Amateur Photographer - 5 December 2015

Saturday 5 December 2015
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for every bu
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Passionate about photography since 1884
Minimal drama
How to keep it simple for dramatic results
TESTED
Sigma 20mm f/1.4

The best wideangle lens for your
Canon or Nikon DSLR?
BACKYARD SAFARI Capture incredible wildlife photos in your own garden
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COVER PICTURES LUKE AUSTIN AND RICHARD PETERS
7days
A week in photography
During the summer I spend as
much time as possible in the
garden. I use any excuse to be
out there, and Im always
surprised by the amount of
wildlife in my humble suburban plot. Theres
the occasional insect that I havent seen before,
the robin that patrols the area, the ocks of blue
tits on the hunt for food, the fox that jumps over
the fence at night, the noisy parakeets that
make me forget Im in South London, not to
In this issue
10 Back-garden
safari
Richard Peters reveals
how you can take
advantage of the wealth
of wildlife in your garden
JOIN US
ONLINE amateurphotographer.co.uk
19 How to use
your free gift
Tips on how to use your
grey, white and black
cards free with this issue
26 Wildlife watch
A knot roost is an
impressive spectacle, and
David Tipling offers advice
on how to capture it
30 Notes from a
small island
Quintin Lake explains his
ve-year mission to walk
and document Britains
diverse coast
This image was taken on a misty

morning over Doxey Marshes,
a local nature reserve managed
by Staffordshire Wildlife Trust, says
Adrian. I often ride through on my
way to work to see whats around.
I had hoped for a shot like this after
taking a similar image of a tufted
duck, but on this day I was lucky that
all the conditions came together
the mist, the perched cormorant,
the stillness of the lake and me
being there! I wanted to capture
the solitude and serenity of a misty
morning on the marshes and show
the wildlife in its environment rather
than lling the frame.
You can visit Adrians Flickr
at www.ickr.com/photos/
92460969N05.
Win!
Each week we choose our favourite

picture on Facebook, Flickr or
the reader gallery using #appicoftheweek.
PermaJet proudly supports the online picture
of the week winner, who will receive a
top-quality print of their image on the finest
PermaJet paper. It is important to bring
images to life outside the digital sphere, so we
encourage everyone to get printing today! Visit
www.permajet.com to learn more.
ADRIAN CLARKE
48 Gifts galore
Weve more than 20
Christmas gift ideas at
prices to suit all budgets
7 days
Inbox
Reader portfolio
Photo insight
Accessories
Technical
support
82 Final analysis
Follow us
on Twitter
@AP_Magazine
Canon EOS 7D, 150-600mm,

1/320sec at f/6.3, ISO 250
45 Sigma 20mm
f/1.4 DG HSM | A
Sigma has created a
world rst with its latest
wideangle prime lens.
Michael Topham nds
out how it performs
3
17
34
38
42
55
Join our Flickr group

at ickr.com/groups/
amateurphotographer
All By Myself
by Adrian Clarke
40 Evening class
Martin Evening sorts out
your photo-editing and
post-processing problems
Regular
Like us on
Facebook.com/Amateur.
photographer.magazine
ONLINE PICTURE OF THE WEEK

IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
20 Austins powers
Luke Austin, International
Landscape Photographer
of the Year 2015, shares
his winning tips with
Tom Smallwood
mention the squirrels that dig up my lawn.

With winter drawing in Im missing the
garden, so Im getting ready for spring by
building a few features to make it great to
photograph wildlife. First is a bird bath that
will look like a natural feature.
There is plenty you can do to photograph the
wildlife in your garden or local park, and on
pages 10-15 Richard Peters talks us through his
backyard safari and how you can embark on
your own. Richard Sibley, deputy editor
Send us your pictures
If youd like to see your work published in Amateur Photographer, heres 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.
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 18.
Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
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 18.
NEWS ROUND-UP
The week in brief, edited by Chris Cheesman
McCurry escapes Paris terror attacks

DAVID CLARK
Renowned photographer Steve

McCurry has told how he feared
for his life amid the attacks at
the Stade de France in Paris on
13 November. McCurry was at
Frances national stadium when
explosions occurred outside.
Speaking to CBS News, he said:
It was a stampede of people
running and screaming and I
thought I was going to die I was
getting pushed to the ground
Mexican crime photos treasure trove

UNKNOWN PHOTOGRAPHER C/O STEFAN RUIZ
A photographer who found a

treasure trove of Mexican crime
photos from the 1950s has
published more than 100 in a
book. Stefan Ruiz saw the photos
in a market in Mexico City.
Mexican Crime Photographs from
the archive of Stefan Ruiz costs
25. Visit www.gostbooks.com.
DxO update
2015 PIERRE SUU
Image enhancement specialist DxO has announced a software

update to support a range of new cameras. DxO OpticsPro v10.5.2
supports seven new models,
including the
Panasonic Lumix
DMC-GX8, Pentax
645D, Panasonic
Lumix DMC-TZ70
(pictured) and iPhone
6s. To download, visit
www.dxo.com/us/
dxo-one.
Stunning Sony awards photos

RENGGA MARANTICA
Stunning photos from the 2016 Sony World

Photography Awards have been revealed.
Amateurs have until 5 January 2016 to enter
the Open category, while the Professional
section closes a week later. The judges
include Emma Lynch, picture editor at the
BBC global news website, and Fiona Rogers,
global business development manager at
Magnum Photos. Visit www.worldphoto.org/
about-the-sony-world-photography-awards.
Archaeologists battling to save

ancient sites from destruction
by Islamic State have created
the first 3D images from
cameras sent to volunteers in
the Middle East (see AP News,
19 September). The team plans
to capture up to 20 million 3D
images of at-risk objects and
architecture by the end of 2016.
4
Freelensing
ISTOCKPHOTO.COM/JOEL CARILLET
IS project underway
WEEKEND PROJECT
Freelensing involves taking the lens off your

camera, holding it up to the lens mount (by no
more than a few millimetres) and angling the lens
away from the camera body a little, so its possible
to shift the focal plane in weird and wonderful
directions. If you want to try it out, youll need a
prime lens (standard to moderate telephotos work
best), but you can mix and match brands, as the
lens and camera dont have to be attached. It can
even work to your advantage some people prefer
Nikon primes on a Canon DSLR, for instance, as the
flange focal distance is different. If you plan to try it
out, there isnt really any difference in technique
regardless of the system youre shooting, although
you may experience the odd quirk.
Every movement of the

lens will alter focus, so
shoot in continuous mode
to boost your chances. With the
camera set to manual mode, dial
in the maximum aperture of the
lens and then set the correct
shutter speed for the scene.
Set the maximum

aperture on the lens
and set focus to infinity.
Find focus by gently tilting the
lens back and forth rather than
trying to manually adjust focus
one-handed. Once thats all
done, youre ready to detach.
5 December 2015 I www.amateurphotographer.co.uk I subscribe 0330 333 4555
BIG
picture
Paris turns blue, white
and red for the victims
of terrorist attacks
While there have been
several headline-grabbing
stories of 2015 (phone hacking,
the refugee crisis, Charlie Hebdo),
perhaps the one that will come to
dominate the annals of this years
history will be the terror attacks in
Paris on Friday 13 November. The
horric attacks left 129 people
dead and hundreds injured. In the
following days the world attempted
to come to terms with not just the
loss of life, but also with the reality
that were facing an enemy we still
dont fully understand. On Monday
16 November the Eiffel Tower was
illuminated in blue, white and red in
honour of the victims, as shown in
this image by Pierre Suu. Other
countries followed suit in support of
France by illuminating signicant
buildings in the colours, as well as
observing a one-minute silence.
Words & numbers
Movements of a few
millimetres will make a
big difference to the
plane of focus. Tilting the lens to
the right will mean the left side
of the frame retains focus, tilting
down will mean the top area
retains focus and so on.
Be aware of dust. Having

the sensor exposed
carries with it the risk of
dust incursion, and this is
magnified the further away you
move the lens, so try to keep the
amount of time your sensor is
exposed to a minimum.
Want to experiment
with a different
technique? Try
freelensing
A photograph
is a moral
decision taken
in one eighth
of a second
Salman Rushdie
Author
b 1947
300
PHIL HALL
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 5 December 2015
Panasonics maximum cashback

pledge on 4K cameras until
6 December 2015. Visit www.
panasonic.co.uk/promotions
Chance to meet
Steve McCurry
RUDNEI BARBOSA
This house
reminded Diogo
Virolli of his
former home
CRISTIANO VICENTE
Cristiano Vicente
was drawn by
these reflections
DINO JOS
Arts lover Dino

Jos said the
unnamed dog is
owned by a fruit
and veg seller
Brazils homeless turn

to street photography
MATHEUS LEANDRO BARBOSA
ORGANISERS of a photography project that

focused on Londons homeless have taken their
groundbreaking concept to the streets of Brazil after
sparking interest in similar schemes worldwide.
Caf Art, which connects homeless people with the
wider community, has for the past three years focused
its attentions on a London-based calendar.
Earlier this year, the 2015 My London project
went viral after Amateur Photographers coverage
triggered interest from as far aeld as Hong Kong,
Australia and Thailand. It was also covered by The
Today Show in the USA.
A subsequent Kickstarter campaign to fund printing
costs stunned organisers after it unexpectedly raised
more than 17,500 from over 850 backers.
Buoyed by the calendars success, Caf Art director
Paul Ryan travelled to So Paulo in Brazil, where he ran
A portrait of a homeless man on a pavement in Glicrio

6
STEVE MCCURRY
DIOGO VIROLLI
Rudnei Barbosa
described the
contest as a
positive step
a similar project. Ryan was part of a UK delegation put

together by With One Voice an organisation that works
with Brazils arts and homeless sector in the run-up to
the 2016 Olympic Games in Rio de Janeiro.
Launching the street photography project on the Caf
Art website, organisers said: Following the success of
our Kickstarter campaign this year, Caf Art had been
inundated with requests for advice on running
photography contests and calendars.
The My So Paulo mission saw 100 Fujilm singleuse lm cameras handed to people affected by
homelessness, with help from the UKs RPS.
Participants were asked to photograph their city over
two days, with the best photos to be chosen for an
exhibition and calendar.
Among those who took part was Rudnei Barbosa, who
took a photo called Feet on the Ground (top left), of his
feet and sandals on the street, to deliver a message.
Barbosa told project organisers that the image alludes
to the Brazilian people, always dreaming but to achieve
your goals, you need to set aside the illusions and put
your feet on the ground.
Matheus Leandro Barbosa took a portrait (left) of a
homeless man sitting on a pavement in Glicrio, a
borough of So Paulo known for its high number of
homeless people.
The money raised here will go 100% to art projects
run by homelessness-sector organisations in So Paulo,
Caf Arts Paul Ryan told AP. While it was paid for by With
One Voice and The Peoples Palace Projects [charity],
the money will go directly to the Brazilian projects.
The calendar will be launched at the So Paulo
Human Rights Festival on 10 December.
AP READERS have
a rare opportunity
to meet renowned
photographer Steve
McCurry and get a
signed copy of his latest
book as he discusses
his love affair with India
on 8 December 2015.
The award-winning
photographer will talk
about his long-standing
love and commitment to
recording Indias wondrous
diversity with AP Editor
Nigel Atherton at the
Barbican Theatre, London.
McCurry has returned to
India over 80 times since
his rst visit in 1978.
This is a rare chance to
hear the internationally
renowned National
Geographic and Magnum
photographer present his
latest body of work.
The event is being held in
a tie-up with Nikon School
and Phaidon Press.
Entry will be from
6:15pm. Tickets cost
40, which includes a
copy of Steves book.
Visit www.nikon.co.uk/
training/booking.
Subscribe to
SAVE
42%
Visit amateurphotographer
subs.co.uk (or see page 36)
* when you pay by UK Direct Debit
Paris galleries respond Get up & go

to terror attacks
UK WORLD CONSERVATION TRUST
Wolf Conservation Trust

The Wolf Conservation trust has ten wolves including Arctic,
European and north-western wolves. Open on Wednesdays, there
are guided tours and talks throughout the day and you can even
see feeding at 2pm. No booking is required and you pay on the day.
Lee Friedlanders photograph Lake Louise, Canada,

2000, was on show in early November at Paris Photo
Wednesday 9, 16, 23, 30 December or 6 January, www.ukwolf.org
BILL BYTSURA
venues where the

artworks will be displayed
as they had been
imagined for Paris
Photo 2015
This will be the
occasion for collectors
and photography
acionados, who did not
have the opportunity to
visit the fair at the Grand
Palais, to discover these
exceptional artworks
within their galleries.
Leica launches new M camera

represents Leica M photography in
its purest form, concentrating on the
most essential features, combined with
intuitive handling and discreet styling.
This allows users to focus on
the fascination of M photography
and, ultimately, on capturing the
decisive moment.
Leica added: As with the other
digital-M cameras, the Leica M
(Typ 262) features a highresolution CMOS full-frame
sensor, designed exclusively for
rangender photography, but
excludes video recording
and live view.
The Leica M (Typ 262)
is due out now.
The Leica M (Typ 262) is ideal for
available light situations
For the latest news visit www.amateurphotographer.co.uk

