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BECOMING AUDREY HEPBURN WITH KATE HOPEWELLSMITH CRAIG FLEMING’S TATTOO SPOTLIGHT
AMPHIBIAN ANTICS MONOCHROME BLOSSOMS EXPLORING AMERICA’S WILDERNESS GEAR CAPTURE POLAND CANON EOS 6D WITH OUR TRAVEL GUIDE FUJI XF1 | TAMRON 70-200MM
SOUND CHECK ADVICE STOP MOTION HOW TO
£3.99 ISSUE 145
WIN A NIKON D600 I WIN A NIKON AW100
DIY ZOETROPE | THE THREE PEAKS CHALLENGE | WOW! IMAGE | SLEEVEFACE: PORTRAIT FUN WITH VINYL
Lorna Dockerill Features Editor email@example.com
Jessica Bracey Features Writer firstname.lastname@example.org
Noel Hibbert Art Editor email@example.com
Jade Price Multimedia Writer firstname.lastname@example.org
FROM THE TEAM EU EUREKA MOMENTS
I can’t help but love my job. I work ca with some truly amazing people, fro from the writers and designers on the PM team, through to key ind industry figures that have a huge pa passion for photography. I get to p play with lots of new gear, I get to travel and, unlike many jobs, I get to see the results of my en endeavours in a very real way. But the most exciting part is having the ability to still be learning some 20 years in. And, do you know what, it’s not the big things. I’ll explain. My favourite feature this month is the recreation shoot. Yes, the lovely, the timeless, the demure and the playful Audrey Hepburn is gracing the pages of our magazine. She recently met us at a secret Buckinghamshire location for a day’s shooting and she was everything you’d expect – what’s more, the equally lovely Kate Hopewell-Smith was the photographer and has created simply stunning images. Okay, so it’s not the real Audrey, but it definitely was in spirit. This was an eye-opening shoot. Yes, I watched the styling gradually take place; I saw Lorna actually becoming Audrey through the skill and direction of Kate, and Cat the stylist. Kate and I experimented with lighting and backgrounds – it was more of a challenge for us as we were desperate not to copy the images in the books we were using for inspiration. All these things were very exciting and the resulting images, as you will see, are beautiful. However, I had a eureka moment. Actually understanding just what a shoot like this can do for a person – how good it can make them feel – really surprised me. I was taken aback at how Lorna described the variety of emotions she experienced, from butterfly nerves to being disappointed the shoot was over – and how excited she was when the contact sheets came through. She adored the images, even though Audrey wasn’t who’d she would have chosen for her shoot. I spoke with Kate about this; she admitted that she experiences this all of the time, particularly on her boudoir shoots, and feels it’s a key reason for her loving what she does. As photographers have the ability to lift people – to create magic – through our craftmanship with camera, lens and a few simple props, we can turn someone more comfortable in skinny jeans and baggy jumpers into the most elegant icon of a bygone age. That’s quite special. Kate herself described it as a “powerful experience,” and I’d agree. My second eureka moment was later. We are a young team, full of energy and ideas. But I realised that we have come into this world of photography via very different routes. We are all multi-skilled journalists and photographers, as much at home with Final Cut Pro X as we are with Lightroom. Tweeting and Facebooking are second nature. We all blog, one of us even has a weekend radio show and sings in a folk band. Yes, all take their photography seriously, from Lomo cameras to Nikon D800 owners, Hipstamatic apps to art filters. However, even with these combined passions, these diverse interests, it’s the fact that, to a man, what is most important to all of the team is that their photography is fun. It’s not always about f-stops and Kelvin values, inverse-square laws and chromatic aberration avoidance. What really sums this up, for me, is our sleeveface feature on pages 94-95. I am so really proud of all of them, and it gives us all hope that the next generation of photographers deeply value creativity, technology and narrative. Photography is as exciting now as it ever has been, in fact more so.
Mar Marc Adamus Lan Landscape pho photographer Simon Booth Sim Wil Wildlife photographer pho
MARCH 2013 | ISSUE 145
THIS MONTH’S CONTRIBUTORS
Drew Buckley Landscape photographer
Paul Coghlin Nature photographer
Craig Fleming Portrait photographer
Kat Kate HopewellSm Smith Lifestyle Life pho photographer
Tom Martin Film maker
Ian Robertson Film maker/ photographer
Adrian Sommeling Portrait photographer
Adam Scorey Editor and Group Editor, Imaging email@example.com
Karl Shaw Portrait photographer
www.photographymonthly.com - March 2013
MACRO 22-23 CHARITY SHOP CHALLENGE 98-99 SUBSCRIBE TO PM 109 FREE DIGITAL MAGAZINE
GEOCACHING – THE STRIKING BEAUTY OF SOUTH WALES
MARC ADAMUS – STUNNING IMAGES. TOADS & NEWTS
IAN ROBERTSON – TIME LAPSE & TOP TECHNIQUES ON SOUND
POLAND – A PICTORIAL GUIDE TO KRAKÓW BY ART EDITOR NOEL
.WOW!: MIND-BENDING IMAGES
PAUL COGHLIN SHARES HIS WONDERFUL PETALUM SERIES
WILD BRITAIN – SIMON BOOTH TALKS FROGS. STUNNING LIGHT
WE RECREATE CLASSIC AUDREY HEPBURN IMAGES AT HOME
CRAIG FLEMING – INK’D: A PERSONAL PROJECT ON TATTOOS
ADRIAN SOMMELING .REGULARS 3 WELCOME | THE CONTRIBUTORS 8 FOCUS ON IMAGING 10 THREE PEAKS CHALLENGE 11 YOUR GUIDE TO ONLINE 12 PROJECT 52 14-18 READERS’ GALLERY 21 LITTLE PEOPLE .
fro y. this shot shows his skill with a camera and
TRAVEL 87-93 RECAPTURING HISTORY – POLAND DIY PHOTOGRAPHER 94-95 SLEEVEFACE 96-97 ZOETROPE DSLR MOVIES | FILM MAKING 74-77 IAN ROBERTSON – STOP MOTION 79 TIME LAPSE TECHNIQUE 81-85 TOM MARTIN – DSLR MOVIES
GEAR 100-102 CANON EOS 6D 103 TAMRON 70-200MM VC 107 FUJI XF1
Our m aga zin e
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AND SAVE £1
Use discount code EG35 at www..buyamag. turn to page 50 for a real treat. To see more of his amazing work.co. plus it’s pretty eye-catching too. m photograph
12 | 24
COVER IMAGE Taken from Adrian Sommeling’s WOW! Backstory feature.
NIKON D600 PHOTOSHOP PROJECT 52 ELEMENTS 11
NIKON AW100 CRUMPLER BAG BERGHAUS BAG GEOCACHING HONL PHOTO SPEED WRAP
LANDSCAPES 24-28 GEOCACHING – PEMBROKESHIRE 31-37 MARC ADAMUS PORTRAITS 39-43 AUDREY HEPBURN 45-47 CRAIG FLEMING – INK’D 50-55 ADRIAN SOMMELING NATURE 59-63 PAUL COGHLIN 65-71 WILD BRITAIN – SIMON BOOTH
WIN!! WIN!! WIN!!
FUJI XF1 – IS THIS A CASE OF STYLE OVER SUBSTANCE? NOT AT ALL..
” vulturelabs.500px.MONTH’S * S E XT
ORE OF VUL T EM
B’S AM E LA A UR
WOW! IMAGE BY VULTURE LABS
“Urban environments and symmetry play a big part in my photography. and using long exposure times to capture movement. The idea for this image was to combine both of these elements.com
WORK IN N NG E ZI
WOW! Picture VULTURE LABS Category Story
www.com .March 2013
Focus On Imaging
JOIN US AT FOCUS ON IMAGING 2013 – STAND E18
Will you be at Focus? We certainly will. ecologist and writer. Birmingham B40 1NT
www. Best of the best.co. So come along and meet the gang: CRAIG FLEMING SUNDAY 3 MARCH From advising our dear readers on lighting lust and lenses to taking the latest gear out for a test. eco-friendly wedding albums or his wedding photography on the pages of our sister title Professional Photographer.com .focus-on-imaging. look no further than our movie-making guru. If you’re not yet a subscriber there will be a cracking offer at our stand. STEWART RANDALL MONDAY 4 MARCH Stewart is a man with a vision. and he’ll be at our stand to chat with curious readers.March 2013
. inspiration. Stewart is joining us at our stand on Monday 4 and Tuesday 5 March. and as always we’d love to meet our readers to chat about photography. National Exhibition Centre. JONATHAN LEWIS MONDAY 4 MARCH Jonathan is a wildlife photographer. Tom. Craig is our jack of all trades and master of fashion and portrait photography.
www. Kate is experienced in her art and in training photographers on combining the craft. and we’ve invited some of our favourite writers and photographers to join us. TOM MARTIN MONDAY 4 MARCH If you’re planning to start creating videos or just want to get a feel for the subject. You may have met him in his camper van when he toured the country last year. or you may have admired his stunning. the people and the business. He also teaches photography and has a regular photography feature in the Norwich Evening News. or at the SWPP show where the camper van mysteriously made it to the third floor. KATE HOPEWELL-SMITH SUNDAY 3 MARCH Queen of lifestyle photography.photographymonthly. He knows about all the little things that work differently when you’re capturing a moving image. life or the latest magazine.uk Focus on Imaging.
VISIT OUR JUSTGIVING PAGE HERE www. Cancer is something that touches everyone at some point in their lives and it is the dedicated people at charities like Cancer Research UK that bring hope and care to millions.Three Peaks Challenge
We have begun our training and so the clock is ticking down to our mountainous charity effort in the form of the Three Peaks Challenge
owering ahead of the Photography Monthly team is one of the biggest charity challenges we have faced. then it will be well and truly mission complete. help make the challenge worth it by showing your support. as we will be scrambling up Scafell Pike under the cover of night before bombing our way down to the finish line at Snowdon in the early hours. Scafell Pike and Snowdon in 24 hours in the name of Cancer Research UK.bit.ly/WwxxRK (CASE SENSITIVE) OR YOU CAN TEXT TPCH99 AND THE AMOUNT TO 70070. SO PLEASE. THANK YOU FOR YOUR SUPPORT AND DON’T FORGET TO FOLLOW OUR BLOG POSTS TO SEE HOW WE ARE GETTING ON IN THE RUN UP TO THE MAMMOTH MOUNTAINS IN MAY ON THE PM WEBSITE!
www. It’s going to be tough and we have to admit we are even a little bit afraid. If we can get to the end of the task with the biggest donation possible to hand over to Cancer Research UK. DIG DEEP FOR THIS OUTSTANDING CHARITY. we will be climbing Ben Nevis.March 2013
. So please. An amazing charity to therefore support as we take on the peaks.photographymonthly.com . We hope that you will show your support by helping us in our plight via donations to our JustGiving page.
JOIN US ONLINE
We have some exciting times ahead here at Photography Monthly and we want you to be part of it by staying plugged in to the action online. it’s jam packed with all things photography. Also.com . We’ve also done a Fashion Week special to give you handy tips on shooting all angles of the biggest fashion event in the diary. What will you be? Join the Photo So pour a brew and pull up a comfy chair TV crowd here and bask in our online glow.photographymonthly. Be it a flower or a building. Keep up to date with the team’s progress as they train for the Three Peaks Challenge via our blog and tune in every day to see which gallery image we pick as our Photo of the Day.March 2013
WE’VE LAUNCHED OUR FIRST PHOTO TV PROGRAMME
Taking you beyond the still image Photography Monthly has aired its first TV programme and is ready and waiting for you to enjoy. Paul Sanders.com/Blog or scan the QR code with your phone. Glean his top photo tips . from bloggers to the catwalk. From the launch of the new GoPro HERO3 to a look at the latest trend. in e in ide s th u w g eg vie re ttin nlin t se r o es lat at’s ou e ith wh th on and ow w s n up ot ique ight w n r S ch te
WA OUR TCH FULL FIRST L TV-STENGTH Y SHOWLE NOW !
The Times. boudoir. www. We have some fun personality quizzes for O you to giggle over. and also features home-grown talent that deserves some exposure. then photographing it in all ways imaginable. to the studio for an exclusive insight into his work and life at one of the UK’s biggest national newspapers. This month we have set out to inspire and get your creative brains ticking. press and even going backstage on one of the biggest names in the industry.
www.photographymonthly. Our latest podcast welcomes landscape photographer and former Picture Editor of
nd s a ht ip ig . including Which outdoor OT camera are you? And our Valentines Day Special. Happy listening.photographymonthly.which include taking your shoes and socks off – and listen to our question time with Paul by visiting our website and clicking the podcast tab. Photo TV also updates the channel every day with new and exciting movies shot all over the world.com/PhotoTV www.t l ws ry a vie ust r te d . Photo TV also teaches you how to create your very own long-exposure wire wool shots and showcases one of our readers’ videos too. we take you behind the scenes on our Audrey Hepburn inspired shoot to show you just how it’s done by the pros. First up with our 50 Pics Project where we challenge your innovative thinking by putting up the barriers to one subject and one subject only.
www. All you have to do is set up your blog.Promote it! Use Twitter and Facebook to your heart’s content to make sure that people know it exists . It could be anything from landscapes to portraits. Project 52 is an opportunity to build a professional platform that people can see around the world. but in the meantime why not head over to the PM website to see our favourite photography blogs to get you inspired when creating your own.. This is not just a contest to get the youngsters starting out in photography early.Choose a blog platform: this could be anything from WordPress to Blogger or Tumblr . then we’ll watch your blogging beauties grow over the next year. Not only that but you’ll get the chance to be featured in the magazine and the best bit of all.
OP ELE M
e’re on the hunt for some fresh talent between the ages of 10 and 16 to showcase their skills by taking an image every week from April onwards of their daily routine. head to our website www.Once the blog has gone live keep checking your stats and analytics to see how many people are viewing NEED SOME INSPIRATION? Scan the QR code or visit the link below for some of our faves!
www. Choose a reliable host for your blog that will look after your domain name .
Blog togs Win a Nikon D600
IN *W *W
.photographymonthly. the choice is yours.Last month we kicked off a competition to get the younger generation of photographers to not only get creative with their cameras but to get online savvy too by hosting their own photography blog. a brand spanking new Nikon D600 is up for grabs.Think of a catchy name . Tweet us your link to @photomonthly with the hashtag #project52 so we can keep track. but make it relevant to your photographs . complete with 24-85mm f/3. Seems so long away.Host your blog (optional): have a professional URL that people can go to. instead of diverting them straight to the blog hosted site.com . to make yourself stand out as a pro blogger.photographymonthly. To find out more information and to read the full terms and conditions about Project 52.. fashion or just fun times with friends. create a brand with what your blog looks like.Choose a theme or design for your blog: this is where you’ll get to personalise it to your own style. think originally about what will make you stand out.. get posting and get hashtagging. think creative filters on your camera.5 lens! Here at Photography Monthly we know that photography doesn’t just stop in the camera so we’re offering the whole package with a copy of Adobe Photoshop Elements 11 for the winner too. Think Instagram on your phone.photographymonthly. not to mention the prizes you could win as well. crowning the talented young photographer in 2014. food. but think of the memories you’ll get to gather in the 12 months. Over the next coming weeks we’ll keep you updated on the blog front with hints and tips as to what makes a good one.com/competitions/photography-competitions/project-52
FAST TRACK: HOW TO SET UP YOUR OWN BLOG .
photographymonthly.com then we’ll choose our favourites and feature them in a future issue
Piotr Haskiewicz Curiosity
Daiva Ziliute I Love Christmas
ra p h e r * Yo
ge See pa et 12 to g d involve
r * Yo u n g
to g ra p
Jade Greenbrooke Drifted
Upload your images to www.
Tracey Whitefoot Vying for attention
Are you a young photographer aged between 10-16? Then visit p12 for an exciting new project!
Simon Maidment Missie the cat reflection Liam Carroll Departure
Warren Millar Cold thoughts
Join us on Facebook: Photographymonthly to see ‘photo of the day’
. so don’t miss your chance to be seen!
Milos Skundric Circus
Natalie Ivanova Maria
Oliver Pohlmann Time Served
Don’t forget to follow us on Facebook.com . We constantly send out requests for your images here and post our ‘photo of the day’.photographymonthly.
Natalie Ivanova Self portrait with cake
Cindy-Lue Els Paper-Art4
www.photographymonthly.com .March 2013
PHOTO TOURS & WORKSHOPS
Led by professional travel photographer TIM MANNAKEE Small groups.Camargue ‘White Horses’
“h k “Thanks so much f making the h for ma workshop extremely rewarding. well-researched locations & great value!
