IN AP 10 APRIL WE ASKED ... Would you be happy with 12 million pixels in your DSlR?


Amateur Photographer For everyone who loves photography
WHAT is it that makes a camera worth its price?
Cameras are a little more complex as purchases than most tools, as there may be many more aspects to a deoslon than are immediately obvious. I suppose most of us would declare that to be worth itS price a camera should do its job as well as other models that cost about the same. In turn, any cost above the average should be reflected by the additional benefits ownership will bring. Considering that the majority of cameras, compact or otherwise, are designed to meet a particular price, we might expect to pay more when things are done especially welL When more expensive components are used and life expectancy is longer than normal, we should accept an inflated price The same applies to lenses that are especially well corrected. Whether the status that certain brands bring is worth extra is something we have to determine for ourselves, and whether the price of beautiful design can be justified over the functional is a matter of personal preference Value for money IS not a question of cheapness, but of creating an appropriate relationship between quality, performance and expense. How this applies Damien Demolder to the £1,400 Leica Xl you can see on page 49. Editor

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THIS WEEK WE ASK ... is the leica Xl worth £1.400 to you? VOTEONLINE

Adobe launches Photoshop CS5: Photographers claim 11th hour copyright victory: Police retrained after amateur's outrage: Privacy shake-up sparks street pic fears





AP readers speak out on the week's issues

The latest books. exhibitions and websites


AP reader Alan Carpenter extols the joys of digital imaging while using his old 'clunker' - a Kodak Retinette lA film camera

Topwildlife photographer Andy Rouse shares his views on keeping whales and dolphins in captivity. plus comment from the Whale and Dolphin Conservation Society


We reveal the top 30 images from the 'Rain and bad weather' round of our Amateur Photographer of the Year competition


It's not worth keeping things 'for best' because. in doing so. you might find that you don't use them at all. says Roger Hicks



Clive Nichols recalls a challenging brief from a client and explains how to get a balanced composition


For an abstract shot of buildings. people or other objects. cut your subject from the frame and concentrate on their reflection. Ian Farrell explains how


Damien Demolder examines your images. offering words of wisdom and constructive advice



Datacolor Spyder 3 Express monitor-calibration device and Paper Mill Direct Double Sided Pearl inkjet paper


Ross Armstrong gives us a guided tour of one of his favourite photographic locations: the Isle of Tiree in the Inner Hebrides


A compact camera from a prestige brand such as Leica always attracts attention. yet its APS-C-format sensor makes the Xl even more enticing. Angela Nicholson puts it to the test


He launched Fleet Street's first colour news magazine and sent a young Don McCullin on his first war assignment. Former Observer picture editor Bryn Campbell talks to AP's Jeff Meyer


Brassafs photographs of Paris mythologised a city that. for him. was a source of inspiration. David Clark looks at his prolific career


HOWTO HAVEYOUR PICTURES PUBLISHED IN READER SPOTLIGHT Send in a selection of up to ten images. They can be either a selection of different images or all have the same theme. Digital files sent on CD should be saved in a Phctoshop-compatble format, such as JPEG or TIFF.with a contact sheet and submission form. Visit VlYlw.amateurphotographeLcouk/readerspotlight for details. We cannot publish images without the necessary technical details. Each RGB image should be a minimum of 2480 pixels along its longest length. Transparencies and prints are also accepted. We recommend that transparencies are sent without glass mounts and posted via Special Delivery. For transparencies. prints or discs to be returned you must include an SAE with sufficient postage. HOW TO CONTACT US Amateur Photographer.IPC Media. Blue Fin Building. 110 Southl'lark Street. London SE1 OSUAP Editorial Telephone: 0203148 4138 Fax 0203148 8130 Email AP Advertising Telephone: 0203148 2517 Emaillee_morris@ipcmedia.comAPSubscriptions Telephone: 0845 676 7778 Email ipcsubs@qss-uk.comAPtest reports Telephone: 01707 273 773 wVlI'

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which could include exception. Photography enabling the legillfnate organisations had use of our genuine lobbied against orphan works for the change. By law. Nikon UK declined to comment. BAPLA said in a statement: 'Our work now is to take the lobbying we started last year and dig even deeper to ensure the new debate being promised comes to fruition. who said: 'This was a massive fraud and the defendant's involvement in the fraud was front and centre. said: 'The materials whose owner cannot UK Government wanted to be identified or traced after a introduce a law to allow anyone 'diligent search'. 59.7-billion Ponzi scheme. Petters. which House of Commons voted to was removed from the Digital drop Clause 43 from the bill the Economy Bill just hours before night before it was given Royal it was granted Royal Assent Assent on 8 ApriL The 11 hour drama centred th Welcoming the decision. The officer had been called after a gang .' Campaigners against Clause 43 Included the British Association of Picture Libranes and Agencies (BAPLA). without asking Digital Economy Act would have first Tiley have failed given third parties the right to 'The way is now open for photographers and other use digital images for free and without permission. strictly defined saying it would non-commercial make it much "cultural purposes" easier for in a way that will satisfy the needs of images to be used. Photographer makes formal complaint after police stop and search POLICE RETRAINED AFTER AMATEUR'S OUTRAGE Valley Police has been forced to retrain your photographic rights! its officers on the correct use of anti-terrorism powers after a photographer was wrongly suspected of being a terrorist Amateur photographer Stephen Russell was on a trip to buy fish and chips when police demanded he delete pictures that he had taken of a police officer attending a minor Incident in Kidlington.In " are we saying you can't take pictures in the street Online privacy protest.' Russell. 'Our concern.: Convnittedto defending ~ THAMES had hurled a bottle at a passer-by. police should only stop and search a person under Section 43 if they 'reasonably suspect' the person to be a terrorist. The photographer was then subjected to a police search under Section 43 of the Terrorism Act. amatelJrphotoglOphef. A police spokesman said Russell has since met with officers to discuss the Incident The spokesman told AP: 'We've ensured that officers are refreshed on the guidelines in terms of their use of this [Section 43] power. telling the officer that it was not illegal to take such photographs. according to a report in the Bangkok Post. IS a world where a solution for orphan works and the management of our copyright is dictated by the US or EU. still. whereby investors do not receive payouts from actual profits but are instead paid from money originating from new investments. to use your photographs commercially.Co. Thames Valley Police launched an internal investigation after Russell lodged a formal . legally. I'm not a terrorist: said Russell.' The pace at which the bill was rushed through the House of Commons on 7 April left many MPs fuming. a term spokesman for the campaign that refers to copyrighted group Stop43. • Thousands of workers at a Nikon factory in Thailand downed tools in a row over pay and staff benefits. • Tom Petters. and quickly. said his client will probably appeal. told the Oxford Mail that the officer told him to delete the four images he had captured. page 7 noway News I Analysis I Comment I PhotoDiary 24/4/10 Contentious copyright change dropped • Photographers jubilant PHOTOGRAPHERS CLAIM 11TH HOUR COPYRIGHT VICTORY the COPYright owner have welcomed the axing of without the to prevent the future orphaning of our work consent of PHOTOGRAPHERS LATEST NEWS ONLINE and to redress defect in current copyright law. who was then told to supply his personal details. creatives to present new thinking. 'He used the Terrorism Act to search me. which said it contacted 'all leading MPs' to point out that a proposed amendment to exclude all images taken 'after 1950' would make orphan works unmanageable. they were handed a last-minute reprieve when the a controversial amendment to copyright legislation.' Paul Engh. Russell said he had taken the photos because it was 'unusual' to see such police activity in the village. a on 'orphan works'. one of Petter's lawyers. or in ways you Professional photographers feared that Clause 43 of the might not like. a former owner of Polaroid. Petters was sentenced by US District Judge Richard Kyle. was sentenced for heading up a $3. But the photoqrapher refused. Do you have a story? Contact Chris Cheesman Tel:0203148 4129 Fax: 0203148 8130 amateurphotographer @ipanedia. the cultural sector. 52. has been handed a 50-year prison sentence for fraud and money laundering. Oxfordshire.

until 9 May at the Stables Gallery. London W1S 4EJ. Edinburgh. ~--------------~ Photographers promised new features ADOBE LAUNCHES PHOTOSHOP CS5 Monday 26 April EXHIBITION Weegee. Mosley since 1956. Cleveland TS121£ until 25 April at Gibside. Born in 1924.ews A week of photographic Wednesday 21 April DIARY Appeal issued over Dorothy Bohm portraits opportunity DON'T MISS Bluebell Walks Week. Visit www.spiritofthewild. Dorothy co-founded the Photographers' Gallery in until 25 April in Sunday 25 April nationaltrust. 'When combining multiple exposures into a single HDR image. For full details visit www. Isle of Wight P040 90£. Visit www. Isle of Wight P040 90£. Saturday 24 April Stratford~upon~Avon. Tel: 02074081613. Thursday 22 April EXHIOInON Jean-luc Mylayne. first solo show by the Magnum photographer. The standard version of Adobe Photoshop CS5 will cost around £644. Visit www. runs from 24 April-30 August at Manchester Art Gallery. a 'major exhibition' by the renowned photographer. EXHIBITION by members of PhotoSpace la photographic collective). Research assistant Jennifer Boyd said: 'I am very keen to find Dorothy's sitters and unearth more Information on her studios' A Studio Alexander portrait contains a handwritten 'Dorothy Alexander' signature in the bottom right-hand corner. Bristol BS11RG. IMAGING software giant Adobe has offiCially announced Creative Suite 5 ((55) Photographers are promised features such as next-generation high dynamic range (HDR) capabilities. EXHIBITION Shaped by War: Photographs by Don McCullin. West Sussex RH17 6EB. DON1 MISS Shakespeare Birthday Celebrations. Visit www. The retrospective exhlbibon. Visit www.dimbola. Tel: 07903 548 5511. Tel: 01753 676404. PHOTOGRAPHER ON MISSION TO IDENTIFY SUBJECTS PHOTOGRAPHER Dorothy Bohm has appealed for help in Identifying the subjects in portraits she captured during the 1940s and ' and Bristle Tips that offer lifelike brush strokes'. Watch out for our review of the new software package in a future issue. until 21 April at The Photo Visit Berkshire Sl4 bAS. Tel 0161 836 4000. manchestergalleries.krakenopus. Visitwww.profilegallery. Manchester M2 3JL Visit www. Tel: 01444 405 EXHIOInON Coastal Evolution by Luke which opened in the city's Market Street in 1946. until 30 April at . Visit www. EXHIBInON Panoramic Visions by Jaspal unli129 May at Spriith Magers. EXHIBITION As Far As I Can Goby Nikolai Yudin. Tel: 0207 240 6590 Visit Photographique. Tyne & Wear NE16 6BG. called 'A World Observed 1940-2010: Photographs by Dorothy Bohm'. The research will be used to accompany a four-month-Iong exhibition of Dorothy's work.iwmorg. Visit www. until 2 May at Dimbola Tel: 02085671227.ealing.couk. A Mixer Brush feature aims to blend an 'infinite combination of colours onto a single paintbrush tip.dimbola.themirage roup. Visit wwwJlickr. EXHIBITION Spirit of the Wild by Steve Bloom. London WCZE Visit Tel 01983756814. until 6 June at Dimbola Lodge. Photoshop (S5 preserves the full tonal range of a scene with unprecedented speed and accuracy: claims Adobe. Staff at Manchester Art Gallery hope that people may recognise faces in the photographs and come forward with information to add to the gallery's research about Dorothy's first studio.rhubarbandcustard. until 20 June at PM Gallery & House. EXHIOInON FlickLgraphique by the Bristol Flickr group. Manchester M171TZ. Tel: 01983 756 814. until 16 May in StAndrew's Square. The gallery is also keen to hear from anyone who has their own copies of similar photos taken by Dorothy. WarWickshire Tel: 01789 204016. until 25 April at Dorothy moved to Paris in 1953 before travelling to the US In 1971. unli15 June at Profile Gallery. StudiO Alexander. Friday 23 April EXHIBITION Raymond Depardon: Cities. Visit www. Tel: 01207 541 820. Bexley Tuesday 27 April LATEST AP ON SALE Rhubarb & Custard Photo Gallery. London W5 5EQ. until 13 June at Imperial War Museum North. EXHIBITION Photo Mirage by The Mirage Group of Photographers. until 4 May at The Opus She has lived in Hampstead. EXHIBITION Scientists: Fellows of the Society by Anne~Katrin Purkiss. which opens in Manchester on 24 Apnl. The show will feature a reconstrucbon of Dorothy's studiO and a replica darkroom. Visit www.

at a festival or at a match. it is good practice. a group of Londonbased photographers called So Shoot Me staged an exhibition to protest against the guidelines. where prints are also available for the pubhc to buy? 'CASE-BY-CASE' BASIS If someone In a photo later complains about their inclusion. The controversy centres on the implications of the Personal Information Online Code of Practice.456. whether for hobby or amateur use. one of the organisers. So long as the photographer acts sensibly.. or request that their image is removed from a website. 'Should an individual actively object to having their photo taken. once that image is published for commercial gain the ICO may consider it a potential breach if the person in the photo later complains. For more details visit www amateurphotographer. It will go on sale in UK stores soon.' However. The Lomography Color Slide/X-Pro 120 Film 200 is available from the Lama website. If in doubt. is pictured outside a cafe with someone he or she is not supposed to be with. identifiable in the photo. the Act does not stipulate that photographers must gain the consent of everyone they photograph before they publish photos. the privacy watchdog announced plans to revamp its guidelines in light of the spiralling distribution of digital information on the internet Under the new rules. a 170% rise on February 2009. according to GfK Retail and Technology. according to Lama.579. the Government will req uire photographers to gain permission from every person that might appear in any shot. In fact. the likelihood of you breaching the Data Protection Act is very. without the subject's permission. the value of SLR sales rose 5. a draft version of which is available to view on the ICO website at www. photos taken for amateur purposes in public places are not going to breach the Act: Contad ChrisCheesman Tel: 0203148 4129 Fax: 02031488130 amateurpll0tographer ipcmedia. which ISexpected to be published by the Information Commissioner's Office (lCO) later this year As we revealed In 2009. then it is good practice not to use their image. states: 'Wherever you collect personal data from. and now we're making it available to everyone. the ICO confirmed this could be a 'potennal breach. . In no way are we saying you can't take pictures in the street. in a pack of three. very slim' DATA PROTECTION STATEMENT The Information Commissioner'S Office told us: 'The Data Protection Act in no way prevents people taking photos in public places and publishing them online. is not covered by 'personal information' rules.ews • The Lomographic Society has launched its own-label 120 colour slide film after tracking down a discontinued emulsion made by Agfa.3% to £17. such as a family album or social networking page. Celine 'It's the return of a long-lost love. will not outlaw street photography 'If you are in a publiC place and there is a reasonable expectation of someone being photographed.wm Do you have a story? . some photographers fear they will have to obtain permission from anyone included in a photo taken in a public place before publishing it 'OVERARCHING DUTY' The code.~ Committed to defending your photographic rights! THE DATA-PROTEcnON watchdog has rubbished claims by photographers that new data-protection guidelines will all but ban them from working in public places. the ICO would deem it 'not best practice' but stressed that it would still be 'unlikely' to have breached the Act. do not need to obtain the consent of the individuals who appear in their photos. are not even covered by the Act. priced £20. which they see as part of 'ever-increasing controls' imposed by the UK Government on street photography 'The [data-protection) regulations will all but ban professional photographers from working In public places. the ICO insists that its new guidelines. 'If you are in a public place there is a high expectation that you can be caught on CCTV. for example. lomography. to be published before the end of the year. share images online.6% on February 2009. • More than one in ten intercha ngeable-len s cameras sold in February were of the mirrorless variety. It is entirely reasonable in today's technology age that photographers.081 in sales revenue The number of SLRs sold was 27. Photographers taking photos in the street. Fearing the new rules would further restrict photographers' rights. to contact the person concerned to ask if they agree to their personal data being used in a particular way' A spokeswoman told us that a photograph would fall under the term 'personal data'. the ICO insists However. However.. such as on mirrorless models in February. added 'Despite the CCTV and camera-ph one-obsessed world we live in. For details visit www. SNAP H TS Photographers hit out at new rules governing online photos PRIVACY SHAKE-UP SPARKS STREET PIC FEARS S{'W.' The spokeswoman said If that image is then displayed in an 'exhibition'. Asked whether an example of such a complaint may be if a person. This generated £1. Agfa RSX 200 emulsion on medium format: said a spokeswoman. and that any complaint would be dealt with on a 'case-by-case' basis.' The E6-process film is designed for use in film cameras such as lomos Lubitel166+ and Oiana F+. you still have an overarching duty to handle It fairly and to comply with the rules of data protection. lomography has hunted down this emulsion . UKcustomers snapped up 2. photos taken for personal use. according to latest figures. However. But what about an amateur photographer's portfolio displayed on their personal website. what happens then? The ICO claims there is a very small chance that such an image would breach the Act. where possible.'lREP~ ". 'Ifyou are in a public' The watchdog claims that its position on street photography hasn't changed Any photo that ISfor 'personal use'.364 . qovuk. professional and amateur. the likelihood of a photographer breaching the Data Protection Act is very. with the stipulation that a photographer must ask permission of all people who appear in their photographs to avoid illegally possessing 'personal data": the group claimed in a statement. But it is not clear under what circumstances an image would trigger a breach of data-protection rules.717. could land the photographer in hot water under data protection rules if it appears on the web an ICO spokeswoman told AP.ico.a fall of 15. to adopt a 'common-sense' approach. very slim: Some fear that a picture taken in public places. The watchdog urges all photographers.

