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Amateur Photogrpher

Amateur Photogrpher

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TESTED: SON'Y ALPHA 57 LOW-COST PERFORMER

TESTED: NIKON 04 ALL-AC1·ION BODY

THE WORLD'S NO.1 WEEKLY PHOTO MAGAZINE

www.amateurphotographer.co ..uk

The low-light superhero I~:~~;NDCURVE~
Charlie Waite's new perspective

Technique tips from Andy Rouse

SHOOTING BIRDS

THE AP READERS' POLL
IN AP 24 MARCH WE ASKEH ...
What is lhe longest shutter speed yo~ could manage h,ndholding a lull-frame camera fitted with a 90mm lens?

Amateur Photographer For everyone who loves photography
I GET to eat a 101 of fancy food in this job. I'm not saying that I don't like sophisticated lusions of international cuisine II can be tun. My favourite meal of the wee~, though, IS cheese and bscuts, eaten on a Sunday evening wi:11 some oliVes. It IS Simple. but eminently satisfying. and I look forward to It all week. There are a number of base elements that parncular meal contains, and the limited combination of prominent flavours makes me very happy Irere's no 'hint' of anything, or ·un soupcon' just streiqhtforward flavours that work weillogether Simple is. I beteve, much more sustainable than complex It IS less tlrlnQ, ,HId ~ is sometl,ing that can be returned to over and over Without boredom.
In gas tron omy, as we II a s in ph OIog rap hy, simp Ie Isn't hard to do, except for the temptation and compulsion to do sornethlrq beyond. But In fact simple 15 almost always best In hs new book, Arc ond ire, Charlie Waite emphasises the power of sirrohotv over the complex compositions arid rnultrlayering that 1n3ny photographers labour to pertorrn Pictures can be about an edge, a curve. a colour or a combination of shapes And aren't they so Da.m1E!A Demolder Editor much better for It)

YOU ANSWEREO ... A l/Bsec or langer B 1/15sec-l/30sec C 1/60sec-l/125sec D 1/250s·ec or shorter

7% 26% 57%
'10% to you?

.

THIS WE I What WEEK mare ASK ...rtanl part of a pkune is the impo. VOTE ONUNEJtlWJIl.arolli"'1"h
.. .
Jd!~,
"tMM

o.lleJ.cJlJJ.k...

5 NEWS

NEWS, VIEWS & REVIEWS

45 NIKO_U_DA_ 52ASK.AI:

BIPP photo contest judges 'hit by awarus controversy: Nikon
OBOO tustumers may face delays: Transport bosses blasted Ollel bus phiJto ban Police laid fake ink warehouses: Sony relea.5e Alpha 65 and 77 firmware updates

The lo.2-millio~-~ixel 04 pwtessio~al OSlR is Nikon·s attempt to improve upon its own 03S. one of lhe best cameras we have ever f€viewed. Richard Sibley tries It aut

25 THE ELEMENTAL LANDSCAPE
For his latest collection of ima~es. ChJrlie Waile strips the landscape back to its basic elements. Oliver Atwell qets to the core of Charlie·s new perspective otare and line

FEATURES

OUI"experts answer youl questions

The latest hocks, exhibitiiJns and websites

10 REVIEW

Roger Hicks asks, why do computer software plogrammels make the creation of a website ~slng lilML so difficult?

90JHE FINAL FRAME

With its 1~.I·million pixel sensor, lS-point AF and lOlps shootin~ with continuous AF. Sony·s Alpha 57 may suit aspiring sports and wildlife phiJtographers. Tim Coleman puts it to the test

55 SONY ALPHA 57

30A LIFE IN PHOTOGRAPHY
As a huge letrospective of Steve iVlcCurry·s documentary photography is held in Rome. one of the most photographed cities in thewarld. GemmJ Padley asks the legenualY photograplter about his working practices

TECHNIOUE

14 PHOTO INSIGHT '9 MASTERC.LAS_S_

Afidrew Sanderson explains hDWhe captured a playful shot of a yaung boy on a Vintage steam train

Descriptions of haw colour is 'percelved' ale made impenetra~le by wmplex theories and la~g~age AP"s photo-science censeltsnt Prefessor Bob Newman presents a mare accessible ovelview

60 THE SCIENCE OF COLOUR SPACE

YOUR WORDS & PICTURES
12 LETTERS
AP readers speak aut on the week·s issues AP reader Mal Jo~es believes that the days IJf the digital SlR are ~umoered thanks to the introduction 01 the compact system camera

FUUIAP readers loi~ tcp wildlife photographer Anuy Rouse at Surrey's British Wildlife Centre to learn how to take great owl portraits. Olivel Atwell joins them

42TESTBENCH

TESTS. TECHNICAL

13 BAC_KCHAl

National GeographiC Iarth Explorer large backpack iNG 5738) and SMOV Flashwave III trigger and release

34 READER SPOTLIGHT
Another"Selection of supero reader images Your chaace to win a iVlanfrotto ~~ica VII Messe~ger Bag worth E8~. 5. as Damien Uemolder examines your images 9

4J MAGNEFLASH SPLASH MONO 30 PORTABLE LIGHTING KIT
Andrew Sydenham tests a diminutive flash head a~d saltbox combination with 'go-anywhere· capabilities

40 APPRAISAL

HtlW TO HAVE YOUR PICTURES PUBLISHfO IN READER SPOTLIGHT Send in a selecton of up to len im<lges.They can be either a seleclien of different images or all have the same Iheme Digital files sent on CDsheuld be saved in a Photashep-ccmpatlble IOlmal. SUcil as JPEG or Ill], with a contact sheet and submission form. VISit wwwamillelirphotDgLa,nbu..tJLt.tkLs[lJll.ligbUor details We canner publish images without the necessal)'technical details. Each RGB image should be a minimum ~f 1480 pirets alon~ its lnnqest length. Iransparendes and prints are also accepted We recommend that transparencies are sent wilhout glass meunts and posted via Special Detivery. For transparencies. prints er discs to be returned you musl include an SAf wilh sutficienl postage HOW TO CONTACT US Amateul Photographer.IP[ Kedla. Slue Fin Buil,din~.110 Southwark Street. LondonSEI OSUAP E"ditcrial Telephone: 02031484138 Fax 02031488123 Email.amjlJilI.[plJoiQg(,.i!b!J4.0,)jPI;IllOOlB COlli AP Advertising Telephone: 0203148 2516 Emailwa[K [aJlkille@ipCOleJ'Jia,comAP Subscriptions Telephone: 08.4 B4B 0848 Emaillpcsubs@quadranlsubscom APTest Reports Telephone: 017m 273 773 wwvl\estre~Drts co ukfphotQgraphyfap
subscn be 0845 I') 76 7TIB 14 Apnl 2012

I www.amateumholographer.eo.uk._E!

.•••

ter...ol.I. Si!verStreet Tet: 01522 51413·1 Mal'!ch-emr 37 "'marS!.. 01483 504040 .961tie Strand 1'el.1 'Tel: 01118 9417~ Paignton 71 Hyde: RQ(Id Tel<011. 989.80. Tel:'01611a 612 5a7 N. PI~ase chock yOlJU' 1o.omptQn TUI:023 8033 1720 Taunton 6 Nortb Street Tel: 01823 259855 Winchesler 15 The Se!uam Teh01.236.14 """Ie< T"" 01"332 348644 Fore Street 'Tel:O~392279024 F'lIeham ~35 '..a79 0200 Lihc.-l CIFrankfort Ga1e 'Tet: 0'1'752 !lI~94 Tel: 0161.c.leruntng1on Otll!eflcfOfl AVfIltie iLQltdol1 Tei: 01926 886166 .I.OJ<jwin S!fflet Tel: 01244 326 631 Chesterlleld laSoUlh-$treoat Tet. 5819 Norwich 12 Tlrnber Hnl PMtsmouifl Ca~ 6e!11:i'e Tet:023 92839933 Readlng 7 Slaflon Road' Tet: 011B.020 7.2149 s.4 MilS! bfaricJ1es open 9am-5.Ba."lIbury·g Yef: 0:1"722 335436 OlIeen Street Southa-mp!on 10 Hlgh Street Tel: 023 80tz 115_97 Soulfll.\kst_ Street Tet:01l329 23644'1 Gloucester 12 SoI.cIa"I ioulTley.3 558077 P¥na"I.StJ:oot Yet: 01452 304513 Gu.!lI!lt0l'9 for av.iilabilftyb(lfo(e making a spe.6.. 01240 211891 Chester 9 BndOO S\~1 R_ Tel: 0117 929 1935 Bristol 53 Th6c Hoiwiair Tol: OU7 927~1:85 Ca Ic 12 Bd Lane Tet:01206573444 Q<!1tI1r 17 Socfier Gale Exe.3Opm M~ Sat...ter 8 PuITlP Street '1 Civic Centre Road Tel:Oir90S 2231. .thga!e.th 13 6heap Street Tel: 01225 ·46.9&2 866203 Wal"C. kiifClod !lI'9 TUI'ISg31e Tel.2234 Bristol B... ttinoham 7 ?61ham Strej.

despite previously stating that shortages were limited to the Japanese ma rket. Stuart Wood . but strict procedures are in place to ensure that the Judging process is open. as possible' Last week. the 04 now costs 5: 5.79999 The price changes affect oniy customers in the UK and Ireland 14 Apnl 2012 with all To keep Lip to date the latest with a OR tilde Dr photograpnynews on the AP website. who wrote in the comments section of the BJP's websue 'I know of no other competition where It's acceptable tor judges to enter. members of the judging panel are not precluded from enlering images tor consideration.5.02031488130 Do you have a story? amat~lPhQtQ!lI. 'While we are delighted that the 0800 IS proving incredibly popular.1elped shoot him 10 fame 40 y83rS ago has ~een unveiled in Heddon Street. and I'm very seriously considering my membership altogether. In a bid to clarify the position. we reported that the 0800 would cost 5. [SNAP SHOTS • Nikon customers con clam hack up to (100 In ~SLR castback promohOfiS that rUfi until 30 May 2012 The offers apply to the 03100. but we do guarantee that all awarded images are fairly chosen after a tai"~rigorous and lengthy judgrng procedure._ the culmination of an extensive " investigation " This raid was News I Analysis I Comment I] PhotoDiary 14/4/12 • BIPP at centre of 'bias' claims • Organisers hit back Police p~unce en fa~e ink . However. page 7 PHOTO CONTEST JUDGES HIT BYAVVARDSCONTROVERSY A PROFESSIONAL photography ccmpeutcn IS at lh~ c~ntre of controversy atter four of the Judges WOfi prizes. Contad Chris Chee. 'We are working closeiy with our trade partners to rnaxirrise distribution and ensure customer orders are met as quickl\. first reported by the British Joumal of Photography 18J P) and subsequently covered by the BBC News website Among a list of photographers accusing the BIPP of bias was one called Paul._ _co___ukJcasbliacL The BIPP is reviewing its rules su rro u n ding the ju dgi ng for next yea r But. (ls]50methlng that appellrs to have been conveniently overlooked. or agree With. BI PP project manager Hilary Harper confirmed that organisers are 'looking at re\iiewing the awards'.' Another. no judge is permitted to sit star David Bowie W<lS photographed for the covel of a record that .59999 . fair and unbias [SIc].' The contest attracted around 1. Similarly.. adding that It Will 'work to supply the D800 to customers as quickly as possible when it goes on sale on :2 2 March'. Photos ot the Judging.28999. descnbed the news as a 'very sad tum of events' 'To say I am shocked would be an understatement: he wrote. or the scores achieved by their contemporaries. SOME 0800 CUSTOMERS FACE DELAYS NIKON concedes that UK customers may have to wait to get their hands on the 0800 OSLR.000 entries. Bowie was photographed by the late photographer • A plaq ue ma rkl ng the spot where rock Brian Ward lor TheRise and Fall of liggy Stardust and the Spiders from MolS ajum In 1972. The British Institute of ProfesSional Photography (BIPPI has issued a statement to AP in a bid to rend off a growing storm ot protest ower the contest. Nikon released a further statement that read 'We've seen an unprecedented level ot interest in the 0800. in any capa d ty 'I certainly Will not enter the 81PP competition again.200 more than Nikon originally said the camera would cost when It was unveiled in February. with increased subscn be 0845 676 7TIB demand and orders for the new camera. called Dave. their score. at the time of writing. London. Speaking to AP. cartridges. which took place on 19 January.nikoo. scanthis sym'~ol rea der 0 n your mobit.co.who won a Bronze Award in the PhotOjournalism secnon wrote on BJ p's website: 'Considering that I won three less major awards ttus time. on the panel assessnq a category in which they have submitted an Image 'All images are also placed befone each judging panel without the identity of the photographer being revealed to them 'We cannot guarantee that entrants will be satisfied by. we recognise that this may mean increased waiting time tor some customers.amateumhotographer.' Responding to the criticism. shortages would not affect the UK market. which said several of the judges were awarded 'Long Service' certificates this year.05100 and 07000 models.e phone. than at the last awards when I was not a j!Jdge.ukl_E ••• . UK dealer Robert While told AP that the 0800 may not be available until early April. one of the judges. rather than the prevIOusly stated £:4. Niko n says it must receive all valid claims ~y 30 June 2012 Visil_ll{)l{)l/.pbel ~~\!lIll_ I www.2. In a statement. she insisted they had received just two complaints. iP~d iPod. On 21 March. the BIPP told us: 'Under current rules. were posted online by the BIPP. 'In particular.man Tel:02031~8 ~19 F~l. Nikon told AP that suppl\.

ViSit IW/I'I.1rd Gollery.: 01439 7~3 283. London WC1X 9JO. a until 19 May at Oriel G~n Qiivies GBlle"l.DON'T MI. until 22 April al ArTIsan Gil~ery. by RJshidJ Mangera and Hatty Baj'(lumi.. Tel: 0207 341 ~960.lni Glirmldi. Tel. West Y0rkshlre BOllNO_ Tel: 08~4 856 3797. Visii~l9JlkEKHIBITION Infra by Richard Mosse... who recently stepped dOWJl from the boarc having Joined rn 2007 when the chain's surv~iJI was rer. urutil5 May at New Mayn.EXH]!llT10N Rerresh by Glyn Davies. after which he focused on filmmaking He returned to photography in the 19805 ilnd won the Ha~lbliid Awilrd in 1990 Klein. D~tiov_8I_Hust orgJJk. 0203369 5~54_ Visitwww. Cheshire CWB 1NP.News A week of photographic HO ODIARY opportunity Wednesday 11 April EXHIBIlilON From the Sun's Rising by Paul Bundle. Tel. Ll)ndonWC211 01-1£.SS Gr<lndNationalal Ainaee. london SW13 m~ Tel. photos of Kew Gardens by TonyWa~is. Moore feels i1 was an ideal time for his colleague to step aside 'The busmess is In a different place than It was five years ago when David paraduned In We have a store portfolio that IS relevant.brancoUni~limaldi. CardiH. we've probably enjoyed the highest market share we've seen In recent years . EXIIIIBITI. Visitw.':. Visit www nat iOllal!Ills! org.liverpooll9 5AS Tel_ 0844 579 3001_ Visit wwwaioheeCllllh EXHIBlTlON In the Blink of an E_ye_ Media and MGvemenl until2 Septemberatthe Natiunal Memla Museum. now aged 83. Friday 1:3 April Saturday 14 April KLEIN WINS SONY AWARDS GONG SONY has narred photographer William Klein as this year's winner of Its Outstanding Contribution to Photography Award Klein Will receive the honours at the Sony World Photography AWilrds ceremony' in London on 26 April The New York-born fashion photographer and filmiaker worked tor Vogue magazine from 19':. london ~Vl 0 ZB[ Tel: 0208 ~516l15_ Visit wwwartisanBO_com EXHIBITIOH mars by Thomas RuH. North Yorkshire Y062 51JY. CFl 0 5AQ_ Tel 0292115~ 151.com. EXHIB m 0 N Israel's Trail by M ~rav Sta rk. London W1S ~JJ._ EKHIBmON V~ by Vincent Delbrouck.Tel: 016~o l55_ VisiLl'iI'iI'L m s_~olmsbart1ord. there's no two ways about It: said Moore.:0151236 11768. live~ in France where he continues to work. until 6 May at Third Floor Gallery.DN ~i9ht on Kew.uk 114 Apnl2012 .-65..has handed over the reins to new chairman Martyn Everett..Visi~n£¥e. Visit 'tl\·I\·l. until 14 April at Ga~osian Gallery. uni~ 16 September at the Nation~IPortrait Gallery. untl l? August at Wandsworth Museum.artsdenotco.\'I'rLlllillWOOlga!leLyLllDl.EXHIBI1ION Fam~us in the nfties by Daniel rarS1)n. a format that works and a huge online business that we didn't have' sub5cnbe 0845 6r6 T/7e Tuesday 17 April LATEST AP ON SALE (from Museum ot LOilrl~narchivesl. Photographer and filmmaker honoured Sunday 15 April Monday 16 April EXHIBmOH Thmu~h Lichfield's lens: The PolarOlds.y Oa n Holdsworth. Visii~ JESSOPS ENJOYS BRISK SALES JESSOPS CEO Trevor Moore expects the chain's latest sales results to show continued improvement.lesscos' former chairman David Adams. until 1B Ap ril at A~tho rp B Gallery. london ~12 OGA_Tel. Herlfmdshire ALB6BX. liverJ:l101 L11BP.mm . until15 April at St John's Church Centre. as a newcomer to the photo industry when he JOined Jessops In 2009.' Ivluch of this revival ISthanks to .or_g.qa9()Sia~_com.JlIliJlk.0208 870 ~060 DON'T MISS Bluebells at Glendurgan Gard~n.u_l_EXHIB lTIO N Purtrait of londu n ••••• www. who. Jel: m074935 721. uni~ 19 May at Bran ool. Visit rashidilhfll1ywordoress. Visit W'fNI. Tel: 0207 306 0055. Cornwall 1R11 5JZ Tel: 01326 252 020.ortedly under threat 'DaVid did a fantastic Job.who led Jessoos through a debt-to=ecuuv restructure With bank HS8C . untrl6 Mayat Nun~ington Hall.IIk. untillOJun~at Open Ey~Gallery. received welcome advice trom the chairman Adams .. Anglesey Ll5~ 50~_ Tel: ~m~ 511 Visit 715 '1!'IIw-glmdavieS1QI!h Thursday 12 April EXHIBIllON O~r View on M<lkinga OiHerence. 'Our turnaround and recovery is proqressirq very well .amateurphotogr:aphe~co. In the past two months. EXH 10III 0 N Tra nSll1ission: I~e'll Remote Earth Vie'lls t.

which was shot on the Woodhead Pass that links Marlchester and She/fleld.000 in Nikon gear. distributors and importers 01 potentially patent-Infringing cartridges are urged to ernalmrorrnauon to cJone@) lexmarkcom JESSOPS ANNOUNCES ~N~"~~~~f~. David said: 'Shooting in a harsh environment. However. Anderson said 'This film stood head and shoulders above the rest.III-t~IN_"". He said the Canon EOS 5D Mark If a competition . Transport tor London (Tfl) customer service adVISOr Mirarlda Crabtree IS quoted as telling the unnamed enthusast that 'photography is recorrmenceo arid acceptable' when taken from a publiC place.auached in November 2011. tasked young filmmakers to make a short movie entitled 'The Shot' The top prize was awarded to David Schofield for his film about a photographer who meets a girl while taking I. Canada. The haul of 1. printer maker Le~mark has announced Lexmark officials and police swooped on a warehouse in Turkey. 26. Crabl1ee went on to s<r-j that photography IS forbidden on TtL.co.' Among the challenges was making use of a 'six-hour window' of dVailable light. -. 'My art teacher said I had a good eye because of photos I had lake~ of a car rusting In the sea: Jess told the Islmgton liml Ie () Canon says its professional pictures in bus shelters o{ on buses' Dlsml5sing !. And you can shoot in really low light.000 fake Lexmark products is understood to Include photo cartridges 'ThiS raid was the culmination of an extensive Investigation of a suspect who had previously been charged with trademark counterfeiting in the Turkish court system: said a spo kes ma n Last month.k~'~~ DSLR FIl)1MAKER VICTOR POLICE RAID FAKE JESSOPS has revealed the results of to find the best short film captured using a DSLR camera. entitled 'Ho\'l to buy a new camera'.(Om suoscnbe (oniclci Chris (he~. the C300 featUres an a._.' added Lexmark The fl"m said that a suspect has been arrested Meanwhile. The prize went to a movie captured USing a Canon EOO 50 ~Iarl< II The contest. Commenting on the winning entry.0et. David.~-.youtube.. he explained..amateumhotographer. TfL has pledged to write to the bLJ5 emhusiast concerned i nle rc ha n gea ble -le ns camcorder has mel standards required for BBC broadcasts. we would not want to stop people tJking CommHted your Dhotogrnphk: rightsl to defe-ndil. must seek prior perrmsson from a 'bLJ5controller' or other staff member. Twenty cast and Uf!oN were involved in the movie. However. It combines good LJ5e01 locatlon.1g the N EC. -" . opened an exhibition called Uncovered. OVER BUS PHOTO BAN TRANSPORT officials have been cntiosed tor barlrllng a photographer from tilklng pictures on buses. Sellers.pixel CMOS imaging sense' . situated In Hall B M • A photographer who has battled a mild lorm of cerebral palsy Since brrth has launched her first exhibition. visit www. the spokesman stressed that people who want to take photos on TfL-owned bus stations. :. EOS C300 Doyou have Tel 0203146 4129 fa..he matter as a 'storm in a teacup'. 10 meet film director Paul WS Anderson.. The Gadget Show will be held from 11-15 April.:-~-~==-~. or Inside bus shelters The apparent policy wa5 contained In a letter sent to a readier of Buses magazlrle. the spokesman said Crabtree no longer works at TfL. he claimed.uk •• ·••• . visit 'JiYfJL_ !lmlll8lShowl ive. (Om.~he.- . in Shoreditcn. l.. we were able to get higllquality images.:_-=-_~. told AP that he shot the film uSing a Canon EOS 5D Mark II and Pentilx lenses.. Asked why he cbose this particular camera.000 counterfen Lexmark items were discovered 'The faCility was being used as a repackaQlng plam tor building complete wunterfeit cartridges of mu~ipie brands. who scooped 5:5. He beat around 80 other entries. seiZing counterfeit ink ca rtri dges made unde r seve ral prime r brand names. ltalian police raided a warehouse In r-1ilan where almost 40. premises wlthoLJ1 prior permission She added that this includes photographs taken 'msde buses' and 'bus shelters' In response to the furore. -. a TfL spokesman told AP that the advce was a mistake: 'The information given was incorrect Clearly'. over a prolonged period. . garages and bus stands.News ~ntfsTRANSPORT iOSSESeii!STED • AP Editor Oamlen Dem()lder will be 9i~ln~ camera-buYing advice in a presentauen at the Gadget Show In Birmingham on 11 ApriL The talk. Lexmark ISappealing for help In combiltlng what i1 says is a worsening problem ot 'clone toner cartrldoes' violating the company's patents. backed by Nikon arid The Mob Film (0.1nd 1$ com~ati~le With more than 60 [F lenses..29-mllUoo. 01345 676 7T18 14 Apnl2012 I www. attached via an adapter. Last month. '11111 take place at noon and 3pm In the Photographic W()rkshop Theatre. Jess Norgrove.mdscape photos. for ticket eva ila ilility. who chaired the Judging panel..o. Its size and porta bili ill a so provided flexibility when shooting in a remote locaticn Part of Dav C 's onze IS a vrSlt to Toronto.~"'j_. east London. details of whkh are published In Its MilfCh issue In the letter.shotiessops.. or bus operator-owned. beautiful cinematography' and very strong [Jcting) performances' To watch the entries.....!: 0203148 SHe ~maleurohQIQgjapbei @ip(me~ia. although her departure was not the result of the advxe given. proved an attractive proposition because it gave him the abilitY to use fast lenses.sman a story? have been seized in police raids on warehouses in Turkey and Italy. A 'quick snap' would be acceptable. from nor th London.