Burma China Iceland Norway Ven Venice Carnival
Alsace in autumn .Provence lavender .Languedoc .Spring in the Dordogne . p y rew f memorable and beyond fabulous”
all in the name of photography. Get creative people and get the miniature party started! Have some incy wincy scenes you reckon are top notch? Upload them to our dedicated gallery online and share.. you’ve soaked up our ‘Little People’ project and then some.Little People Get involved!
IT’S THE SMALL THINGS IN LIFE. plonking tiny model folk in puddles. ice cubes and on old tape. share!
Tim Constable Toxic treat
www.. Now we’re packaging up some new ‘mountaineering’ models and sending them out to these select photographers who really probably just want to be Borrowers they’re that good at tiny tales.March 2013
Gary McDermott Wee man in a boat
Chris Kemp Just married Filip Overmeire MINI Nostalgia
Gary Jones Ice rescue
maginative souls that you are.
others will be out there. blending nicely with the granny carpet.
My daughter Lottie posing on the stairs in our yet to be refurbished house. wishing for me to hurry up and take the picture so she can go back in.
Jessica Bracey – Features Writer.
Ah the walk to work. PM & PP Shoes
Think I’m in love with these shoes a little too much. pop online and take a closer look at our images.. Who does that these days anyway?
Too Funky for me
This is Funky the cat looking a little startled on the stairs one morning.. rather surprisingly – and testament to quality of Fuji film – it all turned out fine. So thank you to all of the readers who have responded. I took this on my lunch break when a shop requested real money to buy stuff. But. anecdotal things to shoot – after all this is the point of the feature. On a
Noel Hibbert. the team and I have loaded up this beast of a camera and found funny.99 camera – on film! We’ll bring you the results shortly. PM Doggy
This is Bella. But next it’s your turn. so the nice shallow depth-of-field was an added bonus. from socks and cats to dogs and doughnuts. something we take for granted. to have fun with your camera. my miniature schnauzer… in… out… in… out. I must admit to being slightly nervous about shooting on a film that went out of date in November 2005 and having a two-page ‘hole’ in the magazine this month. doesn’t smell of wee! 
. By the time you are reading this. but I only had four shots. again!
rainy day the vibrant colours certainly brightened up the shot and you can see my reflection in the puddle beneath my feet prominently in focus. In the mean time. He actually moved the very moment I took this so he looks slightly earless. PM The cash machine
When you think about it. I liked the idea of shooting through bars to the view beneath me. in the wilds.As promised in the last issue.
And we’re off!
In the first leg of our charity shop challenge. Pah. snapping away on our £6. Art Editor. and when using film the element of surprise is always there. which. the team head out with the Canon Ixus Z50 APS film m camera and shoot some things that are important ant to them. Scorey takes up the story…
Lorna Dockerill – Features Editor. it is weird how a rectangle of plastic allows you to pump out cash from a machine in the wall... thankfully.
Ch Charity Shop Challenge
If you study my handbag closely you’ll be able to tell what time of the year it was photographed. I have time to think. so I decided to photograph it in the rare morning sun. I hate them. but I had a smile on my face all day. Multimedia Writer. so tarmac is my friend.Kathrine Anker – Features Editor. plan. knowing that this baby was going home with me. the fact I love chocolate (in fact. But I love driving.com . PM & PP Stripes
I have a thing about socks.000 plus miles per year.photographymonthly.
Jade Price. sing and drink coffee until I wee neat caffeine.
Door number four
I like the almost Gothic number four on my front door.March 2013
. and I love driving in my Land Rover Discovery. Irrational.
Adam Scorey. you can imagine my horror looking down one morning only to find my butler had given me these!
I do around 25. PP Chicken
Everybody else in the office must have been wondering why there was a big chicken in the fridge. I know. Group Editor. all food) and which vegetable was going to complement my chicken. standing out darkly against the white paint. PM and PP Kipper the cat
I wanted to snap a shot of my cat as he has beautiful markings and deep yellow eyes. in particular matching socks. Well. I also wanted to see if the charity shop camera could catch him in a pose before he (predictably) moved.
it’s the day after most of the country was blanketed in a covering of snow. Pembrokeshire has an essentially maritime climate. The Pembrokeshire Coast Path winds its way through 186 miles of the most breathtaking and stunning coastal scenery in Britain. coves and sea cliffs to vast golden beaches stretching as far as the eye can see. The main draw to Pembrokeshire. as you’ve always got access to little bays and coves off the beaten track.LANDSCAPE ‘TREASURE’ COMPETITION
This month DREW BUCKLEY takes us on a tour around his local patch in Pembrokeshire and buries our hidden treasure from one of the best views around
ell. The bridge. Heading down the steps and through the
. the lakes and nearby Bosherston lily ponds were all man-made features constructed by building a series of dams. The result of this is a wildlife haven for water and woodland birds. it’s a holiday hotspot at any time of year. as being situated next to the Irish Sea and more importantly the Atlantic Ocean. burial chambers and churches. Starting your trip off at the north of the lakes. sometimes all at once! Although misty drizzle and grey
skies aren’t the best conditions to show off the landscape at its best. for most. seaside villages and rugged coastline. built in the late 1700s was constructed with small dams and sluices beneath each archway helping to control and regulate the water level of the lakes. or after. with the array of different scenes and subjects on offer. wet. and of course the resident family of otters. As you’ll see walking around the whole of the estate. Dogmaels in the north-east. You’ll also discover a great amount of history here with a vast number of castles. and hopefully with this little insight. Pembrokeshire. Walking past this to the top of the steps will give you a fabulous view down and along the eastern arm of the lakes. so it’s often cloudy. is not only the fact it’s Britain’s only coastal National Park. I’ve chosen the Stackpole Estate for this cache as it’s a brilliant place to visit at any time of year. Pembrokeshire has some great potential for fantastic coastal and in-land views for photography. It’s grey. usually prior to. The first thought that comes into my head is ‘where do I hide it?’ My home and where I’ve spent most of my life growing up. As you can imagine. windy and wild. the famous Eight Arch bridge filling your view in the distance creating an interesting background focal point to any image. Starting at Amroth in the south-east of the county and finishing at St. the path encompasses almost every kind of coastal landscape from rugged stacks. Not forgetting to mention you’ll be in close proximity to two of the finest beaches in Pembrokeshire. these weather patterns can produce some rare but fantastic light. you’ll discover its many charms. Unfortunately now demolished. follow the footpath that extends out from the car park across towards the Stackpole Court site. we tend to get our fair share of rain. taking in fabulous views of the surrounding lakes and woodland. raining (nothing new) and I have to go out and stash the tickets for another selection of fantastic prizes for this month’s Photography Monthly Geocaching competition. This is great for us photographers. but that it has fantastic walking possibilities thanks to its unique coastal path. is famed for its stunning beaches. There are loads of walking and photographic opportunities thanks to the network of paths that criss cross the estate. it makes taking lovely coastal images much easier — I say easier. there once stood a very grand mansion here and there are still remnants on show today which depict its history and grandeur.
Turn off the main path and onto the small track which opens up to the viewpoint. but earlier is definitely a better bet as the lakes are a beautiful and serene place to walk at dawn. back to standing on the bridge. As you near the Grassy Bridge keep an eye out for the classic v-
shaped lines of bubbles on the water surface as this will indicate an otter swimming beneath. if you’re feeling up for a trickier but shorter ascent to the viewpoint. One thing to mention here is that the alternative route is a loop walk and is in place due to one occasion. coot and countless species of ducks reside on the lakes so there’s plenty of ornithological interest to keep the twitcher in the family entertained. They can’t hold their breath for long. yep you’ve guessed it. you’ll need to turn left and head downhill toward the lake. So. Here you can take the high route or the low route. there is a path from there leading Barafundle Bay. commonly rated as one of the finest golden beaches in Britain. then you can turn off the main path just after the Eight Arch Bridge uphill to the right.March 2013
Geocaching Stackpole Estate
. There are usually signs put out notifying you if the paths are flooded and as always. Along here is a great area for woodland birds. If you’re feeling energetic you can take the road up and over the field toward Stackpole Quay with its lovely small pebble beach — great for photos. but also the superb view that lies in front of you. You’ll notice around the estate how very tame the robins are.Landscap
archway. but nothing too big or expensive. and also of the lakes underneath. From this elevated position. The lake is rich with wild birdlife. and at any time of day on the stretch between the Eight Arch Bridge and Grassy Bridge. Not only in the value of your newly acquired photography gear. At the top you’ll need to turn right (almost back on yourself) and keep walking until you reach a break in the hedge to your right. You’ll notice another signpost on the right side of the bridge. the former boathouse is nowadays used as a place to sit and do a spot of bird watching (or otter watching if you’re lucky) and is also a handy place to shelter from the rain. you’ll enjoy the sight of the three arms of the Bosherston Lakes converging into one. woodpecker. Here at the end lies the prize. Moorhens. Also. Judging by the name. meandering its way towards the sand dunes at the rear of nearby Broad Haven beach and onto the sea beyond. wellies are recommended!
www. Carry on walking south using the path sign posted ‘Broad Haven Beach’. I definitely recommend walking across it to get some better views of the bird life here. Keep heading uphill along the track on the alternative route. so if you’re lucky you’ll be greeted with the iconic pop-up of the otter surfacing — hopefully with a fish! I’ve seen them in any weather here. Nuthatch.com . you can even get them perching on your hand if you’re patient enough and tempt them in with a bit of grub.photographymonthly. jay. here follow the signs ‘Alternative Route’ and keep walking until you reach a fork in the path. the water levels of the eastern arm flooding the paths near the Grassy Bridge. either option will pass by the lovely Boathouse Hide. Heading along from here will take you to the Eight Arch Bridge. Keep an eye out along the sides of the lake as it’s easy to spot herons perching just metres away — you’ll need a midsized telephoto lens for these. along with the usual tits and robins are found here. Anyways.
. so it pays to visit a few times. head towards the steps near the court site 2) Using the paths go towards the Eight Arch Bridge and continue down the lake towards the Grassy Bridge 3) Head up the tracks on the alternative route using the signposts until you reach the viewpoint 4) Walking to the end of the track with the fabulous panoramic view all around..07” W
OS EXPLORER GRID REFERENCE
SR 975 946
www. you’ll find the treasure at the base of the bush to the left
51°36’52. if you can!
1) After you’ve parked at the Stackpole Court car park.Geocaching Stackpole Estate
When the weather is at its best These were taken before we had the spell of snow.65” N 4°55’34..photographymonthly.com .
JACKPACK FULL PHOTO BACKPACK
Designed with the urban photographer in mind this is the ultimate accessory for the city slicker.crumpler.uk to claim their prize.y y Go and explore.eu.nikon.berghaus.com . the Nikon AW100 is not only dressed for the outdoors in its camouflage case. featuring handy pockets in as many easy-to-reach places as you can think. The padded back panel adds extra comfort too.co. resists tearing and is quick drying.uk Light meter not included
WINNER: Giles Bertenshaw
www.photographymonthly. such as your Geocaching-mad selves! If that wasn’t enough.5m and freezeproof for temperatures down to -10°C this is one camera companion everyone would want to have with them. www.uk
2013 2013 013 01
2013 2013 013 01
BERGHAUS LEVIATHAN 25 DAY SACK
This rough.co. www. three lenses.co. Not only that but you get a 30 year guarantee. Padded with soft protective lining it is made with Crumpler’s 1000d Chicken Tex Supreme hyper performance fabric which is lightweight. so you know it’s going to last! www. Waterproof to depths of 10m. but is also built to withstand Mother Nature’s less than sensitive side. Stylishly cool but built so that you can fit in pretty much your whole kit collection. The panoramic shooting mode and GPS tagging with a world map view make this camera a true explorer that’s suited to the outdoor types. It’s an adventurer’s best buddy. and a laptop sleeve for editing on the move.uk
Winning geocachers should send a portrait of themselves with their ticket at the cache location to lorna. p . It’s big enough to hold two cameras. you know you want to!
HONL PHOTO SPEED WRAP
This professional grade wrap with nylon shell and fleece interior will protect valuable gear from wear and tear even when it’s slung in your rucksack or buried in luggage travelling to wild landscapes and far away shores. All it needs is a pop up tent to erupt from the lens cap and you have the perfect adventure buddy! www.March 2013
INNER • •W
DYBOWE R LA
.flaghead.co. complete with handy compartments to store them in.dockerill@archant. shockproof from heights of up to 1. durable.Geocaching
NIKON COOLPIX AW100
It’s the true Action Man of compacts. tough and ready Day Sack is an essential item for an outdoor adventure. a laptop and all your accessories too. Its 16MP sensor and wide-angle zoom lens means that there is no mountain too high nor river too wide to keep this camera from capturing the action. the dedicated action button on the camera allows for full control and stability whether filming or taking stills under or over water. important when it’s packed full of sometimes heavy gear.
photographymonthly.6 | ISO 3200
 Gulless — Self Portrait Sinead Nikon D3100 | 18-55mm f/3.com .6 | 48mm | 1/13sec | f/5.
Yet not in the gooey.March 2013
. cooking and getting down and dirty in the great American wilds
andscape photography has its fair share of critics and the naysay goes that it’s a routine genre with little new to offer in the way of creativity.com . Aside from the deliciously organic composition that subverts the traditional linear. it’s no mean task to reinvent the wheel. Step forward professional picture taker. rule-of-thirds based approach. and faced with a palette fixed ultimately by nature. Yet now and then. the colour seems to pulse and glow out of the screen like some bejewelled treasure from the confines of its chest. You have your foreground interest looming out of the photograph’s base (large rocks perhaps surrounded with a mist blur of shallow water) and some pleasant faraway backdrop featuring a heavily burned in sky with some cloud interest and a suitable coloured tinge. a photographer comes along who seems to do just that.photographymonthly. mawkish sense that HDR images seem to offer something extra over the naked eye. Matt Henry catches up with him between photo tours to discuss camping. Marc Adamus.
www. trained chef and accomplished mountaineer. Marc’s sense of colour and tonality can only be described as other-worldly. there’s a naturalness here that makes you want to believe and an acceptance that Marc just might have found something truly incredible that none of us will get to see. perhaps every 20 years or more.Marc Adamus Landscapes
The landscape genre periodically needs a fresh injection of talent. and the 21st century has MARC ADAMUS to thank. There’s nothing fundamentally wrong with this setup but the human mind seems to crave newness in everything it sees.
You might want to take a backpacking and helicopter tour into the Yukon. Picture a man in red and black wool check. highest and most remote areas of the great North American landscape. Surrounding him are an array of tents and hungry photographers waiting patiently for the spoils prepared by this ex-professional chef. covering large swathes of the wildest. or perhaps even the Olympic rainforest of North West
. a fur trapper’s hat and some sturdy brown leather boots. What do you order when you go to a restaurant? That’s pretty much what you’ll get. I don’t disappoint! I give them good food. I am actually a trained chef. or visit Alaska to capture the magnificent green shimmer of the Aurora. “I love camp cooking.” Yes this could be you. or maybe the infinite skies of Death Valley in the Eastern Sierra. appearing periodically between the smoke plumes of a campfire on which he cooks. The menu depends on whether we’re car camping or out in the Yukon on a seven day backpacking trip but there are a wide variety of options – anything you might see on a restaurant menu.” says Marc excitedly on the telephone with his strong West Coast flavoured accent.Unless of course you happen to be lucky enough to attend one of Marc’s photo adventure courses that keep him firmly on the road and doing what he does best. assuming of course that you’ve managed to book a place on courses that are sold out before they even hit his website. “If I ever wrote a book on
anything besides photography it would be on camp cooking! I cook for everyone on the tour. after a hard day’s trekking across some of the most jaw-floating landscapes of the North American continent.
