Amateur Photographer - 11 August 2018

Saturday 11 August 2018
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Passionate about photography since 1884
Master the
inside job
Essential high-ISO and exposure skills
for great shots of interesting interiors
Britain’s irst
& last SLR
The fascinating story
of the rise and fall
of the Wrayflex
Lee Miller
celebrated
A son’s insight into
this controversial and
highly creative artist
Photobooks
made easy
Discover a new app that
makes publishing simpler
Get the white balance Fix weird colour casts with our no-nonsense guide
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COVER PICTURE © CHRIS PUTNAM/ALAMY STOCK PHOTO
A week in photography
We’ve all seen the ‘no flash in this issue – tips you’ll find useful whether
photography’ signs inside you are shooting in Canterbury or Cambodia.
churches, temples and other We also share the fascinating story of the
historic buildings. It presents Wrayflex: Britain’s first (and last) SLR. It’s a
the serious photographer with cautionary tale and an inspiring one, as is the
In this issue a lighting challenge, as amazing interiors are story of top 20th-century photographer, Lee
8 The liberation something we all want to photograph. To help Miller (page 20). Canon users will want to
of Mosul you avoid noisy, low-resolution images, we check out our review of Samyang’s keenly
The story behind share some practical tips for using high-ISO priced new prime on page 43. Enjoy the issue!
photojournalist Ivor settings and fast lenses to deal with interiors Nigel Atherton, Editor
Prickett’s front-line images
JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
14 Take the ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
high road
Steve Davey shares his
expertise on using high ONLINE PICTURE OF THE WEEK
ISO in low-light interiors
20 The surreal truth
We talk to Antony Penrose,
the son of photographer
Lee Miller, about her
key role in the British
surrealist movement
26 Photo insight
David Tipling explains how
he captured a striking
avian photograph
28 Behind
the scenes:
Bodiam Castle
IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
AP joined the Panasonic
LUMIX Roadshow at this
National Trust property
32 Lightroom tips
Pro James Paterson
shows how to get white
balance and colour
correction right
© HENR K SPRANZ
36 Britain’s irst (and

last) 35mm SLR
John Wade recounts the
fascinating story of the Alpine marmot
Wrayflex camera
43 Samyang AF
by Henrik Spranz
Canon 5D Mark III, 400mm, 1/1600 sec at f/4, ISO 800
Win! Each week we choose our favourite
*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY
85mm f/1.4 EF
Michael Topham reviews This shot of an alpine marmot was achieve some dreamy look by picture on Facebook, Instagram,
this fast and affordable uploaded to our Twitter page using getting a very low point of view for Flickr, Twitter or the reader gallery using
short telephoto prime lens the hashtag #appicoftheweek. It blurring the foreground. Patience #appicoftheweek. PermaJet proudly supports
was taken by photographer Henrik is essential to capture special the online picture of the week winner, who will
Regulars Spranz. He tells us, ‘I’m a big fan of
many rodents like European ground
moments and expressions in the
wildlife genre – even if these
receive a top-quality print of their image on the
finest PermaJet paper*. It is important to bring
3 7 days squirrels, red squirrels, coypus, marmots here are more used to images to life outside the digital sphere, so we
24 Inbox European hamsters and the alpine humans and let you come closer encourage everyone to get printing today! Visit
46 Accessories marmots. Most of the time I want to than in other places.’ www.permajet.com to learn more.
49 Tech Talk
66 Final Analysis
Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@ti-media.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 24.
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 24.
BIG
Unseen Rory Lewis portraiture and high-profile public figures including Sir Patrick
work on display at Wex Stewart, Sir Ian McKellen, David Bamber, Tobias
Menzies, William Shatner, Rufus Sewell and Tony
A NEW body of work from celebrated British Amendola (pictured).
picture
portrait photographer Rory Lewis has gone Rory says, ‘So much of the portraiture
on show at the Wex Photo Video gallery in commissioned in the press and print industry is
Whitechapel, London. reluctant to rake risks, and I try to challenge that
Entitled ‘Portraitist’, the free exhibition runs safety. When I’m working with an actor, I like them
until 30 September and features 24 previously to act. I’m always waiting for that moment of
unseen photographs of distinguished actors spontaneity in expression.’
4 11 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

NEWS ROUND-UP
This week in brief, edited by Geof Harris
Get animating with PhotoMirage

PhotoMirage, a Windows program that animates a single photo to
create a GIF, WMV or MP4, has been released by Corel. Rather than
using AI, PhotoMirage places points over an image, which are then
animated – clouds in a landscape or water, for example (the
anchor points tell the software which pixels to leave still). The
software is compatible with raw images as well as JPEG and TIFF.
You can get a free trial of PhotoMirage at www.photomirage.io/en/
Nikon mirrorless countdown

As mentioned in last week’s AP, Nikon has revealed that it is
working on a new, full-frame mirrorless system. The company has
confirmed that the camera will employ a new lens mount, with an
adapter for F-mount SLR lenses in the pipeline, and that it’s still
committed to making DSLRs. There’s a live countdown to the
global launch on 23 August at http://bit.ly/nikoncountdown.
New drone laws in

force, more coming
At the same time as new drone
laws come into force, requiring
drones weighing over 250g to
be registered with the Civil
Aviation Authority and users
to prove they understand drone
safety, the government has
announced a further
consultation. Leading maker,
‘Poverty porn’ row DJI, has welcomed the move,
erupts on Instagram while citing three incidents
When the World Press Photo where police have used
(WPP) awards asked Italian drones to help find missing
photographer Alessio Mamo to people in danger.
curate its Instagram account
for a week recently, controversy
soon followed. Mamo has been
widely attacked for uploading
© RORY LEWIS
clearly staged images in

order to dramatise the
issue of hunger in India.
SOURCE: WWW.DPREVIEW.COM
See www.instagram.com/
Words & numbers
91
worldpressphoto.
The personality of the photographer, Scottish stereo photo meet

his approach, is really more A conference on Stereo Photography is being held on 18-19
October in St Andrews, organised by the University of St Andrews
important than his technical genius Number of countries from
which entries were received
Library in conjunction with the St Andrews Photography Festival.
Lee Miller for the Insight Investment Aimed at researchers, historians, curators or the merely curious,
American fashion model turned photographer Astronomy POTY 2018 the conference will examine how we have interacted with 3D
and photojournalist (1907-1977). See page 20. photography in the past two centuries. See bit.ly/stereostandrews.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 August 2018 5

The original
darkroom
window can still
be seen at
Bromley House,
along with other
studio fixtures
Feiyutech’s G6
Plus gimbal
features intelligent
follow focus
Versatile new
gimbal
GIMBAL maker
Feiyutech has
announced the G6 Plus, a
lightweight all-in-one
gimbal with intelligent
follow focus and OLED
display. The device has
© GEOFF HARRIS
start and end points which

can be set manually, along
with the path of time-lapse
photography in auto-
Historic photo studio

rotation mode. Entering
lock-mode enables you to
adjust the pan and tilt axis
in any angle.
Designed to allow an
to get new lease of life

WHEN one thinks of the first refurbishment programme. ‘We (around £1) for a 2x2.5in
unlimited rotation angle of
the pan axis and 35° angle
for the vertical arm, the G6
Plus also features a new
digital zoom button which
photographic studios in the UK, intend to strengthen the narrative of daguerreotype in a case, equivalent enables users to zoom in
famous epicentres such as London the photographic exhibits, by bringing to a week’s wages for a manual or out, follow focus, change
and Lacock come to mind, but not the information together in one room worker and beyond the means of focus and control the three
usually Nottingham. In fact, Bromley and using interpretation panels and most of the city. Only about 500 axis. The G6 Plus costs
House Library, close to the iconic Old rotating exhibitions,’ explains Melanie were sold, which failed to cover the £269.99, and is on sale
Market Square, houses one of the Duffill-Jeffs, Director of Bromley daguerreotype license instalments, at leading retailers.
first commercial photo studios in the House Library. and following legal tussles, he left
UK, set up by Alfred Barber in 1841. Sadly, things didn’t go so well for Nottingham. Other pioneering
The library, which holds the historic the pioneering Barber, whose photographers took over the space,
Pauline Heathcote photography establishment was one of only six including one Sylvanus Redgate,
archive and a small collection of rare daguerreotype studios in the who cashed in on the craze for
cameras, has announced a major country. He charged one guinea ‘carte de visite’: sepia-toned prints
pasted onto small cards.
Bromley House photo Even before the refurbishment
specialist, Eric Butler, runs concludes, it’s well worth visiting
free tours on Wednesdays Bromley House as it occupies a
pre-eminent position in British
photographic history. As AP’s Geoff
Harris discovered, the attic rooms,
Subscribe to
which were virtually in continuous
use for photography from 1841 to
1955, are materially little altered.
Guided tours of the darkroom and
studio are available on Wednesday
afternoons by appointment (email
SAVE *
photobromleyhouse.org) and
you can watch photographer-in-
residence Jim Grainger taking 35%
Visit amateurphotographer
© GEOFF HARRIS
ambrotype photographs. Keep up

to date with developments at www. subs.co.uk/14AW (or see p48)
bromleyhouse.org. * when you pay by UK Direct Debit

Get prints from your Back in the day
smartphone for £40 A wander through the AP archive.
This week we pay a visit to August 1957
JAPANESE firm Tomy has launched while small 4in phones such as the iPhone
a smartphone picture printer called SE won’t quite fill the entire print area.
KiiPix. This ingeniously simple device When not in use, KiiPix folds down to a
doesn’t need an app to be installed on 14.3x11.2x5.3cm package (excluding the
your phone, a network connection or film-ejection knob), with the print mask
even a battery – and it costs just £40. neatly stored inside.
Essentially, it’s a simple camera that takes KiiPix will go on sale in August with a
photographs of your phone’s screen onto price of £39.99. It will be available in
Fujifilm Instax Mini instant film, with the black, blue or pink, and is advertised as
print ejected after exposure using a suitable for ages 14 years plus.
hand-powered crank. Film packs have
to be bought separately, and cost around
£15 for 20 prints.
In principle the Tomy KiiPix should work
with smartphones of any screen size, with
the phone placed face-down onto a mask
that defines the print area, using an
8.6x5.4cm opening. In practice, this is a
good match for smartphones with 4.7in
screens, but will mean some cropping of
the image with larger-screen devices,
The KiiPix
printer doesn’t
need an app,
battery or
network
1957
AFTER a run of rum covers featuring scantily clad
connection
cover models from the 1970s and 1980s, it’s good
to go back to the solid and respectable 1950s this
week. No sex please, we’re British, but horse racing is
much more like it. This image wouldn’t make the
cover cut these days as the editors wouldn’t think it’s
razor-sharp enough, but this wasn’t so much of a
concern in the pre pixel-peeping age; it was more
about the overall impact of an action scene (and
some would say this was a more sensible way of
judging a picture). There is some really good content
Astro POTY shortlist announced inside this issue, including a thoughtful editorial on
the difference between a snapshot and a ‘proper’
photographic print. As the then-editor noted with
© MARK GEE 2016 - WWW THEARTOFN GHT COM
THE SHORTLIST for

the Insight Investment magisterial disdain: ‘Nothing is more irritating than to
Astronomy Photographer hear a judge condemn a print as he couldn’t live with
of the Year 2018 has been it (some people might not be able to live with him!)’
revealed, with a particularly Meanwhile ‘Ricardo’ penned another still-relevant
strong crop of pictures this piece about the importance of looking for patterns
year. The long-running and graphic shapes in your pictures. The test of
competition is open to time stood.
amateurs and professional
photographers alike, who
sent in over 4,200 entries
from 91 countries.
The topic ranged from
a magical mosaic of the
Great Orion and Running Milky Way just before moonrise over Cable Bay, New Zealand
Man Nebula, the aurora
borealis exploding over the Winners are to be Maritime Museum. See
south coast of Iceland and announced on 23 October www.rmg.co.uk/royal-
a solar transit of the and the exhibition opens observatory and next
International Space Station. on the 24th at the National week’s issue for more.
For the latest news visit www.amateurphotographer.co.uk

It’s all about patterns, don’t you know. Says ‘Ricardo’

Photo Stories
The liberation
of Mosul
AP tells the story behind photojournalist
Ivor Prickett’s World Press Photo Award-winning
portfolio on the front-line ight against ISIS
O
n 10 July, 2017 the Iraqi Mosul was unprecedented for me. ISIS
government declared the city of pioneered ways of destruction and killing
Mosul to be fully liberated from people that had never been seen before; using
ISIS, although fierce fighting still commercial drones to drop munitions, driving
continued in pockets of the city. Mosul had suicide car bombers towards forces on the
fallen to ISIS three years earlier and the ground. The dangers were multifold and new.
MAGES © VOR PR CKETT/THE NEW YORK T MES

battle to retake it took eight months. Irish So it was incredibly dangerous.’
photojournalist Ivor Prickett was on the front line One of his most powerful images depicts
reporting for The New York Times. His powerful the rescue of a small boy from the ruins, and
portfolio won the prestigious General news: the story perfectly illustrates the ambiguity that
Stories category at this year’s World Press Photo soldiers on the ground are often faced with
and two of his images from the set were when the enemy doesn’t wear a uniform and
nominated for image of the year. is difficult to identify.
‘The retaking of Mosul in effect had two ‘The child was carried out of the last
parts,’ explains Ivor. ‘The battle for the eastern remaining ISIS stronghold in the Old City by
half of the city, and the battle for the west, a man who had just picked him up and didn’t
across the Tigris River. East Mosul was retaken know who [the boy] was. It was suspected that
by January but the offensive on the more he was an ISIS fighter who was just using the
built-up west, around the Old City, proved boy as a human shield and as a means of
more difficult.’ getting out of the killing zone. So the soldiers
Large areas of Mosul were left in ruins and I was with were just left with this boy who was
according to the UN there were at least 4,192 too young and traumatised to speak. The
civilian casualties, though many believe the commander on the spot just said that one of
figure to be much higher as ISIS frequently his men was to be responsible for taking care Nadhira Aziz looks
took civilian hostages to use as human shields. of the boy. So they washed him, cleaned his on as Iraqi Civil
Ivor was able to get right in the thick of the clothes, and cared for him. The picture I took Defence workers dig
action because, working for The New York (see bottom right) was of the moment when out the bodies of
her sister and niece
Times, he was able to be embedded with the the boy finally felt some peace and rested his
from her house
Iraqi Security Forces. head on the soldier’s shoulder and closed his
‘It’s really the only way you can cover the eyes. I felt it really summed up that moment;
fighting on the front line,’ he says. ‘They were when it caused everyone to forget what was Iraqi Special Forces soldiers
really the tip of the spear for ground operations going on for a minute.’ survey the aftermath of an ISIS
in Mosul, backed by the Coalition with air Ivor’s images from Mosul have been suicide car bomb that managed
support. They were operating in the most widely published in The New York Times, to reach their lines in the
dangerous front-line positions.’ but unusually he has also written the Andalus neighbourhood
A veteran of conflict photography in accompanying reports.
the Middle East, Ivor had previously ‘When my editor asked me to start writing,
photographed the battle for Aleppo in Syria, and adding words to my pictures, it was a big
but this was different. challenge,’ admits Ivor. ‘It was pretty daunting.
‘On the one hand I was fortunate to be able But it became an empowering tool for me as
to embed with a fully mechanised armed force a photographer to give more context to the
in the form of the Iraqi Forces, instead of being pictures I was taking; some of the things I was
with a rebel force like that in Aleppo, so in seeing were quite difficult to fully explain in a
some ways I felt safer. But at the same time, single picture. So writing has become
the level of brutality and urban combat in part of the process for me.’
Cork-born documentary photographer Ivor Prickett has been based in the Middle East ever since 2009. His work has been
recognised through a number of prestigious awards and his pictures have been exhibited widely. See www.ivorprickett.com.
8
IVOR’S KIT
Most of Ivor’s images,

and all the ones
featured here, were
taken on a Canon
EOS 5D Mark III,
with a 24-70mm
f/2.8L lens.
Civilians who remained in

west Mosul, line up for an
aid distribution in the
Mamun neighbourhood.
Those who chose to
remain in the city initially
relied on aid to survive
© IVOR PRICKETT/PANOS PICTURES

