ISSUE 119 MARCH 2011





OLYMPUS XZ-1 The great new compact that both looks and works like a classic

PANASONIC LUMIX DMC-GH2 We review it as a camera for stills and the moving image

PENTAX OPTIO WG-1 Is this a new breed of tough waterproof camera?


MARCH 2011

Learn how to shoot at the edge of the world

The 5 lies of monochrome shooting revealed

Essential tips & advice on finding the right course for you




3-inch display, Live Wheel feature menu, Bluetooth® capability and kitted with new smaller virtually silent 14-42mm lens.


Looking for outstanding image quality and control but not complicated menu screens or baffling photographic jargon? The innovative and easy-to-use LIVE GUIDE makes true SLR quality as simple as point and shoot. Set everything just like the pros – only without the fuss. Find out how it works at www.olympus.co.uk/pen

MARCH 2011 | ISSUE 119



WHEN PEOPLE START TO TALK ABOUT LANDSCAPE PHOTOGRAPHY I FEEL THEY OFTEN CONCENTRATE ON TOO NARROW A FIELD OF SUBJECT AND APPROACH. If we take landscape to mean everything we see that surrounds us, then shooting landscape becomes a far more exciting prospect to people such as myself who are not so enamoured with nature and walks. Whether it’s travelling to the Hebrides, clinging to a vertical rockface or seeking out architectural possibilities we have it covered this month. For those of you who favour a more traditional form of landscape and who like to develop your skills on photographic courses, we get regular contributor and experienced course guide David Ward to provide the valuable information you need when trying to find the right one for you. I might even look into going on a course myself to see if I can get to embrace nature at first hand. I hope you are enjoying the magazine each month as well as our podcasts, iPhone and iPad apps, and all of the information we put on to our websites. It’s so exciting for us to see so many of you accessing our content through so many different new mediums. Over 100,000 of you have now downloaded our podcasts from iTunes alone, more than 13,000 of you have downloaded our World of Photography iPad app and over 26,000 of you are following us on Facebook and Twitter. That’s a lot of people and a lot of photographers to thank individually for their support, so I hope a general big thanks will do. Until next month. PM

Grant Scott Editor, Photography Monthly


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92-95 TRIPOD ROUND-UP Jessica Lamb takes a look at the best heavyweight and lightweight tripods available on the market today. 96-97 READERS’ CHALLENGE Win great prizes by uploading your images to the gallery. 96 PHOTO ZONE 62-64 GBP WINNER ANNOUNCED Find out the identity of the winner in the most popular competition we have ever run. E T H ER ON OV C E TH ER ON OV C 82-83 FILM SCHOOL John Campbell brings you the latest news and kit. Find out how. 37-46 JIMMY CHIN National Geographic photographer Jimmy Chin is an adventurer and extreme photographer.CONTENTS PHOTO MONTH 9-15 ESSENTIAL NEWS FROM THE WORLD OF PHOTOGRAPHY. life and majesty. colours and shapes. Olympus’s range of tough compact cameras. 66-71 DAVID WARD Contributor David Ward offers advice to help you get the most from a photography course. WIN STUFF ON PAGES 25. As an accomplished mountain athlete he fills his images with drama. PM at Focus on Imaging 2011. E TH E R ON OV C E T H ER ON OV C MASTERCLASS 51-58 KRISTOPHER GRUNERT Award-winning architectural photographer Kristopher Grunert offers his expert and invaluable advice to help you create outstanding images of buildings and industrial landscapes using lines. This month – still life. [4] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 JIMMY CHIN / BARRI ELFORD 72-77 NEIL TURNER This month lighting master Neil Turner shows you how to create beautiful winter still lifes. Sony World Photography Awards and The Royal Photographic Society’s 154th International Print Competition. light. 81. the London Street Photography Festival. in particular the Hebrides. Cass Chapman caught up with him to find how he captures these stunning landscapes. INCLUDING: Pentax limited edition K-5. 85-91 MARTIN MIDDLEBROOK This month Martin tells you why and how to break all the rules when it comes to shooting in black-and-white. E TH E R ON OV C PRO ZONE 27-35 JIM RICHARDSON National Geographic photographer Jim Richardson loves Scotland. Canon’s new DSLRs. as well as inspiration from the world of film making on your DSLR. E TH ER ON OV C 79 EMILY ANDERSEN Read about Emily’s fascination with twins and her portrait project to capture them. .