” says Marc. There are just a handful of roads. I have a very unique style of blending that is entirely my own – I can do the whole thing without any masks layers or anything. “It’s just such a wild. I feel such a great sense of freedom and great sense of adventure every time I go over those mountains and it’s been a big part of my summer schedule over the last couple of years. “What I really strive to maintain is something of a natural look and feel but I do want control over every aspect in that image. It really relies on having a good eye for colour and tonality. a place of pristine solitude that offers some of the most verdant forests.” Course attendees are now lucky enough to get a glimpse into Marc’s post-processing techniques.com . and I do this all by hand. the lakes. a handful of tiny villages and a handful of trails over a two thousand kilometre expanse of mountains. His work doesn’t revolve around any sort of automated processes like HDR. enormous place. Everything is painted
www. which he has only recently begun to teach.March 2013
. whatever it is – it was all really there. “Another area that has fascinated me for years now is the coastal mountain range of British Columbia and South Eastern Alaska. ”I want the post-processing to be a big part of my art.photographymonthly. rugged.Marc Adamus Landscapes
“ASIDE FROM THE DELICIOUSLY ORGANIC COMPOSITION THAT SUBVERTS THE TRADITIONAL LINEAR. MARC’S SENSE OF COLOUR AND TONALITY CAN ONLY BE DESCRIBED AS OTHER-WORLDLY”
Washington. rivers and canyons of the American wilds. “People ask me what I do because it’s such a big part of workflow now and the best way that I can describe it to them is to say that the subject matter you see in the images. everything is blended manually using some very unique techniques painstakingly developed over his last few years as a pro.” says Marc. But I try to optimise everything in terms of the light and colour. RULE-OF-THIRDS BASED APPROACH. the mountains. the trees.
Sunday 28th April 2013
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completing a 35 day solo trip in the Calgary range in Northern British Columbia and Alaska this summer that he describes as just incredible. That’s part of the documentary aspect that I want to bring to photography. EVERYTHING IS BLENDED MANUALLY. HIS WORK DOESN’T REVOLVE AROUND ANY SORT OF AUTOMATED PROCESSES LIKE HDR.com .Marc Adamus Landscapes
on how I want and where I want. I definitely have a lot of friends and family that meet up with me at different locations. we make it work. “ Marc’s schedule is action-packed and he says happily that his ‘entire year is a trip. WHICH HE HAS ONLY RECENTLY BEGUN TO TEACH.’ He’s on the road pretty much non-stop.”
www. “I do get home to Oregon but I also bring family with me to different places during the course of the year so you know. I don’t use HDR software or anything automated. with a whopping 20 Yukon trips booked into every year (‘that’s 40 per cent of my year right there’). He also does a lot of personal trips in addition to the photo adventure courses. But everything in the camera existed.”
“COURSE ATTENDEES ARE NOW LUCKY ENOUGH TO GET A GLIMPSE INTO MARC’S POST-PROCESSING TECHNIQUES.photographymonthly.March 2013
He started out simply documenting his travels as an avid mountaineer with a Canon A-1 film SLR before the work of Galen Rowell (famed adventurer and photographer) convinced him that photography was a creative art form worth exploring. Marc grew up in a rural area of Maine before moving to Oregon and has been a fully pro photographer for the past eight years.marcadamus. with a passion for mountaineering and adventure.
Marc Adamus is a professional chef turned pro landscape photographer who runs extensive outdoor adventure courses in the thick of the North American wilderness. Marc made the transition from chef to professional photographer over the course of a few years (he’s been fully pro for the last eight). beyond the simple desire to document.com Growing up firstly in a rural area of central northern Maine before relocating to Oregon half way through elementary school (the place he still resides). Check out Marc’s work at www. “Landscape photography for me has always been part of an interest in outdoor adventure.
Marc Adamus Landscapes
“I consider myself a minimalist with gear.” claims Marc. I felt the solitude and the real power of the outdoors in those types of environments. I use both of those quite often. I use an ND filter (it’s impossible to make a long exposure without it) and a polariser for those times when you’ve got to shift reflective light. The tours really encapsulate my core passion for everything in photography and to be able to get people out into the field and show them everything that I’ve loved. magazines and other licensing projects.”
www. I’ve been a Canon shooter for more than a decade straight but very recently tried the D800 that Nikon came out with. Then you need both foreground and background shot together before the light changes.”
Ever since I was young I had a great desire to just get out there and really experience wild places and greatly appreciate everything about spending time out there. calendars. I was already using the 14-24mm Nikkor lens adapted for my Canon. far and high.photographymonthly. “Fast and light.March 2013
. That’s a step in the right direction. I think it works a whole lot better than the Lee system for this lens. Teaching photography eventually became very natural to me and it’s now the core of my business with help from the books. I do like the zoom lenses and have full Canon and Nikon systems. I can tell you honestly that I absolutely love doing it and I wouldn’t do anything else.com . “I’m actually testing a new filter system for the 14-24mm at the moment and am really impressed with it. In my late teens. I thought why not get D800 too… check out what it has to offer. I was about 21 or 22 years old and I read his
book Mountains and was really inspired by the way he details his adventures and his climbs but also the way that he illustrates his photographic techniques for his readers. I’ve been very impressed. Grads – for the most part I don’t use them 99 per cent of the time. early twenties I was very much interested in mountaineering and backpacking and especially winter backpacking – getting out there in very high and cold places. along the same lines of the people that I was really interested in and inspired by. The one per cent of the time is where you’re dealing with rapidly moving subjects like the Aurora – it moves incredibly fast. that’s my motto. “I knew Galen as a mountaineer before I realised what a great photographer he was. More often than not I shoot with this now in combination with the 14-24mm. I do it in post with different exposures. 24-70mm and 70-200mm Nikkor lenses.
Audrey – The 60s by David Wills and Stephen Schmidt This is obviously a book written by someone who adores Audrey. personally and professionally. new lists began in earnest. iPad in hand researching Hollywood icons. rather than a night of passion. for our purposes. Bar talk. get the book. the suggestion is a list of celebs who you’d love to photograph instead – past or present. We
ow many of you have what Ross from the US sit com Friends called a ‘laminated list’? You know a hypothetical list of five celebrities with whom – if such an opportunity should arise – you could have a night of unbridled passion with no repercussions from your partner – a kind of ‘pass’. in a recent editorial planning meeting this subject matter just happened to crop up (ahem!) and lists of names started flying through the air. but a great exercise to contemplate over a glass of wine.
. not between the sheets. There are both new and old images. Adam Scorey tells the story
INSPIRATION For the PM team. >>
actually used the book on the shoot for reference. especially some of the unseen images and the quotes within. stylish images from the period but also adds in anecdotes and quotes from the people who knew and worked with her. It uses plenty of glossy. Now. including some of the biggest names in photography. admittedly. some never seen.Footprints |
Icon for a day
In our new series we turn the cameras on the PM team and shoot recreations inspired from the world of fashion and the movies. After the gathered editorial cohort realised it was supposed to be to capture on camera. Essentially it’s an author who is sharing his obvious obsession with this amazing icon. But. this book was definitely an inspirational force when looking for ideas and images. we re-shoot our favourite stars with the help of specially chosen photographers who we know will add their own unique touch. Admittedly not quite as exciting. If you love Audrey. Celebrating true icons.
In the end. Also.The team Fast forward a few months and Lorna Dockerill. What also helped was the research into the styling. but a very important factor is that quality begets quality. it’s probably best that I let the real stars of the shoot share with you their experiences. to expand my own knowledge with lighting and work with a person. styling and direction on the day of the shoot is too. She really did get into the part. The first was to capture some beautiful images in a home studio environment with a basic set-up. for example. we are not heading off on flights of fancy spending huge quantities of my editorial budget (pfff) on kitting Lorna out with Givenchy frocks. No Louboutins. Of course the ability of the photographer to bring ‘Audrey’ to the fore with careful posing. it’s partly appearance but personality is crucial. Awaiting our arrival is a crack team of Kate. from Kate as the photographer and Audrey – sorry. Lorna did exceptionally well. It was a powerful experience. that I have managed to land myself a day of shooting with a team of six lovely ladies – it’s a tough job… Holly… Unfortunately for Lorna (sorry Lorns) she kinda got the short straw and landed the job of being model for the day – not sure how that happened (ahem). The biggest challenge on the day was time. and visa versa. this is part of the experience of a shoot like this. the clothes and details her and Adam had found together. it’s easy to make assumptions about how it was created but the reality was achieving the subtly and balance. Most important though. but having an assistant on board was very beneficial. bouffant hair we were able to recreate this look based on Audrey’s back catalogue of imagery. Luckily for me. to shoot some images that
will make Lorna feel really special. is that Lorna can now fall upon this experience and use it to improve her photography. the images are being published in a national magazine and she’s inexperienced at modelling – they have to be right and Lorna would have felt that responsibility and perhaps be slightly nervous to start with. I couldn’t have done the shoot without Adam’s knowledge with lighting and his creative direction. the sublimely gorgeous and iconic Audrey ‘Heppers’ Hepburn. false eyelashes and back-brushed. this whole thing has got to be done on a shoestring. but it’s more than that. she did say to me at one point. but I am still learning the intricacies of studio lighting – I am happy to admit this as I pride myself on my desire to be >>
Hair & make-up by Cat Fransham After researching the prime era of Audrey Hepburn (1960s) and what features of hers were most prominent when in front of the camera. As a person she echoes some of what we understand Audrey’s characteristics were. yes. After all. with all the usual confines. Focusing on big eyebrows. this stems from knowing Lorna and made our job that much easier in picking a muse. I won’t deny it. Take the lighting. I was able to emulate the hair and make-up styling on Lorna – this was a breeze because they were uncannily alike. vintage clothing shops and. Jessica Bracey and I are splashing down Buckinghamshire B-roads on our way to one of the UK’s best lifestyle. direction of models and lighting technique in the long term. Lorna as the icon. you were excellent.” From her point of view. portrait and wedding photographers. The challenges included shooting at home. Kate Hopewell-Smith’s house. but Lorna is such a lovely person. why suggest to my readers to do this and then say it cost five grand! You’d send a sniper after me. especially as Lorna the person. Instead. usually on a shoot with so many different looks I would be working to a much bigger schedule. but it’s so worth it. No. and then using Cat Fransham to bring all of these styling cues together with hair. It’s important to point out that we didn’t set out to replicate. Lorna.)
. Elements were a bit Heath Robinson. So yes. Tiffany diamonds and Louboutin shoes – much as she tried to negotiate (diva-ish tendencies already!). creating a unique memory for her she’ll enjoy for the rest of her life. just as Audrey would have 40 years ago – after all. We each had our favourites that we wanted to shoot – but I was also asked as I have a specific style. And today Matthew. especially with Kate. What we thought was simple ended up being a challenge. which really helped. and to show what can be done with a bit of teamwork and planning. no more than two lights for example. But second. her assistant and stylist Cat Fransham and her assistant. lots of black eyeliner on the top lid. But also for Lorna to observe first hand what it’s like to be in front of the camera and be the centre of attention for a day. I do love Audrey Hepburn too. Lorna was part of this inspiration too of course. I recognise she had to really trust me as a photographer. but this is what made it such fun – and part of the challenge. believe it or not. (Ed: Cat. ASOS. our inspiration and general guidance came from images of Audrey. I am very experienced with directing women. Kate Hopewell-Smith has a lady-crush on Heppers and was a bit more than keen to be our photographer for the day. first to have a creative project and to show the readers what can be done with minimal equipment. Why Audrey? Lorna does resemble Audrey. this is my comfort zone. Kate Hopewell-Smith I jumped at the chance at this shoot for a number of reasons. this is the preserve of charity shops. and I only found this out while sharing the hospitality of a hotel bar with her. thank you for all of your skill and hard work. which I know Adam and the team really like. getting the styling right which is harder than you think. You will notice. from the photographer to the model and the styling. make-up and accessories. “I’m not really sure what my face and body are doing. And it’s the same with gear too – see the panel on page 42 for what we used in the end. I would love readers to be inspired and have ago. from a Harrods bag ‘barn door’ affair and borrowed clothes. Part One… I had a few aims from the shoot. who has little modelling experience. she is going to be: Holly Golightly – or to you and me. sorry Now. You have to put the initial work in. again. And two… The second has two elements: yes.
www. Though for the above image. the head was turned slightly into Lorna to give a rimlight effect.March 2013
.photographymonthly. Twin Ranger Quadra RXs.
Nikon D800 | 85mm f/1. with the second bare head behind Lorna.
Go to www.Footprints |
Both of these images were lit the same way.com .photographymonthly.4 | 1/1 5mm f/ 25sec ISO 1 | f/5 | 00
Watch the behind the scenes film on Photo TV.4 | 1/125sec | f/4.5 | ISO 100
D Nikon 800 | 8 1. bottom left pointing top right. A reflector was used to soften shadows in the hat and hands. The main light used a 1m Deep Octa camera right.
Kate managed to capture a bit of magic and female attitude in me that rarely rears its head at work. not flouncing around in front of the camera ‘working it’. A single Bessel KQ400 monoblock modified with either an 18in beauty dish with a tight grid. or a Bessel stripbox which had a loose grid. oh and a newfound sense of sassiness. this sums up an awesome day. Adam and I were setting up the lights and testing – after all. timeless waif. My favourite image The image I most enjoyed shooting was the classic ‘Holly’ picture with sunglasses. interviewing photographers like Kate about their style and approach. hats and jewels in vintage shops to try and emulate the same quality. The most suitable dress was found online and between us we searched our own collections for accessories – including a fabulous 1920s style turban which Kate dug out – that combined with the backgrounds. Camera-wise. Overall. This was very much a team effort. a greater understanding of what can be achieved with flash and higher confidence with lighting.
Nikon D800 | 70-200mm f/2. full of laughter and positive energy that made me realise why Kate is able to create such brilliant images.4. gloves. Afterward I definitely had a newfound respect for models. I’m used to hiding behind the comfort of my notepad and pen. Kate was using a Nikon D800 and three lenses: 85mm f/1. I haven’t demanded champers for breakfast in the office. so hugely enjoyable for me. The Bessel KQ400 with the 18in beauty dish and grid. This is what I came away with most. Lorna ‘Audrey’ Dockerill. despite the popularity of other more obvious sex symbols such as Marilyn Monroe. coveted actress. A couple of Lastolite reflectors were added when needed for fill. positioned right behind Lorna to accentuate her figure.
A pair of Elinchrom RXs Ranger Quadra
(mainly in channel B) and a 1m Deep Octa and centre diffuser. practically and creatively. Modelling is a whole different language from posing for your photo-pals and is as much about acting as it is about sitting pretty.8 and a 70-200mm f/2. direction and subtle editing. unlike Audrey whose elfin appearance and delicate bone structure teased the camera so graciously. and I’m still stumped that this is actually me! Twinned with the atmospheric lighting. The backdrop was lit with a Quadra RX (in channel B). Features Editor It’s not every day you’re asked to become Audrey Hepburn: style icon. just worked. just above Lorna’s face. no shirking here. was known as a good humoured onscreen and off screen darling that many fell in love with. made me feel anxious. While Cat was sorting hair and make-up.8 | 170mm | 1/125sec | f/4 | ISO 100
Below: The classic ‘Holly’ shot was lit with two lights. pointing down at a 45˚ degree angle onto the black Studio Decor background paper. That’s what models are for. This meant that sourcing a fitting wardrobe was important to help Kate create a similar high class look. I feel so stimulated by the whole shoot. we couldn’t keep Audrey waiting could we! It ended up being an all day shoot and was all hands on deck.
>> continuously learning and evolving – it keeps me fresh. a 24-70mm f/2. although known for her signature style in her role as Holly in the 1961 movie Breakfast at Tiffany’s.Below: Here we used two lights. I have committed to a creative shoot project a month to keep myself inspired and fresh – it’s so easy to get stale. you ‘can grow into’. But I have always loved Audrey’s persona and style. which seemed so effortless. I have heavy features. The background was lit with a Ranger Quadra RX (in channel B) from high to the right.8. Yet (Ed: Oh god!). When shooting weddings and portraits. the vision for the shoots is solely mine so this was a refreshing change. so we searched rails of retro frocks. Deserting the comfort of my skinny jeans and t-shirt for a slinky column dress and classic pearls. if I’m completely honest though.8 | 62mm sec | f/ | 1/125 8 | ISO 100
. features as my Nan would say. pearls. cigarette holder – the works. the Bessel KQ400 with a lightly gridded stripbox camera right. almost centre line high up but pointing down to light Lorna’s dress. And research into her polished image confirmed that she was a leading lady who.
Nikon D800 | 24-70m m f/2. the day was a wonderfully luxurious experience. She has the ability to make women feel at ease with themselves.
The backgrounds.co. Vina nham Chelte hats. www.Footprints |
D Nikon 800 | 7 0-200m m f/2. ‘ELIZABETH TAYLOR’
www. camera left.com . Rose Pink and Black.photographymonthly.March 2013
. Graciously provided by Lux S Studio Décor in Beaminster.uk
NEXT MONTH WE SHOOT 60S FILM STAR. We used two backdrops. s. Glove and lery – jewel s sorie acces team d by owne
Above: The main light was diffused available light through a door. We used a single Ranger Quadra as a hairlight and then a reflector on Lorna’s left side to fill shadows.studiodecor.2 | ISO 8 0
Costs dress black Little ASOS rom £25 f o ld e r tte h C ig a r e arrods om H ce £14 fr n e c k la arl Pe sers Brow £10 tge.8 | 140m m | 1/2 50sec | f/3. so a huge thank you to them.