© IVOR PRICKETT/PANOS PICTURES
An Iraqi Special Forces

soldier firing on Islamic State
militants from a defensive
position in western Mosul
An Iraqi federal police officer

running into the smoke
after a suicide car bombing
An unidentified boy who was rescued

out of the last ISIS controlled area; one
soldier agreed to adopt him even
though they knew nothing about him
In next week’s issue
Viewpoint On sale Tuesday 14 August
Michael Topham
Mirrorless cameras are smaller and lighter than
DSLRs, but at what cost? Are we any closer to seeing
camera manufacturers strike the perfect balance?
A
few weeks ago I found myself come to expect from Canon and Nikon’s
shooting a series of portraits professional full-frame DSLRs. We’ve
on the Kent coast while testing already started to see other camera
several lenses that had manufacturers release mirrorless cameras
recently been sent in for review. One was that are larger than preceding models.
the Sigma 85mm f/1.4 Art DG HSM in Fujifilm’s X-H1 and Panasonic’s
Sony E-mount – an astonishingly sharp Lumix G9 are excellent examples of
portrait lens, but not exactly a compact or manufacturers listening to users and not
lightweight prime at126.2mm long and worrying about a slight increase in size
weighing1,130g. Removing the Sony FE and weight. As I write this I have the
24-70mm f/4 ZA OSS from the Sony Panasonic Lumix G1– the first mirrorless
Alpha 7 III and replacing it with this Sigma camera – in front of me and its diminutive
prime turned what was a well-balanced handgrip has nothing on the Panasonic
camera and lens combination into a very Lumix G9’s, which is wonderfully sculpted
front-heavy one. It put a lot more strain on and large enough to wrap your fingers
my right hand than I’m used to and after a around for a good solid grasp. Of all the
while the bottom corner of the handgrip mirrorless cameras I’ve tested over the
started to dig into my palm. Meanwhile my years, I think the Lumix G9’s handgrip has
left hand was offering some much-needed
additional support at the front of the lens.
to be the closest to perfection.
So we are beginning to see mirrorless
camera manufacturers strike the perfect
10 years of
mirrorless
The need for good handling balance between size, weight and the way a
Two hours of virtually non-stop shooting camera feels in the hand. It’s just that some
with this combination confirmed what has have been more ballsy and less fretful
been a lasting impression of mine – Sony about making their cameras larger than
is yet to get the handling right with its others. If Sony was to make a bigger, fully Andy Westlake looks at how
Alpha 7-series cameras. There’s the weatherproofed mirrorless camera that
argument that Sony’s VG-C3EM battery remained reasonably lightweight and felt as mirrorless cameras have
grip, which is compatible with the Alpha good in the hand as the images it’s capable developed over the decade
7 III, Alpha 7R III and Alpha 9, makes a of producing, I’d be seriously tempted to
difference with heavy lenses, but what I’d switch from my trusty full-frame DSLR.
© TREVOR MOULD
really like to see from Sony going forward
is a more positive intent on making its Michael Topham is Reviews Editor at Amateur
full-frame mirrorless cameras feel as Photographer. In his spare time he shoots sports and
rugged and pleasing in the hand as we’ve weddings. Visit www.michaeltopham.co.uk.
© ANDREW SYDENHAM
THE V EWS EXPRESSED N TH S COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TI MEDIA LIMITED
Relections on mirrorless
Four pros share their insights into the
mirrorless systems they use
CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE
Make the most of mirrorless

Unleash the full potential of mirrorless
with these tips from Angela Nicholson
Sigma’s 85mm f/1.4 in Sony E-mount adds serious bulk to Sony’s Alpha 7-series cameras
Masters of mirrorless
A look at the strengths and weaknesses
Do you have something you’d like to get off your chest? Send us your thoughts in around of today’s mirrorless systems
500 words to the address on page 24 and win a year’s digital subscription to AP, worth £79.99

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Join
A selection of images our members, including portraits, street,
by the club members landscapes, macro, motor sports, wildlife,
still life, abstract and architecture. If you
have an interest in a certain field there is
bound to be someone else interested in it.
the
Club
Do members compete in regional or
national competitions?
We have recently started participating
in the competitions run by the Midland
Counties Photographic Federation, and
hope to enter more in the future.
Birmingham How many members do you have?
Photographic Society We currently have around 50 members,
Longbridge, Birmingham with the men outnumbering the women
at roughly a 4:1 ratio. Ages range from
16 to 76 years. Everyone is welcome,
We take a close look at regardless of age or level of knowledge.
We have a number of keen members who
a friendly club based turn up every week, but members are
in The Midlands welcome to attend whenever they can.
When was the club founded? Are any residential trips or

The club was started in 2012 by a small outings planned?
group of friends who had an interest in We run a mixture of outings – from
photography and who wanted more going out on a club night (recently we
opportunities to use their cameras went up to Clent Hills in Worcestershire
and learn about different aspects of for some sunset shots and to a wonderful
photography. Each member had different poppy field), to day trips and residential
interests and specialities, and brought weekends away. We are currently
loads of great ideas to the group. From planning a weekend trip to the Peak
there it grew quite quickly into the District; a trip to a local bird hide; and
amazing and diverse club we have today. once the nights draw in, a night out for
star photography. Hopefully we will get
What does your club offer to a chance to photograph the Birmingham
new members? Christmas Market again this year.
Most of our club nights are practical
in some way. They provide hands-on Do you have any funny stories
experience for members to progress about the club?
their photography and learn how to use While away on one of our residential trips,
their cameras and other photographic we were photographing waterfalls. After
equipment. Our members are all very we walked back up the hill to the cars we
friendly and are more than happy to realised we were missing Eddie, one of
help each other out. our members. After 30 minutes of calling
out, shouting and running back down to
Describe a typical club meeting. find him, he appeared as if nothing had
Typically at each meeting we have a happened along with two other members
couple of stations set up for people to we hadn’t realised were missing. We
photograph, depending on the night’s quickly learned to count people in and
theme. These include studio model out on our trips!
shoots, still-life set-ups, and sometimes
we head out for some landscape shots. What are the club’s goals for the future?
We tend to plan our nights to suit the We want to keep putting on interesting
time of year. Normally by the time you’re nights for our members and help them
home someone has posted one of their learn and take great images.
photographs from the night on our
Facebook page.
Club essentials
Do you invite guest speakers?
Recently we have had some fascinating Meets Every Wednesday from 7-9pm, at
guest speakers, including Colin Trow- 1577-1579 Bristol Road South, Longbridge,
Poole FRPS, who specialises in black & Birmingham B45 9UA
white work, and Mike F Shaw.
Membership Annual membership is £25;
weekly fee is £3 for the nights attended
What are the most popular photographic
genres among your members? Contact Birminghamps2016@outlook.com
From a recent survey it appears we Website www.birminghamphotographicsociety.
have a vast range of interests among co.uk
11 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Technique HIGH ISO
Steve Davey
Steve Davey is a travel photographer, whose work has
taken him to over 90 countries around the world. Steve
also leads his own series of travel photography tours
to some of the most photogenic parts of the world.
See www.bettertravelphotography.com.
Take the
high road
Dimly lit interiors where you can’t use lash
or failing light outdoors can be a challenge.
Steve Davey has high-ISO and gear solutions
1 Avoiding the
shakes
As a travel or location
photographer, you have to make
the most of the light conditions that you
encounter, and can often find yourself
shooting in gloomy interiors. There are
2 It’s not just about
the shakes
Increasing the ISO is not
just about avoiding camera
shake: it is a creative tool, allowing you to
use the shutter speed or aperture that
you want, and you should get into the
many places where using a tripod is not habit of adjusting it in the same way that
allowed or not practical, or you might not you might adjust the shutter speed or
even have taken one on your travels. If aperture. Increasing the ISO by two stops
you increase the ISO, your camera will might make the difference between a
need less light to achieve a correct lacklustre 1/500sec and a motion-
exposure and you can therefore use a freezing 1/2,000sec. It can also be used
correspondingly faster shutter speed, so to give you a couple of extra stops of
you can handhold without camera shake aperture – significantly increasing the
in these low-light situations. depth of field.
3 Be reasonable about what you can achieve

If you have an older camera, or a compact or bridge camera with a smaller
sensor, then you probably won’t have very good high ISO performance. You
will also struggle to compete with expensive professional cameras that will
cost many thousands of pounds. Bear this in mind, and don’t be too critical of your
pictures just because of noise. This will be generally less of an issue in your pictures
than obvious camera shake. Don’t be too self-critical. You might be able to zoom your
images to 100% on a large computer monitor and see every blemish, but unless you
print massive sized images, or crop to a tiny portion of the frame, it is very unlikely that
anyone else will ever see the images at such large magnifications.
4 Avoid Auto ISO

Many photographers avoid using
Auto ISO. If the shutter speed
drops below a certain preset, the
camera will increase the ISO to compensate.
It won’t help you to increase depth of field,
ALL PICTURES © STEVE DAVEY
or to force a super-fast shutter speed,

though. It will also work against you if you
try to quickly select a slow shutter speed
for panning. Switch this function off and
regain control over your camera settings.
14
Each ISO adjustment affects the shutter speed and aperture
Nikon D810, 14-24mm, 1/60sec at f/5.6, ISO 2500
5 Understanding
the numbers
ISO is essentially the same scale as the
old film ASA sensitivity scale – although
unlike film, the superior ISO performance of modern
digital cameras means that the numbers can be huge!
Each doubling or halving of the ISO scale represents a
doubling or halving of the amount of light needed to
correctly expose the picture – which is defined in
exposure terms as a stop. This increment is the same
as a doubling or halving of the shutter speed, and each
whole increment of aperture. This means that if you
increase the ISO by two stops, you can correspondingly
increase the shutter speed or aperture by the
same amount.
As the scale involves doubling of numbers it only takes
ten stops to get to six figures, but the difference between
ISO 56,200 and ISO 112,400 is the same as the
difference between ISO 100 and ISO 200.
Versatility of digital
6 Digital photography offers incredible

versatility. Not only can you increase the
ISO sensitivity to levels that were totally
impossible with film, you can usually do so
in increments of 1/3 stop and on a shot-by-shot basis,
depending on the subject and the lighting conditions.
You don’t have to make massive changes to the ISO:
sometimes just increasing it by a stop can be enough to
make a difference.
Digital cameras
enable you to
Tripods aren’t always adjust the ISO
allowed, so you’ll need to in 1/3 stop
push your ISO and more increments
importantly, know how far
Nikon D2X, 12-24mm,
1/40sec at f/4, IS0 250
Technique High ISOs not only produce
noise, they can also
limit the dynamic range
Nikon D800, 24-70mm,
1/40sec at f/4, IS0 2500
7 Avoid underexposure
Your camera only has one, native ISO. If you
select a higher sensitivity then the camera
will underexpose by the commensurate
amount, and compensate for this in the
camera software. Whenever you underexpose and
lighten in processing – whether in-camera by using a
9 Drawbacks
of high ISO
Most people are familiar
with high ISO noise: the
grey, grainy speckling of luminance
noise, and the random colour pixels
of chroma noise; however, if you
higher ISO or by messing up the exposure and lightening
shoot at higher ISOs you will also
in post-processing – then you will get noise on the
have a lower dynamic range. This is
image. If you underexpose at a higher ISO then the
the ability of the camera to handle
combined effect of the noise is magnified!
contrast. A diminished dynamic
range can mean that shadow details
Avoid underexposing
as noise will be more
might be lost, or highlights blown in
evident once corrected very contrasty conditions. While you
in post-production shouldn’t worry about increasing
Nikon D5, 24-70mm, 0.4sec the ISO, you should always try to
at f/5.6, ISO 12,800 shoot with the lowest ISO possible
for the best-quality results.
10 Improve
your
technique
Avoiding camera shake is not just
8
about using a high ISO to increase
Use noise reduction the shutter speed: if you improve
You can reduce high ISO noise your technique then you can keep
with software noise reduction. the camera still at a lower setting.
There are some bespoke products Use noise reduction on the lens or
such as Topaz Denoise or Nik Dfine, or you camera body if you can, brace
can simply use the noise reduction in Adobe yourself against something like a
Lightroom. Drag the Color slider to reduce the wall or pillar, and squeeze the
random colour pixels of chroma noise, and the shutter release gently. Last, take
Luminance slider to reduce the grainy, grey a few shots in quick succession:
speckling of luminance noise. Zoom to 100% essentially bracketing against
to assess the results. In both cases, the Detail camera shake.
slider controls how small details are preserved.
If you apply much Luminance noise reduction,
then you will have to increase the Sharpening
slightly in order to compensate for the overall
softening of the image.
11 August 2018 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Many cameras
have a focus
assist light
11 Use auto assist for focus

In low-light levels your camera can
struggle to focus. Many have a focus
assist light to help, to ensure your shots
are sharp. This will often only work if the camera is set to
a single, rather than continuous, focus mode.
12 Avoid imaginary
numbers
Camera manufacturers often
exaggerate the higher numbers, and if
you try to achieve these numbers there is a good chance
that you might crash and burn. Many cameras have an
extended range on top of the numbered ISO settings.
These are often unusable in anything but images that will
be reproduced very small indeed. My rule of thumb is
that I never use the extended range of ISOs and try not
to exceed a stop lower than the highest numbered ISO.
13 Bracket for noise

If you are not sure about what
maximum ISO you can use, take the
same shot at a couple of different
ISO settings, then select the one at the lowest ISO that
works – whether that means the one without camera
shake or the one with the adequate depth of field. This
Fire off a burst
of shots to
bracket against
camera shake
means that you will have the best-quality shot, with the Nikon D800, 24-70mm,
1/200sec at f/4, ISO 2500
lowest amount of noise possible.
A fast prime lens always

comes in handy if a
high ISO isn’t enough
Nikon D3, 14-24mm,
1/40sec at f/2.8, ISO 1600
14 Pack a prime
Sometimes the light
levels will be so low
that even when using
your highest ISO you
still won’t be able to select a fast enough
shutter speed. In these instances, use a fast
prime lens. A 50mm f/1.4 lens will allow
two stops more light into the lens than
even a fast professional zoom lens with
an aperture of f/2.8. This could make the
difference between a usable shutter speed
of 1/15sec and an unusable 1/60sec.
15 Increase ISO
with lash
It is often said that you
should avoid higher
ISOs when using flash, but an increase in
the ISO will, in effect, make your flash
more powerful: enabling it to light up
subjects that are further away or allowing
you to use a smaller aperture. If you
combine the slow sync flash setting with a
higher ISO, then the ambient light in the
image can be balanced with the flash.

Technique
Noise is more visible in

shadow areas, so use
a lower ISO if shadow
detail is important
Nikon D810, 24-70mm,
1/320sec at f/4, ISO 1600
18
Use a wideangle lens
16
Take several shots to determine
A telephoto lens doesn’t just magnify the your maximum usable ISO
image size – it magnifies camera shake. Nikon D810, 24-70mm, 1/50sec at f/5,
If you are shooting an interior in low light, ISO 3200
a wideangle lens will show less camera
shake at a given shutter speed. It will also display a greater Beware of
depth of field at a given aperture than a telephoto lens. This the shadows
enables you to take pictures without having to use such a Your pictures will
high ISO that the image quality is degraded. show more noise in
the shadow areas
17 Avoid subject blur

Even if you are capable at handholding
your camera at slow shutter speeds you
might still get blur from a moving subject.
Sometimes this can be a welcome creative
than in lighter parts of
the picture. If there is
necessary detail in
shadow areas, then
you should try not
19
effect; other times it can ruin your pictures. Even when you’re to use such a high
shooting an indoor portrait, a move of a head can still blur the ISO as when you are
Test your limits
The maximum usable ISO will
picture at very slow shutter speeds. Select a shutter speed a shooting lighter-
depend on your camera, the
couple of stops faster than your slowest handholding speed to toned subjects.
subject matter and the tolerance to
prevent this blur: increasing the ISO will allow you to do this.
(camera) noise. The only way to
assess it is to take a range of shots of the same subject at
different ISO settings and then view the results on a
computer. Work out where your personal limits are: the
ISOs that you can comfortably use, your highest usable
setting in normal conditions, and the maximum ISO that
you would use at a pinch, if you have to. When you are
editing your pictures, overlay the metadata so you can
see what the camera settings were. This will let you
assess your highest usable ISO, and see what shutter
speeds will give you camera shake and subject blur.
Rather than shooting

JPEGs, shoot raw to give
you more control over
20 Shoot raw
If you shoot in the JPEG format,
then the camera will apply
preselected noise-reduction
settings. If you shoot using the
raw format, these settings will be applied to the JPEG
preview of the image, and you can adjust the noise-
noise-reduction settings reduction settings retrospectively. This allows you to walk
Nikon D3, 14-24mm, that fine line between not enough noise reduction, and
1/125sec at f/5, ISO 1600
too much, which can make the image appear soft.