KICKSTARTER
LONDON
Bill Bytsura
David Hurn
New York-based photographer

Bill Bytsura is looking for
Kickstarter funding. Pitch in
and help him produce a book
of black & white images
documenting the people and
stories behind the AIDS activist
movement from 1989-1998.
Visit the Magnum Print Room

at 63 Gee Street, London EC1V
3RS and take in the work
of influential Magnum
photographer David Hurn.
The exhibition is a fantastic
collection of some of the
photographers work.
www.kickstarter.com
(search for Bill Bytsura)
Until January 29,

www.magnumphotos.com
RSPB Health Walk

JOHN RICHARDSON
LEICA has revealed a new full-frame

M camera, which dispenses with
video recording and live view in a model
costing 4,050.
The Leica M (Typ 262) joins the Leica
M and M-P (Typ 240) and Leica M
Monochrom (Typ 246).
Leica said: The new M (Typ 262)
DAVID HURN/MAGNUM PHOTOS
Because such events

cannot and must not
deprive us of the most
important cultural events,
at the initiative of the
Galerie Alain Gutharc,
and with the immediate
participation of the Galerie
Les Filles du Calvaire and
Franoise Paviot galleries,
a number of Parisian
galleries invite the
public to discover their
exhibitions in their private
BERKSHIRE
Take some inspiration from nature with a

health walk around the RSPB North Warren
Nature Reserve, which should also offer
great photo opportunities. Meet at 10.30am
on the green beside Thorpeness Meare,
Suffolk. Dogs are allowed on a short leash.
EAST ANGLIA
Wednesday 9 November,
www.rspb.org.uk/northwarren
Enchanted Christmas
Westonbirt has one of the most
beautiful collections of trees in the
world and on Friday, Saturday and
Sunday evenings throughout December
the trees will be lit up with artificial
lights. Its a great trip for
photographers and all the family.
Until 20 December, www.forestry.
gov.uk/westonbirt-christmas
GLOUCESTERSHIRE
PURPLE ELLA
LEE FRIEDLAND, COURTESY FRAENKEL GALLERY, SAN FRANCISCO AND ERIC DUPONT GALLERY, PARIS
AS WE went to press,
dozens of galleries
across Paris were set to
join forces to stage special
exhibitions in response to
the 13 November terrorist
attacks that forced the
Paris Photo art fair to
close early.
This years Paris Photo
was set to feature 173
exhibitors and include the
work of 1,258 artists
among them famed
photographers Ansel
Adams and Diane Arbus.
But the atrocities
brought an early end to
the fair, which was forced
to close its doors in the
weekend after the attacks.
Organisers say many
galleries pledged to host
special exhibitions of
work from the show on
28 and 29 November.
In a statement, Paris
Photo said it shares the
general disappointment of
the closing of the 19th
edition of Paris Photo
after only three days,
which were to be
announced as the most
successful to date.
Organisers added:
The most interesting things to see, to do

and to shoot this week. By Oliver Atwell
Viewpoint
Nigel Atherton
New Books
The latest and best books from the
world of photography. By Oliver Atwell
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME INC. (UK)
f I were blindfolded and asked

to identify my very rst camera
among a variety of objects, Id
identify it instantly by its smell. And
considering I had it back in 1979, when
I was 15, thats not bad going. Ive no idea
what gave the Zenit EM its peculiar aroma,
but I disliked it almost as much as the
camera itself. Its talent for tearing up
my lms sprocket holes was sadly not
matched by its skill at providing accurate
meter readings. Or perhaps it was me. Our
relationship wasnt helped when I got a
Saturday job at the local professional
studio, which gave me
unlimited
access to its
Canon F-1
system.
Its very
difcult to
convey to
younger
generations
the
pervading
fear we felt
back in the
1970s
about the
threat of nuclear war, and like many
teenagers of that era I supported CND.
But deep down, I actually harboured
grave doubts based on my Zenit
cameras performance that Russian
nuclear missiles were even capable of
hitting England from Siberia. If cameras
were anything to go by, I fancied our
chances against Russia much more than
I did against countries like Japan.
But as underwhelming as the Zenit
was, it wasnt until the arrival of digital
photography that we came to understand
how terrible cameras could be. True,
there was the ghastly Olympus OM-101
SLR of 1988, with its thumbwheelcontrolled power focusing (which offered
all the battery drain of autofocus, but
none of the benets). Yet when
manufacturers suddenly had to
Its talent for tearing up

my films sprocket holes
was sadly not matched
by its skill at providing
accurate meter readings
accommodate sensors and electronics,
which many clearly had little aptitude for,
we started to see some real stinkers. It
would be easy to name names, but the
truth is, no manufacturer can
hold up its
hands and
say with a
straight
face that it
has never
made a
terrible
camera.
And
chances
are that
its worst
examples
were
produced during
the opening decade
of the 21st century.
Today there are no really bad cameras,
only less good ones excluding the
cheap Chinese tat, of course. Were now
spoilt for choice, with a greater variety of
outstanding models than ever before. The
challenge is now to identify each cameras
strengths and weaknesses, for no camera
can be great at absolutely everything.
But great can be boring. Its often more
fun to ridicule failure than celebrate
success. Back in the day, a well-crafted
demolition of a terrible camera would
often have me in stitches. So, just for old
times sake, lets celebrate mediocrity.
Send in your nominations for the worst
cameras of all time and why they were
so bad. There will be prizes for the best
suggestions. Over to you
Nigel Atherton is the Editor of Amateur Photographer
Do you have something youd like to get off your chest? Send us your thoughts in around
500 words to the address on page 18 and win a years digital subscription to AP, worth 79.99
8
PETER DENCH
Whats the worst camera youve ever owned,

and why was it so terrible? Nigel Atherton
reflects on the days when there were
plenty of bad ones to choose from
Dench Does Dallas

by Peter Dench, The Bluecoat Press,
55, hardcover, 176 pages,
ISBN 978-1-90845-729-5
PETER Dench is no stranger to
the oddities of everyday human
life. Look back through his
images and youll soon see
yourself confronted by the
borderline absurdity of our
ordinary lives. More than
anything, Dench is able to draw out the humour, and
thats the key to his new volume Dench Does Dallas.
Dench usually focuses his attention on the UK, but
here hes turned his lens to the USAs Dallas, Texas,
and hes quite clearly in his element. The garish,
overwhelming and at times heavily politicised city
provides ample fodder for his images. The book acts
as a visual travelogue of the photographers journey
and often you feel like youre next to him, drinking in
the weird atmosphere. If youre a fan of reportage,
this is a great purchase. +++++
Brooklyn: A Personal Memoir

by Truman Capote and David Attie, The Little
Bookroom, 19.81, hardcover, 108 pages,
ISBN 978-1-93694-111-7
BACK in 1958, the great
writer Truman Capote penned
an essay detailing his love
affair with Brooklyn, New
York. David Attie was the
photographer who was tasked
with illustrating the article.
Flash forward to 2015 and
were nally able to see the lost photographs from that
piece. This gorgeous book is a ne little time capsule,
one thats able to communicate so much about a
long-gone time, and its images are a perfect
complement to Capotes stylish prose. The essay
and images are bookended by enlightening and
moving essays, including one from Davids son, Eli.
It may have been a long time coming, but it was
certainly worth the wait. +++++
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Richard Peters
Richard is a professional wildlife photographer whose work
has won him numerous awards. Most recently he was named
winner of the Urban category of Wildlife Photographer of the
Year 2015, and was also named the GDT European Wildlife
Photographer of the Year. www.richardpeters.co.uk
Camtraptions PIR sensor
This is an incredibly simple plug-and-play way to trigger

your camera. This sensor will detect movement of your
subject and trigger the camera as it walks past.
Camtraptions
wireless flash trigger
KIT LIST
To keep your camera trap as simple and

as flexible as possible, these wireless
flash triggers will allow you to place
flashguns easily anywhere.
WILDLIFE
Back
garden
safari
With a wealth of wildlife right

under your nose, Richard Peters
reveals how to take advantage of
what can be an overlooked subject
Technique
ith so many photos

of exotic wildlife from
around the world lling
websites and social media
timelines every day, its easy to forget that
beautiful wildlife photography can be
taken anywhere. Our very own gardens
are a perfect example of this, with a
wealth of photographic opportunities
happening right under our noses and
all without us even realising it. Once
you know its there, it just takes a bit
of thought and a different approach to
reignite your creativity.
There are, of course, many ways to take
advantage of this wildlife, but to inject
a new perspective, camera traps can be
a good way of seeing your subjects in
a different way. Although this technique
can seem a bit daunting at rst, once
you work through the initial hurdles
of connecting up motion sensors and
ashguns, its actually easier than it rst
appears and your perseverance will be
rewarded with an entirely new vision
of the wildlife around you.
An inquisitive city fox

ventures onto my patio
to investigate this
indoor scene
Nikon D810, 18-35mm,
1sec at f/8, ISO 400,
2x flashguns
If a hard-wired connection is preferred,

these let you connect your
flashgun to your
camera with RJ45
Ethernet cables,
which are much
cheaper than
traditional flash
sync cables.
You dont need a fancy or

expensive flash. However,
because you could be leaving
cameras out all night, a flash
that can remain on for 12 hours
without going into standby
mode is essential. Plus youll
need to ensure it fires on the
first shutter activation.
Depending on how often you

use your camera trap, youll
find that you go through
batteries very quickly. Using
good-quality rechargeables
will prove to be far more cost
effective (and environmentally
friendly) in the long run.
Pixel componor
Flashguns
Rechargeable
batteries
11
Under a star-filled sky, an urban

badger goes on patrol
Nikon D750, 18-35mm, 30secs at
f/9, ISO 1600, 3x flashgun
Trail cameras timestamp images, giving

you an idea of whats
visiting and when
Buy a trail camera

EVEN if youre lucky enough to have a garden thats
visited frequently by a variety of subjects by day, it can
be a real eye opener to monitor activity at night. You
may well nd that you have all manner of subjects
right on your doorstep, regardless of whether you live
in an urban or more rural area. Trail cameras operate
by detecting motion and then either taking a photo or
recording a video clip. Because they also time-stamp
the les they produce, you can quickly build up a
picture of whats visiting and when. To help encourage
wildlife, use bird feeders or put out some peanuts and
water. Then simply point the trail camera at these food
sources and see what visits.
12
You may nd yourself looking

out of the window and imagining
your garden to be a wildlife
wasteland. And youre not alone if
that is the case. When I moved to
my current house I considered my
back garden to be an uninspiring
photographic void. But then, a year
after moving in, a friend stayed for
the weekend. One morning he spotted
a fox in my garden, and several weeks
later I saw it too. I grabbed a photo of
it with my iPhone and straight away
I knew this was going to be the start
of a long-term project. I had no idea
at the time just how big the project
would become, nor how it would
challenge my technical and creative
abilities, but to begin with I simply
revelled in the concept of being able
to take wildlife photos without having
to travel anywhere.
This prompted me to put a handful
of peanuts out each night, in order
to encourage the foxes and birds into
the garden. I made sure not to put
out too much, so as to keep it a
supplementary source of food only.
Alongside this, I set up a trail camera
in order to monitor activity 24 hours
a day and I could barely believe my
ALL PICTURES RICHARD PETERS
On your doorstep
WILDLIFE
eyes when, only a week or so after
setting up, I discovered my garden
also played host to some local badgers
under cover of darkness. At rst
I simply monitored their activity, but
after several weeks I knew I needed
to somehow start photographing my
new nocturnal visitors.
Getting up close
If youre used to photographing
wildlife with a more traditional
telephoto lens, switching to using
a wideangle can feel a little alien at
rst. However, doing so is not only
essential for working with camera
traps, but also it gives you a fresh
perspective on the urban world these
animals call home. A telephoto lens
provides a very narrow view of the
world, often disconnecting your
subject from the surrounding reality.
By using a wideangle, you can give
real context to your images and help
tell a story thats impossible with a
long focal length. Theres a nice
contrast between having an isolated
subject popping from a bokeh-lled
frame, and a gritty, texture-lled
image where even your house or shed
could play as important a role in the
nal image as the animal.
Something that also becomes
apparent straight away is that the
sound of the camera will, at rst, be
your biggest enemy. The sound of the
shutter ring, especially at night, will
be very unusual to any wildlife that

comes within range. As such, trying
to dampen the noise of the shutter
and mirror mechanism will initially
help increase your success. Wrapping
a couple of T-shirts around the
camera, then placing a plastic bag
over the top to try to mufe the sound
can make a small difference. More so,
placing your camera and tripod on
grass will dampen the sound quite
substantially, as the vibrations are
absorbed into the ground. Compare
this, for example, with wooden
decking, where the vibration is
amplied down the tripod legs by the
wood and the difference in noise
between the camera ring on both
surfaces is quite apparent. This is
actually one of those times that
having a lower-end DSLR is an
advantage, because it often offers a
far quieter shutter than its more
expensive equivalent. Foxes and
badgers will require more time to
acclimatise to these noises than birds,
but before long your local wildlife
will learn that the camera means
them no harm and they will ignore it.
Working at night
It is possible to use camera traps in
daylight, but using them at night
makes the most of their potential and
offers a chance for very dramatic
images. This requires the use of
ashguns, advantageously giving
By concentrating only on the shadow,
this urban fox photo gained recognition
in both the European and Wildlife
Photographer of the Year competitions
Nikon D810, 18-35mm, 30sec at f/8,
ISO 1,250, 1x flashgun
Technique
Keep your DSLR in single-shot mode when using flash
Be responsible
with flash
WHEN combining ash photography with wildlife,
always take precautions. Every situation, subject and
implementation is different so its essential to work
responsibly. This includes stopping immediately if
your subject reacts or shows any signs of distress.
With that said, it is advisable to work with the
following in mind:
Power
Never set ashguns to full power. If more brightness
is required, use the aperture and ISO to increase the
cameras sensitivity to the ash output. Working in
this way can allow you to get ample illumination of
the animal, even with the ashgun set as low as 1/64
of full power in some situations.
Position
Whenever possible, place ashguns at distance. Then
position the ash units up above the subjects head
height, looking back down towards them.
Direction
Angle ashguns in from the extreme sides of the
subject, so theyre on the periphery, ensuring theres
never more than one light being picked up per
subjects eye. This also has the visual appeal of not
producing multiple catch lights, which can be a
distracting element in an image.
Duration
Keep your DSLR in single-shot mode to reduce the
amount of frames taken when the trap is activated,
which in turn reduces the amount of times the
ashgun res. A ash ring once every ve seconds
is better than ve times a second.
Never set the flashgun to full power increase the ISO instead
13
Some subtle lighting and

the lick of the lips helped
create an interesting
portrait of an urban fox
walking across the decking
Nikon D810, 50mm,
1/250sec at f/8, ISO 200,
2x flashguns
Using wideangle lenses and

incorporating the surroundings
can help you put a very different
twist on familiar subjects
Nikon D810, 18-35mm, 1/250sec at
f/8, ISO 200, 2x flashguns
you full control of the main light

source while opening up a whole
new world of creative opportunity.
A scene that may appear dull and
ordinary by day can suddenly
transform into an atmospheric and
visually striking image by night. Its
because of this that even the most
unphotogenic of outside spaces can
lend themselves to this technique,
not just those with a beautifully
manicured garden. Often, the more
messy and urban the surroundings,
the more interesting an image
becomes, thanks to the way ashguns
can be used to light objects by
showing off textures and shapes.
Taking it a step further, combining
the light of your ashguns with long
exposures to capture ambient light
can be very dramatic. This is
especially the case if youre lucky
enough to live in an area where street
lights arent too overpowering. Using
this method, the light from the ash
will freeze the subject in place within
HOW TO SET UP A CAMERA TRAP

DONT be put off by the thought of using a
camera trap, as the process of setting one up
is very simple. Once youve done it a handful
of times it becomes second nature and youll
quickly nd yourself able to pre-visualise the
image you want to capture, and youll know
exactly how to set up for it.
Remember, though, that like many
aspects of wildlife photography, the more you
experiment using camera traps, the more
familiar youll become with what does and
doesnt work. So, rather than let what appears
as initial complexity put you off, follow these
simple instructions to get yourself up and
running quickly and easily. You dont even
need to invest in a lot of kit, as a wideangle
lens (as opposed to a large and expensive
telephoto) is the perfect choice here to
capture your back-garden visitors.
14
1 Frame the camera
2 Position the sensor
The most obvious element is the framing.