Craig Fleming Tattoos Portraits
Inked bodies intrigued fashion & portrait photographer CRAIG FLEMING enough to launch a personal photo project into tattoo culture. He gives a different perspective on needles and getting under people’s skin to Features Editor Lorna Dockerill
WHY DID YOU START YOUR INK’D PROJECT?
When you photograph models you realise that the images you get are not real. When I was a kid people with tattoos were the guys at the back of the pub. I don’t mind photographing awkwardness because that’s how they felt on that day and if I can get that across. high class look to it.
REALLY. the ones you avoided. putting people in the darkest parts I can find with a little shaft of light so you get an ambience rather than this polished flash photography type image. This project started when I was kicking back and got sick of shooting models because it’s all a bit false. To put something on your body which is permanent is quite a big thing. but it’s their character I want to get across. I just liked it as it gave it a film quality. but because they love the artwork and being inked. For a lot of my portraits I’ve being doing that. I’ve always appreciated the artwork of tattoos and I came across people on various shoots with them. For a project I have to shoot a person. WHAT DO YOU USE?
It’s all natural light. so when you’re doing a portrait they’re often quite nervous. And yet these are actors that get gritty roles and so it’s kind of a paradox really. it’s not about an image. I don’t think a lot of them realise what they’ll look like when they’re older. whereas a model will cover it up and put on this act which is what I was sick of shooting.
WHY DO YOU THINK TATTOOS ARE INTERESTING TO PHOTOGRAPH?
It’s not so much the tattoos in general. then that’s the point of a portrait for me. I’m trying to move away from using studio lighting and work more with natural light. I’m interested in the ones who live that life and aren’t just doing it for vanity. but that was her.
SOME PEOPLE LOOK A LITTLE APPREHENSIVE. HOW DO YOU COMBAT THE NERVES OF YOUR SUBJECTS?
Well I don’t because if they are nervous that’s what I want to show. Amazingly enough the actors that I’ve shot in my career have tended to be the most awkward ones and more concerned about how they look. AVAILABLE LIGHT? THAT MUST HAVE BEEN VERY DIFFERENT FOR YOU AS A PHOTOGRAPHER WHO USES STUDIO LIGHTS?
These are some of my favourite portraits I’ve ever shot because they’re so different. If it’s in a shop with strip lighting. they’re acting. This shoot [with Alexandra] was taken during late October in a derelict room above a fruit and veg shop in Gainsborough. Whereas now some models have them and they actually look cool. It’s almost like they’ve covered something up. they have this vulnerability. so there wasn’t much natural light and it just lent itself to what we were doing perfectly because it didn’t suggest anything. You get where they work or where they live.
DO YOU THINK YOU HAVE DISCOVERED THAT?
I think so. I want to show that although they are covered in art and ink. The main point is to show people with tattoos and get inside them to see what makes them tick and why they’ve done it. People look at my work and know it’s mine because it has that glossy. and it just kind of interested me because I wondered what makes them do it. so with this it needs to be more gritty and real and with natural light you get that. It’s sometimes their front or persona. but I’m keen to differentiate between the two. I do think some of them get tattooed because they’re covering something up – but some just love adorning themselves in them. Some like showing them off and some are almost embarrassed of them. some with ‘sleeves’ and tattoos on their legs and neck. it’s like a way of life.
IT LOOKS LIKE THE LIGHTING YOU HAVE EMPLOYED HIGHLIGHTS TATTOO ARTWORK. The first girl I ever shot was really nervous and it showed in the pictures. They’re often more vain than models. it’s the people who have them that are interesting from a photographic point of view.
WHAT MADE YOU WANT TO BE A TATTOOIST?
It’s been my dream job since the age of twelve and I think it’s because my auntie and uncle had tattoos. I don’t like tribal stuff and I think it should mean something to you. WHAT WOULD YOU HAVE?
I like the traditional ones like ships and things. but they mean something to me from the time I had them done. But creatively.March 2013
. whereas if it’s just me with a camera set to ISO 1200 and I’m chatting to them and asking them about their tattoos. Most of my tattoos don’t have much meaning. http://craigfleming.com . they open up. That was my first. I operate like an artist in a way.
HOW IMPORTANT IS IT FOR PHOTOGRAPHERS TO HAVE PERSONAL PROJECTS?
It depends on how happy you are doing what you’re doing. I look a bit scared on most of the photos.
WILL YOU BE SHOOTING THE ACTUAL TATTOO PROCESS AT ANY POINT?
Possibly yeah. We’ll see if I’ll ever have one done.com/
“I WAS USING A 24-105MM F/4L.2 SO I CAN DO MORE NATURAL LIGHT PORTRAITS. 24. My Dad was into ships. setting up a studio flash with people who aren’t used to it makes them instantly more nervous. WITH A FASTER LENS. The result? She looks like she’s taking a picture every time she lifts her arm to her face!
TATTOOIST LAID BARE
Alexandra Batty. WHAT ARE YOUR FUTURE PLANS FOR THE PROJECT?
It’s something I plan to do over a period of about three or four years to build up a collection. I’D RATHER SHOOT A LITTLE BIT FASTER WITH A SHALLOWER DEPTH-OF-FIELD.
WHICH IS YOUR MOST MEANINGFUL TATTOO?
On the back of my leg I have ‘this gun’s for hire’ which are lyrics from a Bruce Springsteen song Dancing in the Dark. For me it was always about producing beautiful images and getting under people’s skin to show who they are. IN THESE DINGY PLACES I WOULDN’T HAVE TO RAMP THE ISO UP. It was a bit weird because I’m not a model and haven’t done anything like that before. I wouldn’t have Snoopy on me bum or anything. that’s how it would appear when you walk in. Tattoos make good subjects because they come under the same genre as fashion I guess. Maybe for filler images but it is mainly about the people and the reason behind the tattoos. If you light it with flash you can just kill all that and it’s just gone in an instant. We had a quick chat to her about her shoot with Craig between inking schedules. com/Blog/2013/1/5-mostdedicated-photo-fans
PENTAX PAINTED LADY
Dutch photography student Lotte van den Acker.
NO ONE LIKES A FROZEN MODEL.”
www.photographymonthly. When you get your teeth into something that you’re really interested in. expressed her love for photography with a tattoo of an Asahi Pentax 35mm SLR embossed on her forearm. Ouch!
www. I haven’t lost my passion for it.
YOU’LL HAVE TO SEND PM A PICTURE IF YOU DO GET INKED. It’d have to be something cool. BUT I’D LIKE A 50MM OR AN 85MM F/1. I shoot what I want first and then chase work. Plus. but I relaxed toward the end! We were having a bit of a laugh while doing it. If you’re happy shooting commercial stuff and paying the bills and stuff like that then that’s fine. there’s no money that changes hands though. you carry on riding that wave and it turns into something else.
WHAT DID YOU THINK TO SEEING YOUR COLLECTION OF BODY ART IN CRAIG’S PICTURES?
Really pleased. But I might do something like that if they’ll let me.Craig Fleming Tattoos Portraits
FIVE MOST DEDICATED PHOTO FANS
See the lengths photographers are prepared to go to for visual art with our list of the most imaginative photo tattoos on the PM blog. It’d be something like that. I always give the people in the pictures the images. 28. lives in Stourbridge and has been a tattooist for the past four years.4ormat.photographymonthly. People wear different clothes to show their individuality and I think it’s similar with tattoos.
uk www. but what about for a long weekend? Imagine just how inspiring
it would be to see your images lifted from the good to the simply stunning. a fast constant f/2.8G ED! Okay. crystal clear landscape vistas that you could almost walk into and.lenslocker. you can have Nikon’s AF-S 24-70mm f/2. Well you can.com/LensLocker @LensLocker
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Exotic glass maybe out of our reach to buy. to shoot beautiful.8 aperture. www. just attaching a Nikon 24-70mm to the front of your D7000 or D3200 would make you feel amazing.co.
Rob Tarren — Tramlines Nikon D800 | 70-200mm f/2.8 | 200mm | 1/1600sec | f/2.8 | ISO 125
I do sometimes change the texture of materials by overlaying them with another texture. I mean. wow I wonder how they did that? That’s certainly the case with magic-man Adrian Sommeling’s work. or a situation in the street.”
. but that’s very rare.KEEPING IT
Being a photographic illusionist is really a true art. He says: “Almost everything is real.
CONJURING UP IDEAS
Perhaps one of the most difficult elements of an image that appears to defy reason and reality is coming up with the concept in the first instance. Here image wizard ADRIAN SOMMELING tells Jade Price exactly how he creates the magic in his photos
e all love photos that make us look twice. “Ideas often just pop up in my mind. Adrian is adamant that almost all elements of the image are real and that the magic comes from the way in which all of the parts come together in Photoshop. I don’t use CGI images and I only occasionally draw a little bit by hand like snow or rain.” he says. Sometimes it’s something I read in the news. “That can be sadness or frustration but most of the time it’s something which made me laugh. but often it is my son who does things that remind me of my own childhood. Adrian admits that he may draw small elements within his images but this is rare and he likes to avoid it as much as possible. almost everything in Adrian’s images is real. All the photos that I use for a composite I shoot myself. question their credibility or just make us say. normally after I see a situation that plays with my emotions. innovative creative compositions such as children flying around on windmill sails or being lifted into the air by gusts of wind are ideas which are often fuelled by emotions.”
THE REAL DEAL
Though it may be hard to believe. While models and certain aspects of the image may look like CGI. For Adrian.
Adrian Sommeling WOW! backstory Technique
The Worker (Part 1)
Adrian is able to make his photos of the seemingly impossible look almost plausible and the eye is happy to sit back and believe in the final image before it. but always on a new layer upon the layer that I want to edit.” This is what adds the final layer of believability to Adrian’s images. apart from creating the final image by piecing the different layers together. is the use of shadows to apply a more believable finish when coupled with Adrian’s use of natural lighting. all he had to do was shoot them and
.” Adrian reveals. Once he had found locations that fit the specific composition Adrian had in his mind. and for the series of Adrian’s giant humans taking over the city. “I fill this layer with 50 per cent grey and put the blending mode on soft light. “What I do in Photoshop is emphasise the lights and the shadows. Adrian has some particular favourites when using Photoshop actions. which he always tries to use. “They are the tools that I use to emphasise light.Wind
Perhaps Photoshop’s biggest involvement in Adrian’s photos. Sometimes I use a kind of lens flare brush or mask for the final touch. “Most of the lighting is done by natural light and my three speedlights. with the dodge and burn tools appearing in all his photographic creations. I never use these tools on the real image. some serious location scouting had to be carried out.” By adding in shadow and perhaps a touch of light to certain areas.
The backgrounds to Adrian’s images hold a high level of importance to making the finished product look realistic.” the photographer says.
The key. is making sure that the natural light and positioning of the speedlights ensure that the lighting and shadows fall in exactly the same way as those in the original background image. Compared to many advertising photographers I can’t let somebody build the background. and so for this the photographer uses three YN560 speedlights and a RF602 trigger. using a Nikon D3100 and with a 50mm prime lens or a 10-20mm Sigma lens for the majority of the background shots.Adrian Sommeling WOW! backstory Technique
then rope in some helpful handy friends from an office to pose as the giant subjects.”
THE HARD GRAFT
Adrian’s kit is relatively simple. The lighting for the models needs to be recreated to mirror similar effects in the background image.photographymonthly. so I go outside and drive around until I find a background that comes close to what I have in mind. I have something in my mind. It was then up to Adrian’s Photoshop skills to pull the elements together to create the series of images which look like people rampaging through the city. he says.com .March 2013
. He says: “When I think about an image. as Adrian
www. Setting up all these different elements for one mind-blowing image can be a little time consuming as you may expect. Often not everything is there that I need for my background so I take more photos at different places and put them together to make one final background. Godzilla style. Using realistic backgrounds is paramount to Adrian’s want of realism in his images. accompanied by natural lighting.
“and I really had to force everything in post-production to make it all a little bit more believable.
“ADRIAN ESTIMATES THAT PHOTOGRAPHING THE MODELS NORMALLY NEVER TAKES MORE THAN AN HOUR TO COMPLETE. which can take Adrian up to four hours before the finished image is in front of him. WHICH CAN TAKE ADRIAN UP TO FOUR HOURS BEFORE THE FINISHED IMAGE IS IN FRONT OF HIM. He estimates that photographing the models normally never takes more than an hour to complete.” It appears perfection can be hard to master even with total control over all the elements in Photoshop. The harder graft occurs in the post-production. THE HARDER GRAFT OCCURS IN POST-PRODUCTION.explained that location scouting and shooting takes up the most of his time for each image he produces. But we like what we see.” explained Adrian. but also because I like to take my time in searching for the right background that will fit my idea. as Adrian struggled with the production of his image Angry Birds (below).”
. but you would be mistaken as he landed easily on his image Snowball Fight (right).” It doesn’t always go so smoothly and to plan however. He says: “It turned out exactly how I wanted it and I had also never made snow before and always wanted to try it. He says: “It’s not only because backgrounds are hard to find. photographing the models is a quick and easy job as it only takes him around ten minutes to set up the lighting and then take the shots. I am still not satisfied with the result.” Adrian went on to say that after the task of finding and shooting the background is complete.
ALL IN A DAY’S WORK
From the array of Adrian’s impressive images you’d think it would be difficult for this Photoshop wizard to pick a favourite. “The shooting of the photos was terrible.
Scan the QR code to see Adrian’s Photoshop work in action.photographymonthly. painting and drawing alongside her when he was a child. Adrian took a great interest in his mother’s art work. After his military service in 1990 he started his own graphic design agency.March 2013
! IN THE OW
BRUARY I FE
L UE * AST SS
ONTH’S W M
www. This gave him the grass roots for innovative and imaginative thinking that would later lead to his inspiring images.com . the birth of his son. combining this with the biggest inspiration in his life. he started his creative and eye-catching photography in March 2011 alongside designing and programming websites. www.Adrian Sommeling WOW! backstory Technique
Born in 1966 and one of four siblings.adriansommeling.
Darren Evans — Cardiff Bay Canon 7D | 24-105mm f/4 IS USM | 28mm | 806secs | f/8 | ISO 100 | Lee 0.6 ND Soft Grad and Lee Big Stopper
www.photographymonthly.com - March 2013
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Paul Coghlin Nature
B LO O MING MARVELLOUS
Encapsulating blossoming petals in a 30-strong picture series gained PAUL COGHLIN a prestigious Fellowship from the British Institute of Professional Photography (BIPP). He tells Lorna Dockerill how he did it
seal of approval can float into the arms of photographers in numerous ways. Whether it’s the knowing nod of appreciation from a proud parent beaming over their child caked in mud buried within the pages of the family album you printed, or a Flickr follower rating your latest pictures and adding them to their favourites. For Suffolk-based photographer, Paul Coghlin, it was receiving recognition for his excellence in fine-art photography after being awarded a Fellowship by the British Institute of Professional Photography (BIPP). PM chatted to the professional photographer about the needs and musts for his Petalum project which helped his career bloom.