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BRITISH SURREALISM
Right: David E.
The Scherman, dressed for

war, London, 1942
surreal
truth
Lee Miller played a key role in the British
surrealist movement, as a new book and
exhibition show. Her son Antony Penrose
the closest to. But she had an equal
affinity with the Brits and it’s very
touching to see that.’
Another factor that sheds light
on why Miller’s links to British
surrealism were little known until
now is the fact that when she died
much of her work was unknown.
Penrose reveals, ‘When Lee Miller
died she had actually buried her
career as a photographer and
hidden it all away in the attic.
Nobody knew [the work] really. She
was a footnote in Man Ray’s career,
reveals more to Steve Fairclough but nobody really knew about her
own distinguished career.’
A
lthough she died in He continues, ‘Then, after
1977, new discoveries Lee [Miller] died, my late wife,
are still being made Suzanna, went up into the attic of
about the life and work the old farmhouse and found all
of the pioneering US photographer these boxes – there were something
Elizabeth ‘Lee’ Miller. Keeping like 60,000 negatives up there. Not
the flames of excitement burning only that but there were more pages
about her work are her son, Antony of manuscripts than we’ve had time
Penrose, and her granddaughter, to catalogue yet. Then there were
Ami Bouhassane – both of whom the old contact sheets, maps,
have worked extensively on her military orders and things like that.
archive for many years – yet even It gave us a picture of somebody
they are still discovering the full that none of us knew, not even my
extent of her work and history. Dad. He was astonished when we
The new exhibition ‘Lee Miller found all this stuff.’
and Surrealism in Britain’ at The
Hepworth Wakefield gallery in West Post-war trauma
Yorkshire recounts her involvement Indeed, unsurprisingly, given
in this movement, but Penrose Self-portrait in black-and-white patterned what she had witnessed and
admits he previously knew little dress, New York Studio, New York, USA, photographed during the final days
about it. He credits the discoveries 1932 by Lee Miller of the Second World War, in the
to The Hepworth’s curator Eleanor post-war years Miller suffered badly
Clayton. ‘Eleanor went off and did a and England. Her work spanned from what we now know as post-
fantastic amount of research. This is portraiture, fashion shoots for traumatic stress disorder (PTSD)
really valuable for us because she Vogue, surrealist work that began and often sought solace in alcohol.
has taken a fresh pair of eyes, a very with her former partner Man Ray, Penrose says the unexpected
diligent way of investigating, and and a spell covering the later days of discovery of her work was ‘an
come back with a whole new angle. the Second World War – indeed she amazing gift’ but admits, ‘I was
She has established how well Lee was pictured in the famous ‘bathtub’ quite bitterly estranged from her
ALL MAGES © LEE M LLER ARCH VES ENGLAND 2018 ALL R GHTS RESERVED
Miller was placed within British picture taken by David E Scherman during my life. It was very difficult
surrealists, in particular from in Hitler’s apartment in Munich. when one’s parent is an alcoholic
1937 onwards. It’s absolutely But her involvement in the British because it leads to all kinds of
fascinating what she’s come up surrealist movement dated back to disasters, complications, tensions
with,’ says Penrose. the late 1930s. and so on. We made [up as] friends
In fact, the fresh angles on Miller’s As Penrose reveals, ‘We didn’t just before she died, but it still
surrealist work shouldn’t be too have any idea that she was so didn’t give me an insight into her
much of a surprise as she was a strongly part of that bit of the photographic career.’
prolific and multi-faceted movement because we always He continues, ‘Then, after she
photographer, who travelled thought that it was the French died, it was there – it was right
extensively and, at various times, surrealists – Man Ray, Max Ernst under our noses. It took us
lived in the USA, France, Egypt and Paul Éluard – whom she was from then, 1977, until 1984 to

BRITISH SURREALISM

BRITISH SURREALISM
create her first book and

that’s when the first big
exhibition came out in 1985 at The
Photographers’ Gallery, London,
to mark the publication of my
biography, The Lives of Lee Miller.
It’s just gone on ever since.’
The link to surrealism

The exhibition at The Hepworth
showcases the results of Eleanor
Clayton’s exhaustive research,
which, in the accompanying book
Lee Miller and Surrealism in
Britain, outlines just how
intrinsically linked Miller was to
the surrealists in Britain and the
likes of sculptor Henry Moore and
artist Eileen Agar. Indeed, some of
their work sits alongside Miller’s
imagery within the show.
It was her future husband,
Roland Penrose, who persuaded
the nomadic American to move to
Britain and become a part of the
burgeoning British surrealist
movement in the late 1930s. But
Antony Penrose states, ‘In a way
she was a ready-made surrealist
because it was way more than an art
movement; it was a way of life. She
discovered that way of life back in
Poughkeepsie, New York, where she
just decided that she was going to
live her life to her own standards
and wasn’t going to accept anybody
else’s opinions about morals, artistic
values or anything like that.’
He adds, ‘A s surrealists they
shared their own lives, their ideals
and aspirations – it was very, very
important to be united in their
assertion of the need for peace and
freedom. That was where British
surrealism was really something
that was of deep importance to Lee
Miller, and it’s only thanks to the
work of Eleanor Clayton that we’ve
really begun to realise how closely
she was integrated into this charmed just one clever photographic Above: Corsetry, one of the first-ever ‘New Standard’
moment before the war came along darkroom trick. Surrealism isn’t solarised models in the late 1930s. Penrose
and changed everything.’ only about clever effects; it’s about photographs, recalls, ‘She just had a tremendous
a way of seeing. But it [solarisation] London, 1942 fluency with the Rolleiflex. It was
Important collaborations did epitomise that way of thinking constantly by her, right up to close to
Among Miller’s important because when you start looking at the time that she died. It suited her
photographic collaborations were it you’ve got positive and negative so well because it gave beautiful
those with Man Ray, Edward in the same image in this kind of negatives. People who know about
Steichen and fashion photographer dream-like quality.’ printing will look at her work now
George Hoyningen-Huene. In fact, Penrose explains, ‘Man Ray was and realise just how incredibly good
she is said to have accidentally the one who really encouraged her she was. She just had that way of
discovered solarisation in negatives to free her imagination and go and pulling the best out of a negative
in Man Ray’s darkroom – it’s a be a part of this wonderfully crazy and, of course, everybody knows that
technique that exists in some of bunch of people, who were doing if you start with a good negative you
her surreal imagery. such exciting things. That was really begin with an advantage.’
However, Penrose is quick to the core of her being a surrealist,
downplay the importance of although she was still an individual The exhibition
solarisation. ‘It’s often taken to be a and that was important to her.’ When quizzed on what visitors to
kind of definition of surrealism but Miller’s long-time camera of choice the exhibition should expect to see,
surrealism was much more than was a Rolleiflex, and she invested in Penrose replies, ‘I think they will

BRITISH SURREALISM
The exhibition ‘Lee Miller

and Surrealism in Britain’
is at The Hepworth
Wakefield gallery until
7 October 2018. An
accompanying book, with
the same title as the
exhibition, is published by
Lund Humphries (ISBN:
978-1-84822-272-4), with
an RRP of £35. To find
out more go to www.
hepworthwakefield.
org and www.
lundhumphries.com
Lee Miller’s archives

are kept in her former
home, Farleys House,
in East Sussex. The
house is open to visitors,
and there is usually
an exhibition in the
gallery of images from
the archives. To find
out more, see www.
leemiller.co.uk and
www.farleyshouse
andgallery.co.uk
see Lee Miller, for the first time Above: Portrait of

ever, taking her place among the Space, Nr Siwa,
British surrealists. We’ve seen her Egypt, 1937
among the generality of surrealism
and among the Parisian surrealists,
but this is a moment when we see
her importance in the British
scene and her connections. Her
web of connections is really
very important.’
He adds, ‘People will see a
brilliantly curated show, which is
very deep in its scholarship, but at
the same time, it’s accessible. It’s
going to be something which
Right: Lee Miller,
you can go into at any level of
Paul Éluard
photography, fine art or history and Eileen Agar,
of art and come away thinking, Golfe-Juan, Côte
“that’s how it all fitted d’Azur, France,1937
together – wow!”’ by Roland Penrose

YOUR LETTERS
Inbox
the entire photographic
process, from pressing
the shutter button to
producing the finished
print. For me, it is worth
the extra cost.
The second point is
that, expensive though
Email ap@ti-media.com and include your full postal address.
home printing is, it is a
Write to Inbox, Amateur Photographer, TI Media Limited, Pinehurst 2, Pinehurst Road, tiny proportion of the
Farnborough Business Park, Farnborough, Hants GU14 7BF overall cost of following
our hobby. When I finally
LETTER OF THE WEEK Richard freelenses using his Olympus produce a print for an exhibition
PEN E-PL3 and manual focus lenses
or competition, the ink costs will
Now for the science bit I feel free

I enjoyed your article Cheap
be far less than the other costs of
the process. Different folk have
different priorities and budgets
Professor Newman’s article on creative lenses in AP 21 July. I have but, for me, the greatest cost in
ultra-fast lenses (Tech Talk, a number of manual focus lenses, producing an exhibition-quality
AP 21 July) was a very bought second-hand, and print is diesel. My travel expense
interesting read, but I think connected to my Olympus PEN far exceeds my spending on ink.
while microlenses on the E-PL3 via adapters. For me, one For me, a more economic car
digital sensor may affect of the great creative advantages of might be a better investment than
bokeh, there is another these lenses is the ability to a cheaper printer.
important factor regarding ‘freelens’ – that is, to disconnect Eric Begbie
fast lenses, bokeh and the lens and move it fractionally by
micro-contrast when used hand. Unlike modern autofocus Thanks for this, Eric. This topic
on digital cameras. lenses, there is no need for an is an ongoing debate, and
The thickness of any electrical connection to the manufacturers defend
glass filters in front of the camera for a manual focus lens to themselves by saying you get
sensor (the filter stack, work. I have put some examples of what you pay for in terms of ink
consisting of the IR filter, the results in your Flickr group. quality and longevity. At the
anti-alias filter, etc.) will Mark raises some interesting points Richard Patterson same time, they are in the
introduce an amount of about fast lenses and bokeh business to make a profit, and
spherical aberration at Thanks Richard, as you say, clearly the consumables will
apertures over f/2, with a loss in micro-contrast. Counterintuitive freelensing is fun and creative. generate more revenue for
I know, but a thick, perfectly flat piece of glass placed in a We do plan to do something on them than just a single printer
perfectly converging cone of light will introduce spherical freelensing in the magazine sale. I assume you mount your
aberration. This effect increases with aperture size. Legacy – Nigel Atherton, editor own images for exhibitions, as
ultra-fast lenses designed for film (which never had glass in front this can be quite a cost too if
of it), won’t exhibit the same bokeh on digital, and when used Home is where the art is you farm it out – having to
wide open on a digital camera will have either good background I would like to comment upon the frame images for a show is even
or good foreground bokeh, but not both. very interesting letter from Sarah more expensive. Would other
As for ultra-fast lenses, these need to be designed for a specific Osborne about home printing readers like to see more on
model camera body, as the total thickness of the filter stack in costs (Inbox, AP 28 July). She is image mounting in AP? – Geoff
front of the sensor varies substantially by brand as well as within correct in complaining about the Harris, deputy editor
the brand. As designing interchangeable lenses to a specific model cost of inkjet printing inks which,
camera body would be virtually impossible from both a marketing by my reckoning, amounts to Film star
point of view as well as profitability, the wide-open performance more per 100ml than the finest Further to Andrew Redding’s
of either legacy or ultra-fast lenses will be a matter of pot luck, 30-year-old single malt whisky. letter about outdated film (Inbox,
depending on which model body the lens is mounted on. Stopped I have the advantage of using an AP 23 June), I have the following
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
down below f/2 you will probably struggle to see a difference. Epson SureColor P600 printer which I will give to other readers:
Mark Groep that does not waste any ink, unlike 4 x 36 rolls of Kodak Elitechrome,
some of its predecessors. I can expires 09/2005; 1 x 36 roll of
Digital sensors interact with lenses in a more complex way switch it on after a couple of Kodak ColorPlus, expires
than they did with film, but camera and lens manufacturers months lying idle, and it prints 08/2010; and 1 x 36 roll Fujicolor
know this and design their products accordingly. I’ve shot straight away without any of the 200, expires 04/2014.
fast primes on multiple bodies from the same system and ink-wasting chuntering, priming If you have any recipients for
seen no evidence of significantly different behaviour and such. Nevertheless, printing at any of this film, I will be pleased to
between cameras – Andy Westlake, technical editor home is much more expensive send it on to them.
than using one of the popular labs. J H Evans
Not least because, no matter how
Win!
well one’s monitor matches the If any readers are interested in
printer, once a print is produced, taking up this offer, please
The MicroSDHC EVO Plus with SD I will always see a few tweaks to contact us and we can put you
adapter 32GB Class10 UHS make or decide to try a different in touch with J H Evans. I have a
Grade U1 card will support 4K and has read speeds type of paper. But that is the crux friend who paints with light,
of up to 95MB/s and write speeds up to 20MBs.
www.samsung.com/uk/memory-cards/ of the matter – home printing and she gets some really cool
allows me to have total control of images with outdated film, so

The UK’s oldest and
most prestigious
it’s far from useless – Geoff Too much clutter photo competition
Harris, deputy editor Amateur Photographer is a fine
magazine – even more so as it is for amateur
Nik knack published weekly, and one can
In association with photographers
In Inbox in AP 21 July, you asked imagine the pressure of work to
whether other readers agree that get it all done on schedule. There
AP is too focused on Adobe CC are very few, if any, misspellings or is now open
software. The answer is yes you typos, which is very commendable
are for software, along with other
photographic magazines. While I
given the circumstances. However,
there is the matter of captions, Amateur Photographer
have seen reviews that state that
other software packages match
Adobe, and for example, Affinity,
text boxes and numerals which
have irritated me for some time,
and the problem seems to be
of the Year Competition
£10,000
Nik, etc. are good or even better, I getting worse. In AP 21 July, we
can’t recall seeing a how-to article can almost see the photographs in
on any of these packages. Andrew the article For the Love of Dogs.
Herbert suggests you should have Every image is partly obscured by
a separate panel alongside the text. The image at the bottom of
Adobe article, which is an excellent page 21 has a complete essay to
idea. Many of my photographer peer through – the composition of OF PRIZES Enter
friends complain about the Adobe the photo is lost.
TO BE WON today!
CC subscription model yet follow it, In AP 28 July, we have the
as magazines such as yours help results of Round Three of APOY FOR THE second year running, AP has teamed up with Sigma and
to perpetuate its dominant – 30 photographs all spoilt by Photocrowd to bring you more than £10,000 worth of Sigma
position. Users of the alternatives numerals stuck on top of the prizes and an easy-to-use portal that makes entering the competition
turn away from good magazines images. I cannot understand why straightforward. APOY is open to amateur* photographers from
such as yours and to the internet, this is done, given that we’re all in around the world.
perhaps never to return. I feel the the business of trying to get *FOR THE PURPOSE OF THE COMPETITION, THE DEFINITION ‘AMATEUR’ REFERS TO A PERSON WHO EARNS
10% OR LESS OF THEIR ANNUAL INCOME FROM PHOTOGRAPHY OR PHOTOGRAPHIC SERVICES.
equipment reviews don’t show composition right. Interestingly, the
such bias though. caption for No 4 on page 20
David Higton mentions the composition
arrangement in detail, but with
We published a round-up on complete disregard for the
Adobe CC alternatives in AP 16 numeral slapped on it.
December 2017, and also ran It seems to me that a major
an article on Nik Collections point in looking at photography
(Silver Efex Pro 2) back in AP 5 has been overlooked, and the
November 2016. We do these clutter of text is defeating the
types of articles on a regular whole purpose of presenting the
basis. The challenge we face is images. I wonder if Roger would
which CC alternatives do we welcome such graphics over his
talk about in the separate panel: image for Final Analysis.
Photoshop Elements? Affinity? Martin Hursthouse
Nik? All three? We’d run out of
space if we tried to cover every Captioning is important to AP’s
© JAN S EM NSK
base and the tutorials would approach, but do other readers

take over the magazine. But find this annoying? Anyway
don’t worry, we are coming up many thanks for the feedback,
with an alternative approach to Martin, which we have passed
software tutorials – Nigel
Atherton, editor
on to our art team – Nigel
Atherton, editor
Round Six
Town and country
If you like cityscapes or landscapes then this round is for you. We are
happy to receive images ranging from contemporary architecture to
grand, mountainous vistas. Don’t be afraid to be abstract in your
interpretation. Light is everything, so pay attention to sunrise and
sunset times, etc. Whether you go urban or rural, planning is a must.
YOUR FREE ENTRY CODE

Enter the code below via Photocrowd to get one free
entry to Round Six – Town and country
APOY13660736 ROUND SIX CLOSES ON 24 AUGUST
TO ENTER VISIT
David feels we need to carry more articles on Lightroom alternatives
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subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 August 2018
Photo Insight
Gathering
of rooks
By David Tipling
David Tipling recalls the time,
efort and patience spent in getting
this memorable avian image
O
n Christmas Eve they congregated in large,
2004, I visited a pre-roost throngs; and then
small piece of wet marvelled at the moment
woodland just 40,000 of them suddenly
east of Norwich. The nearly decided it was time to descend
four acres of Ferry Wood was into the wood to roost for the
for sale and, having taken night. After massing in perhaps
receipt of a large advance three or four large noisy flocks
for a book, I was looking prior to dark, the sun set and
to spend that money on a a winter gloam enveloped the
piece of land where I could landscape. En masse, they fell
photograph undisturbed. As completely silent before
I sloshed through the wood, bursting into a cacophony of
I kept getting distracted by sound rising into the air – great
small flocks of rooks overhead, clouds of birds hardly visible
flying along the river. My in the gloom swirled above
curiosity piqued, I headed east, the tree tops before dropping
following the birds’ lead to the down into the wood.
fields rising above Buckenham I am drawn to photographing
Marshes in the Yare Valley, roosts, perhaps because when
and then to one particular field large numbers gather they
that was covered in a black offer such a rich source of
carpet of crows. photographic potential. The
© DAV D T PL NG
This spectacle was one pictures can often be striking

I became very familiar with. but perhaps more than that,
I would photograph in Ferry it is being there witnessing
Wood during the day and, as such spectacles and the Although I could see the disturbed by a dog walker
dusk approached, would then photographic challenges potential for creating images or a train from the nearby
drive the three miles east to that arise from capturing a at this roost, it took many visits railway line, and they moved
this gathering. That first winter fast-moving subject when light to formulate the best plan. It to an adjoining field. But I
I learnt the birds’ habits; where is seeping from the landscape. was not until I had seen large persevered and decided on one
numbers gathering on wires position where I could include
one evening that I decided the large ivy-clad trees at the
David Tipling that would be where I would back of the field in the frame
David Tipling is a widely published wildlife photographer concentrate my effort. The to give some context of winter
with a passion for birds. He is the author or commissioned wires led across a huge and landscape. Then, it was
photographer for more than 40 books, including the 300-acre field, and I soon simply a matter of trying.
recently released A Bird Photographer’s Diary. David realised this was not a reliable Over the next few years
runs Norfolk Photo Safaris and leads tours. For more staging post, as on some I shot hundreds of images,
information, visit www.norfolkphotosafaris.com. evenings the birds were experimented with shutter

Pre-roost gathering of
rooks (Corvus frugilegus),
Buckenham, Norfolk,
16 January 2013
Nikon D4, 400mm f/2.8 lens,
1/4sec at f/2.8, ISO 2000
‘From the silence, a wave of birds rose lying a piece of land close to home in possible to capture this in a
north Norfolk, but I still make photograph. The Nikon D3 was
into the frame, while the birds on the wires the pilgrimage a couple of the first camera to have a good
sat tight. It was an extraordinary sight’ times each winter to witness enough light-sensitive sensor to
what is one of Britain’s greatest almost see in the dark. A fast
speeds, focal lengths and extraordinary sight. With a wildlife spectacles. long lens was a necessity for
enjoyed some successes and shutter speed of a quarter of a this shot, too, all mounted on a
plenty of blank evenings, too. second, I only captured a few Challenging conditions sturdy metal Gitzo tripod and
But then on 16 January 2013, frames and this picture is the The final act before roosting, Dietmar Nill gimbal tripod
everything came together. only critically sharp one, but as the rooks swirl in the air, head. I used a Pocket Wizard
From the silence, a wave of I had captured the image I happens in such poor light that flash trigger to fire the camera
birds rose flying into the had been striving for. it was only in the mid-2000s, so as not to touch the camera
frame, while the birds on the Soon after this picture was with advancing camera sensor and lens, thereby avoiding
wires sat tight. It was an taken, I sold my wood to buy technology, that it became camera shake.