05 aims to improve the resoonsveress 01 the cameras when using auto review mode For more details visit WW1/V.It will take place on 25 May (6-90m).SODY. aged 78. Brdun~tOrle LEICESTER AND LEICESTERSHIRE PHOTOGRAPHIC SOCIETY NEATH PHOTOGRAPHIC SOCIETY org a story? @~- Doyou have (onia(i Christheesman Tel 010) 148 4129 fai 0103148 81)0 amal~ur oholoo@pher ~I)Rh~tQQraQhicso(iety ••• !:. president of the International Photographic Coundl.l-miliion-pix~l camera. To view the winning· entry: visit I Club news from around the country CLUB gallerY/2m ZO oollltimedia-co. 'Trus meant a big blow to the industry.mno who has taken over as Sigma CEO . Ilvy Njiokiktjlen and videogr 3 ph er HIes van Gelder have been named Winners of the I !lWimltltinnediao ~J)J..ho. from the Netherlands. visit~ amatQurDhot~Q. WOnlh~ award for Afrikaner Blood. which had requested Japanese companies voluntarily restrict exports.ukl14ApriI2012 .to. who died earlfer til Is year late chairman Takejuki Aral asked the young Yamakl to JOin Tamron. who died In January.[t_ • Photograph~r MORE than 500 mends and colleaoues from the photographic Industry gathered at a hotel In Tokyo to remember Sigma Corporation founder Mlchlhlro Yamakr (pictured).l an 280 othe· entries for a piece tha: judges described as 'incredillly well crafted and nuanced'.. Japanese trade pubhcauon Pen News Weekly carred 0 fourpage report on the ceremony. and for full terms and conditions.Ss. The closing date is 3111ay lOll.. u k Ie wJ1!. Avenue.amateurphotqgraphewJ. Michlhlro Yamakl died on 18 January 2012. The theme of the contest IS 'C~Jture the Momen (' and lh ~ closing date is 30 April 2012 To enter. Leicester LE3ILE. who said: 'Mr Yamab's cornrrurnent to excellence serves as an Inspiration to 311those who follow In hiS footsteps. a project about . said. and was the 'dnVlng torce' behind the company's success.1nts can enter up to ten im<1g~sand th~ first-prize'llinner will receive 3 Sony Ericsson Xperia Arc handset that boasts an B.said hiS father showed leadership. The society is hosting tire Hombill Cilallerlge pholo competition for all UK-based photographers..News ~ntrsHuNDRi)SPAy. Mr Yamaki Invited Mr Arol and me to visit hiS factory in AizisHe met us at the station aod took Mr Arai's hand. www.'" Michihiro's son.1camp In South Africa that teaches young whne Afrikaner teenagers self-defence and how to combat B p~rc~ived black enemy They beat more . Mr Yarnakl said he wanted to have his own buslress 'Later.llumanity and VISion. lJisit www landlOlorQ II~ for details. For Mails visil The society will slage its annual exhibition allhe Erite Centre. K. president of lens rival Tarnron. and acted as pioneer We will never forget him' Mono Ono.(O. which took place at the city's Imperial Hote] According to Pen.D.a.uk/SlIPQorlien .' lash Komamura.ie. former president of the Joint Photolmaglng Enterprises Assodaton lnternational._ Sigma Corporation founder Micl1ihiro Yamaki. "he company claims: 'Autofocus accuracy is now improved when tocusmq on scenes With wrde contrast difference b etvveen objet IS ' Sony says It has also improved tile AF speed when using both cameras With the recently announced 500mm f/4 telephoto lens The firmware is designed to correct vignening.sL SONY RELEASES ALPHA UPDATE SONY has released a free firmware update designed to boost the performar. saYing..mioUTE Of:fe~:~g~no~ee~~~~~AP reader the chance to wim a Sony Ericsson smenphene. World Press Photo MUltimedia Contest. lateral aberration and distortion for 51:< further A-mount lenses Firmware version 1. to have you visil and see our Alzu factory.@P_M_L co.. The pair. "ThiS has been my dream for a long ume.f.. He always thought of the photo Industry's prosperity. 'When our TO SIGMA FOUNDER _r------. Entr. 'He Will always be remembered for hiS passion and professionalism in the photo imaging business. 26 May (lOam-4pm}and 27 Mav (IOam-4pm)..ce and o peration of Its Alpha 77 and Alpha 65 SLT cameros.ldealism. he was one of lhe leaders in a fight against the government. added' 'Some 40 years ogo. among those paying tribute wos James L Chung.

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Her lens ISa floating invisible eye that is simpl.!i www. .ukl14ApnI2012 of Anja's work and clearly demonstrates why she ~ considered such a major force in docurrenterv photography.[X).Books. exhiMions and websites The latest photography books. Ifjl3rJt1r.€'Sare stark and rs«.amateurphotographer. but never feel sensationalist. ISBN 978-3-7757-3232-1 YOU MAY be more familiar with Anja Niedringhaus's images than you think. 180 page~. exhibitions and websites. £32. hardback. Anja also finds the space to show [he very human face of the solders and civilians who have been swept up In the coruhct and these are inevitably the most moving portions of the volume..50. sub5cnbe 0845 6r6 TJ7e .!'there to observe and record silently_What'S stnking Lsthat Anja's images say so much about war as a whole It doesn't matter where tile conflict IS. as her war photography has been featured In countless news pubhcanons throughout the world This beck gives an excellent overview ••• C::i.as the consequences are always the same Alongside the more negative observations 01war. an~ :hev work beeause they are Impartial. By Oliver Atwell Anja Niedringhaus At War Hatje Cantz. ThiSISreally quite a breathtaking book. Her ima(.

Ths. Well. Photoshop can become a t(. E24. 400 artists and several volunteers transform an abandoned Calnomiajet hanger into the world's largest camera obscura The result was the world's largest photograph.amateumholographer.99 There's nothing worse than photographer's block. In tus photographs of Cuba. and ISa fitting tribute to the sheer amount of enort I~. Third Floor Gallery. When used III rncderaton It'S il wonderful digital darkroom 1001thai can help bring out the ciwacter of your ImJge When used in the haods of some people.196 pages. Sometimes the journey taken to achieve sDmething is the whole pomt.99 This book is an attempt to help the reader get to grips With photographing both mteriors and exteriors. Open: We-c!-Sun noon-6pm. fergus Garrett's words are a perfect companion and really help to bring out the character of the images . It's a beautifully produced volume and is well worth the pnce tag. India and Belgium. £50.com PHOTOSHOP sornetlmes has a bit of a bad reputation in the photography community.co.~4'1 - - -- YO by Vincent Delbrouck Until 6 May. exhibitions and websites The Great Picture: Making the World's Largest Photognph By Lucy R Lippard Tyler Stalljng~ and Dawn Hassett. ". It's a great read and packed full of inspiration . but some readers may find some of the content a little simphstic. £15. endless. Sometimes you just feel Jike you've photographed everything and have no idea where else you can go.at went into producing this colossal project.psdisasters.99 Beth Chatto is an award-winning gardener and in this book photographer Rachel Warne has trained her lens on the vivid foliage and flowers that domina te these beautiful spaces.50 PHOTO PROJEC. an absolutely gigantic panoramic landscape of the CallforrllJ desert. 102 Sute Street Cardiff CF10 SAD. Vincent is able to discover more about how he imeracts With the world..• A YEAR IN THE LIFE OF BETH CHATTO'S GARDENS by Rachel Warne and Fergus GarnO'tt. Nepal. CONDENSED READING A round-up of the latest photography books on the market . herdbeck. ' . if you bear that in mmd it's a book worth reading. David Noton demonstrates his mastery of both landscape and travel photography. but the images really are quite funny and the observations made are both enlightening and hllarlous subscn be 0845 1')76 71"18 14 Apnl 2012 I www. ~1."~~' . This book documents every' slep of the journey. It's me that essentially exsts only In Vincent's head.Website: www. take a look through Lee Frost's latest book and you'll soon see the possibilities "'~ ~ .• FULL FRAME by David Noton.::>1 cruel horror of A number of the examples of Photoshop disasters DrI ttus site are terrifying.John Siskin. though. but the real benefit is that David offers a lot of practical advice if you're thinking of getting out in the open air with your camera in hand . However. Admission free VINCENT Delbrouck's approach to documentary magery ISvery much tied up within his own personal state of mind and expenences. epic project saw six photoqrepoers. £15. www. It covers just about everything you'll need to know. tn ttus way.99 In his latest book.Books. ISBN 978+5559-5373-7 THERE are some photographic projects that are about far more than the final images. The images are excellent. tv'l "v j • .'fS by Lee Frost.uk •• II••• . Tel: 02921159 151.lilirdfloorgaltery-com. 'I are -- I I I: . Hudson Hills Press.• PHOTOGRAPHING ARCHITrECTURE by . we are presented With an almost Imaginary space. The exhibition demonstrates a brilliantly unconventional approach to docurrentary imag:> makmg. E16.

if that's how you wanna play it ' He owns both a top-notch compact and a first-rate compact system camera. for example). one AP reader wrote to suaqhttalking AP collJmnisl Ron Spillman In praise of hiS 'classic' Praktlca Nova SLR bought in 1968..I'VE OO!JE.or a tujifilm &GB media card" ~ . rue ••• taI www. 'ClaSSIc" sneered.~lm forum regarding the 'orbs' issue suffered by some Its cameras.n Super with 55mm filA lens at £750 Despite the camera's rarity and sub5cnbe 0845 6r6 TJ7e Send your thoughts orvlews (about 500 words] to Backchat' at the usualAP address (see mJl Backchat A fee of {50 will be paid on publicafion believe lots of people rnlss In digItal photography. then correcting shortcomings In stages at . his current one being a tin that prevIOusly housed the chocolate braZil nuts he bought me last Christmas.fax AP address (see u_a~~ 'lelters' at the usual to 020 3HB 3130 or email tu FUJ -. He insists he's '~eeplng It real' in memory of those pioneering photographers of years ago_ And there's even talk of framing a few of hiS pinholes for our living-room wall_ When I objected with the words. because many of the Pentacon/Praktlca range of screw-thread cameras were sturdy and truly reliable models. You leave him alone! . but I didn't give a stuff I WilS using an Inexpensive SLR With Just Its standard lens and getting results on a par with any of those more high-tech models.~ '"' 'Please . which I § ~ smateu phutogrgpher illi~cmrffiia rom indicate whether you would like to receive . my husband Sieve is a photography famtic.Have your say Share your views and opinions with fellow AP readers every week LET·rER OF THE. hs response .amateurphotogr:aphe~co. but I think we should all expect better than IS being offered.was." Wins a 20'(oll pack of 36·exposure Fujitilm Superia ISO 200 35mm film . 'It's a right dogl" Havlng used one myself.is driving me round the bend Anyrhing lYing around gets transformed into a pinhole camera.. for example. Ron.:. so what's the attracucn? I've a fear of confined spaces. ~ i:i Fujifilm film or a memory card (please state type' preferredl and inclu de yo u( full postal address pressure from dstnbutors.r and following the appropriate forum for hints and tiPS from fellow photography emhusasts.. talking to himself while closing one eye as he aims his pinhole job 'approximately-' in the right direction? I know you AP staHers love pnholes. but no matter An old Pentacon brochure I once owned said that the shutters of Praktlca SLRs could be heard clicking allover the world And the stutter of my L2 ISstili dlcking to ttus day. There's not enouqh doing with your hands. Northumberland That's tunny. later date I krlOW the photoc-aphc industry is nOI unique in its approach to manufacture. I think the attraction Is the craft and the slmplicity. Editor I:!ORUMPOWSR Since buyi n g a new brid ge cam era last ye. when used In incident mode. as has been exhibited on the FUJ. 'Okay. Brown. nut give me pothole photography over pinhole aflYlimel Mandy Smith.In a duff Humphrey Bogart accent . toots. I have come to the ccnduson that some manufacturers seem to portray a less-than-perfect regard to the quality and usability of their products prior to enterinQ [he market I believe that firmware updates should be a 'rantv' rather than the accepted norm. despite haloing never been serviced lvor Ma!anle gave. Wf. Praktlcas have always suffered (rom a rather 'clunky' image. I couldn't agree more. I do not notice any evidence of M~? I'VE ~PEt. so why ti1isobsession wlrh crawling around on all fours.lT MY ur:e "TTWI'PEO l~ A CU&E Wrn! OOTUIOOiO 5~ FOR WORK . and perhaps a little more critjcism from Within the Industry might be In order to the berent the downtrodden paying public. 8U1 the Praktica L2 I bought In 1978 was the real deal. He even pounced on a Pringles container just seconds after I'd eaten the last one. Its lack of a metering system didn't matter as I was bewtrred by my Weslon Master V Ilghtmeter that. the Pentaco. realistic price fe.pinhole cameras .uk (14 Apnl2012 .Damkn Demo/der. unlike the risky procedure of bUYing Russian cameras where the manufacturer's qualITy cCflirol was stupendously erratic Witness AP reader Dave Swann's letter of the week in the same issue regarding the Kiev 60 In 1985.fl LM • ~ ~ i PBRPI.ll. EEK Write to. and I for one prefer to buy new products after a reasonable period of production (cars. on manufacturers 10 halt the practice of churning out new models on an almost yearly basis. AP 31 M'arcb) must seem as though they were unearthed dunno an archaeological dig That's a shame. bUI his latest aaze . gave me perfect exposures on Kodak Ektachrome 64 slide film The rather brick-like shape of my L2 was at odds With the then state-of-theart SLRs such as the Olympus OM-1 n and Pentax ME. Steve has now set up a makeshift darkroom in his tool shed where he scurries like a frightened rabbit 10 develop his precous pinhole prints as soon as he possibly can after shooting them. yet there seems to be a universal acceptance of products that have not been satisfactOrily pre-production tested. West YorkshIre &TILL GOING 5'1"AORG To AP' readers brought up on digital krt. 100.EXSD BY PDllHOLES Like me. and not enough chemicals. and ending (hopefully) wrth a positive result I have no doubt that this is a meaningful way to appll' pressure collec~vely since mamtacturers seem to keep their f3jes on forums for feecback about their productsl ~now I am probabiy asking for an Ideal world. but I disregarded my own ph Ilosophy on this occeso n wit h the purchase of my camera and it is only now acceptable after three trrnware updates' It would seem that one way to keep manufacturers In check 15 by applying 'Ionrn power'. carner as Iike th e Pe ntacon Super (lams o(Photography.. And: for what? Blurry black & white images that to me are an assault on the eye. 'Over my dead bodyl'.

We should make the most of them whenever we can Keitll Hughes. Run a few rllms through and check your results. The "plus" is the bass of all arguments on ·What is art>" Now I would never consder myself an artist of their calibre. Particularly for an old man like mel The sun did eventually come out. you might marvel at how these cameras have always been underdogs to their more expensive Japanese counterparts.g Olympus 4Smm f/L8).he amazlr. I've been USing SLRs for 40 and lots ~o'e years.ested. but while I heeded my doctor's advice nOI to play. multipattem metering and sharp lenses it's a stunning piece of kn.urrux DMC -GF 1 arid viewfinder (ooth recently irl AP).eica .DamJen DemoJder. only different weather. with bokeh and resohnlon to Gle for Martin Cavender. any of your readers .I was prevented from playing golf recentl)' by an injection I had to have iri my knee. and my dreams seem to be lui hlled y~.Dam/en Demolder.must be ·seeing" p Ius: seeing alone wou Id mean tactual recording . Then. For photographers there is no such thing as bad weather. bu the conditions I was able to enjoy that day come oniy on rare occasions. A couple of cheap adapters and you ca n use 'yQU r Nikon and eca lenses. I suspect.LED Compact system cameras seem to me like Marmite' either 100Jedor hated. Don't dscerd it too soon. and they're qreat My Nikon D700 IS brilliant and produces fine resuts from lenses old and new. via email Quite right. So may I pur iri a word for the lovers' like Mr RG Jackson (Lert~~. a qocd old Praktica of the L2 or MTLS variety can be picked up on eBay for Silly money. spot focusiflg.and then along comes the esc. and I'm not about 10 replace it I have always.aloguesd~ that. although I would have loved one. II needs a viewfinder.20mm fll_7lens (or a combination of the 14mm fl2 ') and !. You'll !. had a sneaking regard for the quet portability of Ihe unobtrusive l. Keith. but for most thinqs the live view screen IS superb. Brian Silk. portah Ie p hotoQ rap hy but aIso people subscn be 0945 676 7T18 I like that 'plus' bit .3g before that happened We can have sunny weather at any time. seccoc-hend Panasonic l. Too many people dismiss without trying . Editor appeal. And it Is all Interesting . making handholdlng at slow speeds normaL Lots of manual control. and I am very happy that I can now 'develop' and prim my own pictures uSing relatively minor adJustmen:s I C21 even 'create' pictures [hat were never ::lerel It's all 'art'.Damlen Demo/der.consider myself an 'illustrator of catalogues'. I still use til m occasionally'.hen enJOYnOI only flne. esp~lallY' when used With a fleck strap at arm's length as a sort of vertical TLR Rollel. but of a different kind I was inte. like many other photographers.~hi old film camera'. We all choose our own way at doing things and lake pride In dOing them as well as we can.it means you can get away with anything . but nor would I . Tom (ave.or what you will . or scan them Into PhOloshop. bu l now I have a decem digital set-up that Includes Photoshop Elements.hen. Martin. 100. for this could be the last time tllis year that we will experience such weather conditions. !. espedaliy in sunlight and/or With a lonG lens. and It doesn't do to demean others for their choice of any particular medium or manipulation. Mr Jackson I suggest you find a nice clean. Tyne & Wear stOP~:flg 'lou in Ire street to look at 'thatlo'. AP 17 Marchi. to read a letter recently that was sent by Edward Weslm 10 Ansel Adams In which he writes 'Photography as a creative expresson . It did nOI stop me going 10 my golf club wilh my camera I left home in sunshine with blue skies but by the time I arri\led the golf cou rse was shrouded In thick mist A less keen photographer might hilVe turned round and gone back home. West Sussex MY DREAMS FULFI1. but I was pleased that I had got my shots in the b. a leather halt-case (~12 (rom Amazon) and bung on the peerless . however. Editor ART OF A DIFFERENT KIND I never had the resources for a darkroom. Edft:or .and.the illustrator of cat. but l thouoht I would lake this opporruruty to shoot take so+e pictures. Somerset Quite right.