' . Nagasaki Prefecture.. which has necessitated a revision of earlier production plans. There is also a "Five-day learn nearly everything course' that aims to help enthusiasts turn their hobby into a career. '~otg~ lice in 1 is Club news from around the country The which left the factory earlier this month . This serious drop in demand is expected to continue for a period of time. Canon delayed its construction as poor consumer demand threatened to hit sales of digital cameras Canon has confirmed to AP that It plans to make two million digital cameras there in 201 0. if it is accompanied by scent it will elicit even more emotional and evocative memories .ews SNAP Factory delayed by recession H TS CANON FACTORY • Anewlineof budget-priced glassless box frames has been launched. Nearly half of Britons surveyed (47%) said they could remember the scent associated with a particular photo. KINROSS CAMERA CLUB HOLMFIRTH CAMERA CLUB a story? Tel 0203148 4129 Fax 0203148 8130 Do you have Contact Chris Cheesman amateur photographer @ipcmedia.C. members are able to participate in sessions organised by the Digital Group (held on a monthly basis) and enjoy outings and other activities during he summer: Members meets at the Church Centre. according to the poll of 11. Visit www. tile construction of which was delayed by the global recession. UP AND RUNNING A NEW Canon DSLR factory. The club's annual exhibition takes place from 30 April-l May (10am-4pm) at the North Light Gallery. still life and digital workflow: said a spokesman. 'My research shows that our sense of smell in particular has a uniquely intimate and direct connection with the area of the brain that controls emotional memory: she added. The Richmond frames are covered with a paper that is peeled back before the print is applied. EOS 5500 and EOSSODin a promotion that runs until the end of May. • Canon customers can claim cashback on the EOS5000. 'This research shows just how powerful the link between our memories and the sense of smell really is: said Dr Rachel Herz. has now opened. while Just under a quarter said they would take a picture based on the 'way it smells'. For full details call 08002988190. including DSLRs. .(500nthe EOS5500 and (65 on the EOS500. says it runs internal and inter-club competitions. In addition. Announcing plans to delay the factory in 2008. evoking thoughts of childhood sports days and playing football. • A new series of studio-based photography courses has been launched by John Freeman Phototours. Its first shipment was a batch of Canon PowerS hot G11digital compacts.IlUI! I~ 111< West Yorkshire HD4 7NR. according to research by Nikon. prices start at £195 for a one-day workshop. BUilding work on the £80m Canon plant was due to begin in January 2008 with production expected to start in December IlU.. Prices start at £6.more than any other memory trigger.500 people In 23 countries.holmfirthcameraclub. Tel: 01484340003. rising to four million next year The LOOKING at a photograph triggers a memory of the smell of the scene or location featured in the which will also churn out DSLRs "Dd m~ of W. Freshly cut grass was voted people's top 'memory scent'. eosspringcashback for details.kinrosscameraclub.69 for an 8xl0in frame. This was followed by the smell of sunscreen and 'baby talc'. High Street Kinross KY137AA. Visit www. For details call Swains on 0845 4504242. which celebrates its 25 anniversary this vear. at Hazami. an expert in psychological science. con- - u\ The Canon PowerShot G 11 was the first model to leave the new Japanese plant. Visit www. Armitage Bridge. The promotion offers £30 cash back on the EOS500D. 'Oay courses cover techniques such as the firm said: 'Growth in demand for digital cameras has rapidly declined compared with original prolecnons due to the global economic downturn triggered by the failure of major US securities firms. 'We also encourage members to enter national and international events. has created 850 jobs and will add a further 150 next year. Claims must be received by 25 June 2010.. For club details visit www.orguk. Based in London.' 'S . 'While a photograph can visually remind us of a particular moment in time.

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. hardback..h ml . We Are England Until 29 April. I AM NERD is the brainchild of Heather Landis. I01&• . People used to pay good money for these. Catch it while you can. The COntest is open to both amateurs and professionals. exhibitions and websites The latest photography books. but all the winning images will be on display at London's SWl Gallery from 21-29 April It's only a short window of time. If you peruse her tamedblossom. Website: www. exhibitions and websites. 160 site you can find more examples of her 'normal' work. 12 Cardinal Walk. The images are a spoof of the now-horrid style of American high school portrait photography that regularly appeared in yearbooks in the 1970s and '80s. but it offers a great chance to see the many interpretations of what England means to other photographers. She's one to watch. Italy By Josef Koudelka Thames & Hudson. based photo blogger who posted this quirky series of portraits to her website and subsequently received tens of thousands of views. later this year.Books. this book marks a ~rll~1 . Sat 10am-4pm..have launched a nationwide photo competition in search of images that best represent England and the idea of 'Englishness'.. Koudelka: Piedmont. and entries so far have run the gamut from England's notorious rolling landscapes and busy street scenes to aerial views of the capital At the time of writing the winners have not yet been announced. organisers of the England team . Open Tues-Fri 10am-6pm. which includes largely fashion and performance photography.swlqallery.Commonwealth Games England . Cardinal Place. India.. SW1 Gallery. and Landis has recreated the style masterfully. Humour aside. ISBN 978-0-500-543870 FAMOUS for his images documenting the Soviet occupation of " the then Czechoslovakia under the Warsaw a Los AngelesW . believe it or not. Roof Garden Level. Tel: 0207 963 4024. these are actually quite skilful portraits and show what a great photographer she is. com72009 n/seriesiamnerd. London SW1E 5JE. £45. though. Unnatural lighting brought out orange skin tones and heads were weirdly framed by soft-focus vlgnening. By Jeff Meyer www IN ADVANCE of the 2010 Commonwealth Games to be hosted in New Delhi....

you could fix a sizeable hole in your roof with this tome if pressed for materials. However..• THE GARDENS OF JAPAN by Helena Attlee. there is a 'but' 'The earth in Piedmont is a kaleidoscope of colours: writes Italian journalist Giuseppe Culicchia in the introduction. 'Why Piedmont?' Well. £19. £12. Best are those wider angles that reveal the angular architecture and ultra-precise landscaping.. ISBN 978-0-393-07226-6 AS A LONG-TIME civil rights campaigner and w.M. 336 pages. why? Koudelka has always been somewhat of a wanderer. The pictures are fine. While many of these b&w images leap off the page.99 Andrew Perris undertook this unusual commission to illustrate a book on the different breeds of pig and simply outdid himself In these stunning stark portraits. The text is Just as compelling. £16. by Carl White. If this is so. Performance. it's a collection that explains recent history better than any words can . If Irving Penn and Tim Flach had collaborated on a project. . it is impossible to miss these scholarly influences in Theodore Cross's latest opus Weighing in at 336 pages. the images In this book not only document the world's greatest water fowl but also the development of 85-year-old Cross's hobby.99 Everything about Japan is strange and compelling. ~ demonstrable break from Josef Koudelka's more notable images. and makes stunning use of the panoramic format with clever leading lines and visual interest However. Gardens had so much potential. but maybe wait for the paperback. Many of these shots could be taken anywhere. it's not evident here. which he took up in midlife. documenting how the land and sea have slowly become inhabited by industry. exhibitions and websites CONDENSED READING A round-up of the latest photography books on the market • THE WORLD'S TOP PHOTOGRAPHERS' WORKSHOPS Celebrity & BEAUTIfUL PIGS Waterbirds By Theodore Cross WW Norton & Company. You'll find plenty of information on lighting strategy.• BEAUTIFUL PIGS Photography by Andrew Perris. such as square watermelons and robot servants. too.. with plenty of lessons to apply to other genres of photography . Enjoy Piedmont for what it is: new work from an icon of photography. and one starts to question the master's use of black & white in this exploration. but in this book the subject simply falls flat. others feel like record shots. pavilions." author of law and science WWl~""''' journal articles.. but Piedmont seems a fairly random place to dedicate such a big work to. . museums and blighted landscapes. In it. £25 Journalist Andy Steel rounds up ten of the top paparazzi and celebrity portrait photographers and asks them to explain how they took their selected pictures.Books. they might have come close to this . leaning on strong graphic shapes and lines and a knack for capturing these birds at the peak moment In their activities. hardback. Still. by Andy Steel. but we are ultimately left wondering.95 For the past 25 years Carl White has shot the coastline from Lowestoft to Felixstowe. Koudelka takes us on an ultra-wide journey through parks. The images are simple and striking. with detailed field notes and diaries of his travels revealing how Cross was able to get his shots and how you can. Yet that's only part of the problem. you wouldn't want to because Cross's book is fantastic. equipment and conceptualisation for the aspiring paparazzo.. £70. Spanning the past 40 years of his life. Humans remain largely absent from this latest collection of panoramic images exploring the landscape of Italy's northern Piedmont region.• BELLS BENEATH THE SEA Photographs of the Suffolk Heritage Coast. Perris manages to capture porcine facial expressions and convey a different mood in each shot.

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offence of taking a photograph of a decently dressed child in a public place, having quoted just a few legal generalisations, without elaborating on which soecnc law I would have broken. Unfortunately, this misunderstanding of the law is the issue that I raised in my original letter Malcolm Gee, Norfolk

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OLLOW IT THROUGH Your page three editorial in AP 20 March predicted a sell-out for a 'virtual' coach trip to the Pilato Marketing Association show in Los Angeles, USA. How about letting your readers put their money where your mouth is and organise a plane charter, including accommodation, to the next PMA show for 2011, which is in Las Vegas during February? You should be able to get a good rate on 300-plus photo enthusiasts for a week in Vegas from one of the airline/charter holiday companies. See yOlJon the plane, Damien? David Smith, Cheshire OK, hands up, who wants to come? I can see it now; 'AP Airways - Picture Your World' - Damien Demo/der, Editor

Send your thoughts or views (about 500 words! to Backcsat' at the usual AP address (see page 31. A fee of £50 will be paid on publication

I disagree strongly with Paul Greenwood when he says that cameras don't need to be small and light (Letters, AP 10 April) In 1965, I bought a Nikon F and carried it around with a 50mm f/2 and an 85mm filA lens, and never gave a thought to the . weight. Since then I have got older and ~ weaker, and over the years have traded :':': down to my present two film cameras: a ~ Nikon F80 and Nikon F55. The F55 must be one of the cheapest cameras that Nikon '!i has ever made, but when I shoot film it is the ~ one I choose because It ISso light ~ I agree that the F4 was a great camera, ~ probably the best Nikon ever made, but ~ although I was tempted to buy one I never ~ did, as I knew I would never want to carry it >! with me. The results I get with my F55 are down to my skill, or lack thereof, not the modest specificanon of the camera. One of the great advantages of using a modest camera is that when someone says, 'That's a great photo - you must have a great camera', I can say, 'No, I don't.' As far as I'm concerned, cameras should be small enough to fit in a pocket and light enough so I don't notice them. Brian Darling, Essex


La Surely the new Samsung NX 10 is not competing against the Micro Four Thirds range of cameras, but with DSLRs that have APS-C -sized sensors (Samsung NX1 0 test, AP 3 Apnl) For anyone trying to decide between a neat little camera and a great heavy thing, where the two are equal in their capabilities, there should be no contest The hybrid should win every time. In fact, the odd thing about the hybrid revolution is that magazines, retailers and photographers do not seem to be taking it seriously. We see rave reviews for hybrid cameras, but other articles and advertisements are still largely about DSLRs. The days of the DSLR are surely numbered.

In ten years' time people will be saying, 'Hybnd - a hybrid of whaP' My wife and I bought a Panasonic Lumix DMC-G 1 in late 2008. A few simple tests showed that the lenses were as good as, or better than, the cheaper lenses for our DSLRs, so we bought another G1. Now that macro and other lenses have been produced, we have sold one of our DSLRs, given away the other and have never looked back. Tony Rackham, Hampshire MISUND RSTOOD In reply to my original letter on the photography of children in public places, Ronald Walford (Letters, AP 17 April) IS willing to commit me to prison for the




Ian Andrew's eerie shots of an abandoned farmhouse (Reader spotlight, AP 20 March) reminded me of the time my dad went to photograph a derelict property and came a cropper During a family caravan holiday in Wales many years ago, he discovered an old empty house near the campsite. Mumbling something about 'crumbly textures' and 'peeling wallpaper', he set off to take some pictures. An hour later, we saw him bruised and bloodied, being supported by tile camp warden He was taken to hospital with a sprained ankle and gashed forehead. He'd been taking pictures in the old house and told us he'd been spooked by a 'presence' in the kitchen. It was nothing visible, just something he'd felt. In his panic to get out, he'd tripped over an old chair, missed his footing on some stone steps and fell over. He'd hobbled back to the campsite where the warden had come to hs aid. He was genuinely shaken up, not just with taking a nasty fall but also by the spooky incident in the kitchen. As a no-nonsense Glaswegian, dad had always been sceptical about what he called 'ghosties' - at least up until that particular day. He later realised that he'd left his expensive Metz flash unit in the house. Mum had a word with the site warden who, armed with a torch, went to the house that same night to retrieve it. Dad gratefully paid him

a small reward, then told us he wouldn't go back to that house for a million pounds even in broad daylightl Sadly, the resulting pictures showed only the crumbly textures and peeling wallpaper dad had mentioned, but unnl the day he died he was adamant that he hadn't been alone in that old house. Suzie Cave, Tyne and Wear TN ALBUM I'm just writing to prove that you don't have to pay many hundreds, if not thousands of pounds to get a picture that can fall into the category of 'not bad' (see right) I turned off the flash and used natural light, and many people have told me that it is a very nice picture It has now been placed on canvas and sits proudly on the wall in our lounge at home. The picture is of my son, Arran, then aged 3, and my daughter Louisa, just a matter of weeks old when the picture was taken. Angus Bennett, via email


I was very interested in Angela Nicholson's comparative test of the Nikon 090 and Canon EOS 5500 (AP 10 Apnl), as I have recently acquired the latter model In partexchange for my Canon EOS 4000. I think there are some additional points about the EOS 5500 that prospective buyers should be aware of. l. Adobe has not yet issued a plug-in for Camera Raw and, until it does, EOS 5500 raw images cannot be processed in Photoshop or Elements. Canon's own OPP software, which is supplied on disc with the camera, can be used, but is not as comprehensive as the Adobe software. 2. The quality of the camera's HOM I movies is superb (as is that of the stills), but an H OM I cable is necessary to connect the camera to an HO-ready TV in order to view them, unless they are burnt to a OVO first Canon's own optional cable costs nearly £60, but an excellent alternative is available from Amazon for £199. 3. In order to shoot movies, the camera needs an Extreme SOHC memory card, preferably at least 8GB, as a 4GB card will only allow 12 minutes of recording at 1920xl 080-pixel resolution. The cost of an 8GB card is £40-£60. 4. The bUilt-In microphone is monaural and seems very susceptible to wind noise, which cannot be muffled. There is a socket for an external stereo microphone, but this does not seem to be widely advertised and I have not found a suitable one yet.

In all, I am delighted with the EOS 5500, which marks a big advance for so-called consumer cameras, and while I cannot comment on the Nikon 090, Angela's comments on the Canon model seemed absolutely right to me. There were, however, one or two discrepancies between her comments and the comparative scores she gave For example, she wrote, 'I had a little more confidence in the Nikon [AF] system than the Canon one', but her marks for autofocus were 8/10 for Canon and 7/1 0 for Nikon. Similarly, 'I began to prefer using the 090' and, 'I found using the 090 a more enjoyable experience', preceded her overall marks of 83% for the Canon and 78% for the Nikon. Perhaps she just prefers Nikon. Christopher James, Nottinghamshire CHASING .. I enjoyed reading your full lab and field test on the Nikon 090 vs Canon EOS 5500 in AP 10 April, which, as your cover announced, aimed to answer the questton, 'Can 12MP beat 18MP?' As 'pixel chasing' is very much a current topic, I looked forward to the conclusion. Imagine my bemusement when, after six pages of in-depth testing and, I believe, the Nikon corning in first by a short head - the final sentence ran, 'As 12 million is now a rather below average pixel count for an enthUSiast-level OSLR, I have reduced the 090's score'. I presume that, from now on, most Nlkon OSLR cameras will fare badly. Tony Sproson, South Gloucestershire

The confusion over the scoring of the Canon EOS 5500 and the Nikon 090 stems from the fact that they are each aimed at a different level of user. Hence, the EOS 5500 was assessed as an entry-level camera while the 090 was scored as an enthusiast-level model. We have greater expectations of a camera aimed at enthusiasts, and while the 090's AF system is more sophisticated than the EOS 5500's, it isn't up to the standard of the Nikon 0300S. Unlike the spedtication, build and handling, resolving power is absolute. At the time of the 090's original test (AP 25 October 2008), a pixel count of 12 million was a lot more impressive than it is now. To reflect this and the fact that the EOS 5500 can resolve more detail than the 090, the Nikon camera's Noise/Reduction score was reduced - Angela Nicholson, technical edftor

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the days of keeping whales and dolphins in captivity for our entertainment must be numbered. in front of a packed audience of tourists. Andy uses AquaTech housings. Sticking them in a small tank must have a detrimental effect on their wellbeing. then let him do so wild and free in the ocean. It wasn't Tilikum's fault as he is a Wild animal and not a . Now. Of course. It was an event that shocked the world. " . most readers of AP (including me) probably thought every orca In captivity was called Shamu. Clearly. what happened with Tilikum was a tragedy for the families affected. After all. this is not a rant against zoos. I left feeling ashamed. \~ . but one that many of us knew might happen one day. It might even cause more stress. On 24 February. One thing is for sure: I will only pbotoqraph wllales and dolphins that are wild and free in the future (as I have always done) and will never visit any aquarium again that has whales and dolphins in captivity. Under bright Florida skies. which ISa ridiculous knee-jerk reecnon that condemns an animal to death just because he cannot entertain us any more. If he is to die. While this is the most romantic option. it has been tried before and has not been proven to work. as I am well known for extolling the conservation virtue of seeing endangered species in zoos. A couple of years ago I visited an aquarium that had beluga whales.. like this humpback whale . Tilikum. For more infonnation see the Cameras Underwater website 'II its wellbeing. pet. animals in zoos aren't made to jump through hoops for our entertainment Whales and dolphins are highly intelligent (and therefore easily bored). Balance this with the simple fact that if humans don't see whales and dolphins in the flesh it will be more difficult to conserve them in the wild and you can see the dilemmas. Two minutes later. Keeping whales and dolphins in captivity has always been controversial and there have been countless calls to stop it.~ . In fact. pulled his trainer under the water and drowned her. how can we expect to save animals on this planet If seeing them is restricted to the privileged few like myself? The difference is that these days. after seeing them swim around their endosure and looking totally bored.Andy Rouse Wildlife ouse lli I Should whales and dolphins be kept in confinement? A TRAGEDY IN CAPTIVITY UNTIL February. _- . this changed forever. Would we treat humans like this? . Now he has an uncertain future. the largest male orca in captivity. The option that will probably get chosen will be to try to release him into a huge sea pen and let him acclimatise to wild conditions again. but knowing what to do with these animals that are in captivity now is a difficult issue. but it is a tragedy for Tilikum too. I Just cannot bring myself to do It.. We don't know what effect it will have on releasing him since he has no experience of fending for himself (he was a youngster when he was caught in IcelandiC waters in 1983) and politically it will be a difficult To keep him in semiisolation would be a auellife sentence for an animal that depends on social contact for Andy will only photograph whales and dolphins in the wild. social and due to the migrational habits need a huge ocean to swim in. Some have called for his death. -.