READERS’ LUMIX IMAGES
© DEBORAH WARBURTON
LUMIX ambassador
© MICHAEL TOPHAM
Esther Ling giving
guidance to members
of the public at Bodiam
Deborah Warburton
BEHIND THE SCENES Camera used:
Panasonic LUMIX FZ2000
I’m not overly fussed about swapping lenses and
Bodiam Castle
Michael Topham visited the Panasonic
like the idea of one camera that does everything.
I have quite big hands so I wanted a decent-sized grip,
and after getting some good advice I tried the LUMIX
FZ2000. I love being able to capture shots at 30fps
before extracting the most photogenic frame from a
4K burst to save as a photo. The saved 8MP images
will be large enough to print up to A3 size too, so I’ll be
LUMIX Roadshow at the National Trust’s able to frame some of my shots for friends and family.
Bodiam Castle to get a taste of what people
© DERRICK CROSS
An image taken by
love about LUMIX cameras Derrick using the
Lumix G9’s dynamic
T
his year’s Panasonic from parents with young children monochrome mode
LUMIX Roadshow is to savvy photography enthusiasts
once again turning out to thinking of making the switch
be a huge success. Shortly from DSLR to mirrorless. AP was
after the LUMIX team had set up in attendance, joining in with the
the stand to show off the company’s free-to-attend photo walks held
latest cameras and lenses early on by professional photographer and
a Saturday morning, members of LUMIX ambassador Esther Ling, and
the public began piling into the tent chatting to the users as they scoured
to take up the offer of free camera the grounds to get a feel of what they
advice and the opportunity to try enjoyed about the experience. Here,
out a recommended camera to we’ve assembled a selection of shots
match their interest, budget and taken by those who visited, with a few
ability. Those trying the kit varied words about the camera they used.
© MICHAEL TOPHAM
Derrick Cross
Camera used: LUMIX G9 with
Leica 12-60mm lens
I had read a lot of positive reviews about the
LUMIX G9 and thought it would be foolish of me
not to take up the opportunity to see what it’s like to
use in a real-world shooting environment. The button
layout and handling impressed me, and as a DSLR
user I love the fact it has a top-plate display. I’m not
Panasonic provided usually one for using creative-effect filters, but thought
a range of cameras and I’d give them a try. I was pleased with the result of
lenses for the public
the dynamic monochrome mode, which enhances
to try out at the event
contrast to give mono shots more punch and impact.

IN ASSOCIATION WITH
© JAMES KING
James King
Camera used: Esther Ling’s
Panasonic LUMIX
G9 with Leica 12-
60mm lens
top tips
Esther Ling is
I recently bought a a professional
LUMIX G9 and as I photographer
was on holiday in the area, I and LUMIX
visited the roadshow to ask the Ambassador
LUMIX team a few questions. whose main
They answered in great detail passions are
and I then joined Esther on her social, documentary, food
photo walk where I learned a and travel photography.
lot about Post Focus and how Her camera of choice is
the G9’s various autofocus the Panasonic LUMIX G9.
modes work. Later, I handled Here, she shares her tips
the Panasonic 42.5mm f/1.2 for those who are new
ASPH Leica DG Nocticron James used the event at to the range. www.
OIS, which I’m tempted to add Bodiam to get some expert
advice about his Lumix G9
estherling.co.uk.
to my lens collection very soon.
George Hall 1 If you’re learning, don’t

try to run before you
can walk. Cut your learning
Camera used: Panasonic LUMIX down to manageable,
GH5 with Leica 12-60mm lens bite-size chunks. Digital is
I already own a mirrorless camera, albeit a fantastic learning tool, as
a fairly cheap one. I wanted to see what, if you have a visual reference
anything, I’d get from a more sophisticated model. and all the shooting
It took a bit of time to get used to the GH5 as it’s information is recorded for
larger than what I’m used to, but what I fell in love you to look back on.
with was its superb 3.2in vari-angle touchscreen.
I’m not particularly tall, so being able to tilt it and
hold it above my head while still clearly seeing what 2 If you’re having issues
with camera shake,
you’re more than likely not
I was shooting was a great benefit. I downloaded
stable enough on your feet
© GEORGE HALL
the LUMIX image app too and liked the way I could
send shots across to my smartphone in seconds. or giving the camera the
right support. You need to
keep your feet at hip
© PAULA ROBERTS
Paula Roberts distance, one behind the

Camera used: other, and your elbows in
Panasonic LUMIX FZ330 as close to your body as
The team recommended the LUMIX possible, supporting the
FZ330 to me, which falls within what camera underneath.
I’m prepared to spend on a new camera to
photograph my children growing up. I kept
things simple by shooting in iA mode, but
3 Really train yourself to
‘see’ before you press
the shutter. Many people
liked the 24x optical zoom, manual control machine gun the shutter
and fast 12fps continuous shooting options and think ‘there must be
that it offers. It’s a camera I can see myself one good one in there.’
learning with, to become more than just a Notice the detail then you
snapshot photographer. won’t have to edit out that
lamp post coming out of
Tom Curtis someone’s head later!
Tom tried the Lumix
TZ200 to find out if it Camera used:
would be suitable for Panasonic LUMIX TZ200 DATES FOR YOUR DIARY
his upcoming travels I gave the TZ200 a go, thinking that it The Panasonic LUMIX Roadshow, in
might be a good option for an upcoming partnership with the National Trust,
holiday to America where I don’t really want to will continue to tour various scenic
lug my heavy DSLR around. I’ve been tempted locations this year (see below), and
by the TZ100, but having now tried it side-by- AP will be featuring articles with tips
side, the TZ200 with its extra zoom reach and and techniques for capturing them
higher resolution electronic viewfinder gets my at their best. See www.nationaltrust.
vote. I’m thrilled to have been given the chance org.uk/panasonic-roadshows.
to try it for free before buying it. I’m convinced Mount Stewart, Northern Ireland, 18/19
that it’s the right pocket compact for our trip – August; Giant’s Causeway, Northern
all I need to do now is persuade my wife and
© TOM CURTIS
Ireland, 1/2 September; Dunham

hope she agrees to the idea.
Massey, Cheshire, 8/9 September.

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Technique LIGHTROOM SKILLS
1 In-camera or in Lightroom?
Some photographers prefer to set their
white balance in-camera before taking the
shot, so that the colours look natural upon
James Paterson capture. Others may prefer to use Auto
James is as skilled a photo editor as he is a photographer. His white balance, and adjust the temperature
work has appeared in countless magazines and books, and in afterwards using Lightroom. As long as you
2014, he was appointed editor of Practical Photoshop magazine. shoot in raw there’s little difference between
His subjects range from portraits to landscapes, architecture the two, other than timing.
and underwater scenes. For James, Photoshop is more than just
a work tool. Visit www.patersonphotos.com
Lightroom tips
White balance Shoot in raw so
and colour
you can adjust
the white balance
correction
Take control of colour and banish troublesome
casts for good with these essential Lightroom
tips from pro James Paterson
2 Choose a WB preset
The White Balance drop-
down menu in Lightroom’s Basic
3 White Balance Eyedropper
Found in the Develop Module’s Basic Panel
next to the Temp and Tint sliders, the White
Panel lets you select a preset from Balance Eyedropper (shortcut W) is often the
a list similar to what you’ll find in best tool for correcting colour casts in your
your camera’s White Balance photos. It allows you to set a neutral point in
settings. There are useful settings the image, and then all other colours are
like Daylight, Tungsten and Flash remapped around this point. So we simply click
to choose from (although only for over a point that should be lacking in colour.
raw files). Click through the list to
find a preset that suits your scene.
4 Finding a grey point

The easiest way to correct white balance is to
click with the White Balance Eyedropper. But what
guesswork. If your scene includes grey rocks or
white walls, then these work well. With portraits
try sampling part of the clothing. Better yet, shoot
point in an image is neutral? This involves a bit of a grey card and sample that instead.
ALL IMAGES © JAMES PATERSON
5 Lose the loupe
Hover over the image with the White Balance
Eyedropper (W) and you’ll see a loupe view with a
The tint slider
complements the
temperature slider
grid of colours that can help with precision when
picking a pixel; however, it can also get in the way.
To turn it off uncheck ‘Show Loupe’ at the bottom
left. You’ll also find ‘Auto Dismiss’ here. When
disabled, you can keep sampling points without
having to grab the eyedropper after each click.
6Shoot in raw
If you shoot in your camera’s JPEG format
then the chosen white balance setting will be
‘baked in’ to the file. By contrast, shoot in raw and
you have the option to change the white balance
after the fact, with exactly the same results as if
you’d done so in-camera before taking the shot.
7 Temperature slider
Ranging from 2000 to 50,000, this slider
8 Tint slider
So how does the Tint slider
fit into white balance adjustments?
relates to the Kelvin scale - a measurement of It is primarily meant for correcting
colour temperature. The lower end will cool subtle shifts once temperature has
images and the higher makes them warm – been set. It’s especially useful
unlike the Kelvin scale, which is the opposite. for fixing artificial lighting like
This is because the slider isn’t setting the white fluorescent bulbs or neon lights,
balance of the scene; instead it applies a which have a tendency for
corrective shift one way or another. magenta/green casts.

9 Temporarily boost
saturation
If you’re struggling to correct white
balance in Lightroom or if you can’t
find a neutral point to sample with the
eyedropper, try temporarily setting both
Vibrance and Saturation to +100. The
resulting overly pumped colours will
make it easier to spot and correct a
Temporarily oversaturating
an image can help colour cast. Once you’ve adjusted the
you detect a colour cast Temp and Tint sliders, simply reset the
Saturation and Vibrance sliders.
Enhance warm tones
10 Selective white
balance
In scenes with mixed lighting
in sunset scenes
conditions such as this one – where

the subject is lit with a cool LED
spotlight, while the background
street lamps are much warmer –
the colour temperatures of each
light source will be different, so you
might want to correct each
independently. With the Adjustment
Brush you can paint selective white
balance adjustments.
11 Sunset shits
There are times when we might not want
colours that are accurate, instead it might be
resembles how the scene felt at the time of
shooting. This is especially true at sunrise or
sunset, when a warm temperature shift or slight
more effective to create a look or feel that better magenta tint can enhance the mood.
12 Sample from a
grey card
One of the best ways to achieve
13 Pick the right proile
The new Profile Browser in
Lightroom’s Basic Panel is a useful
accurate colours is to shoot a dedicated place to start the editing process. In
grey card under the same lighting particular the Adobe Raw Profiles offer
conditions as the rest of your set of an array of useful starting points for
photos. Once the photos are imported different kinds of images. Each one
into Lightroom, simply use the White tweaks colours to suit the subject.
Balance Eyedropper to sample the grey For example, the Landscape profile
card, then select all the photos enhances blues for better skies and
(shift+click between first and last) pulls a little detail out of the shadows,
and hit the sync button to colour- while the Portrait Profile renders skin
correct the set. tones better.

LIGHTROOM SKILLS Technique
14 Quick reset
Experienced Lightroom users will no
doubt know that double-clicking any slider will 17 Fine-tune mono
conversions
reset it to its default value. But here’s another Because black & white
trick: double-click ‘WB’ to reset the white balance conversions in Lightroom take
to ‘As Shot’. Similarly, you can double-click ‘Tone’ colours into account by assigning
or ‘Presence’ to reset each section of sliders to luminance values to different
their defaults. Sometimes this will give you a colour ranges, the Temperature
better starting point for making any required and Tint sliders can have an
white balance adjustments. interesting effect on your black
& white images. Experiment with
15 Equivalent WB settings
White balance corrections in Lightroom
work slightly differently depending on whether
them after converting an image
to mono for subtle changes to
brightness and contrast.
your image is a JPEG or raw file. While raws
can be tweaked using the Kelvin scale of colour
temperature, JPEGs instead have a simpler
+/-100 setting that lets you either warm or cool
the tones. If you apply a preset that includes raw
white balance data, then Lightroom will choose
an equivalent JPEG white balance setting. For
greater control over the white balance, always
shoot in raw.
16 RGB values
The R, G and B values displayed
underneath the histogram (and also in the
White Balance Eyedropper loupe) show the
colour values of the point underneath your
cursor. Neutral points will have identical
values for each of the three numbers. So if
there’s a colour cast at any point, the figures
will be non-identical.
18 Camera Calibration
The Camera Calibration panel
offers an array of colour sliders that let
you fine-tune the way Lightroom renders
RGB colours from your camera’s raw data.
These sliders aren’t necessarily meant
to tweak individual images or fix white
balance (although you can of course use
them to do so), but rather work as a
baseline starting point for all images
from a specific camera.
20 Get creative
We photographers can sometimes get hung
19 Shoot a calibrated card

At times when accuracy and consistency are vital, a systematic approach to
white balance at the time of shooting is key. There are two options that many pros
up on colour accuracy, but the most important thing will
always be the look and feel of the image. Sometimes a
creative white balance shift will produce a better image,
swear by. Either shoot a calibrated card like the X-rite colour checker passport, or or change the mood to suit your vision.
create a custom white balance in-camera using a lens-mounted Expo disc filter.

Testbench THE WRAYFLEX
One of six black Owl 35 prototypes (left),
and an even rarer silver-top version (below)
Britain’ s
(and last)
first
35mm SLR
The Wraylex was Britain’s only serious attempt at
producing a 35mm SLR. John Wade examines
the camera’s evolution, success and ultimate
failure – a tale of good intentions and bad luck
P
rior to the Second World War no It had a rigid, black metal body consisting of
English manufacturer had ever the film chamber with another, smaller square
made a 35mm camera. The end of section grafted onto the front, with the shutter
the war in1945 was the perfect release and shutter cocking lever on top, and a
time for some enterprising company to be the 2in f/4.5 Wray Supar lens on the front. The top
first, especially in light of the fact that post-war plate held a direct vision viewfinder, film wind
Department of Trade restrictions prevented knob, rewind knob and film counter. They
foreign cameras from being imported into the called it the Owl 35.
country. The company that rose to the Six prototypes were made to test trade
challenge was Wray (Optical Works) Ltd in Kent. reaction, which wasn’t good. What might have
Wray had dabbled in camera manufacture in been Britain’s first 35mm camera was
the 1930s, with the Farvu, a kind of telephoto considered crude compared with what had
box camera that never really came to anything. been seen from pre-war Germany, and the
But it understood the mechanics of camera Owl 35 never went into production.
production. It already had a strong reputation All that remains of the Owl 35 today are
ALL PICTURES SUPPLIED BY JOHN WADE
for optical engineering, and the import those six black prototypes, plus evidence of at Above: Wrayflex inventor
restrictions meant that the company faced little least two more being made with silver top Commander Maurice Studdert
competition from foreign cameras. plates and at least one with a strange push-pull
The camera that Wray designers and back-mounted lever to advance the film. The Right: How the Uniflex (the camera’s original
engineers came up with was small but heavy, Owl might also have been used as the starting name) might have looked and worked, from a
measuring 12x7x6.5cm and weighing 600g. point for a technical camera made later by a technical drawing by the Göbel brothers