[X). I had just one frame of the incident . corn.the machines they use tend to get a little contused when 100~lng for the gaps between shots. 50 I stili had an Incredibly sharp Image . I suppose the real drawback 300UT using one of the~ now IS that you have to rrocess the film yourselt because most labs won't touch half-frame images . Therefore. The lens ls incredibly sharp on the Pen EE-2. I find that I dorrt walk away from shots. it can range from medium format to 35mm.uk 114 Apnl2012 .or fill for most situations.amateurphotographer.ing ANDREW SANDERSON A renowned auner photographer. even on days out 1'111 the family. Depending on what I'm Interested In at the time. although the model will tend 10 vary. Using a camera like the EE-2 is very different from USing something like a medium-format model When I'm shooling medium formal. Ims gives just the flghl amount of depth of field for most situations The EE-2 was a camera that was aimed much more at the snapshot market in the 1950s and '60s It has a smple wheel at the back Ihat is used to Wind It on. so you end up with a roll at film that contains 72 shots. which is a half-frame camera What ths means is that eac h shot ISonly half the frame size of what it would be In a standard 35mm camera. ml' wife and I look our three young ci. I take my time and consder exactly what it is I want to do When shooting half-frame.2. I looked across at another trem that had pulled up next to US. the grain IS significantly more pronounced. In the ef1d. Andrew's book Paper Negative Phatographyis ovaito b 18 from 'WIi1L blurb. will always have h a ca mer a ha ng ing arou nd ml' neck I try to corry one all the tme.the one here I'm the kind of photographer who. To get a 1 O~81n print from a 35mm neg3live you have to enlarge It eight times. I could see the steam drifting across from the engrne and deoced that I'd take a shot looking between the carriages I managed to take a lew frames when suddenly a young boy popped his head out of the other train I had a spilt second to ta~e the shot before he was gone. tutor" and l!ford Haster Printer. I was carrying around an Olympus Pen EE. E3Ch child was corwinced they were about to travel on Thomas the Tilllk Engine. 50 it W3S a really magical d3y for them. then you press the shut ter end you've qot the shot It's great for sometJ. The conseouence of ths from d pnntir'lQ perspective i~ that your prms are twice as grainy. I'm a 101more economical With my shots. At the time this image was taken. and II you're USing J fast frlm the aperture closes down to sometiling like fiB. I take any shot that grabs mi' interest and I find that quite liberating sub5cnbe 0845 6r6 TJ7e ]¥ww. travelling from ShennQham to Holt in north Norfolk. ••• 1:&11 prim [15 like street photograp~w.It was just a little grillier The EE -2 IS a fully automatic camera.ildren on a vintage steam-train journey. but as ttus was a half-frame Image I had to ef1large It 16 times.Photo insight Andrew Sanderson PHOTO INSIGHT Andrew Sanderson explains how he captured this playful shot of a young boy on a vintage steam train AROUND ten years ago. As we sat cotoaro the train In the station. Andrew Sanderson offers practlcat u ps on working wiih film and traditional darkroom teehniques I f you would like to read more aheut paper negatives. so tile only Ihing I really had control over was the framing It's a fixed-focus model 'Mth a 28mm lens.

co. but actually that's half a day plus 30 years' experience AP 14 Apnl 2012 Andrew Sanderson was to/king to Oliver Atwell I www.amateumholographer. On top of thall had to work out exactly the right exposure for the negative. you could well end up wuh a lot of slrange-Iooklrlg overlapPing tones and heavily burnt-ill areas I needed to brililQas much Information out of the neqatlve as I could without it appearing heavy-handed.uk. I had to try to draw out details in the darker tones. Jlld it's difficult to do ttus and then make it look as though it hasn't been done If it's not carried out subscribe 0845 6767778 properly.lm •••• .Andrew Sanderson Photo insight The printinq process for this particular Image was tricky. In the highlights of the steam andm the child's face There was a lot of dodging alld burning involved. It took rne half a day to produce this Print. to say the least. It's a skill I have developed over the years and there's a lot of time and effon involved Learning how to do the hand shapes and how 10cut out exactly the right shapes to mask the necessary areas of the shots is a lengthy process.

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I enjoy the mystery of them. Andy is eager to raise an issue thai he feels very strongly about 'The one thing that I want to make absolutely clear to everyone is that these ale captive owls: says Andy. The'!' can be very still me mrune and then suddenly explode into action the next I'm particularly fond of the short-eared owl. iI location that houses marry animals. 'When I'm teaching on workshops. so you must be honest and stale that these images were shot in controlled cordltlons You must never lie about It. They're a real buzz for me' subscn be Today's Mosterc.' Wildlife {> osas G76 roe . You have to take your t. Oliver Atwell joins them BIRDS have always been il source of iasonauon (or photographers. including various species of owl. but the birds probably won't be quite as well trained as the ones we'll be working With today Another advantage IS that we also h3Ve dCC~S to long-eared and short-eared owls. but the one species that seems to pop up more than others is owls 'Owls have an ability to connect with you through their eyes: says master wildlife photographer And.loss finds four readers learning from Andy exactly how to produce effective owl portraits The location is the e). that's not the case. It can be tempting to assume that all you need is iln owl to make a successful shot. which are two speoes that you don't see very often. In ract. JOining the group will be headkeeper Man Binstead. You have an obligation to be ethical about your photography. according to Andy."(ellently equipped British Wildlife Centre In Surrey.my bird photographs In AP. who will be helping to get the owls Into posnon The readers Will be photographing tawny.' Finally. You never quue know whal they're [I. However. 'If you label your Images as being pictures of wild owls.!' Rouse 'They're really beautiful subjects.ime and consider the scene that's in Irani of you Today I'm gOing to Sit down with you dumg each set-up and show yell how I would approach the shot I'll explain each time why I would ta~e a certain approach. longeared and barn owls. These are captive birds. When working with such appealing creatures. photocrapbv has done much to assist orrutholcqistsn their mission to ullderstand how birds Interact with the world and each other We've featured m. short-eared. You (an take these sons of photographs at a lot 01 centres throughout the UK.The Amateur Photographer Masterclass with Andy ROlJse Four AP readers join top wildlife photographer Andy Rouse at Surrey's British Wildlife Centre to learn how to take great owl portraits. 'I have to go over and tell [hem to get rid of their Images and start again.inking or what il is they're looking at They're amazlngiy ponderous creatures. I'm going to be very unhappy'. I'm always amazed by how many people start taking mages straight away: says Andy.

so a 300mm or a 70-200mm lens with J 4x converter ISideal A particular favourrte of mine is the Nlkon 28-300mm optic. I always think. Andy suggests that it's beneficial to make sure the subject is not dominating the entire frame 'It you take a full-frame portrait image where lhe subject is taking up the whole shot. which will distract the viewer and ruin the photograph Also. us Important to ensure there ISa good range of environments and a level of believability 'We're obviously not Q::ling to be photographing every ovvl on the same perch and In the same locauon' says Andy 'ft we did. I use ths a lot because it gives a great scope ot coverage lt's a lens that gives you a lot of fleXibility: The chc:ce of lens will also affect how much the i:JJckground will interfere with your subject 'A good background in this situation would be at least 30-40ft away: says Andy 'This means that with a relatively shallow depth of field. Andy says that each owl should be perched would be in tile wild 'You wouldn't see J short-eared owl perched In a conifer In a tores!.amateurphotqgraphewJ.m owl all In the same SpOL It won't be believable and the illUSion of your mages will be shattered ' THE KEY to a successful owl portfolio is variety. A professional photographer for 1I10re than ten years. Andy Rouse Andy Rouse is one at the world's most prominent =-.' says Andy 'I've seen some photograpilers take picrures I/IIth no regards for the owl's natural habitat You have a reQJonslbillty to understand the OWl. then it's very difficult to go back. Plus. While these things can be removed in post-producnon.-. then you can always crop it down.ukl14ApriI2012 sub5cnbe 0845 6r6 TJ7e .' Irl the same way as It LENS AND COMPOSITION ANDY explains the best lens to use when laking owl portraits. Keep your opnons open' ••• ::%1:3. "Will this look good on my wa117" If I were to put a luli-frame shot on my wall. . ensure that your background IS not too busy and complements your subject 8e aware ot subtle dstractkrs. then people \~ould look at the Images and wonder hew we managed to get a tawny owl. a short-eared owl and a b.uki blog asp SEll NGlHE SCENE When working Wllh several spedes of owl.wildlife pho1ographers ~nd is a passionate conserv~tionist. your subject ISdefinitely going to be the owl If you go any higher than that. inciludi'ng nine awards in the past severn years in t!he BEe Wildlife Phutographer of the Year competition. Tosee more of his work visit www:andyrouse.Masterclass Wildlife Your AP Master.co. 'It's no good taking an Image like that and rhen realising It would have looked beuer as a habitat shot When I shoot.andyrouse. I'd get bored of it I":ilnll"l a day because it would hilVE' told me evervthnq about that subject A more atmospheric Image that contains the environment gives much more scope. mere's nOlhing better than getting it right in-camera first time round' When taking shots of subjects such as owls. such as patches of sky or white objects. he has a dozen bonks to his name and regularly appears on TV. If you really want your full-frame Image.' he says..so do your research before you take your shots You can then produce your shots without fear of looking amateurish.lllk or read his Iblng at www. such as flS 6 [depending on your lens]. He has also won multfple wildlife photography awards.co.there has to be a context that is honest and knowledgeable. It's not enough just to take a pretty picture . you'll start getting the background coming into your shot.' says Andy..' www. 'A lot of people tend to shoot with a 300mm lens. 'WIth a lens like that you can get qUite close in to the subject For various reasons I don't like to get phYSically close to the owl There's always the tear that being so close can In some ways affect the birds' behaviour and posture.

so you need 10 position yourself in such a way tha I the Ilgh I is hittinQ you r su bjeet from an ap pea Ii ng angl e: says Andy 'T 11 e most boring light In the world is when lhe light IS directly behind you. don'l rely on the centre tocusinq pomt otberwise you're gOing to have to recompose YOtJr mage to fit around thai' Usln9 stron 9 naturalUght.'es.you have to tell it Make sure you famllarl:>e yourself with lhls function.Wildlife Masterclass LIGHT AND FOCUS LIGHT is the most crucial element to ilny successful photograph.revvarding to produce Im<'lges of owl~ that are conventional. it is also worth tryillQ something a little different. nd And)' a ponts out lloat your camera's AF function can hel p Wllh this.cQ. the owl will be more three-dimensional. otherwise you may find that you're fiddling with your camera while the owl is dOing somersaults In the air! Also.ljots like ths.baslcal~'. as Andy says. you really want the eyes In focus because they're incredibly beautiful.uk . '5 hcou n g a I a low angle and USIng the grass to trame your subject can give you some fantastic shots that tell a story.>. and Andy has some ~ps for our atteodees 'The mostlnleresting light is sidelight. Tony has given his su bject a more threedimensional feel WHILE It'S. that's their appeal 'I've done a few s.ving you a single fOCUSing point only [consult your camera's manual fOI this] Never light up all the porus and rely on the ca mer a beca u se the COl mer a doesn' I know what you wall! . 'In tlliS case we're shooting fight Into the light using the last 20 minutes of sUrlllghL All we need to do is boost the Levels slightly In post-production to give it a littJe more contrast' Shots like these aren't typical of the Images vou see of owls but. It creates a mood and It makes lhe subject look wild rather than posed' The rrostnrpor'sr: focal pont when shooting a live subject is the e.amateumholographer.' says Andy 'I someurres use backlighting when taking pictures of flying subjects I'm not sure why people don't use II more For creative images it's a real godsend as it adds a real mood' subscribe 0845 6767778 1-<1 Apnl2012 I www.' says Andy_ 'You should set up your camera so thalli's shu. so that it's falling onto your subject Ilat art Sidelight will create J nice Shildow on your subject and prOVide some definition . 'If you have a species such as a longeared owl.' says Andy.

[X).'1.amateurphotographer. rather than forcing.50.Lasl admission is 4pm. Senior [9'. we did lake half an hour to have a go.ukl14ApnI2012 sub5cnbe 0845 6r6 TJ7e . 21 July-3 Septembel: :27 October-~ ~ovembel: 27 Oecember-6 January 2013.Masterclass Wildlife 'The background is nicely out of focus. The shutter speed ISperfect as the action IS frozen. HoLiday opening dates: 3~ March-15 April: 2June-10June.' says Andy '1 he focus ISscot-on arid the background ISnicely out of focus. LingfieLd.r.-110 the focus is rigIlion the f!o. Chiluren under 1 free. Ii\o.t. The British WiLi!!ife Centre is ~pen every weekend and public holiday from March to the end of Octo~er and dUling schcel holidays_ Opening times are lflam-bpm. Ray has the option to crop rns Into many different formats. 83<\ 653. Newchapel.00.eo_u:e.als living in settin~s that reflect their natural environments. Surrey ~H7 oLF_TeL: 01142 Website: ~shl'lildl~te[eo\re. F. HOVvever. Andy Rouse takes a look at a small selection of our readers' 1J!l~::r:fi~ Masterc/ass owl images and offers some practical advice Adult £10.Jesnd the composition is good The a only thing I would change for a more commercial mage ISto pick an image with the wings up.50.Jmily (2 adults and 2 children] £33. Child (3-151 £7. suggesting. Stlggesting. EssentiaL carers Ire~ Ray Seagrove 'AS HE has shot this imaGe as a wide composition.o""""""'. tastbourne Road IAZ2J. although there are plenty 01 undercov'er a. the impression of farmland and hedgerows My only Criticism really is one of post-processing I would hace liked !O have seen a slightly darker yet more saturated image to reflect the tone of the late light' (> Ri cha rd Tinsley .:l:'CIbi'" The British British Wildlife Centre.cDJJ.) 'WE DIDN'T realll' cover photqraphing birds in flighl Of) the day. the impression of farmland and hedgerows' Wildlife Centre ir. . and I am pleased that Richard has submitted this mage.[o uk The BWC offm the opportunity to ~hoto9raph anim.k. rather than forcing.'.he bird was flYing fast so t Ricnard might not have had the chance to get more pictures' •• Et~iwww.Jny time of the year and most ani mals can be seen whatever the weather. Emaii: inio. Much of the' 31e3 is outdcors. simply because thiShas been done In the pages of Moslerdoss before: says Andy_'However.reas.raoot~ec. There is alot to see at .

with the owl placed to the right of the frame so that it's locking into the image: EVERY month we invile three to five AP readers to join one of our four experts on a free assignment ov@r me course of a d. though. meaning there is not enough space 3(c:Jnd the owl. I alway~ feel that white backgrounds. In an Ideal world there would be more of the environment. with 1000 end refresh rnems provid ed. email address. Please remember 10 state I'litlic:h Masterdass you would JikE' to <mend and make S1.uk .etclas$ lor details 01 how to apply. address. as we unfortunately had that morning. Annabel Williams (location portrairure) and Andy Rouse (wildlife) Our next confirmed Maswdoss will bs wtth AnnaiJl:'l Williams on 3 May. The experts are Tom Mackie' (landscapes).Wildlife Masterclass <:> THIS ISa nicely lit shot and the fOCLlS on the owl is good.ay. This Keith Archer can be achieved by croPPIr)Qthe IIllage Also.Ire you indude your name. some words about your work and three or four of your images. II you would 1ik€! o take part.co. The composition needs to be corrected slightly to get the owllcoking into the frame. Cathal "cNau~ton (documentary and photo essays).Q. subscribe 0845 6767778 14 Apnl2012 I www. realty create problems for 3nyone'~ photography The only thing that can be done In such a stuauon !s to shoot against a diffuse background. daytime telephone number.I.amateumholographer.IIWTlilS. with more of the owl on the right and space on the left. visit wwWc t a mateur:phOWgr_aRherA.' ~a'i~ Andy 'I have a tew suggestions. which I know was behind the owl to the right: <> ~'TONY has produced Tony Meredith a good e'Xposure here and the locus IS right on the eye: says Andy' 'My only concerns are the space and positioning The image has been cropped too tightly.!.

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it also added responsibility and Increased levels of anxiety. So where does someone like Charlie go subscn be 0845 I') 76 7TIB when he already done so much Within the landscape genre.~ns about haw the resulting work should be presented were very much mine Althougll this gave me a greater level of freedom. His sWe€plng images have graced the walls of countless galleries across the world.. 'In the past. Charlie looked at both manmade latest and natural l structures for this prolect 14 Apnl 2012 I www. Oliver Atwell gets to the core of Charlie's new perspective of arc and line CHARLIE Waite is regarded as one of the most infiuentialliving landscape photographers In the UK. realisation and the de(ls. the majorITy of my books have been corrmssoned by a publisher: ~S Charlie 'The theme was largely deft ned. are a simj)le meditation of the forms we so easily take for granted in the world that surrounds us. For this prOJect.what happens when you break down the landscape and eovrorment (both man-made and narural) into its most baSICcomponents Charlie's images. an event that IS open to photographers of all ages. the subject choice and fmal image choice necessarily involved others. and his relentless promotion of photography as a morethan-worthy art form has inspired many fresh-faced photographers to pid< up their cameras and get out into the landscape Not onl~1 that.. Charlie has set up the Take a View Landscape Photographer of the Year competition. An:: b Line. the concept. We all hope the things that are dear to us are well received' Astoria Oregon. USA. Charlie Waite strips the landscape back to its basic elements.eQ. which we reviewed in AP 4 February. and although I was wholly responsible for makJng the images. .ukli!f ••• .> Charlie's preoccupation throughout much of hiS magery has been to explore the landscape through the Interaction of lighl and form In many Wi1IjS ths Simple Idea hints at the approach he has taken in hls latest publkancn.I I I It I I I ~t For his latest collection of images. much as they have alWi1IjS been.amateumholographer. Charlie's latest collection is notable for Its distinct theme . Btldge.~ • I :. but following many' books and ex hi bitio ns.

able_ '8ack then. all my images were taken USing a Hasselblad. they helped to Influence a generation of photogrdphers who followed. It's all about the resulting photograph' Part of this project's genesis come from Charlie's desire to keep explonng and developing Ilis photographic si\lle When his books urdsuocs If) Britainand ionosccoes in France were published in the 19805. were il1Slamly' recognlo. Italy. TUscany. The clean and precise nature of architecture tasdnates Charlie Right: Lucca.' Above: Saft. says Charlie. It's all about th e r esu Iting photcgr aph I 5 u II tl1ink it's Imponant 10 make the Image In-camera and I'm not en advocate of heavy postprcx::essing within my own work.LandS(apes Charlie Waite 'I think it's important not to get too caught up in the gear. ilpplied to subjects usually seen In a more lJadltional way. I'm also uSing a variety of dlQltal cameras . NATURAL AND MAN~MADE Charlie's current work. in some part takes the time to step away from the grand landscapes thai he has become known for to explore the subtle Intricate Interplay 01 lines and hemispherical forms within architecture found in kxatlors such Light and shadows became crucial elements in Charlie's o bservations sub5cnbe 0845 6r6 TJ7e . 'Times beve moved on now and while I'm ~Iill shcounq some Images on film. The square format and simple lines. I think lt's important not to get too caught up In the gear.(dnon and PanasonlC primariiy Havvever. Morocc:o.

to snow-capped mountains In exotic locations. Charlie felt able to work comfortably in both black & white and colour in Arc & Une as Namibia.' Charl:e admit" that this perspective on photography had previously rernaneo hidden to hm due to tus affection for more traditbr. and the shots taken for Arc [. I wanted the Interactions at form to be clean and predse. I also wanted to ensure that there was a balance between th2 interaction~ of the lines and curves I didn't WJm to give precedence to either element. Une are no different 'Ught is the most Important element In any landscape photograph..hin Charlie's Inrages. Arcs and lines seem to provde a balance within our world and once you begin to 1001< them.olour_ The images a'e divided Into two sections.and lichen-covered boulders. With experience you acquire a better understanding of weather and light so you can almost predict what will happen' With these images. 'The light helps to sculpt these scenes and present them as clean graphic terms. never has It been so explicitly present. complex and multi-layered surface The arc and line can be found in both contemporary and classical architecture They're beautifully exerophted in the prlnrltlve rock paintings of North A mea im 14th century cathedral cloisters and in the lvioorish mosque" of A nda Iuoa Spa in. limited-et!itio~ boxed set that comes with a Signed print at the cover imaqe pi iced [187. I am pretty evangelical about landscape photography and feel that the process of making a photograph ISvery mportant to me and [0 my emotional wellbehq. Washington.' says Charlie. the ceosion about whether the result will be In colour or black &.!'been drawn towards arrangements that reveal and explore the precsion and exactness of things In both rural and man-made settings: sa.' AP Above: Palouse.50 14 Apnl 2012 I www. Libya and. white generally makes itself.under: a baSIC series of mteracuoos between shapes. 'When I prevsualse what I want to achieve. There is also a signed. Narurallormations reveal an a bunda nee 01 faScinatIng sha pes Left: Ubarl.al approaches to landscape imagery subscn be 0845 I') 76 7TIB 'I think It's important to note now that both approaches . USA. you can fOT appreciate their significance. where the defined forms cast strong shadows ard serve to either mask or draw allffillon to the arcs and lnes 'These images are very much about the shape and mood: says Chsrue. At the end of the day that's what everyone should be seei ng wh en they look th rough thei r vlev . 'It sets the rnocd dictates the character of the shaoows. 'That should be apparent from the fact that both my images of architecture and natural forms Sit Side by Side within the book The challenge when putting together these images was to ensure that there was no looseness With regard to the designs that I was observing . The term "landscape" encompasses everything from rrucro landscapes of moss. whiCh are as expressive as any qrand. Libya. Charlie has employed both light and shadows to ernphasse and explore the delicate Interplay of shapes -ihis is particularly true with the architectural shots.amateumholographer. 'I've recent I. there are also the natural landscapes that Charlie is tamous tor. several areas In the UK While Charlie has photographed architecture before.natural and architecOJral can Inform and Inspire one another. and affects the 00 lours and tonal relationships contained within your imaqe. & white shots Qlve way to a series of vivid colours 'As many people know. Alrc & Une is aVililable trorn wwwchadiewaile com{srnre pliced [30. of course. 'There's always something to enchanr and taotase me. as well as the architecture I've mentioned What's particularly interesting about the natur al scenes In my current work IS that man's Impact is quite evidem if you look closely enough_ Even our Wildest fells have been grazed by sh2€p that have been introduced by rnen. Italy.' says Charlie.uk 1'~fJl ••• .' says Charlie.' COL-OUR AND LIGHT A major element that is Ilke~ to stnke I/lewers of Charlie's latest project is his use of both black & white and c.Charlie Waite I.' While architecture and other manmade objects do form a bulk of the Arr b tre collection. Ihe first of WhlCl1 finds Charlie working in monochrome Eventual~ these blad.!'s Charlie_ 'I'm really Interested in simple architectural details. but for me it simply comes down to what works. says Charlie.cndscapes 'T he landscspe ISs~11as fasCinating and absorbing to me as It was the first time I picked up a camera.' The stron g pr eserlce of light has always been a powerful and impol1am subject wit. T here has been a tendency for some to saythat far a photograph to cla~lfy as "fine art" it needs to be black & white.that applies to both architecture and landscape lociltions that I was shooting.eQ.