48 SUBSCRIPTIONS Join our community and save even more money by subscribing to two magazines. 7 FRIENDS Those who have helped us to put this month’s issue together.CONTENTS 17 READERS’ GALLERY Every month we feature the very best of our readers’ pictures that have been posted in our online gallery REGULARS 3 WELCOME Monthly news from the Editor.CO M [ 5 ] E TH ER ON OV C . P H OTO G RA P H Y M O N T H LY. W W W. TEST ZONE 100 PANASONIC DMC-GH2 Find out what award-winning photojournalist Kieran Doherty made of the latest compact DSLR in the Lumix range. E TH ER ON OV C 104 OLYMPUS XZ-1 Editor Grant Scott gets graphic in downtown Las Vegas with this impressive and good-looking compact from Olympus.


uk. In Blurring the Lines on page 51.co. I The editor’s decision is final and no correspondence will be entered into.uk. 01242 211092 SALES EXECUTIVE Leigh Barr leigh.uk. In The Right Course of Action on page 66.co. Jimmy Chin Photographer Jimmy is the second photographer in our Edge of the World special. David Ward Photographer David is a regular contributor to Photography Monthly.lamb@archant. His use of lines.barr@archant.uk. or pass your details to selected third parties. London W1T 3EX.co.photographymonthly. regularly sharing with his students the years of experience he has gained working as a professional photographer.uk.uk | 01242 211096 © Archant Specialist.co. light and shadow infuses his images with intense atmosphere and scale.co. All prices and data are accepted by us in good faith as being correct at the time of going to press. Advertisements are accepted for publication in Photography Monthly only upon Archant Specialist’s standard Terms of Acceptance of Advertising.co.reynolds@archant. GROUP BRAND EDITOR Grant Scott grant.com | pm@photographymonthly. are not eligible to enter. copies of which are available from the advertising department. If you are sending your entry by post.warren-meeks@archant.uk EDITORIAL ASSISTANT Jessica Lamb jessica. please add the word ‘NO’ to the end of your text message. he explains what he is looking for.Each month we introduce you to the people we work with to produce Photography Monthly FRIENDS MEET THE TEAM Jim Richardson Photographer Jim is the first of two world-class photographers featured in our Edge of the World special this month.CO M [ 7 ] .flint-elkins@archant.co. All advertisements of which the content is in whole or in part the work of Archant Specialist remain the copyright of Archant Specialist. Competition terms and conditions: I The closing date for competitions/giveaways is displayed alongside the competition/giveaway online. 01242 265895 SALES EXECUTIVE Amy Pope amy.godwin@archant.uk HEAD OF DIRECT CUSTOMER MARKETING Fiona Penton-Voak SUBSCRIPTION MARKETING EXECUTIVE Lisa Flint-Elkins lisa.uk SPECIAL THANKS Mandy Pellatt ADVERTISING DIRECTOR Eleanor Godwin eleanor.pope@archant.com www.uk FEATURES ASSISTANT Kelly Weech kelly. Gloucestershire GL50 1BB www.co.samuels@archant. 01242 211099 GROUP COMMUNICATIONS MANAGER Lucy Warren-Meeks.scott@archant.uk MANAGING EDITOR Simon Reynolds simon. I Prizes are as described and no alternatives can be given.subscriptionsave. how he approaches his subject and using long exposures of more than 10 seconds to complete his photographic vision.co. that information is obtained from a variety of sources and neither the publisher. 01242 264783 lucy.co. He has captured the world’s foremost extreme athletes in some of the remotest and most hostile environments on Earth. Cheltenham. which he strives to communicate in every picture he makes. P H OTO G RA P H Y M O N T H LY. he is also an exceptional photographer and film maker.weech@archant. Pound conversion rates correct at the time of going to press. for example.co. In Highlander on page 27 he explains his great love for Scotland and why great photography is rarely about the kit you use. I Archant Specialist may wish to contact you in the future. A National Geographic magazine veteran.co. and those professionally connected with the competition/giveaway. MEMBER OF THE AUDIT BUREAU OF CIRCULATION W W W. I Employees of Archant Specialist. He is also a master of composition and a veteran tutor. competitions/giveaways are only open to UK residents. employees of the sponsor company. his first passion is the environment. he offers sound advice on how you can get the most from a photography course. Kristopher Grunert Photographer Kristopher is an award-winning architectural and industrial landscape photographer. If you are sending your entry by text and do not wish to be contacted.co. the printers nor any distributor is responsible for errors or omissions.wheeler@archant. 01242 211092 DEPUTY ADVERTISING MANAGER Nicola Crosta nicola. Reproduction in whole or in part of any matter appearing in Photography Monthly is forbidden except by express permission of the publisher. Archant Specialist is part of Archant Ltd.uk EMAIL photographymonthly@subscription. 01242 216054 CLASSIFIED SALES EXECUTIVE Bianca Dufty bianca. In Born of Fire & Ice on page 37 Jimmy shares his experiences and offers expert advice.co.crosta@archant. 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For the past 15 years.photography monthly. Cosmic Communist Constructions Photographed.com BACK IN THE USSR FRÉDÉRIC CHAUBIN TASCHEN IS SET TO RELEASE a beautiful new book which anyone with an interest in architecture and landscapes will love. Chaubin has been Editor-in-Chief of the French lifestyle magazine Citizen K. From 2003 until 2010. is priced £34.com W W W. by Frédéric Chaubin. This book.All you need to know from the world of photography Druzhba sanatorium (I Vasilevsky. P H OTO G RA P H Y M O N T H LY. 1985. P H OTO G RA P H Y M O N T H LY.taschen.CO M [ 9 ] W W W.99 in hardcover and will be available from March. ISBN: 978-3-8365-2519-0 PM www. from the obsession with the cosmos to the rebirth of national identities as an empire came to an end.CO M [9] . Y Stefanchuk). PHOTOMONTH GO ONLINE To enter competitions and win fantastic prizes visit www. Yalta. Ukraine. French photographer Frédéric Chaubin travelled extensively across 14 former Soviet Republics to capture engaging images of buildings constructed between 1970 and 1990. He calls this period the fourth age of Soviet architecture and believes the design styles are testament to all the ideological dreams of the period.

