with it. Both camera and lens
were well constructed from high-quality
materials. It felt good in my hands and
all the controls were very intuitive. The
lens allowed me to create a very shallow
depth of field and was amazingly sharp.
I was initially concerned that being so
small it would be fiddly to use, but it was
very well-crafted, with great
ergonomics, so I needn’t have worried.
Jarvis Cocker
Harry Borden looks back on two portrait shoots with the
charismatic former frontman of Britpop-era band Pulp
’ve recently started Aladdin’s cave of kitsch whatever I wanted. I think he’s
I rediscovering negatives
from shoots I did in the
1990s. It’s great fun,
particularly finding pictures
I’d completely forgotten about
I remember going to Jarvis
Cocker’s flat, which was in
Sceaux Gardens, a 1950’s
council estate in Camberwell,
south east London. It looked
the type of person who’s very
creative, recognises other
creative people and lets you get
on with doing your thing.
It would have been difficult
– which is not surprising as I like a rundown area, and I felt to use the flat’s interior as a
was shooting around 200 jobs a little nervous when unloading backdrop because it was so
a year at that time. I’ve found my camera equipment. It cluttered, so I decided to do the
some pictures I really like, wasn’t the sort of place you’d shoot out on the stairwell. The
and put some of them on my expect a potential pop star to main picture shown here is my
Instagram page; they’ve had live. However, when Jarvis favourite. The hands are very
a very positive response. opened the door I found myself prominent; idiosyncratic hand
One example is a black in an Aladdin’s cave of kitsch: movements are part of his
& white portrait of Pulp there was a brightly coloured stage performance and I
frontman Jarvis Cocker, taken 1970’s modernist sofa, Guzzini probably noticed the position
in 1993. I was commissioned plastic lights and various other of his hands and asked him to
to do the shoot by Select, a brightly coloured retro items. push it a bit further. In Jarvis’s
music magazine which focused It was a complete contrast to angular appearance and tense
on Britpop bands. At the time, the flat’s grey and mundane hands I was subconsciously
Pulp had been going for a concrete exterior. Jarvis referencing Diane Arbus’s
number of years but hadn’t himself was thoughtful and 1962 picture ‘Child with Toy
achieved major chart success. quite restrained – very Hand Grenade in Central Park,
However, they had a cult different from his extrovert N.Y.C’. A number of her
following and would have been stage persona. However, he pictures are etched in my
well-known to Select’s readers. was perfectly happy to do memory, and occasionally
I subconsciously find myself
‘When Jarvis opened the door I found trying to recreate something
with that kind of power.
myself in an Aladdin’s cave of kitsch’ The blurred figure in the
background was either one of
By exposing only for Jarvis’s his friends or a press officer.
face in this shot, the line I got them to walk up and
of trees was overexposed, down, then shot at 1/15sec, so
creating an intriguing picture Jarvis was still and there was
movement in the figure. I felt it
gave something extra to the
picture. The shot was taken on
ALL PICTURES © HARRY BORDEN
Instead we went to nearby the hood. By exposing only hood in mind when taking
Waterlow Park and shot more for his face, the line of trees in this second picture. Harry Borden
images there. Towards the end the background was blown out Rather than just copy a Harry Borden is
of the shoot I asked him to zip because it was overexposed. famous image, I try to take an one of the UK’s
up the hood of his snorkel The result was a graphic and idea and use it as a basis to finest portrait
parka coat, so only his big, intriguing picture, one that create something that is photographers.
reflective glasses were visible. ended up in the exhibition for different and original. This He has won prizes
I liked the idea of being the John Kobal Photographic way, rather than getting a at the World
confronted with someone Portrait Award. pastiche, you get a genuine Press Photo
famous and playing with the In the same way that the first moment. The line of trees in awards and was awarded an Honorary
fact that it’s really them. I was portrait I took of Cocker was my picture gives it a kind of Fellowship by the Royal Photographic
concerned his face would be subconsciously influenced by municipal ordinariness that Society in 2014. The National Portrait
too dark, so I used a handheld the Arbus picture, it’s possible suits Jarvis’s style and takes Gallery has over 100 of his images. His
exposure meter to take a that I had David Bailey’s it on to another level. book, Survivor: A Portrait of the Survivors
reading of the light going into portrait of Mick Jagger in a fur As told to David Clark of the Holocaust, was published in 2017.