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30 vears' worth. and images from Steve's 'last roll of Kodachrome' project with Kcjak A number of the Images In the exhibition were taken in Italy and are a rribute to a rountrv Steve has photcgraphed many times. which appeared on the cover of NarJono/ Geographic in 1985. Thailand and Afghanistan. there are more recent photographs from 9/11 on display. 'Seeing the Images printed and presented In this way ISan Incredible teeling A lor of work went into producing these mages . could you pick J favo ont e? Pe rhaps yo u have a shortlist of a few locations you remember with fond merrones. A lite spent recording conflicts. his list stretches to dozens of cestlratlors allover the world. Gemma Padley asks the legendary photographer about his working practices OF ALL the place" you have ~'er photographed. 'Afghan Girl'. India and Japan.McCurry: a ife 'n photography As a huge retrospective of Steve McCurry's documentary photography continues in Rome. what life is lihe for people in countries across the world. but dl~o 16 delve a little deeper inio his working methods.. through his eyes. and ISa collaboration between Steve and curator FabiO Novembre. where we had the opportunity to talk to Sieve persona IIy and ask him nor 0 nIy abo ut tile background to the exhibition and how he prodixed ti. From India. For Steve McCurry. uprisings.. major events and the lives of ordinary people has led him to build a phenomenal archive of images that explore.Jmentary photographer. In tactl' As well as many of Steve's most famous images.' says Steve.e prints. Last month. places and cultures In some ot the world's most deadly and beaU1iful countries. There are also images from Burma. Steve has documented the people. Epson inVited AP to a speoal private viewing ot the exhibition in Rome. Steve's most recent undert. such as his powerful portrart. to Cuba. and to try to uncover what goes th rou Qh his mind when he takes a picture. a longstanding photographer for NcmMQI Geographic magazine and meml>E'i' of Magnum Photo.klrlg saw him work closely with Epson to produce a powerful series of exhibition prints currently on display at the Museo d'Arte Conternporanea in Italy The exhibition teaures more than 200 prints trom across Steve's 30-year career as a photqournejst and dOCl.uk 114 Apnl2012 . 'The exhibition ISa celebration 01 my journey around the world over the past 30 years.3in an Insight into hiS photographiC approach. to name just a few.. China and Japan.amateurphotogr:aphe~co. to g. A mixture of traditionai sub5cnbe 0845 6r6 TJ7e ••• ~i:l" www.

Afghanistan.co. including Venice. 1991 'This is a celebration of my journey around the world over the past 30 years.EE! •••• . architecture.Steve McCurry Exhibition oil fields. rs moossible not to be In awe of somewnere like Venu. Kuwait. culture and tre Italian passion for life that is so entlcing_ 'Venice has to be one of the great cities of the world it IS beautifUl r Right: Kabul. as do landscapes. Naples and Rome. captured at a moment when the everyday becomes miraculous STEViE'S JOURNEY WITH HIS CAMERA While Steve is resident in New York. end on the island of Sicily 'Whether vou ale a photographer or traveller.amateumholographer. history. and has photographed across [he world. he has visited Italy many times to photG~faph in Its Cities. bUSl1ing street scenes and ordinary people.uk. or Rome: he sayS 'There ~ so~ething about the Vuealth of art. 1992 14 Apnl 2012 subscn be 0845 676 7TIB I www. A lot of work went into producing these images' and environmental portraits abound.

' adds Steve.ro. "AfQhan Girl" is such a simple Image. or a person sleeping or reading in a corner. direct way .' One of the most difficult aspects for Steve is that many of the most popular totnst places are aowded wnh people. These are things that will be going through hIS mind as he is taking a picture Steve prefers to take candid images and won't approach people directly. Steve aVOids extremely bright conditions 'In my experience. It can be a great challenge. 'I always take the picture: he says. www. which isn't great for portrait Images.for him. 1995 Sri USE OF LIGHT Integral to Steve's irnage5 ISthe Interplay of light and subjecL In many of his photographs. It ISabout capturing images that are natural 'As you're walkir~ along and tune in your f!ye 10 what's happenng around you. move on ' How does Steve know when to take the picture and what does he look for? 'In the nve seconds before I take a picture.Exhibition Steve McCurry arn sublime To try to capture that In a )10tograph IS no easy task. It's about tl'ylng to shoot the best picture you can. he adds.amateurphotographer. you'll start to notice rnornents happening: he says. It's about being observant and pushing yourself to discover things. Sometimes things Will present themselves to you when you least expect it' PHOTOGRAPHIC APPROACH Ught.to cornrnmkate and capture the essence of a person IJ( a place. Steve explains that It IS crucal to find a way to prevent your emotions from stoppinq you taking the picture. so It Isn't always easy to get a 'clean shot' While you can do your best to frame your scene to avoid passers-by.the 'right' moment.I do a lot of preparation. and the camE>ra can find It difficult to handle both extremes Also. 'We can now tell stones more etiectlvely and quickly than ever before An individual con Get hiS or her story OUI to the world in~tantly There has been a significant shift In the way we produce images.NG A STORY 'I have a curiosity abcut Ile. high-contrast light on a bnght sunny day doesn't work so well when shooting In colour: he says. It's about gDlng beyond the tourist perspective In an attempt to capture what a place means to you. says Steve. storytelling and composition are all important components.' AP sub5cnbe 0845 6r6 TJ7e ••• Era. otherwise you could become rrmobused' Above: Venice. I mal' tI'y to find a shady SIde of the street . CONVEYI. and there isn't always an easy solution: says Steve. Find a subject you are passionate about: he adds 'You'll make better pictures if you believe In the stories and IhlnQs you're photographing' When documenting traumatic events. it's about telling stories in a simple. but it has somehow captured people's maginatlons' With regard to changes in the wa\. but this IS a great OPPO[\Ur1i!y to produce even more powerful stories. you don't want to become paralysed in an emotional situation. the rnostrroo tant thing ISto respect people's privacy. so In that sense you have to be 3 little detached from what'S going on. Italy. 'If I am in a situation like that. 'Amateur [news] iootage or mages can tell another side of the story. espeoalv Since cities such as Venice and Rome have been photographed countless times before. Lanka. but ineVitably It's diHerent whell you're there. it becomes unnatural That said. people tend to squint. 'There are often problems with deep shadows and strong highlights. we take pictures. there are Inevitably times when all you can do ISmove on and lTV to find an alternative.ukl14ApnI2012 . 'To me. And If people don't want to be photographed. 'cleaner' Vle'llipoinl.. 'You have to think about recording the situation. 'Photographing In places where there are lots of people can be a frustrating exoenence.and tan see things cominQ toqether I try to imagine what I might want to look for before I arrive at a place . 'If you ask the person whether you can toke their picture. there is a recognition that the scene ISVisually interesting or mal'be the event itself is Interesting: he explains 'You antkipate what mlQht h3PPE>n. Steve views them In a cosmve light.perhaps a couple slUing together on a bench. l'll·try to ISOlate something among the crowd . 2011 Right: Fish ermen at Wel!gama.somewhere that IS not so bnght to photograph if I find myself in a situation like this. he explains . light and shadow become almost like additional characters In the scene There is a real potency to many of his im<lges ill which carefully balanced light bnrqs out subtle nuances of colour and tone Favouring flat and soft light. but ths doesn't replace meinstrearn journalism: he S3YS.

MmissiOfi €I 0.grapber. 'The colours are true to whal I saw \. La Pelanda. 2001 Below: Afghan girl. drect process I can tweak and modify the prints right there and then. Sharbat Gula. Ioma. New York City. 00153 Roms. saw when I took the picture' subscribe 0845 6767778 14 Apnl2012 I ~alD. Piazza Or 81io G iu s f niani 4. C811trodiP roo ulione C~lturale. concessi 0 ns €fl. Fifiy larger Images tat 200x134cm and 280x186cm) 'oNereprlnted in Italy by Epson using a Stylus Pro 11880. Visrt www.lndit:i. 1984 Exhibition: Steve MtCurry.Steve McCurry Exhibition Right: 9111. ~ntil 29 Aprils! MuseofA rte to ntempo ra nea Roma. USA. 'It's a much qukker.-\hen I took the picture. testing prints and making colour adjustments right up to (he final prints. Sill-Sun llam-l1pm.J!_ .mac[Q. with the support of the flne-·art printing laboratory Berne Stampe d'Arte and the supervision of Steve. Opefi lues-hi 3-11pm. Steve and Epson spent many months painstakingiy studying proofs.CWJk_ I'!!F ••• .m Us'e~ ml informazioni _pratjpbelorad. 'Using EpSDn printing tffhnoloQI'" I was able to recreate the emoiions and colours. I felt and saw the rnoment the image was. Pakistan. 'The main advantage of making the prints digit811Vis that the process doesrrtnave 10 be done in Ihe darkroom: he adds. Steve has had a long assoaation with Epson When priming the images.uL 'The colours are true to what I THIEEXHIBITIION AND 'EPSON MANY of Steve's images. captured.' say'SSteve. were printed In his New York stuoo on Epson Premium Luster P~loto Paper using a SMU5 Pro 9900 printer.

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O 117 966 6066 EOS 4500 K100 USUALlY Phone for Mailorder Payment by Visa...IIIL''I'U...I Nikon Nikon Nikon Nikon Nikon Nikon Nikon Nikon Nikon Nikon Nikon Nikon 0300 070 0700 090 070s 05000 03000 060 050 040 040x 03 Canon Titles Olympus Sony Titles EOS 10s mk3 E .. EOS 5000 K200 SENT . using your DSLR on DVD .. Pirnlieo London SW1V 2LP Jernard Hunter Photo"PVPs "Everything you need to know .500 Alpha 700 EOS 10000 E .. " about o. ASHTON EOS 4000 K1000 GOODS BlUSTOL BS3 lJD Tel. EOS 600 E .!WestmInsteY .·_·.All titles now online from our eBay shop . .AAVONPHOTOGRAPHICA su bscribe 0845 676 7778 14 Apnl2012 I )¢JWwamatell[phQtQ~uk. [. NORTH STREET.BY Maestro. Mastercard.itleS each EOS SOD E .Gtqs f1. Cheque EOS 5500 K2000 RETURN or PAYPAL to AAVONDOTCOM@aol . NI#con 40 Churton Street..330 and 350 8ERNARD HUNtER PHOr0800ICS EOS 5 Mk 11 Pentax Km EOS 3500 K1000Supe. It is presented in a 'hands on' way with you following the on-screen demonstration with your own camera... • . Canon EOS 1100D All in Stock .r"..IIIIP..510 Alpha 200 EOS 400 E . . Canon EOS 600D. Nikon D7000. ( 1-2hrs long) Jumpstart DVDs £ 1·'9 9·5 NEW Nikon D31001 Nikon D5100. oID c are now available for your Digital SLR camera.r 246.ExclulJi1Jely .1 19 . Clear informative presentation in a visual format to instruct you in setting up and using your camera.420 Alpha 300 POSTFREE .410 Alpha 100 All t.. covering the features and functions of your particular camera and shows you how to take better photographs..

.. '..Ser.. help and tips from AP Editor Damien Demolder I ~~ ~ .14-42mm. followed by a touch of contrast via Curves. and I'm not sure the space on the left of the frame has been used very well. tuuhen realised the picture is about the tones. ensuringihat it is the perfeclcom~ani~n for car I)'ingyour camera gear. My first act was to crop the Image to an upright..t.ivl':' willerfall.../]1. ~iWll. High Force Waterfall) Teesdale Craig Stapleton Oiympus E-410.nd personill effects in the u~ll!!r compartment by uSI~g top opening_ the A~ additional compartment in the base 0 f tli e bag also provides storagefor selected ~lanflOtto Cumpact Photu Tripods ID!I\\\JIlo nlIQllQ. "'.. _ t'GIMw.. has brought out those tones and made a more dynamic Image_ Using the Color Balance tool I added a touch of warmth to the shadows. 1"""_10 . as It lends the scene depth and a sense of scale Craig's white balance is a little cool. so I cloned some water over it The new Image has a weight the original doesn't.... l med removing the blue hue.. rf_..-t1!. IJPI~p a..I~ WIN Every rea der' wh lIS!! ----~~----~ --~-----~ u_ 8_' ----. ~~ii.~.<!O' .. laptop andpersGnal items.. 'purpled' the rndtones and then cooled the highlights. 6secs at 1.. I li~e the low arlgle. 100 ."'" 'Iii!iwt ~M~ r.... J:e----' oLio"" .. and Craig has pulled OUI the j-swps to get a nice bit of motion In the water.j YIIt!f images Appralsalat to theaddress IlaQa. as the shaded light has cost a blue hue across the scene.F . ISO 100 picturea~pearsi~ Appraisal will win a Manflullo Unica VII Messeng~r ag a worth Gl4_95_ This bag com bnes s lyle andfunctiomality. so we can lose lhe left side lhal adds rlOthlng 10 the shot.. THIS is an impre".. though... too. __ ~ . -"" ..l on Enct()Se a~SAE you I if want them renmed sub5cnbe 0845 6r6 TJ7e Submit .. not the colour A red-heavy channel corverson to black & white. The on Iy thlng bothen ng me then was ihe bright white highlight in the centre of the bottom of the rrarne. Gainqui~kaccess to your DSlR with lens attached. uk. to Craig for capturing the angle in the first place YDIII' piCtures Send up to SJX pnnts.usabout tile piclUI s andinclude e deta!ts 0 r equ ipmen I usedan d e~ps~re settings. but crediJ.Your pictures assessed • Expert advice. slidesor ima~es CO m1 [pleaS!! cfLI!iB tlle in originaliles from the f com eiJ a lollOJ with your submitted v~rsions on YIIur COl Tell.

we stili have to work hard to help the viewer enjoy il 1m I 14 Apnl2012 I www. ISO 200 WHAT an Idyllic scene.6 proportion CfOP that contains all the interesting elements but In . acting as a door that is open. ISO 200 with the base of the frame. so the hurdles furPher into the picture seem less of an issue.Staffordshire Ben Wililiams Nikor1 D90.so~e Joe Cornish boulders . Benl This 10eAs like something Constable might have sharpened his brushes for It is well photographed. Yet sometsnes we forgE't ths when laking photographs We use exCiting colours In relaxing views .Ive also added a tiny bit more 'oomph' Wlt'h Levels. VJlih an exposure that shows ot( the mist and the different tonal layers that separate the tree lines In the distance. The problem is that. though. too. 24-70mm.1/30secat JUST as smells and sounds can either relax or excite our senses. and although I've turned it on its end. I've trimmed off the edges of the frame to form an upright 8.uk . Even when working with a scene that has as much potential as this one does.Your pictures assessed River Tam. Alf has done well to find something Interesting to pu: In the foreground .SWimming and in-fiight . they act like a row of riot police. fhey are a block.and they add depth to the scene. Cumbria Alf Bailey Nikon 0700. it is stili my picture of the week. 70-200mm. and then the water's edge. buzzing With 5hoc~lng colours that peel our eyelids and demand attention The \iiew. Ben Derwent Water. neater space. as they are lined up parallel subscn be 0845 676 7TIB f/8. finding a black and a light shallow curve to stretch the longer tones II's a lovely shot. Ilil<£ the layering.and come out 'u'Jitha picture that has contradictory elements. but we don't need quite so much of it to get the message across.. is of a relaXing misty morning The colours and the view ronflkt and leave my poor brain confused about what It should be feeling My other issue With thiS Image ~ the ccmooancn. and they prevent us from comfortably reaching the rest ot the scene. before we get to the mountail1S and their delightful mist There are so marry fences to climb that by the time we get to the subject we are mentally exhausted I've mocked up a different angle'in which the rocks lead us into the frame. a hurdle to overcome.eo. Once we jump over them we come to the next hurdle.and really it is these that Ben should be drawing our attention to.amateumhotographer. All's lakescape of Derwent Water is alive and vibrant. l/800s€c at fiG. 50 can colours. the retlecuoos of the mountain tops in the water. yet keeping the foreground prominent The most exciting elements ot the shot are the birds . Well done.

e put it to the: test. weighing 4. ii can be a littie unmmfortable when lugging it around in th e heat While ths bag may not be lightweight and quick to use.3--million-pixe] Canon PowerShot SX26DHS ODt Panasonics flagship travel compact is crammed. plus a 171n laptop III the rear section.e!'3 has an impressive 12_1-mi1hon-. p'or(orms APZSAp~t K-Ol is the nrst mirrorless Pentax's unconventionally styled 16. and In practice I tound I was able to trigger a rcend corners. 6J-point )\F and Digic 5+ processor. it is certainly stylsh. honest and independent also acts as a camera remote release There IS a transnutter that slides Into the camera hots hoe and a receiver that anaches to the nash by' a sync cable or directly into a hotshoe. and when used as a camera trigger the recei"lff atiaches via a cable to the camera's remote port A flashing LED Ofl the receiver shows It ISpowered up and another LED indicates successful triggering between uruts The only disadvantage of Ihls unit is the lac. Canon's latest DSLR features .On test Backpack and wireless trigger device Over the next few pages we present this week's equipment tests. through w311sand tJ. AP jI.95 NATIONAL Geographic's Earth Explorer bags are made fro1lo a long-lasting. as well <IS finding those aspects that deserve preise. as the outside of the back of the bag is also made tram fabric. as well as phvtography We aim to discover any shortcomings. and it is large enough to hold two or three DSLRs and lenses In the man cornpartrnent. frame sensor.~ of TTL metering support between the camera and Speedhte. A~5May PentaxK·0<1 pixel sensor and lQx optical 200m. IHow~"ver. than"s in pan to the large hip belt (each sde has a further pocket) and well-padded lumba. AP ~1 A~ril www. we find C3non's blest high-end compact C3m.a 22_3-million-pixel full- canon EOS 50 Mark III Palasonic Lumix OMC·l130 NikonD8Ill With its )6. reader qu ~-- and technique pointers www.yest i:ncIuding? 20x (}pLica.geographictlagsco_uk National Geographic Earth Explorer large backpack (NG 5738) £359. Andrew Sydenham THE SMDV Flashwave III ISa Wireless tnggerlflCJ cevce for Speed lite-type banerv flashguns and studio flash heads that Aimed at enthusiasts and professionals. CMOS sensor.aA~(IL AP 21 April 114 April 2012 sub5cnbe 0845 6r6 TJ7e .on-pixeJ camera to use P.1 zoom Leica lens and touch LCDscreen. the NG 5738 is surp risingly comfortable.i-mLlli. heavy-duty fabric.5kg. There are four mic:ro switc:he~on each unit that control the 16 chamels.kr SMDV Flashwave III trigger and release Around £125 TheAP to you guarantee All owr tests are conducted by people who understand the product area. durable and able to support a heavy load nmColeman www_smdv_co. There ISa tripod thread on the other side. ffiaflY of which are closed by Velcro or ZIPSand then securely fastened by canvas straps and metal buckles. the exterior is covered with small pockets. and a tripod can be fixed on either side For such a heavy bag. although a rain cover is provided The NG 5738 is a beast of a bag. W.Items such as mid-sized leflSes and notepads can be stored ifl these pockets (although they are not fully padded).Jf{ thE>Width of 3 rugby pitch. which IS a feature I particularly like as the flash and receiver cornbnaton can be attached to a lighting stand or a tripod and It ISsturdy enough to act as a base for a small Speed lite. The rraterial is not waterproof.ax's 'cxisti ng K rnou n t. which is situated on one Side. The maximum spedned range for triggering the flash is 600ft (aroufld 180 metres). support. All our tests are thorough. Furthermore.e·nt.uk how the world's highesL resolution Jull-frarne DSLR. wHO new -reatu.amateurphotqgraphewJ.

mag.. The MagneFlash Mono 30 head with softbox is assembled using Velcro seams secured by a plastic ring and locating lugs £253 Guioenumber 30m IllISU10D Powersoun:e Internal rechal1)eable battery withcharge lime of approx2 hours Fl:!sh eli per cmarge Verdict THE Iv! agr. and while I found I was wailing for it to catch me up. The advantage of \hi. and was impressed by the quality of light from the 30x30cm sot tbox HaVIng tried one II ash uru t I could see potential for putting a kit of three heads together and haVing a light and versaUie kit for portraiture or interiors under exireme condilions. This Image was taken with the MagneFlash during an outdoor evening rugby training session anached using Velcro It is a simple design and I would expect rt to last well under normal conditions I particularly liked the stand provided With the kit. but In rrsruature There are four push-button switches 0rI the backplate for on/otl and power -r atio adjustment. treated it roughly In the cold and damp. Website: www. Suffolk IP1 40B Tel· 01473211 384.600K Rosh modes BUILD AND KANDLING The MQl10 30 head is similar ill layout 31'1d shape to a traditional studio rnonobloc. The flash recharge time at full power is 6sec~. and although you can 'I Immerse It in water. but once you are familiar with the simple layout and small number of !unctions tilis doesn't become an rssue.U) MagneFlash. There is a 1. With a IIltle adaptanca I took the unit to a rugby training session. along with the mini-Jack socket for the sync lead or radio slave The labelling of the switches and cower Illdicators IS not backlit and this makes the srnattvpetace very difficult to read in low light The bright LEOs of the ratio Indicator compound matters..eflash. with all the pans Full power·25% lSleps+ pre Slave cell lfilemal mono SlavE cell Sync con n ection PERFORMANCE The ki.eF lash Splash Mono 30liQhting kit ISa delight to use and simple (0 operate. The sottbox folds flat imd is easy to assemble. 16 Nillers View.t call be out of 115 robust Cordura bag and ready for use in minutes. this kit provides a ver\.lities RRfl DATAFILE BUILT around MagneFlash's Splash Mono 30 urn. Louden Photographic.. the capacity of around 160 full-power flashes per charge is very' acceptable AP 3.h duration 11~ODOs8G Golour temp 8 ralllr~ 5. such as snoots and umbrellas.MagneRash Splash Flash test I: MagneFlash Splash Mono 30 portable lighting kit Andrew Sydenham tests a diminutive flash head and softbox combination with 'go-anywhere' capabi. As Its name suggests. a downpour.. Ipswich. the sealed acrylic case of the Splash will survive a rain shower. damp or dusty erwrcnments shouldn't present arty problems.5mm low·volta~e min.tom subscribe 0845 67671"18 . sa)'. as it was well balanced and gave excellent support to the head and sottbox However. no harm can come to your ftash.!l. compact and robust light source for location or studio use. in windy conditions and at full extension it would need a welQht added to the base. There IS no overheating cutcut IrI the unit as It remains cool after repeated firing For high-speed firing I set the power to 50% for one or two flashes and 25% to give up to four flashes at any speed The slave cell picked up well mdoors and over reasonable distances outside with direct hne-ot-sicht flash. and the lamp head can be used wutout the sottbox if you wall! to illumirlate an area of a room or bounce light off a wall or ceilirlg. Appr ( 160 ai tu~pUlVer O Aa. unit over a Speedlite-rype fiash is that it will work with Virtually any camera.i-jacksocl\81 Weight 600g [withoutstand andsofioOJ() Dimensions 15Ox85mm [body diameter) 135x210 m m [over.0 the potentia I to try other light shapers. It is also possible to give extra protection to the unit by covemq It With a clear zip-lock sandwch bag so that in.