Clive Nichols was talking to Jeff Meyer Clive Nichols recalls a challenging brief from a client and explains how he gets a balanced composition As the UK's top garden photographer. It was part of a project I did for a high-street retailer that commissioned me to shoot a series of Images for wall art In its stores. but it could be an even or an odd number of flowers. The retailer wanted a clean image with simple shapes. Vary the points at which you copy pixels. KG Imagining his frame as two triangles helps Clive visualise balance in his compositions . You can even clone from other images that you have open in your software. Lastly. If it's not enough you can always add more later. the single biggest mistake many people make is to drag it across an image like one of the Brush or Dodge and Burn tools. I prefer the sepia tone because it's timeless. I then converted the image to black & white and made duotones in sepia (main image) and teal (below). would be a clean or blurred background with little detail. What I want is for them to complement one another. right) you can see that it looks quite different from the final version. and its neutral colour will stand up in most environments. even if you blow them out you can often recover them With the highlight-recovery slider in your raw software. but in general it's best to click and make several daubs with the Clone Stamp tool to get a more realistic result. which were the colours requested by the retailer. so I went out with a very specific idea of what I wanted to shoot. Using the Clone Stamp tool in Pllotoshop. No one wants to admit to it. I had to pay careful attention to the histogram. The top flower balances the bottom flower. because I was shooting from underneath and wanted to capture the detail at the base of the flowers. However. I tilted the lens slightly towards the sunlight in order to get tile effect of tile nice round drdes you see faintly in the background. with the eye moving naturally from one to the other A good way to test this is to think of your frame as two triangles. Still. this image is a bit of a departure for me in that I did something I don't normally do I doned out distracting elements. co. whether it's in a store or on my living-room wall. It was a tight brief. For this shot I used a 70-200mm zoom at 180mm on my Canon EOS. I also overexposed slightly. I believe in trying to get it right the first time Finally. If you look at the original image (see Talking Technique. Clive's knowledge and pictures are in constant demand. The obvious exception. When you drag the Clone Stamp tool. and vice versa. removing a mole from a face or a lamppost from an idyllic scene. I'm looking for balance.Photo insight Clive Nichols BRINGING YOU ESSENTIAL EXPERT ADVICE EVERY WEEK blank canvas in the background that makes the magnolia flowers stand out and achieve the 'clean' image the retailer was after I also did a little bit of blurring on the computer to smooth out the background. it took me just a few minutes to remove them. for use just this once. to make sure I didn't throw the highlights THIS is a magnolia 'Galaxy' that I photographed in the gardens at RHS Wisley in Surrey. As you want subtlety. Imagine a line running from the top left corner of the frame to the bottom right corner (see right) See how It splits the subjects and they become almost mirror reflections of each other. there are a few more buds on the two branches and a very distracting partial flower in the upper left corner. Wisley has some of the most stunning magnolias in Britain that bloom around ths time of year I thought that by getting close and emphasising the shape of the flowers. though. His expertise is invaluable CLIVE NICHOLS To see more pictures by Clive Nichols visit www. I often do this when I'm trying to achieve a balanced composition. like Clive. This is what I try to imagine when I'm adjusting my focal length. you create the effect of repeating patterns and immediately give away your secretthatjouve retouched your image. If. as the company had certain colours and styles in mind. you do decide to dust off the Clone Stamp tool. using tile branches as lines leading your eye in. Sometimes when I'm composing a picture like this it can be difficult to know how close to get and how many flowers to include in the's instinctive. This helped give me a sort of TECHNIQUE Cloning is the big elephant in the darkroom when it comes to photography. The answer is that there's no hard-and-fast rule . of course. I could create an image that would fulfil the brief.clivenichols. such as Clive·s. don't do all your cloning from the same source within the image. start with a low Opacity. In particular.1Os Mark III camera. shooting at 11200sec at f/5. but we've all indulged in the Clone Stamp tool.




. a bustling community. could Incorporate it Into my composition. co.kirkapoltiree. tireescarinishhotel. 24-105mm. including local seafood. All in all. try Kirkapol House in Kirkapol [visit www. Pnstine beaches are found all around the island and behind each beach is AP's guide to Britain's best photo locations. a weeklong traction kiting event from 31 July. Isle of Tiree Take a windproof jacket because the winds are strong. The Island boasts the most hours of sunshine anywhere in the UK and it is also exceptionally windy. Here. There are only a few places to eat and drink on the island. clear-blue waters and long daylight-filled days. Ross shares a few of his favourite spots on the island and explains how he took the following images. the most westerly island of the Inner Hebrides. or you might like to try Tiree Lodge Hotel in Gatt Bay [call 018792203681. and has excellent views out onto the dunes and visit for more information. Beautiful blue skies abound and the island's unique ecosystem is home to many rare birds and insects found solely on Tiree. The fallen pole in the foreground caught my eye and I thought I .com or call 01879220 308J is good. It offers a wide choice of but fortunately my lens has image stabilisation so I was able to ensure my compOsition was or call 01879220 729J. there are numerous photo oppornmues and.___~ to have one. Visit www.loganair. On the west side of the island. The Island is not only the sunniest. To give it a go. a sport involving a power kite and a three-wheeled buggy. There is a reason there are so many. I wanted to include the whole washing line in my shot for maximum impact. Washing line Canon EOS50 Mark II. Tiree Scarinish Hotel in Scarinish [visit www. or find out more about TK on Tiree polariser Washing lines adorn the landscape on They are dotted across the island " and every whitewashed cottage seems .II"tiIW~ SDE KNO E G WITH its idyllic beaches. ISO 100. Tiree is famed for its strong winds that provide the perfect conditions for traction kiting. so it provides the perfect drying conditions which residents are more than happy to exploitl I wanted to show how windy Tiree is and I thought this would be an interesting way of doing it I took this image in a small area called Vaul. Tiree. as landscape photographer Ross Armstrong proves. Ceabhar Guesthouse and Restaurant in Sandaig is a good option. and because I was using a wideangle zoom lens I could easily accommodate its whole length I don't believe in always follOWing the rules and I felt using the washing line to divide the frame in two created a stronger composition than follOWing the Rule of Thirds.Isle of Tiree Photo locations Need to know Loganair/FlyBe airline flies to Tiree from Glasgow.. This week . I UI. but also one of the windiest places in the British Isles. which ISnot so great for photographers but certainly shouldn't deter you. If you are in the east.ceabhar. Visit www. it is possible to visit a well-trodden location and return With images that are different from other recognisable vistas. I was shooting handheld.tractionkiting. The Ceabhar Guesthouse and Restaurant in Sandaig [see above] is popular with both islanders and tourists. Much of the island is quite flat and there are hardly any trees. I made sure the clothes didn't overlap with the ground because this created a more pleasing image.Jj Tiree.. ranks among the top places to visit for landscape photographers. 1/500sec at f/4. plus plenty of sunscreen and a hat because in high summer there is little or call 01879 220 684.

but make sure the pictures are centred around one place. ISO 200.Photo locations Isle of Tiree Highland cow Canon EOS50 Mark II. Humour was a key element in this image. 24-10Smm. ••• Blood-red sky Canon EOS50 Mark II. Send a CO/OVOin the first instance to 'Insider Knowledge' at the address shown on page 3.6secs. polariser . Do you know of a great photo location? Share it with your fellow readers and earn yourself £100 in the process. I had to find a way to arrange these elements so they complemented each other I decided to fill the foreground with the verdant turf. NO grad. 1Osecs at 1/22. Visit www. polariser. As the day cools the wind tends to pick up. I wanted to use this to create a dynamic polariser. Textured rock Canon EOS50 Mark II. blue sky and orange barn. NO grad. rough rocks. Here you can glimpse the sunset through the rushing cloud. The textured boulders in the foreground initially caught my eye and then I noticed the rugged rocks behind. A 32sec exposure allowed me to pick out the movement in the sky. 2Ssecs at f/22. so you don't have to write anything. 1/S0sec at f/16. polariser I took ths image in Scarinish. 1. I rested the tripod legs on pebbles to steady them ... ISO 50. but with a comical edge Rusty shed Canon EOS50 Mark II. I like exploring the contrast between man-made elements and nature in my work and this scene illustrated the concept brilliantly I love how nature is flourishing around the 'decaYIng' structure. NOgrad. 24-105mm. These soft colours give the Image a dream-like appearance I used my camera's mirror lock-up function and a remote cable release to minimise subject blur. tripod and remote release II!!!I•• This is a classic sunset image. We'll call to interview you about the details. Curving bay Canon EOS50 Mark II.amateurphotographer.__ been photographing the picturesque whitewashed cottages all day and was desperate to find something different I stumbled across this rusty old barn and was blown away by its rustic ruddy hue. 24-10Smm. It sounds cheesy.150 200. The challenge was to work out how to combine these elements. the main town on the island. The misty water. namely the contrast between bold colours . I had c:c. I enjoy taking images that are documentary in style. tripod and remote release ThiSstriking coastal sweep was taken in Sandaig where I was staYing. . The ground was very soft and the legs of my tnpod kept sinking into the ground. The sky was so bright that even with a polariser my exposure was still quite fast at 1. Submit a collection of at least ten images witll a brief explanation of where the location is and what is special about it. ISO 100. polariser. The cow had just relieved Itself on the road and looked as though it was marking its territory.. you can capture impacting landscape images at any time if you know what you are trying to achieve. sea and land. On returning that evening. 24-10Smm. The grass in the foreground was completely in shadow. There IS a huge promontory of land that stretches around the edge of the island and this is a view that is especially popular ". ISO 50. I was standing on a grassy sand dune on the edge of a pebbled beach. Tiree is famed for its incredible sunsets. wonderful colours merge together in the sky. The dappled cloud creates drama. but all the elements came together on this occasion. I took this at around 1OAOpm For ths shot my exposure was 25secs grass. We are looking for the inside track on well-known as well as new locations anywhere in the UK. ~- Dramatic sky Canon EOS50 Mark II. Often in sunset images you'll see land silhouetted as the photographer has exposed for the sky at the expense of losing detail in other areas If you look closely you can see flowers scattered across the grass. 24-105mm. 1/30sec at f/16. gentle light and chalky pebbles combine to create a compelling whole. I wanted to capture a powerful sky and retain foreground detail at the same time. I could make it look imposing I admire Martin Parr's work and his tendency towards slightly irreverent humour and I wanted to try this In my own. but the difference is that there are traces of green in the foreground. The light was falling on the flowers and made them appear like catchlights. I wanted to see if I could use the dying light to bring out their texture. I took this at around 10pm and as you can see there is just enough light to illuminate the rocks. ISO 50. I knew It would make for a strong contrasting element Contrast plays a big part in this image. There are tracks across the island and cows are free to roam where they please They sometimes even wander onto the beaches and can make humorous subjects. tripod and remote release ~~ I'd been at this location during the day and it looked attractive but a little flat.~th photographers. 24-105mm. By framing the shot so the cow was to the left of the Image. which contrasted with the stillness of the water. I enjoy exploring how I can feature subjects in my landscape images and I thought including the cow in a prominent way would make for a lively composition. which forces the clouds to sweep through the sky quite quickly. 32secs at fIlS. When I took this shot it was actually very dark. but I was interested in the afterglow After the sun has disappeared.long enough to capture the blur of the water and remnants of light Although it was very dark the camera has picked up subtle hues. tripod and remote release • While first thing in the morning and early evening are renowned as being the best times of day for landscape photography. The horizon may slice through the frame. I found a more photogenic scene.6secs at f/22. polariser. I think this creates an interesting for more info. A van drove straight through the muck and I was drawn by the crude humour of the situation. but the composition is divided into the three sections of sky. NO grad. . I used my NO grad filter to hold back the sky and retain the intense colours.


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alongside images people probably have seen that are the best of what he did. Somewhat small in stature. 'When I was younger I used three cameras. I just walk around. Bryn Campbell's opinions match his taste in cars. but A trainload of people arrives in Cairo for the funeral of President Nasser of Egypt. Former Observer picture editor Bryn Campbell talks to AP's Jeff Meyer BOLD and not to be misconstrued. but there is a necessary self-confidence in your ability and in what you're doing that goes with it. Campbell has been going back over his archive in preparation for a lOa-picture retrospective of his work at London's Hooper's Gallery. In fact.Bryn Campbell Dorumentary A history of firsts He launched Fleet Street's first colour news magazine and sent a young Don McCullinto his first war. The main theme linking it all together. I love dOing It for myself When I was working and had a two-day assignment abroad. Also. It sounds Simple. Yet summing yourself up in 100 pictures was never going to be an easy task. however. Then there's all the work I did with The Observer and countless personal projects How could I fit all that into one exhibition?' Bryn decided to concentrate on an equal balance of pictures that people haven't seen. After that I don't make too many -) rules for myself. I would stay for an extra week or fortnight shoollng pictures for personal projects' Bryn's time-tested method for photographing people IS to be as inconspICuous as possible. 'I've always loved street photography. is the street. and as a photojournalist it's your natural habitat: says Bryn. Now in hIS '70s. I try not to catch anyone's eye. yet strong and dependable. 'It's been incredibly difficult: he says. 'I tend to work with two cameras: one probably tucked in a bag on my shoulder and one across my chest: he says. the Fleet Street stalwart is quite similar to the Alfa Romeos he loves to drive. 1970 . 'I had assignments where I spent a whole season with Chelsea Fe I covered the end of the war in Vietnam. the former picture editor of The Observer during Fleet Street's most active period of change stands as a cultural symbol for the pioneering and enterprising photoiocrnalsrn that defined his era.' You spend more time on the street than anywhere else.

The last thing the Government wants to do is recognise photographers. If The Telegraph had got wind that The Observer was going to launch a colour magazine. 'If anyone had found out that we were doing this. 1956 plans: says Bryn. And we had no one helping us. a rival to Amateur Photographer. the first produced by any newspaper at the time. Bryn's experience at the helm of this and other magazines he edited put him on the radar of editors at The Observer because of his contacts with many up-and-coming photographers. and it was very important that the editors had someone who was not known to the rest of Fleet Street because thev were doing it secretly. particularly the processing. The apprentice scheme meant there were only a limited number of apprentices who were both available and capable of producing a colour magazine. It was while priming these cameras on planes that he learned the skills he would use later in his career. it would have scuppered their Woman breastfeeding her child. His job was to capture aerial photographs of large areas of land and sea. if you have the opportunity. if you have the opportunity.200ft (365. Sometimes it's safer and easier to stand back and use your 200mm lens. leaving The Observer out in the cold. so street photographers like me had an immediate problem of trying to distinguish ourselves from less scrupulous photographers. So it was very important that the project was kept quiet.5 metres) of film in each camera. he says he immediately looks away Usually this is enough for people to go on about their business. As photography had been a hobby in his teens. and in all my years no one ever has ever objected_ The trickiest time came after the death of Princess Diana. 'I am polite and ask them if they mind that I took their picture. the RAF made him a photographer during his national service just after the Second World War. as the public is largely ignorant about photography and the establishment is hostile to the medium. People partly blamed the paparazzi for her death. it's better to move in' I'm watching all the time 'When I see something that looks interesting. he had at least 1. At other times. Bryn's Job was to process the film and make matched prints from every frame_ With an average of 12 planes out every day.' Despite this belief. At other times. and he . had considerably more money than The Observer. Bryn went to university and then had a series of brief photography jobs before answering an advertisement seeking a photographer to help launch a new photographic hobbyist magazine. The Observer was about to launch a colour magazine. I believe being physically close to your subject feels more natural and intimate in the final image' In the event that someone notices Bryn.' Bryn operated from an unused top floor at The Observer's premises His job was to find ready-made stories that the paper could use in its dummy issues. 'At that time everyone wanted to be AD Every new photographic publication during L (' the 1960s was trying to cash in on the AP monopoly_ Because of this I've been on AP's blacklist for years: he jokes.Documentary Bryn Campbell 'Sometimes it's safer and easier to stand back and use your 200mm lens. Bryn's career began while working alongside the Government as a photographer for the RAF. After the RAF. Little did Bryn know that this move into publishing would soon launch him into Fleet Street in a big way. it's better to move in. Other newspapers. the printing industry was totally controlled by unions. but if people challenge him about it he tells them exactly what he's doinq 'I never lie: he says. What you do depends on the circumstances and the convenience. 'At that time.7 metres) of film to process and print. London. like The Daily Telegraph and Daily Express. With 100tt (30. I either move in on it or I stand back and shoot it with a longer lens. The newspaper soon got in touch. it would have Jumped in first and bought up all the pnnting capacity.

Bryn sent Don on his first war assignment: the Civil war in Cyprus. 'If you have people Above left: Bryn prefers getting as dose to his subjects as possible as it feels more intimate than using a long lens. The secret wasn't too difficult to keep.' A classiC example was Don McCullin. Bryn says he has always regretted not being able to be editor of both the magazine and the newspaper. the picture editor at The Observer was sacked. day out. About halfway through the three months that he was doing this. 1964. he says. 'However. as we got closer to the launch they decided they wanted to run the two separately and I became picture editor of just the newspaper. 'I knew Don well by that time: Bryn says. day in. as he had no relationship with anyone on Fleet Street at the time and was well known for his work with photographic magazines. doing an eight-page picture story for the magazine: he says 'You would attract far better photographers to the newspaper because they'd realise they would have a chance of producing a longer picture story for the magazine. Instead. day out. 'I knew ) that he was seriously drawn to violence .not as a person. Bryn says he loves black & white for the feelings you can elicit just by using strong or soft tones on a newspaper searching for just one picture. he says. as CIf ou have people y on a newspaper searching for just one picture. imagine telling a photographer that they'll be spending a week in South Africa doing an eight-page picture story for the magazine' . Above right: Although he shoots colour. for instance. Bryn was offered the job.Bryn Campbell Dorumentary Above: Returning home with sacks of scavenged sea coal in north-east England would assign photographers to produce stories on the bass that he was doing it as part of his photo magazine work. what tended to happen was that the best photographers at the newspaper were gradually seduced over to the magazine. 'The idea was that I would be picture editor of both the magazine and the newspaper: he recalls. day in. imagine then telling a photographer that they'll be spending a week in South Africa.

Documentary Bryn Campbell

Bryn says that taking a successful picture is down to a careful balance of aesthetics and narrative


If you're a photojournalist at an event. for example, you want to compose it in such a way to give the most efficient expression of what you are seeing, In a sense, you want to try to organise your picture so that you're telling somebody as succinctly and as intelligently as possible what is going on. Simplicity in a composition works best. says Bryn. Rid your image of anything non-essential to what you want to communicate. Reduce the number of components in your viewfinder to the necessary few, Frame or focus so that you give emphasis to your main subject. Less is more, 'Someone once said that the object of communication is not to be understood, but to make damn certain that you cannot be misunderstood, and that to me is true of photography: Bryn argues, Over time you can begin to make your compositions more complex. This happens as you grow as a human being: says Bryn, 'and I don't think you can grow as a photographer beyond a certain point until you grow as a human being and life gets more complex.' Sometimes when you're looking at a potential picture you see that complexity instinctively, says Bryn, You become more sophisticated about the balance and perspective of visual things, and how to open up space and close it down. By this point you will have learned how to work and react quickly, So when you see something that offers itself to you, you're not only trying to tell it intelligently, but you're also trying to do it elegantly, The aesthetic side is adding to the strength of what you're communicating, not the other way around. 'This is what is being missed by people who are running our news organisations: he adds. 'I don't think they're sensitive to these qualities.'