Matthew Richards
Matthew began his career as a broadcast engineer for the BBC in London
and for companies across southern Africa. He then became a technical
author, before moving into journalism and photography, for which he’s
enjoyed assignments in the UK and worldwide. He currently specialises
in reviewing cameras, lenses and photographic accessories.
Printing
home or away?
When you need to print at extra-large sizes or
in high volumes, home printing can become
impractical. Matthew Richards heads to the lab
or sheer immediacy, an A3+ printer, and you can your own photographs at
F nothing beats
creating your own
photo prints on an
inkjet printer. Indeed, some
of the latest Canon and Epson
expect 19x13in photo prints in
around five or 10 minutes, for
dye-based or pigment-based
printers, respectively. And
naturally, you’re in full control
home. For starters, you need
to buy your own printer, which
can cost anything up to £600
for a range-topping A3+ model.
Then there’s the additional cost
printers can churn out 6x4in of the whole process. What of ink and paper, which don’t
prints in as little as 15 seconds, could be better? come cheap. It’s hard to put
and deliver an A4 photo print As it turns out, there are an exact figure on ink costs,
in under a minute. Upsize to some downsides to printing because the amount of ink
© MATTHEW RICHARDS. PRICES: ALL PRICES WERE CHECKED AT THE TIME OF GOING TO PRESS, BUT THEY MAY CHANGE.
Canoninkjetprinter
With the colour/intensity mode set to ‘Auto’, prints from the Canon Pixma
PRO-10S tend to be marginally brighter than those from the labs
Another reason Loxley is whitewall.com). Unlike Loxley, WhiteWall is comparatively turnaround times are rather
often favoured by professionals it doesn’t offer a hand- pricey for small to medium- longer, typically at around six
is that its prices are very correction service, but a free sized prints, which start at working days as the lab is
competitive. For example, ‘automatic image optimisation’ £2.90 (6x4in), £7.95 (10x8in) based in Germany. With that
prices for small to medium facility is available, similar to and £8.95 (12x8in). There’s less in mind, the delivery cost of
individual gloss or lustre prints that of Photobox. Again, difference between Loxley and £3.95 is very reasonable.
are 67p (6x4in), £2.24 (10x8in) brightness and contrast WhiteWall for larger-format Ultimately, it makes the most
and £2.69 (12x8in). Metallic corrections are applied based prints, with both labs charging sense to have an A4 inkjet
and velvet paper options have on an automated process, and around £12 (24x16in) and printer at home for general
a 50% markup, and first class best avoided if you’ve edited £19 (30x20in). WhiteWall is photo printing, and to use a lab
postage is £5.58. your images to your liking, actually cheaper for 60x40in for high-quantity small-format
Another of my favourite assuming you’re confident in prints, at £71.95 compared printing as well as for your
online labs is WhiteWall (www. the accuracy of your monitor. with Loxley’s £87.46. However, large-format prints.
Photobox produces small-format prints in anything from low to very high An added attraction of WhiteWall is that it gives you a particularly large
quantities, and offers a wide range of other print sizes and photo products selection of photo papers to choose from
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CAMERA TEST Testbench
Fujifilm X-A5
Audley Jarvis inds out whether this latest launch Data ile
from Fujiilm makes a good choice for irst-time buyers Fujifilm X-A5
looking to take a step up from their smartphones Price £529 with XC 15-45mm lens
Sensor 24.2MP APS-C CMOS
he X-A5 succeeds the otherwise similar 24.2MP of comparison, the X-A3 provides Output size 6000x4000
The kit zoom’s built-in image stabilisation does a respectable job of keeping
116.9mm handheld shots sharp Fujifilm XC 15-45mm f/3.5-5.6 OIS PZ, 1/30sec at f/6.4, ISO 800
Enter
today!