BROWNIES AND PLANT POTS
“I started to photograph flowers, with the intention of producing art-based work rather than just a pretty picture, this came as a result of some pale-pink tulips in a terracotta pot given to us as a gift a few years ago,” Paul says. “It had been sitting next to our kitchen door for a week or so in the spring sunshine, and one day I brought it indoors to see if I could develop my own floral photography style.” And grow a trademark trail of imagery he did. Paul — whose love of photography began at the age of 12 after becoming fascinated by the reversed image his grandparent’s old box Brownie camera produced — received an Agfa 126 film camera for his 13th birthday and the rest is history. “Soon I was developing my own 126 cartridge films and producing my own prints using my parents’ airing cupboard as a make-shift darkroom,” Paul tells PM. “Although most of the linen was taken out for developing, I imagine some must still have had the slight odour of chemicals!” the 45 year old adds.
www.photographymonthly.com - March 2013
. “Some of the earlier botanical photographs on the Mamiya were of pink flowers and I found that the new wide-latitude Portra 400 film worked well with these. which is a popular product for fine-art prints due to the fine.” For vibrant projects Paul recommends a paper such as Ilford’s Gold Fibre Silk with the appropriate ICC profile for “punchy blacks and good colour.” www. which is designed to deliver great colour saturation with various lighting. and allowed more control during the digital conversion to black and white. this film. so there are no problems with reflections masking some of the photographs’ details. especially with the often relatively low-lighting levels.com
KODAK PORTRA 400 FILM
Though Kodak’s demise is still fresh in our minds. With its colour capabilities that are ideal for skin tones. smooth surface. it wasn’t an obvious choice for Paul’s black and white floral portraits. Paul opted for Hahnemühle’s smooth Photo Rag 308gsm. Plus it has very low grain for an ISO 400 film.ilford. Paul says: “Photo Rag worked best for the botanical prints as it provides a more naturalistic feel to the photographs and is completely matte. is still available to buy on Amazon. His reasoning was down to the lack of grain.BETWEEN THE SHEETS
When selecting a paper to emphasise black and white contrast.hahnemuehle.
and it took a considerably lengthy period of time to set up.” it had much less grain when photographing the flowers.” The filmic quality produced from the Mamiya won in the detail stakes when the images were scanned professionally.com . Paul soon switched to the Nikon D800E and a Nikkor 60mm macro. It really makes you concentrate on style.” he says.” he ponders. Suffolk.” holds a higher status than the Associateship (ABIPP) and Licentiateship (LBIPP). but the main ones were that I needed to compile a series of twenty photographs of a specific subject which had a consistent style and high-quality throughout. “especially with the focusing. the longer the whole process takes. Since then he slipped the BIPP’s Photographer of the Year Award 2010 under his belt for the image Pink Tulip. Study IV.” says Paul. And. though the Nikon “smoothed out the finer detail. On top of this. Combining his “strong interest in the natural world” and his individual fine art approach to botanical subjects.” Paul says. “Perhaps part of the interest in the images is that the monochrome style in some way suggests a more classical approach to photography. “I found that the process of working towards the Fellowship — which also included the opportunity to receive feedback from a BIPP mentor — very valuable in that it pushed me artistically. pictures will be on display at the Contemporary Ceramics and Photography in Clare.
for this specific series it was clear that a camera such as the new high-resolution FX Nikon D800E. which is “attainable for distinguished and exceptional ability and creativity.
COMPILING A SERIES
“There were quite a few requirements for the Fellowship submission. which meant discussing each image in detail. print quality and so on.”
FILM VS. but what was it that impressed the panel of assessors? “I’m not entirely sure. would be far more practical. The Fellowship (FBIPP).photographymonthly. even further than my earlier Associateship submission had done. THE D800E
Clicking with a Mamiya RB67 Pro SD camera. It took quite a few months to compile. the more likely it is that they will be affected by the ‘waiting time’. after all the hard work. but he found this a cathartic procedure with the added benefit of a BIPP mentor. which had become available just at the right moment. throughout February. which were chosen for their unusual and intriguing appearances on their velvet background. “Although the RB67 works very well for non-macro work or macro photography where a shallow depth-of-field is required. hinting at those images from the late 19th and early 20th century. If you would like to see all of Paul’s 30 Petalum images from the series in print.
www. intention.Paul Coghlin Nature
A CAPTIVATING PROJECT
After picking up a degree in environmental science and 20 years working in technical jobs. image. of course. This was because of the reduced depth-of-
field limitations for a given light level in macro photography. but. it also validates your work on an international and professional level. Paul pledged to make his fine-art photography a full-time occupation in 2011. and also compensations were needed to take into account the extension of the bellows and so on. Paul put his knowledge into practice with a complete series named Petalum. The entire series also maintains a minimalistic style throughout with a high level of detail which may have contributed.March 2013
. This again would reduce the accurate predictability of the final image on the film. a profile of work was also needed. However. And when you’ve got a number of cut plants waiting to be photographed. “The set-up time [with the RB67] took much longer than with a DSLR. a 90mm Mamiya lens and using Kodak Portra 400 film accentuated the intricacy in the first few images of the project and enabled Paul to print larger sizes with the 6x7cm film size. plus produce these as highquality prints.
as I’m very pleased with the abstract minimalism of the final image. a picture from a series he shot in Berlin.” Second is Sentinel. Study V was taken on a Mamiya 645 Pro TL camera and 45mm lens. a long-exposure coastal study. using Fuji Neopan Acros 100 film. It was worth enduring the howling freezing wind and terrible weather though. PICTURES WILL BE ON DISPLAY AT THE CONTEMPORARY CERAMICS AND PHOTOGRAPHY IN CLARE. With a varied portfolio. “I came across a zig-zag sea groyne during a photo trip and the shape immediately lent itself to an abstract photograph. which I feel it achieved. I was working to capture the sombreness I felt while visiting the memorial in this abstract study.” Finally. giving the feeling of being drawn out into the sea to the vanishing point. which ranges from snapshots of an elephant’s wrinkled trunk to glossy spot coloured Hot Rods. SUFFOLK
Though Paul’s series has a special meaning thanks to its recognition. “Memorial. “Lion’s Stare II is very much one of my overall favourites as I feel it’s a strong image of a powerful animal but also that it achieved everything I had visualised for the photograph.”
IF YOU WOULD LIKE TO SEE ALL OF PAUL’S 30 PETALUM IMAGES FROM THE SERIES IN PRINT. what are his favourite images from his collection to date?
1 2 3
First off it’s the image which won him the Digital Printer of the Year 2010 from B+W Photography magazine. the photographer is far from a one trick pony.
Paul Coghlin Nature
WHY THE BIPP?
With over 100 years of experience supporting more than 3,200 worldwide photographers, the BIPP is recognised for its qualifying organisation that covers a whole range of genres. Their core aims are to train, qualify and support the wellbeing of professional photographers, with benefits including portfolio reviews and exclusive UK access to the Federation of European Photographers. Annual Membership: £150 for Qualifying and Qualified members/£50 for students www.bipp.com
STAMP OF APPROVAL
The qualifications the BIPP offer are as follows:
An established professional level of skill and competence
ASSOCIATESHIP (ABIPP) FELLOWSHIP (FBIPP)
A high standard of craftsmanship and creative ability Distinguished and exceptional ability and creativity
For qualifications the assessors look for:
TREATMENT OF IMAGE:
Print quality • Tonal range Graphic stability • Design Texture • Workmanship Technique
CONTENT OF IMAGE:
Creativity • Subject matter Interpretation • Composition Centre of interest • Perspective Direction • Use of/control of light Style • Expression/narrative The wow factor • Freshness
Award-winning photographer Paul Coghlin was born in south London and now lives in Suffolk, east Anglia. He established his own business in 2009, specialising in fine-art photography. To date Paul has been given a number of awards, including BIPP Photographer of the Year 2010, and the Peter Grugeon Award for Best Associateship Panel. He has also gained representation in California, at the Weston Gallery (Edward Weston’s family gallery) and the Sea Pictures Gallery in Suffolk.
www.photographymonthly.com - March 2013
Wild Britain Amphibians
A BIG JUMP
In the last instalment of our Wild Britain series, ecologist and wildlife photographer SIMON BOOTH covers amphibians as they embark on their dangerous migration across our countryside to their breeding ponds and lakes
s an ecologist working on the front line of wildlife conservation, I am in the fortunate position of being able to work in the countryside on a daily basis and as part of this, am able to have some involvement, with the aid of legislation, in how our wonderful variety of plants and animals are protected in the long term. While undertaking this work it recently struck me that it would be a good idea to document fully, the plight of a particular group of animals as a way of making my pictures more saleable. By having in my collection, species groups with full ecological coverage rather than patchy coverage, showing only typical behaviour – in other words, the norm – I could possibly have greater appeal to buyers. In order to stay ahead of the game in today’s market place, full pictorial packages are well worth considering if you want to stand any chance of making any money with your pictures. If this sounds appealing, do your research and choose a species, which is currently getting press attention, but not so much targeted at national press or species known globally, as they tend to be pretty much covered already. I’m afraid this sort of work will mean the overlooked species, those that are declining but have not yet, or unlikely to get, everyone hopping up and down in front of parliament waving billboards around. There is an advantage to this. Declining species are everywhere today it seems and better still, the chances are they are likely to occur within a couple of miles from your home. The particular group of animals that I have chosen for this feature is amphibians. Think of frogs, toads and newts and your thoughts don’t immediately turn to photography. However, these endearing little animals have a big story to tell and whilst they may seem pretty boring to most folk, during my time working with them, I had to implement a range of key photographic skills to get the images that I wanted.
www.photographymonthly.com - March 2013
you must be sure that the required shutter speed for your chosen aperture is sufficiently fast enough that all ambient light will be excluded to prevent a second image appearing on the shot.8 to focus attention on the toad’s beady eye.
Female smooth newt. Most modern cameras will synchronise with flash at this speed. For this I used three Canon flashguns. This particular common toad (middle right) was found under a rock on a dry river bed in France.
Un-natural shelter. on land but showing night-time migration as this is when most of the migration activity takes place to avoid predation. it is important to show this too. I set my camera to aperture priority and used f/2. What many people fail to realise is that amphibians only spend about four months of the year in the aquatic environment. albeit not as often. especially when ponds have become isolated from hibernation areas resulting from new road networks.
. the new National Planning Policy Framework is in place to protect biodiversity in its many forms today. This is referred to as ghosting. For my first picture in the series (top right) I wanted to show an amphibian. Before putting it back I photographed it at the base of a large mature tree which had a good covering of moss over the roots. the idea being to simulate moonlight as best possible. in this case a smooth newt. I used a 100mm macro lens with the aperture set to f/18 to give plenty depth-of-field to cover the scene without compromising optical quality. seeking refuge and ultimately hibernating again. The shot was taken on site and during the daytime for convenience. I photographed the toad at eye level to show how other small creatures see toads when they encounter them. but with slow moving species such as newts.
Common toad emerging. If working during the hours of daylight with flash as your light source.
THE DANGERS OF ROADS
Often migration occurs close to roads and many amphibian populations suffer heavy losses during this time. Fortunately. a longer shutter duration would have worked too. two placed to the front of the newt with the power output set to 1/16th power and a third ‘gun placed behind the newt with the power output set to 1/4 power with the camera’s ISO at 100. A shutter duration of 1/200sec was chosen with my camera working in Manual mode. with the rest of the time being found in terrestrial habitats foraging for food. but with all ambient light excluded. amphibians appear in their hundreds of thousands in our countryside as they re-emerge out of winter hibernation and begin to move en-mass to ponds and lakes where they mate and spawn the next generation. Because amphibians do migrate during the day as well.COMING OUT OF HIBERNATION
Even when they reach their breeding ponds they are not safe and pretty much top of the menu for most other animals. which meant the lovely warm light from the car’s headlamps. My version of pond predation was to show the unpleasant goings on beneath the surface with tadpoles. Image 2 – One of my ideas was to have a picture of a toad sitting in the middle of the road. to illuminate the side of the toad facing the camera to avoid an unrecognisable silhouette.photographymonthly. Obviously this is quite a shocking image and not one I will likely repeat as it just doesn’t seem fair. to where the car was parked a few metres away. but the magazines and journals that often use this type of image are doing so for scientific reasons and it makes the learning experience better if illustrations are provided. firing at 1/8th power. I wanted to create an image that had lots of action in it and so came up with
www. with the most common of all being the great diving beetle.
DISPLAYING THE DYNAMICS OF A SPECIES
The glass tank used in the previous beetle image was purposely homemade with photography in mind and has proven invaluable over the years. The shot was taken with a 100mm macro lens at f/18 and an exposure time of 25 seconds. a Canon 100mm macro lens hand held at f/9 at 1/200sec. but not as bright as I had hoped. After an age of persisting I did get the shot that you see here but with one amazing discovery… toads never jump with their eyes open! Obviously this is a mechanism that protects their eyes from injury. The shot you see here (bottom left) was taken in a homemade tank and it illustrates the horrific goings on beneath the surface of the pond. In reality I probably needed another two ‘guns for this. It’s not a pleasant thought but without such strong images. placed my willing volunteer on the ground and waited for a Greg Rutherford-style leap.
Leaping toad. My idea was to showcase this to the public through a strong image of an adult toad sheltering beneath the tread of a car tyre at night. but after all my efforts this was never going to look ideal in this magazine. In the end I
Wild Britain Amphibians
For amphibians. but the shot was always going to have to be a compromise between the two. I introduced a third flashgun to illuminate as much of the road between the car and the toad as possible. ISO 160. It has two compartments. set to -2 stops. The car lights were used to base the main exposure upon with a tiny amount of fill-in flash. The shot was illuminated by three Canon 550EX flashguns. I had to sacrifice almost all ambient light. caught in the headlights of an oncoming car. In order to get an exposure time that would arrest a leaping toad at night. never throw images away without careful consideration first. I decided to illustrate toad vulnerability in a number of ways. However. to raise awareness of this unfortunate annual event.so ponds with good populations of amphibians are unlikely to be separated by new roads in the future.March 2013
. But it’s all about education at the end of the day. To remove as much of this blackness as I could. Granted I made a few pounds in the process. which would ultimately assist amphibians in getting back to where they belong. making clutter free images easy to achieve. which I did get on many occasions but almost never in a straight line and almost always missing the plane of focus… getting this right became a battle of wits. I made sure to select a lane that rarely sees any cars and used my own car for the shoot. even though it is common place in the wild. but this was to prove harder than I had ever imagined. Image 1 – Amphibians are adept at seeking new places of shelter and one such place – following an unfortunate fall from a large kerb stone – is beneath the wheels of cars parked near to their ponds. So that I didn’t become a toad statistic. which are prone to being eaten by whole range of animals. Another hurdle I had to overcome was the immediate fall off of flash light from within a few inches of where the toad was leaping. It was taken with natural light at the end of the day but with a small amount of fill-in flash was added to give some directional lighting and to add mood. Rather than remove flare from the picture I allowed it to persist as it adds to the atmosphere of the shot. My first attempt did capture the car headlamps. Image 3 – For my last image in the road sequence I wanted to get a shot of a toad actually jumping out of harm’s way. they just weren’t powerful enough to register as anything other than small spots of light when used in combination with flash. with the inevitable death to follow. and just this week this image was purchased by a well known natural history title. so in the end Photoshop was used to clone in an artificial eye. so that the two can be kept apart.
Road crossing. The picture was taken with a 100mm macro lens at f/25 and ISO 200. one for the animals and one for vegetation. with five being the ideal total.com . local councils and Highways departments are unlikely to use dropped kerbs near to ponds. The unedited image could still be used in a science journal so the moral of the story is. life can only be described as extremely tough.
the idea of showing a frog as it landed in a pond (above). It is just possible that the frog is enjoying this… or so it would appear by the smile on its face!
Simon’s homemade miniature infinity pool. The image was captured with artificial lighting provided by three Canon flashguns firing at high speed. such as adding swamp vegetation but ultimately. Diving frog. The tank has a removable black glass panel in the rear compartment to prevent any stray light picking out unwanted distractions behind.
GETTING IT WRONG – When using an infinity pool like Simon’s. Learn the dos and don’ts and how to build your own by visiting our ‘how to’ online guide on the link overleaf. as can be seen here. GETTING IT RIGHT – There are ways around including the base of the pool.Wild Britain Amphibians
Create an infinity pool In addition to building his own tank. and a third ‘gun position directly above the tank pointing into the water. All three ‘guns were fired wirelessly and all set to 1/32 power to ensure all movement was frozen.photographymonthly.
www. playing around with your shooting angle should give an idea of what is achievable and what is not.March 2013
. Two ‘guns were placed to the front of the tank at 45 degrees to the glass. Simon created an infinity pool to capture the natural images pictured here. you have to pay great attention to background and camera angle. which avoids light bouncing back into the lens.com . If you shoot from too high. then the there is a good chance that you will see the base of the pool.
photographymonthly. places and environments. The Wildlife Trust and The Great Outdoors. The vegetation can also be changed at will throughout the shoot depending on the environment you wish to portray. He’s also an ecologist and his clients include BBC Wildlife magazine.
MAKE YOUR OWN TANK AT HOME
To see how this tank is constructed for under £30 visit Photography Monthly’s website at www.The glass tank shown was made at home in just a couple of days using standard picture frame glass and is ideal for photographing aquatic dwelling species.simonboothphotography. The two compartments make it easy to keep your subject clear of all the messy vegetation behind.com/Magazine/PhotographyMonthly-articles/Wild-Britain-Create-your-own-tank-for-amphibian-photography
Photographing the wild world is Simon’s passion. which your subject would otherwise hide in. the Lancashirebased photographer specialises in pictures of Britain’s varied wildlife. www.