Often youll be working with wide angles, and
low-level perspectives. Try to compose your
images to include the environment, not just the
subject. Setting the scene for urban wildlife is
as an important as the subject itself.
With your framing set, position the sensor

so it will trigger the camera when the
intended subject walks into the correct part
of the frame. A quick tip is to place a hood
over the sensor, to help make its detection
zone more directional.
WILDLIFE
Even a single flashgun can
be used to great effect
Nikon D810, 50mm,
1/250sec at f/10, ISO
400, flashgun
the image, then the long exposure

will capture the low ambient light
and stars in the sky. Its very effective
if you can pull it off, and adds another
dimension and point of interest to any
resulting photos.
Watch the weather

Weather also needs to be taken into
account because the very nature of
camera traps requires equipment to
be left outside, unattended. Even
during the summer condensation can
be a problem, so its always advisable
to cover the camera and ashguns. A
simple plastic bag will sufce, and in
the case of the lights clear zip-seal
food bags are perfect. Even when
protected, it always pays to monitor
the weather forecast. Although a
plastic bag will keep the rain off your
camera body, the front element needs
to be kept dry in order to maintain a
usable image. Placing the camera
underneath an umbrella can work
well, or you can use a custom camera
Technique
Think about shooting

early in the day
Nikon D810, 70200mm, 1/250sec
at f/3.5, ISO 400
housing if you arent quite as keen on

the DIY route.
Camera trapping at home is,
ultimately, a lot of fun. It allows you
to photograph subjects from a new
perspective and be as creative as you
wish. You can capture images that
might ordinarily be tricky to get on a
camera and it allows you to do this
while you carry on with your everyday
life. This means that its a technique
that, once mastered, lets even those
with little spare time improve
their wildlife portfolio.
Richard has written an

ebook, Back Garden Safari,
price 16.79, to help you
make the most of your own
garden wildlife. AP readers
can get it for the discounted
price of 13.19 by entering
apmbgs at the checkout.
Visit www.richardpeters.
co.uk/ebook
On a budget
ITS ALSO possible to take photos at night by
triggering the camera manually. Although this can
make the process a little more time consuming, it does
allow you to activate the camera remotely without
spending a large amount of money. If you have a
smartphone, the TriggerTrap mobile dongle and app is
perfect for this as it allows you to tether your phone to
your DSLR. Although the supplied cable isnt very long,
its possible to buy very cheap extension cables online,
which can result in manual camera activation from
more than six metres away.
3 Setting exposure
4 Set the flash
5 Test if it works
Exposure will vary depending on the type of

image you want. If you require no ambient
light, use the fastest ash sync speed of your
camera, usually around 1/250. If you want
to include ambient light, youll need a much
slower shutter speed, sometimes up to 30secs.
With the camera exposure set, take some

photos to set the ashgun output to light the
scene as required. If you nd yourself needing
too high a ash power, open up the aperture
and increase the ISO, rather than upping the
ash too high.
Walk in front of the camera trap to ensure it

res. With so many things to connect and turn
on, never walk away unless youre sure the
camera will activate when your subjects walk
past. Its all too easy to fail at the last hurdle
because you forgot to turn on the sensor!
15
E F
Inbox
D
C
B
Email amateurphotographer@timeinc.com and include your full postal address

Write to Inbox, Amateur Photographer, Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London SE1 0SU
In AP 14 November we asked
LETTER OF THE WEEK
Has your camera equipment ever

affected the way you take images?
You answered
Competition composition
Win!
Eye for EVF
I would like to draw your
attention to a photographic
problem that doesnt seem to
have been given any coverage
in photo magazines that of
restricted dark adaptation in
older peoples eyes.
Most people in their 70s
suffer from this condition
(I am 77), which means that
the irises no longer open as
wide or as quickly as they
used to, with the consequence
that, on a bright, sunny day
I cannot see the image in an
EVF. Conversely, in dim
surroundings, images through
optical nders are no longer
as visible as they once were.
So it may puzzle some of
your older readers that your
reviewers rave over the
effectiveness of the newer
cameras with electronic-only
nders, while we oldies nd
that we cant see through
PAUL MITCHELL
I couldnt believe it when I opened the

AP 7 November issue and looked at your
feature on the Take a view Landscape
Photographer of the Year competition, only
to see what I thought was my very own
entry to APOYs Lie of the Land round!
It was a photo of South Gare, Teesside, by
Paul Mitchell, the winner of Adult Urban
view (see right). On closer inspection,
however, there are some differences.
Pauls image is in black & white (my
submission was in colour, although I had
taken some black & white versions) and
his was a slightly different viewpoint that
had some nice billowing smoke.
I had thought my shot of South Gare
stood a good chance in APOY, but the
subtle differences in Pauls composition
and choice of medium makes it a
deserving winner. Well done, Paul!
Thanks AP and keep up
the competitions they challenge me

to keep improving.
David Scrivener, Kent
Sometimes its the tiny things that make
the difference in an image. One day you
can go to a spot and things are perfect,
while at other times you have to keep
going back until you get the shot you
want Richard Sibley, deputy editor
With ultra-fast performance, the new Samsung 16GB EVO SD card,

Class 10, Grade 1, offers up to 48MB/sec transfer speed and has a
ten-year warranty.
www.samsung.com
them. In my case this means

that many of the latest and
most desirable cameras are
effectively useless.
However, there is light at
the end of the VF tunnel.
I now use a Fujilm X-Pro1,
whose hybrid nder means
that I can use the OVF in
sunlight and switch to the EVF
in dim lighting. At present
theres no other choice on the
market, but I am hopeful that
the X-Pro2 may be on the
way with a tilting LCD screen
and built-in dioptre correction.
Ivan Strahan, County Down
Its worth checking the
settings of the EVFs on
some cameras, as many will
have a brightness control
that could make a lot of
difference. Also, many have
an adaptive control that
will brighten or darken in
specic circumstances, so
if any other readers have

the same problem, try
seeing if these settings
make a difference. However,
you are right, the X-Pro1
has a fantastic solution to
the problem, as does the
X100T, so, as you have
rightly said, there may be,
some very literal, light at
the end of the, viewnder,
tunnel Richard Sibley,
deputy editor
A Yes, the limitations of my camera

or other equipment forced me to
take certain shots in a particular way
B I have never really thought about it
C No, I have never been
restricted by my equipment
D Yes, but I have always found a way
of getting shot I want without compromise
E Sometimes particular products
have hindered me, so I have changed them
F Yes, because of my camera I developed
a particular style of photography
33%
22%
21%
10%
7%
7%
What you said

There have been times when the lenses I have chosen
have made a shot difcult, but theres always a way
Yes, although I think my 65mm macro lens has had
more to do with it than any of my cameras
Its affected not just the way I take pictures, but
also the pictures I take
Join the debate on the AP forum
This week we ask
Have you ever set yourself

a photographic project?
Vote online www.amateurphotographer.co.uk
Guess the date
Fujilm fan boy

Given my great interest in
photography (and even more
in cameras) for around 65
years, it wont come as a
surprise that your Blast from
the Past feature is of real
interest to me. It reminds me
of just how many cameras
I have owned over the years.
So I simply couldnt believe
my eyes when I saw my,
then beloved, Fujilm
Every other week we post an old AP cover on our

Facebook page and all you have to do is guess the
issue date (day/month/year). To guess the date of this
cover (above), head over to www.facebook.com/
Amateur.photographer.magazine. Forum members
can also enter via the Forum.
The camera in AP 14 November was a Zeiss
Ikon Contaex IV. The winner is EnigmaImaging Chris, whose correct guess was
the rst drawn at random
17
INBOX
Although generally the Blast

from the Past column is
meant to highlight classic or
vintage cameras, we also
reserve the right to discuss
a few cameras from more
recent history that are
noteworthy. However, you
may be right, as perhaps
the Fujilm X-Pro1 is a little
too new. After all, its still
a current camera, and as
this weeks Inbox shows,
it is still very popular
Richard Sibley,
deputy editor
Iains images of
Tintern Abbey
in Gwent
BOTH PICTURES IAIN MCCALLUM
X-Pro1 in that column

recently! Even more so,
now that I consider myself a
Fujilm fan boy.
It made me think about
just what my needs are at
80 years of age, where
mobility and load carrying
capacity are in question. Even
given the pace of change,
surely the Fujilm X-Pro1
remains at the pinnacle of
camera qualities today?
Theres no doubt, however,
that it will justiably continue
to be remembered in the
fullness of time as a Blast
from the Past.
Having said all that,
I decided to lighten the load
and settle for its xed-lens
compact cousin the Fujilm
X100T (having graduated
from the X100 and X100S).
Ron Kennett, Hertfordshire
Contact
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Inserts
Call Innovator on 0203 148 3710
Editorial team
Ruined it
Ive taken of the abbey.

Iain McCallum, via email
I loved your Beautiful Ruins

article (AP 7 November), but
there was an omission in
Jeremy Walkers top ten
locations. Tintern Abbey in the
Wye Valley, Gwent, is stunning,
especially at this time of year.
To help address the
mistake, Ive included a
couple of images (above)
Im sure there are countless

other locations around the
country, and wed love to
hear about them. But when
photographing such places,
make sure youre safe and
that you have permission
if you need it Richard
Sibley, deputy editor
Group Editor
Nigel Atherton
Group Editors PA
Christine Lay
Deputy Editor
Richard Sibley
Technical Editor
Andy Westlake
Deputy Technical Editor
Michael Topham
Technical Writer
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Features & Technique Editor Phil Hall
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Picture Researcher
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Online Manager
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Digital Art Editor
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Digital Production Editor
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Video Production
John Layton
Photo-Science Consultant Professor Robert Newman
Senior contributor
Roger Hicks
Special thanks to The moderators of the AP website Andrew
Robertson, lisadb, Nick Roberts, The Fat Controller
Advertising
Advertisement Manager
Account Manager
Senior Sales Executive
Production Coordinator
Winter tips
Five experts offer advice on how to
make the most of the cold conditions
Leica SL (Typ 601)

We put Leicas top-end
full-frame compact
system camera through
its paces in our lab test
Edge of the world

Alex Bernasconi talks
about his epic journeys
and the stunning images
he took while travelling
across Antarctica and
South Georgia
APOY winner
JUSTIN MINNS
We talk to 2015s Amateur

Photographer of the Year
winner Lee Acaster, who
receives a Sigma SD1
Merrill and lens worth
more than 2,000
18
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In next weeks issue On sale Tuesday 8 December
Felix Barlow
Simon Gerard
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Samantha Blakey 0203 148 4321
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How to use
your grey,
white and
black cards
White balance
To achieve a correct custom white balance
either in-camera while shooting or when
processing raw les, simply photograph the
cards as a reference for each lighting situation.
If your lighting is in a controlled studio
environment, have your subject hold the card
near their face and take a reference shot. If
shooting a still life, place the cards next to your
subject. So long as the lighting doesnt change,
youll only need one reference image.
With mixed lighting sources that include
daylight, uorescent or tungsten, use the same
process. Further image adjustments may be
necessary, but the reference shot can be used
as a neutral guide. Select all your images in your
editing program, then click on the white or grey
card using the White Balance tool.
We show you how

your free set of card
balancing images wh
shooting digitally w h
any kind of lighting
FINDING the extent of your tonal ran
placing your black, white and midton
some of the most important tasks in
capture. Follow the tips below to ens
do so when using your set of grey, w
and black cards free in this weeks is
g
y
Correct exposure
Choosing the right part of a scene
to meter from can be tricky. This
is where the grey card becomes
invaluable. However, there is
slightly more to the process than
simply holding the grey card in front of
your subject and taking a reading. First, you need to
ll the frame as much as possible. Go into your
shooting menu and set the camera metering to
Spot, then press the AEL or * button on the back
of your camera. This will lock the metering onto the
grey card. Now remove the card, recompose your
image and take the picture. The tones will be
perfectly represented and not inuenced by any
predominantly white or dark areas in the image.
Manipulate tonal range

Exposure meters in our digital cameras are
calibrated to reproduce the metered area as a
medium tone, so if you take a reading from a grey
card it will appear as midtone grey in the image.
Meter from the white or black cards and youll get
darker or lighter results, but ensure you maintain
detail in the corresponding parts of your image.
This approach gives you the option to manipulate
the tonal range so its represented as you want it
to appear in the nal image.
subscribe 0330 3334555 I www.amateurphotographer.co.uk I 00 Month 2015
White balance
in video
FREE
WITH THIS
WEEKS
ISSUE
Aim to white balance at the

beginning of every shoot,
and every time the lighting
conditions change. Its
especially important to
re-establish white balance
when moving between
indoors and outdoors, and
between rooms lit by
different kinds of lights.
Point your camera at the
white card, so that most of what
youre seeing in the viewnder is white (between 50
and 80% of the frame is ne). Then activate the
custom white balance setting and take a reading.
19
One of the four

images from Lukes
winning portfolio,
taken on the
southern tip of New
Zealands South
Island. I wanted this
image to encapsulate
what this grove of
trees is often
subjected to galeforce winds and
heavy rain, says Luke
LANDSCAPES
ALL PICTURES LUKE AUSTIN
This image is the result of years of patience. It is an iconic location on the shores of the
Swan River, Perth, depicting Crawley Edge boat shed during a ferocious storm
Austins
Powers
Luke Austin, International Landscape
Photographer of the Year 2015, shares
some tips with Tom Smallwood
rying to make it in
the world of landscape
photography is not
for the faint-hearted:
competition is intense; there are a
lot of amateurs with high-quality
kit who will give images away for
free; and even established names
are struggling to make a living
from stock sales. Luke Austin, a
young Australian who was recently
named International Landscape
Photographer of the Year 2015, is
a good example of how landscape
photographers have to combine
several income streams in order
to pay the bills. He combines
print sales and workshops with a
separate business as a carpenter.
I dont mind this, actually, as
when I was trying to earn a living

from photography full-time it took
the enjoyment out of it, he explains
from his base in Perth, Australia.
I ended up not wanting it to be my
sole income, as it changed the way
I photographed and took the
passion away. Id obviously love to
support myself by shooting what
I want, but its a lot more
challenging than that.
Minimalistic but dramatic