Amateur Photographer
of the Year Competition
£10,000
© CLOCKWISE FROM TOP LEFT: 1. HILARY LAKEMAN 2. PAUL GREENHALGH 3. LEE ACASTER 4. ELECTRA STAVROU. BOTTOM ROW L-R: 1. ELENA PARASKEVA 2. GEORGE DIGALAKIS 3. HEATHER ALLEN
OF
Enter the UK’s oldest and most prestigious photo
competition for amateur photographers. There are
eight rounds, so you have eight chances to win PRIZES TO
some great Sigma cameras and lenses! BE WON
Yongnuo YN
50mm F1.8
It’s light, basic, and may look strangely familiar to
some. Andy Westlake inds the cheapest AF lens , p
unit moves back and forwards for focusing.
on the market punches way above its weight Autofocus uses a micromotor, and it’s
essential to flick the switch on the side of the
e all love a bargain, but cloning a design that’s presumably fallen barrel to the MF position for manual focus –
built, and that’s very cheaply indeed. At is also better placed on the side of the barrel Autofocus
a mere 120g, the lens is so light you’ll so that it falls nicely under your left thumb. The Unsurprisingly for such a cheap lens, autofocus
barely notice it’s on the camera. The barrel and lens is unexpectedly robust, too. I’ve dropped it isn’t the YN 50mm f/1.8’s strong point. With
mount are made of lightweight black plastic, more than once, and seen it literally bounce a small, cheap motor driving the entire optical
and even the lettering and graphics on the back up again with no visible damage. unit, it’s relatively slow, but not unbearable. The
barrel are, for the most part, copied off the Tested on a range of digital EOS bodies, motor is some way from being silent, although
original. I suspect one reason why you won’t find from my 12-year-old Canon EOS 5D to the it’s not ridiculously noisy either. In short, the AF
this lens in UK retailers is because it would fall very latest mirrorless EOS M50 using a mount works, but it’s a decade or two out of date.
foul of ‘trade dress’ customer protection rules. adapter, the lens didn’t reveal any obvious Perhaps the biggest problem you’ll face is in
One minor but welcome refinement handling or compatibility quirks. But when I tried getting really precise focus: at f/1.8, depth of
compared to the Canon is that the focus ring it on older 35mm film EOS models, it was far field is very thin, so even the slightest misfocus
has a nice rubberised grip, rather than simply less reliable. On some it worked absolutely fine, results in a noticeable loss in sharpness.
being hard plastic. In fact, this rubber band will but on others it gave error messages when the Unfortunately, I found that the lens misfocused
come clean off if you’re not careful, but is easy shutter button was pressed. I don’t recommend most of the time, either slightly in front of the
enough to put back on again. The AF/MF switch this lens if you have film use in mind. subject, or behind. This random pattern meant
that the problem couldn’t be fixed using the
The lens is decently camera’s AF microadjustment setting, and
sharp wide open, as long is most likely attributable to slack in the
as focus is accurate gearing. So if you really need pin-sharp focus
Canon EOS M50, 1/100sec at f/1.8, you’ll have to focus manually, using a
at f/1.8, ISO 100 magnified live-view display.
Manual focus is mechanically coupled, with
the focus ring rotating around 80° between
infinity and the 45cm minimum focus distance.
Typically for a cheap AF lens, there’s neither a
distance nor depth-of-field scale. The relatively
short focus throw can make it difficult to get
really precise focus, and you’ll often need to
make extremely fine adjustments to get things
spot on. The focus-by-wire EF 50mm f/1.8
STM is much better behaved.
Image quality
So the YN 50mm f/1.8 is cheaply made and
has a focusing system that’s nothing to write
home about. But how about the optics? If
Yongnuo’s manufacturing and quality control is
up to scratch, this proven optical design should
CS2730
adjust, the base rotates 360° and the
display can pivot 90° into a portrait
orientation. Tilt adjustment is also on offer,
though in an unusual manner. The stand
has a hinge half way up its length, rather
than to the top. This allows it to offer a
If you’re looking for a monitor with top-class slightly more generous range of motion,
image quality for professional-grade photo editing, starting at -5° and going all the way to 35°.