For full instructions and illustrations about how to make your own tank visit the web link above. With almost 30 years behind the camera.
here’s our pick of the best compact and bridge cameras on the grapevine.UK GENERAL IMAGING X600
Part of its Power Pro series. get high quality results reminiscent of a DSLR with ease.
RRP PRICE: £220 – WWW.
RRP PRICE: £330 – WWW. so you won’t miss a moment with this portable camera. Shooting 18. The 20x zoom also doubles to an incredible 40x magnification to get close ups of far away wildlife.
RRP PRICE: £130 – WWW. its exceptional 24x optical zoom and 15fps high-speed continuous shooting gets you right in the midst of the action without disturbing any natural habitats. the SZ-30MR is a great companion for nature photographers who like to go on an adventure.photographymonthly. Complete with a 26mm equivalent lens and electronic viewfinder you’ll be able to compose your shots accurately to make the most of your subject. colourful and creative to its core the Powershot SX260 features 20x optical zoom.CANON.CO.2MP images with a 20x optical zoom lens. Lightweight and compact. Its 58 scene detection modes allow you to fine tune the camera to your needs. At a steal under £150.UK
www. the Tracking Focus feature keeps your subject in focus even when it’s moving. this bridge camera from Nikon should be on every macro enthusiasts wish list.CO. And if that wasn’t enough. Not only does it produce high-quality images in low light.OLYMPUS.
RRP PRICE: £400 – WWW. Don’t let its miniature size underestimate just how powerful this camera really is.
Wild Britain Cameras
NIKON COOLPIX P510
With a whopping 42x optical zoom and highly advanced VR image stabilisation.SONY.
RRP PRICE: £280 – WWW.UK CANON POWERSHOT SX260
Compact. With an incredible focal range of 24mm wide-angle to 1000mm super-telephoto.com .March 2013
.CO. Record films in Full HD and utilise its High Dynamic Range feature to really bring out the vibrancy that mother nature has to offer.NIKON. it is the perfect camera for capturing pin-sharp details and those little rascals in the wildlife that fancy challenging the P510’s high-speed continuous shooting at 7fps.SUPER CAMERA BUYER’S GUIDE
To tackle this species of photography you’re going to need a camera that can get up close and personal with your subjects. there is also an optional 40m waterproof case if you really fancy going wild. From those with a great superzoom lens to ones with a brilliant macro function. Not only that but you can edit on the move and experiment with its 3D Photo mode to really bring your subjects to life. and the discreet mode combined with the continuous AF will allow you to shoot wildlife on the sly.CO. this is a great camera for the nature photographers wanting to advance from their compact.CO. Complete with a multi-recording function that captures stills at 16MP and Full HD movies simultaneously. this offering from General Imaging includes a 26x mega-zoom with optical image stabilisation to eliminate pesky ‘wobble’ in your photographs.UK SONY CYBER-SHOT DSC-HX20V
If you’re a wildlife photographer that’s always on the move the HX20V from Sony is a handy compact that packs all the essential features.GENERAL-IMAGING.UK OLYMPUS SZ-30MR
When it comes to multi-tasking Olympus are the masters. Complete with GPS and in-camera editing this is a great all rounder. Intelligent IS and high-speed shooting.
5 | 18mm | 13sec | f/11 | ISO 100
Paul Jones — Yamba B&W Nikon D5000 | 18-200mm f/3.
so my camera was hooked up to a big iMac. Also. which involved a lot of trawling eBay for classic board games. and a Canon 550D with 17-55mm and 50mm lens. I can’t draw or make models or anything along those lines so I tend to animate live objects. The track has a kind of nostalgic theme to it because it uses old 1990s dance music sounds.MOVIE MAGIC WITH STOP-MOTION PHOTOGRAPHY MOVIE MAGIC WITH STOP-MOTION PHOTOGRA MOVIE MAGIC WITH STOP-MOTION PHO MOVIE MAGIC WITH STOP-MOTIO MOVIE MAGIC WITH STOP MOVIE MAGIC WIT
JP: How did you get the idea for the video? IR: I was in touch with the band.
JP: Was that difficult to get all your crew members to be around at the same time?
. Then I thought that a nice way to tie everything up would be if they were being destroyed in order to produce another Delta Heavy record. as I was pitching
for their music video. so they wanted that theme to come through in the video.
JP: What equipment did you use for the video? IR: I had the assistance of some animation software called
Dragonframe. Shooting was some 32 days filming over a five week period. All in all. Delta Heavy. hands and things like that. finding a butcher’s block and other pieces of equipment. Naturally I thought of equalising classic board games from our childhood. Then because of the dubstep drop during the chorus it seemed sensible that these board games got destroyed. so I feel like I only had two days off for Easter so it was pretty intense!
JP: So why did you decide to do the video as stop motion? IR: The band was interested in my stop-motion work and they
were keen for that style. around four to five weeks writing and prep.
JP: How long did it take to plan? IR: There were a couple of weeks throwing ideas back and forth and
once they were happy with the concept it was maybe two or three weeks preparation.
lives in London and he had to come on the weekends and shoot the butcher scenes. I didn’t plan where it was going and it just sort of ended up in the goal. which was a nightmare as they have all these moving
parts and they’re surprisingly difficult to chop up with a hacksaw. I was
www. so it took about half an hour to 45 minutes to solve all the cubes with the help from my two brothers. That shot alone took about four hours. but it would have taken a whole week to film if we had done each unique frame.M
PHY TOGRAPHY ON PHOTOGRAPHY P-MOTION PHOTOGRAPHY TH STOP-MOTION PHOTOGRAPHY
Jade Price caught up with pro stop-motion photographer. So which was the hardest sequence to produce? IR: The most time consuming was definitely the Rubik’s Cubes
because we had 80 to solve for each frame. including terrified Guess Who faces.March 2013
Ian Robertson Time Lapse Movies
. who played the butcher’s hands.
JP: What part are you most proud of? IR: I am particularly pleased with the Subbuteo equaliser with the
ball bouncing around the butcher’s block. I have to give a shout out to Annie Ward. Get By
IR: Yeah my brother. playing cards and Hungry Hippo eyes. It would have killed us! Technically the difficult sections were probably mincing up the Hungry Hippos. the only looped sequence in the film. I had the idea to animate the ball just before I started shooting and I bounced it around. IAN ROBERTSON to find out how he produced his mind-blowing music video for Delta Heavy’s. 12-14 hour days just plugging away! JP: Wow. then in the week I would shoot all the equaliser scenes. who meticulously hand painted all the illustrations.
JP: That’s pretty impressive then! So was there anything you didn’t enjoy when shooting? IR: The Scrabble was a killer because there were so many little piles to change for every frame and I shot that quite early on.photographymonthly.com . It was a pretty intense few weeks. who are Rubik’s Cube fanatics! We ended up doing about 18 different frames and it took so long that we had to loop the sequence. There were a lot of details to line up between each frame.
Not sure I can face another animation right away! I am still recovering.hunched over the butcher’s block messing around with little scrabble piles and in a lot of pain because it was just such an uncomfortable position to be in for a long period of time! I thought. this is going to take forever. I am keen to do
a live action film or mixed media next. I will never finish in time and I will eventually go insane.
JP: I suppose as you see it coming together it becomes quite exciting. IR: Yeah and when the shots start to cut together and it takes shape
you feel better about it.
. Hopefully I will be pitching for Delta Heavy’s next music video too. which will be some time this year.
JP: Do you have any plans for future projects? IR: No more animations planned for the near future.
ly/11WeELg www. 160 12 £600 £200 £200
www. can also be found at www. His hip-hop music video. Lyrical Spread. professional Guess Who and Hippo face painter. won a Young Director Award in Cannes and is nominated for two UK Music Video Awards.uk Twitter: @ianR0B
Annie Ward.bit.008 3. You can see Ian’s earlier videos at www. In 2012. Ian’s comic allegory The Phone Box has been shown at leading British film festivals and picked up a range of awards.ly/aAfnF2 and www.bit.Ian Robertson Time Lapse Movies
Photographs were taken for the film Photographs made the final cut The amount of hours taken to animate Frames of the Rubik’s Cube equaliser Subbuteo men were hired for the shoot Hungry Hippos were harmed during the making of the film Pick-up sticks were equalised Photographs per second appear in the film The amount spent on games alone Of the original £600 was the amount spent on just hiring the Rubik’s Cubes The total spent on the butcher’s materials
Ian is a recent graduate of Film Studies from Glasgow University and works as a freelance film-maker.photographymonthly. specialising in classic stop-motion visuals and narrative short films. scan the QR code or visit the link below. won a BAFTA New Talent Award in 2011.annieward.184 10 18 148 7 Make sure you see this amazing video.irobertson.com .co.March 2013
. Ian’s music video commission for dubstep duo Delta Heavy racked up over two million views in one week.
then move it a small amount.
To get started.com . and that you take lots of photos to ensure the final animation is smooth and not jerky. You’ll also need a suitable subject. such as a seedling’s growth. A good tip is to make sure that the amount of movement between each frame is quite small. an intervalometer. Set your white balance and exposure manually. and playing them back at around 25 frames per second. If it is something that will take. iMovie. simply still images recorded and played back at around 25 frames per second. a tripod and.STOP-GO STILLS
DSLR MOVIES Time Lapse
Having read how Ian created his impressive music video.
Many of the same basic concepts apply to creating a stop motion video. Photoshop. and so on. we asked resident movie maker TOM MARTIN for the basics on how to shoot time lapse on a DSLR
ven before the advent of video capable DSLRs. an hour to complete. or stars moving across the night sky. you’ll need to set up your camera and frame a shot. it was possible to use stills cameras to make moving images. a shorter interval of perhaps one shot every three seconds will work best. so that they remain consistent over all of your photos. Two creative ways of taking advantage of this are time-lapse and stop motion videos.
Once you have finished taking your pictures. for example. Next you’ll need to figure out the interval of the shots you’ll need to shoot.
The idea is to take a picture of your subject e. Movies are. a longer interval of maybe one shot every 30 seconds will be better. the object will appear to move by itself. All of these basic techniques can be expanded upon to produce some truly stunning work. In most cases you’ll want to shoot JPEG to save space and make the end movie easier to work with. Set the appropriate interval time on the intervalometer. When played back. then take another picture. By taking a series of images at a set interval. and start the camera taking photos.photographymonthly. you’ll need to use software to combine them together and produce a video you can actually watch. Here is a beginner’s guide on how to produce them:
Time lapse photography is in many ways the polar opposite of slow motion video. you’ll need a camera. If it is something that will take much longer to complete. Next.
ice melting or a busy street scene. if your camera doesn’t have one built in. The possibilities of this basic technique (as demonstrated by Ian Robertson’s superb music videos) are nearly endless. This is heavily dependent on the subject you’re shooting. after all. a mobile phone. so get out there with your camera and get experimenting.g. This is the technique used to create animated movies like the popular Wallace and Gromit series. Some good ideas include a cloudy sky. There are numerous ways of accomplishing this using different pieces of software. Quicktime Pro and all professional editing suites allow you to import sequences of images and control the speed and duration they are played back at in order to produce a movie from the stills you’ve taken. Both allow us to bend time and perceive the world in ways that would be impossible with the naked eye. which tricks the eye into perceiving constant movement.
www. we can see things occur much faster than real-time.March 2013
you’ll need to use a slightly more complex method.
www. You might ask.com . This will immediately increase the quality of the audio you can record.
For all but the most basic of situations. and there are a number of ways of achieving a good audio recording. no DSLR had a headphone socket to enable you to monitor what you were recording. When compared to video cameras. The best currently on the market is the Rode Video Mic Pro. I’ll cover a few possible scenarios. the importance of good quality audio is often overlooked.and mid-level cameras still lack this basic functionality. they just require a little bit of work. Video is an audiovisual discipline. This will sit on top of your DSLR mounted to the hotshoe. The first step to improving the quality of the audio you can record is to invest in a decent quality external microphone. so the success or failure of your video will also be determined by the quality of your audio
n oft quoted adage is that ‘sound is more than half the picture’ and this is most certainly true no matter what type of video you’re producing. is not true.DSLR Movies
A SOUND FOOTING
COVERED THIS MONTH
Producing a great video isn’t just about capturing beautiful images. and is perfect for capturing useable sound when shooting in a large variety of different situations. they’ll almost certainly watch something that is poorly shot if the sound (and most importantly the dialogue) is well recorded. or any means of manually adjusting the levels of the audio whilst recording. Unfortunately. The reverse. and possessing little or no functions which aid the user in recording good audio. No matter who the audience is for your video. However. the inbuilt microphone in your DSLR just won’t cut the mustard.March 2013
. in sync and easily audible. which is available at a very reasonable £130. how can I record good quality audio using a DSLR?
Thankfully. and how to record the best possible audio in those situations. and that issue is compounded by DSLRs being almost completely unsuitable for recording audio. and will plug in to the jack present on most DSLRs. Most entry. Until the Canon 5D Mark III came along. however. necessity is the mother of invention. if you’re looking to record dialogue. they lack many vital audio-centric features and functionality.photographymonthly.
but microphones are not as discerning. and can also be used with a good quality external microphone. Once the filming is complete. Both will result in unusable audio. Our ears are clever enough to block out a lot of useless background noise.
. either using a clever piece of synching software like PluralEyes 3 or the one built into Final Cut Pro X. Another common mistake is to record audio somewhere with lots of background noise. and place the recorder discreetly in their pocket. which is the H1n’s big brother. There are a couple of ways to use this recorder. Another common mistake to avoid is setting the recording levels too low or too high. COMMON CULPRITS INCLUDE HEATING PIPES. This is known as a scratch track. FRIDGES AND A MULTITUDE OF OTHER NOISES THAT WILL SPOIL YOUR RECORDING WITHOUT YOU EVEN REALISING. and the relatively low quality recorded by the DSLR doesn’t matter. computer fans. AIR CONDITIONING. air conditioning. This will ensure a high quality. Once the tracks are properly synched. such as a Zoom H4n. and adjust the recording levels so that the sound is peaking at its loudest point around two thirds of the way up the audio levels displayed on the camera’s or recorder’s monitor. but it is the best solution to recording high quality audio when using a DSLR. at the expense of adding another piece of equipment to your setup. First. This
features professional balanced XLR connectors. you could also invest in a higher quality recorder. crisp recording. It’s best to take some audio levels prior to the start of recording. fridges and a multitude of other noises that will spoil your recording without you even realising. COMPUTER FANS. You should now be well equipped to record some great quality sound using your DSLR.
EXTERNAL RECORDERS AND SCRATCH SOUND
To record great quality dialogue you’ll need to employ a system used since the dawn of Hollywood. has a high quality built in microphone. or manually. recording sound externally to the camera itself. Minimising them where possible will ensure your audio recording sounds as good as possible. the best advice when recording audio is to get the microphone as close to the person or sound source as possible. enabling the use of high quality (but expensive!) professional XLR microphones. It’s always worth listening out for background noise that could affect the recording before pressing record. Generally speaking. as the scratch track will be discarded at the editing stage. We’ll cover those techniques and much more in a future issue of the magazine. without ruining the shot. in which case its best to use a clapper board (or to just clap your hands!) before the start of recording to give you a common sound over both recordings to enable easy synchronisation. which is a small microphone which clips onto the subject’s clothing. You could also pair it with a good quality external lavalier microphone. This will enable you to use its high quality built in stereo mics and high quality recording formats to capture a much better audio recording than the DSLR itself. sound effects and foley when editing to produce your final video which will have great sound. the two audio recordings can be synched up in the editing suite. If you’ve got the budget. discard the low quality scratch track and you’ll have great quality audio synched to your beautiful images. enabling the easy recording of great quality dialogue remotely. but that’s just part of the story. such as a shotgun mic or boom mic to record your audio with. The key in both cases is also to record audio in the DSLR at the same time. and having to sync the sound in post-production. it’s worth looking at a few tips and tricks to ensure you can get the best recording possible in any situation. which in most cases is almost impossible to remove properly after recording. TRAFFIC NOISE. there are very few places that are completely silent. traffic noise. which has much higher quality audio preamps built in. Common culprits include heating pipes. You’ll also need to learn how to combine that with music. While you might not notice it. it does add a bit of work at every stage of the production. allowing even higher quality audio to be recorded. In practice. The basic technique involves the use of an external recorder such as the Zoom H1n. its small enough to be mounted directly on top of your camera using the hotshoe.IT’S ALWAYS WORTH LISTENING OUT FOR BACKGROUND NOISE THAT COULD AFFECT THE RECORDING BEFORE PRESSING RECORD.
TIPS AND ADVICE
Now you know what equipment to use to overcome DSLRs’ audio shortcomings. This technique bypasses all of the problems associated with recording sound with DSLRs.