The Optio WG-1 comes in black/blue and purple.000. www. Included with every card is the latest version of the manufacturer’s Image Rescue software.000.280 x 720MP) at 30fps. The deadline is fast approaching as entries will not be accepted past Monday. Neil is well-placed to help students learn how to cover news.99 for the 64GB version and £449. plus an open competition for photographers of all abilities. There is also a 64GB version. Only 50 units of the camera. It is made in the USA. In related news. face priority. www. www. and the Optio WG-1 GPS comes in green and grey/black. Pentax is also releasing a limited-edition version of its K-5 DSLR. Both models will be available from March.5m in height and pressure up to 100kg. Flickr and Picasa. with five other prizes also on offer. which automatically calculates and stores your latitude and longitude. www.com DEADLINE LOOMS FOR RPS PRINT COMPETITION If you haven’t already entered The Royal Photographic Society’s 154th International Print Competition. The Optio WG-1 GPS packs an added geotagging feature. The rear LCD and top screen have been reinforced and the handle redesigned to make it more comfortable to hold.7in LCD screen with 230. it’s free delivery. as well as the date. the awards feature work from as far away as Afghanistan. The winners will be announced on 27 April at a ceremony at the Odeon Leicester Square. Up for grabs is a top prize of a Gold Society Medal and £2. Prices have yet to be confirmed.rps. As well as the new finish.000. http://uptospeedjournalism.photographymonthly. sport and entertainment events using both stills and video.uk SONY WORLD PHOTO SHORTLIST ANNOUNCED The shortlist for the 2011 Sony World Photography Awards has been announced. As well as a tripod which can be used on uneven ground. in black only. in silver. The unit folds to a compact 7in to fit in a pocket or camera bag. They are expected to hit the shops in the spring priced £249.BAD BOYS Extreme sports fans will be interested to learn that Pentax has released two new cameras in its rugged waterproof range. The Optio WG-1 can also endure extreme temperatures down to -10°C.fr/photo BUY THE LATEST ISSUE DIRECT There’s no need to leave the comfort of your own home to get your copy of the latest issue of Photography Monthly magazine. London. Entry forms can be downloaded from the society’s website. The cards come with a limited lifetime warranty and free.trekking.com HANGING TOUGH The UltraPod II is a useful bit of kit for any outdoor photographer who would rather not carry a full-size tripod.co. an enhanced microscope function (allowing you to enlarge pictures by up to six times). priced 25 euros. fine art and commercial.worldphoto. as well as professional Sony camera equipment. compact camcorders. the cameras can withstand a free fall from 1. Exhibitors will be selling copies of their prints and all of the selected images will be reproduced in a full-colour catalogue. Argentina and China with several UK photographers also making the cut. www. As a vice-chairman of The British Press Photographers’ Association. To complete the new K-5 silver version. which is based at the Bournemouth Daily Echo newspaper. the smc DA 21mm f/3. three existing pancake lenses are now also available in silver: the smc DA 40mm f/2. This means you can accurately place your photos on map photography sites such as Google Earth. it can also be attached to trees or fence posts with an adjustable Velcro strap. but the model is expected to go on sale in March. Students will also be taught writing skills and media law at the centre.000 dpi resolution and a 16/9 format. The Optio WG-1 is priced at £269 and the WG-1 GPS at £299. are running at Up to Speed Journalism in Bournemouth. You can now get the latest edition delivered direct to your door by simply ordering straight from the website. buttons and packaging have been updated. both models are encased in a rugged aluminium alloy body and have a wide-angle 5x optical zoom lens (equivalent to a 28–140mm in 35mm) and a 1cm macro function. marking a move away from Cannes. www.lexar.8 Limited.4 Limited.pentax.org LONGER MEMORIES At the start of the year Lexar released a 128GB SDXC memory card providing speeds of 133x for quick download times of both stills and 1. which has hosted the event in previous years. The next course begins at the end of September 2011. HD video recording function (1. which cost £4.080p HD video. dedicated professional technical support.2 AL Limited and the smc DA 70mm f/2. Both models also have a 2. now is the time to do so.co. the thumbwheels.99 for the 128GB version. 21 March 2011. The overall Photographer of the Year will win a prize of $25. The Optio WG-1 and WG-1 GPS are even more robust and water resistant than previous models. And if you live in the UK. Weighing just 4oz it has been designed to support 35mm cameras. Equipped with a 14MP CCD image sensor. smile detection and a blinking alert function. spotting scopes and binoculars. but available in Europe from the following distributor. will be available in the UK.org [10] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 FREEDOM OF THE PRESS Regular contributor to the magazine and lighting master Neil Turner has launched a new course in photography and photojournalism. With a professional competition spanning the three genres of photojournalism & documentary. Waterproof up to 10m. Up to 125 prints will be selected for the exhibition which will tour from July 2011 to April 2012.uk STANISLAW PYTEL . The 12-week courses.