The stand can also be removed to reveal
look no further, says Edward Chester 100x100mm VESA mounting points, allowing
an alternative stand to be used. An anti-glare
hether you’re a high-flying printers, edit video for cinema projection or hood is available separately.
Input options are DVI-D, HDMI and DisplayPort A 3-port USB hub is built into the side Six touch-buttons are found on the lower right
As for setting up the display, Eizo has Eizo has gone for an IPS-type LCD panel, near-perfect white point of 6,513K while its
provided an excellent on-screen display and which is the de facto choice for a professional- sRGB colour space coverage is 94.8%. This
control system. The latter consists of six quality display. It can’t match the contrast of might sound lower than ideal, but in practice,
touch-operated buttons that sit on the bottom VA-type panels or the fast response time of a it’s close enough to the 100% coverage you’d
right of the frame, near the touch-operated TN panel, but it offers a very stable image, the expect. Likewise, a gamma score of 2.28 is
power button. These are all backlit so are easy best colour reproduction and viewing angles. close to the ideal of 2.2 and an average Delta
to find, even in dimly lit rooms. There’s also an It’s a true 10-bit panel and uses a 16-bit E of just 0.12 (max 1.66) is exceptional.
audible beep each time a button is pressed, look-up table (LUT), so offers smooth colour The only area in which this display looks a bit
but this can be turned off. gradation and accuracy. pedestrian is contrast. With a figure of 864:1,
The menus are intuitively laid out and offer a Sitting behind the LCD is a wide-gamut LED it’s not the most dynamic of displays, but even
selection of options, including sRGB and backlight, and Eizo has gone to great lengths to the best IPS panels can generally only push to
AdobeRGB modes, colour balance, brightness, offer colour and luminance uniformity that 1200:1 so it’s within touching distance.
colour temperature and gamma options. surpasses typical displays. We measured a The display largely excelled in AdobeRGB,
variance in brightness of only 1% across the too. A coverage of 92% is technically a little
The display whole panel, while colour changed by an lower than we’d expect, but in practice unlikely
As for the display, its 27-inch size is ideal for average of just 1.4%. Typical consumer displays to be a concern, and this is before being
general-purpose editing work. Larger displays will see closer to 10% and 5%, respectively. manually calibrated. Once calibrated all these
are good, but are most useful for multi-tasking. figures tightened up further, showing a near
The same goes for the choice of a Working with sRBG and AdobeRGB flawless colour preproduction performance.
2,560x1,440 resolution; with this you don’t Testing the performance of the default The display also offers the ability to manually
have to worry about Windows sometimes configurations for sRGB space and AdobeRBG dial in all settings, but with such good image
messing up its resolution scaling, and you still on the menu, the CS2730 performs perfectly. quality in its default modes, there’s little
have an ample desktop space. In sRGB mode, the display registered a need for this.
Data file
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UP TO
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ACCESSORIES Testbench
Lowepro PhotoStream
RL 150 Carry
handles
There are two carry
At a glance
● Side tripod mount
● Two stretch-mesh
interior pockets
Michael Topham tests handles. Both feature thick ● 3.68kg
a carry-on roller case mesh padding to offer ● 31.5x15.5x48cm (internal)
comfort in the hand when 37.5x18.5x55.5cm (external)
● £169 ● www.lowepro.co.uk the bag is carried.
If you frequently travel with a decent amount of
photographic kit, lumping it around on your shoulders
for long periods can be tiresome. If you don’t need a
backpack and like the idea of transporting your kit by
rolling it along at your side, a roller case is a great way
of avoiding back pain and an expensive visit to the
chiropractor. Lowepro currently offers three rollers,
each varying in size and capacity. Unlike the
ProRunner RL x450 AW II, which merges backpack Zippers
and roller into one, the PhotoStream RL 150 is There’s no TSA-approved
designed solely as a roller with an armoured exterior lock, but the zippers can
and flexible interior to protect photo gear and keep it be secured with a
safe in transit. Its streamlined design makes it carry-on small padlock.
compatible and the interior is large enough to
accommodate one to two DSLRs with a 70-200mm
f/2.8 attached, plus up to eight additional lenses.