Luke explains that hes always been
an outdoors type, so landscape
photography was a natural
progression. I went around Australia
in a camper van for a year when I
was younger, bought a camera,
and really got it into it, he says.
21
LANDSCAPES
I had enjoyed photography

from a young age, but I took it
really seriously from 2004. I picked
up the basics of digital photography
from reading magazines, and
learning from my mistakes.
US photographer Jim Brandenburg
has been a big inuence on Luke.
I remember I was working for an
ofce furniture company when
I saw a copy of National Geographic
that featured one of Jims projects, in
which he went around New England
for three months, he says. It was a
beautiful body of work and it really
inspired me.
A good description of Lukes style
is minimalistic but dramatic, so is it
a conscious decision of his to
emphasise drama within clean,

deceptively simple-looking
compositions? Yes, denitely, he
says. Im always trying to simplify
compositions. I prioritise a couple
of key elements, and like to use one
lead-in line to the main subject.
I dene as much as possible. Ive
done a lot of dramatic landscapes,
and am still looking for the drama
in the scene, but Im also looking for
quieter scenes that I can put my
own spin on. I like scenes where
there is little clutter, with not too
much for the viewer to take in.
Take your time with framing

Luke is equally adept at both black
& white and colour landscape
Above left: The

52-storey Bankwest
Tower, one of the
buildings that
dominates the
Perth city skyline
Above right:
Another of Lukes
images from his
winning portfolio.
This circular group
of rocks is found on
the southern coast
of New Zealands
South Island
photography, but admits to having

a preference for monochrome. I love
black & white, but Im very critical
of my work, and Ill only convert
images that I think are strong
enough, he says. Luke is also noted
for using square compositions. I
nd that the square format can help
generate more artistic-looking
images and lends itself better to the
ne-art market, he adds. That said,
it can be challenging to nd images
that work well in the square format
you cant just apply it willy-nilly,
and the elements need to work well
within the connes of the square.
When it comes to choosing
landscapes to photograph, Luke
believes that amazing images can
LUKES KIT BAG
Quindalup is 220km
southwest of Perth. The
towns boat ramp
is pictured here during
a thunderstorm
22
MY MAIN camera
is a Nikon D800E
as its got such
great resolution,
and is tough,
Luke explains.
I keep my lens
choice to a
minimum as
I prefer not to be
weighed down by lots of gear. I favour Nikons
14-24mm, 45mm tilt-and-shift and 70-200mm
f/4 optics. I ended up selling a lot of lenses,
as I was supposed to be going on a
backpacking trip to South America, but it
never happened, which was annoying. When it
comes to filters, in the past Luke used Lee ND
graduated filters, but now prefers to manually
blend exposures in Photoshop. That said,
I do use a Lee Big Stopper sometimes and
a polariser for the 14-24mm, but generally
I try to minimise the use of filters.
LANDSCAPES
Inaudible,
Glenorchy, South
Island, New Zealand
be captured anywhere if you look

hard enough, even in harsh light.
However, as Perth is dry and sunny,
I am really drawn to snowscapes!
he laughs. Snow simplies things,
and enables me to get more
minimalist images. When youre
looking for landscapes to shoot, its
important to always look for light
and physical patterns, and the way
that light illuminates the land.
Composition is something that
Luke has always taken very
seriously. It was something I read
a lot about when I was starting out,
he says. Obviously you read about
rules, like the rule of thirds, but
from there its a case of working out
when you can break those rules. You
need to be patient to be a good
landscape photographer, and be
prepared to go back to a scene time
and time again to get the image.
As already mentioned, Lukes
main source of photographic income
is from image sales, with workshops
becoming more and more
important. People from all walks of
life buy my prints, he explains. Its
important to market them correctly.
I sell open editions, which are more
affordable at smaller sizes, while
I have a different pricing structure
for limited editions. I used to sell
images to stock libraries, but now
I dont have much time to keep on
top of this.
Along with many other landscape
and travel photographers genres
that have been hit by the decline
in stock image sales and editorial
commissions Luke is doing more
and more teaching. So what
are the main mistakes he sees
Lake Quinalt,
Washington, USA
Succeeding in landscape
photography competitions
BEING named International Landscape
Photographer of the Year 2015 has really
helped to raise Lukes prole and reputation,
so we wondered if he had any tips for readers
considering entering competitions. Obviously,
you have to be pretty critical, and pick out
everything that is potentially wrong with an
Ancestry, Glenorchy,
South Island,
New Zealand
image, he explains. The judges are looking for

things to dislike. Its also really important to get
feedback from other photographers. Ive done
this a lot, he adds. Dont go asking mum and
dad they wont give you honest feedback.
Also try getting feedback from various online
forums, but some are far better than others.
23
The Wanderer,
Lancelin Sand
Dunes, Western
Australia
a composite of
several images
participants making on his

workshops? I dont really see
them as mistakes, but more as
part of the process of learning, he
explains. One of the biggest errors
I see, however, is when students
start shooting the moment they
arrive at a scene. I suggest theyre
likely to get better results if they just
walk around a bit, and have a look
for elements with potential. They
need to get a feel for an area, and
not just focus on the obvious, even
though it may have attracted them
initially. Its really important that
you spend some time looking
through the viewnder and work
out possible compositions before
you start shooting.
Luke is also careful to allow
participants to gure out what
works best for them when it comes
to compositional techniques. Ill
talk about stuff like the rule of
thirds, but it depends where they
are photographically if theyve
24
just started out, Ill call it a guide,

not a rule, he adds. I encourage
students to compose in any way,
shape or form that works for them,
so long as they understand that they
have to balance all the elements.
Looking with fresh eyes

To see more of Lukes
work, visit www.
lukeaustin
photography.com,
where there are also
full details of his
forthcoming workshops
to Scandinavia. For
information about
International Landscape
Photographer of the Year,
see www.international
landscape
photographer.com
Lukes favourite places to take

landscape photographs include
Canada, as he lived in the Rocky
Mountains for a couple of years and
loved it there, and New Zealand.
I got some particularly good
results at a place called Castle Hill
on South Island, he explains. Id
seen a few snapshots of the boulder
elds in the area and thought it just
looked like one big playground.
I purposely didnt delve any further
into researching the location or any
other images from the area, as
I didnt want to have my experience
inuenced by other photographers
or travellers.
I like to take this approach as
often as I can when visiting and

shooting a new location. I spent
about four hours walking around,
scouting compositions and getting
a feel for the place. I later
discovered that the Dalai Lama
described Castle Hill as the
spiritual centre of the universe
when he visited it in 2002.
When back home, Luke loves
shooting the beautiful sand dunes
at Lancelin, near Perth. Its
fascinating to see how they change
according to the wind and lighting
conditions, he says.
This is something he sees in
other elements of nature, too.
I mentioned earlier that Im
fascinated by snow, he adds. Id
really love to get to Japan in the
winter, or Finland, Swedish
Lapland or Antarctica. The colder
and snowier the better. Im doing
some workshops in Norway and
Iceland in February, and am
really looking forward to it.

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WILDLIFE WATCH
David Tipling
David is one of the most widely published
wildlife photographers in the world. His
pictures appear on hundreds of book and
magazine covers, and have been used in
various other ways, from wine labels to
being projected in New Yorks Times
Square. www.davidtipling.com
Knot roosts
A knot roost is an impressive spectacle as
the birds twist and pulse in the sky. David
Tipling offers tips on how to capture it
ITS AN exhilarating experience to watch
thousands of knots swirl over mudats
as they are rapidly inundated by an
incoming tide. As the mud becomes
covered with water the birds y to roost,
and photographing this spectacle offers
a variety of creative opportunities. These
range from isolating a lone oystercatcher
a splash of colour amid a sea of grey
to using a slow shutter speed to create a
feeling of motion within the ock as rivers
of birds stream through the throng.
Habitat
Best time to shoot

Knots respond to the tides rather than
night and day, which means photography
can be very productive from at least two
hours before high tide. If a hunting raptor
is around, then ocks may swirl over the
estuary. These resemble dense plumes of
rising smoke when viewed from a
distance. This behaviour can make
interesting images when set in the context
of the landscape. Once the tide has
covered the mudats, head for higher
ground and look for rivers of knots
moving restlessly throughout the ock.
ALL PICTURES DAVID TIPLING
There are a few locations in Britain where

knots roost in large ocks from early
autumn through to late winter, with big
roosts only occurring on the highest tides
of the year (spring tides). At Snettisham in
Norfolk, roost sites are islands and spits

on a large gravel pit just behind the shore.
Here, thousands of birds stand shoulderto-shoulder, moving in restless waves.
A knot roost can

look like a plume of
smoke if a raptor is
hunting nearby
Use a slow shutter speed to create a feeling of motion within the flock
Tripod
A good sturdy tripod is

recommended when
using slower shutter
speeds, gaining a good
depth of field
and creating
motion-blur
images.
26
KIT LIST
Lenses
A range of lenses can be very useful from wideangle

to your longest telephoto. A lens of at least 400mm
is recommended for images of roosting flocks.
A lone oystercatcher
among a sea of
roosting knots
WILDLIFE WATCH
Technique
With thousands of
birds in a flock, a
knot roost is an
impressive sight
Shooting advice
Get there early
Its best to arrive well before the birds
to scout out roosting locations. Once
a roost starts forming, action can be fast
and sometimes eeting. It may require
a couple of visits to the same location
to nd the best spot to shoot from.
Be alert
Once settled at their roost, knots will
remain until the tide turns and mud
starts to appear. But be alert during
this high-tide period as a marauding
sparrowhawk or peregrine falcon may
create sudden panic, pushing the whole
ock into the air.
groups of birds when used in conjunction

with a long lens.
Try using a slow shutter speed of
1/15sec or less to create beautiful blurs
and give a real sense of motion when
photographing restless knots, or when big
ocks are on the move. Never venture
away from paths to approach a roost.
Not only will you leave without photos,
but youll also be very unpopular with
others hoping to enjoy the spectacle.
Depth of field
Using a wide depth of eld when
photographing a large ock will impart
a feeling of depth to your image.
Conversely, a shallow depth of eld can
help to single out individuals or small
Knots in their coppery-red breeding plumage
Knots are found

along muddy
estuaries
About the knot

The knot is a little larger than a starling. Breeding plumage is
a striking coppery red, but by late summer the birds have
moulted into a grey winter plumage.
Location Knots can be found along large, muddy estuaries
across the UK. For a world-class spectacle, head to Snettisham
RSPB Reserve on the Wash in Norfolk.
Size Approximately 23-26cm, with a wingspan of 47-53cm.
Nests They roost on spits.
Diet A mixture of shellfish and worms.
Population In recent years the average annual peak
population has been about 320,000 across the UK.
27
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COASTAL PHOTOGRAPHY
Notes
from a
small
island
Quintin Lake is on an ambitious five-year
mission to walk and document Britains
diverse coast. He talks Oliver Atwell
through his progress so far
How do you think your

background in architectural
photography will inuence
the images youre taking on
your journey?
How long is this journey and

how long do you see it taking?
Where did you start and where
will you end?
Very much, both in subject aesthetic

and technique. Im drawn to
structures along our coast. I always
look for an underlying geometry
to my compositions and tend to
30
The whole journey is 10,000km and

I estimate it will take about ve years
based on walking 60 days per year.
I started in St Pauls Cathedral in
London, as it was my end point
for a previous journey on foot from
the source of the Thames to London.
Im walking it in sections ranging
from a single day to a couple of
weeks to t around my architectural
photography work and family life.
At the moment, Ive walked 800km,
having completed the Kent, Sussex
and Hampshire coastline.
ALL PICTURES QUINTIN LAKE
he act of walking is
a method that can truly
put a person in touch
with his or her landscape.
A great number of writers and artists
throughout history have whiled away
the hours taking inspiration from the
landscape that passes before their
eyes. As youre reading this, one such
person is making his way around
Britains coast, capturing everything
through the lens of his camera.
Architectural photographer Quintin
Lake is walking his way around the
country armed with a Canon EOS
6D, a series of lenses and a tripod. He
is making it his mission to show just
what a truly diverse and exceptional
land we inhabit. I caught up with him
to nd out how hes getting on so far.
Fawley Oil Refinery from

Hook Park, Hampshire
Drinks on the shore,

Ferring, West Sussex
The Net Shops,

Hastings, East Sussex
Shipping marker IV,

Dungeness, Kent
Beachy Head,
Eastbourne, East Sussex
Sea wall III,

Kingsgate Castle, Kent
31
COMPETITION
favour a pared-down aesthetic.

Architectural photography is
very much about how changes in
focal length and light quality affect
the appearance of an object, so Im
always conscious of these factors
when looking at any subject.
When did your interest in

walking start? And what is
it about the act that you nd
so compelling?
My parents took me on long
walks as a child, and when I was
21 I walked solo from Lands End in
Cornwall to John OGroats village
in the far north of Scotland, to raise
money for charity. It took three
months, and from that point on my
life would never be the same again
I thought about that experience
every day for years afterwards.
I enjoy walking with friends, but as
a creative project its essential to
undertake the walk alone so I can
listen to the landscape. I absolutely
love not knowing what Ill nd
during the day when I set out in the
morning. Slowing down the pace of
life to travel a long distance on foot
lets the soul of the landscape get
under your skin.
How did that then link up

with photography?
It was surprisingly recent. Id been
doing both separately for over 20
years, but the rst series I produced
based specically on a walk was
32
Top left: Wreck

steel, Hook Park,
Hampshire
Top centre:
Container ship in
the Solent, from
Gilkicker Point,
Hampshire
Top right: Shipping
marker III,
Dungeness, Kent
Above left: Bow of
HMS Alliance, Royal
Navy Submarine
Museum, Gosport,
Hampshire
Above centre:
Chichester Channel
from Apuldram,
West Sussex
Above right:
Feather, Bosham
Channel, West
Sussex
Just by putting one foot in front of the other,

Im encountering beautiful and strange things
walking the Thames in 2012
(visit http://blog.quintinlake.
com/2012/09/02/sweet-thamesrun-softly-till-i-end-my-song).
The Thames isnt an especially
grand river as a photographic
subject, but by walking its length,
I noticed the subtleties in how the
water surface changes something
I wouldnt have noticed if I werent
walking. The images sold well, but
more importantly, I knew in my
heart that the combination of
walking and photography held
great inspiration for me.
Sometimes when I view
contemporary ne-art photography,
where so much is staged or
theatrical, it seems as if the artist
believes there is nothing new or
interesting by photographing the
world as it is. My project is a little
protest against this notion where,
just by putting one foot in front
of the other, Im encountering
beautiful and strange things unlike
anything Ive seen before.
Yes, thats very true. On one day in