Above: Fishermen layout their catch at Halong Bay, Vietnam, 1997

Below:ACRS policeman fires a tear-gas grenade at rioters on the Left Bank in Paris, May 1968


he's as gentle a person as they come - but he's attracted to the idea of photographing VIolence. So when I had the chance I sent him to Cyprus. The rest is history. 'Sometimes I wonder if I really did him any favours [by sending him to photograph war],' adds Bryn. 'But can you imagine what it would be like as a picture editor to send Don off on a hard news story like Cyprus, and to then be able to say to him, "Look, stay over there for another two weeks and we'll run ten pages of pictures In the magazine." It would have been a temfic responsibility, but it could have worked.' Instead, Bryn went to the newspaper and worked there for two years. Eventually, though, the changing potties and economics of the time introduced harsh changes to the newsroom. 'The accountants took over: he says, 'Advertising became scarcer, Ielevsion made it very difficult for newspapers to compete for advertismq at the same time as people in advertising were becoming more sophisticated in where their ads were placed. Also, television news and feature coverage was becoming more sophisticated,


Bryn Campbell Dorumentary

Muslim women on the slopes of Hari Parbat Hill, Srinagar, India, praying towards the sun rising behind the Himalayas, 1948. It was this image by Henri Cartier-Bresson that inspired Bryn Campbell to be a photographer

which meant it was harder to find stories that hadn't been covered in depth by the television news agenCies' As newspapers struggled to compete on these fronts, suddenly the staff photographers no longer had the freedom to pursue stories as they saw fit. Bryn had to fight harder, against more people, to get his preferred pictures in the newspaper, and people began to resent this. Eventually, Bryn's department was taken over by the art department and all picture decisions were made by the art director. This was common in the mid-1960s, says Bryn. Everything was changing. Bryn eventually made a deal with the newspaper, making his deputy the picture editor while he went back to being a photographer for the newspaper. By the end of the decade he was freelancing for the paper three days a week and shooting personal projects on his free days. 'I think back to those days and realise this was really the turning point,' he says 'We were the last generation of photojournalists who had the freedom to do it our way.' When Bryn started in photojournalism, papers like the Express had 147

photographers. Today, many have just two. When you have staff photographers, he says, you have to worry about their pension rights, their insurance and unions. So you hire freelancers to put the squeeze on them. Bryn admits he would have trouble working in a newsroom today. 'I'm too opinionated: he says. 'You reach a certain age and you no longer care about politics or about getting awards or being included in exhibitions. Photography is still very misunderstood. 'Everybody thinks they can take pictures, and that it's easy to do if they have the right camera. But they all know at heart that they're too chicken to do what someone like Don McCullin does, and does very well. Deep down they all respect that. By and large photographers are not well respected in this country The Government sees us as a threat, and as far as the art establishment is concerned I think they waited until photography reached a level of pretentiousness with which they could feel comfortable before they recognised it. And they recognised it before they understood

what its true strengths really are.' Photography's strengths, he believes, are that it's a recording medium that can transcend being simply a recording medium. It was a Henri Cartier-Bresson image of Muslim women praying on a mountain peak in Kashmir (above) that first made Bryn realise that cameras could be used for art and inspired him to become a photographer And it was what Cartier-Bresson called the 'conditioned instinct' of being able to capture something in a fraction of a second that Bryn believes gives photography a sense of actuality that no other art form has.

'Everybody thinks they can take pictures, and that it's easy to do if they have the right camera'

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for him. Brassai had already trained as an artist in Budapest' . He had little interest in photography until he met fellow Hungarian Andre Kertesz in 1926 and was shown what the medium could achieve. nudes. After buying his first camera in that year. including prostitutes. he quickly established an Impressive portfolio of work. but he later adopted the name 'Brassal'. far from the well-known tourist sites. which translates as 'from Brasso' When he arrived in Paris in 1924. Brassa'l openly admitted trat many were discreetly arranged or even carefully posed using his friends. but he began working as a journalist for newspapers and magazines. as well as capturing atmospheric empty street scenes. He worked in this way partly for technical reasons because when he shot at night. but didn't begin shooting his own photographs until 1929. Brassal was born in the small town of BrassO.. published in the 1933 book Poris by Night. when he became. Brassars first collection of Paris photographs. criminals. taken in 1932 ICONIC PHOTOGRAPHER I CAMERA I PHOTOGRAPH Brassa"i's photographs of Paris mythologised a city that. His early work was shot on glass plates and could only canry a maximum of 24 of these plates on any of his night-time forays.Brassa"iIcons of photography BRASSAi was a unique figure in 20th century photography At different times in his life he was a journalist. He accompanied Kertesz on several assignments. He particularly concentrated on people on the margins of society. Although these images of PariSian people have the appearance of spontaneous documentary work. which was then in Hungary His real name was Gyula Halasz. 'the eye of Paris' Although he lived in the French capital for most of hiS life and is strongly associated with the cultural life of the city. which was scandalous in its time. ICONS OF PHOTOGRAPHY Brassa'f 1899-1984 Left: Self-portrait of Brassai taken in the lab during the 1930s Right: 'Lovers in a small tafe in ParisPlate d'italie'. captured the spirit of the Parisian underworld of that period. film-maker and artist. was a constant source of inspiration. and is most celebrated for chronicling and mythologising Parisian life in the 1930s. People could hardly be unaware that they were being photographed. he had to use a tripod to hold his bulky camera and for interior scenes he used a magnesium flash. sculptor. Brassa-Iwas particularly interested in photographing at night.. street scenes and graffiti. in and around the streets of Paris_ He wanted to explore the secret life of the city. entertainers and transvestites. making spontaneous interior photography difficult. In the novelist Henry Miller's words. Brassar had already trained as an artist in Budapest. However. became internationally Amateur Photographer's . The book. but his greatest achievements were in photography He shot portraits. David Clark looks at his prolific career 'When he arrived in Paris in 1924.

but information and links can be found on www. Later that year he buys a voigtlander folding-plate camera Adopts the pseudonym 'Brassai' after the name of his home town Publishes his most famous book Paris by Night. Dali and Matisse. he kept his distance from that movement. Hungary (now Romania) 1899 'Brassai's work brought him to the attention of artists working in Paris and he became friends with Picasso. Brassa'isought out other ways to express himself artistically and spent long periods doing sculpture. Websites: There is no offiCial Brassa'i website. is still in pnnt and published by Bullfinch Press. he had reservations about it. working for the re-formed Rapho agency with colleagues including Robert Doisneau and Edouard Boubat. on 7 July 1979 1984 . While he continued to photograph in the years that followed. He stayed in Paris during the Second World War when the Germans occupied the city. poetry. His most regular employer was Harpers Bazaar. drawings.\Jith Picasso.Icons of photography Brassai 'Open gutter' from Brassa'i's book Paris byNight. Ute and Vu.' Brassers work brought him to the attention of artists working in Paris during that period and he became friends I. plus insights from Brassa"i's own writing and other commentators. he also photographed a variety of other subjects while on assignment for magazines such as Picture Post. including Camera in Paris (1949). film-making and set designs for ballets. Although some people saw links between Brassers work and the Surrealists of the period. France's highest civilian award Major retrospectives of Brassai's work are held in London and New York to celebrate his 80th birthday Dies in Beaulieu-sur-Mer on the French Riviera. although he was unable to take or sell his photographs as he refused to complete an application for a photography permit. unreal Paris. 'Photography is really only a starting point. where he works as a journalist for newspapers and magazines Shoots his first photographs with a borrowed camera. wins the 'Most Original Film' prize at the Cannes Film Festival Publishes his long-planned book. for which he undertook a series of portraits of artists from 1937-1960. Graffiti 1917-18: 1918-19 1924 1929 1932 1933 1937 1949-60 1956 1960 1976 Made a Chevalier of the Legion of Honour. Picasso asked him to photograph his sculptures and the results were published in Minotaure magazine It was the first of numerous assignments for this Surrealist journal and the beginning of a long friendship with the artist Brassa began USinga Rolleiflex in 1935. which allowed him to work spontaneously using unposed subjects He continued producing books on Parisian life for many years. Meets Picasso and photographs his sculptures for the Surrealist journal Minotaure Becomes a regular contributor to Harper's Bazaar magazine Travels widely around Europe and the USA while on assignment for Harper's Bazaar His film. Paris by Night. I see no reason to regret that the widest branch of the river of my own life has been photography: BOOKS AND WEBSITEs Books: Brassoi' No Ordinary Eyes by Alain Sayag and Annick LionelMarie (Thames & Hudson) contains more than 300 of the photographer's Images from throughout his career. shrouded in fog and darkness: he wrote. 'And yet the surrealism of my pictures was only reality made more eerie by my way of seeing. However. he stopped shooting any new photographiC work. I am somehow not completely satisfied by it: he noted in 1937 At the same time he also acknowledged that 'photography has allowed me to come out of the shadows by showing what I see' However. in 1978. Although BrassaTmade a significant contribution to photography as an art form. he wrote: 'Isn't it the case that each person's life is like the delta of a great river. Dali and Matisse' famous and influenced Bill Brandt (hiS book A Night in London of 1938 was inspired by Brassers book).masters-ofphotography. 'People thought my photographs were "Surrealist" because they showed a ghostly. Even when completely successful. In 1960 he published Graffiti. Instead preferring to concentrate on his other interests. notably Corrversations with Picasso (1964). Transylvania.1933 Biography Born Gyula Halasz on 9 September in As Long as There are Animals. the branches representing all the possible directions our lives can take? In the end. His 1933 book. a book that resulted from his long-term tascnanon with this 'outsider' art form Although other books featuring Brassa'i's photography were published after Graffiti. Serves in the AustroHungarian army Spends a year studying at the Academy of Fine Arts in Budapest Moves to Paris. wikipediacom and a selection of images are available on www. When the war ended he returned to photography.


and during the course I've seen my technical skills Improve markedly. 0 BY DIRECT DEBIT: Please note.. What made you decide to enrol in 2007.which The by rote. to be COf't..I would o like to enrol on the Foundation in Digital Photography Yes. you bv post qr Ich:~hQl"JO:.. and not just friends and family....e~2 ees-p-cducts ~lCtv1.. in Digital Photography has given me just what I was looking for. uld I. It was this latter that led me to the SPI course.I would like to enrol on the Diploma in Digital Photography Please send me more details about the courses MriMr:. "I~ o hwr. We even take the odd decent snap on the way! What is your proudest photographic year for moment? Last year was a real milestone me photographically.I\ to ~ilf"'E:fully selected Of"iiIniSil.a:. reproduced as I had photographs prizes in in several magazines and also picked up a couple of competition started well.uklspi Or send this coupon to The School of Photogr:lphlc Im'glngAdmlnlstrator..IPC would like to cootect.•.ondon Signature (I SE I OSU or c.... Manfrotto tripod. Over the past couple of years I have made some really good friends through photography.:f". r c Mastercard Card number fbstcode .. ..•••• •• •• • Dave Whenham ENROLLED ON: Diploma in Digital Photography AGE:SI EQUIPMENT: Canon E05 5D Mark II and EOS 40D bodies with Canon 17-40mm and 24-IOSmm L-series. having completed the latter half of the year. Will<oIll:ct ')'Our ren. Email . please tid hcren HOWTO PAY: (UK RATES) Overseas fees available on request BY GlEQUE OR POSTAL ORDER: Made payable to IPC Media for:C«l [j SPII"~ .99 BY CREDIT CARD: Please debit Q99 am over 18) If YQU . and my Student introduction When did you first get into photography? by my father's interest in I first picked up a camera .. pubhshed bv IPC Media (IrC).. Tide be-a rlcou pecrcnot (Q he_ fmm IPe (j IPC WIll Qf.... SCHOOL OF PHOTOGRAPHIC IMAGING • • fact that I could process my images with a degree of predictability grabbed element and consistency me from the start. Forename.11020! 148 ·1326 o Yes..ln to process '!-'OurcntJ'V. IP..e'NS..please send me a bank instruction fOITTlto deduct three monthly debits of I05 from my account Signature (I am over 18) Am. Expiry date .•..:lke: ~ pease tick be-e ~IVICC:- '" rc:u:~n. .. If you would like to receive the SPI student e-newsletter...•. and Sigma 10Smm macro and ISO-500mm optics.h.. Start date . if)au are oa)ing by Direct Debit the full cost of the course will be £:3 15 Yes..n2. This year' has also my Diploma and having an image chosen for the Appraisal feature in AP. Address. Tick here nol jf You p-ete- Three-digit security number .as a teenager was an economic Encouraged photography. BI"c Fin Bu lri. it would be nice overthe next couple of years if I to pay for the next could earn something 'essential' piece of kit! on the course? I started to use digital equipment The immediacy of digital imaging and the To enrol or for more information visit www.eurPllOtDirdpher. Mc. but that love for mono images shoot together regardless of the weather we always have a tremendous day out. appreciate and enjoy my photography.u-d~ to pt"QR\IOlm~ a nd ~s. provides a wonderful to a very stressful and sometimes day job... We regularly meet up and when time permits. . I :0 Southwar k Slr'cc' l. Why do you enjoy photography? Photography antidote unfulfilling combination artistic. necessity. I'd learnt some . While I'm realistic enough to know that very few people can make a living from their hobby.C'llOl~lIy Pi'U 'fQ<lrdr:t".. Siudeni AP SP 2' APRil 21110 Issue number Visa .1 a.....1iOn5 so they can contact vou IN telephone or ~I WIth reg. the: SPI 00f". The icing on the cake comes when jJfW11Qtc ~nd. .IM5 Sumame ....e tc rt:CCI~~ 1:f.formilliQn and t. battered Zenith back in the late 1970s.onod In(QI"'I1"~U.a E 5LR . .•.tdW'!'-1i r. For me it is the perfect of the technical and the I enjoy the challenge of working out how to get the best from my kit. bu t had not Probably like many others really great techniques fully understood Diploma why they worked makes it harder to adapt the technique. 9th Hcor..~ 'I'OU"QP<NQn on cc-prcducts d SCfVlC~. In those days black & white photography has never left me.amateurphotographer. Daytime tel number .. 'Sp~taJ crtc-s and product and lI'".

Genesis 250 .







but on it. My only concern is that while the bottom part of the picture is full of detail and excitement. ISO 800 MATTHEW says that he first took up photography about ten years ago when he went on a trip of a lifetime. . so I applied some sharpening.jessops. 1/20sec at f/S. which gives a nice widescreen movie format and adds a sense of romance to the image.6. I've therefore suggested a crop to take off this top section and to slice through a bit of the bottom to get rid of that bright cloud in the bottom left. 'UK residents only WIN How to sub "t your pictures Send up to six prints. which grounds us firmly. which are echoed by the shape of the trees to give us a great sense of harmony. include details of equipment used and exposure we're aware that we are not above the mountain. the key thing here is that we have trees in the bottom right-hand corner.'" fnr l. and so when trying to fit a scene like this into a normal frame there will always be bits left over By trimming these away. JESSOPS Mol. slides or images on CD (please include the original files from the camera along with your submitted versions on your CD) Tell us a little about the pictures and. The fact that he is above the clouds. and it seems that many people start out in photography in this way. we can concentrate the eye on the most interesting parts of the picture. Everyone wants to record their memories of such a trip. is what makes this picture so amazing. but while they are spectacular. if you can.Your pictures assessed Expert advice. I also noticed that some of the trees are a little soft. I chose a 16x9 crop. the top section is just a little plain and blank. which you can sit and look at for a very long time. This picture was taken in Borneo. We've all looked out of a plane window and appreciated a sunrise or sunset above the clouds. 55mm. and sitting just a bit too high. The two runners-up each win a £25 voucher" to spend on photobooks from Jessops' online service at I'Il'Iw. As the treeline ascends. help and tips from AP Editor Damien Demolder Damien's picture of the week wins a £50 Jessops store voucher". The sky is spectacular and I love the doud formations In the lower part of the picture. and the middle section is full of beautiful colours. from the top of Mount Kinabalu. It really is a fantastic image. and that's why it's my picture of the week. Please enclose an SAE if you would like them returned Sunset over Mount Kinabalu Matthew Bissmire Canon EOS 450D.f. just above the cloud line. The picture seems to me to be a natural widescreen image. Send your photographs to 'Appraisal' at our usual address (see page 31. but With his feet on the ground.

and I picked out this tantasnc picture of an impala in a dewy field first thing in the moming.Your pictures assessed Impala Dr Sanjoy Basu Canon E05 20D. even for natural subjects. try alternative compositions. It also helps to lift the droplets of dew. ISO 400 SANJOY has sent me a collection of images he took In Kenya. particularly the wide end of a zoom lens. which gives the pictures bags of impact I've selected this shot of Southwold Pier as it shows the dangers of using wideangle lenses with regular subjects Michael has shot with his camera and wideangle lens not quite straight and tilted up slightly. I think we are seeing a bit too much of them. the flat end of the bench is just not square. and place the subject in other parts of the frame TOP TIP surroundings. Sanjoy just needs to get his composition right and Introduce an appropriate level of contrast to really make his pictures sing Southwold Pier Michael Kemp Canon E05 400D. I've therefore used the Lens Distortion filter in Photoshop to neutralise the barrelling. which is a composihonal technique that is rarely absolutely satisfactory Also. Sanjoy has positioned the impala right in the centre of the frame. In the lendscape crop. Michael has sent in a selection of pictures he took of the wonderful Suffolk coast using his camera's black & white mode on the red filter setting. especially when photographing subjects with SQuare edges. so nothing'S really changed except for where the impala is standing in the frame. Adjusting the midtone contrast keeps that sense of silhouette. I've also used the Curves tool to put a little contrast into the picture. the supports for the roof of the tower are leaning towards the top of the picture. 1/400sec at f/10. This is a great shot. dramatic and classic seaside pictures of beach huts and fishing boats. Unfortunately. 70-200mm. because while it ISnice and atmospheric it lacks a bit of depth. when taking this sort of picture otherwise you will get barrel distortion. and we can see now that it is clearly the dominant element in the scene. ISO 200 CURVILINEAR distortion and wideangle perspective distortion are two issues we should usually try to avoid. but avoids clipping the highlights and shadows. It therefore needed to be rotated and a little distortion correction added to straighten up the picture The only real answer. The result is some fantastic. the dew and the silhouetted animal. allowing us to see the dew much more clearly in the foreground and creating a bit of a Bambi fantasy effect Even though I've cropped right in. straight sides and right angles as this is when such distortions are most likely to show. keep your camera absolutely level. and at a relatively short focal distance. which means the straight lines in the image bow out in the middle. such as landscape or upright. 1/S00sec at f/16. and the bottom is spreading out and the verticals are converging. though. This has created barrel distortion in the centre of the frame. I suggest that when you shoot this kind of picture you try lots of different crops. nicely seen and captured. When using Ylideangle lenses. I've shifted the frame so the impala sits on the right-hand third of the picture. it still has all the elements of interest in the mist. The mist is lifting off the ground with a marvellous atmospheric effec~ while this fine-looking beast is posing nicely right in the middle of the frame It is the animal's semi-silhouette that works so well here. and then used the Vertical Perspective tool to try to make the edges of the picture stand up straight As you can see from the benches on the left-hand side of the picture. 17-S0mm. The red filter tums the blue sky dark while keeping a nice uniform tone that allows plenty of midtone contrast. On the other side.unless you're looking for an exaggerated Ylideangle effect TOP TIP . shifting the frame around to position the animal in different areas. My other crop is portrait shaped and zooms right In on the animal. The things that work best for me in ths picture are that sense of semi-silhouette and the backlit dew on the grass that sparkles like little Jewels I've therefore suggested a couple of crops that will make the impala occupy a little more ot the frame and allow us to concentrate attention on the animal. is not to use a wideangle lens. giving the picture that little bit extra impact. while it is nice that we are able to see some of the animal's When photographing subjects against uniform backgrounds.