Two interior pockets are provided for storing cables,
filters and other small accessories. Above these
pockets you’ll find a sleeve to stow away a 15in laptop
or tablet. Usefully, from a security point of view, the
exterior zippers can be unfastened to access the
laptop compartment without revealing the full
contents of what’s inside. In true Lowepro fashion, the Contact
interior dividers offer good cushioning and can be info
customised to fit your kit as you want. There are straps At the rear, there’s the
at the side for fastening a small or medium-sized option to slot in a card with
tripod, too, but be warned that attaching one may see contact info should the
it exceed your airline’s carry-on luggage dimensions. roller get inadvertently
Testing the roller on a short trip revealed that the lost.
urethane-case wheels and ABEC-5 rated bearings
are extremely smooth and quiet. The quick-release
handle can be extended and locked to one of two
height positions and the bag rests securely in the
upright position, even when fully loaded. The grab
handles at the top and side are useful for pulling
it out of luggage racks, and the overall
construction and materials are second
to none, suggesting it’ll survive many
years of heavy use in the possession The case holds up to two DSLR bodies
of professional and enthusiast Wheels and eight lenses or flash units
photographers who regularly travel. The wheels and bearings
provide a smooth glide when ALSO IN THE RANGE
Verdict it’s being pulled along.
The PhotoStream RL 150 is currently Lowepro has recently expanded its range of PhotoStream
the most affordable rolling camera case roller cases to two models with the introduction of the
in Lowepro’s range, and is one of the best PhotoStream SP 200. The main difference between this
ALL PRICES ARE APPROXIMATE STREET PRICES
options available if you’re working to a and the PhotoStream RL 150 is that it has four wheels as
sub-£200 budget. If you don’t demand the opposed to two. Space wise, it’s very similar to the RL 150
spacious pockets and all-weather cover that the and can accommodate one to two Pro DSLRs (one with up
Pro Roller x200 AW (£293) provides and can’t to 70-200mm f/2.8 lens attached), up to eight lenses/
stretch to the magnificent ProRunner RLx450 flashes, a 15in laptop, tripod and accessories. It falls
AW II (£250), this is a smart and practical roller
GOLD within airline carry-on luggage requirements and weighs
that’ll provide good service by your side. 4.4kg. When it reaches stores, it’ll cost £269.99.
financially too. That’s why we’ve teamed up perfect shot. Not sure? Be sure to try out our
with well-known insurance provider, Thistle instant quote generator!
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TechSupport
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A
with the Top Lock plate onto the Plate. It doesn’t work with the It seems
clamp and it automatically secures Top Lock clamp because the logical to
the camera before you tighten the plate extends lower under the think
clamp is ingenious. I have read bevel than other plates. This that because
that the Top Lock system is Arca makes it sit a fraction higher and landscapes are
Swiss plate compatible. But I am a the metal grab mechanism can’t automatically
little concerned that there seems accommodate it and there is no perceived as
to be very little mention of this on way to tighten the clamp to the wide-open
the Manfrotto product information. plate. But a cheap Arca-style spaces, you
My friend uses the supplied plate I bought from Amazon necessarily require an
Manfrotto Q6 plate and this works worked fine. extra-wideangle lens to Sigma’s 8-16mm is one recommendation
very well, but the plate is too big accommodate the view. A wideangle lens certainly can be an
for my camera and obscures the Brown clouds effective landscape lens, but so can medium and even longer
battery compartment door.
Therefore, I will need to get a
narrower Arca compatible plate
– at least that’s what I’m hoping.