three frames per second shooting in Jpeg files. The EF-S 18-55mm f/3. bright optical viewfinder offers 95% coverage of the scene before you. they are saved to a video snapshot album and combined into one movie.5-5. a nine-point autofocus system and the same iFCL metering system as the EOS 7D. four.400. A feature guide in the menu system provides a description of each key camera setting and its effect. A soundtrack can be added by choosing from tracks uploaded to the camera and the result viewed on the camera’s LCD. Inside is a 12. which crops the centre of the sensor from 3x to 10x. but there is also Live View that will enable you to see on the large rear screen how different shooting modes will affect the final image.5-5.7fps. Poland CANON’S NEW ENTRY-LEVEL DSLRS Canon has added two new cameras to its entry-level range. the camera can be connected to a larger HDTV screen through the HDMI port. as well as several automatic settings which remove the need for a lot of technical knowledge.6 IS lens is £949. The EOS 600D also comes with a vari-angle 7.6 IS II features optical image stabilisation and allows photographers to use shutter speeds four stops slower than would normally be possible. The EOS 1100D provides video at 720p HD video.800. or on an HDTV via the built-in mini HDMI connection.2MP APS-C CMOS sensor and a DIGIC 4 image processor.6 IS II lens is priced at £769 and the camera with the EF-S 18-135mm f/3. Two kits are available: The camera with the EF-S 18-55mm f/3.uk W W W. Launching with the camera is a new kit lens.400 that can be further expanded to 12. The 600D is capable of recording full HD (1080p) video and features automatic shooting modes and artistic filters.7cm. Borrowing technology from the semi-professional EOS 7D. The first is the EOS 600D. especially when used with the nine-point autofocus system.5-5. 3:2 ratio LCD display.canon.5-5. Alternatively. With the EF-S 18-55mm f/3. P H OTO G RA P H Y M O N T H LY. www. The EOS 600D (body only) will be available from early April 2011 priced at £679. which is aimed at those just starting out in photography. an ISO range of 100–6.CO M [ 1 1 ] .8cm LCD screen image. The video snapshot mode shoots video in two. There is a large 6. making it an interesting option for shooting action.5-5. while still maintaining full HD quality. Inside is an 18MP APS-C CMOS sensor with 14-bit DIGIC 4 image processor giving an ISO range of 100-6. The second is the EOS 1100D. As the clips are recorded. which is a 63-zone dual-layer metering sensor.PHOTOMONTH 2011 Sony World Photography Awards open short list (Action): Abyss by Stanislaw Pytel.6 III lens it is £459.co. The dedicated movie shooting mode means you can switch between stills and HD video instantly and you can reach distant subjects using the movie digital zoom function. The EOS 1100D (body only) is available from early April priced at £419. The camera is capable of shooting at 3. a compact DSLR that comes in above the existing EOS 550D. A newly-designed. or eight-second segments. both the cameras carry the same iFCL metering system. With the EF-S 18-55mm f/3. It also has a feature guide to help you learn about the camera as you use it.6 IS II lens it is priced at £499.