Wrayflex cameras in
production at the
Wray works in Kent
British scientific instrument maker called engineering officer, where he invented secret brothers designed the Wrayflex and that
Nagard. Meanwhile, back at Wray, plans were apparatus concerned with fire control and Studdert brought their plans back to England.
in hand to build the first British 35mm SLR and gunnery equipment stabilisation. When the war Recent research, however, proves that the
it was going to be a world-beater. ended he joined an Anglo-American team that camera was Studdert’s own invention, but that
travelled around Germany collecting technical he asked the Göbel brothers to draw up the
Enter Commander Studdert information from its scientists. That was where technical plans for it. He might have
During the war, Commander Maurice Studdert he met brothers Harry and Werner Göbel. considered presenting the plans to a German
worked at the Admiralty as a gunnery/ It is sometimes suggested that the Göbel manufacturer such as Zeiss, but in the end
decided on a smaller manufacturer, one where
he could play an important role in the
production process.
So it was that Commander Studdert arrived
at the Wray factory in Kent with the incomplete
designs for his SLR. He was accompanied by
the Göbel brothers whom, he said, could help
Wray complete the designs and build the
camera. The subsequent patent, with
Studdert named as the inventor, was dated
21 May 1947. At this stage, the camera was to
be called the Uniflex, and it had four
revolutionary features never before been seen
in a 35mm SLR:
(1) An eye-level pentaprism viewfinder at a
time when other SLRs had waist-level finders.
Unusually, this pentaprism was mounted on the
base rather than on top of the body.
(2) Through-the-lens metering, in which the
photo-electric layer of the exposure
meter was coated onto one surface of

the pentaprism and connected via an does mean that we can start to go ahead
adjustable rheostat to a needle in the with production very shortly.’
camera’s top plate. Number 1503 was discovered in the hands
(3) A clockwork motor to advance the film of an ex-Wray director around 10 years ago,
automatically after each exposure. and still works today. Earlier this year a
(4) An instant return mirror. Wrayflex with no shutter and no serial
Sadly it was decided that the complicated number anywhere on the body but otherwise
design was beyond the capabilities of Wray’s closely resembling the 1503 prototype came
engineers, and the camera never got past to light for the first time. It is thought that this
the prototype stage. As Studdert’s health might have been 1501 and, therefore, the
began to decline, the Göbel brothers took very first Wrayflex.
on the task of simplifying the design to make
it a viable and commercial proposition. When Wraylex I
it was discovered that there was another The commercial debut for the Wrayflex was
camera called the Uniflex, the name was the Festival of Britain Exhibition in May 1951. It
changed to Wrayflex. was somewhat different from the model
suggested in the 1947 patent.
Pre-production cameras The viewfinder was now in its more
Before production began, three prototypes conventional position on top of the body and
were built for show at the British Industries was served, not by a pentaprism, but by three
Fair in 1950 as well as a similar exhibition in mirrors. Light from the lens was bounced from
Toronto. It is pretty much certain that the the reflex mirror, up to a second mirror at the
three cameras held the serial numbers back of the viewfinder housing, forward to a
1501, 1502 and 1503. third mirror at the front of the housing and
A letter dated 23 June 1950, from Wray back out through the viewfinder’s eyepiece.
Managing Director Arthur Smith to the wife This system provided a correct way up image,
of Commander Studdert, who by then was ill but one that was laterally reversed when the
in hospital, stated: ‘We had a satisfactory trip camera was held conventionally, and which
to Canada, and I can assure you that the turned upside down when the camera was
camera was well received there as it has been turned vertically. A small circular section in the
in this country. While I have been away I think centre of the focusing screen was equipped
that the Göbels have conquered most of the with a magnifier for critical focusing.
troubles on the shutter, and although this has The camera was sold with a Wray 50mm f/2
given more alteration than we hoped for, it Unilite lens. Shutter speeds ran 1/2-
Left: One of three 1/1,000sec, with the ‘B’ setting unusually

pre-production placed between 1/250sec and 1/500sec
Wrayflex settings. Flash synchronisation was added to
prototypes
early models by means of three sockets: the
identified on the
base by the 1503 top and middle for electronic flash, the middle
serial number. and lower for bulbs. Later, the three sockets
Notice the tiny were changed for two coaxial types, one for
flash sockets, not each type of flash.
seen on the Film wind was unusual in using a key on the
production cameras base plate, and the rewind control was also a
key, rather than the traditional knob. The
camera had a slightly unusual film format of
24x32mm rather than the conventional
24x36mm. The smaller size had the
advantage of offering up to 44 frames on a
standard 36-exposure length of 35mm film,
something that the company hoped would
Right: This appeal to photographers at a time when film
camera, with no wasn’t easy to come by. Around 800 cameras
serial number,
might be the very were eventually made.
first Wrayflex
Wraylex Ia
As the Wrayflex went into full production, it was
initially well received in England and abroad,
and even taken up in small numbers by the
military. At the start, orders came in faster than
Wray could make them – the reason for the
slow production speed was a lack of finance
that prevented the camera from being tooled
well enough for it to become a simple assembly

Lenses and
accessories
Wray made five screw-fit lenses for the
cameras: 35mm f/3.5 Lustrar, 50mm f/2
Unilite, 50mm f/2.8 Unilux, 90mm f/4 Lustrar
and 135mm f/4 Lustrar. It also adapted the
Wray Prismscope – originally designed as a
target spotting telescope – to fit Wrayflex
cameras, with a focal length of 45 inches and a
maximum aperture of f/18. A 50mm f/3.5
standard and 8in telephoto were planned and
even advertised, but they never went into
commercial production.
Although independent manufacturers didn’t
make lenses for the Wrayflex, several
non-Wray lenses specially adapted for the
Wrayflex mount have been discovered. They
include a 6in f/5.5 Teleros, 135mm f/4.5 Fujita,
40mm f/3.5 Macro Kilar and an enormous
and very heavy 8in f/2.9 unmarked lens that is
suspected to be a Dallmeyer Dalrac.
The only Wray accessories that were
purpose-made for the Wrayflex were a set of
three extension rings, an adapter to fit a
standard cable release to Wray’s unique
screw-fit shutter release collar and a cradle
that enabled the base-mounted film wind key
to be used with the camera on a tripod.
The stand for the Below: Wray lenses for the Wrayflex. Prismscope
Wrayflex II launch at the rear with (left to right) 90mm Lustrar
at the Olympia portrait, 50mm Unilite standard, 35mm Lustrar
Photo Fair in 1959 wideangle, 50mm Unilux standard and 135mm
Lustrar telephoto lenses
job. Instead, it was built like a scientific

instrument, by skilled instrument makers.
However, the 24x32mm negative format
proved to be less popular than Wray had
envisaged, mainly because colour
transparencies were becoming popular, and
slides from the Wrayflex I didn’t fit into
standard slide mounts without the addition
of masks. So it was decided to change the
film format to the much more
conventional 24x36mm.
Wrayflex I
with f/2
Unilite lens
(left) and Ia
with f/2.8
Unilux lens
39
The Wray factory in Kent

at the time the Wrayflex
was being produced
Wrayflex shutter
testing in the
Wray factory
Into the story now comes a young Wraylex II A prototype using this system was first
designer called Ron Bettell. By the time The inherent fault in both the Wrayflex discovered about 15 years ago and thought
he joined Wray, the original camera was in cameras was the mirror system in the to be the only one in existence, until a
production and the Göbel brothers had left viewfinder with its resultant laterally reversed/ second one was found about five years ago.
Wray. It fell to Bettell to redesign the engineering upside-down image. By now both the German Since the serial numbers of the two cameras
for the camera so that it produced the traditional Contax S and Italian Rectaflex had been are 3469 and 3471, it is likely that 3470 was
24x36mm format. Outwardly it looked similar launched, both with pentaprism eye-level also a similar prototype. One reason why
to the first model, with the only real cosmetic viewfinders to give right-way-round images. It Wray initially shied away from adding a
difference being in the frame counter, which was time for Wray to adapt the Wrayflex to use
counted 1–36 instead of 1-44. Launched in a pentaprism. But it didn’t. Wrayflex II with 135mm
1953 with a new 50mm f/2.8 Unilux lens, this Instead, another prototype was made – lens and cable-release
became known as the Wrayflex Ia. Around this time with a fourth mirror. The idea was adapter, fitted to a
1,600 cameras were made. that light reflected by the mirror at the back of Wray tripod
the body would now undergo a double cradle
Cross section of the Wrayflex I and reflection in the two new mirrors housed in a
Ia viewfinder system, showing the triangular-shaped hump on the front of the
light path through the mirrors viewfinder housing. The result was a correctly
orientated image.

Not only, Rayner Wray
This was a medical camera made in 1961 and
designed to take close-ups of subjects, such as
but also... the human eye, using a built-in electronic
flashgun. It featured a focusing aid that emitted
Wray made other cameras twin beams of light that registered as
semicircles on the subject. As the camera was
during and ater the Wraylex. moved back and forth, they come together to
None of which were the form a circle when the camera was six inches
company’s original designs from its target.
Stereo
Graphic
Made circa 1950 under
licence from Graflex in
America, this was similar
to the Graflex version,
but with twin Wray
Stereo 35mm f/4 fixed
focus lenses. The focus
of each was fixed at a
different distance to
give a combined depth
Wray Stereo Graphic, the of field of 4ft to infinity.
company’s only stereo camera
Peckham Wray
Peckham Wray with Grafmatic
Designed by Cyril Peckham, Chief back, fitted with
pentaprism to the camera lay in the way the
Photographer of the Hawker standard lens,
reflex mirror worked in the first Wrayflex
Siddeley UK group of aircraft plus wideangle
cameras. It didn’t flip up and lay flat against and telephoto
companies, this was adapted by Wray
the focusing screen, as is the case with most lenses
to make a 4x5in, large format press
SLRs. Instead, the mirror and the focusing
camera to use sheet film in a
screen together, as a single unit, swivelled
Grafmatic back. A mirror dropped
upwards and backwards and ended up in the
down behind the lens, to reflect its
hollow recess between the viewfinder
image to an eye-level viewfinder,
mirrors. Substitute a solid pentaprism for the
alongside a traditional wireframe
mirrors, and there was nowhere for that
finder. Interchangeable lenses
assembly to move into.
included a 135mm f/4.8 Lustrar
Designer Ron Bettell was once more called
standard, 89mm f/6.3 Anastigmat
into service and, along with some cosmetic
wideangle and 9in f/3.9 telephoto.
changes, he solved the problem by perching
The camera was launched in 1955,
the pentaprism on top of the space into which
just as press photographers were
the mirror box needed to move. That’s why,
turning from large format to medium
when the Wrayflex II eventually appeared in
format rollfilm cameras and would
1959, it had an ugly, top-heavy pentaprism
soon be switching to 35mm.
housing, with a higher-than-usual viewfinder
eyepiece, as opposed to the rather sleek
design of the I and Ia cameras.
The new camera was the best of the Author’s note According to
three, but it was too little too late. The Wrayflex II my research, a single working
Coincident with its launch, the Department adapted as a model of Studdert’s original
of Trade restrictions were lifted and into the microscopy Uniflex was built and was last
country flooded cameras from Germany and camera seen in the drawing office
Japan. They included the now legendary at the Wray works in Kent
Nikon F, against which the poor old during the 1960s. If anyone
Wrayflex never stood a chance. The Wrayflex II knows more, I would love to
should have been our flagship SLR, but in hear from them. I am also
the end, less than 350 were made. seeking a Rayner Wray, for
which I have the instruction
Thanks to Helen Pearson, the daughter of
Commander Studdert, for allowing me access to, manual but not the camera.
and permission to publish items from, her father’s Microscopy camera My website has a contact
archives. Posthumous thanks to ex-Wray directors Made in very limited numbers, this was a specially adapted Wrayflex II link where readers can get
Arthur Penwarden and Ron Bettell for providing made circa 1960. It had no mirror box, a blocked-off viewfinder, a in touch, and also has a
hitherto unknown facts about the company. Thanks single shutter speed and the film wind key was replaced by a large special offer on my book The
also to Clive Howes for showing me his Wrayflex knob. It could be fitted with a microscope adapter, comprising a Wrayflex Story. Find me at
without serial numbers. tapering tube with a simple lens that fitted to a microscope eyepiece. www.johnwade.org

LENS TEST Testbench
Stopping the lens down

to f/2.8 sees a noticeable
improvement in centre
sharpness Canon EOS 5DS R,
1/500sec at f/2.8, ISO 200
Samyang AF
85mm f/1.4 EF
Samyang has served up a fast and afordable Features
Being an EF lens, the Samyang AF 85mm f/1.4
short telephoto prime with autofocus for Canon EF is fully compatible with Canon full-frame
DSLRs as well as those that employ an APS-C
users. Michael Topham takes a closer look size sensor. Coupled to the later, or any Canon
mirrorless cameras via the EF-EOS M mount
K
orean lens manufacturer, Compared to the EF 85mm f/1.4L IS USM adapter, it becomes a practical and creative
Samyang, is best known for its (£1,379) that Canon announced last year, this telephoto prime lens that’s equivalent to
range of manual-focus lenses. lens is less than half the price. It doesn’t feature 136mm. For the purpose of this review it
Recently, the company’s attention optical image stabilisation or the same was paired predominantly with the Canon
has been diverted towards expanding its line-up premium build quality, but for those who’d like EOS 5DS R.
of autofocus lenses. Samyang has produced five an affordable and fast short telephoto prime The main appeal of the lens is its fast
prime lenses with AF in E-mount for Sony’s for under £600 it’s an intriguing option. It’s not maximum aperture, which will attract portrait,
full-frame A7-series and has developed two just the price that’s appealing either. It’s 380g wedding and low-light photographers who’d
prime lenses with AF for Canon users. The AF lighter than the Canon lens mentioned above like to isolate subjects from their surroundings
85mm f/1.4 EF is the latest example, but don’t and is much more compact than both it and and create blurred backgrounds with attractive
get this confused with its premium manual the Sigma 85mm f/1.4 DG HSM Art (£999). bokeh. It gathers half a stop more light than
focus lens, the XP 85mm f/1.2, or its cheaper All this sounds very promising, so what’s not to Canon’s old, but still readily available, EF
sibling, the 85mm f/1.4 AS IF UMC. like about it? 85mm f/1.8 USM (£414), and unlike

The lens can be used to
draw a viewer’s eye to the subject,
thus alleviating the issue of
distracting or busy backgrounds
Canon EOS 5DS R, 1/250sec at f/2.8, ISO 100
most of its competition, it’s extremely Build and handling ‘The lens adds only 485g to
light for its size. The barrel is average size in diameter for an
The construction is formed of 9 elements 85mm f/1.4 lens, but very compact in length. the camera it’s paired with’
in 7 groups, with one hybrid aspherical lens It’s 72mm long without its plastic hood and
element. It has nine aperture blades and is rear cap attached, which is almost identical in there’s no focus distance window to glance
equipped with Samyang’s Dual type LSM length to Canon’s EF 85mm f/1.8 USM lens down at. I also found the positioning of the AF/
(Linear Supersonic Motor), which is claimed that weighs just 60g less. The lens adds only MF switch a fraction too high – you have to
to deliver a fast, accurate and quiet autofocus 485g to the camera it’s paired with, making it reach round the barrel to find it with your
performance. Samyang has also applied its one of the lightest 85mm f/1.4 lenses currently thumb rather than come across it naturally
Ultra Multi-Coating (UMC) to the front available. The balance of camera and lens when supporting the lens in your hand.
element to eliminate the effects of lens flare doesn’t feel front heavy, nor does it feel out of Towards the rear of the lens the barrel tapers
and ghosting when shooting towards the light. place coupled to a smaller APS-C DSLR. inward quite sharply and there’s a rubber seal
Other technical information not yet mentioned What you notice when you start comparing it that compresses against the mount of the
include its 0.90m minimum focusing distance to premium alternatives is that its build quality camera to protect against dust and moisture.
and 77mm filter thread at the front. This is the isn’t in the same league. It’s not that it’s poorly
same size as you’ll find on Canon’s EF 85mm made or badly finished, it’s just that the barrel Autofocus
f/1.4L IS USM lens, but smaller than Sigma’s feels quite plasticky and the manual focus ring Samyang is still rather new to the idea of
85mm f/1.4 DG HSM Art, which accepts filters isn’t rubberised. The finely grooved manual incorporating AF into its lenses. AF acquisition is
and adapters of the 86mm variety. focus ring doesn’t offer much resistance, and fairly brisk thanks to the inclusion of the Dual
type LSM; however its lock-on speed isn’t as
The lens can be hasty as the Canon EF 85mm f/1.4L. Carrying
carried around easily out several focusing tests and swapping
on day trips such between different lenses made me aware of an
as a visit to the zoo odd AF phenomenon, where if you leave the
Canon EOS 5DS R, 1/6400sec camera switched on, remove the lens and then
at f/4, ISO 1600
reattach it, it refuses to autofocus again until
the AF point is highlighted using the AF point
selection button and the shutter is half pressed.
One way to get around this was to make sure
the camera is switched off between changing
lenses – this isn’t exactly ideal for the wedding
and portrait photographers the lens is aimed at,
who swap lenses frequently and work quickly.
Since testing the lens, I’ve been told this issue
will be rectified by new firmware, which will be
added to all lenses before shipments are made.
While the focus motor isn’t entirely silent, its
high-pitched whirring is unlikely to be intrusive
LENS TEST Testbench
Samyang AF
85mm f/1.4 EF
Resolution
The lens produced a poor set of resolution results
wide open. As the solid red line on the chart shows,
sharpness improves considerably by stopping down
to f/2.8, with centre sharpness peaking around
f/5.6. The Sigma 85mm f/1.4 DG HSM Art and Canon
EF 85mm f/1.4L IS USM produce sharper results
wide open and deliver far superior edge sharpness.
Corner sharpness gradually improves to where it
peaks between f/5.6 and f/8.
The lens suffers from chromatic aberration

as is clearly seen around the ears of the cat
Canon EOS 5DS R, 1/80sec at f/1.4, ISO 800
when used outdoors. Focus accuracy was

satisfactory during real-world testing, but with
such a fine margin for error and a fast fall off in
focus at very wide apertures, you’ll want to pay
Verdict
careful attention to your focusing technique, The Samyang AF 85mm f/1.4 EF faces stiff
particularly when photographing small subjects competition, yet stands out from other 85mm Centre Corner
against complex backgrounds. f/1.4 lenses with its lightweight and compact
design. It’s an appealing lens as it doesn’t add Shading
Image quality too much bulk and keeps the camera nicely
With the Canon EF 85mm f/1.4L IS USM and balanced in the hand without feeling front heavy,
Using the lens wide open at f/1.4 results in the
Canon EF 85mm f/1.8 USM in my possession, but is ultimately let down by the sharpness it
corners of images appearing about 1.6EV darker
I couldn’t resist comparing their aperture resolves at its maximum aperture. It’s a lens that
than the centre. By f/2.8 corner shading is less
ranges to see where the Samyang lens stands forces you to stop down to achieve satisfying
severe and unrecognisable in real-world images. At
in terms of sharpness. An inspection of shots at results, which rather defeats the point of
the time of testing a lens profile was unavailable,
high magnification revealed Canon’s 85mm choosing it over an 85mm f/1.8. There’s a
but the profile for Samyang’s 85mm f/1.4 AS IF UMC
f/1.4 delivers far superior sharpness, not just misconception that f/1.4 primes are always
lens was effective at correcting corner shading.
wide open at f/1.4, but also right through the superior to lenses with an f/1.8 maximum
aperture range. Canon’s 85mm f/1.8 lens is aperture, but after comparing and contrasting
also sharper than the Samyang wide open and this prime to Canon’s lighter, smaller and more
suffers from less spherical aberration. Stopping affordable EF 85mm f/1.8 USM, I’d happily
the Samyang down from f/1.4 to f/2.8 sees an choose the latter and be content with slightly
improvement in sharpness, but for a lens we less background blur while saving £185. If
hoped would deliver a strong sharpness you’re a Canon user after a sensationally sharp
performance wide open, it is disappointing. 85mm f/1.4 lens and are prepared to pay more,
Analysing our results from the lab backed up I’d highly recommend the Sigma 85mm f/1.4
my real-world findings and confirmed that the DG HSM Art or Canon EF f/1.4 f/2.8
best edge-to-edge sharpness is found when it’s 85mm f/1.4L IS USM Data file
stopped down to f/5.6. The quality of blur ahead of the Samyang AF Curvilinear distortion
produced in the out-of-focus parts of an image 85mm f/1.4 EF. Both are Price £599
is appealing, and attractive circular highlights considerably heavier, but Filter diameter 77mm Our test shot was taken from a distance of 2m and
are rendered at wide aperture settings. their optical performances Lens elements 9 shows that the lens exhibits minor pincushion
Sadly, the way the lens handles chromatic are far superior. Groups 7
Diaphragm blades 9 distortion. You may notice this in images where
aberration isn’t better than its sharpness straight lines are placed along the edges of the
performance. Green and purple fringes of Aperture f/1.4-f/16
Minimum focus frame, but in most cases you won’t notice it and
colour are clearly obvious along high-contrast will be able to get away without correcting for it.
edges at wide apertures. To remove the 0.90m
chromatic aberration, I opened my raw files Length 72mm
in Adobe Camera Raw and used the purple Diameter 88mm
amount, green amount and green hue Weight 485g (without
de-fringe sliders under the lens corrections hood or caps)
tab. Vignetting is also clearly apparent at Lens mount Canon EF
f/1.4, with the corners measuring about SMIA TV = -1.2%
1.6EV darker than the centre. Stopping the
lens down to f/2 sees a big improvement and
by the time f/2.8 is reached vignetting is
barely noticeable.
subscribe 0330 333 1113 I www.amateurphotographer.co. g 45