HEADPHONES BUYER’S GUIDE . They’re also rugged.photographymonthly. For only around £10 online. They have a sharp.March 2013
. SONY MDR-V150 .
www. These are my headphones of choice for on set monitoring. and a common sight on film sets across the world. neutral sound which doesn’t ‘colour’ the recording in anyway. Well built and with great outside noise isolation. SONY MDR-7506 .£14: These entry-level on ear headphones are
ridiculously good value for money. Robustly constructed. While you can use budget. consumer headphones to monitor audio. great sound quality and are small and discreet. The best monitoring headphones give a clear. these are another very popular choice.£18: Another entry-level set of headphones
whose performance belies their reasonable price. if you’ve got the cash it’s worth forking out for the professional headphones. Well recommended. 4. they do make a huge difference!
1. Great for when you need to travel light.£100: The professionals choice.TOM’S TOP 5
A good set of headphones is vital to allow you to monitor the audio you’re recording in the field so you’re not left with any nasty surprises when you return to do your editing. and fold up to save space. you can’t go wrong! 2. they have a flat frequency response giving a clear.com . Originally meant for DJ monitoring.£170: Another industry standard commonly seen on video shoots and film sets. SENNHEISER HD 201 . neutral sound. making it easy to hear if there’s any problem with the sound you’re recording. they’re another great value choice. SENNHEISER CX 300 II .£32: These in-ear headphones provide fantastic levels of noise isolation. and with a rotatable capsule for one-ear monitoring. SENNHEISER HD 25-1 II . 5. neutral sound which is well isolated from outside noise to ensure you can hear what’s being recorded. or shoot in very loud environments. 3.
or too loud. and cannot be used to control exposure. 720p is 1280 pixels horizontally and 720 pixels vertically. some important tweaks need to be made to set the camera up to shoot good quality video.
Controls the amount of light entering the lens. It also controls the depth-of-field in an image. around 3200K is correct for tungsten (red shifted) light.
A necessity when shooting video. As a general guide. This can take some practice!
The rate at which the shutter opens and closes per second. creating a shallower depth-of-field and blurring the background out of focus.
The number of still frames that the camera captures per second. and between 5600 and 6000K is correct for daylight (blue shifted) light. from the elements captured during the shoot. to maintain a constant sense of movement the shutter needs to be kept constant throughout filming. so it’s important to get it right when filming.g. or balance manually. Unlike stills photography. short for compress/decompress.com . Not available on current DSLRs.
This setting changes how sensitive the camera is to light. You can still use auto white balance. its best to use a 180 degree shutter. as auto-focus technologies cannot accurately keep up with a moving object. For a filmic look. allowing high quality audio to be recorded. Higher frame rates e. However. 50 and 60 frames per second give a smoother. white balance cannot be altered after filming when shooting video on DSLRs.
More than half the picture. (AVCHD or H. which is 1920 pixels horizontally and 1080 pixels vertically.g.
A codec. it refers to the construction of a programme.264 are common in DSLRs/CSCs) is the means by which the images captured by the camera are compressed and stored. more soap opera video look. Should be adjusted manually so that it is not too quiet. speech) or non-diegetic (added afterwards during editing.
PICTURE PROFILE RESOLUTION
A very important setting which alters how the camera produces the final image.
Industry standard connector. and is measured in f stops.
Focusing when shooting video needs to be achieved manually. It’s important to understand the strengths and weaknesses of the codecs your camera uses in order to maximise the quality of the final image recorded. Learning how to record quality audio and combining it with music and other sound effects is vital to the success of your video project. you must be careful not to use too high an ISO. The higher the ISO the more sensitive the camera is. As the name suggests. allowing you to shoot in low light conditions. and allow the use of higher ISOs than traditional video cameras.March 2013
. or can be slowed down when editing to give a nice slow motion effect.
A measure of the size and number of pixels the video contains.
Here are some common terms you may hear with explanations of why they are important
The maximum level that the audio recording reaches.
Is a setting which tells the camera to capture the colours it sees correctly.SOUND JARGON BUSTER
On set nickname for headphones.
www.g. as it allows you to use the aperture to control depth-of-field. This is the best way to control exposure. usually with a cohesive story. even under different light sources. giving the impression of a moving image when played back concurrently. and allows the use of wider apertures even in bright sunlight. which for 25fps is 1/50sec. music or sound effects). e. It is a filter which fits over the end of the lens and reduces the amount of light entering the camera.photographymonthly. the images are compressed during this process and therefore lose quality — much like a JPEG file. The UK standard is 25 frames per second (fps). It is necessary to shoot for the edit when creating a video. meaning the operator has to manually pull focus to keep a moving object in sharp focus. A larger aperture (smaller number) lets more light into the lens. It can be diegetic (recorded live at the time of filming. (Also see ND filter). As DSLRs are not meant for shooting video. and shoot in multiples of 160 to avoid unpleasant noise in the image. e. DSLRs are generally very light sensitive. recording good audio is a vital part of creating a good video. Most DSLRs will shoot in 1080p HD. Unlike when shooting Raw stills. This is a key element in creating the film look.
A neutral density filter is best described as being like sunglasses for your camera. meaning to think about how the different shots you are gathering will fit together.
The ‘volume’ at which sound is recorded. Similarly. and ensuring you capture enough footage to guarantee this can occur. which gives a filmic sense of movement in the resulting video.
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the Bahamas. to tick off another destination on his travel photography must do list
with a passion for culture it was an interesting experience designed to captivate the mind. Rome.
Armed with a Nikon D800. etc. This was a trip that I wanted to be educational. and its history full of trauma. the second largest and one of the oldest cities in Poland. NOEL HIBBERT hops on a plane to Kraków.T
P HEA AY C W A GET
n a photographer’s bucket list of travel destinations. where we know cameras will get a real work out. capturing iconic monuments in our visual capsule of wonders the world has to offer.
www. Its reputation may be in despair. my travels take us far beyond the sunny elations of the US. My wife. however. emotional and eye opening. with the aim to try and record our experiences in very different ways. Paris. Poland.photographymonthly. instead choosing to explore the streets renowned for rather more sombre historical reference — and perhaps as the stag do capital of Europe. and I ventured overseas on a mini break to Poland. Lemara.com . well Kraków to be precise. with my Nikon D800 and V1 in tow.March 2013
. This issue. New York. Last month Katy took you on a roadtrip of a lifetime across the concrete jungle of America. but for a photographer
With European breaks being so cheap and accessible. it was my frozen fingers that let me down on the first day in Kraków. the usual suspects come up trumps.… we could go on dreaming forever.
but its fairytale aura was no less diminished and more than enough to keep us satisfied for our mini break. it’s a lovely city
Weather for stay
Temperatures plummeted from our unusually warm winter back at home and it took hours for my body to acclimatise to the snow-ridden city before my camera could make an appearance.50 Toilet 1 złoty 20p
Food Excursion Excursion Food Public Transport
The currency in Poland is złoty Some approximate costs in pound
If using a CSC or compact camera at night. so opting for the smaller. the variety of sites on offer. Lemara captured some decent photos for a casual ‘snapper’ and definitely a lesson learned. then decide what to shoot. we found Kraków’s winter wonderland scenery to be a great place for street photography. from the greenery to the pebbles and horse drawn carriages. Kraków’s concrete make-up was what you would expect from a European destination. But the locals seemed perfectly trustworthy. Lugging the big fella about day
and night would have been tiresome. The cuisine was vibrant with textures that excited the eyes. you’ll have more chances to stop and take photographs instead of moving on swiftly with the rest of the crowd Soak up your surroundings first. At times I must admit to feeling a little like an outsider with my DSLR/CSC combo as most tourists were actually shooting on their iPhones. and to my surprise. instagram’d picture of St Mary’s Basilica.
. lighter V1 was ideal. don’t just focus on the negatives. But once my fingers (and other body parts!) had thoroughly thawed. while the architecture of the traditional Wawel Cathedral mixed with the contemporary Pawilon Wyspianski were awe inspiring. take a mini tripod with you so that you don’t face camera shake If you plan to go on a day trip take a guide with you instead of going in a group.
Auschwitz 130 złoty Wieliczka 130 złoty Coffee 12 złoty £2 Light lunch 15 złoty £3 Train 12 złoty £2. which was often a whole new perspective. For a country associated with European poverty. as well as my own ‘snaps’ — convenience definitely plays its part when travelling. but that’s fine. memory shots of food and night time shots. One example I will share was of an up shot Lemara captured of St. Lemara’s camera kit consisted solely of an iPhone and Instagram. iPads too — a fact not lost on Lemara. carrying around this mammoth and rather expensive DSLR did feel a tad intimidating at times. Having the option to use a DSLR and a CSC was a great help in Poland. full of culture with unique localised details. street artists grasped any opportunity to be in front of a camera. although the quality of the V1 didn’t match that of its big brother. I tried to be too clever and sometimes missed what she’d shot. from war remnants to architecture and the characters you come across. Reminiscent of Italian and French cities. on your camera phone would be an ideal companion Travelling by tram is easy and inexpensive so make sure you explore the city to find the perfect photo opportunity Find the positives in Poland.Lemara’s iPhone. In the summer Karków’s colourful surroundings would be a treat to see once emerged from the snow that blanketed so much of the ground (and temperatures have risen above freezing). opened up all kinds of potential photographs. so much so that I had to make a swift return and shoot it with my Nikon! Sometimes you get so caught up in trying to take the ‘perfect’ shot worthy of a pro photographer instead of embracing the moment — something I’m sure we can all relate to. Mary’s Basilica. we were amongst such history. on top of the accessibility of travel. such as Panorama or Photosynth. If you’re really eager then preplan your photography musts With a DSLR shoot at night time using a tripod to get some unique photographs with long exposures of the trams Climb one of Kraków’s many churches to get a great panoramic view of the city.
Lemara and myself collared for a fun shot with a local street actor. two very different approaches. this is where an app. so it was fascinating to see her results and what compositions she opted for. In fact.
Nikon D800 80-200mm f/2. Kraków.
Extended security in the Jewish Quarter spotted on the way to Oskar Schindler’s Factory. so would be ideal for a photographer with a love of architecture.photographymonthly.
The former royal capital Kraków holds a mixture of preserved Gothic buildings mixed with contemporary Art Nouveau constructions. Within the sealed off parameters of Auschwitz it is said that four million people suffered and died at the hands of the Nazis between 1940 and 1945.8 lens 24-70mm f/2.Street shot in the Jewish Quarter of locals just off the trams. Kraków.
www.8 lens • 16mm fisheye Nikon V1 • iPhone 4s Mini tripod • Cable release
The Market Square. Its history is enriched with tales of sorrow and invasion as Nazi Germany took over the city at the beginning of the First World War.
Eros Bendato sculpture in The Market Square. Kraków.com . holding Germany’s General Government and Jewish citizens who were sent to Kraków Ghetto before their horrific extermination in the camps of Auschwitz and Plaszow.March 2013
bar a few exceptions such as the exhibitions which banned photography out of respect and certain rooms not allowing
flash photography — it would have felt wrong to take photographs in such areas that bore prisoners’ remains. Auschwitz-Birkenau. around an hour by road.
Above: Auschwitz just before you enter the camps main entrance.photographymonthly. its photographic policy was surprisingly open.lowcostholidays.Poland Kraków
About 60km away.
www. it can be a custom for photographers to switch to monotone to stress the stories behind the location. Auschwitz. we are both avid travellers and love to go on short city breaks that ooze a lot of culture – great for like-minded photographers who have a passion for architecture. Left: Auschwitz.March 2013
. For a place that burdens the stories of entrapment. Laden with a history of terrible events for the Jewish prisoners and others who entered its doors. watch tower and the patrolled divide between camp sections.com . was a place that brings a shudder just hearing its very name.
Beware Ryanair are very strict with their luggage allowance so think carefully about the size and weight of your camera bag. Booking through www. Below: Auschwitz. com we were able to fly with Ryanair from Stansted Airport in January and stay at the Spatz hotel for three nights for £110 each. a good reason to take a mini tripod!
This was a Christmas present from my wife. the old electrified barbed wire barriers. the patrolled divide between camp sections.
in some respects. Using my 16mm fisheye to capture the pure scale and grandeur of the romanticised construction. roughly 20mins from Kraków. But due to it being so blooming cold. though the weather wasn’t that much better in Gloucestershire! Normally I’m the trigger happy type when it comes to trips away. shooting anything from 1000-3000 photographs. around £2. to show what it was really like. I ramped up the ISO between 3200 and 6400 to ensure I was able to get a well exposed image — we were underground remember — so a camera with a high ISO in this tourist hotspot is a must! Unlike Auschwitz. strewn with crystal chandeliers. with moody skies. Venturing to the Wieliczka Salt Mine next. the counter stopped at 600. instead of adding to the desaturated story. By accentuating the dark tones. we descended hundreds of steps beneath the surface to the 13th century mine that features dozens of statues. Bottom: Inside Birkenau where the Jews and prisoners would of been off loaded for the camp.Stansted to Kraków
20mins . looks like a fascinating place”
Top: Railway lines leading up to the gates to Birkenau camp.
. you are there to look with your own eyes too.Journey times
2hrs 15mins . so a tripod would be essential. bringing out the highlights and incorporating colour I walked away with a true representation that incorporated drama and atmosphere. Compact cameras would have struggled in these lighting conditions. a village untouched since. This.
Interested In History?
“After my visit to Poland I recently found out about the tragic tale of the village in Oradour-sur-Glane. is far better than shooting until your heart’s content as it makes you stop and appreciate your surroundings that much more — remember.Airport to Kraków 1hr . I wanted to go against the expected black and white grain and instead utilise what colours were present at the camps. Middle: Some of the shoes collected by the Nazi’s. France. three chapels and an entire cathedral carved out of salt rock. massacred by the Nazi’s in WWII. especially with small flashes.Kraków to Auschwitz 20mins. photography came at a price of Z12.Kraków to Wieliczka Salt Mines
However. Once I had returned from my travels I couldn’t wait to see the results and perhaps warm up a bit. Auschwitz.
for me.com/#!/pages/ Life-Thru-A-Lens/379172352989
Top: One of the grand rooms and its supports in the Wieliczka Salt Mines. it’s this that keeps me wanting to explore the world even more. To see more pictures of his Poland trip visit www.photographymonthly. This time I managed to whittle it down to a quarter of the imagery. 365 steps down to the first stage.co.
www. but in warmer weather.Poland Kraków
Wieliczka Salt Mines.facebook. destroyed in the Second World War. aiming for dark and moody shots.March 2013
. The avid traveller always catches the photography bug and. Kraków. Bottom: View from the Wawel Royal Castle grounds looking down to the River Wisła. restored in the late 50s. hand-picking 150 shots from Poland and putting them through a treatment of sharpening and adding clarity to increase the drama and atmosphere. He enjoys all photography. We are already planning on visiting the beautiful city filled with antiquity again.uk Twitter: @noelhibbert www.cotswoldpictures. As a former Communist country I would want to take a look around those most affected areas. but to witness it before me was an emotional experience — you can’t understand the magnitude of it all until you visit for yourself. Kraków is far more than just the hotspot for stag dos and party weekends that it has become renowned for. has been a designer for more than 20 years and a keen photographer ever since his father gave him his first camera at the age of 12. Its history is one that every person is familiar with. Noel. but is most passionate about shooting landscapes and weddings.com .
Art Editor of PM. Middle: The New Jewish Cemetery.
Noel’s Nikon 1 V1 and Becky’s LG Nexus 4 smartphone. This means you need space and need to watch your shutter speeds and aperture combos. but to be honest. what I found to be the most demanding part was choosing the right focal length. finding a suitable background was the next step. we were essentially experimenting with what works best. Certainly. okay the title kinda gives away what the feature is all about. We found this concept on the web somewhere and the whole team thought it was a great way to have fun taking pictures — plus we were able to rummage in our lofts to dig out our dusty old records — whoop. using a clear plastic ruler and an assistant to hold the sleeve — it would be easier to remove in post. an iPhone 4S using the Hipstamatic app. in general a medium telephoto was best. and keep an eye on your white balance too. After selecting a decent sized subject on the sleeve front. We actually ended up shooting all of them in the office. whoop. we shouldn’t need an excuse for that. Other than that. go get some sleeveface!
. what looks like a very simple point and shoot job is actually not quite that simple.SLEEVEFACE
Inspired by images seen on the interweb. Now. not really a major concern. It depends on how anal you want to get with the background. Oh. cameras and doing a little acting
ep. the team have some fun messing about with record sleeves. Actually. particularly in low light indoor scenarios. Shooting on a Nikon D600. A wide-angle messed with perspectives too much.