focus-on-imaging. card slots and ports. black. Chris Steele-Perkins.uk EASTENDERS From next month Whitechapel Gallery in London will host a collection of images depicting the Whitechapel area during the 1970s. This is Whitechapel runs from 11 March to 4 September at Whitechapel Gallery. it’s time to take notice. will be showing on digital screens in various sections of the festival. including Constantine Manos. see the latest launches and attend seminars and workshops. the cameras will automatically upload your pictures and movies to your computer or website. the TG-310 and TG-610 are both shock and freezeproof. London. I’m delighted Derby is hosting a festival fast becoming one of the most successful in the world. provides a comprehensive look at street photography today.com ANDREW GLICKMAN OLYMPIC MEDALLISTS Olympus is going all out in the tough arena with the launch of a number of hardy waterproof compact cameras in a variety of eye-catching colours.5 metres. white and orange. As well as being waterproof. The Photography Monthly editorial team will be there. Trent Parke and Alex Webb.olympus. Europe's biggest annual imaging show. Peter told us: “When the world’s heavyweight street photographers gather. The TG-310 is waterproof to three metres and the TG-610 can shoot images underwater at five metres. regular contributor to our sister magazine Professional Photographer. thanks to Eye-Fi wireless SC card compatibility. The Olympus TOUGH TG-610 is available in silver. Images from his collection. The Olympus TOUGH TG-610 also has an automatic Underwater Snapshot mode. priced £200. Both cameras carry filters for giving images an artistic feel.” www.formatfestival. Born in Lancashire in 1934. blue. The work of Peter Dench.org PM AT FOCUS 2011 Focus on Imaging. The gallery has revisited its archives to present 30 images from the 1972 commission for a free exhibition.whitechapelgallery.PHOTOMONTH Woman wearing dark glasses by Andrew Glickman TAKE TO THE STREETS Lovers of street photography will be excited to learn that international photography festival FORMAT starts in Derby next month.co. www. Richard Kalvar. Bruno Barbey. When shooting underwater. will also be on display. so come and say hello. The Olympus TOUGH TG-310 is available in silver. takes place between 6 and 9 March 2011 at Birmingham NEC. priced £250. so it provides a great opportunity to meet manufacturers and distributors. England Uncensored. a sliding double lock mechanism protects the battery. The cameras also benefit from face and pet detection. www.uk [12] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 IAN BERRY . Users can shoot 14MP stills photos and. 77-82 Whitechapel High Street. For extra convenience they can also be charged through USB. while an additional lens barrier (metal on the TG-610 and hard glass on the TG-310) safeguards the optical zoom lens. We are looking forward to a major outdoor show of 140 large-scale street photos by seven leading Magnum photographers working around the world.co.000 works by over 300 artists. He joined Magnum in 1962 and has captured several major world events in the course of his career. red. bringing together some of the world’s best photographers. which runs from 4 March to 3 April. and features more than 3. The exhibition features the work of Magnum photographer and Photography Monthly contributor Ian Berry. The festival. More than 200 exhibitors will be attending the show. who in 1972 was commissioned by the gallery to capture the rapidly changing face of East London. www. as well as pro photographers such as David Ward and Martin Middlebrook. There is even a beauty mode that will smooth away wrinkles and eliminate imperfections and blemishes. Both cameras are freezeproof to -10°C and shockproof to a free-fall height of 1. Ian moved to South Africa in his 20s. blue and red. where he documented the struggles of the civil rights movement.