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Monitor-calibration device and paper On test Over the next few pages we present this week's equipment tests. I noticed a couple of very fine lines where the printed image has been marked as it has been fed through the printer If you are printJng on both sides I strongly recommend cleaning your printer's rollers so that they are free from dust and grit. as well as photography. 16-million-pixel. a colour profile is created that is automatically loaded when your computer starts up. Paper Mill Direct does not supply ICC profiles for Its paper. Although the paper can be printed on both sides. which had been set so that it was a little too bright. Ths should help ensure accurate colour rendition. Among the range of spedalist papers available is the Double Sided Pearl inkJet paper. (500 DSLRs Canon's high-speed. At around 5:80. Unfortunately. Photoshop CS5 . However. I got good results using generic Epson paper settings for the Epson Stylus Photo R2400 printer For best results I recommend using a print-calibration device or service to create a custom ICC profile for the paper and your printer. as well as finding those aspects that deserve praise. reader questions and technique pointers For more information visit to W'MV.92 for 40 A4 sheets Datacolor Spyder 3 Express Around £80 For more information visit W'MV. The Spyder 3 Express is a budget version of the onginal Spyder 3 that was awarded five stars out of five when it was reviewed in AP 12 January 2008. However. We test Panasonic's latest Micro Four Thirds camera featuring its new touchscreen. The pearl finish produces a good level of contrast and has a softer shine than the speckled high-gloss finish of the PermaJet Ultra Pearl paper we reviewed in AP 27 March. which weighs 260gsm and is suitable for making pages for photobooks. Panasonic Lumix DMC-GZ What more can Photoshop do' We take a look at the latest version. CS5.datacolor. Using the device Isstraightforward. plug the Spyder in to your computer's USB socket and run the program. Richard Sibley PAPER Mill Direct is a UK paper manufacturer that supplies inkjet photo paper to a number of other inkjet paper brands. and allow time for the ink to cure before printing on the Richard Sibley TheAP guarantee toy All our tests are conducted by people who understand the product It also sells its products to the public online at www. I found that it made quite a difference to my laptop display. Canon EOS·1DMark IV 7600i SE Plustek OpticFilm Could Plustek's OpticFilm 7600i SEbe the perfect scanner for archiving 35mm film images? We find out. APS-Hformat DSLRis put to the test. All our tests are thorough. honest and independent We compare the current crop of £500 DSLRsto find the best option for enthusiast photographers.papermilldirect. Spyder 3 Express is excellent value for money and is simple enough that even the least technically minded person can quickly and easily calibrate their computer screens. Mer leaving it to measure the colour and contrast of your screen. which is vital when editing photos Spyder 3 Express has a simplified version of the original DATACOLOR'S Spyder is one of the most popular monitorcalibration devices available. as you simply instal the software. We aim to discover any Paper Mill Direct Double Sided Pearl inkjet paper £27. and unlike the Elite version of Spyder 3 it lacks the ability to calibrate projectors.

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though. aperturepriority and shutter-priority shooting in addition to program mode.395 lEICAX1 As] mentioned earlier.395 Xl. which many professional photographers • use to process images. There are no automatic scene modes to tailor the image to a particular subject . Its moderately WIde angle of view is a logical compromise between a 24mm equivalent optic and a standard 50mm lens In keeping with its enthusiast and prolevel status. Thoughtfully. Bentley or Bugatti monikers among the motoring fraternity It evokes an expectation of high build quality. These files are compatible with a Wide range of image-editing software packages without the need for updates.2 million. ranges between 30secs and 1/2000sec and can only be set in whole stops. the stand-out feature of the Leica Xl is its APS-C -szed CMOS sensor. Even better.A compact camera from a prestige brand such as Leica always attracts attention.8 Asph that consists of eight elements in six groups with one aspherical element This lens produces images approximately comparable to a 36mm optic on a 35mm camera.2 million effective pixels APS-C-sized sensor Fixed 24mm f/2. the aperture can be adjusted in V3EV steps from f/28-f/22.a fact unlikely to faze many enthusiast photographers. but if it can deliver what we hope. is that the price of the Xl Includes a free download of Adobe Photoshop Lightroom 2. Shutter speed. has a lot to live up to. yet its APS-(-format sensor makes the Xl even more enticing \ Angela Nicholson Technical editor WHILE a full-frame sensor of 35mm film proportions is seen by many as the most desirable option for DSLRs. therefore. however. As a compact camera It also has a fixed lens: a Leica Elmarlt 24mm f/2. COMPACT CAMERA 12. Whereas full-frame DSLRs are now available from the mainstream manufacturers at a relatively affordable price. has offered a compact camera with an APS-C-format sensor. until now only Sigma. which has an effeCTIve pixel count of 12. an APS-C -sized device is akin to tile Holy Grail for compact models.1. the fact that Sigma has opted to use a non-standard sensor from Foveon may have restricted its compact cameras' popularity. the Xl offers manual. Conveniently. the name Leica provokes a similar reaction to the Rolls-Royce. images may be captured as either . Although it has its loyal devotees. excellent optics and superb images at a rnamaqe-tbreatermq price The £ 1. The introduction of the Xl by Leica means that there is now an APS-C -format compact digital camera available from a manufacturer steeped in both camera and lens-production history In photographic circles. the air could be ringing with the sound of smashing piggy banks. Unusually for a compact camera.8 lens lequivalent to 36mml ONG raw format Street price approximately £1. which IS much better known for its lens production than its digital camera manufacturing. Leica has opted to use the DNG raw-image format for the Xl.

Tel: 0190B 256 400. . The latter controls also provide access to the exposure compensation. which retails for ~250. The burst depth. self-timer.Camera test Leica Xl _< c: raw or JPEG files. for up to 6 raw [ONG]. shutter priority. centreweighted and spot 13EVin 1/3EVsteps Auto. a hotshoe for attaching any of the current range of Leica flashguns. which is not far off what is possible with some entry-level DSLRs. an image-stabilisation system that captures and merges two images automatically.GN5m rillSO 100 No SOand SOHC Rechargeable O-U50 li-lon battery USB2. for instance . When 'A' ISselected on both dials.600 pixels] Optional optical device ~lanual or single-shot AF 195 individually sele(. It's a simple and elegant solution that allows the photographer to set the exposure without the camera being powered-Up. Although it has quite a minimalist look.0 Hi-Speed 615g[without battery or card/s] 141.6-f/22 in 1I3EVsteps ISO100-3200 in lEV steps Program. I was concerned that there appeared to be noticeable shutter lag. These 11 points can also be grouped into 5 collections to target the focus area Yes. B&W Natural. When set to its high continuous shooting speed. with built-in flash f/2.7in TFTwith 230. but it is designed [0 let photographers who understand how to take control of a camera get on with the business of composing Images.built-in lamp range approximately 3m No No.6 JPEGor 6 raw + JPEGfites 2. and a nin. As it ISmade from metal. or as raw and JPEG simultaneously.6 Asph(equivalent to 36mm on 35mm format] Raw [ONG]+ JPEGsimultaneously. Those who feel the need for a viewfinder must invest In the optional 36mm brightline optical device. These buttons are surrounded by a slim wheel that rotates to enable the user to scroll through the options displayed on the monitor. Two dials on the Xl's top-plate.leica-camera. With a comfortable.2 million effective pixels 4Z7Zx2656 pixels Leica Elmarit 24mm r/2. The Xl doesn't have an extensive feature set . green/magenta axis and Kelvin values No Film modes: Standard. so they can be viewed while the scene is composed Leica has continued the elegant design of the X 1 on its rear.000 dots [approx 76. The camera isn't really designed for sports photography. the exposure settings can also be displayed on the LCD screen. Knowlhill. The Xl may not be flashy or offer a huge collection of exposure modes. plus 2 manual. each with an 'A' (automatic) setting. at six images. well-balanced and reassuring weight about it It feels well made and the design links to the Leica M series are clear. or automatic selection of one of 11 points. Helpfully.OOO-dot LCD screen that provides a Live View of the scene.5x101x70mm ILD AND HANDLING The X 1 is one of those cameras that brings a smile to your face when you first hold it. aperture priority. It feels built to last. manual 256-area inteltigent multiple metering. When I first used the Xl. 230. but it can sometimes be useful to shoot continuously when photographing everyday life. after a little experimentation and alternating between manual and autofocusing during this test. it became clear www. Facts & figures RAP Sensor Output size Lens File format Compression Colour space Shutter type Shutter speeds Max flash sync Aperture ISO Exposure modes Metering system Exposure comp White balance White balance bracket Colour modes Drive mode LCD Viewfinder type Focusing modes AFpoints AFassist DoFpreview PC socket Built-in flash Cable release Memory card Power Connectivity Weight Dimensions £1. Milton Keynes MK5 BlB. It's much quicker to use than repeated button pressing. the controls that enthusiasts demand are all present and within easy reach. the camera is set to program mode. fine adjustment along ~mber/blue.but there is a small builtin LEICA CAMERA LIMITED. B&W High contrast may be applie!l to JPEGimages Max 3fps in Continuous High. VMd. is the same whatever the selected file format.3% CMOSwith 12. 5 presets. However.table points. flash and focusing options. Natural. allow the user to select shutter speed and aperture values.sRGB Electronically controlled focal-plane shutter 30secs-1/2000sec in 1EV steps 1/2000se(. but the in-bunt flash can be set to act as a trigger for stave flash units in a studio situations Yes. the Xl can capture JPEG images at a rate of 3fps. Davy Avenue. with a neat array of rectangular buttons to the left of the LCD screen and four navigation buttons to its right.there's no video mode or viewfinder. JPEG Twc-stage JPEG Adobe RGB. Setting the automatic option on JUstthe shutter speed or the aperture dial sets the camera to aperture-priority or shutter-priority mode respectively.

when images are recorded as J PEG files the resolution drops considerably In fact. Chroma noise is there in raw images. However. it ISsometimes possible to see the focus confirmation light on the back of the camera while looking through the viewfinder. while the other. Surprisingly for a modern digital camera. Incidentally. but it cannot display any shooting information. It captures and merges two images automatically. NOl_ AND NSITIVITY As our resolution images show. and even though there is a magnified view. I also found that the image-stabilisation system. but this is very respectable for a compact model. This is very low by modern standards. given its APS-C sensor. The X 1 is also sometimes troubled by slow processing and the LCD often displays the message 'Data Transfer!' for around a second after shooting. with brightlines indicating the framing of the 24mm (36mm equivalent) lens. High-sensitivity shots look good in black & white. If JPEGs are required direct from the camera. LCD AND UVI! YInf As I have already mentioned. Barrel distortion is only just noticeable with close linear subjects and slight chromatic aberration is occasionally present along some high-contrast edges.. As usual with this type of camera. For a modern APS-C -format camera. the Xl is capable of resolving a lot of detail when images are saved as raw files. works well. with one being taken at a faster shutter speed to provide the detail. even . the results are better if the sharpening is turned to its lowest setting. before it clears and another image can be composed. The viewfinder proves useful when it is too bright to see the image on the LCD screen clearly... Y1I!WPIIIDeR. Given the pnce of the Xl. and sensitivities of up to ISO 1600. JPEG images are darker than the raw files straight from the camera.000 dots. it is on a par with many 12-million-pixel APS-Cfonrnat DSLRs. RIUIOLunoN. However.. This slips into the camera's hotshoe and provides a bright. the Xl doesn't have a built-in Viewfinder. so It IS sometimes tricky to tell if the camera has managed to get the subject sharp On several occasions when composing and reviewing shots 'Noise isn't a major with concern images DYNAMIC . the Xl can display a histogram view of the scene before it is captured as an image. Not surprisingly. The area between these halos is also rather soft and mushy. the Xl doesn't have a selectable dynamic-range optimisation mode to brighten shadows or darken highlights in high-contrast situations. As ever. I would recommend that this file format be used for most occasions. Lighter parts of the sky in the JPEG version are also a bit cyan without overdarkening the shadows. there just isn't enough detail visible to be absolutely confident when focusing manually. provided the ambient light isn't too bright. the quality of JPEG images is quite disappointing. longer exposure gathers the colour informatiOn. even when they are taken at the maximum senSitiVity setting of ISO 3200. there is no option available to adjust the level of noise reduction. Noise isn't a major concern with images from the Xl. clear view of the scene. but an optional unit is available for 5:250. the Xl has a relatively restricted dynamic range of 10SEV. as in its default setting the edges of elements within the image are quite harsh and haloing is visible when shots are inspected at 100% on the computer screen. which operates at shutter speeds of between 1/4sec and 1/30sec. but it isn't excessive and has a fine texture with no sign of any patterning or banding.leica Xl Camera test that the delay between pressing the shutter release and the image being captured is the result of the camera's often sluggish AF response and not shutter lag My initial analysis of the situation was confused by the poor viSibility of the screen In the bright shooting conditions. the screen is difficult to see outside. I am surprised that its 2.7in LCD screen only has a resolution of 230. and given the relative convenience and wide compatibility of the DNG raw format. so exposure adjustments can be made to ensure any highlights are retained from the when they are taken at ISO 3200' Xl.

the screen was difficult to see because of the bright ambient light .Camera test Leica Xl I during this test. MIn1IRlNG I found the Xl's general-purpose. for example. a larger sensor allows greater control over depth of field. on some occasions the simultaneously recorded JPEG files look artificial with higher contrast and greater saturation. Whereas the raw files usually have quite natural colours. I was shooting simultaneous DNG and JPEG files so I have raw images that are easy to adjust In its Standard Preset Film setting. especially in low light. It makes shooting a moving subject very difficult. Pale-blue skies are a particular concern as they are often rendered an unnatural cyan tone. The effect is most noticeable in overexposed areas as the X 1 attempts to darken them to bring out hidden detail. the automatic setting produced a rather yellow series of images. I set the custom white balance manually. When shooting under mixed artifldal and natural light. the Xl can produce J PEG images that look very different from the raw files. Also. the easiest way to do this is with the Xl's A F mode set to spot The AF point can then be moved to one of 195 locations by pressmq the Delete/Focus button for a second and then using the navigation controls to select the correct point In most cases I found there is an AF point just where I needed it . Had I been able to tell this at the time . The key when restricting depth of field is to place the focus accurately Provided the light is good and the subject has reasonable contrast. bu t some of my sunny landscape images are about ihEV too bright Generally. when shooting a scene that contained lots of leafy green foliage and mossy tree trunks on a sunny day. 2S6-area multi-field metering system effective in a range of conditions. enabling backgrounds to be blurred and subjects isolated from their surroundings when larger apertures are used. The screen refresh rate is also quite slow.B APERTURE IN ADDITION to the obvious benefit of producing lower levels of noise. It is possible to separate even quite close objects. As the Leica Xl has a lens with a fairly large aperture of f/28. The only time I felt the need to activate the centreweighted or spot metering options was when shooting FEATURES IN USE APS-C SENSOR AND F/2. There were only a couple of times when it didn't produce the result I was looking for. and the image sometimes appears to freeze or blur any movement. it isn't overly distracted by very bright or very dark objects withirJ the scene and suggests sensible exposure settings in most situations.I would have SWitched to the daylight setting Fortunately. and green grass looks much too vibrant. I noticed that the on-screen image was less saturated and had lower contrast than the final captured image. though. t' WHIn •• ·ANC AND COLOUR I primarily used the Xl's automatic white balance setting dUring this test and it performed well on most occasons.

but getting them was more frustrating than I had expected. can be bought as a kit WIth the Lumlx G Vario 20mm fll.7 pancake lens for around £650. or the user can narrow the selection down by choosing one of five groups of points to be used. there is a distance scale that appears on the LCD when the manual focus option is activated. although these are bulkier. I kept an eye on the histogram view during this test and occasionally reduced the exposure by I/. As usual. THE LEICA Xl looks and feels like a proper camera that is worthy of the Leica name. AUTOFOCU Like other compact digital cameras. and thiS enables hyperfocal distance focusing.6 Asph Mega DIS for about £570. In good light. it turned the AF rectangle green to confirm that focus had been achieved when the subject wasn't sharp On several occasions I was unable to get the camera to focus automatically. and the DP2s. though. or the Lumix G Vario l4-45mm f/3. but using the faster option effectively lowers the LCD refresh rate so that the displayed image lags significantly behind the scene. Where possible. as they allow me to place the focus fairly precisely. However. it is let down by its poor AF performance. which produces a full-colour signal at each photosrte.6-million-pixel cameras to produce images comparable with 14-millionpixel models. but the problem With focusing manually with the Xl is that the view on the LCD screen isn't clear enough to be confident or accurate. in the form of the DP1 (street price around £390). and it is capable of recording high-quality raw files. plus the now obligatory face detection AF mode. 01" ?: ~- Sigma OP2 DATE TESTED 22 AUGUST 2009 Panasonic Lumix GF1 DATE TESTED 12 SEPTE~IBER 2009 . enthusiast-level DSLR than a compact camera and. our tests of the DPl and DP2 indicate that seven or eight million pixels is nearer the mark.leica Xl Camera test Competition Lu_"' - -" . like most photographers. negating the benefits of using it in the first place. Despite this.5-5. This is . Verdict a bright scene framed in the window and surround of a very dark building. but it is prone to indecision in anything less than perfect light On a couple of occasions. There are normal and high-speed AF modes for both the single and l l-point AF modes. the Xl's AF system can perform well. I was exoted at the prospect of testing the Xl and was genuinely hoping that it would be the compact camera I really wanted to own However.EV or 2f3EVto retain the highlights. Although the screen can be set to display an enlarged view of the scene. which should soon be available for around £600. which is further way than we would expect for a compact camera. I prefer to use the normal single-point or spot AF mode. but respectable for a DSLR standard lens. A pricetag of £1. It is not a price I could pay at the drop of a hat. with three using a single AF point and two using 11. afterwards I was left feeling deflated. useful in quick-shooting situations. as the photographer retains some control over the location of the pont of focus. I found this was of little help as the low-resolution image doesn't display suffldent detail for really accurate focusing Subjects closer than 60an require the macro AF option. Fortunately. Sigma claims this enables the 4. which accepts interchangeable lenses. I have some nice shots. the Xl has a contrast-detection AF system This offers six modes.1-millionpixel Panasonic Lumix DMC-GF1 is the more likely competition This camera. In the 11-point modes the camera can either be left to select the appropriate point by itself.395 is more commonly assodated with a high-end. so I had to sWitch to manual focus mode. but this only goes down to 30cm. These cameras have a Foveon 3X Direct Image sensor (CMOS). However. and a compact-styled hybrid camera like the 12. SIGMA is the only other manufacturer to offer a compact camera with an APS-C-sized sensor. the Xl costs more than many entry-level DSLR kits. DP2 (approximately £486). With a street price of around H395. low-resolution screen and intermittently slow processinq Those who have grown up USing Leica M-series cameras may feel that an AF system is anathema.