Sleeveface DIY Photographer Technique
The Don Dockerill
Visit our gallery and upload your own sleeveface image
www.com .March 2013
the Zoetrope was most recently featured in The Women In Black staring Daniel Radcliffe. Take images of a moving object in a continuous motion 2. They can be as grand or as minuscule as you like and consist of a cylinder with a number of vertical slits cut into the side. So let’s make some magic. it was in fact the world’s first device to create moving images. or the technophobe way for those who can’t quite grasp the functioning of an iPhone app. For photography geek factoids among us. that my friend is called the Zoetrope. Once printed. playing trickery on the eyes with images you have shot yourself. or the aptly named Panorama. On the high street today you can get a slice of the action for around £17. Its history is vibrant and can create hours of fun whatever the weather. Either poke a hole in the bottom of the Zoetrope to twirl it round with a pencil or place it on a self-moving platform like a record player or Lazy Susan to make it spin
. Now there are two ways of producing your ‘roll of film’ to insert into your homemade Zoetrope. or as it is also known the ‘wheel of life’. Starting with the mobilesavvy photographers’ choice. Whether you’re an iPhone or Android user there are panoramic app options out there for you to choose from such as 360 Panorama. the panoramic app. but why waste your pocket money on a ready-made Zoetrope when you can fashion your own with a few household items. Photosynth. these are the peepholes to see the different images inside the circular device. Disney went one step beyond the traditional method of bringing the two dimensional still image to life by creating a 3D Zoetrope featuring Toy Story characters in 2007. The modern way. these will be your viewing strips 5. JESSICA BRACEY takes a step back to the oldfashioned route of making movies by building a Zoetrope
ack in the days when videos weren’t filmed on phones and YouTube wasn’t inundated with happy snappers piping for a slot on You’ve Been Framed. and was invented in 1833 but is said to date back to 180AD China. Once open and ready to capture. Chop into the cylinder with even vertical strips all round. talk about rounding up the troops! Getting a spin with Hollywood even more. shoot your subject in motion and then sweep the camera right. First let’s start with the image itself. Remember the iconic video of a horse on what appears to be a spinning carousel. place the strip into the cylinder 4.In a Spin
Top Tips * Capture a subject matter with a notable movement * Try to keep the lighting and exposure consistent * Spray paint the Zoetrope black to make it easier to see your moving image Create a collection of photo strips with these neat ideas * Fairground ride * Someone riding a bicycle * A pet running * A friend opening a present * If you have enough patience then why not shoot a flower’s journey into bloom with the time lapse mode on your camera
In a Spin
In a Spin
As technologies are moving forward in the photography market. Taking numerous shots of their movement
Quickfire step by step 1. Wondershare Panorama. The secret strip of images beneath the mysterious Zoetrope show a continuous
movement or narrative and once turned at speed it creates the illusion of motion. Spray paint the outside of the Zoetrope black to make it easier to see your moving image (or use black card) 6. Align the images together in a strip to a size that will fit inside your circular device which will become the Zoetrope 3. Photaf. a Zoetrope was the Victorians’ form of fun and entertainment.
So multiply 3. To complete your finished masterpiece into a toy ready for the playground. DSLR. Once the fiddly part is over. bridge.March 2013
. Think castle turrets from medieval times. * A cardboard cylinder or plastic pot (we’ve used a Quaker Oats tub) * Matt black spray paint * Scissors * Ruler * A platform to spin your Zoetrope on or a pencil to insert into the cylinder to manually spin * An interesting subject who can shake some moves (or in our case an uncompromising family member)
www. Once you’re satisfied with the outcome. With a pair of scissors carefully cut out vertical slits to the level of the image inside – these will be your viewing holes.com . naturally. poke a hole in the bottom and insert a stick or a pencil to spin it round manually. Then one by one place your set of images into the document so that they form a continuative image. Next on to the foolproof way. heck you could even shoot the stills on your mobile phone. et voilà! Mission accomplished.
DIY Photographer Zoetrope Technique
You will need * A mobile phone with a panoramic application installed. Now it’s time for the hands on bit. compact. simply spray paint the outside of the Zoetrope black to make it much easier to see the moving image.photographymonthly. measure the circumference of your cylinder (to find a cylinder’s circumference (C) use: C= D. capturing footsteps.one at a time you’ll create a ghostly set of images which you’ll need to overlay with the edge of your next shot. or a digital camera (any kind will do. then print and insert into the cylinder. with your digital camera follow your subject’s movements while taking a burst of shots.1415 ( ) by it’s diameter (D)) and open up a blank document in your editing software with these measurements. Our choice of soundtrack would have to be Dead or Alive’s You Spin Me Round. Be sure to stand your subject in the middle of each panorama for consistency. I’ve opted for about six in total. all hail the photography palace. Alternatively make like a lazy student and watch it twirl to the rhythm of your favourite song atop of a record player. and then hit the shutter.
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Clarisa was determined to crack the ‘depth-of-field’ and ‘leading lines’ Boris kept talking about now he gets his magazine delivered!
but let’s have a look and see if their claim holds water. As a rule I’d do all my black and white conversions in Photoshop’s Channel Mixer but sometimes my clients want to see the effect in camera. an audible beep confirmation signal would have been handy allowing you to use this feature whilst handholding and looking through the viewfinder.The Canon EOS 6D. which allows you to quickly access and change all the main settings without having to go through the main menu screens. That’s actually quite a big ask of any camera and I’m pleasantly surprised to say the least. First there’s Wi-Fi. which I have to say is impressive. There is a Highlight Tone Priority mode. which has always been available as an expensive add-on. Taking the 6D out into the snow-laden Peak District to shoot landscapes is a little out of my comfort zone as I’m more at home in a studio or other
warm locations. First time out with the 6D and I’ve made the rookie error of not even thinking to check which memory card it uses. meaning no more wonky horizons. All my existing cameras utilise the compact flash card system and I assumed this would too. this is a serious contender in the mid-range DSLR arena. so I’ve procured that for the job.com . The 6D is obviously aimed at the semi-pro or pro with its full-frame 20-megapixel sensor. which is probably why it’s being touted as the perfect travel photographer’s tool — that and the compact size. It’s come at the right time too given that the 5D Mark II is now discontinued to make way for the more expensive and slightly higher spec’d 5D Mark III. Monochrome mode is nothing new on Canon DSLRs so I thought I’d give it a shot with a bit of red filtration to put detail in the blue sky (pictured bottom right). The back of the camera is relatively uncluttered and surprisingly quick to negotiate despite me being used to a different camera. not something I imagine many pros would use but it’s there should you need it. but is now integrated into the camera body. So you see this isn’t just a lower spec’d 5D Mark III. All the controls are prominent enough for me to use despite wearing thick fleece gloves. Luckily I have an SD card in my trusty old G9 Powershot. even showing you what’s in the viewfinder. If you need further assistance
with composition you do have a choice of three grid options when shooting in Live View mode. Ideal travel companion? Perfect second body? CRAIG FLEMING discovers the intentions of the app animal that boasts a full-frame sensor and a non-scary price tag
ccording to Canon the 6D is: “Ideal for portrait and travel photography. given the market it is aimed at. If I’m being picky. I’ve also made use of the 6D’s Electronic Level which to all intents and purposes is a built-in spirit level. Again a nice touch. but I wanted to make the most of the GPS and also the Canon 16-35mm f/2. There’s also an option to download an app that allows you to take advantage of that Wi-Fi and use your smartphone as a remote control for the camera. maintaining detail in the darker foreground without burning out the highlights in the snowy field (pictured). Normally on all my DSLRs I’d have a battery grip
www. Second.” I should hope it is too. which helps to stop highlights blowing out but this was taken without that feature enabled.photographymonthly.8 that has come attached to it. There are some interesting additions that put this camera firmly in the ‘next generation’ of DSLR’s. the 6D also boasts GPS.March 2013
. There’s a handy ‘Q’ button just above the Quick Control dial. You can see in this image that it does indeed handle a difficult scene rather well. simple and usable. The snow is a blessing in disguise really as it allows me to test how well the 6D copes with retaining detail in the shadows as well as the highlights. Rumours of a fullframe 7D Mark II making an appearance have now been put to bed (for the meantime) with the launch of this compact and rugged little performer. I always gauge it by eye but it’s nice to know the feature is there whether I use it or not.
photographymonthly.2 megapixels I High-speed 11-point AF I 4.com .5fps continuous shooting I Full HD Movie shooting I Digic 5 Image Processor | Viewfinder coverage 97 per cent I Flash Sync up to 1/180sec I EF lens mount I Wi-Fi & GPS
www.Canon EOS 6D
| Street price: £1649 | 20.March 2013
According to the App Store. It’s actually quite a discreet piece of kit even with an L series piece of glass attached to it. and that for me is pretty much all it comes down to. but the ability to upload lower resolution JPEGs directly to my iPhone is something I would actually use. fashion and portrait photographer based in the Maldives. The Map Utility isn’t initially apparent on the EOS Solutions disc that is supplied with the camera.
Canon 5D Mark II – ISO 3200
the metadata so even without the Map Utility software you can still pin point the location of your images.com . but I think it’s a relevant one when you think of exactly who might be considering buying a 6D. shutter speed and ISO. The 6D does get the edge over my 5D Mark II with impressive sharpness for such a high ISO. or a 7D which you can now pick up new for around £1000. err. I must say I’m struggling to find anything bad to say about this camera. There are two options in the EOS Remote app. The GPS will appeal to landscape and travel photographers and the Wi-Fi is certainly something a studio photographer like myself would get some use out of.
Having been so impressed with the 5D Mark III’s high ISO capabilities I was eager to see what kind of performance the 6D would put in.com
www. particularly when shooting studio work and the client wants to see the images while I’m shooting. What the 6D does is fill a gap in the market. so you can see why this camera is starting to look all the more appealing to anyone looking to step up to a full-frame DSLR. EOS remote is only available as an iPhone app but I downloaded this version to my iPad and used it without a hitch so just bear that in mind when searching for it. The 6D currently has an RRP of £1800 but is available for around £1649 if you shop around. but I did shoot it on a Canon 24-105mm f/4L whereas I used a Canon 16-35mm f/2. The longitude and latitude co-ordinates are also tagged in
Craig is an editorial. as well as focus and take the shot. although it is available online for £2335.photographymonthly. white balance was set to auto on each. Craig likes to carry out personal downtime projects and writes a column for our sister title. Something else to note is that you can’t view movies on the EOS Remote.
WI-FI APPS FOR SMARTPHONES
As I mentioned earlier the 6D has Wi-Fi connectivity and five minutes after downloading Canon’s EOS Remote app I’m shooting using my iPhone as a remote with the camera’s viewfinder appearing on my phone. Sometimes we’re guilty of putting too much emphasis on the amount of pixels when really we should be more focused on the quality of those pixels. although you can view the thumbnails on screen. Professional Photographer! www. or lack of. as a 5D Mark II owner I’m keen to purchase a back-up body and up until now that meant getting either a 5D Mark III which has an RRP of a shade under three grand. I have to say I am pretty amazed at the accuracy of this utility and my initial thoughts of it being a gimmick are totally blown away. In his spare time. However. Despite its compact size there is a certain
rugged-build quality to the body and the layout soon becomes intuitive.co. Sheffield.craigfleming. All in all it’s a feature packed tool and one I’ve enjoyed getting to grips with. Remote Shooting is the one that gives you the ability to use your phone as a viewfinder and control the aperture. so just be aware of that if — like me — you were thinking it wasn’t on there. the first being Camera Image Viewing and that basically shows you everything that’s on the card with the ability to look at images full screen or as thumbnails.March 2013
. This camera certainly excels in this area and I’d be very confident at high ISOs. www.canon. in the short time I’ve used the 6D I can honestly say that it hasn’t disappointed me whatsoever.8L on the 6D. For a travel or landscape photographer you can’t deny how useful it is. A lot of apps these days are just gimmicks. I don’t like shooting tethered to a MacBook as I find it halts the flow of the shoot so this is definitely something that appeals to me... First thing that struck me was how much warmer the 5D Mark II’s image was. Shooting at ISO 3200 and with an exposure of 1/60sec at f/6. but both cameras put in a very impressive performance. but isn’t a full-frame sensor. finding the best lighting for different looks and effects.
It’s hard to give a true verdict on a camera without actually using it on a day-to-day professional basis over a number of weeks. given the price and the quality of results. even though I’m used to a 5D. allowing the roving snapper to home in on the exact location where an image was shot. Testing it alongside my old 5D Mark II may seem a bit of an unfair match.Review
Canon EOS 6D
Canon 6D – ISO 3200
attached but I must say it is nice not to feel like I’m carrying a breeze block around with me. I expected to see a lot more noise on both images. when you download the Image Browser EX software from that same disc the Map Utility instantly appears on my Mac.uk
The integrated GPS feature on the 6D is something I can see being pretty much standard on all future models.3. He loves working in a studio and on location experimenting with gear. The weight and size of the 6D. However. The second option.4ormat. is again a big plus point.
8 x 196.photographymonthly. preferring to opt for Canon’s prime 200mm f/2.8 Di VC USD was a no-brainer. so how does Tamron’s new 70-200mm measure up?
ver the years I’ve used various lenses in this focal range. The chance to test the Tamron SP 70-200mm f/2.Tamron 70-200mm
Non-marque lenses are something CRAIG FLEMING has tended to avoid since the higher-end DSLRs became available. Also. I was eager to give this lens a run.March 2013
. whenever I reached for that particular lens I was generally using it at the 200mm end anyway.com .”
| Street price: £1399 I Groups/elements: 17/23 I Diaphragm blades: 9 I Max/min aperture: f/2. With better sensors you needed better glass. Some I’ve been happy with others not so.8 offering last summer and being more than impressed by its quality.8L simply because I hadn’t been happy with the quality that my Canon 70-200mm f/4L was giving me.. AN OPTIC WHICH IS AIMED CLEARLY AT THE PROFESSIONAL AND TOP-END ENTHUSIAST MARKET. so I figured that my prime lens was not only a cheaper option but would also give me better image quality. which it did..tamron. To read Craig’s review with his collection of high resolution images visit http://www. photographymonthly. having tested their 24-70mm f/2.com www.
www. and I have to admit I don’t even own a 70-200mm zoom at all.craigfleming.com/Magazine/Gear-Tests/ Fast-glass or scan the QR code with your mobile phone.30m I Maximum magnification ratio: 1:8 I Filter size: 77mm I Weight: 1470g I Diameter x length: 85.8 & f/32 I Minimum object distance: 1.7mm
“FIRST IMPRESSIONS COUNT AND UPON HOLDING THE TAMRON FOR THE FIRST TIME I GOT THE FEELING THAT IT WAS A SOLID AND WELL-PUT-TOGETHER LENS.4ormat.
Aaron Karnovski — Malice In Wonderland Nikon D90 | 50mm f/1.8 | ISO 200
.8 | 1/200sec | f/2.
STYLE OVER SUBSTANCE?
The retro chic XF1 is the latest introduction to Fuji’s X-series of cameras. I’m going to love it. Unfortunately they seem to be giving the DSLR market a wide berth and concentrating on everything else. I’m a huge fan of just about everything Fuji throws at me to test.”
Street price: £280 | 12MP | 4x Optical | ISO 100-12.com . Is love too strong a word?
Possibly. Whilst adorning over the results from the Fuji XF1 why not check out what it’s made of on our online TV channel. I’ve yet to try out their X-E1. when you look at Fuji’s pro/enthusiast range and if you have an ounce of passion in your body you can’t help but be almost moved by the sheer retro charm of their cameras. but can the internals match up to the externals? Only one way to find out.Fuji XF1
“THE XF1 TREADS THAT FINE LINE OF REDUCING THE NOISE NICELY WHILE RETAINING SOME LEVEL OF DETAIL. Alternatively scan the QR code with your mobile phone.photographymonthly. but I know as soon as those very kind people at Fuji send one out to me. It’s no secret. Photo TV. Find out whether the XF1 lives up to Karl’s expectations by visiting the online link below for fully downloadable high-resolution images and his final verdict.800 | Up to 10fps
www. KARL SHAW reports
uji seems to be churning out new models at an alarming rate. And unfortunately for every other manufacturer they seem to hit the nail squarely on the head with whatever they bring to the market. Slim and attractive with bags of style. But the thing is. See the manufacturers film of its pride and glory and check out its array of body styles. The X-Pro1 is just about the finest camera that has passed through my hands.photographymonthly.March 2013
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