Q I’ve picked up a photo
book and on some pages
the clouds are quite
definitely of a brown colour. Is this
telephoto lenses. The choice of focal length depends entirely
on the location of the shoot. Zooming in on a hillside, cliff, or
escarpment, emphasising the foreshortened perspective, can
result in amazing landscape shots. Since you mentioned that
Are my hopes reasonable? natural? In the UK I normally your original interest was wildlife, I expect you already have
Giles Hadley expect clouds to be fairly neutral in some telephoto glass, so don’t leave them at home. As for a
tone – brown is new to me, and wideangle choice, It’s likely you already have a kit lens with a
A
Manfrotto’s Top Lock they’re not sunsets. The author 17mm or 18mm starting point at the wide end, so I’d
clamp is definitely based was demonstrating the use of recommend going a bit wider. Lenses that come to mind
on the Arca Swiss system, graduated filters in 5x4 LF include the new Tamron 10-24mm f/3.5-4.5 Di II VC HLD,
but there are some key landscape photography, but again which has improved focusing; the bargain-priced Canon EF-S
differences and I would urge you I always thought clouds were fairly 10-18mm f/4.5-5.6 IS STM – a good performer, if a bit
to ensure that if your plate of neutral. The film was Provia 100, plasticky; and the excellent extra-ultra-wide Sigma 8-16mm
f/4.5-5.6 DC HSM. My best advice is for you to do some
research and read lots of reviews as there are quite a few more
contenders. You might also want to consider getting a tripod.
which I’ve used, and I didn’t have relation to the images you have
this problem. highlighted. The other possibility
Malcolm Stewart is that the clouds actually were
brown. Dust and sand, and –
A
There are two main sadly – pollution, blown up into
possibilities. Warm-effect the atmosphere during unusual
graduated filters, often weather can naturally tint the
described as tobacco or sepia sky. Just this winter there were
tints, are standard tools for some widespread reports of a ‘Mars’
landscape photographers or in effect in Eastern Europe, with
post-processing. It can be an snow and skies appearing
Manfrotto’s Top Lock effective way of adding drama to reddish-orange. Experts
clamp can take some, a shot. But I’d be surprised if the indicated this was desert sand.
but not all, Arca Swiss author of the book didn’t
compatible plates mention any use of these in Q&A compiled by Ian Burley
WIN
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© TONY KEMPLEN
O
f the hundreds of film Contact 01795 662976; support@mags-uk.com
cameras that I’ve used Advertising
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in my ‘52 cameras in Inserts Call Mona Amarasakera,
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only a handful have any significant Editorial team
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The Tenax II, from Zeiss Ikon, Studio Manager Andrew Sydenham
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which dates back to the 1930s, Senior contributor Roger Hicks
is one of my more collectable Office Manager Hollie Bishop
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These cameras made 24mm x Group Managing Director Oswin Grady
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could yield 50 photos. The Robot, that with another finger poised more than the Leica – you would
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their own proprietary cassettes Surprisingly this is an I enjoyed using the Tenax II. Inc. (UK) Ltd Legal Department, 161 Marsh Wall, London E14 9AP. Please
provide details of the material you are complaining about and explain
using a dedicated device. With the interchangeable-lens camera. The It’s quite heavy, but feels like a your complaint by reference to the Editors’ Code. We will endeavour to
acknowledge your complaint within 5 working days, and we aim to correct
Tenax II, Zeiss offered a viable standard lens has a focal length of precision instrument, with all the substantial errors as soon as possible.
alternative; admittedly it didn’t 40mm; mine has the f/2 Sonnar. mechanics operating smoothly. At All contributions to Amateur Photographer must be original, not copies
or duplicated to other publications. The editor reserves the right to
have a motor-drive, but a The camera body has a 80 years old, the Compur-Rapid shorten or modify any letter or material submitted. Time Inc. (UK) or its
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and each lens has its speeds, which run from 1 second Photographer® is a registered trademark of Time Inc. (UK) © Time Inc.