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subject to your pnvacy and application settings: you grant us a non-exclusive. Your late stepfather was clearly a man of taste. though. an Epson Perfedion V500 Photo scanner and an Epson Stylus Photo P50 printer. Obviously. It has 1GB of RAM and a 30GB hard drive.. but whenever you share your images on the intemet. I advise looking Into watermarking your images in order to limit their commercial usefulness.. why not think about putting the equipment through its paces? You mention that you usually shoot with a Canon compact camera. you run the risk of them being used without your explicit permission. say. use ITfor other . London SE10SU. The Olympus OM-2N was introduced in 1979. Q NINOX PLN SOURC& I recently acquired a Minox B Subminiature spy camera.RlNTlNClPlLM I can't seem to get any information about printing from film negatives. you specifically give us the following permission. Glenn H says I'm no computer expert. I have no idea whether there is a second-hand market for this type of equipment They belonged to my late stepfather. such gems of the past are not as valuable as you might think on the second-hand market. here at AP we have the tea m that can help you. both black & white and colour. Ken. together with some accessones. It was a ground breaking camera. I have a Pc.. Obviously an increase in RAM to. Amateur Photographer Magazine. and still are. is memory hungry so the more you have. Corel PaintShop Pro Photo and Nikon Capture NX. call Rob Spicer at Minox on 01582 635 544. could you tell me whether I retain the copyright and other legal rights to material I upload to the Facebook site? Ken Houston Q Facebook has courted controversy several times over recent years with changes to its terms and condITions that appeared to 'rights grab' the content that was posted to its site. 3GB will help. but you'd be hard-pushed these days to buy a laptop that is single-core. To find your nearest Minox dealer. and am itching to try it out The trouble is I cannot find any film The intemet is full of Minox sites offering all manner of kit. Am I looking in the wrong place? Diane White Minox UK tells me that film and processing are handled through its HQ in Germany. The OM lenses of the time were. the better. In 2009 the company changed its terms and conditions to declare that it could do anything it wanted to with your photography. IPC Media. or by post to: Ask AP. The backlash was so strong that Facebook changed its policy again and it now states: 'For content that is covered by intelledual property rights. Simply send your questions to: apanswersra ipcmedia. The camera has an auto mode to get you started. If I were better at photography I would be using all this wonderful equipment. ASK . It runs well with 4GBon my MacBook. but the discipline that comes from only having 36 exposures on a roll of film will get you thinking more about each shot before you take it. being of Similar diminutive size to the OM-l of the early '70s.Your Questions answered Let the AP team answer your photographic queries selected activities. Fortunately. but I am afraid I point and shoot with my trusty Canon digital compact camera. Ian Farrell . Before you rush to your local camera shop or computer keyboard. it's doubtful that the site's management is going to set up an image library to sell its members' photography. your mint-condition example will be nearer the top end of this scale. any Minox UK dealer can obtain film for you. but the experience of shooting a few roles of film on the OM-2 will only make you a better photographer. while the more exotic 85mm f/2 portrait lens might fetch up to £ 180. so they are in mint condition. and NX2 for that matter. royalty-free. like photos and videos (OIPcontent"). whether legally or illegally. obviously). worldwide license to use any IP content that you post on or in connection with Facebook ("IP License") This IP License ends when you delete your IP content or your account unless your content has been shared with others.' In other words. and still want to post images to sites like Facebook. I'm also curious about printing true black & white prints from a colour printer. transferable. photographic science or help with technique. Ian Farrell OLYMPUS PRICES I have inherited an Olympus OM-2N SLR camera with Zuiko 28mm f/2. A quick perusal of the small advertisements at the back of AP and a look on eBay indicates that OM-2N bodies with a 50mm lens are selling for £40-£ 120.8.8 135mm lenses. In practice. vintage equipment. so I am looking for something faster and more up·to-date for editing photos using Adobe Elements 7. such as cameras. Zuiko MC Auto f/2 85mm and Zuiko MC Auto-T 1/2. improving slightly on the OM-2 that went before it. other than in a very low-end • BOOK PACTS Having recently joined Facebook. If you are really worried about this issue. rather than 'machine-gunning' and hoping for the best Ian Farrell Q Be it about modern technology. A roll of film should cost around £9. Blue Fin Building. who spent a fortune on cameras and very seldom used them. but will a dual-core processor only help if the software is multi-threaded? Geoff R says Capture NX. and they have not deleted it. of fantastic optical quality. complete With processing mailers. Do I need anything else? Brian Lewis Q MEGA: Faster laptop Bassman asks I have used my Toshiba laptop for more than four years. but Facebook can. The 28mm and 135mm lenses would sell for something like £70 and £ 100 respectively. sublicensable. Sonja.90. binoculars and telescopes. but I have not found any film. in theory. Could you tell me how much these items are worth? Sonja Bond You have some lovely equipment there. 110 Southwark Street. even if you deleted it from the site or closed your profile (I par aphr ase. you always retain the copyright on your photography.

It works OKfor me. like light-cyan and lightmagenta. It's what is known as a subtractive colour model because. both colour and monochrome.Your Questions answered Your Epson scanner will make a great job of scanning negatives. RGB is described as an additive colour model. and they eventually form black if we use enough of them (in reality a black ink is also used to improve quality and ink economy).which I know OxOsoftware takes advantageof. open it in software such as Adobe Elements or Corel PaintShop Pro Photo. but it will still make a fine job using the six inks it does have. and make sure the correct paper type is set in the printer settings dialogue box before you start to print. magenta and yellow. A computer display has many shades of red. Once you have the scan on your PC as a TIFF or JPEG file. for instance. and has a dual-core Intel Corei7 processor. I've ordered it with 8GBRAM. While this all sounds complicated. even if you are intending to produce small prints. I imagine that the graphics applications you mention all support multithreading to some degree. magenta.r says Someof the PackardBell laptops comewith AdobeElements 7 pre-loaded. such as Epson's own Premium Semi-Gloss Photo Paper or Fibre Base Royal 325 from PermaJet. meaning that without any light we have black and any colours add brightness to eventually form white. When it comes to cyan. Larg. you can take comfort that the complex conversions between colour models take place seamlessly behind the scenes when printing from applications like Photoshop. they are printed using cyan. in order to broaden the colour gamut of a printer.a 320GBhard drive. Manylaptops will take 8GBof RAM. Any coloured ink added to the paper subtracts brightness. green and blue).. Modern Intel CPUs often havehyper-threading as well. where each processor core can handle two threads in tandem for improvedspeed. An increase from 1GBto 3GB of RAMwill be significant. HP and other printer manufacturers have taken care of this particular colour headache for you.I I r I f/AO CMYK VS I I I RGB I I I I I I I I I I I I I I machineor a netbook. I IvorETow. From there you can output them at any size up to A4 using goodquality inkJet paper When scanning negatives. not light itself. Epson. Choose good-quality media.Format says I'vejust received an email to tell me that my new SonyVAIOZ is on its way from Japan. I bought one not long after Windows 7 came out. In that way you are capturing as much information from the film as possible. To this end. we are usually describing how inks mix together. I'm not sure that upgrading further from 3GBwill be Significant. in the absence of any C. From here you can edit the image and print it on your Epson printer The Stylus Pro P50 doesn't have specialist grey Inks for black & white printing. to your PC. Ian Farrell -----. It comes with 64-bit Windows 7. a15. The good folks at Canon.6in screen and cost around (420. M and Y we have white (or whatever colour the paper is). This is why you see manufacturers adding new ink shades. green and blue at its disposal. Brian. cyan ink looks cyan because it absorbs all other wavelengths and reflects cyan back. it's always best to scan in full-colour mode.--. looks red because we observe it directly.. but irs worth goingfor a 64-bit operating system and an even higher maximum RAMcapacity. yellow and black inks. even when scanning black & white negatives. We need to use different colour models in these two instances because the way we are mixing colours is so different: while red light. Scan at the highest quality and size you can. This fundamental physical difference means that ensuring an image looks the same in both RGB and CMYK colour spaces is impossible. take care to handle them gently (a pair of white cotton gloves is a good idea) and ensure that both the stnp of film and the glass on the scanner are clean. The gamut of colours described by RGB is just so different from that of CMYK. while a CMYK printer has only one of each ink. which is why this is used to describe the images captured by our digital cameras. It has 3GBof RAM. So what is the difference between these two colour models? When we use an RGB colour space we are talking about how different colours of light mix together. Ian Farrell I I I I I I I I I I I I I I I --- ------ . While photographs are captured and edited in three colour channels (red.

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Ian Farrell explains how I FIRST produced an abstract photograph of a reflection by accident. I was trying to shoot a sunlit canalside building with its reHection in the foreground. I have discovered over time that there is plenty of technique to get right when shooting reflections. both In the field and at home in front of the e ections .. whenever I'm near a body of water. Ever since then. The result ISa collection of truly abstract photographs . so I bracketed With a view to combining some shots later In Photoshop. and something never to be recreated predsely again. and I've even sold a handful over the years. cut your subject from the frame and concentrate on their reflection.. I saw the reflections were much more beautiful than the building itself.unrepresentative of the object In reality. The difference In brightness between the building and its reflection meant I couldn't expose for both. I hunt around for Interesting things reflected In the ripples on the surface.AP's expert guide to photographing . Such images make great fine-art prints. Something I like about shooting these pictures is their random nature. people or other objects. When I got home. so I cropped into the image to concentrate solely on the abstract patterns. These are unique moments in time captured as brightly coloured shapes and patterns. Although my initial experiences were opportunistic. Shoot a burst of five frames and each one will be different. For an abstract shot of buildings.


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but not the river or canal. the ability to work qUickly. This will let you pick out patterns In the water rather than cropping the frame afterwards. graffiti and even people.. Shooting in raw format will give you some extra latitude (and margin for errorl) here. Your camera's built-in metering may look at the dark expanse of water in front of it and overexpose massively in error. Remember that we want to render the reflection bright against a dark background We'll need to tweak it in Photoshop later to achieve this. and those painted brightly or that have repeating structures. a DSLR offers you some advantages .namely. use the Color Selection tool and click on the appropriate part of the picture CHANGING COLOURS . such as a 70-200mm. and to shoot in raw format. it's time to get your camera out. so it's best to do this manually as your camera will almost certainly flit IF THE colours in your abstract reflections image don't grab you at first. not the water. stream or puddle) should be between you and the object whose reflection you are shooting.AP's expert guide to photographing . and they will come in useful later. Reflections I computer. boats. and remember that it's the reflection we are Interested in. In an ideal world you want the reflected object lit brightly. not the water. the more ripples occur. All manner of objects look good when photographed in this way Buildings are the most obvious choice. SHOOnNG CONDITIONS So what conditions make for good reflection images. Unless you are very close to the water or shooting a huge object. and how can you make the most of these when shooting in the field? ObvIously. not reflected. and it's best to err on the side of slight overexposure Focusing also deserves consideration.or you may just get lucky! Sunshine levels aren't the only meteorological condition you need to consider. Although any camera will do for this type of work. it's much quicker to aVoid them in the first place SHOOTING TECHNIQUE Once you've found the right spot and a good a pont. also look for bridges. However. and the more distorted and eXCiting the image becomes . SO it's essential to capture as much infonmation as possible in the image file. Dark water won't register in the shot as much as water bathed in sunlight. and the surface of the water as dark as possible. The reflections you see in water are hugely affected by the wind.. like railings or windows. you need to aim for the reflection. the body of water (river. but you can make life easier at this stage by exposing for the reflection. you are looking for that time of day when the sun is behind you but low in the sky This is often when it will be Illuminating the subject that ISreflecting in water. You'll also want to move around until you find a patch of water with relatively few things floating around. Totally t' This image works because we can read some of the text from the sign on the wall 'The body of water should be between you and the object whose reflection you are shooting' flat water produces a more accurate (but sometimes boring) mirror image than water being blown by a stiff breeze. but also take time to think about where the light is coming from. Given this. This last point is important because later we'll be tweaking the image in Photoshop. Again. so it's best to engage manual metering and pick an exposure that lies between the camera's attempt to meter the reflection and the reading you get from the object itself. It may take a few visits to a location to establish when thiS happens . you can adjust them indiVidually with a Hue/Saturation adjustment in Adobe Photoshop (Image>Adjustments> Hue/ Saturation) To select which colour you want to change. The stronger the breeze. of course. Although these can be removed with careful use of the Healing and Clone Stamp tools in Photoshop. which will mean throwing away pixels An important point to consider is how to expose for an image like this. A raw file contains many more brightness shades than a standard J PEG file. as a force-eight gale transforms ripples into waves and kills off reflections completely. to have more control over focusing and exposure. canal. a good lens choice for this work is a telephoto zoom. and picked the right time of day for good lighting and weather conditions. not the water itself. It's really a case of being observant with your eyes before the camera comes out of the bag. work best.

The idea is to send the colour of the water as dark as possible without going over the top. There are plenty of reflections out there. The final thing to appredate when shooting these patterns is that things change quickly. as you can try people too. When it comes to depth of field. you'll be using all the data captured by the camera. The rating systems in applications like Adobe Bridge or Lightroom. but stop before it piles off the end. Puddles are a great choice for people as there ISplenty of opportunity to move around them If you need to control lighting. you don't have to limit yourself to huge bodies of water. four stars to tile runners-up. Before starting too much heavy post-production work it's worth going tIlrough the (hopefully many) images you've shot to look for the patterns you like. The front and rear windows reflect objects hanging over them. Try to Find potholes that have filled up and experiment by creating ripples in them as you shoot • GLASS You can find milk bottles. so don't stop down too far. The same prindple applies they need to be brighter than the surface of the water they are reflected in. try to do as much adjustment of tones and colour at the raw-processing stage as you can. OF COURSE. In this way. which could be spread out along the water. Look for contrasts where older architecture ISreflected in new designs. watch the histogram at tile top of the screen while adjusting the Blacks control. it's back at home that you'll turn a quck snap into a fme-art photograph. just try to find one that doesn't do it perfectly. When opening up a raw file in your imaging application. and even the bodywork will give you something to work with.. YOU DON'T have to stick With Inanimate objects when shooting reflections.. will let you work your way through the basic captures and assign five stars to the patterns you like the best. shoot with a medium-size aperture: you'll want enough depth of field to get all your reflection in focus. or Apple's iPhoto or Aperture. but try to time the first one well. You'll see the histogram information move to the left. • PUDDLES There has to be some advantage to living in a country with REFLECTIVE SURFACES more than its fair share of rain. Watch the swirl in the viewfinder and see if tIlere is a rhythm to the pattern. However you'll also want to freeze movement in the water. and so on. as distortions and irregularities are what make this type of photography interesting • BUILDINGS Office blocks and skyscrapers often reflect the cityscape around them in interesting ways. windows and a thousand other objects around tile street Get LIPclose using your macro lens or digital compact. Feel free to use the Contrast control ) to help you achieve this if the Blacks . then use this to predict when to shoot Don't be afraid to fire off a burst of continuous shooting. POST-PRODUCTION Once the images have been shot. don't be afraid to use a reflector to bounce some light up into your subject's face PORTRAITS between the two extremes. If you're using Adobe's Camera Raw interface.Reflections AP's expert guide to photographing . • CARS There is scarcely a part of a car that doesn't act as a mirror in some way.

It can be useful to drag guides onto the image to break it into workable sections. A raw file.overexposing and darkening down the water .096 or 16. Such abstract images have staying power and don't fatigue viewers as qUickly as a classic landscape photograph can As such.. It's a painstaking process. This ISbecause those bnghtness levels are not evenly distributed throughout the image's dynamic range.048 in a 12-bit raw file) are in the brightest stop. if you wish) and a final tweak of the Contrast slider can be made to get things looking just right For more spedfic edits. we are effectively throwing away those first 2. concentrating on Just the pattems. ADVANCED TECHNIQUE RAW CAPTURE AND EXPOSING TO THE RIGHT THE REASON it's best to capture this type of photography in raw format is that we are manipulating the tones and colours a great deal. Save an uncropped version of the image in case you change your mind.384 brightness levels per channel respectively Put simply. Yet by concentrating on what is reflected in water. then brightening afterwards. Just take care not to blow the highlights completely. on the other hand. the more brightness levels available. so it's best to view an RGB histogram instead of one that depicts overall brightness. is usually 12 or 14-blt. trying various sizes. (This applies in all three colour'll end up with better-quality images. but the best way to do this is to work your way around the image methodically. it's best to open the image in Photoshop proper . meaning it has 256 (or 28) brightness levels in each colour channel. These will give the game away that this a reflection. . The more time you take here. ponds and streams can make first-class fine-art prints. by doing the opposite . and spoil the sense of surprise you are trying to give the viewer. Lighten it using the Brightness and Exposure controls. Blow the image up to 100-200% and look for (" particles floating in the water. espedally in shadow areas..024) and the next stop half again (512). the better the result will be . as these won't then be recoverable.which is why it was a good idea to find a piece of water free from debris in the first place. seeing artefacts like posterisation. However. making sure you don't push the highlights off the right-hand end of the histogram scale. By underexposing an image. It is tempting when shooting your reflections to underexpose the shot in order to get the water's surface good and dark.preferably in 16-bit mode to retain all the information captured in the original raw image. This carries on until the darkest sixth of the histogram is actually only described by 64 brightness levels per channel. you'll find that half of the brightness levels recorded by your camera (2. the more successfully you can manipulate the file without 'breaking' it . A normal camera-generated JPEG image is recorded as an 8-brt file.that is. At this stage the image will almost certainly look a bit too dark. Shooting reflections has always been in a photographer's remit. You'll really want to remove as many of these as you can using the Clone Stamp and Healing Brush tools. meaning it contains 4. aspect ratios and rotations. Try everything from a long. The final stage of your reflection image is to apply any last-minute tweaks to contrast and colour and apply a good crop In Photoshop. It is therefore much better to overexpose and take advantage of the range of the sensor and reduce brightness afterwards.AP's expert guide to photographing . Reflections I slider isn't doing the job by itself. as you might expect Assuming your camera can see 6 stops of dynamiC range.) By this pont you should be closer to having a more abstract Image. it's possible to look at the world through different eyes. and then briqhten up the highlights. thin panoramic crop to a square frame and everything in between. then experiment with the Crop tool. and how it is warped and moved around by surface ripples. too. the images you can find in rivers.048 levels and relying on the 64 at the dark end to spread out and fill up the gaps. Levels and Hue! Saturation adjustments are fine for this job. Try getting differentshaped results from the same frame. Use of the Saturation and Vibrance controls will get the colours singing loudly (or subtly. and are best applied as adjustment layers (Layer>New Adjustment Layer) so you The perfect conditions for an abstract reflections image: brightly lit. but often we include them as part of a scene and not as the subject matter themselves. The next stop contains half again (1. colourful details in front of darker water can revisit them for line control.