PHOTOGRAPHIC SEMINAR SERIES in association with Amateur Photographer. LAC 'IPC Media Ltd'. IPC Media. Including a Q&A sesson fallowed by the chance to buy one of Brert's books at a book signin g Tickets are sold on a first come. first served basis at 5:29. 110Solflhwark Street.. . SPISeffilnar. 90 delegates will be treated to an intimate one-and-a half-hour serrrrer. the year End his latest training ~o{lk. london SEl OSU Call 0203148 4326/21 to pay by card EMAIL us at spiadmin@ipcmedia_comwith the words 'BRETT HARKNESS SEMINAR' in the subject line. the highly acclaimed 'social photographer'. his courses thr8Ughout . to Estelle Hicks-Bennett. 110 Southwark Street. address. Room 9-372. made payable to SUPPORlIDB'/ OW TO BOOK OUR. Please mdude your name. Brett wlll talk about 11islove ot travel Imagery and reveal the techniques that OC AL PHOTOGRAPHER make his wedding and social business run like clockwork. POST a cheque for :£2999. The Complete Guide /0 Organising and Styting Professional PhDto Shoots.com ·PLEASE NOTE places are only conflrme·d upon receipt of payment. address and t:elepho ne number. visit Mlp:Ubrettharknesspholagrallhv.99 per head. in the Blue Fin BUilding in London. and include the seminar. P!ease Indude your name. email and telephone number * SPII=~~c POIIo.er emil. London SE 1 OSU. will b-e grving an Insight into his amazing photographic style as pan of our photographic seminar series. Iitkets are non-refundable. . a glass of wine and a goody bag To be held at the Blue Fin Building. Blue Fin Building. and the SPI WE ARE delighted to announce that Brett Harkness. What Digital Camera. inclurnin~details of his OVOReal Ufe Wedding Training. for more injormatio~ about Brett Harkness and the secrets behind his beautiiul ima~es. You (In ask questions and find out what makes him nck in the U31y world of high-end weddings To be held at the home of Amateur Photographer and Vvhar Digira/ Camera.

Using a Sony 16GB XQO card.l1in. A S'4 crop format ISalso available.400 What really made the 035 stand out at the time. Wisely. it did introduce an incredibly ImpresSive 12. the camera was noU1Lng groundbreaklng. As wdl as FX full-frame lenses.s. as well as H D Video capture. which is around 25MB/s quicker than the current tastest C. help with noise reduction. 16. With I he 04's shooting rate at up [0 l1fps Without AF. WI[h even.I-mllllon-plxel (lvl OS sensor capable of sll00Ung at an equivalent of ISO 102. Nlkon quotes more than 45 improvements over its predecessor. it is clear that Nikon hope. though. I FEATURES 0 14 Apnl2012 I www. the Nikon D4 has two rnernorv card sockets.uk .2-mill1on-pixel.xpeed 1 image jlrflGeSSOr ~1. but with some significant tweaks and improvements.. Wi1h the D4. professional DSLR The new 16. WITh Its empi1asis on a fast shooting rate and great Image quality in low light. Nikon has opted (or the 'if it ain't broke. The need for such a highly speoned card lies mainly in the huge amount of data generated when shooting Video footage. the Expeed 3 unit is certainly going to have its work cut out when it comes to processing and saving I mages quick Iy As with most pro OSLRs.ntage for still photographers. but at a reduced resolution of 7 million pixels.2-mlllion-pixel CMOS fu"frame serscr of the Nlkon 04 seems to have evolved from the 12 l-million-pixel sensor used in the 035.' ~hooti ~grate bl-point Olutufocus B-Q~ket Street ~ewXOO m~ . In total.9ZUDO-dot LCD screen £5. Running the 04 is the Expeed 3 image processor first unveiled In Nikon's VI and Jl compact system cameras It is a more powerful processor than the Expeed 2 unit In the D3S and Nikon claims 1\ Wi". With the other for the new XQO format cards Created by Sony.800: an Increase of I EV at either end of the sensitivity range. It scored an Impressive 89%. or 1Ofps With AF. all of which should Improve both the handling and Image quality of the new hlghend. and Ihe speed at which It needs to be saved Howeve r.ompactFlash cards. was the low level of noise in images taken at between ISO 800 and 3200 That the Ni~or} D3S was capable of producing images of superb quality made it a subscribe 0845 676 7778 firm favourite with professional photographers the world aver. OX-formai lenses designed for Nlkon cameras With APS-CSized sensors can also be used on the 04. making it one if the best DSLRs we have ever tested PhYSically. quicker speeds possible In the future. based as It ISon the exlsting Nikon 03 However. wildlife.0 00 -p i ~el metering sensor equivalent 11fps maximum ISO ~D-2DUDD Nikon 04 The 16. particularly when shooting H D Video.one of the best cameras we have ever reviewed Richilrd Sibley kcllll{_JI wr lfl I :. wi t h th e 04 having a maximum contmucus shooting rate of 111ps. The G3pacity of the cards can theoretically increase to reach 2TB. the first XQO card was launched the day after the 04. the D35 500n became the preferred camera of many sports. I WHEN we reviewed the Nikm 03S in AP 2 January 201 0.m (~ody only] price . the most Important being a new 16. the new high-speed cards obviously otter an adv. events and press photographers.enSQr FX-format CMOS E. too. iOO.eo. among other things.With 2012 being an Olympic year.sionai sports photographer. don't fiX it' philosophy The new proiessoral camera has evolved from the D3S. the D4 will prove 10 be the camera of choice for profe-. There is also an improved sensitivity range of ISO SO-204. one of which ISfor a Corrpactflash card. The AF and metering systems have been upgraded. regardless at the lens being L£ed.amateumholographer. The new format is able to read and write information at speeds of up to 125MB/s.2-million-pixel D4 professional DSLRis Nikon's attempt to improve upon its own D3S. s.2-milliorl-pixel sensor.

Camera test Nikon D4

t ')
»:

was able to shoot 70 raw Images, 62 raw+JPEG Fine images or 148 j PEG Images atll tps before the buffer was full and the camera ~taned to lag However, alter Just a few seconds It IS possble to begin shooting another burst. As a comparison, I used a l.exar 600x UDMA card and shot 60 raw, 58 ra\'!+ j PEG and 144 JPEG Images, al[hough the buller took far longer to clear afterwards Professionals who are gOing to take long bursts 01 Images should seriousty consider switching to XQO cards as there is a cleN advantage. The metering system has also been overhauied. With a new 91,OOO-pixel RGB sensor, This does more than merely meter the IIQhtthrough the lens Similarly, the 04 uses an evolved version of the 51-point Multi-CAM 3500FX autofocus module, but more about this later in the test.

At a glance, the Nikon 04'5 body looks largely the same as that of its predecessor. 80th are made 01 magnesium alloy and have built-in grips and shutter buttons for horizontal and portrait-orientation shooting, However, there are some slight changes Intended to improve the overall handling The first ISthat the shutter button ISnow at a more inclined angle than on [he D35. Nlkon claims this to be more comfortable to use, but while I did notice a difference between its position on the two cameras, I could not really say which one I preferred, The most useful of th" 04't; new build and handling features are the two directional control sticks, These allow the AF pont to be quickly repositioned, and pushing the stick in acts iIS a button for AF-L The reason for lWO control sticks is that they can be used when shooting in either portrait or laodscape Orientation, As you rotate the camera to change the orientation, the relative postlon of the

BUILD AND HANDLING

One overlooked advantage of the extremely low noise levels at high sensitivities is that it allows handheld macro images. This photograph of a

wasp was taken

with a M k roNlkkor 55mm converted pre-A i lens atiSO 1600

shutter button, front and rear control dials and the control stick remains the same. I found this really made a dll1erence when switching back and forth between landscape and portrait formats, and again, n wilJ be useful for professional photographers requiring such changes to take place quickly and smoothly, Switching orientation is made even easier thanks to the D4'5 ability to save a dlflerent default AF point, depencling on whether th e cam era is in sh ootl ng in Ia ndsc ape or portrait mode, For example, without uus ability, if you were shooting a portrait using an AF point close to the top 50 that it 15over the subject's eyes, when switching to take a landscape image the AF point IM)uld be on the far right. However, the 04 can be set up 50 that its built-m accelerometers will detect the camera's movement and then, when it is

rotated, the AF point is switched to a suitable pre-selected AF pont - in this case one that is at the lOP of a frame when In landscape format - so that focus will remain on the subject's eyes at all times, One of the D4's most useful features is also one of the simplest the buttons on the camera are now illuminated. Like other Nikon professional and enthusiast DSLRs, the on/off 5Wltc~1has a third setting that illumlnat"s the camera's L(O panels. On the 04, this also light~ up ailihe bunors so they can be seen In the dark. ThiS 15 clearl)' useful when shootno at night, but should also prove populilr With concert photographers, who cen usualty be seen tilting their camera to all sorts of angles to try to find the button they need. Control of the AF has also been changed The three-way SWitch on the front of the

FEATURES IN USE CONNECTIVITY
FOR PRESS photographers, it ISvital to be able to send the latest mages back to il picture
desk almost as soon as the events have taken place This usua Ily mea ns uploading th e files to a newspaper or agency's imilg2 server via a laptop computer. However, the Nlkon 04 has an ethernet socket, and the software to cornect to an FTP server, built In This allows the photographer to simply plug in a network cilbl e and upload aII th eIr images to a server straight from the camera, There is also a new Nikon WT -5 W -~ adapter, Irus 15 far smaller than previous Wi-Fi adapters, partly because it is povJtered by the camera's battery. The adapter allows the 04 to be connected to a WI-FI networ~, again making it easy to send images to another computer anywhere in the world. It Apple IPad, to log Into the camera and see the live VIPSIdisplay, as well as browse the images and take full control over the camera's exposure and shooting settings, including autotocus. Tile inter1ace for controlling the camera can be accessed via a web browser using built-In software. This means additional software is not required, either for a smart phone or a computer, It is also possole [0 create an ad-hoc wireless connection dlre<:tiy between a computer, smart phone, iPad (Of similar) and the camera, This IS extremely useful, as it doesn't require a separate WI-FI connecton In par IIcular, It 15 a boon for Wildlife photographers, as being able to see the li\Je feed from the camera and control its settings from the sale vantage point of a Ilide means that the animal is much less likely to be frightened aWiJlj,

also allow~ wireless camera corurol Provided the camera has a Wi-Fi connection, a photographer can use any lnternet-connecied computer, or a device such as il smart phone or

www.amateurphotogr:aphe~co,uk

(14 April 2012

sub5cnbe

0845 6r6 TJ7e

Nikon D4 Camera test

D3S has been replaced with the simple AFIM sWitch with a central control button, similar to that found on the 07000 FlickinQ the switch between AF and manual focus, and then presSing the button allows the from and rear control dials to be used to sWitch between snqle or continuous AF, and the number of A F ponts in use, The reason for the ;;wltch is that it allows all the AF functions to be set through the Vlewrlnder, with the aim of making It qUicker As you would expect Irml a camera costing around £5,300, the 04 has iltough magnesium-alloy body with all the direct controls you would expect on a professional camera body. Those who have used the D3 or D3S will md that, lor the most part, the bodies of the two cameras are largely the same As stated earlier, the 04 ISphySically al<in to the 03S, but With a fev, Significant new features, I qUlck~j grew accustomed to the r;ew changes and they made the 04 very fast to use, particularly as you can alter the AF settings Without takirlQ your eye from the viewfinder

When shooting

at 10fps, the continuous AF had no problem keeping up with the subject

ISO 1600. At this setting there is a him of luminance noise in shadow areas, but not'ning of concern. fn fact, the usable senslnvitv range is around ISO 100-6400 Images at ISO 6400 look like those taken at ISO 1600 senirlgs of most DSLRs with APS-C -sized sensors NOise ISVISible at higher and extended sensitivities, although it is reasonably well controlled, Given the e~tremllY of the settings, I would recommend shooting above ISO 128,000 orlly when absolutely necessary, However, what these settings do offer is the ability to take images handheld in extremely low light Just as With the 03S Even more detail can be recovered when editing raw files, where the amount of noise can be fine-tuned, That said, it doesn't make the extended fSO settings much more usable, but custom sharpening and noise reducton do Improve mages taken at the 'everyoay' ISO 100-6400 rarlge In terms of image qUJlli\I, the 04 doesn't redlly do much better than the excellent D3S. Yes, it has a slightJ)! higher rescuuon but there is little improvement In the amount of image noise.

'The D4 is wry fast to use, particularly

AF settings without

as you can alter the taking your eye from the viewfmder'
elements irl front of the lens, such as faces,

NOISE, RESOLUTION AN'D SE,NSITIVITY
situators, the 03S is one of the best OSLRs we have seen The quantum efflderlc,!, of the sensor is very high for a full-frame model. meaning that it converts a large amount of the light photons it recelees Into electrical energy Ths ISwhat allows the D3S to use high enuvalent ISO sensuvmes with low levels of image noise The 04'5 resolution is 4 million pixels higher than that ot the 035. Although this is a fairly conservative increase, it does mean the amount of noise can be well controlled, and at almost every sensitivity sertirlQ the two cameras seem to be on a par In-camera J PEGs teken on the D4 are relatively free of noise up to around subscn be 0845 676 7TIB For lov,-llght

~
METERING

..

Nikon's 1 ,005-pf~el metering system, which has been used in a number of cameras over the past tew years. has been dramatically upgraded for the 04 It now feature;; 91.000 pixels, which does beg the question of how detailed a sensor needs to be to produce a good exposure. I can see very little dnterence between the exposures of the 03S and the D4 In matrix metering rncde, and you mal' wonder why such a high-resolution sensor is needed, However, the new 91,OOO-pixel sensor does more than JUst meter the light _Nlkon uses a scere-baseo metering system that is capable of recognising

and then PIc](Ing a suit;;bl e ex posu re, The higher the resoluuon of the sensor, the more likely it ISto be able to see such details and adjust the exposure accordlngty, So while the sensor does measure light, its real benefit with regard to exposore ISrecognising scenes Th ISsensor ISa lso used 10 measu re white balance, so again, the more detail and Information available, the better, Overall. the system works well. with the camera produdng good exposures. When shoonno landscapes, for instance. I found that the evaluative rneterlnq was gerlerall'l' Intelligent enough to aVOid blowing out highlight detail ThiS did sornetrnes lead to the foreground being slightly underexposed. and I took one sequence of Images that had a +0 7EV ~posure greater than the metered setting. ft IS,nevertheless, quite easy to predict "Ihat the metering will do and, anyway, the slight underexposure carl be berencel In preserving highlight detail that, once lost. cannot be recreated.

tliI:J_ •••••
WHITE BALANCE ANDCOLOUA
The rlE'\N91 ,000-pixe·1 RGB meterirlg sensor also helps provide 1M auto white balance settings for the camera Again, this works well, and there ISlittle perceivable difference betweeo the D3S and D4, l Like the Nikon 07000, the 04

14 Apnl 2012

I www,amateumholographer,eQ,uk

li~+ ••••

Camera test Nikon D4

'When pointing at objects that are almost entirely in shadow, the D4 still focuses quickly and accurately'
has Auto1 and Auto2 AWB sertlnqs The first of these produces an (11)1.0 \'IMe balance that will detect tungsten lighting and correct it completely, while the second Will stili leave a hint of the tungsten colour In the scene. Tbs ISgreat for wedding photographers who may wish to lake neutral mages 10 keep the bride's dress completely white, but later prefer some of the natural colour to be left in the scene (or more candid, documentarystyle images. TI,e D4's colour and contrast <>et\lng5 are unchanged from the Nlkon 035, and like other Nikon entbusast and protessiona: 05LRs, there ISa Manage Picture Comrol feature. which allows the individu<)1 settlnqs of each colour to be tweeked New Image styles can also be created using Nlkon's Capture NX2 software and then loaded to a memory card and onto the camera.

Facts & figures

lisl~rice
Sen~ar O~tputSEW fac31lf ngthlmag

teasmnum
Max lile siz€' fiielormal

ttl} •••••
AUTOFOCUS Like the metering system, the D4's AF system has also seen some improvements The AF module it<>elfis an adaptation of the Multi-CAM 3500 FX unit that was previously found in the 03, 03S and 0700. One of the main upgrades IS ItS performance in ION-light ccootors, With Nikon claiming that lhe camera can now focus In as little as - 2EV of light - the equivalent of shooting by the light of a full moon The increased sensniVitY of the AF sensor isn't just an advantage when light ISIn short supply. All S I AF points of the 04 work at an aperture of fl5 6, while the 11 centre pomts, tncluding a cross-I\-'pe sensor, can work at f/8. This is useful for sports and wildlife photog~aphers, as it allows an fl4 lens, such as the Nikkor 600mm fl4G ED VR AF-5 or the SOOmm fJ4G ED VR AF-S, to autofocus when used with a 2x tel€Converter, aeatlng 1.200mm f/8 and 1.000mm flS lenses respecuvelvlt Will also allow photojournalists to travelllQht and use a 200-400mm fl4 lens and teleconvener to caver a 200800mm range, Using the 04 at night under streetlights. I found that the AF performs very well with a Nikkor 24-70mm f12.8 lens, Even when pointing at objects that are almost entirely In shadow, the 04 stili focuses qUickly and accurately. The 03S ISno slouch in low IIQh1. nut of the two the 04 was taster and more accurate, whereas the D3S had to hunt a lillie more otten for the fceus point and cx:cusbnally Just gave up. In fact. for fOCUSing In low light, the 04 ISthe most efficient camera I have come

Compression Colour space
Shutler 1Y!l~ Sh utter speeds Mad lash s~n c ISO

(5.189.99 (ooeli onlyl PI- form,t (fu ll-frame] eM os device with 16.2 miUio n effective pixels mSlmO pixels h lUx in OX-format uep imdel fli~onf Approx 23~lB NEf.15MS JPEG (hig~~Quality.13I'(lel NEF (rawl. JP!G, ramJPEG simultaneo<Js~ ---J.stJge,JPE,ii, }.sta~e NEF Adobe R GB, sR GB Electronically controlltd fncal- plJne 30·118000sec in 1!.l steps. plusB

1/250sec ISO 100-12.B00 in 1/3EVsleps and HiI.l, 3 (ISO102.400]

PASH 91 ,ODO-~ixel RIiB 3D matri! metering. cenrr8l'/Bighte.J l~djustab lel spot (1.5%1 hposure ~om~ ~5tVin Ifl, 1/1or lEVsteps Exposure bracketing L9EVacl[oss 1-9 exposures ill iacrenenls of I, 1/3 or WEV steps 2 auto, 6 presels hvlLh {ine-luning), plus 3 custom and Kelvin While balance adjustrnenl seWngs 2-9 exp@.surBSinincrellWIts ~II, 1or 3 WBbr~ckel Single, CtlnUnuous(Hi.!Lo seittlable. up 10 W(ps w~h AF: Orivemod~ 11I'pswithout AF and fixed exiJl.lsurel, self·~mer 12io lFlwith m,ooo dots un Pentaprism singlB-lens refle! viewfinder 1iiewiinde. 1yp e fi9!d of vi ew Approxl00% Dirrp1re adjllStment -3 to +1 dioptre _ foe us ing m edes Nanual, sil1[ie-shol Af. ccn lin_uousAf wit h Af line -lullin 9 AF paints 51 poLnts. ooleclllble manually or ]Ulomillically On F prfv iew Ye-E M&tenng system

Exposure modes

PCSJ:lckel Buill-in flasn CanLe release M~mory card Power Conn6ctivity
Wei[ht

,.cyes_:__ _ No Opiiona I remote release h CompaclFlash slol mmpatiblewith UOMA), IxXOO slot Rech3r~[>Jble li-nn b~llery (suppliedl USB1,0 Hi·Spted,HmMJ 1.180g (without b3tlery 01 card/5)
160x15~.5x?O.5mm

Oimension.