Kent, I passed two nuclear power
stations, then a live ring range,
with red ags ying and the sounds
of automatic gunre. Moments
later, I was walking on a beach
with surfers and families licking
ice creams. I also keep a notebook
of overheard conversations and
impressions. Accents slowly but
surely change on the journey, and
the shifts in afuence and attitude
are very apparent. The most
interesting places are the liminal
spaces, of which there are many
along our coast. It can be a very
sudden delineation between the
industrial, residential and natural.
What is it about the coastal

regions that make them of
particular interest?
The coast has been our rst line of

defence, where we take our children
on holiday, where we choose to
commit suicide, where we generate
the energy for our nation, where we
train the military, where we retire if
I can imagine theres a degree
we have money, where we end up if
of psycho-geography at work
we have none, where the rocks of
here. Walking must put you
the millennia are exposed, where we
much more in touch with the
go to dream or forget or set sail for
landscape and the ways in which new horizons. To me, the sea
the societies you encounter
represents the wild and the innite,
engage with it.
and tracing the edge where one
COMPETITION
I spent a couple of months in the

eld, then came home and distilled
this into a series of images. Job
What is it youre
done. The Perimeter, by contrast,
particularly interested
is generating so many images on
in seeing in a landscape?
a variety of themes that it seems
The primary feeling I try to convey
a mistake to narrow the approach
is harmony and serenity. When
too early on. Im enjoying not
I put my portfolio together earlier
forcing myself into an editing
this year, I called it Journeys into
gimmick: horizons centre of frame
Silence. Therefore symmetry, strong only/storm clouds only/ruined
horizontals, muted colours and light buildings only/all shots
feature heavily in my work. In terms monochrome with Big Stopper.
of subject, Im often drawn to
These approaches, while effective
infrastructure, as these are the
at winning photo competitions and
engineering miracles of our age.
generating social likes, dont always
In part, this is because Ive been
encourage creative risks. Currently,
walking in relatively built-up areas
Im thinking of large-format
I imagine Ill feel differently
(1x3m) triptychs for some works
in Cornwall, for instance. If its
and image matrices for others.
sunny at midday, Ill try to convey
The project will take so long that
the atness of light, and if its
Im going to have to change my
stormy, Ill try to convey the
approach through time, if for no
blackness of the clouds. Im
other reason than to maintain my
particularly interested in seeing
own interest! Like the walk itself,
anything I havent seen before,
I dont know what the outcome will
and so far each day has delivered
be and Im very happy with that.
a handful of new experiences.
world becomes another contains
a lifetime of inspiration.
I was particularly struck by

a quote from you saying how
the challenge was to make a
coherent narrative from such
large and diverse amount of
material. Can you comment
a bit on that?
Previously, when Ive done a photo
series based, say, on the Arctic,
desert, Chernobyl or the Thames,
How many shots on average

would you say you take on each
walk? How does the editing
process work? How do you
decide which images to show
and which to abandon?
Each day I take 400-800 frames,
unless the weather is terrible. I use
Lightroom rst, culling the rejects
and then grouping similar images
by day. Ill then view the similar
Top left:
Second World War
battery, Round
Down Cliff II, Dover
Top centre:
Dartford Bridge II
Top right: Beach hut
with red roof, Rye
Harbour, East Sussex
Above left: Camber
Sands, East Sussex
Above centre:
Abbots Cliff
acoustic mirror,
between Folkestone
and Dover, Kent
images together and choose the

strongest based on harmony,
serenity and instinct. Ill end up
with 8-20 shots per day. I then
apply nal colour, temperature and
gradient masks to the raw les, and
then caption and blog at http://
theperimeter.uk. I print all these
selects at 5x5in and display them
on rails in my studio. Then Ill
select a further set to print large.
Is there a planning process

for each walk?
There are a lot of practicalities to

consider as Im walking about 12-14
hours each day: ensuring enough
daylight for the walk; where to
obtain food and water; where to
Above right: Helter
sleep or camp; and making sure
Skelter, Brighton,
that Im there at a suitable time of
East Sussex
day for interesting locations. While
Wales has an excellent coastal path,
England doesnt, and some land is
private. There are ports, industrial
sites and ring ranges where one
cannot get through and other parts
where the paths get cut off by the
tide. Most of this information is
shown on the Ordnance Survey
You can view
maps for the relevant area. Ill use
Quintins progress at
the Photographers Ephemeris app
theperimeter.uk. There, to have an idea of sun angle and
you can view all his nal direction if it comes out at all.
images and trace his
I research upcoming stretches of
route map. You can also coast carefully and plot a route that
view his architectural
I intend to walk, which I then
photography at www.
transfer to a mapping app on
quintinlake.com.
an iPhone in a waterproof case.
33
Reader Portfolio
Spotlight on readers excellent images and how they captured them
1
Helen Holt, Manchester

Helens background in
photography began over
30 years ago when she
took evening classes and
learned the ever-important
skill of darkroom printing. Once Helen
retired she was able to dedicate her
time to learning how to improve her
skills, particularly in the eld of macro
photography. Here we see a selection
of her impactful ower images.
Thistle
White dahlia
1 Helen found this

thistle specimen in a
local meadow. She
was particularly
struck by the
interesting markings
and vibrant colour
Canon EOS 60D,
60mm, 1/500sec
at f/2.8, ISO 250
2 By having found
just the right angle,
Helen has ensured
focus spills out of the
centre and leads our
eye down the larger
outer petals
Canon EOS 50D,
60mm, 1/160sec
at f/4, ISO 100
4
3
Cosmos
3 This example of complementary colours
bright pink and green found in nature is
shot with just the right tones and light, and
means the overall image works harmoniously
Canon EOS 50D, 70-300mm, 1/500sec at
f/5.6, ISO 500
34
YOUR PICTURES IN PRINT
The Reader Portfolio winner

chosen every week will receive a copy of
Helicon Focus Pro innovative software worth $200. Visit www.heliconsoft.com
Helicon Focus is designed to merge several differently focused images into a fully focused one, thus allowing extreme depth of eld. You can produce
sharp images in one click, retouch results with special brushes and enjoy all the benets of state-of-the-art technology to make your images stand out
Red dahlia
Daisies
4 The complicated
structure of this red
dahlia means that
viewing the image
offers something
new each time. The
spiral-like nature of
the flowers centre is
particularly beautiful
Canon EOS 50D,
60mm, 1/125sec
at f/5, ISO 1,000
5 Helen has gone

for an unconventional
angle with this shot
of some Anthemis
daisies in a local
park. She wanted
to highlight how
delicate these
flowers are
Canon EOS 60D,
60mm, 1/500sec
at f/7.1, ISO 100
Submit your images

Please see the Send us your
pictures section on page 3 for details
or visit www.amateurphotographer.
co.uk/portfolio
35
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Photo insight
Saffron-drop
bonnet mushroom
by Robert Canis
nless Im out
hiking or looking
for a specic
subject, I very
rarely walk great distances
taking a shot here and another
there. I much prefer to work
a small area or subject and
only leave when I am satised
that all possibilities have
been exhausted.
I adopt the same approach
with my workshops, forcing
everyone to slow down and
really look, even before they
take their cameras out of their
bags. My ethos has always
been that the longer you work
an area, the more images youll
nd and your pictures will be
stronger for it.
This image, which went on
to win the Botanical Britain
category at the British Wildlife
Photography awards in 2013,
is a case in point. Taken in
Kings Wood in Kent, which is
one of southern Englands
largest woodlands, I spent ve
days concentrating on an area
no bigger than around 900m2.
I could quite easily have
walked and walked, looking
for pretty much anything that
caught my attention, but
instead I remained in a very
small area, often scrambling
around on all fours or lying on
damp leaf litter, searching for
tiny mushrooms, colourful
leaves and patterns which,

ultimately, gave me focus.
The best way I can describe
it is like a bird looking for
a worm. It concentrates its
efforts on its immediate
surroundings and isnt
constantly looking around.
More often than not the subject
I chose would be dictated by
the play of light within the
woodland, such as a shaft of
sunlight backlighting a leaf or
shadows of branches being cast
onto the grey bark of a trunk.
As the days went by I noticed
tiny saffron-drop bonnet
mushrooms that littered
the forest oor. I became
increasingly taken by these tiny
organisms being overshadowed
by the huge beech trees and the
symbiotic relationship between
the two. Without one, the other
cannot exist, so with this in
mind I turned my attention to
illustrating this as best I could.
In order for the image to
succeed, I knew I had to
illustrate the relationship
between the trees and fungus.
A simple close-up portrait
wasnt going to work and
would, most certainly, not have
given the viewer any indication
of what I was attempting to
achieve. In order to accomplish
this I chose my Nikon AF-S
VR Micro-Nikkor 105mm
f/2.8G IF-ED. The lens would
Robert Canis
Robert has been a professional nature photographer
for more than 20 years. He is represented by several
international agencies and regularly leads workshops
and overseas tours. Visit www.robertcanis.com
38
not only permit sufciently

close focus, but due to it being
a moderate telephoto it would
compress the perspective and
make the trees a dominant
feature in the nal photograph.
Importantly, due to its
relatively narrow angle of view,
it would also help exclude any
distracting sky.
With my camera mounted
on my tripod I carefully edged
it closer to the mushroom.
I noticed the water droplets
caused by the mist, and a mere
nudge of the dead branch upon
which it grew or, indeed, my
own breath would cause them
to fall. I think the image would
still have worked, but its little
details such as these that really
make a photograph. Anyone
who has photographed
a dew-laden spiders web
close-up will understand just
how exhausting it is. You
breathe in when looking
through the viewnder to
make any adjustments, and
breathe out (with your head
turned to one side) when
depressing the cable release.
I then spent a lot of time
ensuring that the camera back
(or lm plane) was square with
the stem of the mushroom
since depth of eld at such
close quarters is extremely
shallow. Also, once youre
parallel with the most
dominant aspect of the subject,
you can be condent that,
pretty much whatever aperture
you choose, it will be in sharp
focus. You then have greater
freedom of aperture selection
and, ultimately, how sharp the
ROBERT CANIS
Robert Canis discusses the simple yet effective

technique behind his image and the importance
of perfection in close-up photography
In the Shadow of
Giants. Roberts
winning image
of a saffron-drop
bonnet mushroom
Nikon D300, 105mm,
3secs at f/11, ISO 200,
tripod, cable release,
mirror lock
CLOSE-UP TECHNIQUE
I WOULD argue that close-up

photography requires a greater degree
of perfecting ones technique than any
other field of nature photography. When
capturing images of animals (especially
when theyre actively doing something),
one can be excused for some minor
imperfections. Youre recording a
moment in time and the impact of the
image can often outweigh composition.
With close-up photography, however,
every part of the frame plays an integral
role in the success of the image. With
such a limited depth of field, just a
couple of millimetres off can result in
it being consigned to the trash. Take
your time. Use a tripod or beanbag,
fire the camera using a remote release
and, should your camera have one,
mirror-lock. These things will increase
your chances of producing consistently
sharp images. Its surely better to go
home with one photograph you can be
proud of than a dozen that will never
see the light of day.
background will be rendered.
With a cable release in one
hand and a small reector in
the other (to add just a little
ll-light to the stem and cap),
I took a number of shots at
various aperture settings.
I wanted to get just the right
amount of depth of eld so
the trees were recognisable,
yet not so sharp that they
conicted with the main
subject the fungus.
After a while I inspected
the images on the back of the
camera, checking sharpness
and exposure, and felt that
something wasnt quite right.
I then noticed what it was. The
cap of the fungus was touching
the edge of the right-hand side
of the tree, but I felt it needed
to protrude. So I moved the
tripod a fraction and, content
with the revised composition,
repeated the exercise. I only
left once I was completely
satised opportunities like
this dont come around too
often so you have to make
the most of them.
subscribe 0330 3334555 I www.amateurphotographer.co.uk I 00 Month 2015
39
Evening Class
Photoshop guru Martin Evening sorts out your photo-editing and post-processing problems
How to create an HDR merge

TO CREATE this photograph, Chris Meaker shot three
bracketed captures, presumably with the intention of
merging them together using a High Dynamic Range
(HDR) blending method. You can do this by using a
third-party program like Photomatix Pro, Merge to HDR
Pro in Photoshop or the Photo Merge HDR feature in
Camera Raw and Lightroom. The best way to prepare
your images is to shoot a bracketed sequence of three,

ve or seven shots, adjusting the exposure by 2-stop
increments either side of the normal exposure setting.
When bracketing the exposures the lens aperture must
remain constant and you vary the time exposure as you
shoot each capture. Its best to shoot in raw mode and it
also helps if the camera is mounted on a tripod.
Submit your images
Please see the Send us your

pictures section on page 3 for
details or visit www.amateur
photographer.co.uk
AFTER
BEFORE
1 Open selected images
2 Set the HDR merge settings 3 Camera Raw settings
I selected the three bracketed JPEG image exposures

using Adobe Bridge. I went to the File menu and chose
Open in Camera Raw. This opened the selected photos
via the Camera Raw dialog, opening in multiple image
mode with the selected photos appearing in the
Filmstrip on the left. I then selected Merge to HDR
from the Filmstrip menu.
This opened HDR Merge Preview. When I checked the

original bracketed photos it looked like they had all
been shot on a tripod, 1 stop apart. Even so, one of
the shots was slightly out of register. I therefore
checked the Align Images option and left the Deghost
menu set to Off. I then clicked the Merge button to
blend the photos.
40
This added a Photo Merge HDR image to the Filmstrip

section. I then adjusted the Basic panel settings.
When editing HDR images its often necessary to set
the Highlights slider to -100 and the Shadows slider
to +100. I also darkened the Exposure slightly and
fine-tuned the Whites and Blacks. Lastly, I applied
a rotated crop to straighten the horizon.
YOUR PICTURES
BEFORE
AFTER
How to tone for

colour balance
THIS was a challenging scene for Eric Begbie
to capture because it was shot at night using
just the available streetlight. I notice Eric used
a Nikon D800 camera and was therefore
able to set the ISO to 6,400, which allowed
him to shoot handheld at a shutter speed of
1/25sec (this type of scene would have been
difcult to photograph with the digital
cameras that were around a few years ago).
If this picture had been captured a little
earlier there would have been a lovely

opportunity to balance and complement
that tungsten light with the blue cast of the
twilight. So what I did here was to simulate

that type of early evening lighting through
Camera Raw editing.
1 Crop the photograph
2 Tone the image
3 Add a Radial Filter
The first thing I did was to crop the photograph to

remove the lamppost on the right and focus the
viewers attention on the street seller and his various
paintings. I also went to the Lens Corrections panel
where I checked the Vertical Upright option to help
straighten the photograph.
In the Basic panel I applied a custom white balance.