1 I've set an exposure somewhere between what the meter indicated for the building itself and the surface of the water. Here's how both were used to tum this relatively dull scene over the River Cam in Cambridge into a panoramic abstract image. STEP BY STEP. Start by zooming in to 100% and using the Healing Brush to remove any debris in the surface of the water. 8 . When opened in Adobe Camera Raw. 4 5 Aboostin contrast like this often makes colours look over-rich. The light could be brighter. the image initially looks flat. This old boathouse is reflected nicely in the water. I've found a location I'm happy with. the image is cropped. 6 7 TOfinish off. Some contrast is injected by using the Blacks and Exposure sliders to make sure the histogram information is spread along the horizontal axis... It's amazing how much difference there can be between frames captured just a few seconds apart. MAKING a decent job out of photographing reflections requires a combination of good skills with the camera and some time with the software when you get home. then re-introducing some punch with the Vibrance slider. I prefer to do this manually so I can get the reflection sharp without the camera occasionally focusing on the surface of the water itself. The result is slightly overexposed.. so take your time.. Try various aspect ratios and also think about rotating the crop to achieve the best result.Reflections AP's expert guide to photographing . Clicking Open brings the photograph into Adobe Photoshop where we can do some finer adjustments. This is a more creative process than you might at first think. 3 Back at home I go through the individual captures using Adobe Bridge and look for the patterns I like. but we can correct for this later. but irs coming from the right direction and I can add some contrast later. You can tackle this be throttling back the Saturation control. 2 When it comes to focusing.

PLEASE NOTE: Credit card payments will not be accepted via mail order. from Infor'n'I.00 I I R1\I LWAY Magazine Please make all cheques payable to 'Transport delivery.atlort and take Vlould I I I ~------------------------------~ I prefer not to be contacted O.:el The qJiJwayMJyazineand IPCcontainingnews" special offers and product and service part In our magazine researrh vl.I~~I~=~~:~:~~I~=~t:~~~reT I I contact you bv telephone or past with regards topromoting andrC!searchi~ {heir roducts serviras. Tickets are selling your ticket today! If you wish to pay by credit card please go to www. Wolverton Works will be opening its doors to the public for the first time since the British Rail days of 1993. 2 children)@ Early bird ticket @ £30 (sam-roem. . Tide hereif \IOU I p and I RailCare~ RailCare Limited . EXCLUSIVE DISCOUNTTICKETS FOR AMATEUR PHOTOGRAPHER IIREADERS: I I I I I I Sat Aug 14 Sun Aug IS Ccst (£) RM discount adu It ticket @ £] 1. including the famous LNWR2-2-2'Bloomers' and 'Wolverton Express Goods' 0-6-0s.o~~~!it~~~o~~t~~~~~. Thorpe Road. Name Address - ~ I I Event Services Ltd' and allow 28 days for I I The Railway Magazine and RailCare Ltd have been working very closely to ensure that this will be an event to remember and will provide countless photo opportunities to shoot a range of locomotives and trains in authentic where you can enter the RM code above to Qualify for your special discount.50 (Full price £15) RM discount child ticket @ £8 (Full price £10) RM discount senior ticket @£8(Full Family ticket (1 adult.WOLVERTON WORKS WEEKEND! A one-off chance to shoot historic steam. Initially being used for maintenance of locos built by outside companies it soon embarked on the construction of its diesel & electric locomotives Special RM Code: PRECURSOR Exclusive Photography Events r------------------------------. The Railway Magazine and IPC youlike toreceive entails. f I I The rlallWav Magazine published tr/IP( M(!dia ltd (lPC). I I I I I I ~~:~~I~:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::~~~~:~~~~::::::::::::::::::::::::::: : Please cut out this coupon (or a photocopy) and post to: Transport Event Services Ltd. will collect your personallntormatlon to process WUI tlc:J. 3 children) @£35 inc day admission Subtotal Booking Fee Total £1. please lick hereO. price £10) £20 in authentic railwa surroundin s! Following our hugely successful Eastleigh 100 open days last year. Make sure you are part of the biggest photo opportunity of this year . Doncaster DNlO SED. Lime Tree lodge. One of the oldest railway works still operating.Birmingham Railway. Mattersey. Wolverton was built in 1838 at the mid-way point on the London . only one coupon per household.transportevent.a email? If yes.~~e::~~a~~=I~~:~~~~~~~~'. Don't miss out on the special photo events that will be taking place over the weekend for a once-in-a-lifetime opportunity to shoot a historic display of steam. diesel and electric locomotiveswithout the crowds! -- Family ticket (2 adult.

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1InMrd coMnn WoIghl: U1kg and a full VAT receipt is provided with every order.136cm Alta+234AT Alta . IUkg ..ght 169cm ~-£69. pmfessloola) The 2009 T/PA "Best Accessory" award-wInnIng Vanguard AJIIIPRO tripod range Is set to levolurlon/se the way you thInk ..95 "'*': 78ku 7= G VA'IIGUA~D' Special r. cheque or postal order..26IIg 6798 Weight: 0.p rem .x.~-:.Lower·ng the Cost of Photography Orders are shipped promptly by Royal Mal11st class post.ll2kg ~'.uk lJI1ra high r""'''''''''1 433MH. Pentax ..bout tripods/ :"'.t=~:~==I:::"~?" Each kk c::ontalns a wireJeU: transmitter! I rec:efyer with catner'& ahOe and eonnoctDrI to allow it 10 plUg rnto yotW camera. or by visitin~ our new showroom: Premier Ink & Photographic. Orders accepted securely online.Okg 41cm Height1~m £179.-055CXPR03 r.7. He. All prices include VAT.Okg BH02 8H08 Ball Hood weight O.:..0kg Folded: 38cin Height 11ecm £79.Okg FoicIe<I:_ Height: 162cm £36.1I~g LoiId..t.95 W_to. CV31 1XB.:J·ru. Leammgton Spa.aIOn ..95 ~''''Deals Alta .QOOCOiUII'WI _IIM'OttdCOli. H.cdllf1 £ for which we charge Just £1.._.iJ:~ £14.95 r:t" U3k97 FoicI. 224CT Weight O..Sony..95 -..95 \fOf.. 235AT AUnIIll"'l 5... O..57kU/ lfci'd.95 -- Package £79 SAVfNG£ZS C324 Monopod w:8h1.nkg BaD Head BH286a Hoad WelglltQ. "" . .7 Monopod --AIta·233AT ~~35~ Helghc! 151~m £59.- 01926 339977 www.. 01926339977.. Sydenham Industrial Estate..ooid.Jk~g f:t~~t~ £249.nelS ..601<9 Lood: 1D.MIkg I.76 per order.premier-ink. CHyrnpus.Qkg BH58 Ball Head Weight. by post.. pIUS a IhortCf:Stan08 cabI8 os-alld IhuUDr rwlaGM Ava!la* (or Canon. 3.'r~r= m::: Spom/ ONI p. Nikon... Warwickshire.. Longfield Road. www. W.. D.74ku LoicI: 1e.:'~J:e:':s=~:=· radlo. Payment accepted by credit/debit -I link & Photographic =~:rc.95 .oIid 18... over the telephone..wm Welgill: 1. Dkg 12 FOlded: 17cm Height 161cm £. 154c:m 6808 Mooopod AiulN'eklm"""" 6818 Mooopod AIurn~h.J~~~ Height.