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prism attached. easy to use, as is the rapid film tel: 0203 148 5000 Amateur Photographer is published weekly (51 issues
per year) on the Tuesday preceding the cover date by Time Inc. (UK),
advance, but what struck me most 161 Marsh Wall, London E14 9AP. Distributed by Marketforce (UK) Ltd, 5
Churchill Place, London E14. ISSN 0002 6840. No part of this publication
A candid camera is how quiet it is. I’m not one for may be reproduced, stored in a retrieval or transmitted in any format
or medium, whether printed, electronic or otherwise, without the prior
These cameras were drawing attention to myself, and written permission of the publisher or the editor. This is considered a
breach of copyright and action will be taken where this occurs. This
never cheap – an taking pictures of strangers in magazine must not be lent, sold, hired or otherwise disposed of in a
mutilated condition or in any authorised cover by way, or by trade, or
advert from 1938 public is not something I feel annexed to any publication or advertising matter without first obtaining
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shows them priced at comfortable with, but in the dimly accept responsibility for loss or damage to unsolicited photographs
and manuscripts, and product samples. Time Inc. (UK) reserves the
£31, which amounts lit Serpentine Gallery last summer, right to use any submissions sent to Amateur Photographer Magazine in
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to around £1,500 in the silent shutter gave me the issues) £155.50 (UK), e259 (Europe), $338.99 (USA), £221.99 (rest of
world). The 2015 US annual DEU subscription price is $338.99, airfreight
The Zeiss Tenax II feels like a precision today’s terms. The same advert confidence to take some candid and mailing in the USA by named Air Business Ltd, c/o Worldnet Shipping
Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA. Periodicals
instrument and runs very smoothly gives the price of the Leica IIIa as shots without fear of being caught. postage paid at Jamaica NY 11431. US Postmaster: Send address changes
to Amateur Photographer, Air Business Ltd, c/o Worldnet Shipping Inc,
156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA. Subscriptions
Tony Kemplen’s love of photography began as a teenager and ever since he has been collecting cameras with a view to testing as many as he records are maintained at Time Inc. (UK), 161 Marsh Wall, London E14
9AP. Air Business Ltd is acting as our mailing agent.
can. You can follow his progress on his 52 Cameras blog at 52cameras.blogspot.co.uk. More photos from the Tenax II: www.flickr.com/
tony_kemplen/sets/72157668882610670/
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dƌŝƉŽĚƐ
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Final Analysis
Roger Hicks considers…
‘American Fair’, 2015, by Pamela Littky
© PAMELA LITTKY
P
amela Littky is one of those reserves of time and effort than many of So what has to come together in order
photographers who makes you us? No. But she knows how to handle the to achieve this? The lighting, for a start.
feel bad about yourself, but time and effort she can spare. Talent? Fill flash? Almost certainly. But so
in a good way. Bad because Well, we all like to fool ourselves. But even unobtrusive that it’s hard to pin down
her latest book American Fair, like her if we aren’t fooling ourselves, the truth is even when you start looking. The rest of
previous books from Kehrer Verlag, makes that most of us just aren’t actually getting the light? Superb. Not too early: not too
you realise that you’ve never accomplished off our backsides and doing it. late (look at the sky). The lights on the
anything similar yourself (to those who Besides, too much has come together in roundabout lit. The composition? Just
have, I apologise). Good because you this picture to be attributable to the enough of both the trailer (caravan) and
know you could do the same, if only... And ‘infinite monkeys’ scenario. It isn’t just a the roundabout: not too much or too little
then you slip back into feeling bad again. question of taking very large numbers of of either. The man? The sagging camo
Her compositions are deceptively simple. pictures and then selecting the good ones. shirt; the well-worn (and none too clean)
Yes, well, most of us can do that. Life isn’t long enough. You need a number jeans with the turned-up cuffs; the
Sometimes. Can we do it often enough? of reasonably good pictures to start with, moccasins; the position of the hands; the
She can. Most of us would need more and you don’t want too many of them. glasses; the facial expression: you could
practice. Her theme is crystal clear; wide Otherwise, you’ll spend too long sorting not ask for more.
ranging; and comprehensively realised. through the dross. Even if you have lots of Yes, yes. It’s simply a question of being
Again, yeah, well, most of us could do fairly good pictures, you need to be able in the right place at the right time. And
that... if only we could spare the time and to select the outstanding ones. This is as being there often enough, all across the
effort. And had the talent. Do I believe much a skill as shooting good ones to United States, to fill a book that sums
that Ms Littky has access to greater begin with, never mind really good ones. up the subject.
Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his new website
at www.rogerandfrances.eu). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Ulrike Crespo
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