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MikDrt 380 Richmond Road. Kingston upon Thames, Surrey KT2 5PR. Tel: 0330 123 0932. Websile: www.nikon.co.uk

sub5cnbe 0845 6r6 TJ7e

CQ.OOOacuaticns. The new ba[te~ IS only L. it Will probabL~ last a Lifetime hJS been tested to IJSi for just over ten hours. using the Af pOints 10 indicate whet~er the camera is level fi'alltll1l life Alt~ougtl theIr look similar. 921. ••• . the shutter S~utt&r VirtlJil.Nikon D4 Camera test FOCAL POINTS The 3. subscribe 0845 676 7778 14 Apnl 2012 I www. for J professional Niko~ states that the new shulter ~.OUOmAh. it is now dual-sus and reteqmses both side-to-srde and ncntto-hack lilt.UI:.000 Images a week.amatell'I'. Shooting at lltps c~ntinLlQusly. Thna-lap-se mwi'a As well as interval s~ooting.II·:!!!. Tire results are then saved as a IOBOp. 30fps time-lapse Video.2in.bQ!QQl£Qber.s been tested up to ~OO.OOO-dDl SCreen has baen improved to reduce screen fogging un screen p~otographer s~ooting around 2. Mure realistically. the shutter is g@d for four years. the Dq uses a different battery from the 03 and 03S. The feature handily calculates how long the frnal viden will be betore shooting b~gins. Unlike prencus versions. compared with the 2S00mAh on the older battery. For the rest of us. which uses accelercmeters to tell when the camera is level. the 0& has a time-lapse mode that takes pictures at regu\.50~ shots can be taken on a Single charge. ThB virtual horiznn can also be displayed in the Viewfinder. impruvements in both battery design and pOWBrcensumphen mean that the battery In t~e O~ lasts longer Nikon Quotes that up to 5.lr Intervals for a set period of time. However.l haril:OJl In the shooiin~ menu is the virtuaL horizon.

I'll reserve judgement until our test In AP 21 April. although the EOS-1 0 X has a slightl\.1 EV. and the eX1remely' Wide Video capture sensitivity of ISO 200-204.com. at around £5.Camera test Nikon D4 . with hs smaller APS-C-sized sensor.nt cameras when released. Nikon has evidemly spent much time working on tlus technology and the D4 has some excellent new features These Include a I~ie sound meter. contrast colour s<uuration and gamma of the screen.. When shooting video. a 50mm lens at full frame.. thiS IS no bad thing. I lound that reviewing the mages on the rear screen was still difficult in very strong sunlight. allowing angle nrders and magnifiers to be attached for more speoahsed uses. bUI nOI by much. LCD. makes It far easier 10 cha n ge the number of focus pol nts in use. Although Nikon unreduced the first OSUl with video capture. G to swtrh to 3D matrix metering All of this can be done without looking iJ. as having a dynamic range of 13. end the imag. the rear monitor Will be used for composnon The LCD sueero retains the 921.~ay{rom the viewtmder Initially..800. as the 035. and now the 04 are probably the best cameras to have at hand if you are shooting In low light.09rap hers DYNAMIC RANGE ••••• There is little that is surprising about the dynamic range of the 04 and it is comparable to other cameras of . and it is worth spending time fine-tuning these settings rather than reb. The Illuminated buttons. depen. the camera can also alter the brightness. Wildlife photographers will be deliQhtec With very sensitive AF pomts that allow the use of autotocus in low light and with 2x teleC'. Video can also be recorded in full HO in either FX or DX crop. it isn't QLi:e as impressive as the 07000 My 'real-world' findings are supported by the results at www. sub5cnbe 0845 6r6 TJ7e .ely the same as its predecessor However. or for very precise manual focusing.000 less than the 04 and it may be ideal for en thusiast phOl. for whom it will be money well spent. It really ISImpressive new AF button. the Nikoro 04 should offer some good competition to the latest video-enabled Canon professional OSLRs_ AP WITH A similar speofcaton and price. meaning that it is the raw footage being captured bY'the camera Ihs live raw feed can then be recorded to a separale oevce so II can be edited at the best possible quahtv Ths IS a very hiQh-end feature that should appeal to many professional Vldeogr. bflght and offers a 100% view The eyepiece is also interchangeable.ing on the default configurations For example. especially given that It IS a full-frame sensor. And ths is wittlout rnernorunq the excellent high-senSitivity mage quality. tile AF is superb There is a difference in speed and accuracy compared to the D3S but It is only really in low light or when photographing a very fast-moving subject that tlus is particularly noticeable nl€ Competition Nikon D3S I [SlED l JMI~ARYlOW Canon EOS-1DX 10 B[ IESHU 11'\PRIL rhedynamlc range and colour of JPEG images is good. metering and the shooting rate Of course. which will be more usetul tor tracking sub. the 04 will be too expensive for all but the professional press and wildlife photographers.£" 7 across.ects that move at speer in a regular direction.. with a colour gamut BOTH the Nikon 03 and D3S were hugely Import. the viewfinder of the 04 ls very large.' areas ot raw files.onveners with f/4 lenses. A~ a comparison. When the video capture is combined with the time lapse Video option. at 3_2in.ding oro the level of ambient light Tbis helps to ensure that the colours and contrast are a good representation of the image.expeCI from a professional OSLR. for example. however. The older Nikon D3S may stili rernsm very popular given the relatively small increase in resolution in the 04 It can be bought new tor around £ 1.300.9EV Verdict Q. which shows that at ISO 100 the 04 has a dynamic range as high as 13. it is slightly larger The new screen also has Improved colour and contrast. XOA card sockets and ease at sWI!Chirogfrom landscape to portrait shooting are all superb refinements that help make the D4 an almost complete package. Yet It IS the 04's more easily overlooked details thaT really make the dlfte'e1ce For instance. higher lS. such as football matches Likewise. regardless of the lighting_ However.phers. I was ccncerned n might take longer to use the ne!l'J AF sWitch to change from ccotruoes TOslriQle AF and Vice versa. the Canon EOSlOX ISsure to be the closest rival to the Nikon 04 Both cameras have full-treme sensors. quality remains lar(. It was perraps due an update The Nikoro 04 has indeed updated the resolution. 0)(0 rated the 07000. which IS2lps faster than the 04 Oroe teature that the 04 does have in its fJ\lour is that ns AF points work down to US.000-dot resoutkn of the last generation of Nikon enthusiast and pro OSLRs_ However. Canon has since somewhat stolen the limelight In this area However. Similar speclflcation_ While I found that the camera could recover a good amount of detail from the highlight and shadov. such as a raono car Overall.1-million-plxel resolution The Canon OSLR also has a maximum shooting speed of 12fps With AF. the response time ot focus trackinQ can be changed Setting this to its tastest system can help when photc~raphlng the SGt of sports characterised b'y sudden or Irregular movements. ethernet connection. there are many different ways In which the AF system can be set up to SUit the demands of different photographers. whereas the pain IS In the EOS-1 0 X only work down to US_5_ As to whether the EOS-1 D X is a bener camera overall. but once familiar with the arrange merit I found It faster man the previous system used on the 03S_ As you \NOuld expect.dxomark. but I found that muc:h more data can be extracted from ri!I!N Images that almost matches the sRG8 colour space Usefully. ThiS is respectabie without being outstanding. taken from the D7000. becomes the eouvalent of a 75mm lens when recording in OX crop This is extremely versatile for hhnrrakers.i( ••••••••• VIEWFINDER. as it douoles the usefulness of each lens. and for a while they were the pinnacle of professional OSLRs However.. milny of Ih~e teatures will be of no use to the average pbotcqrapher and. as well as a headphone-out socket 'or audo monitoring There IS also the facility to take a live Video feed from the camera through the HDMI socket This feed contains no overlavs. It can be slowed. although ths obvously changes the field of Vle\~. I:'m . LIVE VIEW AND VIDEO As you wouid . With the resolution of the D3S starting to look a little dated.

(UK RATES) Overseas fees available on reqcest BY CHEQJE OR POSTAL ORDER: H~1(l-!.mon-on ''.i<!! T. Th~j_g. . • Formatting. LoS h£J-rs..trt'iWlr.::-.I. Yes.I~C l(1rt::nl'"la{.i" Mrlt'1"J!1" Sumam~ Address """ l:or<"1ame.flJeV-"lette~ p'ess e t<.JJnr~. I 10 Southwark BY DIRECT DEBIT: Please note... I \.'.rend me a bank illStruc"t.~ . . BYCREDIT CARD.1ent e. ~rd G'r"l.-o1 i\r. sizing and printing • ISO..'") r] 'leg. ~ d~~. .c~ wr~ct.~:>S)"t'L.r~r.edu(:t three month.:i for:~ C!.:...] "r-"l "_ [10 Hilton h~ S'x monlhly psyrrems of £::10 eotco }'(":O.D~t!!¥JI1)i"'ILJPC.. !PC Media.¥x:l~("fVlCC-.l~ lri. o recer-e otl"'"U.d r>-"DOvo..e: Daytrrne _ t~ nurnber I' Stan dare.If...Techiniques Please .fI end ~-. from ml account or l Street.iDuld like to enrol (.v':t~nl~ b:.d tll~p6!"tIt'l ~hpl~!.'~ '.m k)j'''ffl to d.:. _ Vea r. r .99 JIGSAW:" n pi~.k:}'(":o..PHOTOGRAPHY .pi"'(!f".[XI.I"11"casc debit £299 t-tasterrard Card number lssue number photob*x.'I'". " .:.!'l1 Y/Q-jld li~<!!loa.t. flash. _.SPI . London SEI OSU O. if you are pa-yl ng by Direct Debit the full cost of the COlJrS€S v ..k r"re' am Over 18) Signa lure (I am over .lr~. Blue Fin Building..)' 18) debns of r rmrr.o...lr'r'IlJIo! Sf1 (Ol·i"~lr.COM OR CALL 0203 1484326 To enrol send !. " . . (JI'" . . " . .. nil PC:V"::' Grr. f}!cas-~ser-ld rf\~ a baJ\k In~1Juct{)r\ (orm to deduct three monthly debit> 01 {.~.1111 be 00.IPC ~@jItlor<'!! l. exposure and white balance setting • Basic imdge editing SP\PACK FOR DETAILED COURSE CONTENTS OR TO ENROL VISIT WWW.lt 9grtalH'~ (I securrty number rl For the Foundatioo in Di:!.-'f.::.his coupon to The School of Photographic Imaging Administrator..'An SP! photography course will provide you with the confidence to take great photos' CON1EN1S • Viewpoint and composition • How to use your camera's program modes • All about lenses • Sharpening your image. If )IJU wou Id Lice to receive the SPI >(.fyto.~~.__ . pfiYab:'e to IPC Hed.!n! Ci \i{[ll.COURSES.i:tallmagif"'tE.'·n HOW TO PA'(.J:!! [d:: t-.::(I~1 "i'~~ nr.O!. Postc:od. 9th Floor.rI"JDL1.C frnail . " ...

However.. converting ilie brightness 01 any Ught source to an EV or lux ~atlleis Quite different. Blue Fin Building.meaning it is designed s)::eclflcally for APS-C -sized sensors. altlmugh it is rarely quoted in those units bec8us. Sony can match these focal lengths almosi exact~l with the SAL-1635Z (16-3Smm t12_B)zoom lens.iiii~www. you could consider the SAL1680Z 16-80mm [/35-45 Instead (pictured lett).h .. 110 Southwark Street.stance hetween the tight and the sU~Jecf: a single LED can be very blight. SAL-35F18 (35mm til . so it you [eave a lOW panel on for 1min you get oOO-watt seconds/joules [lUWx6U seconds].til nt su ~jec:t.369} are both Carl Zeiss optics with fast maximum apertures By comparison. aswet~ as the di.5 Will give you the equivalent tocallengths for your Sony camera. plus 3Smm and gOmm prime lenses.5x15 7mm APS-C-sized sensor. The average flash dmalion is around 1/1 O. dMdIllQ the fO(illlength ot your full-frarr. the 50mm Nlkkor would be 33Jmm and the 13Smm Nikkor is gOmm So.5):' This is commonly used to determine the 35mmJ .5-f/4 Nlkkor zoom lens. though. here at AP we have the tea m that can help abcut buying an LHlligHt panet because I want to try my camera's Video capabilities.clOm.Your Questions answered FROM THE Letthe AP team answer your photographic queries Converting lux to a guide number Be it about modern technology. a standard lens and a telephoto lens of the exact equ~l(llent toc:allength and same (or Similar) aperture as my old Nikon kit' John Haskell The Sony Alpha 390 has a 23.of an LEO panel is c{lntinuous. Al 5: 709. Simply emei l your questions to: ~Ranswerm iDcmedia. the oUIjlUt of a flash ls measured in joules orwattseconds. I've tried searchi_ng the internet but all I've found is a lot of rambling about the different standards used for measuring Ug'ht output. a power su~plyfor a continuous ligbt SOUJte of this magnitude isn't going to be portable.com!su9 90rticoalwtal0i1 GeaffR repties-If wea re oei~y pedantic.1. ~vluxcQnvert I that co nverts a neasered EV into lu~ or lux into EV.is that you can just leave the sh utter 0 pen fo r Ion ger if yo u need more Light Thfl power output during the active phase of oR electronic flesh is in the kilowatt or eve~ megawatt range.729) and 85mm prime Ii1. However. ChrIS Gatcum ASK .e Nikon lenses by 1. phntuqrapbic science or help with technique.8 standard lens ard (<xcasionally) a 135mm fl2 8 telephoto Nlkkor Late last year I bought a Sony Alpha 390 digital camera with 18-55mm zoom lens (rom an AP advertiser. via twitler [ilap_ answers or by pest to: Ask AP. and is a OT lenIS.'ve been trying to track down a simple cllart that will allow me to compare the continuous Ught output from these panels (rated in lux) 10 the guide number used on flashes. The problem is. I. you can also apply the focallenglh conversion In reverse to find the AP$-(-slzed tocal length based on a 35mml full-frame equivalent So.ro. but cast a negligible amount of light o~ il dI. so I'd be surprised if you needed ill~m i ~alion as sHong as thatwrth a light paneL ~ou would~'\ be carrying the power sou lee around with you. as Sony's lst price puts this mo of lenses at more than B. which I found per1ect for both Indoor and oLJ1door shots I aso used 3 SOmm tl1. 1III1II apples and or~nges. vintage equipment. full-frame equivalent focal length for a lens on the smaller format sensor (so 18mm on the Alpha 390 would be equivalent to 27mm on 35mm/full-trame. London SE1 OSU. which equiltes to 24-120mm focallenqths in 35mmf lull-frame terms Ihs is also a C3rl Zeiss optic (indicated by the 'Z' in the model name)..OOO This is because the 1635mm zoom (5.or any othe. DOing this reveals that your 24-50mm Ni~kor LOom would equ3te to a 16-33_3mm focal-length range on your Alpha 390. for example). and is usua'lly measured in watts. we're looking for a 16-3Smm zoom. . form of continuous M~mimltion . but it oilers iI slightly slower maximum aperture I that drops tram t'3 5 at the wideangle focal length selling to f/45 at the telephoto end at the zoom. which gives a focallength conversion factor of 1.8 prime (pictured above) would give you a good fast 'standard' lens for low-light Of shaliaN depth of field work. The point about light panels . brightness eQuates tn il power..amateurphotographer. the 35mm prime is 5179_ Assuming ths 15 prohibitive. that's for sure! Bob Maddison replies A company caUed International Ught Technologies has boi~ Online and dQWnl~adable converters Iwl'iV/.e 8 guilie number is more useful. Everythi~g de~endson the area ot the Ught source and how narroW lot wide) its beam is. so even If the uutput we re co~linuous light source of much greater 600 Joules its. IPC Media. OLD NIKON SEEKS LENSES For many years I used a Nikon F301 film camera with a 24-50mm 1/3. The OUiput. but I am confused as to what toc:allenglhs I should be looking tor to replilce each ot the three lenses I used With my Nikon_ Can YOlLl help me find a wldeangle zoom. Amateur Photographer Magazine.uk 114April 2012 sub5cnbe 0845 6r6 TJ7e .8) and SAL-85F14Z (85mm f/1A)_ ThISwill prove to be an expensive proposition. with a bit of rounding up. replies It's like compartng InlHiQ htter. you may well find that this could replace both your Nikkor zoom and the telephoto lens that you on 1\1 use GCcasionally'_The addition of the 3Smm t/l.OU Osee. Has anyone found a lux to Foottoose_retllms asks I am thinking guide number' c'!!mparison chart? Beejaybee you. As beejaybee pe i rrts out.

This means tnat the lens Into vihiCh it is fnted mn be rrnde lighter and smaller. and might cause abraso-i. additiOilai lens elements are needed to further modify and direct the light. the vodka and cotton bud routine used on lhe underside of the screen through the lens aperture will probably Improve a very dirty screen. It was not a perfect Job..and don't blame me If It gc. the best and safest soluuon to dirty or marked mirrors or screens IS to ask a protessonal repillfer 10 do Ihe JOb for you.Ing!e (lspl. the first resort IS always a simple blower brush. wh ic h m eans the. or sticky plas: c residue r-----------------I I from a decaYing mirror buffer. but I suspect It was In the early' 19S0s. or use 'he end that you had previously held for deering . byallemptlng to clean them with a cloth Assuming thet by 'old' you mean made before 1980.enlwlll' focuses at the same point regard!ess of whether it enters We lens at its centre or edge. particularly the fC(using screen and mirror' Any other advice with regard to cleaning metallic parts and leather coverings would also be very much appreciated Roy Randell How you go about cleaning the mirror and screen of an SLR depends. and wash IIIg It In warm water with . but don't expect a perfect result .• I I I I I I I I J I . Ivlodern mirrors are overcoated with a microscopically thin layer of transparent quartz. and are looking for cheepe DIY approaches. on the age and type of the camera In question. as well as pmelltially clleaper . provided that the screen IS not so bad that you cannot focus If the 'old SLR' 'IS of a type that has Interchangeable fOCUSing screens . had one drop of washing-up liqud added to it Never use a cotton bud twice.n aHernal1\!elo using rnuiriple lens . can usually be removed from a mirror by using a new cotton bud dipped into a glass of vodka that hac. or even removed. (leaning fOCUSing screens IS much more difficult The usual adVice ISnot to try Blem~hes on foc:uslng screens have no effect on the qualiiy of images produced by the camera. which makes them surpr~lngly durable SLRs of pre-1980 dates usually have simple SJJr1ace-silvered mirrors whose reflective surface can be marked.Nikon F. However. The third type IS an element with a plaflar [nat) surface. Exakril Vilrex. Always blow dust off the mirror or screen with a bulb brush.aiw. A <. If the dir: s qrari. either outward like the surface oj a ball (convex) or illward like a dish (concave). wt-rich is a lens eerneot with a less reguiar prof lie. A.oLJgh the cenlre Jnd edges of a smg!e lens element is ullJLkely to be focused at the same point As a result. Differellt lens manufacturers use dillerentlerminology for the lechnologl'. imitation leather coverings are tricky.elemems . from (and back) of each elerneru has a srnooth curve. Droplets of saliva are not useful addITions to the problem Greasy marks.-------------------~ subscn be 0845 676 7TIB Make Canon NikG'n1 Olympus P3n3S!mic Pentax Si[ma Sony Tamrun Takina Nollisted r~ name lens AS Not listed in tens name ASPH AL ASP Not listed ill lens name Asp~erical AS listed as I •I I I I . h!or Mataflle ASPH ERICAL LENS Ivlanyof the eiements used in lens cons truction J re sohenca I.and resist the temptation to drink the vodka afterwards.It ISsometimes possible to pick up second-rend screens on eBay or at camera fairs.isto use an aspi:erica i lens.Your Questions answered ClSAIII5Wi!EP . but it usually appears in tbe name of tile lens' where used' AP GLOIS. you probably already know that. to a cor\siderable extent. Can you tell me how to clean my old SLR camera. Canon F-1 and so on . F 2 or F3.SARY ~ I I . . In the past I have successfully cleaned an Exakta screen by removing It from the c a mer a and VIewflnder. cleaning is contJ'Ol!erslal and I prefer not to offer suggestions. Leather 0.es wrongl The same vodka and cotton bud approach works to dean satin chrome and viewfinder eyepieces.ougil this is rarely the case. I do not actually know the dale when the majOr camera manufacturers changed from SImple surface-silvered mirrors to tl)e modern vacuun-plated aluminium mirrors.erical element can perform the same lighl-cmtmllillg duties as mu!tipie spherical elements. The problem wiill these desiQllS ls tilar ligill passing rhr. small amount of washlngup liquid. and not by blOWing forcefully into the camera. because a tilly residue remained after it had dned bunt was certainly a Qreat Improvement If you are determined to try to clean a screen in situ.lsr. so that it e'.