Testbench ACCESSORIES
CEWE Photobook Pure

Andy Westlake is impressed by
this photobook creation app At a glance
● £12.99 per book + £1.99 postage
Slip-case
The photobook comes ● Create photobooks using a
● cewe-photoworld.com with a protective smartphone or tablet
cardboard case. ● Free app for Android and iOS
IF YOU want to turn your pictures into
● Book contains 22 photos
something less ephemeral than electronic
files viewed on a screen, then making ● Measures 15x15cm (6x6in)
a photobook is a great option. There’s
a real appeal to having a physical
record of your favourite shots, and
they also make excellent gifts.
While many companies offer
sophisticated photobook software for
Windows and Mac computers with
comprehensive layout and captioning options, the
fact is that most photographs are now taken, or at
least stored, on smartphones. In recognition of this,
photofinishing giant CEWE has released an app
called Photobook Pure. As the name suggests, this Square format
app is stripped right back to the essentials, with an The hardcover book
easy-to-use smartphone-optimised interface. measures 15cm square, and
The concept is simple. The app prompts you to is printed onto high-quality
select 22 images from your camera roll, with various matte paper.
filters available to narrow down your search. It then
arranges them onto the pages of the book, initially in
chronological order. At this point you can drag your
photos to reorder them, and crop them using a
pinch gesture. If you decide you want to replace
an image, pressing the screen opens a selection Delivery time
dialogue. You can add a title to the book’s cover and CEWE promises that your
spine, and a short message on the opening page. photobook should arrive
Completed books, or works-in-progress, are in 4 to 6 working days
automatically saved as projects within the app, after ordering.
making it easy to pick up part-finished
work, or order another copy of a book.
Naturally you can delete projects
whenever you want. Once you’ve finished
designing your book, you’re taken to the
ordering screen. Here you can change the
number of copies, or add further books
from other projects. You can also choose
a delivery address that’s different to your
billing address, which is ideal for gifts.
CEWE gives a delivery estimate of 4-6
working days, and you can track the progress
of your order. Mine was printed within two days
of ordering and arrived three days later. The Simple app
book comes well-protected in a corrugated CEWE has stripped the
cardboard package, and print quality is app back to the basics,
impeccable, with vibrant colours and making it very easy to use
perfectly neutral black & white images. even on a smartphone
There’s some CEWE branding at the back, with a small screen. CEWE PHOTOWORLD
but it’s not remotely objectionable.
If you want to make larger or more complex photobooks,
ALL PRICES ARE APPROXIMATE STREET PRICES
Verdict CEWE provides the option via its Photoworld service, using
With Photobook Pure, CEWE has designed a free software that’s available for Windows and Mac. Sizes
clever app that manages to be simple and intuitive range from 14x13cm up to 38x29cm, and books can be
to use, while including all the features you need ordered with 26 pages up to a maximum of 178, depending
and stripping out those you don’t. It then delivers a on size. There’s a choice of six paper types, and softback or
really attractive photobook that arrives quickly and
GOLD hardback covers. I was really impressed with the service
well-packed. You couldn’t really ask for much more. when I reviewed it in the 13 August 2016 issue of AP.

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Tech Talk
TechSupport
Email your questions to: ap@ti-media.com, Twitter @AP_Magazine and #AskAP, or Facebook. Or write to Technical Support,
Amateur Photographer Magazine, TI Media Limited, Pinehurst 2, Pinehurst Road, Farnborough Business Park, Farnborough, Hants GU14 7BF
Slow-sync flash You need to have the
Q I take a lot of indoor

portraits and lately have
found it beneficial to use
slow-sync flash when taking
right lens to take decent
images of the Milky Way
these. It improves the lighting

on the subject, but sometimes
the background is very dark and
I have to do a lot of work with
the Quick Selection Tool in
PhotoShop Elements to brighten
the background. Could you advise
me on how to use slow-sync flash
better? I use a Canon EOS M6,
an EF 50mm f/1.4 lens at
maximum aperture, and the
built-in flash.
Martin Houlton How to take order to reduce the exposure
time and avoid an increase
precisely; use manual focus
only if using an AF-capable
Milky Way photos
A
For the benefit of in ISO setting that could lens. Set the camera to ISO
the readers, slow-sync
flash is a technique that
slows down the shutter speed
while using flash. It’s often used
Q I’m on holiday in a
remote part of central
France in mid-August.
Motivated by my experience of
introduce unwanted image
noise, f/2.8 or faster is better.
Second, at 18mm the view is
only going to capture a small
3200. I’d recommend using
raw (NEF) file mode instead
of JPEG so you can manage
noise and exposure in
for an effect where the main the region in the recent past, portion of the sky. This limits post-processing. The next step
subject is frozen and sharp while when the lack of light pollution your composition, but more is to select a shutter speed that
background motion, not frozen facilitated a view of the Milky importantly it means that the is as long as possible to bring
by the flash, creates artistic blur. Way with the naked eye, I’d rotation of the earth will show the brightness of the Milky
I’d advise switching off auto flash like to capture it on my Nikon more quickly, so you risk Way out but to avoid planetary
modes when using slow sync. In D3400. However, I only have seeing distorted stars as they motion blur.
Martin’s case, it’s not clear how the standard kit lens. Will this move during the exposure. The so-called ‘500’ rule
slow sync improves the lighting do the job and do you have any For a better result, try to works well: divide 500 by the
on the subject. If there is other advice? I don’t have a get hold of something like a focal length of the lens you are
reasonably bright ambient light tripod of my own but a friend Samyang 12mm f/2.8 fisheye using. Let’s say you are using
on the subject, the on-camera has agreed to lend me one. lens. Don’t be concerned that the 12mm Samyang. First,
flash would need to be turned Lee Huddlestone it is designed for full-frame correct for the crop factor by
down to avoid overexposure and bodies, it will still work well on multiplying 12 by 1.5=18. Then
A
the combination of low-power You will certainly be a crop-frame (DX) camera 500÷18=27.8, so keep the
flash and ambient light could be able to get an image of such as yours. This lens can shutter open for 28 seconds
interesting. But Martin is finding the Milky Way with be found for under £300 if and no longer. For your 18mm
that the background is coming your D3400, but the standard you shop around. Check a kit lens the calculation would
out too dark. By the inverse 18-55mm kit lens is not ideal moon-phase calendar – avoid be 18x1.5=27, 500÷27=18.5
for a couple of reasons. First, the days when the moon is seconds. To avoid disturbing
at the widest (18mm) zoom bright in the sky. This year the camera use the self-timer
setting the maximum aperture the moon is at its darkest on mode to trigger the shutter a
is f/3.5 and less light is 11 August. Use the live view few seconds after pressing the
transmitted than is ideal. In mode on your camera focus shutter button. Good luck!
square law the power of the For this you would need to slow Adjusting the ISO setting is
on-camera flash drops off the shutter speed as far as another tool at your disposal
sharply with distance and necessary. Depending on how if the shutter speed gets too
probably won’t be lighting up bright the main subject is in slow. You could also light up
the background much, if at all. relation to the background you the background with a set of
Therefore, you can ignore may find you need to turn down secondary external flash units.
Martin Houlton asks for advice using the flash in order to expose the power on the flash, or even
slow-sync flash on his EOS M6 adequately for the background. abandon the flash altogether. Q&A compiled by Ian Burley

Protecting your camera
kit at home and away
You’ve invested time and money into your photography so why wouldn’t you invest in protecting your
camera and equipment?
If you’re shooting a landscape, wildlife or street photography, whether in the UK or abroad, the risk of
thet is always present. Accidents can also happen, whether its your fault or someone else’s – dropping
a lens or knocking over a tripod are easy but can be expensive mistakes to make.
As well as human error, there’s mother nature to deal with too – rain, sand, sea and temperature all
have the potential to damage your kit in the pursuit of the perfect shot.
Amateur Photographer Insurance Services can be there to help protect against the things that
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TPD0769 1 0718
Tech Talk
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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