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SA 9am ...8 EX OC Mao •.8FU4SMLIS . .1::1119 7Q.5 EX DC HSM . .. £2333 ~g:~~g:~~:~~s~~o·tX.. 1:2399 135 F2 L USM 180 F3.• 30 Fl..6 EX 00 • • • ..~~~·~SLLuJ~:.3Opm Web .6 VR OX ... • • .~.1pm 27-29 Bolton Street Brixham. C197 70-200 F2..8 MacroUSM ..6ISLUSM TC. . .5I5. .. . . .8 AFS VA C3799 300 F4 AF·S . £599 090 + 18-105 F3. .8 AFS • • .815... 15 F2.::::::~~~:=======:r=====. 17-70 F2.1:·:::::·:::~~~ ~:~~~C~~M. £459 24 F3.8LUSMMKlI . 1:4699 300 F2. 1:249 35Fl.8 EX OG Sony . • £449 105 F2.•..•1:2449 Ext tubll12L . . .55 IS .5/5.~I~::::::..••. .•• 18·250 F3. •. . 18-SO F2. ~ 0180 Mail Order: 52400 MIFSUDS ARE CANON PROFESSIONAL STOCKISTS 10 MKIV body £3699 50 MKII body £1689 POWERSHOT CAMERAS GIl •..••..... •• ... £1695 ~t~~~~I~~~~bc..1::1049 BGE2NGrip(2OI3OIAOO) ••• 1::149 ~~~~~ 5500 b od y.• 18-SO F2. £399 IS L U ••. ...~~. .6 G £747 05000 body .5/ PHONE NESOPEN MO -FRI 9am .00 F4I5. • .. £369 OIGfTAL ONLY LENSES 10. EOS 70 body £1227 £949 .. .• 17·70 F2.• SO Fl..• 24-70 F2. . ... 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Atm _ ...£12·tll cable Sr._ _ _ . _ •..... 1649 35IImm F5.....It [49 IAZ&lO BoiIyC<ly_ _ _ _. ..· 09-[49 CMIOct. gear pro:actial ~lh zip J)OdIet three side ard front pockets in !he mtema mClln COI'1partment Shit Liflllr R.. £549 10~100mm '52W _ .....:=r. _ _ E+ £J49 45mm F28A......._li~ os 1.._ _ _ .8FA' _ _ E...•.... !Ill lO<ino IQ-17mm F3. _ _ E· tlS 'rodB~.5ZUi.99 llI!mm F2... 119 loIZ£OO{)IIoottMt _ _ _j._ f+ I lIinH79-O!ll FIIO ClloJme Body On~ _ _ ..••• I ILl...._ ._ _ _ ..• =A _ _ I+[39 ~ F3_~I..._ _.E .. [US I1..E++ £19 lI(J.fled and padded. __ _ _E++ £349 PoI'rcid~I'gOOIli_ _...54..ilCh F _ _ __ E++ I Mnt. + lEt· SBlOSI"'IIJtI _ _ _ S8SOOX ~~hl._ _ _E++!7!19 6OC6 CorrlIEle . FA Umilod Edlion .80AFSED __ ••.As......E++ £<9 101150BoiIyOdy.. £249 ...l&rnm_. r49-[149 35·7Qmmt3j.SE)( E ..._ ..._..ddl..._ ...mrs~£I! AF:oom Fl<sh ..81629 rooe LI~I Com~le _ E·I E. INeN £2!!9-£4OO l«Jmm F4.__ 8+ £99 Fill A. l'I29 EllJmmF28AFO IIICIO.......IIirt· !'2.""...•.ess pa<XJed IW1g pockets for oompact cammI MP3 payer etc..•.4..5 Mo M""' .1'I0401 __ _ E· £16 ~:)l1lrmr ~-SOAFG ""'ll«_ __ _...)_ _ _ ..... E· £199 45&m '4 'A .. [2. [49 35-8'lmm ...r __ .£++ lJE9 43mm F1.... dlmtmoos: 33....E . Features: 1000d Chicken Tex ~eme hyper perfOfmance accessory latJics Wltl1 wat8!JJoof Ripstop lk1lng._ _ . purpose buill for extra bod1ls. S82I) ==~.•..~~N EO _ __ I...•_ •...q.GAF I""" _ .. [29-!5S 35mm F2.der straps with two loops fa" pooch aflachmoot laptop pooch lS: 12'.••. 14"....• _ . 179 E_lJDeNo2 _ _ •..I.4..... :)lOmm F4 EolF A ••..1l. !l.100 __t... _Et I E++ £199-£200 24·12I1mm fl5-5.8 A'O_ _ _ __ .. 120 1rse>L. £29 Sf):........ 199 8il-2I11:<m1F28 EOAF .•__ .(e j9lnm)_ Pro Compl...IaIO Mo _ _ E..1'++ £299 Sgna 2a-2oomm '3...E·1 E.iio) .E++ £39 :?8-111imm F4-5! FA_ _ _ _ E+ £19 :?8-200mm FA AL.5-5_........ .3 Apo 0 ••.••...· '711C<rr>~~ . £2. 0. Zu1<o _ •... RZ67 Pro Co7llIe1e .E++ [215 35Cmm FSO Apo ... £49-re9 ClAIO BIaGI<.. . [499 SO-_m F-I-1_6DAED_..Et lEt· tlS9-t199 lIIO-201Irmr F5 lui<o _ __ _ .I._ •.1'# £119 50mm FI4 SIIC FA _ _ _E++ £219 811-2I1CmmF4_7~! FA _ _ _._ _ _ _..Ime. _.Jf1er front OIg3f1lzer..lOOl)_ . ESOO .E._.S·HoX Fi'h£jf ~•• I4QO lO<ina 11·24mm <4 ATX1'l1>0X_ ......I+I. ont Ofganlser Fu'y removabe photo pouc!llWh an extra SlrOOg rottom paddlrg & adjustable and removabe pa<XIed rnerm dlYIders..." OJm. £499 120mm FI A I~CIO _ E-+ £299-£349 15IImm F35A_ _ ...g ....1449 T"""" ro-aDOmm f4-5..5-5..E++ [1\9 T"""" ~2oomm 12.._E ..h£jf Z_ _..E.. ~ Proof padded aptop s eave.._ . !279-£299 IIIZ!NBcdfCXl!_ _. 50mm F18 _ _ E.._._E".... RoUei Twin Len$ • Please Phone Zel$$ • Please Phone PENTAl( -'tf: ~ SEKONIC ~ ._ _ _ _ I· £>9 Mamiya lR.._.lbiio) _ _ _.I+ IWnl· C15-l(l Fl<sh. "'_ _ _ _E.._ . _ _ •.•_ .IE ..6 _ _ _.i~ 7 1Ioott0000. [9-12S 128.-4.. f 48 Ffordes . tIS·l61 12I111~16OIl6\... If....•_E ...."_ __ _ _E . I+E4!ll ....fxc/E._ _ •.E.SZWO _ _E ..._ _ I>C I E.1 E. cameras..As Seen £69 25emm ~-5I<!. £199 RoIl.5 Mo.1'. m9 20lmm F4 FA ___ __. lois or separate companments._ _ .•....... ~:~~~:: . !179 Signa 55-2oomm·4-I.._..•.E. ""~_".m~~~cro~T.._ .. £69 Cl410 ct. Sillfi I'I _ _ _ ...1 6003I6I8 6OC6'.· tlll9 Signa b Apo EX _.(e _ Pro 5 Compll"'_ Pro S.._ _ _ ____f-+.rz flash_ ...E..£..... _ U._ _.... £4!!9-15OO .E.SSlllJ.750 ...•.._ •.7S1I1C_ _ __ E.E.£#!J69 24mm 12 FA' IF AL _ _ Jlit· 1199 :?8-7trnm F4 iAAl_. 1New [19IH315 ~emP...H59 AFJ60fGZ Rash .SAFO_ _ __ .s"nIEH£1~£29 MB4!lGI1> ) _ _ _.SA_ _ E·/E £3ii~£399 8il-160mm =4.....E.__ .. Penti1X AF Z1+28-1lirm1F2._lli1I.7 UirrorUp·IIism _ _ _ ..E++ £25 AF330.E+ 1119-!1J9 BGl0Grip (1.' RlP _ _ _ _.. [79 !89-[99 .. E. 0. __E+ 119! ...s"n I E++ C19-£39 135mm F4~ I.As...I$I6!ll 135mm F4 SLIC .As.6GAFSEDVR'£tt £Jl'IH449 28-8'lmm '3S-S~ AFO ..' DC __ [65 Penta x 6x7 ecrr_ _ Pro SO Compl..._ E·£149 4IJOmm Ai.•.... F>6PCS_ ._ _ _ _ E+ 169 lID&:dyOr1~ _ _ _ _E .4.·£65-r119 _ _ E..lme BoiIy_ _ I"/E..E../N ..ll·S)_ _ _ __ E.8 I E...E ._ •.llinl· [J99 S821)~f!tt _ _ .... Phon.1'++ £799 8J...~I~~It:!m~w~ ~ f~~~k9:=:::=::r........ !6H121 .._ •..' <AJ Al _ .. cards & IifIllS The olher ha of the backpack Is dedlcated to stori1g noo ~fographc ~pment Photo pouch fItS 1 camera bO<ty pius up to II !enses..__ _ __ _E# 1m 150mm " HFT_ _ ...•. __ _ ..-.ght work of heavy oads...... _~ew C169 9IImm F3~ C.o T\b. £79 CI>I3OCIw<re + 5Irr... C179-I1OO OIo11Ti ~ack + 5IImm F18 _ _ . £S4~£5OO 37mm F45 Fi...... £(1 hJtJ E>....Si>acB ...•_..4. !6!ll 12I1mm F4 PCS IIBlro _ _ _E++ !6!ll 1211mmfl..._.. £59-tl2l _ .s".•. [69-{12l I~mm F45 Kl _ _ _ _JIe'N [315 25Cmm ~.. UC .. EdC<ln ..i Com~e!e_ 6OI:M' &:dy KL SAP£'" The Wann Extima..... I E. £3....······_······_······.SCAJ96~"h Supe< lILI" N..E+ £3.•. 14mm F2~ SP AF__ ...• ..E..._ _ _...Et [121 12I111<gil1l1><. INew[99{11i9 190mmF45 _ _ _ _ I· [00 190mm FU C _ As.._ _ _ ._ _ __ E.Ett 1499 400nm Fl ..6 ED AFO _ _ E. "" _ _ "110 645 __ ._ _ _ _ E.IE...__ _f [79 Signa Jlmm F1.f. en SRP£f'77"'''~'..... .E...... laptops._ _ ....._ •.••.. £25-£Jl AEIlismFi>:lru _ As._Ex!lll 9'Jmm F3... 35-7__ _ _ ..E.3II Ac1i:r1 Fi-der _ _ _J.• ._ _ .. lEtt £899 10lmm F28AFO II~. Super strong slnJlder straps withlWO oops tor poOOl aIlad1nent and an adJUSlable and removabe Sli<i1g d1est strap Le or SIIn)l..1ll~o Firde<) ._ I+ £300 WJmm F4 I 111<1<1 IIl-A.6 Apo IlG _ _ E.Kenko _u Mail Order & Export Hotline 01463 783850 .... !299 r""m=4SSh~ _ _ e.14S 12I1Pro~I. [19& 25Cmm ~........I ... £95-ms hJtJ E>....E. _ 50mm F4.E ..6 hFT _ _ .1"'.:=~E.£ess UI1-12!!9-£4OO £600 _ . £J!!9 50mm '4 HFT.~ £US ~:JQOmm 14·5..499 Tc::!1E Co~..g~ _ .. _ •. IN. .._Jlinl·1US U>I'IOi'la5ll<l<!lfioi<t _ . £29-£39 28mm F35 Mo._ . £59-£95 3~70mmf4 ZUiio) _ _ I"/E· £39 35-lo.E++ £199 4560 lAagazi>e ._....... 15'.1 E•• £4~lI9 hJtJ a... C179 Tc::!1EII Co.099 250mm F>6 liFT ..V4 \\\is1 Le....E. [79-C125 TID Ri>gU3Sh .1 EIIJIll... £295 Vim 2xcOO'<"'_ __ .I .Et . I!r._ _ _ ...._ ..._.As. 1400 .. I E++ 1m-16S9 llIO-:JQOmm~ 0".. _ .__ _ _ _ E+._ _ _ .5 CII"".~ _ _..1'.E++!!-I9 71mm F4..S FA _ _ . As Seen 1400 __ .•_ •._ .S.& IJi to IF _•.. It a Ha1 of the backpack is dedicated to stOfing Shower Medium Slack eoo.E++r4!!9-£5oo laomm FUW ._ _ _ .3-4~A'N .1'.__._ .._ _ ..E+ [75 120 Rash_ _. .. F _ _ _E++ £199 18-SSrrrn F3. ES9-C115 rBO BIacX t ~.___.0000~ . _f.:J:20mm"4..E•• [69 l35mm F3.._.lll1rt· £349-!J99 ~~F4FAAl_ _ ...........E++ £14~£249 PO PnS/11 fifd~ _ _ _ _ E+ [21S !'ri.tI... _ _ E+ £349 JIIIlnmF4. _ _ _E++!7!19 40mm <28 SMC Dol Um»".Iinl. tl49 24-50mm fl3-4. _ _ .. GOSSEN CONTAX" =r.8->...... 5IImm F4.J..s"nl E... _ .1~~~~~~::::T..s-4.f .. Rts 12". _ =:&s:t1~.•_ ..4 PO _ _ E·I Eo.. £3ii9-t4!19 601)1 Com~"' _ _ _ .".s"o I E.... 15"W and 17'W. two easy access padded wiIg pockets lor compact camera MP3 FI3!I>.s_ _ __ _.••. ...""'_ .. £I15 127mm F3 5 KL _ _ _M"' ._ _..rimagnf-" .Et I Et .... SIlrt l. cab es and accessolies..._ nlpo:Ii<j.. £249 Signa 1..E. t59 12I1Pro11llag _ _ _ . !S99-1649 2lA . £269 171i-'Illmm F5-6..E..__ __ CJS.It £299 CMIBI'd<BoiIyOn~_ _ _ E·[J29 CloI2 Chtm<IIIoott _ _ _ E· £79 ClMO ~'" BodyCriy .enses and accessories Faa res: Ergonomfc Inpod allaCllmenl wIloch hldes-aWilJ ._ _ _E>l: I En 113H249 2I111rmrF4 SIIC_ _ _ .. [l49 _ J~nt-[1Jl _.5-1. [149 _ ...d)' 0r1~ ..E++ £199 201Irmr F4 13k'm" _ .._ _ _ _.g SlJ(1i'mO_ _ _.E.._ ..£.E .. £J~149 2I1mm '28 fA.E+ I E..._.. Et.f...._ _ E...I..0"0 ZJ.... [499 JIIIlnm F2.•..E •• 135-£50 LIB15 Grip~Oo)_ _ _ _.299 1..5A~ __ __ _ . £29-£>9 1211ProM'gl. mil 711~ack.[49-£>9 f'tjalOi:l M....4 DC EX rSlI_ . A poOOl for 2 camEIlI bodies plUS 6 lenses & accessOOes.•._. 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'i.59.50 each Tel: 0151 236 1391 Repairs to all photographic equipment 29 Cheapside. 020 B205 151 B Tcl: 01524425508 Open 'rues & SOl. for abee E series 3(.£J. .5.00 ._ .....a.. .__.....lllack \Jik(}11t:.wI be p-------------------------------------- AllERnSE lOUI SECONIIAHIIElI FI Send with your remittance to: Amateur Photographer Classified Advertisement Department... -O-2U1 <:anon H) [.__ . Tel: 07979913156.8.._ . . HP2 7JR www. .......30am £2._ .. ......15._._ ..ln1!:-c.Orrun _ + Ricoh 5001m IWpl.00 ·. .. WE Will ENDEAVOUR TO PUCE AOVERTISEMENTSIN THE EARliEST POSSIBL£ ISSUE BUT AT nilES THIS MAY TAKE BETWEEN 2-4 WEEKS...30am-2...8·}'..._ .00 £85..00 for one ISSUe or£20.25.__ .. MCII'ec.._ ....00 ~Ikkor. or for Items above ~100 £13.!...sepiamemories.00 . modern and digital) lenses.. sOn"" . .<1.__.. ._ .. . lVTamron LEE'S CAMERAS Tel: 020 8202 9918 Fax:020 8203 6684 Email: R.£35... Q mllee sales@leescameras......_ ..00 ... SE1 OSU D ITEMS UNDER UCAMERAS FOR SAl£ lENSES FOR SALE £100 1 WEEK AT £6' D UNAGE 0 ACCESSORIES 1 WEEK AT FOR SAl£ OOARKROOM m 0 2 WEEKS AT £20 I endose a Cheque/Postal OR please debit my ~ Order for £ D DOD payable to IPC Media Ltd Switch Start Date ~~DDDDDDDDDCDD~D~~DD U MasterCard L Visa U Amex rl C[] n Expiry Date n r-t .00 .15. fO.....15... _ . 0 note art( one adw!r1lsemcnt i1Ccepted FUI terrr6 iI!1d con<l>tior5 PIe.. 16 Challont Close.OOflill • S... cameras (classic.camerafayre........._ ....__._.. 10 stalls left...__ .__. Sun Apr 25th 11am...15. Adm early bird 9..I'... . . Address ._ .00 .. '\UI<)". _ cine & Slide projectors CINE CINE TRANSFERS & SLIDE CINE PROJECTOR PHOTOGRAPHIC TO DVD CAMERA FAIR LEEDS...t 10. Liverpool L2 2DY www. 110 Southwark Street. .. TEL: 01684594526 Nlk"n M1)3-MIlI nm~ (or 1'1. 10.!.._ ..£15 8' x 8' .. return with aedlt card details or a cheque for 16..... KoUeirramron AdpL.() (~h>d ·120MI).65..i\I·I\8 x 42 (:~L"sk Hino's.£15... .... am ._..s biJc ill'OU pre'".I'A5.. Hertfordshire. .coloursca for free colour brochure or visit rsmroo . )011)) + 12._ . fill In your name and address.._ ...._.Y1d ask yos opinion m our ~andseMces. Photographic. SITTl~ cOO1plete~r advertisement In the boxes bekJw.. Half mile old town church M40 june 2 close M25..00 Newton Ellis & CO CLASSIC CAMERA REPAIR SPECIALISTS Peetax K AulO K\11Uhes •.00£27 8'x12' £24 8'x12' £44 8' x 16' £29 PLUS pap PLAIN 10 COLOURS INC BLACK.Hln I'll Eauon Canon H) £45. demon.00 ..£...unrun 7(H..r 111 Nik"n F.·72 Zoom £45. .__ .00 £19. 5x7s @ £12 per roll All printed on genuine b/w.I: Q:leel1 Stl"Zcl.() M~Lcm ..39.._ ..._. colour papers._ _.00 .e"lced) Mln"li. .UJ:5 Mo ~~®~(O_@W~~~c U ~~~~@W®[ill]~~ PLAIN CLOUDED Sunday 2nd May.t55._ ..00 8' x 8' .5. Classic Dealer SEPIA MEMORIES S() Accessories Camera Fairs CAMERA FAIR BEACONSFIELD School. Up to 150 stalls org O\' PCCGS...newtonellis.21-351... IIJQ·~I.. camcorders.00 ....£10.00 . Wattleton Road..~ \fG PROJECTORS LAMPS LAMPS CAMERAS S~dallst Re~rers Pmlax Slf'akunrJ..0<l ._ . White processlnl Professional BIW colour prinling. ._ ..... . call Ellie on 020 31482929 Email: ellie_smith@ipcmedia. Canon 11)3.. .15._ .00 1.__ $ignatul'e . ..£.S.. roo AMAT£UR PHOTOGAAPHER.00 .. NOT TO Ileill hom Name .~ fit 2l! Converter J\dpL .lIl coIlea yos penonaillflJrmalUl to IIllCess yos Older AMATEUR PHOTOGRAPHER «1d IPC IWUId CIlI1IilCt )011 I1J post or IffepIIone 10 promote. For as little as £6...._.__ .... SPECIAL OFFER: 8X12 CLOUDEDS • 2 FOR £80 OR 3 FOR £11 m f2.__ ... binoculars._ ..00 ..'1\i«.£85.00 .••.. Land line Telephone No_ ....._.._ ._ Postcode 1 .\1$_ ~L. III 3.. 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leur Phol.d 10oll1erllublicalions.I(l'ixIard 1.A".dphDI"lraphs and f mantWIp. I might. It is even equipped with a Baby Belling cooker and a couple of gas rings for food photography as recently I've been thinking about writing some more cook books.lli5Blail Rnad. hilMOI olill'I..FenrisOswin.Bile FinBUilding. I use one a Paterson lights with three daylight-balance corkscrew-shaped tluorescents. which never turned up before the film was outdated. in doing so..fax: 0203148 8158 Displaytelephone02031482517.I~t thePiloI Wllllenl'lerml). Pencd<als pald. but _ and this is where I marvel at my own stupidity _ before I did so I argued with myself about the wisdom of dOing it.lhWdV.. Visit his website at wWWJogerandfrances. Or saving my last roll of Ektachrome Infrared for a 'special' subject.. therefore..dem. you might find that you never use them at all HICKS AmateurPhotographer..BlueFinBuilding.1S. .[."ll1nll""" sool 10lite 1.d (omna~es """I'1S Ih"9hllo I[>-U" any .d II. how often do you buy some food you particularly like.Richard Hardwick. A light bulb (low-energy. 'studio' sounds rather grand too..PCMedia. need the Magic Anrn for something else.1"llOniL US'!l'''!: 1~"rulyfnlernaLonal.The final frame ROGER It's not worth keeping things 'for best' because.k<glaOhel:il".1I.eklll£mail: amall?l)lpllllogl. This is. and the setup would not only be a lot less bulky than the lighting stand but also quicker and easier to manoeuvre. ()( by Iladl2. It's in the same realm as.HenryRogers. IP( I~ed. I 110 SouthwarkStreet. I still get caught out surprisingly often. One of the things we spent the money on was having the attic re-tloored. for a third example. Well.1._.tI. is no longer any use at all? Or. He has written more than three dozen books on the subject. as our house is built into the side of a hill. Clamp one end to the angle-iron frame of the shadowless lighting enclosure and the other to the Paterson light.lisadb. V11e1h" s 1 Il' Oassifiedtelephone02031482929. The lighting stand was. passed its sell-by date? Come to think of it. Even though I am constantly on guard against hardening of the categories. aooilloollcl samples. . The easiest way to shoot cameras and the like on 'This is another example of a theme to which I have returned many times: hardening of the categories.""dlSf)I)Sedoj in . which is on the first floor above the sitting room when viewed from the front of the house. W~[lHER PRIIIIED. Picturereturns: Telephone0203148 4121 Emailappicturedesk@ipcmedia..pall of IPCI~cdl' GI~of (omp.. 01 modify "'I 1. so the attic in question opens at the back onto the garden and is on a level with our bedroom.hel fl'{ f fled~ Liddoesnotd".". of course._. so I might. """k~ Roger Hicks is a much published author on photography. a brilliant device that consists of two straight bits with a lockable 'elbow' in the middle and standard fittings for lights. He has been a freelance photographer/writer since 1981.muilialed rondlhonOf' In (lny aulOO4:lSed mverbVYJilV. and the difference between the highest point in one corner and the lowest point in the middle nearest the house was about 6in or 15cm The word 'attic' ISmisleading in this context. I can always set up the lighting stand and boom anm arrangement temporarily. I could use a Manfrotto Magic Arm. save it for a special occasion and then find that it has gone off. locking clamps and the like at either I've done the same with film. tored rna .uk Ii'( S".. or at least. or which might even be useful).Il1)Sou1~w"k lIIe" SEIOSU. I do the occasional portrait there. POS!MASIER:Soodad<fressrnanges toA~~t'lII PhDIOC)raph". musl be ong~al. Even though I am constantly on guard against Telephone08456767778 Editorial T Subscriptions Advertising AmateurPhotographer.PCMedia.I. So what? I can always take it off the angle-iron frame."e Inany lormal olll'Rdlllm. How about you? DamienDemolder Christine La MarkJacobs ~Upton AngelaNicholson ChrisCh~sman Editor Breandan uire Ma SimonWarren Jelf Meyer Anton Green Technical riter W Richard Sibley Features Writer GemmaPadle SUbEditor OliverCotton Photo-Science Consultant GeoffreyCrawley StudioMana er AlanMaden PictureResearcher RosieBarratt Themoderatorsof the APwebsiteAndrewRobertson.. 8 came" VI. Now this has been done..110 I SouthVlark treelLondonSE1 SU.liP( Media f!J IP( l~ed..TheFatController GroupAdvHtisement Manager SeniorDis la SalesExec SeniorDis la SalesExec DisplaySalesExecutive Editor Editor'sPA Art Editor ProductionEditor Technical ditor E Editorial team Special thanks to Advertising team LeeMorris JuliaS encer SimonGerard RobSelvey 02031482517 02031482637 02031482510 01922412720 02031482516 02031482555 02031482929 0203148 2671 SeniorMarketingManager EstelleHicks·Bennett 02031484321 OnlineMana er KarenSheard 02031484943 SPIAdministrator Charlene Baker 0203148 4326 Marketing and promotions All<onlnbullolll IDAIl'iIII'Il'~1010C)raph.ul PholOC)I apher mOlJ"'ine. Which is what I did.".. sold.(o. nol <oPles or duphOiI.n p"mlSSlon Irom th'llCJbl. Come to Il'SIlOnSlblhl)<OI k>II 01 ddm"'le 10ul15Oll(ll.LondonSElOSU Telephone02031484138 ax0203148 F 8130 Emailamateurphotographer@ipcmedia. 10(10011"1 .361 BI.1I>1valolirallllmited In any formal Dll1>1dlUm.lIer Dr malenal S1Jbmllled.s.IIbe laken Ivl>1rellllS (}(cur< !hlSffi"'lalinemUilnol lJe~nl. "glller. The old fioor was wildly bumpy and uneven.s Ihe IIghl 10""anv S1JbmissiDI'I< senllo ". DlSllibuted Iwllamoiforce (UK)Lid. electrOnl! oluthel'tJlse. 'If I can't do this (which I ought to be doing) then I won't do anything (which I might enjoy. too.pl1el'lhxmedia com WebS'Ie: hllp://www. Or.. IIJ07001. accessories and so on.)graph" ~ publIShed on I lie JU1Sdavprl'(ed. after all. Not great art. and in the unlikely event that I need my shadowless lighting enclosure at the same time as I have another use for the MagiC Arm.. res.lll.1:020 ll48 SOOO Am. of course) came on over my head. In the old atelier I had the Paterson light mounted on a counterweighted boom arm on a lighting stand.1009 Amall'llrPholOC)lapher (In(orpor"llOO Photo lechnm"..DavidJWhite. yes.1 . and rather more often I shoot still-lifes.._.. but the new studio ISsomewhat smaller and also serves as a (rather large) corridor from the bedroom to the back garden. but pictures of cameras.lh"ighllo sllerl .BlueFinBuilding.. my wife Frances's aunt Helen died and left her a modest inheritance. "r~ VllllI. how about something that has multiple uses.. S O Telephone: 2031482517 0 Emaillee_morris@ipcmedia. on a closely related lhe erNe<dale lJylP( IIIIPIRE.I. Not the sort of thing that makes you financially independent _ far from it.I~II Ph..d~OI rtsassooal. \'I.". another example of a theme to which I have returned many times: hardening of the categories.ElfCIROlliCOROlIfRVlIS[ Am.~lon of 1M DubhSlH!r orlheedllor. lr e .. alas _ but the sort that allows you to do things you couldn't have afforded without it. >column of A"". but I need somewhere to shoot illustrations for magazine articles and for our website.Ii'( ~. 110 Pilll 01 11111 ~lbh(~lon may be II'IlIOOU(ed. many in partnership with his wife Frances Schultz. I still get caught out surprisingly often' a shadowless background is with a framework of angle iron with a platform in the middle that can be transilluminated with a light from below Then you need another light above that can be moved around as needed. In arrv 10r""'l ormmlim.. so you never actually use it for anything in case you might need It for something else? It was the third example that prompted these musings A while back. inclined to get in the way." Road IH A"".nllCI. Instead of a lighting stand.Ieul PhoI09rapher l~a9i1..IClIInhol<JgI. ed 10n. IP( MeriiaISIlI 0001 S8401!)(oPVO!IiIIlP( fl~~ Lid. but in French it means both workshop and studio.. contributing to many magazines._ IPCIINSPIRE -.1 R. OJ annexN to any Ilubkatlon ~ advelllSing mall er " IIlo<JI ilII obl .lnlS6(ooSld ereda brea(ho'(oI1YIIghl andacl~o . sooner or later. I'm moving my studio from the outside atelier Into the attic Atelier is rather a grand word in English.. something that you therefore do not use and which. 02031488158 Fax: Insertscall Innovatoron 0203148 3no HOW OFTEN have you had something that is 'too good to use'.

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