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APS-C C!vIOS sensor that ISfound in the Alpha 57. but In ths case It has been rennec to offer an additional 'maximum' magnification arou~d m~ with 1B-55mm kn lens cross. the Alpha 57 benefits from pbase-detectcn AF for Video recording. a full-Size 16_l-milllonpixel mage ISsaved. 3D sweep panorama.15-point AF and lOfps with continuous AF. although still only the second generation.3-mlllion-pixel Alpha 65. A new 12fps burst is aVolloble in the tele-zcom ccououous advance priority AE mode To achieve this faster frame rate. An SLT camera uses a fixed translucent mirror.4 4-milli ondot electronic view!inder ISO 100-10. the Alpha 57 uses a 1_4 4-mllllon-dm LCD elecuonc Viewfinder (EVF). intelligent auto (iA) and iA+ IA+ Includes the continuous shooting and H DR mode options. Sony revealed it ISunlikely to release another DSLR and will instead focus on its single lens translucent (5LT) cameras tor the enthusiast market. there are few differences between the Alpha 57 and its predecessor However. unlike With the 2x teleconcerter modes found in the Alpha 6'3 and Alpha 77 that Simply crop Into the full-size image Clear Image Zoom works by croPPing into the full-resolution imoge. Sitting between the Alpha 35 and Alpha 65. Sony's Alpha 57 may suit aspiring wildlife and action photographers continuous AF and an uninterrupted live view f€«l The downSide to the Sl. sweep panorama.oma_pher. 6. crisper and gives greater contrast. In several areas the features set of the new camera matches other cameras that cost a lot more money. even those concerned with the low-light ability of the SLT system will have been unpressed by the performance 6f SLT carreras.ul< {> 14 April . When used. whereas a OSLP features a mOVing mirror. but which can be found 2011 ( www. 01 4x magnification is applied. resulting in a 25-frame bust of SA-million-pixel. When compared to its direct OSUl competitio~. However. APS-C-5ile~ CM!lS Sl!nsor 1..Sony Alpha 57 With its l6. The Alpha 57 replaces the Alpha 55 In Sony's current line-up of four SLT models. The Alpha 57 has lOfps high-sp€«l shooting that can be used With continuous AF and exposure control for approximately 25-frame bursts. Sony's innovaiive SLT line-up.000 [exten dec to ISO 25. elfeoively upsG3ling ihe image Auto Portrait Framing works with face recogniiion One2 a facIO has been d2tected in a ~cene and the image recorded. Like its Alpha 55 predecessor. a second file is processed that crops the image according to the rule of thirds arid In relatiGI to the captured face.ty~e ~oints 12lps high-speed mode Street price setting that further enlarges the View.cQ. has already establshed Itself as a Viable alternative.1-rnillion-pix~1. A defining difference between the Alpha S 7 and the more expensive Alpha 65 is that the Alpha 6'3 uses Sony's 2.1-million-pixel sensor. such as the Nikon D5100 and (anon EOS 600D. and that developing a different type of system ISthe best way forward. This strategy IS perhaps an admission that Sony is unlikely to be able to compete successfully With the top DSLR brands In a crowded marketplace.6001 15-1l01nl AF system witll three FEATURES There are several cameras across the Nikon. Key shooting modes earned across from the older Alpha 55 include high dynamic range (HOP). which is brighter. Alpha 57. Clear Ima~ Zoom oilers up to a 2x zoom from the selected focal length. but want more than the entry-level Alpha 35 can after On the surface. One feature thai is laC~lng In the . medium-quality JPEG.amate'd. PIOntax and Sony brands that use a variation of the 16-million-pixel. then Interpolatjng neighbouring pixels. Th2 nX2d mirror of the SLT has advantages over a DSLR in several areas._ Clear Image Zoom and Auto Portrait Framing are two new shooting modes that make use of Sony's Pixel Super Resolution Technology. high-speed capture at 1Ofps with subscribe 08456767778 . DURING the launch presentation for the Alpha 57.l svstern ISthat not 011 the light cOming through the lens reaches the sensor. the Alpha 57 IS Ideoi for those who cannot quite afford the more expensive 24.3'39-mlillon-dot OLEO EVF.!llho.

with 1. manual. I. comprising standard.[X). IOfps i~ cmtnueus advance priorityAE. ••• a· www.Website: w.Kelvin. used as a fill-In and set to rear curtain Of slow sync Handily. ~nd frxed centre sput ~3EV in I!..AVCHO 2 with MPEG-4AVC H. so tile AEL button is used to adjust aperture when in manualexposure mode. textu. can linuous AF. IS GPS OtherWise.3EVsteps Auto. ttus ISset to access Ihe shoouno tip 1151. arid the features on otter should satisfy those who are new to photography Facts & figures RHP S~~SDr £749[wllh 'IB-55mm iens kll CHOSsensor Outp. The built-in flash has an output of GN 10m @ ISO 1 OQ.CUlk. th ough M any of th e bu ttons. In the drive mode menu. which should aid novice photcqrapbers. ISO HetllOnicalll' conuolled focal-planesliul.Camera test Sony Alpha 57 'The Alpha 57 is weB balanced in the hand.000 lexpanded to ISO 15. but the Alpha 57 ISstili quck an. vivid.GN 10filiSO 10~ 192Dxl0flO pixels [at SOfps. can be custornsed The rubber protector over the coonecuon ports ISsplit il1to four. they may be a little trustrereo by the lack of externel buttons. which ISa word\' beginners' guide 10 phOlqraphy The Alpha 57 has some nice touches. but for mas: purposes it works well. so the rubber over unusec pons cen remain in place to keep them protected. By default. 6. In any one of a choice of colours.ler lO-I/'OOOsec in I!.lEVsleps plus IlUlti l/i~OsEc 100'16. the shooting-mode dial has several of the speclnc auto shooting rncdes.fl3ce S-1mtterype t Sli utter sp fred.SOH(_@XC. Also helping out is the '?' button on the rear of the Alpha 57.W1 + JPEG simul!a~Eaus!L__ l-stage JPE~ Adobe sRGB RGB. Yl.. Peaking indicates the pont of focus in the EVF and on the LCD b\' outlining the edges of the area In focus. The Alpha 57 also uses the same NP-FM500H batterv found in the more expensive SLT models.0).red leathereffect handgripJ in the Alpha 65. such useful cootrcs as lens correcucns and peaking can be found.0 Hj·:'. landscape. wittl a contoured and texured leather-effecthandgnp for a firm hold.. ste~e selection. B rooklal1ds.plogram. continuous SIps high er 3fps lolV. jPEG.13g [wiih batiery and calul Sony. G~ntreweightcd. I found the auto white balance In daylight to be a little on the cool side. an electronic level for sideto-Side and tront-to-back tilt.2TIO-zoneevoluali'lc met~ling. the standard colour mode produces strong but realistic colours.1j 97 5xSD]mm /. of which four ilre varieties of fluorescent light. as well as exposure preview and exposure sel~ngs For anyone wanting full control over the camera. The Heights.1 million dots and 100% haOle Vi~wfI nder l1pe w'ierage Manu aL single-sIlo I Af. 3D swe<p panorama Metering system hjlasur~CamD Ir''lMe balance Mite bolam: e bracket res. up to 550 shots USB 2. 1. the Alpha 57's speclncatkm IS impressive for a camera of Its price. automatic AF. sunset and block & white.ul size r. then accept the suggested Kelvm tempera lure Manual Kelvin adjustment is also available along l'llth nine white balance presets. with a contoured and. Max fiash sync Raw. sell-timer ltiliculate. The process of creating a custom white balance reading is simple.Memo~~S~tic~kP~ro~D~uo __ ~~_ Rccl1argeaNe LHon NP-FM500H balte~. Take a custom reading b\' pOinting the SPD! focus at a white area in a scene. wi'llch has a claimed 50% greater life capacity over the battery used In the entry-level Alphil 35 The same in-camera menu system is used in all Sony's SLT models. all of which can be adjusted ±3 for contrast. Weybridge. which can be adjusted ±2EV. 3 exposures Drive mode 12tps in lele-loom made. apenure P~Ollty.000 dots LCU [il!l:tranic LCD. which IS larger than the Alpha 55 80th cameras are constructed from a tough polycarbonate 9hell. whhe balance bracketing is available over rree frames at 'Hi' and 'La' settings./. shutter pIIO~iy.ci ea'Yj to operate.amateurphotographer. Tho: saturation can 0150 be tweaked to add punch. saturation and sharpness. autoormanualselection les les . HOMI 132. Cumpressi@ Co[@rs.Sxl S6mmI E pIXEl ~912x])64pIXels 15x SQIlj_Alpha mount fllefnrmat BUILD AND HANDLING The body of ihe Alpha 57 is virtually identical to the Alpha 65. controlled wireless!y. A£ with other Sony Alpha cameras. The number 01 external controls on the Alpha 57 gives it an entry-level feel There ISno top LCD and just a single dial for exposure control. the LCD and EVF can display the AF points. As well as offering PASM control.480 pixels lat 15fpsl.ukl14ApnI2011 sub5cnbe 0845 6r6 TJ7e .164 C()mpic~ion ~es SD.60~ in mutti·haOie NRmooel iAuto.Je€d.j 3in LCD wllh 911.presets. Through ths menu. 2Sfps Dr2M'psl. W WHITE BALANCE AND COLOUR There are six colour modes.ocat leT\!lth rna ~ Isnsmeum 161-mllllon· HEciNE' APS. Tel: 01932 816 DOD.C (lJ. incl ud ing ISO and AEL. single·shot.sOJl¥. Surrey KT13 OXW.4. sw~p pan0l3ma. portrait. The Alpha 57 s well balanced In the hand. but It ISeasier to change 10 the vivid settnc.plus custom Sl:tling faceoeteclion AJpoill1s Oorllreview Bu iU~[Mlash Videa Extemalmc MemQrv[ar~ Power Cunnecti~ily Dimensions Wei~ht II·point with 3 GI()Ss·type.

use tile company's l. especatv when combined with r. The pomts are arranged In three Lones. I suspect those Interested In the Alpha 57 Will generally slick to mUlti-segment metering.Sta rt A F. ••• .co. each of which contains one exua-sensluve cross-type point. whiCh in DSLRs ISdisrupted temporarily during a shutter cycle. the EVF's display 15 not as bright and has less contrast Compared to otbers at thts price pomt. Eye-Start can be deacnvated and indeed must be when the continuous AF setting is required.6 lens. and this mcde works effectIVely.uk.5EV at ISO 100 is standard lor a camera at this level A loss of 'hEVof light because of the fixed translucent mirror should have a more dramatic In"lpaCl on the cynamlC range at higher ISO ratings However..800. mproved EVF and Wider ISO range. the Alpha 57'5 EVF stands up well.000 dots It i5 movable from a hinge at the bottom of the camera The screen ISclear. leaning slightlY to'.600 in the multi-frame nose-reduction setting. they are given focus pnon tv Th e carner a aIso uses Eye. and face detector. offering conuruous phase-detection AF during video capture and for high-speed burst modes means the Alj)ha 57 matches the performance of models that cost a lot mare There are a number of useful autofocus options and tools available. which latches onto the object closest to the centre of the frame. and the Sony Alpha 57 ISmare of a refresh than a new rncde' However. with roughly eight out of ten fra meso including all in this sequence. lUminance noise is only reall\' noticeable at ISO 1600. However. subscnbe Oe45 6767779 14 April 2011 I www.200-zone metering system.. however. works well.Sony Alpha 57 Camera test METERING All Sony SLTs. EVat ISO 100-16. It comes as no surprise that the Alpha 57 is capable of resolving a high level of detail At ISO 100. which can be extended to ISO 25.-ides value for money: DYNAMIC RANGE The dynamic range of approximately 12. so that the camera has already started to focus before the shutter-release button is pressed. which is a dedicated sensor that turns the EVF on when the camera is held to the ~e and also SWItches on autolocus. due to the use of a fixed translucent mirror. SENSITIVITY AND RESOLUTION The Sony AIph a 57 has a sensi uvity range of 7'/. but there 15 no denying that at Its price point the Alpha 57 pro . With a high-contrast display Unlike DSLRs.he sensor to light and an unruerruoted use of live view. the camera reaches the 26 marker on our resolution charts In raw and JPEG format Levels of lurrmance nose are inevltabiy higtler th3n equlv31em DSLRs at higher ISO ratings. even In low-contrast light Furthermore. and Images are usable at tlus setting. there are enough features to separate II from the entry-level Alpha 35. Nikcn 07000 and Pentax K-5. and indeed AF is ve ry quick. AUTO FOCUS I••• Like the Alpha 55 and Alplla 65.8 lens Verdict IT IS a year and a half since the Sony Alpha 55 hit the mar!<f't. The number of pOints ISclassIeadi n g. constant exposure of . However. If the choce comes down to the Alpha:' 7 and Alpha 65. II ISdefinitely worth spending a little extra for the improved sensor and viewfinder of the more expensive model. Below feft: Skin tones are accurate a nd sharpness Is impressIve In this image recorded with the SonV Alpha S7 and 1650mm 1/2..Bx and 9 5x magnification make the viewfinder and EVF even more useful. VIEWFINDER AND VIDEO A 3in aniculated LCD screen is included on the Sony Alpha 57.. This can make spot rnetermq a httle awkward If the subject ISott-centre. with a resolution of 921. As an LCD unit rather than the OLEO type found In the Alpha 65 and Alpha 77..:1. The Alpha 57 stands up well against the rcrncetiton In several areas Its features are class-leading a: ths price pomt. although an 85EV dynamic range at ISO 3200 IS 4 stops less than at ISO 100.000.. Higher levels of nose aflectthe resolved detail at higher ISO ratings. tms performance IS no worse than that of other cameras at this level Having recorded 1Ofps sequences all morning using LCD. I tound tile continuous AF NOISE. centreweighted and spot modes Spot metenng ISlimited to 15 AF points. Video files can be recorded in AVCDH2 formal at a cf. and for both raw and JPEG riles the camera reaches the 24 marker at ISO 3200 and only 20 at ISO 12.eaking to indicate the point of focus. all of which are located within the central portion of the fr ame.amateuroholograoher. which works well and stores faces in a regi~ter When these face" are recognised in other scenes.wds underexposing for bnghter results. the Alpha 57 has through-the-lens (TTli phasedetection AF With 15 pomts. particularly the angled LCD screen.-Ieading 50fps and 2Sfps the 70-400mm SSM f/4-S.w.. Focus magnify at 4. including subject tracking. and the camera 15 very capable of produc iQ UlSP Images With bold colours.. including the Alpha 57. the fixed mirror allow". offering rrnnl-seoment. With Virtually the same sensor as cameras such as the Alpha 55. having acceptable focus tJm .

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and the associaied colour space is the xI'Y space Fig2 CAPTURE. What erneroed was a standardised model of human colour VISion. so the reader may be able to take control of their colour t.o--o-. the response of the three types of cones overlap each other. often used to Illustrate the gamut of ditferent colour spaces.o achieve the results that they want. this produces a response that more or less accurately replicates the nominal XYZ response It is rarely an exact replication Furthermore. In practice. WORKING AND OUTPUT SPACES Things would be simpler <if cameras recorded colour directiy according to the (IE XYZ responses. dennes The sRGB is designed for computer output devices and define a relatively Omlted colour space.. or described a~ a 'tnstimulu. are defined on a graph With 'x' and V as axes. be Hley vibrant or suotle research into colour vision back at the da\~n of colour reproqraptucs In 1931 This was based on biological research. the structure of the human eye and perceptual expenrrents involVing iI 13rge number of people..2 0.a--=::. X corresponds to the eye's lUminance response. there IS a host of terms and translations to get to grips with I rs small wcnder. Broadly.he science of colour space T Descriptions of how colour is 'perceived' are made impenetrable by complex theories and language.0 O. sRGB is suitable for computer monitors and TVs brightness aoo is not shown!n this diagram ._yY SPiKe that define colOllt The thIrd. it is possible to define chrornancrty (or colour separately:' using two orthogonal parameters. cilanging the red-Qreeflblue filter pack into J yellow-green-blue 700 0. 8y modifyirlQ the 'red' filter in the arra1j to accept more green light . Professor Bob Newman presents a more accessible overview THE SUBJECT of colour In photography ISone ot those area~ that is circumscribed by slrnost mystical knowledge and impenetrable theory The reason for this j<. which have a more selective response that can broadly be termed 'red'. so light giving en equal excitation of red and green Will be seen as yellow Every colour we ~ee can be described JS a combination of stimulus of the three colour receptors.. describing colour 2S 'rich'.iiii~· www..>' value There are many possible ways of a~ociating tristimulus values With a set of perceived colours.. sometimes the designers may deliberately choose to not replicate the XYZ response. SLlCh. defining a colour spilce that seems to use negative values for each colour To overcome ths problem.=tlHl----o-. The purpose of this article is to provkle an overview of the science Without becoming engulfed In mathematics.OoL. which are panchromatic or 'luminance sensors'.\1thY desCflblng the bnghme~). This is the well-known CIE xy chromaticity diagram. In ether ca~e. and each wa'J is d efl fled by a co lou r spac e The (IE produced normalised responses representing the population norrns of cone response However...AP explains The science of colour space \ =:.o--o. but for the vast majority of people it 11111 doselv to this CIE model ftt Human colour vision depends on the response of the four different photo receptors lntne human eye These are the rods.9 an 'in between colour'. Light that excites two (or three) groups of cones Will be seen as PERCEPTVALCOLOUA The (IE (InrernationJI Commission on Illumination) undertook a programme of 0. 'green' and 'blue' It is important to understand that light has no colour. and light wtthin that waveband Will be seen as the colour assooated With that group of cones. and the colour sensors. x and y are the parameters in the y. These are called x end y.15 figure 1 showing the full XVZ gomul. 'vibrant' and 'subtle'.co. the CIE defined a scheme usir\g a set of primaries that were called X.Jrphotographer. that many photographers prefer to abandon the sdence and use the vernacular of the artist.. Y. easier to eflgir. While Z is blue and Y is red (allhcugh not idefltical to eye response).o--o.in effeci. Since Y represents luminance or brightness. and between them they can define e'very hue that we can see (1.ukl 11' 1-4 April 2012 subscribe 0845 6767779 . the cones.2 0. The common (olour gamut diagrams. merely a wilvelength.am8te. The cones detect light over a waveband..o The (IE xy chromaticlty diagram shows every hue that the narrnaflsed human colour vision defiBed by tne (IE can perceive. The colo!!r receptivity of J photographic sensor depends erther on the absorption proper ties of c h em ICiil dyes (Buye r ( FA sensors or colour film) or on some other physical property. Y and Z. such as the absorption depth of different energy photons In sili(on (Foveon sensors). then.eer non-standard colour channels. It's worth remembering that this I~ iI generalisation across human I\)' because indivld u a I co lou r vision varies. they don't The main reason for ths is that It 1<. one example being the change that (anon made to Its colour filter prcoerues with the EOS 50DI5D Mark II camera generatiorl. that the precise mathematical description of colour perception is a complex multivariate problem Taken with the biological science on which It ISbased.-o --~-.

taking the case of the Canon filter pack discussed prevouslv the red filter admits more green light than the XYZ 'green' should. Adobe colour space was desigr:le!il ifor ~dlting output intended to be prlnted. The net result IS that the final 'red' response is calculated from a relatively weak 'red' signal. so images in LAB can have separate operations applied to luminance and cbrormnaoce Information. may cause the resultant colour to be VISibly different from the recorded Orle Output devices also have a restricted gamuL There ISlittle point (!S~lng a printer or monitor to reproduce a colour if it is incapaole of doing so. reason. and I_ndudes colou~ that canner be seen (the ones ·outsiCIe the y:yY ga m ut) Over the years. CMYK is not strictly a colour space Cyan.s and radar systems. One example IS hand-crafted nose reducton. more recently. thus to duplicate the XVZ ftlter It IS necessary to subtract a portion of the carrea's green channel from the red Signal and then mulUply the resultant rnix to O'ing the signal up to the level required for the standard XVZ response. Adobe RGB was developed b\' Adobe in 1997 as an RG8 space for editing Intended primed output It has a Wider gamU! than sRGB and can cover most of the printers' CMVK colour space (which ISwhat IS used by most computer primers). then convert and retme ror the narrower one. or more accuratety CIELANB. It can be me case that a rrux of the camera's responses maps to more than one XYZ colour. Pro Photo RGB ISa very Wide gamut space developed by Kodak for high-quality photographic work LAB. its co-ordinates record the differences between channels. automotive technology and. HI" is currently Professor of Computer SCience at the University of Wolverhampton. The cost was a shift in the balance of noise towards the arguably more imrL. The total range of colours that can be recorded by a ca mer a (or ou tput devtce) ts ca lie d Its colour gamlJ! Additionally. It covel'S most of a CMYK colour gamin The' Pr:oPhotoRGB gamut is designEtd f9t the editiflg of l~jgh-ql!Jality pflotograp'tri( lm. --=~~~~ . If you are producing work that may be displayed in erther. Standardised gamuts exst that are defined with reference to the full CIE XYZ gamut subscribe 0845 676 777B Tire. different colour spaces have been defined for dutereru purposes. Here are a few that you might meet sRGB.JSive'chroma' noise.The science of colour space AP exPlains lOver the years. which is Similar to 'luminance'. The colours outsrde the printers' gamut are simply wasted information It is better to encode the colours that. for reasons that will become apparent . By convtertlng to LAB. which defines the colour Intormatlorlln JPEG nles.At some stage the response of the working colour spare 1'1111 need to be produced.aferiaJ. Magenta. avionics.that is. It forms a useful Intermediate tor colour translators and also some interestirlg properties for editing 'L' stands for 'lightness'. are available more accurately than encode colours that \'VIIIbe nnpossible to reproduce. sErlsing systems. called meta meters. BDb is a camera nut and has been a keen amateur photographer from tile age of seven He is delighted 10 be given the opportunity to apply hili protesslonal expertise to his hobby. before recombining to the original colour space AP COLOUR WORKFLOW I kno". your workflow Will usually reflect the OLJIput medium. it makes sense to do the major editing in the Wider gamU!. was created In 1996 oy Microsoft and HP and is the default space used on the Internet and JPEG files It has a fairly' restricted gamut. This colour-mapping process can only work to a certain extent as the camera may not be able to record all the colours defined by the XYZ model. is a colour space based on (IE XYZ that covers ItS whole gamut. For thiE. or vice versa. ami is 1101'1 an engineer and computer scientist with a PhD in real-time systems design. This ISdone by a process of matrix transtorrnauon. Two of his products have won imovauon awards. Some editing operaucns will include a ccrverslon into LAB and bad:: agalrl. If the response of the camera's filter pack is known. chrominance and luminance nose can be tackled separately. different colour spaces have been defined for different purposes' pack . blacK is the colour model used for most printers. due to the then limited output gamut of these devces. then the response of a theoretical XYZ filter pack to the incident light can be responded by mixing appropriate quantities of the camera's red. it makes sense when editing a photogroph to do so usi ng a ga m ut th at c losel y corr es pon ds to the capabilmes of the output medium. some people who treat the use of a large colour space almost as an Indicator of virilityl In the real world. In ttus Situation. Bob has led research projects in design methodology. He has been working with tile design ai1ld clevelopmeni of high'-technology equipment for 35 years and has been responsible far innovative developments in graphics workstations. often sRGB for d'splay work and Adobe RGB for prints. there is no poim BOB NEWMAN originally trained as a physicist. based on subtractive inks or pi 9 mems POPULAR COLOUR SPACES editing in a colour space that exceeds the colour space of the output rnedurn since you risk creating colours that :he cutout medium cannot reproduce Thus. but is organised as a 'colour opponent' space . marine instrument. It is posable that the multiple mappings. blue and green response. For instance. which Will need to be multiplied to a greater extent to produce a greater amount of red-coloured noise In the final Image. Yellow.it was possible to make the sensor receive more light overall and thus increase its efficiency.