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3"*3A%// A7%*%7< 777777777777777 88 ?'11 31*A%// A7%*'7% 7777777777777777777777777777777777777778 ?%1 BHH// A7% 77777777777777777777777777 8 = 88 ?3B1 * ?3'1 ;BHH 2 G 0.G77777777777777777777777777777777777777777777778 ?%"1
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3"// B 77777777777777777777777777777777777788 ?BA1 * ?B'1 BH*A%// A7%*'7% 77777777777777777777777777777777 88 ?3A1 AHH// ' 77777777777777777777777777777777777777777777777778 ?B<1 "H 2 G 0.G77777777777777777777777777777 F = 88 ?<1 * ?331
B;// B7" 77777777777777777777777777777777777777777777777 88 ?B31 B3// B7" +:@(20 !+:: 777 8 = +0@* ?<%1 * ?;A1 "HH 2 G 0.G777777777777777777 3% G: = 88 ?;'1 * ?1'1
A%// 37' 7777777777777777777777777 8 = 88 ?A31 * ?A'1 B'*3H%// ' 77777 3% G: = 88 ?B11 * ?A11 +
%%#% && "HH 2 G 0.G7777777777777777777777777777777777777777 88 ?3HA1
A%// B * +.D!97777777777777777777777777777777 +0@* ?B"1 B'*;H// B7" 7777777 8 = +0@* ?3H'1 * ?33"1 C,++./ *3 .- 2 G 0.G 77777777777777777777777 88 ?3;1 "3H 2 G 0.G7777777777777777788 = +0@* ?3A'1 * ?3A"1
%H*3'H// B7" 7788 = +0@* ?1'1 * ?3H'1 B'*;H// #' 777777777777777 8 = +0@* ?''1 * ?%'1 *B .- 2 G 0.G 777777777777777777777777777777777777 88 ?B;1 1H 2 G 8 *"H 9+477777777777777777777777773% G: ?3B1
%<// 37B 777777777777777777777777777777777777 88 ?"'1 B'*"%// A7%*'7% 77777777777777777777777777777777 88 ?3A1 *B )92/! 2 G 0.G777777 3% G: = 88 ?3"1 * ?B;1 # 2 G 0.G777777777777777777777777777777777777777777777777778 ?3B"1
%<// 37B 7777777777777777777777777 8 = 88 ?<31 * ?<%1 B'// 37' 7777777777777777777777 8 = 88 ?%11 * ?<'1 * 3 +.D!9 2 G 0.G 77777777777777777777777777778 = 88 ?3'1
B'// 37' 7777777777788 = +0@* ?1'1 * ?111 *923 2 G 0.G77777777777777777777777777777777777777777777778 ?BB1 && "&&
/!$-&
%# ),%& B'// A7% 77777777777777777777777777777777777773% G: ?'11 *92B 2 G 0.G7777777777777777777777777777777777777777777 88 ?1A1 'H// ' .- 77777777777777777777777777777777777777777777F ?A11
1*3"// '*%7< 7C+-2 7777777777777777777777777 +0@* ?A<1 B'// A7% - 77777777777777777788 ?3311 * ?3BA1 *92B 2 G 0.G77777777777777777777777777777777777777777777778 ?1'1 %H// ' 7777777777777777777777777777777777777777777773% G: ?B'1
3B*'H// B7" 7C+-27777777777788 = +0@* ?%A1 * ?%;1 B"*3H%// A7%*'7% 777777777777777777777777777777 88 ?331 *3 .- 2 G 0.G 7777777777777788 = +0@* ?A11 * ?'31 %H// ' $ 77777777777777777777777777777777777777777777778 ?;11
3B// B 7C+-2 * +.D!9 77777777777777777777777 +0@* ?A11 B"*3A%// A7%*%7< 77777777777777777777777777 88 ?3%1 *3 2 G 0.G77777777777777777777777777 8 = +0@* ?AA1 * ?'31 3BH// ' 92 77777777777777777 F = 88 ?A'1 * ?'11
3'*3%H// '*%7< 7C+-2 7777777777777777777777 88 ?A'1 B"*;%// B7" + /920777777777777777777777778 ?3%1 *3H .- 2 G 0.G 7777777777777777777777777778 = 88 ?B;1 3BH// ' 92 77777777777777777777777788 ?1"1 * ?111
3'*'B// A7%*%7< 7C+-2777777777777777777777 +0@* ?3A1 A%*3A%// A7A*'7% 9+2 !+:: 77777777777777777777 88 ?A'1 *3H +.D!9 2 G 0.G 77777777777777777777777777777777777778 ?B11 3%H// ' +7777777777777777777777777777777777777777777777 +0@* ?;11
3;// 37" 7C+-2 * .- 777788 = +0@* ?B%1 * ?B;1 'H// B7" 777777777777777777777788 = +0@* ?331 * ?3B1 *B .- 2 G 8 0 (9+4777777777777777777777777777778 ?";1 3<H// '7" 77777777777777777777777777777777777777777777 88 ?A'1
B%// 37B 7C+-2 77777777777777777777 88 = +0@* ?;"1 '%// B7" * 77777777777777777777777777777777777777777777778 ?<'1 *B .- 2 G 8 *B !9@+. 9+488 = +0@* ?"11 * ?1'1 B%H// %7< 777777777777777777777777777777777777777777777 88 ?A'1
AH// A7% 7C+-2 9277777777777777777777777777777 +0@ ?3;1 %H// 37B 77777777777777777777777777777777777770C:! ?1'1 *B .- 2 G 0.G 77777777777777777777777777777777777 +0@* ?"'1 B%H// %7< )92/!77777777777777777777777777777777773% G: ?11
'H*3%H// B7" 7C+-2 9277777 F = 88 ?;'1 * ?"11 %H// 37' 777777777777777777777788 = +0@* ?311 * ?BB1 *B .- 2 G 0.G 777777777777777777777777777777777777 88 ?;11 A%H// %7< .- 77777777777777777777777777777777777777778 ?A'1
;%*AHH// '7"*<7; 7C+-2 7777777777777777 88 ?BA1 %H// 37" 7777777777777777777777777788 = +0@* ?%1 * ?<1 *BH 2 G 0.G * +.D!977777777777777777777777777777777 88 ?%11
;%// 37" 7C+-2 * .- 77777777777777777777 +0@* ?'<1 %H// B 92 !+:: 777777777777777777777777777777 88 ?<11 3HH * +.D!9777777777777777777777777777777777777788 ?<'1 * ?<"1
;%// 37" 7C+-2 * +.D!9 77777777777777777777 +0@* ?'<1 %H// #B7% 92 7777777777777777777777777777777777777 88 ?3<1 5B'H6 .- 2 G 0.G7777777 8 = 88 ?B%11 * ?B"'1
<H// B7" 92 7777777777777777777777777 +0@* ?BA1 .G/4C: * 3 +.D!9 2 G 8 *; 9+47777777 88 ?'%1 5B'H6 )92/! 2 G 0.G 7777777777788 ?B<11 * ?B;'1
"&#"
%# ),%& ;H*BHH// B7" 88 = +0@* ?3B11 * ?3A<1 * 3H )92/! 2 G 0.G 77777777777777 +0@* ?A'1 * )92/! 2 G 0.G7777777777777777777777777777777 88 ?A'"1
3B*AB// A7%*%7< 7777777788 = +0@* ?3B1 * ?3%1 ;H*B3H// A7%*'7% 77777777777777777777777777777777 88 ?11 * 3H +.D!9 2 G 0.G777777777777777 +0@* = +0@ ?B"1 * 5G4 3B;6.- 2 G 0.G77777777777777777777 88 ?B%11
3B*A%// B7" 9+2 7777777777777777777777777 88 ?'<1 ;H*AHH// '*%7< 777777788 = +0@* ?311 * ?B31 * 3H - .- 2 G 0.G777777777777777777777777 +0@* ?'<1 )92/! 2 G 0.G7777777777777777777777777777777777778 ?B11
3B*<H// A7%*%7< 9+2 88 = +0@* ?BA1 * ?B%1 ;%*AHH// '*%7< 7777777777777777777777777777777777 88 ?%1 * % 9- 2 G 8 *B (9+47777777777777777777777778 ?%11 H7;BF .4) +:20 +@+20 777777777777777777 +0@* ?%"11
3'*3'H// A7%*%7< 7777777777777777777777777777 88 ?AA1 ;%*AHH// '*%7< 777777777777777777777777777777777777777 88 ?"1 *% .- 2 G 0.G 7777777777777777777777777777777777 88 ?3A1 B3// B7" .- 777777777777777777777F = 8 ?<"1 * ?1A1
3'*'B// A7%*%7< :4) 77777777777777777788 ?%1 * ?<1 ;%*AHH// '*%7< 77777777777777777777777777777 88 ?311 * % 2 G 8 *" 9+4 777777777777 88 ?%'1 B3// B7" .- 8 +0 !9 7777777777777777777777777778 ?""1
3'*'%// A7%*%7< 9+277 8 = 88 ?;1 * ?331 "HH// %7< 777777777777777777777777777777777778 ?<1"1 * % +.D!9 2 G 0.G7777777777777777777777777777778 ?BB1 B3// A7' )92/!7777777777777777777777777777777777777777778 ?<'1
B%// 37' C//+.CF7777777777777777777 88 = +0@* ?B11 "%// 37B - 7777 88 = 0C:! ?111 * ?3B'1 !0* .- 2 G 0.G7777777777777777777777777777777777 +0@* ?;31 B3// ' )92/! 8 +0 !977777777777F = 8 ?;'1 * ?;11
AH// B7" 92 :4) 77777777777777777777777777 88 ?3;1 "%// 37' 777777777777777777777777777777777 +0@* ?3311 !0* +.D!9 2 G 0.G777777777777777777777777777777777777778 ?<;1 B'// 37' :4) * .- 77777777777777777777777 +0@* ?AB"1
'B7%// 37; 77777777777777777777777777777777777777 +0@* ?BA1 "%// 37" 77777777777777777777777777777777777777777777 88 ?B31 B'// B7" :4) .-7777777 F = 88 ?"11 * ?3H11
'%*3%H// '*%7< :4) 777788 = +0@* ?3B1 * ?3A1 1H*AHH// '7%*%7< 77777777777777777777777777777777777 88 ?;1 20G ; 2 G 8 *B 9+4 777777777777777777 +0@* ?1A1 B'// B7" :4) .- <+@777777777777777777777778 ?3H'1
'%*BHH// '*%7< C/+F 9+27777777777777777777 88 ?3%1 1H// B7" + 92 /920 777777777777777777 +0@* ?BB1 ; 2 G 0.G 77777777777777777777777777 8 = +0@* ?;"1 * ?"<1 B'// A7" :4) .-7777777777777777777777777777778 ?3H11
'%*BHH// '*%7< 77777777777777777777777777 8 ?3B1 * ?3A1 1H// B7" +.@*)+#@ !0: 77777777777777777777777777777 88 ?<;1 ; 2 G 0.G 77777777777777777777777777777777777777777 88 ?3''1 B"H// '7" !.G@7777777777777777777777777777777777777777777778 ?BB1
'%// B7" :4) 92 777777777777777777777777777 88 ?AB1 3HH*AHH// '7%*%7< 7777777777777777777777777777777778 ?<1 ; 2 G 0.G 77777777777777777777777777777777777777777 88 ?3"'1 B"// B :4) .- <+@77777777788 ?3"'1 * ?3"11
3HH// B 92 !+:: 77777788 = +0@* ?;'1 * ?;11 ; 2 G 0.G 777777777777777777777777777777777777777777777777777F ?A11 B"// B7" .- 777777777777777777777777777777777777777778 ?%'1
#"/
#-"+ "&& 3HH// B7" 92 777777777777777777777777 88 ?%'1 <AHH 8 3<*%H//77777777777777777777777777777777777777777778 ?%;1 A%// 37' +@+0C/0777777777777777777777777777777778 ?3"11
3H*3"// ' 77777777777777777777777777777777777777 +0@* ?%A1 3A%// B 7777777777777777777788 = +0@* ?%'1 * ?%11 <AHH 2 G 0.G 7777777777777777777777777777777777777777777 88 ?%A1 A%// B :4) .-777777777777777777777777777777 88 ?3B'1
3<*;H// ' 777777777777777777777777777777777777 +0@* ?%'1 3BH*AHH// B7" +(/777777 88 ?<11 A%// B :4) .- <+@ 8 = +0@* ?3%11 * ?3;'1
3<// B7" 77777777777777777777777777777777777777777777777777 +0@* ?;1 3%H*<HH// %*<7A +(/777777 88 ?<'1 + !%& A%// B7' :4) .- <+@777777777777777777777 +0@ ?3311
31// B7" * +(/7777777777777777777777777777777 +0@* ?11 3%H*<HH// %*<7A 429@ +(/ 88 ?1"1 %H// B .- 7777777777777777777777777777777777777777777777778 ?<11
BH// B +9+0 2-+0 7777777777777777777777777777777777777778 ?';1 3;H*%HH// %*<7A 42 +(/ 777777777777 8 ?3%1 * ?311 020 3 2 G 0.G7777777777777777777773% G: ?3<11 %H// B7" ./977777777777777777777777777777777777773% G: ?B"1
B3// B7" 2F+ !+::777777777777777777777777777777777 +0@* ?1'1 3"H// A7% 92 777777777777777777777777777 88 ?B11 AH 2 G 0.G 777777777777777777777777 8 = 88 ?%1 * ?<1 <%// A7% ./97777777777777777777777 8 = +0@* ?3%1 * ?B11
B'*;H// ' 7777777777777 8 = 88 ?%<1 * ?<B1 3"H// A7% + 92 /920777777777777777777 88 ?A11 A%H 2 G 0.G 77777777777777777777777777777777773% G: ?'1 ;%// B 42 .- <+@777 8 = 88 ?3%11 * ?3<11
B'// 37' /G0(777777777777777777 88 ?BH1 3"H// A7% 92 77777777777777777777777 88 ?"'1 'HH 8 3"*%% 77777777777777777777777777777777777778 ?331 ;%// B7' .- <+@ 8 22 777777777777777777 +0@* ?111
B%// B @+: +:@(20 !+:: 77777777777777777 +0@* ?<11 BHH*'HH// ' E+@) 0@!90. 37'F F@!0 !9 !0:777 88 ?;1"1 'H 8 *B 9+4 77777777777777777777777777777777777778 ?3B1 ;%// B7% .- <+@ 8 22 7777777777777777777 88 ?"'1
B"*;H// A7%*%7< 20G7777777777777777777 88 ?311 BHH// 37" 77777777777777777777777777777773% G: ?3'11 '%H 2 G 0.G 7777777777777777777777777777777777777 88 ?331 1H// B 42 .-7777777777 8 = 88 ?3'11 * ?3;11
AH// B7" +(/ 77777777777777777777777777777777 88 ?1% BHH// B7" 777777777777777777777777788 ?A11 * ?'B1 %HH 2 G 0.G 77777777777777777777777777777777773% G: ?;1 1H// B )92/!777777777777777777777777777777777778 = 88 ?%11
AH// A7% 92 77777777777777777777777777777777777777 88 ?331 AHH// B7" 7777777777 8 = 88 ?31"1 * ?B';1 % 8 *' 9+4 777777777777777777777777777777777777 88 ?B'1 1H// B .- 777777777777777777777777777777777777777777778 ?;'1
AB// 37" 2C+@ !+::77777777777777777777777777777777 88 ?AB1 AHH// B7" 88 = +0@* ?A111 * ?'3"1 % 2 G 0.G777 3% G: = 88 ?;'1 * ?3''1 1H// B7% .- <+@ 7777777777777777777777777777777 88 ?;'1
A%// B 2F+ * !+:: 777777777777777777777777777777777 +0@* ?;"1 AHH*"HH// %7< 42 +(/ 777 88 ?AA11 % 2 G 8 *33 9+477777777777777777777 +0@* ?BH11 1H// B7" .- 7777777777777777777 8 = 88 ?A11 * ?;'1
%H// B 2F+ !+::777777777777777 +0@* = +0@ ?''1 * ?%31 AHH// B7" +(/777777777777777 88 ?33'1 % 2 G 0.G 77777777777777 8 = 88 ?3<"1 * ?3"11 1H// B7" .- <+@ 7777777777777777777777777777777 88 ?"'1
%H/// 37" 7777777777777777777777777777777777777777 +0@* ?3%1 'HH// B7" 7777777777 8 = 88 ?A<"1 * ?A""1 % 2 G 0.G 77777777777777777777777777777777 +0@* ?3111
%%*B3H// '7%*<7A 77777777777777777777777777777 +0@* ?331 'HH// B7" 7777777777777777777777777777777777777778 ?B''1 <HH 2 G 8 *" 9+4777777777777777777777777 88 ?B;1
!/ (
3HH// B7" :@!9 77777777777 +0@* ?33"1 'HH// ' 7777777777 8 = 88 ?3";1 * ?31;1 <H 2 G 0.G 77777777777777777777 8 = 88 ?B'1 * ?B;1 <'% 92 2/4.!@! 8 +0 !977777777777777777777777777777778 ?A'1
3A%// B7" @+: 42*2009 !+::77777 +0@* ?33'1 %HH// ' 777777777777777777777777777777777777778 ?A''1 <%H 0#9 ! 2 G 0.G77777777777777777777777 88 ?'B1 <'% 92 2/4.!@! 8 9+:/777777777777777777777778 ?''1
3H /9@ )20! !0: 777777777777777777777777777777777 +0@* ?;1 %HH// ' 7777777777777777777777777777778 ?%1%H < 2 G 8 *3A 9+4777777777777777777777777777778 ?<11 <'%
2 G 8 777777777777777777777777777777777777777 88 ?3'1
%HH// '7% 7777777777777777777777777777777777777778 ?B3'1 < 2 G 0.G 77777777777777777777777777777777778 = 88 ?<"1 %%// B7" 777777777777777777777777777777777777777777777777 88 ?3'1
%HH// " !&!F /92077777777777777777777777777778 ?3;1 ;H 2 G 0.G 777777777777777777777777777777777777777 88 ?'11 ;%*3%H// '7% 77777777777777777777777777777777777777777 88 ?3"1
020 C@2 2C: !0:!: 37'F F@!0 !9777777777777777777777777777777777777777777777777F ?;1 ; 8 *; 9+4 7777777777777777777777777777777777777778 ?A%1 3H%*B3H// '7% 77777777777777777777777777777777777778 ?11
"*3%// ' +:)!G! 77777777777777777 88 = +0@* ?;'1 BF F@!0 !97777777777777777777777 3% G: = 88 ?%1 * ?3B1 ; 2 G 0.G 777777777777777777777 F = 88 ?B11 * ?A11 3%H// A7% 777777777777777777777777777777777777777777777777778 ?33%
3H*BB// A7%*'7% 77777777777777 8 = 88 ?B31 * ?B%1 BF F@!0 !977777777777777777777777777777777777777777777 88 ?3<1 ; 2 G 0.G777777777777777777777777777777777 +0@* ?;11 3%H// ' 77777777777777777777777777777777777777777777777777777778 ?A1
3H*B'// A7%*'7% + :4) /9207777777 88 ?BA1 BF - F@!0 !9 777777777777777788 = +0@* ?B"1 * ?A31 %H 8 3%*'%// 7777777777777777777777777777777777 +0@* ?'11 B3H// ' 7777777777777777777777777777773% G: = 8 ?'1 * ?11
33*3<// B7" 2-+0 77777777777777777777777 88 ?B%1 %H 2 G 0.G77777777777777777777777777777777777777 +0@* ?''1 AHH// %7< 777777777777777777777777777777 8 = 88 ?11 * ?3H1
33*B'// ' 777777777788 = +0@* ?31'1 * ?3111 #"+. %HH// " !&!F 7777777777777777777777777777777777777777778 ?B;1
3B*B'// ' 2-+0777777 +0@* ?B11 3 2 G 8 3 -7777777777777777777777777777777777777 88 ?B'1 +-20 A 2 G 0.G 777777777777 3% G: = 88 ?''1 * ?;11 3BH 0:!9@77777777777777777777777777777777777777777777777777777777 88 ?3%
3B*B'// ' 2-+07777777777777777777 88 ?311 B3// B7" 8 +0 !9 77777777777788 = +0@* ?A11 * ?%'1 ABHH .- 2 G 0.G 7777777777777777777777777777777777778 ?3<1 3BH 92 (7777777777777777777777777777777777777777777778 = 88 ?%1
3H*BH// '*%7< +(/ 8 = 88 ?3%1 * ?3"1 B"// B7" 777777777777777777777 3% G: = 88 ?3'1 * ?B'1 AAHH 2 G 0.G777777777777777777777777777777777777777777 +0@* ?B'1 BBH 0:!9@77777777777777777777777777777777777777777777777 88 ?3H * ?BH
3B*B'// '7%*%7< +(/ 77777777777778 ?B'1 B"// B7" * .-7777777777777777777777777777777777777 88 ?B11 A'HH 2 G 0.G77777777777777777777788 = +0@* ?B<1 * ?B;1 .+0 9+:/ <'% 777777777777777777777777777777777777777777777777778 ?B1
3'// B7" 77777777777777777777777777777777777777 88 ?"'1 1H// B7" 77777777777777777777777777777 8 = 88 ?3<1 * ?BB1 A 2 G 0.G7777777777777777777777777777777777777777773% G: ?;'1
3'// A73 /G0( 777777777777778 ?31% ' 2 G 0.G77777777777777777777777777777777777777777777777778 ?3;'1
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3%*'%// A7%*<7A * 777777777777777777 +0@* ?331 #"+. "&& ' 2 G 0.G77777777777777777777777777777777777777777777 88 ?B";1 <'% 2/4.!@! 8 '% 5):! 0!6 777777 88 ?AB%H
3%// B7" +:)!G! 777777777777777 8 = 88 ?A'% * ?''1 B%// B7" 777777777777777777777777777777777777777777777 88 ?A'1 % 2 G 0.G 5C. 6 777777777777777777777777777 +0@* ?A1;1 <'% 2/4.!@!777777777777777777777777777777777777777777 88 ?<11
3<*A%// B7" 77777777777777777777777770C:! ?3"'1 B"*;H// A7%*'7% 7777777777788 = +0@* ?B'1 * ?B;1 %H 2 G 0.G777777777777777777777777777777777777777777773% G: ?A1 <'% 2/4.!@! 777777777777777777777777777777777777777777777778 ?%HH
3<*A%// B7" 777777777777777777777777777 88 ?;11 B"*"H// A7%*%7< 777777777 0C:! = !E ?A'1 * ?A11 %HH 2 G 0.G777777777777777 3% G: = 88 ?;11 * ?3B'1 <'% 2/4.!@! E+@) '%8 +(+@. -77777 88 ?A<"1
3<*A%// ' 777777777777777777777777777777777 +0@* ?;'1 A%// B7" )+#@ 7777777777777777777777777777777 88 ?3H11 %%HH 2 G 0.G7777777777777777777777777777777777777777777 88 ?A'1 %%*33H// '7% 777777777777777777777777777777777777777 88 ?A'1
3<*%H// B7" 92 2-+0 77777777777777777 88 ?B"1 %H// 37' 77777777777777777777777777777777777788 ?A11 * ?''1 %%HH 2 G 0.G * .-77777777777777777777777777777777778 ?A'1 "H// B7" 777777777777777777777777777777777777777777777777778 ?311
3;*'H// #' 7777777777777777777777777777777777777777778 ?A'1 ;H*BHH// A7%*'7% 777777777777777777777777777777777 88 ?B11 <H 2 G 0.G7777777777777777777777777777777777777777777777777 88 ?11 3H%*B3H// '7% 7777777777777777777777777777777777777 88 ?A%1
3H%*B3H// '7% 777777777777777777777777777777 88 ?'11 %H// 37' 77777777777777777777777777 8 = 88 ?3A1 * ?3<1
3BH// ' 92 777777777777777777777777777777777777 88 ?%'1 ;H*BHH// B7" 777777777777777777777777 88 ?<11
3%H// A7% 777777777777777777 3% G: = 88 ?3<1 * ?B11
B3H// ' 77777777777777777777777777777777777777777 88 ?A11 ;H*BHH// B7" 77777777777777777777777778 ?1"1
;H*B3H// '*%7< 77777777777777777777777777777778 = 88 ?%1
!/ ')' ;H*AHH// '*%7< 777777777777777777777777777777777777 88 ?'1