The intention here was to apply a global blue tone to
the scene and edit it later to provide some colour
contrast. I adjusted the remaining Basic panel settings
to ensure highlight detail was preserved and added
more Clarity to boost the midtone contrast.
Finally, I added a Radial Filter adjustment. I then

increased the Exposure and combined this with a
negative Highlights adjustment. I set the Temperature
slider to +74 to counteract the global blue/white
balance adjustment and made the selected area
appear warmer relative to the blue background colour.
Camera Raw Photo Merge

THIS feature was recently added
to Camera Raw in Photoshop CC
and Lightroom 6/CC. It allows
you to process bracketed JPEG
or raw photos to create a single
DNG. I generally nd the results
you get using this method are
better than those you get when
working with Merge to HDR Pro
in Photoshop, especially as it can
preserve the raw functionality.
The Auto-Align option is
necessary where there is any

frame movement between the
selected exposures. The Auto
Tone option simply applies a
default auto tone adjustment
upon completion, which can
then be undone or revised. The
Deghost options help highlight
any areas of subject movement
detected in the scene and allow
you to apply varying amounts of
deghosting correction.
Use Photo Merge HDR in Camera Raw and Lightroom 6 for best results
Martin Evening is a noted expert in both photography and digital imaging. He is well known in London for his fashion and beauty work, for which he has won several awards. Martin has worked
with the Adobe Photoshop and Adobe Lightroom engineering teams over many years and is one of the founding members of a software design company. Visit www.martinevening.com
41
Accessories
Useful gadgets to enhance your photography, from phones to filters
Gitzo GK1555T-82TQD
Traveler tripod kit
819 www.gitzo.co.uk
Andy Westlake tests out a premium lightweight tripod

At a glance
Five-section twist-lock legs
Matched ball head included
148.5cm maximum height
Weighs 1.42kg
WHAT do you get the photographer who has

everything? Well, perhaps one of the latest
Gitzo Traveler tripods. The company pioneered
both carbon-bre construction and the now
ubiquitous reverse-folding leg design, and its
latest models to use these technologies are
lightweight, tall and strong but very
expensive. Alongside the ve-section
GK1555T version, there are three four-section
models in different sizes, sold either as leg sets
only or in kits with a matched ball head.
With Gitzos carbon eXact tubes and twist
G-locks that include O-ring seals to stop grit
or water getting in, the Traveler is quick to
set up and reaches a decent height at full
extension, but folds down to just 35.5cm. The
sculpted central spider and ball head are both
beautifully cast from magnesium alloy. All four
leg locks can be undone together, requiring
just a short turn to tighten again, and the
rubber feet can be unscrewed and replaced
with spikes. The sliding centre column can be
replaced by a short column for low-level wo
Dual-angle legs
Standard and low-level
positions are available via
slightly fiddly sprung levers.
Arca Swiss
compatible
The quick release adopts
the now de facto standard
dovetail pattern.
Levelling line
The ball head has a handy
visual guide to see when
its set level.
Short
centre column
Supplied as standard,
this short centre column
allows low-level
shooting.
ALL PRICES ARE APPROXIMATE STREET PRICES
Verdict
As wed expect from Gitzo, the GK1555T
is superbly made. It is capable of holding a
full-frame DSLR and large zoom lens with
ease (its rated to hold 10kg). Im not quite as
convinced by the ball head, although it does its
job and the clever design ts neatly between
the legs when folded down. But camera
movement isnt as smooth as it could be, and
the main lock has to be unscrewed a long way
to release it. Theres no
separate friction control,
either. If money were no
object, Id recommend
the leg set unreservedly,
Recommended
but consider looking
around for a better head.
42
ALSO CONSIDER
Gitzo Mountaineer GT1542
Sirui ET-2204 with E-20 head
MeFoto RoadTrip A1350Q1
479, www.gitzo.co.uk
300, www.sirui.eu/en
159, www.mefoto.com/uk
Its longer when folded

and is also heavier
than the GK1555T, but
this conventional
tripod is taller and
has a more
elegant low-level
mechanism.
This well-made
four-section
carbon-fibre model
with lever leg locks
and a decent ball
head represents
good value
for money.
For the more budgetconscious photographer,

this five-section
aluminium tripod with
reverse-folding legs
also comes in
a variety
of colours.
INKJET TEST PACKS
Out now
Expert reviews of the latest kit to look out for
Recommended
PNY 3.0 High Performance card reader

www.pny.eu 15
WHEN my last card reader gave up after many years of service,
I invested in a PNY 3.0 High Performance card reader. Its six
memory-card slots run around the side of the device, and allow it
to read most types of ash memory cards including SD, SDHC,
SDXC, MicroSD, MicroSDHC, MicroSDXC, MiniSD, MiniSDHC,
Memory Stick Pro, Memory Stick Pro Duo, Memory Stick M2,
MMC, RS-MMC, xD and CompactFlash.
These days its mostly just CompactFlash, SD cards and occasionally
MicroSD cards that are used in cameras, but its good to know its
possible to read others on this device. On the card readers underside
youll nd a small USB cable thats embedded into the unit itself and sits
completely ush. You can pop this out and have a USB 2.0 connection
even if youve forgotten the supplied USB 3.0 cable. While the card
reader is of a fairly fast speed when connected to USB 2.0, when
used with the USB 3.0 set-up its claimed by PNY to be 10x faster. In
practice, I found it to be very fast transferring up to 10GB in around
a minute. Theres also a built-in LED indicator, which lights up when its
in use and indicates when its safe to remove the card/reader.
Measuring just 83x57x10mm, the reader is quite small, making it
easy to slide into even the snuggest pockets of a camera bag. The
components and circuitry inside the device appear to be solidly in
place, with no play when cards are inserted in and out. However, the
case is made of plastic and doesnt seem as rugged as other card
readers on the market.
In all, though, this card reader is small, compact and fast, and will read
just about every card available. Besides which, it also scores well for
having a get out of jail free card with the built-in USB 2.0 connection.
Callum McInerney-Riley
The PNY 3.0 High
Performance
card reader is
compatible with
most types of flash
memory card
F R O M O N LY
+VAT
)5((6ZDWFK ,&&SUROHV
Professional inkjet
Test Packs are
available across
the entire range of
PermaJet media.
Choose from:
Digital Photo
Fibre Based (Baryta)
Smooth Fine Art
Textured Fine Art
ORDER YOURS AT:

www.permajet.com
43

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LENS TEST
Testbench
The lens is ideal when youre

working in tight spaces or
want to fill the frame with
your surroundings
Sigma 20mm
f/1.4 DG HSM | A
Sigma has created a world first with its latest
wideangle prime lens, but how valuable is it in the
companys line-up? Michael Topham investigates
here has been a surge of new

wideangle lenses in the past 12
months, with Sigma and many of the
other major brands focusing their
efforts in this area of the market. Not one for
resting on its laurels, Sigma has been hard at
work creating its fth xed-focal-length lens in
its DSLR Art product line and the new 20mm
f/1.4 DG HSM | A looks like it could be popular
for landscape and astrophotography, as well as
for shooting interiors, events and weddings.
Just like Sigmas 24-35mm f/2 DG HSM | A
was the worlds rst zoom lens to achieve a
constant aperture of f/2, the 20mm f/1.4 DG

HSM | A is the worlds rst 20mm lens to
trumpet an aperture of f/1.4. The only 20mm
lenses that really come close to it are the
Canon EF 20mm f/2.8 USM (385) and the
Nikon AF-S Nikkor 20mm f/1.8G ED (539),
which begs the question, is this Sigma worth
paying a premium for?
Features
If youre wondering why a 20mm f/1.4 lens has
never been manufactured before, its because
of the technical difculties that are imposed by
engineering such a large double aspherical

element. Sigma has managed to overcome this
hurdle by turning to its experienced team of
engineers who have used the latest advances
in technology to successfully create a large
double-aspherical lens that measures an
impressive 59mm in diameter. By uniting this
large aspherical lens with a second aspherical
lens towards the rear, were told that it controls
distortion remarkably well a claim that we
intend to investigate in this test.
The construction of the lens features 15
glass elements arranged in 11 groups, with two
of these elements being the F low-dispersion
(FLD) type and ve being the special low
dispersion (SLD) variety. This low-dispersion
glass is used to curtail chromatic aberrations,
which are well known for being an issue
in large-aperture ultra-wideangle lenses.
45
Testbench
LENS TEST
Squeezing such a complex

arrangement of elements
and groups into a relatively
compact package makes it
deceptive in terms of weight
To prevent are and ghosting presenting
problems when shooting towards the
light, Sigma has employed its Super MultiLayer Coatings and a permanently xed
petal-shaped lens hood at the front.
The lenss nine-bladed aperture diaphragm
offers settings from f/1.4 to f/16, and set to its
maximum aperture it provides an attractive
rendition of out-of-focus backgrounds with
pleasing circular bokeh in the highlights. To
ensure the lens operates as smoothly and as
quietly as possible, the lens features Sigmas
Hyper Sonic Motor (HSM) that, in addition to
driving the autofocus system, offers full-time
manual focusing. This allows users to adjust the
focus manually at any time without having to
ick the AF/MF switch to manual rst.
Like all lenses released by Sigma in recent
times, it will be initially manufactured in three
different lens mounts to cater for Canon, Nikon
and Sigma users. The size and weight imply
that its going to be a lens that feels at its best
paired with full-frame DSLRs, but theres
nothing to suggest it cant be used with APS-C
DSLRs. Coupled to an APS-C DSLR with a
1.5x crop factor, it behaves like a 30mm
f/1.4, whereas on Canon APS-C DSLRs
its equivalent to 32mm.
Other noteworthy features include a
minimum focusing distance of 27.6cm, a
maximum magnication ratio of 1:7.1 and full
compatibility with Sigmas USB docking device,
allowing users to update rmware and rene
the focus settings manually using the
manufacturers Optimization Pro software.
As part of the boxed contents theres a rear
cap and a sizeable front plastic cap, which has
a slim felt-like lining on the inside to create a
tight t. For photographers whod prefer a
more robust lens cap, Sigma also produces a
metal lens cap (LC907-02) for 30.
The combination of fast maximum aperture and wide focal length is ideal in low-light situations
Build and handling

When I pulled the lens out of its box, I expected
to be greeted by a monstrous front element.
The lens is slightly more compact than Id
envisaged and the front element is smaller
than those were typically greeted by on fast
full-frame wideangle zooms, such as Nikons
AF-S Nikkor 14-24mm f/2.8 G ED. Squeezing
such a complex arrangement of elements and
groups into a relatively compact package makes
it quite deceptive in terms of weight. Its a lens
thats heavier than it looks, and the fact it weighs
950g means its almost 300g more than
Sigmas 24mm f/1.4 DG HSM | A.
The build quality is comparable to other
lenses in Sigmas Art line-up and the
construction of the barrel is made from a
mixture of metal and plastic. The section of the
barrel adjacent to the camera is made from
46
metal, just like the large manual-focus ring

at the front of the lens, whereas the middle
section of the barrel and lens hood are formed
of high-quality plastic. The only issue that
might concern some, as far as the build quality
goes, is its lack of weather sealing. Although it
will happily survive a few raindrops, its advised
to stow it away during a persistent shower.
The permanently attached lens hood helps
to shield the glass from any accidental bumps
and scrapes, but the bulbous front element
does prevent screw-in lters being used.
Although it has been rumoured that the Sigma
12-24mm f/4.5-5.6 DG HSM II adapter ring
Lee Filters produces for its SW150 Mark II
system might t, we tried it only to nd that it
doesnt. Regrettably, no lter adapter was
available at the time of testing, but Lee Filters
disclosed to AP that it would look into creating

one if theres enough demand, but it wouldnt
arrive for at least a couple of months.
In terms of its operation, the manual-focus
ring operates uidly and functions across its
focusing range in just over a quarter of a turn.
It falls nicely to hand and the same can be said
for the large AF/MF switch that juts out from
the side of the barrel and is easy to locate with
your thumb. This switch offers a reassuring
click, and the white background thats revealed
behind the switch when its set to AF acts as a
visual reference of where its set to in low light.
Image quality
Our review sample was supplied in Canon-t,
and for testing purposes I paired it with the
Canon EOS 5DS. Given the highly impressive
Sigma 20mm
f/1.4 DG HSM | A
Resolution
The lens resolves a similar level of sharpness in
the centre at f/1.4 as it does when its stopped
down between f/8 and f/11. Our Applied Imaging
test results show the lens is at its sharpest in the
centre around f/4, but to record the finest level of
edge-to-edge sharpness across the frame youll
want to shoot between f/5.6 and f/8. Users can still
achieve great results at f/11, but diffraction does
start to soften images slightly when you push to
its f/16 minimum.
Vignetting is obvious when the lens is used wide open, but its better controlled when its stopped down
level of detail this camera resolves, I wanted to

nd out whether or not its results wide open
are as impressive as those weve seen from
Sigmas other Art lenses in the past.
Rattling off a series of frames of the same
scene from f/1.4 to f/16 and then analysing
these alongside our Applied Imaging tests
revealed a jaw-dropping set of results.
Sharpness in the centre of the frame at f/1.4 is
very impressive. Edge sharpness is a little way
off matching the same level of sharpness in the
centre at f/1.4, so to record the nest level of
edge-to-edge sharpness across the frame youll
need to close the lens down a few stops. Corner
sharpness improves by the time you reach f/4,
but the sweet spot between centre and corner
sharpness is located closer to f/5.6-f/8. The lens
continues to resolve sharp images beyond these
settings and f/11 is certainly usable if youre
keen on creating a larger depth of eld.
Diffraction does begin to soften images a little at
f/16, so its good to see Sigma putting a cap on
the lenss minimum aperture.
Equally as impressive is the way this lens
controls curvilinear distortion. Although its not
entirely distortion-free, the barrel distortion it
does exhibit is negligible and cant easily be
traced in shots straight out of the camera. I did
notice some signs of purple and green fringing
at the edges of the opening image to this
review, but that was only obvious at very close
magnication. At the time of testing we were
still awaiting a new lens prole update from
Adobe. When this does become available we
expect these signs of chromatic aberration and
barrel distortion to be resolved with a single
click of the Enable Prole Corrections box
beneath the Lens Corrections tab.
Vignetting is clearly obvious when the lens is
used wide open. The corners are around 2EV
darker than the centre of the image when the
lens is used at f/1.4. Closing the lens down to
f/2 sees corner shading improve and dialling in
an aperture of f/3.2 sees vignetting clear up
almost completely. Its untraceable in
images that are taken at and beyond f/4.
Our verdict
THE WIDE focal length combined with the
extremely fast maximum aperture and
849 price tag might suggest the appeal
of this lens will be limited, but for those who
regularly nd themselves wanting to squeeze
as much of their surroundings in the frame
and for those whod like to gain an extra
couple of stops when working in low light
its a very tempting choice indeed.
By paying a premium for this lens you get
rst-class image quality and performance in
return. Its a lens with many positives and
only minor negatives. Those whod like to
attach lters will have to be patient and wait
for adapter rings to become available, and
the fact it doesnt feature weather sealing
means youll need to
take precautions in
Data file
inclement weather.
Overall, this is yet
Price 849
another valuable addition Filter diameter N/A
to Sigmas Art line-up
Lens elements 15
of premium lenses and
Groups 11
once again highlights
Aperture blades 9
Sigma as a brand thats
Aperture f/1.4-f/16
at the forefront of
Minimum focus
innovative lens design.
distance 27.6cm
Dimensions
90.7x129.8mm
Weight 950g
Lens mount Canon,
Nikon, Sigma
Included
accessories Lens
cap, lens pouch
20mm centre
20mm corner
Shading
Use the lens at its maximum aperture and images
will exhibit obvious vignetting. This can help to
draw a viewers eye to the centre of an image, but is
not to everyones taste. Edges are approximately
2EV darker than the centre at f/1.4, but this lessens
to 0.6EV darker than the centre at f/2.8. Vignetting
cant be traced when the lens is closed down to f/4.
20mm f/1.4
20mm f/4
Curvilinear distortion
Barrel distortion can be seen in our test results,
with straight lines bowing out slightly towards the
corners. If you do want to remove this, it should be
a relatively quick fix when Adobe releases a lens
profile for Lightroom, Photoshop and Camera Raw.
Were expecting this to be available very soon.
SMIA TV = -1.5%
GOLD
47
CHRISTMAS GIFT IDEAS
Gifts galore
If youve bought all your Christmas presents, well done, but if youre like the
rest of us and have trouble finding the perfect gift, look no further. On the
next five pages we have more than 20 gift ideas at prices to suit all budgets
Manfrotto Lumie Lights