WATFORD.90-92 THE PARADE. HIGH STREET. WOP lAW 62 I WWWama!ell~114 Aprij 2012 subscribe 0845 676 7778 . HERTS.

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Part For aU the latest Panasonic products.SI'!21p!OO L 1 £449.¥.10'" to- Eo1L!.~ & the versariuty to realize eve·ry shooting opportunity • .I.:T::3t!pf!".l~.r:9:[)iJ.pr:e?l.3 m6.S1 AF·5 SSm m VI .1599. the D4 has the durability Mui1i.C.2' 911 k-do.. :I> Minuscule details.999.com/AP for fuil details and to read our Nikon D800 preview.'~9 M-S24:ri(]mmf!~EtGtD 11.~r. UuQlityVid:eo Reocordill9 • Ad""o«<l '" . less than 15 miles from Brighton York.!. /\foG to.~'!I'H \"'i:w.1lG to 11..laol:re:i CMOS .W i>C-E24mmIll3DED 11..iS £3!19.X(I'ill1~je vse c~n offer ~Lln~aii·l :0(1.o 0:G(HlrYI-S::. P':dyf.1.lCe:t:I 'Of'ltln. fllJlD ED £l.®n QI.Jo~tO-Ml}Vie Nikon IDJ(4l there.iw.PARKCameras CAMERAS LENSES BAGS Visit our state of the art showroom in West Sussex.j.Y MiJfltli!ll 'QI"'.. I~".-(lD Il.?I.Yi..~_ N· k l • W'EW'o".14'1:\19 30m"._.". W~..~ [4.45. 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A.t.8 EX DG 28mm f/l.00 l.STAN.3 DC from £169.6 APO EX DG HSM rns as as £586.00 £ 119.brlolVLE.99 ~nali ~s Sign-up to our newsletter Sign-upto OUr weekly newsletter to get exclusive promotions..3 DG OS HSM f/2.. 9 9 ?:~:~~.$-5.00 SIGMA Our Price £119.8 EX DG 24mm (/1.119 £289.ParkCameras.wflr)(jt'l' One tGtI(h 'RI\W 5h0a4:il'":I{]' £399.. 0'1444 .5:30pm) or Sunday (10:30am ..4:30pm) sales@parlkc.6 DC HSM 10-20mm fl4'S.00 BS7. LD'AI" IIFfM"".00 Wheiller you're loo~lng to protect your lens. (f~5 SP Af 90mm f/UI Di Macro t:l NEX~5N SP Af 10·21m m 113 ..5-4. bespoke offersand information on the''tatest products .!.5~..99 £177.99 O'Il.70 £4. M~ t!>4.3 DG OS HSM £12.99 {529.00 Tamron le.99 £79.079_00 f/2.00 £549.13 [17.o£31 AI 28-300n'".updated daily www.5mm f/2.1 'blwf'l"Idtr .l'f12.(!ffi " J..9~ £.nses Our Price Di II LD(IF] Mocro 1:1 Di LD 069.8 EX DC HSM (Fisheyel 8mm f/3..-~a:.1 SHMC i>fo t-D SHMC PJO 1·.66 t41..DARD ZOOM ltNSB £549.4 EX DC HSM 50mm f/ 1.t3IYJ1 APS-C CM05~~OI :.99 <599.6 EX DG HSM £5.00 £499_99 £519_99 £449_99 £369_99 £379_00 £374.6 APO DG Macro rJ4-S.99 £299 ..iI.99 £253.99 £179 .1'l~ ~ fnJJ-ln:~ .99 £339.:. available ..99 as f/3.e~ :.~!> AF 70':lDD [I~·S."IPC"'1lO5 . fIS..99 1.99 lR-200mm fl3.8 EX DG (Fisheye) 20mm (/1.8 rx AT-X 16.125.l6ll..00 £369_00 £719.·6:) X.'.. NEW & NOW IN STOCK· See web for details J Our Price from £179.I ?mn\ 1115-4. Op"l.629.Oll 1'( PZD~D IIfl m M.8 EX DG HSM f/4-5.ao U2.6D~ Maore ill W 70·300 1/4·5.8 EXDG HSM £639.99 e....8 Pro AT-X: LI. macrofi3$h d i9 it3 I SLR (<1 m er as Our Price from £299.n I/. Pentax.9~ Af Z~-300m m 113.JI SIGMA DP1 / DP2 SD1 -Merrill .fy even the most di=<roing eye.S EX D'G Macro 70mm f!2. til1ec"mef~'llnnovall~~ reatur~\ and dellgn meke IM(>..'i Dill LD .5-5.0 $1"Ii)\1I!I tliXlu.at LOW PARK CAMERAS PRICES!! WIDE ZOOM LEN. Nlk.8 EX DG HSM 300mm APO EX DG HSM 500mm f/45 APO EX DG HSM 800mm f/5.35m'll flU. 0 0 £489 .O S I' Af 1 &lmm.59.IJa"" (459.or easy operauon w"th il Guide Number of 53 - £199."" £64.Saturday (~:OOam.99 ~ 5P f.97 £44.2370 60 FLASHGUNS & LIGHTING ACCESSORIES TRAINING Why not take a visit to our showroom in West Sussex.99 £269.6 DC OS HSM 18. TRUE III rn~!l' ~rOX6~il'!le t~b"I~ .ameras...5.55.g AT-X 8O-'lOOmm 114.19 NX200 Thanks to iI : ~~3h~=~~~~~ • ""d'f>". N~f2l~-oilen..' I rlH'lcH. 0 0 £679.99 £5<.Xi. . and 50-500mm leader In the optical field with top 5 GMA .135ml11 (/3. 0.7G HMC E16. duel tubec.I]' teD Screen "Dmmpr1rno?l!:'11.com/AP or e-mail us for sales advice using Phone one of our knowledgeable sales advisors Monday . FI~tD FOCAL LENGTH LENSES quality l. See below to find a lens for you .3 X" Dlvc LDllfI.!' 1>01100-1l0.PAF 60mm fl2.Ji.. or 10 create a special effect.):)) • 1(jfjO 3()p FIAI~O""'.itfiUi:I·lD-iJm IrO. 0 0 1/2. bring your own DSLR. 99 Merri.6 DG OS HSM £6]4. IN(q Dlgn..6 EX DC HSM IQ-20mm fl3S EX DC HSM 12··24mm f/4.en5e.oJl'[IT. you shoul'd consi der a Hoy" til te r.. 23·.8 EX DG as HSM (/4.0 eke·pol [39:99- Hoya Filters uv ~.99· t99.B DiLD IIF] M.5-63 DC OS HSM 11£499 .349_99 SO-150mm f 12.5"6.6.9~ £.99 Sigma EM~140 DG Macro designed 10 r th elatest Multifunctional.A>p IfF! S~ AF 17·50mm rll.r 200·500'".99 70-200mm 70-300mm 70·300mm 70-300mm 120.99 £234 ...00 £979..339.o.}lMtg.6 DG IHSM II 17-50mm fna EX DC OS HSM 17-70mm f/2.(.00 PENTAX ]C -0 r~ __ ~_"h.x t re en i? is th e late5t fla~h model featuring extreme leve~ of creijlivitYill1d AT-)( 16·18mm fl2.

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a lue Fin Buildin~.e I:lLtlli~er.london sn OSU Telephone0201148~138F3~0203148Bl23 Email ~ mdteurohMogI~pheri21llQ!ledla. WHIIIIU rnl~TI c.lr'. Fourth.iilcket devsed 'r1y' computer nerds..~~~.. lCi'ldCfJ~ I ~~~T~lh~~j~~[~m~~.. rJ ~l1l~W leo. and read.d~..ess and stUpidity personited Second.1lown IvPMtm ltiiTatphone OlOBm 6)00 Ptlnt~d In lilt UKbYJ\. In other words.. <thus>.."~\lJt<oil.Blue FinBUilding. Fourth..[X). l 110 Soulh'A'Jr~ Street. USA £198. and adding Iitle pointy brackets arour. elderly to bother to learn HTMl. lt must be both frustrating and depressing_ It sboud makE reaYJnabio peop1:> break dawn drld decide either to smash everything arcind them.. II srcold be dsserrmated as widely as possbe Folding chairs are Widespread and tarnois for pinchlllg fingers. hire~ rr ((~rl'll:!.Nll liS. It mLJSl fty in the face.:II liml (olemdn Olivet Atwell PrMes~orRobertN~wman A~drewSy_denham RosieBarra"'ti"-"'-'''-''------- _ Special than ks to TM modef'iltors of the AP website Andlew . US". and write.0 45.and so it Is wili.~r: rfl~lhr.1i~~~ f ~1 PlJIIlS1(t. fe-oN things could be better cakulated to waste nrne than descnblng everything you do.. nor even those who have sOd their souls to the Devll in a true Faustian pact. especialiy with the aid of «mputers.crioir-JI.~ '(.:Jlo::J:.idiously S1J(.on Editol lesi!'. At thiS point. He has written more thsn thwe dozen books on the subject.lglr.fmope/Elre £16250.45. when a moment's thcught Will reveal that the only dlspule must be aver the exterot 10 which the good news is qua lifl ed Many years ago.3l (i rMiltn..-.<!!.i'~J:~~'~~i~~ SEIOw. for a pnce. Intelligent pecplf'_ But many' won't There Will be ad hominem attacks about how I am too stupid..I\'iW!r. the programmers haven't ocoe their Job properly. Into a stra~.g I ret=:€atecily pointed out to the sonware experts was that a computer program should be 'transparellt'.:J. lolfI\:ic~.r~~~~~~~t~~ ~~.(I~~ t(lU1e lellY") (lNJmi'i i1.lloJ Ddmi e 11 DemolliN EdltOJ'sPA-Christinelal DeputUJechnl(31Editor -i-iM-".~~:V i~r.]~ ~bl~~r or ihe .H"'~Wi .PCMelJl~. but what lNOuld be tbe disu hgu IShIllg marks of a true iro'Jentior. or at least give up on whatever they are trYillg to do.:rJ[ ~1))lo!1~ter~~~Ir.::t by Ir . and there Will be those who Will defend the irotemel as unqualified good news.liladb.:rJrfJa::I9JM. I need G"ly cite the internet HTML is the tool par excellence of the Inter net" and q uae honesW.. create scmethir. es!of World £236. thsn to what you want You can use templates.cl"V!"~"'IS. re-flov. it should ha'-€ Its trlJe betevers. Irl~ Il):lfI... as far as pcssble.lliro) 111.IFt(. "II«l~ '~11". TheFJt(ontrollN Con!tlbulor Chlil Gatrum GroupArlvertlstmen\ Manager MMkRallkine C2031~S 2516 SentorDlsplav SalesE~ec_ SimonGeral~_~020l148 2S10 DlsDI.'i~" ""~·U. but anyone who has €"Jer med 10 put one tocether must S1Jrefy have mixed feelingsalx:utthem It's net so much the website Itself._\'ndellilO!. n f. IhiS ~ roo~er~d 0 brfart1 ~I ({IrJNt:J~ ~r(l ~[1'XI1lo \'l'1li be I.f rr:tll)lka.ir ~u::..eaturesEditor GemmaPadley DiSigntl Anlony Gleen Editotlal team IT IS pretty much de ngueur for e:eryor¥': nowadays to have a ~bsrte. rather trsn waming a triumph of presentatbn aver content. AmateurP'hotO{jrapher.:o rw~I'1'i)1b~ ~lIt ~jH.amateurphotographer.all""Jg~II:.iilip(m~lJio.. pararoa pornogrdphy.[)W ~J I)I"Itl'. programmers get. pretty much by definition. \'nI~1)1 lUll]" \'ITllle~ Permi~lf:fJ 01 !.rom PiclOteItlurns: Telephone0205I~&4111 Email appj..nno~~lor'0110203148710 ) Ed. Th~ 1fI.' (ilXi!fDCf ~i~ M Pl'..fI.-geststhat this INOrk IS honest and worthwhlle. 110 Southw~lk Slleet.t!~ ill): ~((~~ r~~t:ruibilitv Icr less U Iii: ~\l~~:t~~'.ML3I.~l. UI(]l!OiIC DR~lIrlml! Im'lM ~1"c'nt:l1'"" .o:~rlJl.~il ~fl.Fenri~Oswin. Oneveal (51i~ues) UK £11.fl~ mOW Yiilll~t lir$t c{ltail1ofl~ Wfil~~[]ll~rnllt$lcrl trcm lr:.. e a~'( .ic Majesty without actually realising it.rn~~lf R1ci:~r~r~.~l'.:f~ ~ 1P1 ii.". HTML_ AP _ _ lechnitafWiiia ---RlcharilWey~nlo"rSllb EdltoL __ leooniulWrit& FealuresWIRer Pl!ioto-Sden[t Consultant SbJdloM~nager Pklure Rmal(her _j)liveL(otlo. but he also ins..com Editorial HICKS Email iroubs01Qlladrantsubllrun. I sorretmes wondN whether Ihe Pmce of lles may have been respc15lbie for this. Hyper-Text Markup LlnglJage (HTMU ucks every Single box.J.eI:. Chils Cool. r~LJi~Er~-d If ~~m.~~ Oassilitd telephone 02011482929. First.90 R Subscriptions (onled OIC Illr copiesof camera lest lepolts publishedIn AP_ T~lephone01707 2Jl Test Reports Advertising m..R){I"'" ~t~rr. far easer :~)spread far and wide. espedal¥ photG~raphers.eriJr-'! IQ~I))rloS1 r.used to dssemnate igriorallce.w S31es Ext( Ridlil1d Mann 0203148261) Alta Managtr Mldland>&Nort~ RobSelvev 01422412 720 Group'Dlglt. Ibut a mears to an end . signed lro their own blood.fhee.Q..I2Jlical»)~. of anything coed that has gone before. 10Ari'..flMdltv~I. l'il!lirNlId..-.QtIi. I used to INOrk for International Computers ltd (ICL) Somethir.o hung up on their programming that they forget what they are prodUClllg IS not an end in itself.no I SoulhwaJ~Sireet. ~i(kRobert:s.Robertson.~.g that is a great deal doser to what they want. of the DE'.e. Not GIlly does the D0111flf'ld work for idle hands.>i\lW I SI. wllel~ IXnl~:).PDnil1'.l SalesManager MMkRankl~e 020J lIS 2516 HMSiHed~Ies Executive Wendy RobellIon 01031482929 Displ.The final frame ROGER Why do computer software programmers make the creation of a website using HTML so difficult? AmateurP'hDlogropher. false information. lrspre.(""Jr P1xilo!1 r"-r Air~I.london sri QSU_elephone02031483333 T GrouplW!alin_e$ Edilc r Publishing Dlredor Advertising team Marketing and promotions ua Publisl'ling team __ Go1['1(ow3ld -Williams Alex Robb AJOlMrirulklrr:.:JW{lI.tfli'!..M rn~fbe. Fifth..~ real work cr even for honest reflection Third.mo?]rd roar.ir. The thing is. ~~~~~~~~'~~rin~'~'~~i~~~~t~l~': ~~.~VO:l6~~~:~I. He has been a freelance photographer/writer since 1981.o that it greatly redores the urne available fc. It must be destructive rather than creative.):~ 'l'i~O? Ihi) {I((lfS. 'Er~li!fIl1 . Not Imps and demons.f ••• E·~:·li ]¥ww.!if!lr Jtll:.N Art Editor flJrk ]i(ODS f!:.PCMedia..tur@Q@sk.1 020l14826)1 (opy Chaser KumuVithldni 020ll~B 2645 Senior~Iketlng Manager Estelle Hi(ks"8enil et t 02031484311 Online Manager Kar€nSheard 020lIJ8~9~3 Sill Administrator Nadille Ihemas ())OlI4S m6 Inserl:slnoovator Telephone0103 3710 ~ro (amde.~1Q~IL _ Dlsttlbu ted bVMarktIlOI(e. a com rron eroough expressioro.Jti'6". into a straitjacket devised by computer nerds' screen.ryAdPro~uction Johll Jone.\'u~'!.ti:ir~~ a 1~6 I~~h -f.. contribulinq to mallY magazines. paranoia pornography.I.M TI'fI'lift.".:J turn It aver to someone who Will.'fIgr~ ll1Arn~l. conSleler the pOSSIbinty that truth and clear thinking are all too easily dsplaced by false information.ed and generally remade-a-mess-of f'very time it appears on a differfflt screen It is uglir.FJ~ 02011488158 D~pl.1yt)"~I.il) First.t!!.eiflCf. haired.l(iil$iI'w.J.tr. ml ({)DiP~r. Telephone'44 (0) 84~ &48034~. Third.t.t~d(~"MI". do?<trMK f1 iJ~J'i'ii:.fax: 0203148B15B IlIStrtscalt l. and read. mljjlcHd ((i[):jilIl11 or IP1 &J1h(f&~ m.!.:.(I~lir.-f/W8 dele hv IN.J ~ i1{lrl!l:~(l1J [(:f~(I" Aoi.f re~rl.Jaif-_{lt. It ISnot actudlly possble to create a coherent whole that can be resized. Henrv Rogers.(i.e~ g) IF{ ~1~dIJ ~ . capnors alld paracraphs InTOa gun and shOaling them ilt the 'Allthat is required is that it forces people who can think..e diWO'ied 01111. flO 'Wl1'!trt.g as 'the inverotion of the D evil' I.~.:1k~I"kIl·l'"I< ~1'. but mental pain I:.g as possble.:-. which is where the Prince ot Darkness comes imo it Describing 5G~ethir.e~l. Or you can try to do it from scratch.)iXIBlJ'ke ~S~~.'LUJ!lO""n ---Neil! Editor (h:is Chmman D!pJ!1v1_I1l_~_u(lion EditQL__jLe_a_ll_~~Jgillr_L F. bigotry and boundless rumour FIfth. if{ II~H USA.r( relephone 020314B2516.e:lIJ'y'outs in much the same Wi!y' as could be achieved by loading the pztures.:-. many in partners~ip with his wife Frances Schultz. It must be es time-consumir'.IlNi(XIi[':!~ N~~ ~ al IMnak~ Ifi Ik~1. I do not dcobt for one nanosecond that there will be those who will take me to task jor what I have Just wr'rlten_ No doubt some of them will be ratonal. rl(hJJlr~~~C1Jl(Il(' Tr.i)[fIi~t{.Ht~ me::llJm.uk 114 April 2012 IPcllNSPIRE iii'" . London Sfl OIU. too It's an IngenlGUS stratagem: allow just e()()ugh good to flow rrcrn the InventJ::Jn that people overlook the way in which it is. which is lIobably the best bet rt \K>U actually have anything 10 say or show. all that IS required ISthat II forces people who can think.US PIM:I~l~r: ~M ai!rllt~ cl\. but those who have been seduced by His Satar.IIHl~or rM:.. Secor.Blue FinBuilding.5mitl~rf il"t (J'Iy loJrrr~1 rneditm. and write. haired.Telephone020) H8 2516 EmillllM!Lr. Visit his website at WwwJggerandrrances_com ~~~~~!~:ru~1~~!~ll~i~~.~~:tnU='~\m~'::J~m~~. it destroys carefully concei'.. IPC ME'\1i~ d df:.j the descnptons. bigotry and boundl t5S rUffi}ur_ If you wonder how 1115 possible to dssernrete Ignorallce. the end user shouldro't have to ihink about haw it INOrk~ If they have to think about It. many nrres over..ftW5IM'r'or&0irr:J tfJ'.':ooropr..T ~oI~~(. as the process of aeaung It There's a three-wa)' choice You Ciln abdiCate responsibility ar. rx Roger !licks is a much published author on photography. pert ~IIJ'( H. lazy.

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