; .- 8 <%// ' 7777777777777777777777777777777777 88 ?B311
'A// '7% 8 +0 !9777777777777788 = +0@* ?<'1 * ?;11 ;H*AHH// '*%7< 777777777777777777777 8 ?"1 * ?3H1
%H// '7% 8 +0 !977777777777777777777777777777777777 88 ?"'1 ;H*AHH// '*%7< 777788 = +0@* ?B11 * ?A31
3%H// '7% 77777777777777777777777777777777777777777777777 88 ?A'1 ;%*B'H// '7%*%7< 777777777777777777777777777777777 88 ?'1
B3H// " 8 +0 !97777777777777788 = +0@* ?B11 * ?%11
+0 !9 3%H=B3H ;H' 77777777777777777777777777777777777 88 ?3'1 "H*BHH// B7" 77777777777777777777777777777777777778 ?B11
+0 !9 3%H// ;HB 777777777777777777777777777777777777 88 ?3B1 "H*BHH// B7" 777777777777777777777777777777777778 ?B'1
029/+ 4@!9 ;H3 777777777777777777777777777777 +0@* ?;% "H*'HH// '7%*%7< 777777777777777777777777777778 ?A11
C+- )2! ;HB777777777777777777777777 88 = +0@ ?;1 * ?11
9+42 4@!9 7777777777777777777777777777777777777777777777 88 ?BH "H*'HH// '7%*%7< 777777777777777778 ?3H11
;HB 2.9+:+0( +.@!9 7777777777777777788 = +0@* ?<% * ?<1 3H%// 37' * 777777777777777 +0@* ?3'11 * ?3%"1
3H%// B7" +92 777777777777777777777777777F ?A'1
#"/ "&&
3H*BH// '*%7< +(/7777777777777777777777 88 ?3;1 BHH*'HH// ' 77777777777777777777778 ?3;11
3B*B'// '7%*%7< +(/77777777777777777777778 ?B<1 BHH*'HH// ' 7777777777777777 +0@* ?A311
3<*A%// B7" 7777777777777777777777777777777777778 ?;'1 AHH// B7" 77777777777777777777777777777777777777778 ?1'1
3<*%H// B7" 7777777777777777777777777777777777778 ?B"1
3<*"H// A7%*'7% 77777777777777777777777777777777777 88 ?B'1 AHH// B7" * 77777777777777777777777777777777 88 ?3B11
3<// B7" +:)!G! 777777777777777777777777777777777777777 88 ?'11 AHH// ' 777777777777777777777777777777777777773% G: ?311
3;*;H// B7"*' 92 +(/ 777778 ?311 %HH// ' 77777777777777777777777777777777777 88 ?B''1
3;*;H// B7"*'7% +(/7777777777777777777777777778 ?331
3;*%H// B7" + /920 7777777777777777777777777777778 ?3;1 <HH// ' 777777777777777777777777777777 88 ?A1A1
3"*BHH// A7%*%7< 7777777777777777777777777777777777778 ?BA1 *3' 20D!9@!9777777777777777777777777777777777777777 +0@* ?A;1
3"*AHH// A7%*<7A +(/ 77777 88 ?311 *3; 20D!9@!977777777777777777777 8 = +0@* ?3<1 * ?3;1
3"*%%// A7%*%7< 7777777777777777777777777777777777 88 ?'1
*BH 20D!9@!9 777777777777777777777777777777777777777777 88 ?331
3"*;H// A7%*%7< 77777777777777777777 8 = 88 ?'1 * ?<1
BH// 37" +(/ 777777777777777777777777777777 88 ?B31 *BH 20D!9@!97777777777788 = +0@* ?3%1 * ?3<1
B'*;H// B7" +(/ 7777777777777 88 ?A'1 *BH 20D!9@!97777777777777 8 = 88 ?311 * ?BB1
B"*3H%// '*%7< +(/777777777777777777777777777 88 ?A1
B'*;H// B7" + /920 7777777777777777 +0@* ?''1
B"// 37" :4) +(/ 777777777777777777777777777777777777 F ?11 ! #" +
AHH// B7" 7777777777777777777777777777777777778 ?'"'1 '7%// B7" +:)!G! 7777777777777777777 88 ?''1
A%// 37' /G0( 77777777777777777777777 88 ?B%1 3B*B'// '7%*%7< 7777777777777777777777778 ?B'1
%HH// " !&!F 777777777777777777777777777777777777777777 88 ?A;1
%H// 37" 777777777777777777777777777777777777777777777777 88 ?%1 3%*AH// A7%*'7% 77777777777777777777 8 ?3'1 * ?3%1
%%*BHH// '*%7< /92077777777777777777777777777 88 ?A% 3;*%H// B7" 777 8 = 88 ?311 * ?BA1
%%*BHH// '*%7< 777777777777777777777 8 = 88 ?A1 * ?'1 3;*;H// B7"*' 92 20@!/4299G88 ?BA1
%%*BHH// '*%7< 77777777777777777777777777777 88 ?'1
<H// B + 5+#6 92 /920777777777777777777777!E ?B<1 3"*BHH// A7%*<7A 77777777777777777777777777777777777778 ?;1
;H*B3H// '7%*%7< 777777777777777777777777777777777 +0@* ?'1 3"*BHH// A7%*<7A 7777777777777777777 88 ?3'1
;H*AHH// '*%7< + /920 77777777777777777777777777 88 ?'1 3"*%H// B7" 777777777777777777777777777777777777777778 ?11
;H*AHH// '*%7< + /92077777777777 +0@* ?311
BH// 37" 777777777777777777777777777777777777777777778 ?B'1
;H*AHH// '7%*%7< 77777777777777777777777777 88 ?A11
;%*AHH// '7%*%7< 77777777777777777 8 = +0@* ?<1 * ?;1 B'*<H// B7" 777777777777777777777777777777777777 88 ?BA1
"%// 37' 7777777777777777777777777777777777777777777777 +0@* ?;"1 B"*3H%// ' 7777777777777777777777777777 88 ?''1
#" "&& A%// 37' 77777777777777777777777777777777777 88 ?'11
3H*B'// A7%*'7% 7788 = +0@* ?'B1 * ?''1 %H*3%H// B7" 42 77777777777777777777778 ?B'1
3H7%// B7" +:)!G!8 = 88 ?B"1 * ?B11 %H// 37' 7777777777777777777777 8 = 88 ?311 * ?B31
3B*B'// ' 777777788 = +0@* ?A'1 * ?A11
%H// B7" 9277777777777 8 = +0@* ?331 * ?3A1
3'*B'// B7" 7777777777777777777777 8 ?"31 * ?"'1
3<*"%// A7%*%7< 8 = 88 ?311 * ?BA1 "%// 37' 9@77777777777777777777777777777777 +0@* ?"'1
3<// B7" +:)!G!77777777777777777777777778 = 88 ?''1 3%H*<HH// %*<7A 429@ 7777777 88 ?3H11
3;*%%// B7" 777777777777777777777777778 ?BA1
3"*3H%// A7%*'7% 8 = +0@* ?331 * ?3B1
3"*3A%// A7%*%7< 7777777777777777777777777778 ?11 "+. "&&
3"*3'H// A7%*%7< * 7777777777 +0@* ?B%1 3H*3;// A7%*'7% +:)!G!7777777777777777777777 88 ?BA1
3"*BHH// A7%*%7< 7777777777777777 88 ?B"1 3'// B7" 77777777777777777777777777777777777777778 ?A'1
3"*AHH// A7%*<7A 77777777777777777777 +0@* ?'11
3"*%%// A7%*%7< * 777777777777777 +0@* ?'1 * ?%1 3'// B7" 77777777777777777777777777777777777777 88 ?A11
3"*%%// A7%*%7< * 7777777777777777777777F ?'1 3<*'%// ' 7777777777777777777777788 ?3<1 * ?3;1
3"*%%// A7%*%7< 777777777777777777777777777 88 ?<1 3<*%H// B7" 77777788 = +0@* ?A11 * ?%'1
3"*;H// A7%*'7% 777 F = 88 ?'1 * ?"%
BH// B7" 7777777777777777777777777777777777777777777777778 ?B'1 3;*%H// B7" + 7777777777777777777777777777777777 88 ?3<1
B'*3BH// A7%*%7< 7777777777777777777777777 88 ?3'1 3;*;H// ' 5 6 7777777777777777777777777 88 ?BA1
B'*3BH// A7%*%7< 77777777777777777 88 ?B31 3"*%H// '*%7< 7777777777777777777777 +0@* ?11
B'*3BH// ' 7777788 = +0@* ?%B1 * ?%11
B"*3H%// A7B*'7% 77777777777777777777777777777777777 88 ?"%
B'*;H// B7" 7777777777777777777777777777777 88 ?""1
B'*"%// A7%*'7% 7777777777777777777777777777777777F ?;1 B"*;H// B7" 7777777777777777777777777777778 ?%'1
B'*"%// A7%*'7% 7777777777777777777777777 88 ?B<1 B"*"H// A7%*%7<
7777777777777777777777777777777 88 ?'1
B'// 37' 7777777777777777777777777777777777777778 ?"<1
A%// B7' 77777777777777777777777777777777777777777777 88 ?;1
B'// B7" 777777777777777777777777777777777777777777777 88 ?BA1
B'// A7% *77777777777777777777777777777777777 88 ?3H'1 A%// B7" +/+@! +@+20 7777777777777777777777 88 ?B'1
B"*AHH// A7%*%7< 77777777777777777 88 ?'11 'H// B7" 77777777777777777777777777777777 +0@* ?3;1
B"*"H// A7A*%7< 777777777777777777777777777777777777778 ?A1
%H*BHH// '*%7< 7777777777777777777777777773% G: ?B1
B"*"H// A7%*%7< 777777777777777777777777777777777777778 ?A1
B"// B7" 7777777777777777777777777777 8 = 88 ?3A1 * ?3'1 %H// 37" 77777777777777777777777777777 88 = +0@* ?;1
B"// B7" 77777777777777777777777777 8 = 88 ?3B1 * ?3A1 <H*B%H// ' 5 6 7777777777777777777777777777 88 ?<11
A%// 37' 777777777777777777777777777777777777777777 88 ?;11 "H*BHH// '7;*%7< 77777777777777777777777777777777777777778 ?'1
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ϰ< sŝĚĞŽ ŵŽǀŝĞ ŵŽĚĞ WĂŶĂƐŽŶŝĐ ϯϬŵŵ ĨϮ DĂĐƌŽ ' ^W, άϮϲ WĂŶĂƐŽŶŝĐ ϭϰ ϭϰϬŵŵ Ĩϯϱ ϱϲ άϱϰ
WĂŶĂƐŽŶŝĐ ϰϮϱŵŵ Ĩϭϳ άϮ WĂŶĂƐŽŶŝĐ ϰϱ ϭϱϬŵŵ Ĩϰ ϱϲ ^W, K/^ άϭϳ
ϱϬϬ &ƌŽŵ άϭϳϬ ϳϱϬ &ƌŽŵ άϭϱϮ WĂŶĂƐŽŶŝĐ ϮϬϬŵŵ ĨϮ ' άϮϲ WĂŶĂƐŽŶŝĐ ϰϱ ϭϳϱŵŵ ĨϰϬ ϱϲ άϯϰ
WĂŶĂƐŽŶŝĐ ϭŵŵ ĨϮ ϰ ^W, sĂƌŝŽ άϭϬϰ WĂŶĂƐŽŶŝĐ ϭϬϬ ϯϬϬŵŵ Ĩϰ ϱϲ // άϱϰ
ϱϬϬ ŽĚǇ άϭϳϬ ϳϱϬ ŽĚǇ άϭϱϮ WĂŶĂƐŽŶŝĐ ϭϮϯϱŵŵ ĨϮ // >Ƶŵŝǆ ' y άϳ WĂŶĂƐŽŶŝĐ ϭϬϬϰϬϬŵŵ Ĩϰϲϯ άϭϮ
άϭϱϮϰ ŝŶĐ άϭϱ ĂƐŚďĂĐŬΎ άϭϯϰϰ ŝŶĐ άϭϱ ĂƐŚďĂĐŬΎ
ϱϬϬ н ϭϲϬŵŵ άϮϲϬ ϳϱϬ н ϮϰϭϮϬŵŵ άϭϳ
άϮϯϯϰ ŝŶĐ άϮϳϱ ĂƐŚďĂĐŬΎ άϭϳϰ ŝŶĐ άϭϱ ĂƐŚďĂĐŬΎ sŝĞǁ ŽƵƌ ĨƵůů ƌĂŶŐĞ ŽĨ ĐĂŵĞƌĂƐ Ăƚ ǁĞǆĐŽƵŬĐĂŵĞƌĂƐ
ΎEŝŬŽŶ ĂƐŚďĂĐŬ ĞŶĚƐ ϯϭϬϭ
DϭϬ ///
ůĂĐŬ Žƌ ^ŝůǀĞƌ y,ϭ yWƌŽϮ
KD Dϭ // <ϭ // ůĂĐŬ ůĂĐŬ
ϮϬ EĞǁ
ŵĞŐĂƉŝǆĞůƐ ϯϲϳ Ϯϰϯ
ϲϬ ĨƉƐ ϭϳϮ EĞǁ
ŵĞŐĂƉŝǆĞůƐ ϲϰ ĨƉƐ Ϯϰϯ ĨƉƐ
ϰ< sŝĚĞŽ ϲ ĨƉƐ &Ƶůů &ƌĂŵĞ
DK^ ^ĞŶƐŽƌ Ϭ ĨƉƐ
ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ
KD Dϭ // &ƌŽŵ άϭϰ DϭϬ /// &ƌŽŵ άϱϳ <ϭ // ŽĚǇ άϭϳ y,ϭ &ƌŽŵ άϭϲ yWƌŽϮ &ƌŽŵ άϭϯ
KD Dϭ // ŽĚǇ άϭϰ KD DϭϬ /// ŽĚǇ άϱϳ <ϭ // ŽĚǇ άϭϳ EĞǁ y,ϭ άϭϲ yWƌŽϮ ŽĚǇ άϭϯ
KD Dϭ // н ϭϮϰϬŵŵ άϮϭ KD DϭϬ /// н ϭϰϰϮŵŵ άϲϰ <W ŽĚǇ ά EĞǁ y,ϭ н 'ƌŝƉ άϭϰ yWƌŽϮ ^ŝůǀĞƌ н y&Ϯϯŵŵ άϭ
KD Dϱ // ŽĚǇ ά KD DϭϬ // ŽĚǇ άϰϰ <ϯ // ŽĚǇ άϳ ydϮ ŽĚǇ άϭϮϰ
KD Dϱ // н ϭϮϰϬŵŵ άϭϮϰ KD DϭϬ // н ϭϰϰϮŵŵ άϱϰ <ϳϬ ĨƌŽŵ άϱ ydϮ н ϭϱϱŵŵ άϭϰ
KD Dϱ // н ϭϮϭϬϬŵŵ άϭϲϰ
&h:/EKE >E^^
ZKDDE >E^^ &ƵũŝĮůŵ ϭϲŵŵ Ĩϭϰ Z tZ y& άϰ
KůǇŵƉƵƐ ϲϬŵŵ ĨϮ DĂĐƌŽ άϯϲϬ &ƵũŝĮůŵ Ϯϯŵŵ ĨϮ Z tZ y& άϰϬ
KůǇŵƉƵƐ Ϯϱŵŵ ĨϭϮ WƌŽ ά ZKDDE >E^^ &ƵũŝĮůŵ ϱϲŵŵ ĨϭϮ Z y& άϰ
KůǇŵƉƵƐ ϰϱŵŵ ĨϭϮ WƌŽ άϭϭ WĞŶƚĂǆ ϭϱϯϬŵŵ ĨϮ άϭϰϰ &ƵũŝĮůŵ Ϭŵŵ ĨϮ >D K/^ άϭϭϰ
KůǇŵƉƵƐ ϳϱŵŵ Ĩϭ άϲϭ WĞŶƚĂǆ ϮϭϬϱŵŵ Ĩϯϱϱϲ άϱϮ &ƵũŝĮůŵ ϭϬ Ϯϰŵŵ Ĩϰ Z K/^ y& &ƵũŝŶŽŶ άϮ
KůǇŵƉƵƐ ϭϮϰϬŵŵ ĨϮ WƌŽ άϳϱ WĞŶƚĂǆ ϱϱϯϬϬŵŵ Ĩϰϱϲϯ άϯ &ƵũŝĮůŵ ϭϲϱϱŵŵ ĨϮ >D tZ &ƵũŝŶŽŶ άϰ
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To advertise here, call Bradley Turner: 01252 555374 Email: bradley.turner@ti-media.com
Accessories Cameras For Sale
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Photo Critique
Final Analysis
Roger Hicks considers… ‘Bentley Continental
GT3 Blancpain’, 2018, by Jonny Henchman
© JONNY HENCHMAN
T
here are many ways to improve at other good motor-racing pictures. The ‘The photographer got it
your photography, but one of car is superbly isolated, with just the right
the most agreeable and effective amount of context. We can see where the right. This is a better
is to improve your subject track goes, and there’s slightly more room picture of the Bentley than
matter. Concentrate on photographing to drive ‘into’ than there is ‘behind’ it: a
what really interests you, rather than good trick with the car coming almost any I can find elsewhere’
just ‘a bit of this and a bit of that’. It won’t straight towards us. Echoing ‘Blancpain’
necessarily work, because you can be (the sponsors) in the windscreen and headlight. And yet somehow nothing
passionate about something and still never background is very effective too. seems unnaturally sharp or frozen: there
master photographing it, and it doesn’t is a tiny hint of the sort of movement you
mean excluding all else; but it gives you Patience is a virtue would expect when 500 horsepower is
a head start. Jonny Henchman, motor- Another time-honoured technique is used to propel about 26 hundredweight
racing aficionado (see @fireproof.creative selecting a viewpoint and waiting for (1.3 tonnes) of car. Out of curiosity, I tried
on Instagram), shows what happens the cars to come into frame. You need a adding sharpening. It didn’t work; as
when it does work. surprising amount of patience for this: indeed oversharpening often doesn’t. The
Passion aside, let’s try unpicking this when you haven’t got a good picture for a photographer got it right. This is a better
picture. Tilting the camera is a time- while, it is tempting (but rarely wise) to picture of the Bentley than any I can find
honoured technique, and one that’s toddle off in search of a new viewpoint. elsewhere on the web.
as easy to underdo as to overdo. By The time to research viewpoints is before To sum up, it is as so often an
instalments I rotated it back to level in or between races, not during them. accumulation of small things, all done
Adobe Photoshop (about 20 degrees in Depth of field is modest but the car itself very well indeed. The net result is a
all). Each step was less dynamic: here it is surprisingly sharp. In the original you picture that any racing aficionado might
looks exactly right. You can’t calculate this can read ‘Continental’ below the radiator want on his or her wall. Not just racing
sort of thing: you learn how to do it partly grille, just above the green line: the word aficionados, either, but historians too.
from experience and partly from looking is about three-quarters as wide as one After all, it is a Bentley.
Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his new website
at www.rogerandfrances.eu). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Thomas Brasey

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