From 44.95 www.manfrotto.com
MANFROTTO makes a range
of great continuous LED panels
that are ideal for lighting subjects.
They can be used on or off-camera
without needing to mess about with
wireless ash triggers and changing
ash power. You can use them
for everything from adding light
to macro subjects, to ll light for
a portrait or even as a video light.
The great thing about the

Manfrotto Lumie design is that its
rechargeable, meaning you wont
need to carry loads of AA batteries.
There are three different sizes:
the three LED light starts at
44.95, but theres also a brighter
six LED version costing 69.95
and a top-end eight LED version
costing 99.95.
1901 fotografi
Maitani Strap
23.95 www.1901fotogra.co.uk
Freeloader CamCaddy
2 universal charger
A LITTLE slice of luxury can be

brought to your camera thanks to
1901 Fotogras Maitani Strap.
Made from full-grain English
leather, this classically styled strap
looks great alongside a wealth of
retro-styled cameras such as the
Fuji X series or the Olympus OM-D
series. Its available in black and
brown, and is adjustable from
83cm to 137cm. Theres fantastic
detailing and well-crafted rivets
holding the whole lot rm. The
strap is only 12mm in width
so its well suited to smaller
compact system cameras.
20 www.solartechnology.co.uk
IF YOURE anything like us at
AP, you have masses of gadgets
with lots of batteries and lots of
chargers, too. Thats where the
Freeloader CamCaddy 2 charger
comes in handy. It has two pins
that can be adjusted in position to
48
accommodate any block-style

camera battery. The best feature
of this charger is that its powered
via Micro USB. This means if you
have a power bank, you can
charge up your camera battery
by using the CamCaddy 2.
Easy Off Gloves

17.99 www.easyoffgloves.com
ITS PRETTY chilly outside now, and gripping a camera in

the frosty air and wind can quickly make your ngers feel cold
and rather stiff if youre not wearing gloves. However, using
thick gloves and pressing buttons can be quite a pain.
Thankfully, Easy Off Gloves has designed something that
suits photographers and their need to push buttons, tap
touchscreens and ddle with scroll wheels. Called Zip
Photography Gloves, the tip of both the index nger and thumb
fold back and stay in place with a small magnet. Theres a little
zip pocket on the back for storing items such as SD/CF cards.
The inner is lined with warm eece, while the outside is made
from a softshell material with silicone on the palms to aid grip.
Lens mug
10 www.cvp.com
THERE are stacks of lens-shaped
mugs available these days.
Theyre on sale in many
high-street retailers across the
UK, including Primark and
Waterstones, and they range
from 3 to around 10. The top
end will get you a mock Nikon
24-70mm lens or a Canon
24-105mm with metal lining
and a top to hold your biscuits.
At 3 youll get a plastic cup with
an unfamiliar focal range and
badly spelt Nikon or Canon
wording but hey, its all good
fun. Theres a certain novelty to
confusing people by drinking out
of a receptacle that looks like
a lens, and for under a tenner
its a brilliant little stocking ller.
Sirui T-005X
with C-10X head
99.95 www.sirui.eu/en
IF YOURE travelling or spending
a day out and about, a full-sized
tripod can sometimes just be too
much to carry. Help is at hand,
though, in the shape of the Sirui
T-005X, which weighs a little over
1kg and folds down to 32.5cm,
but extends to 139cm. With
three leg angles and a removable
centre column, its exible too.
Its ideal for use with mirrorless
cameras or small DSLRs, and
the C-10X head is superb.
Azden SMX-10 Directional

Stereo Microphone
90 www.azden.co.uk
DSLRs and mirrorless cameras are getting better at
recording video, but one area they often lag is in sound
recording often because they use built-in microphones,
which pick up operational noises. So if you are at all serious
about movie making, an external mic is a must. The SMX-10
is a well-made, high-quality stereo unit that attaches to the
hotshoe via an anti-shock mount, and has a standard
3.5mm stereo plug for connection to most cameras.
WITH the ability to act as both a
shutter release and a remote ash
trigger, Hhnels Captur Remote
two-part set consists of a trigger
and a receiver unit, and 2.4GHz
wireless technology gives a 100m
range. It employs interchangeable
connector cables to allow use with
Hhnel
Captur
Remote set
60 www.hahnel.ie
most camera brands including

Canon, Nikon, Sony, Olympus and
Panasonic. Additional receivers can
be used to trigger multiple ashes
or cameras, a timer trigger includes
a programmable intervalometer,
and a Pro module includes
motion, light and sound sensors.
Manfrotto 804
Mark II 3-Way head
79.95 www.manfrotto.co.uk
MANY photographers favour
three-way tripod heads for their
ability to adjust the camera angle
independently in each axis, but they
tend to be heavy and awkward to
carry. Manfrottos recently updated
804 model addresses both of these
problems. Made of lightweight
Adapto polymer, it weighs 750g and
the two longer handles have a clever
sliding retractable
design that allows it
to be more easily
packed for transport.
It uses Manfrottos
standard RC2 quick-release plate,
and has a bubble level to help with
setting up the camera straight. With
a load capacity of up to 4kg it will
also handle most types of camera.
49
Vanguard
VEO
AM-264TR
Monopod
79.95
www.vanguardworld.co.uk
Adobe
Creative
Cloud
Photography
Plan
102.30 per year
www.adobe.com/uk
FOR AN annual subscription of
102.30, the Adobe Photography
Plan provides the latest versions of
both Photoshop and Lightroom.
Should you want to make a gift of
it, you can buy it as a pre-paid
software download card that will
t inside a Christmas card.
IF YOU spend much time shooting

with long, heavy lenses, then a
monopod is a must to take the
weight off your arms. The VEO
AM-264TR is one of the best weve
seen this year. Its four-section
aluminium design employs
quick-lever locks to give a height
adjustable up to 1.63m, collapsing
down to 56.5cm, and it weighs
900g. This is heavier than most
similar-sized monopods due to the
folding tri-stand at the base, which
has thick anti-slip rubber feet and
a ball-joint connection for smooth
panning. Rounding off the package
are a thick rubber grip, adjustable
hand strap, and a carabiner for
easy carrying.
Transcend ESD400K
Superspeed 256GB SSD
86 uk.transcend-info.com
TRANSCENDS ESD400K Superspeed solid state drive
comes in a variety of sizes, and has a USB 3.0 connection
for speedy le transfer at up to 5GB/sec. At just
92x62x10.5mm in size and weighing a mere 56g, its
a great option for backing up your precious photos while
travelling, and it even comes with a protective pouch.
GoPro Hero+ LCD

200 www.gopro.com
The Hero+ LCD is a fairly new addition to
GoPros range of action cams. Its billed as an
entry-level model, but has a built-in LCD display
on the back that offers a degree of touchscreen
control. Video can be recorded up to 1080p full
HD at 60fps, with still images up to 8MP. Wi-Fi
and Bluetooth connectivity are included.
50
I subscribe 0330 333 4555
Lee filters Digital

SLR Starter Kit
LaCie d2 6TB Thunderbolt

2 USB 3.0
229 (with two adapter rings) www.leelters.com
345 www.lacie.com
THIS Lee Filters kit is a great way to build a lter system from scratch and
comes with all you need to get started. The box contains a 0.6 neutral
density hard graduated lter, a 0.6 ProGlass ND standard lter, which
reduces exposure by 2 stops, a lter holder thats pre-assembled ready to
accept 100mm lters, a cleaning cloth and a Tri-Pouch that holds up to
three lters. The only item not included in the kit (that youll need to buy
separately) is an adapter ring to mount the lter holder to the lens you
intend to use. These can be picked up in all the popular sizes (49mm105mm) for around 20 each.
THIS LaCie hard drive is a fast, reliable storage

device suitable for Mac or PC use. It combines a
Thunderbolt 2 and USB 3.0 interface to deliver
the best possible speed when connected to any
late-model PC or Mac and combines best-inclass interfaces with a Seagate 6TB 7200 RPM
hard disk, resulting in speeds of up to 220 MB/s.
For serious photographers and professionals it
provides everything needed for a secure back-up.
Western
Digital
My Cloud
4TB
150 www.wdc.com
THIS NETWORK-attached
storage (NAS) drive allows you to
set up your own personal cloud
storage service from the security
of your own home. This means no
more having to upload images
to remote servers in mystery
locations and then trusting your
cloud provider to keep them safe.
Better still, you wont have to pay
any of the monthly or annual
service charges, either. With 4TB
storage theres plenty of space
not only for image les, but also
for your music, movies and
documents. And, of course, youll
be able to access the contents of
the drive from anywhere you can
access the internet.
Olympus
Stylus Tough
TG-4
282
www.olympus.co.uk
ALTHOUGH smart
to be the most pop
p c et
compact for genera apshots,
theyre not the best choice when
comes to taking photos off-limit
As anyone whos dropped a
smartphone in the sand or at the
poolside will tell you, these devices
just arent rugged enough to
survive the unexpected conditions
that can present themselves on a
holiday. The Olympus Stylus Tough
TG-4 is designed to survive
whatever is thrown at it, being
waterproof to a depth of 15m,
freezeproof to -10C, shockproof
to 2.1m and crushproof to 100kg.
The big news is it can shoot in raw
format. It was awarded ve stars
when we tested it in AP 6 June.
Manfrotto 190 Go! Tripod

160 www.manfrotto.co.uk
THIS DURABLE travel tripod is small
and light enough to carry around all
day without overly weighing you down,
yet it still offers a good range of
features. Constructed from
aluminium, the 190 Go! folds down
to 45cm in length, extends to a
maximum height of 146cm and
weighs just 1.7kg. The legs can be set
to one of four angles (25, 46, 66 or
88), with each leg comprising four
sections that are held in place by a
secure twist-lock mechanism.
Adding to its versatility is the
centre column that can be
at 90 to the tripod, to
e easy work of low-level
m ro shooting.
Datacolor Spyder 5 Pro

125 www.datacolor.com
DIFFERENT monitors display colours in slightly different ways, and a
miscalibrated screen can have serious repercussions when it comes to
printing, as what you see on your screen isnt necessarily how the
nished print will look. Calibrating your monitor with the Spyder 5 Pro is
a fairly simple process and will ensure that what you see is exactly what
your printer will see.
51
Apple iPad
Air 32GB
Elinchrom D-Lite One

RX Softbox kit
359 www.apple.co.uk
425 www.elinchrom.com
IF YOUD like to research locations,

check the weather before you go
out to shoot, have access to emails,
or inspect your results on a larger
display, youll want to add a tablet
to your Christmas wish list. The iPad
Air is just 7.5mm thin and weighs
less than half a kilo, which makes
it perfect for slipping into your
camera bag before heading out
on a shoot. The powerful and
power-efcient A7 chip with 64-bit
architecture makes it remarkably
responsive to use and the 9.7in
retina screen delivers sensational
picture quality. The most basic iPad
Air features a 16GB capacity
(319), whereas the 32GB
version costs 40 more. Both
versions are available in space
grey or silver nish.
IF YOURE into
portraiture or are
thinking about setting
up your own studio,
youll want to look at
buying yourself a set
of studio lights. The
D-Lite RX Softbox kit
includes everything
you need to get
started, including two
heads, two stands, two softboxes,
a Skyport transmitter to re the
heads wirelessly, leads, lamps and
a carry bag. Offering around
twice the output of a standard
ashgun, this lighting kit can
get you out of trouble when
youre working in low-light
situations. It can also provide
vital ll-in ash when
working in high-contrast
lighting conditions. Its a
mains-powered kit, and
reectors and umbrellas
will need to be
purchased separately.
Lowepro Pro
Runner RL
450 AW II
backpack
289
www.lowepro.com
LOWEPROS roller-friendly Pro
Runner allows you to carry it as
a backpack or roll it beside you.
Full to capacity you can squeeze
in a pro-spec DSLR with
70-200mm f/2.8 lens attached,
four additional lenses including
a 24-70mm f/2.8, as well as a
spare DSLR body and a ashgun.
Theres storage space for a 15in
laptop and it comes with a built-in
all-weather cover and straps to
secure a full-sized tripod.
LG Digital Cinema
4K Monitor
810 www.lg.com
DESIGNED to meet the needs of
stills photographers and video
editors, the LG Digital Cinema 4K
Monitor offers 4K resolution,
10-bit colour depth, built-in colour
management controls, and a pivot
feature to allow the screen to be
viewed in both landscape and

portrait formats. Its gamut covers
99.5% of Adobe RGB and still
images can be split via a Dual Color
Space mode, allowing them to be
viewed in both sRGB (web) and
Adobe RGB (print) versions.
Billingham 550 camera bag

530 www.billingham.co.uk
52
production bag Billingham ever

made, and its still a big hit with
photographers who cant bear
to leave anything behind. Even
without the detachable pockets,
the bag can accommodate multiple
camera bodies and ashguns, as
well as overnight essentials.
THERE are more than 100

components in a Billingham bag,
and most of them are custommade by, or for, the company.
From leather straps to brass
buckles, these bags are built to
last and have a pedigree dating
back to 1973. The 550 is the rst

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Technical
Support
E X PERT A DV ICE
Tamrons SP 45mm f/1.8 Di VC USD

includes optical image stabilisation
Are they worth it?
I have noticed a steep

rise in the price of
alternative-brand lenses,
especially in the more specialist
focal lengths and apertures. By
alternative, I mean non-camera
manufacturers branded offerings.
Have aftermarket brands
improved enough to justify
these new higher price points?
Terry McDonald-Dorman
In short, the answer is

yes. Sigma and Tamron
were once best known
for making inexpensive zooms
as an alternative to the camera
manufacturers own optics.
However, they can no longer
compete with the inexpensive kit
lenses made in bulk by the likes
of Canon and Nikon. Notably,
Sigma still makes all its lenses at
its factory in Japan, rather than
in countries where labour costs
are cheaper.
As a result, Sigma started to
move its lens line upmarket with
the launch of its 50mm f/1.4 EX
DG HSM in 2008, and has gone
from strength to strength ever
since. Its latest Art-series lenses
are superb, with a stunning set of
f/1.4 primes and super-fast
zooms, such as the 18-35mm
f/1.8 for APS-C and 24-35mm
f/2 for full frame.
Tamron has also moved
upmarket, and its SP (Special
TIPS
T RICK S
Performance) f/2.8 zooms

(15-30mm, 24-70mm and
70-200mm) provide a great
alternative to camera
manufacturers own lenses.
And its new pair of 35mm and
45mm primes uniquely combine
maximum apertures of f/1.8 with
optical stabilisation.
This isnt limited to their own
products, either. Patents have
emerged suggesting that the
Olympus M.Zuiko Digital ED
75mm f/1.8 and Zeiss Batis
85mm f/1.8 were designed by
Sigma and Tamron respectively.
In short, Sigma and Tamron
are very serious lens makers in
their own right.
Andy Westlake
Telephoto conundrum
I bought a Canon EOS

600D a few years ago,
along with a Tamron
18-270mm zoom. Although
the lens performs quite well
at wideangle to standard focal
lengths, its disappointing at the
more telephoto end. I also use a
Sigma 17-50mm f/2.8, so am
really only using the 18-270mm
at the longer end of its range.
I have been thinking about
replacing the 18-270mm with a
Tamron 70-300mm, or spending
more and going for a zoom with at
least 400mm of reach, possibly
the Sigma 150-500mm.
I have also been considering
changing to a Micro Four Thirds
system. Is the performance of,
say, an Olympus or Panasonic
70-300mm lens in any way
comparable with something like a
Sigma 150-500mm attached to
my existing Canon EOS 600D?
Daniel Walker-Hebborn
In general, Micro Four

Thirds cameras produce
image quality thats
very close to APS-C DSLRs
like your Canon EOS 600D;
the main limitation is noise at
high ISO settings due to the
smaller sensor. Olympus and
HACK S
Email your questions to: apanswers@

timeinc.com, Twitter @AP_Magazine
and #AskAP, or Facebook.
Or write to Technical Support, Amateur
Photographer Magazine, Time Inc.
(UK), Blue Fin Building, 110 Southwark
Street, London SE1 0SU
KNOW- HOW
Taking charge
In the past I have purchased two so-called universal

camera battery chargers, but both, in the small print,
specically exclude Sony InfoLITHIUM batteries such
as the NP-FW50. The NP-FW50 battery and its charger have
a three-point contact system, and I assumed that the third
contact was the problem, as the two third-party chargers only
had + and - contacts.
I read your review of the DigiPower TC-5000U charger
(AP 24 October) and, seeing that it would charge these batteries
through a bespoke plate, I bought one. However, this charger
also only has two points of connection between the battery and
charger. Can you tell me what the third terminal on Sony
NP-FW50 batteries is for, and what are the consequences
(if any) of charging with this unconnected?
Keith Jones
The issue with Sony

InfoLITHIUM batteries
is that they contain
microchips that communicate
with the charger (and camera)
to help accurately establish the
charge level. If this doesnt
happen successfully, the battery
will refuse to charge. Its not
just Sony that uses this kind of
technology; most manufacturers
have chipped batteries that
wont work in chargers that
dont recognise them correctly.
However, I can conrm that
weve double-checked the Sony
NP-FW50 in the DigiPower
DC-5000U, and it charges
without any problems. So its not
the third contact thats the culprit here.
Andy Westlake
Panasonic make 300mm

zooms, but the latter has a
faster maximum aperture
(f/5.6 vs f/6.7), so is probably
the better option, as it will help
keep ISO settings down.
The Sigma 150-500mm would
give a 240-800mm equivalent
range at f/4.5-6.3. The Panasonic
100-300mm would give a
200-600mm equivalent range
at f/4-5.6. The shorter equivalent
focal length means it wont have
so much reach for distant subjects.
Likewise, the image quality will
be a little bit behind, especially in

less-than-perfect light. But the
weight saving is considerable:
with an Olympus OM-D E-M10
Mark II the total weight is 910g
vs 2,350g for the Sigma
150-500mm on the 600D.
In summary, a 300mm zoom
on a Micro Four Thirds camera
should give better results than
youre currently getting. The
Sigma 150-500mm would give
better results still, but only if the
weight isnt an issue.
Andy Westlake
55
PERFECT
CHRISTMAS
GIFT
Learning in
a snapshot
At Amateur Photographer, we understand that your time is

limited, and that you may only want to improve a specific
area of your photography. Thats why weve designed our
School of Photographic Imaging Bitesize courses: short
courses for those with a specific learning objective.
79
79
LANDSCAPE,
CITYSCAPE AND
SEASCAPE
MACRO
AND CLOSE-UP
PHOTOGRAPHY
79
79
TEN STEPS
TO PERFECT
PICTURES
WORRY
FREE
WORKFLOW
For more information visit

www.amateurphotographer.co.uk/school-photographic-imaging
Email us at spiadmin@timeinc.com
JEFF HOWLETT
Technical Support
My life in
cameras
BLAST FROM THE PAST
2010
Holga
Jeff Howlett is
the director
and producer of
the acclaimed
documentary A
Band Called Death,
about 1970s rock
band Death and
their new-found
popularity decades
after the group
recorded their music. He has been
photographing for many years, and has spent
the last 17 years focusing specically on tintype
photography. He and his friend, Chris Morgan,
will gladly bring their mobile tintype studio to
your next event or festival.
During the production of my

documentary lm A Band Called
Death, I picked up a Holga camera and decided
to get myself into a darkroom. This was an
absolute game changer for me. It was this simple
camera that made me want to shoot on lm
again. Since 2010,
I have fallen back
in love with,
not only lm,
but also
shooting
using the
wet-plate
collodion
method.
1986
2011
Yashica Auto
Focus Motor-D
A friend of mine gave me a

Rolleiex 6006 lm camera paired
with a Zeiss Planar f/2.8
80mm lens as a present.
I fell in love with the
6006. You can see the
results of this camera if
you look at the U.S. Girls
album Half Free. The
image on the cover
was shot with this
camera. The 6006
is my essential
camera for portrait
photography.
2012
2002
2010
2012
I was absolutely enamoured

with the digital age when I got the Canon
PowerShot S40. It was vitally important to me
because it was with this camera that I captured
the births of my daughter and son. Thats
something a lot of photographers can probably
relate to. I stayed locked in with various Canon
cameras
over the
years
from the
EOS 7D
to the
EOS 5D
Mark II.
Rolleiflex 6006
Pacemaker
Speed Graphic
2007
2002
Canon
PowerShot S40
1986
This was the rst camera I owned

and was given to me by my father for my 16th
birthday. I was utterly clueless about how to
use it and ended up taking a lot of really bad
photographs, but I have to say it served me well.
I used it often, and
it was the
piece of
kit that
taught
me things
like the
rule of
thirds.
2011
CHRIS MORGAN
Tintype photographer Jeff Howlett

reveals the cameras that shaped his life.
www.howlermanophotography.com
The Pacemaker Speed Graphic

paired with a 210mm Zeiss lens is a camera
and lens combination that Im totally in love
with. This camera is my go-to for 4x5in
tintype portraits
and is still my
favourite
set-up
to use
whether
Im shooting
wet-plate
collodion,
lm or
Polaroids.
Canon EF-M
Ivor Matanle looks
at this rarity, made
solely for export to the
non-Japanese market
LAUNCHED 1991
PRICE $219.95 with 50mm f/1.8,
Popular Photography (USA),
March 1992
GUIDE PRICE TODAY Unknown
THE CANON EF-M was Canons
attempt to provide traditionalists
with a 35mm camera that could
be used manually, but was
compatible with Canons then
new EF range of lenses, albeit
without autofocus. It was made
solely for export to the nonJapanese market, and although
a contemporary of EOS cameras
it is not an EOS, since it does
not have autofocus. At each end
of the top-plate is a revolving
dial. The left-hand one sets
shutter speeds 1sec-1/1000sec,
and the right-hand dial sets the
lens aperture.
Each dial has an A setting,
enabling the camera to provide
aperture-priority automatic
exposure if the aperture dial is
set to A, shutter-priority
automatic exposure if the
shutter-speed dial is set to A
or program automatic exposure
if both are set to A.
It has a focusing screen with
both microprism and split-image
rangender focusing aids, and
can realistically only be used with
lenses with a graspable focusing
ring, which some Canon EF
mount lenses do not have. The
Canon EF-M is a genuine modern
rarity and very collectable.
Whats good Common-sense

usability if you understand
photography.
Whats bad No ashsynchronisation socket

apart from the hotshoe.
57

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Technical Support
Professor Newman on
Lens design
and AF
There are some interesting lens-design insights
to be found by studying a Tamron lens patent
The Zeiss Batis

85mm f/1.8 has
many similarities to
a Tamron patent
n AP 28 November, I
discussed the remarkable
similarity in optical formula
between a lens released by
Zeiss and a lens described in a
patent from Tamron. This article is
about the same patent but
concentrates on AF and IS.
There is a common
misunderstanding of what it is
that is patented. Some have
said that Tamron has patented
this design, which isnt strictly
possible in international patent
law. Strictly, designs are protected
by copyright, whereas inventions
are protected by patent, although
some countries such as the US do
have design patents, which provide
a greater degree of protection than
simple copyrights. Other countries
call this a registered design.
In patent law, an invention is
dened by a series of claims, which
dene the essence of the invention.
In the case of the Tamron patent,
the claim is for a lens constructed
of three groups of elements in
a classic triplet conguration
Generally, autofocus lenses try to

avoid moving the complete lens,
since it is heavy and that results in
slow focus. Historically, this has
been achieved using front cell
focus but as Tamron points out,
in telephoto lenses the front cell is
large, restricting autofocus speed
and also making it impossible to
seal the lens. The most common
solution is to adopt internal
focusing, which usually involves
moving the last group (which is
why the lens appears to back-off
into the mount as it is focused).
The issue with this design is that
the lens cannot be sealed at the
back, and will often get dusty. It is
argued therefore that by putting
the internal focus in the middle,
the lens can be sealed at both
ends and a small focus element
employed. By using the triplet
conguration, where the central
lens is not responsible for
correcting aberrations in the other
groups, the focusing element can
be simple and small. Placing the
focus movement there requires
moving the vibration control to the
front of the third group and the
aperture stop just in front of it.
Since any direct copy of the
published design is naturally
covered by the claims, Tamron has
protected the design as well as
any other lens based around the
same design concept.
(a positive group followed by

a negative group, then a negative
group) in which a single element
negative lens in the second group
is moved to provide internal
focusing and a single negative
element towards the front of the
third group is moved laterally to
provide image stabilisation.
This is a useful innovation
because the conguration
allows these moving elements
to be singlets without their
movement adversely changing
lens performance. The smallness
of the elements, conferred by their
VC
Focus
central position, means that they
are light, meaning less inertia,
faster movement and thus more
responsive AF and IS. Tamrons
patent discusses the issues of
designing a lens for a compact
interchangeable lens camera and
G2
G3
the design options discussed in
Sensor
G1
the previously patented designs.
Tamrons patent 2015-96915
The nub of the problem is to nd
positions for the internal focus
Tamrons patent 2015-96915 covers
movement, the vibration correction a triplet configuration with small
movement and the aperture stop. focus and stabilisation elements
Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of
high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer
59
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81
Photo Critique
Final Analysis
Roger Hicks considers
An image from the Daimon series, by Laura Majolino
LAURA MAJOLINO
aura Majolino exhibited at the

Arles festival in France in 2015.
The pictures I saw were superb,
and brought to mind the golden
age of Hollywood, a by now semi-mythical
era of black & white movies. When I got
home, I went to her website and found
that such pictures were only a small
part of her oeuvre to date. So I decided
to use a picture from this series instead.
This illustrates the interdependence of
exhibitions and websites. Id never have
discovered her website by chance, without
the exhibition, but equally, without her
website Id never have found this.
A daimon is not quite the same as a
demon, although it comes from the same
Greek root. Rather, it is more like a genius
(in the original sense): a semi-divine being
or personal spirit or inspiration. These
pictures have a real fairytale quality,
but they also echo actual history, when
children worked and indeed often married
as soon as they were able. They were
not treated as a separate species, but
as small people with their own lives
and responsibilities. Their clothes, too,
were normally miniature, cut-down or
cast-off adult clothing although not
all the clothes in the Daimon series
are from the far past.
Fairytale quality
Every child is accompanied by what our
mediaeval ancestors might have regarded
as a familiar, a spirit in the shape of an
animal. I have to confess that I am more
than a little shaky when it comes to
distinguishing between ferrets, weasels
and polecats, but the animal here is
probably one of those. Another picture
I almost chose was of a young gangster
in a 1920s suit with a white mouse. Then
theres the girl wondering whether to kiss
the frog. So much for never working with
children or animals!
Part of the fairytale-ness of these
pictures is their exquisite technical
quality. They are superbly and softly lit,
perfect in tone and texture: we can almost
feel and smell the wool, the leather, the
fur. They clearly owe a good deal to Lauras
commercial and advertising experience,
a benevolent circle in which art and
commerce meet, and both win. We can

imagine these pictures as illustrations in
a very expensive book, kept at grandmas
house, that the children are allowed to see
only on Sundays, dressed in their best.
As so often when dealing with
contemporary photographers, I had
enormous difculty in choosing just one
picture. Visit www.lauramajolino.com to

see why. More than 20 years after Laura
rst opened her studio in Milan, Italy, she
is as fascinated by photography as ever,
mixing commercial work with this sort of
thing. She remains a true amateur
photographer, taking pictures for
the love of the art and craft.
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 website
at www.rogerandfrances.com). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Thomas Kellner
82
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