00 .00 .1 place left Price includes 2 nights dinner.com .£695.Lightscapes Photographic Workshops “Many thanks for the fantastic Glencoe workshop. bed and breakfast September Isle of Skye . I feel I now understand the use of ‘Manual’ mode.Two location workshop 1st . bed and breakfast October Isle of Skye .£425.26th . bed and breakfast Lake District 18th .” Moira Gardner .Glencoe 2010.00 . I hope to book another workshop soon.00 4 nights including dinner.8th .20th .1 place left Price includes 2 nights dinner. bed and breakfast Lake District 15th . www.FULL 4 nights including dinner. bed and breakfast Free Post Production The courses uniquely include a free post production day at Gary’s studio.£425. he will show you how to produce your favourite image from the workshop.£695.£695.£695. bed and breakfast April Shropshire 8th . upto 24” x 18” ALL SINGLE ROOMS .Glencoe 4th.£395.17th . It was magical to get snow on the mountain tops and along with the Autumn colours made photography extra special.garygroucutt.Watching how the light changes the landscape made me appreciate the magical hours of just after sunrise and just before sunset.5th .00 4 nights including dinner.20th .10th .00 .00 Price includes 2 nights dinner.1 place left 4 nights including dinner.NO SUPPLEMENT Maximum 5 Photographers Free Post Workshop Telephone Support t: 07779 122034 e: info@garygroucutt. bed and breakfast Isle of Skye 22nd.Glencoe 16th.com WORKSHOPS 2011 March Do you want to go to the Isle of Skye but thought it too far? Isle of Skye and Glencoe .


uk SHADOW MASTER Photography Monthly contributor Michael G Jackson is a finalist in the Hasselblad Masters Awards this year. P H OTO G RA P H Y M O N T H LY. Professional Photographer.londonstreetphotographyfestival. the Victoria and Albert Museum and the British Library. Turning Pro.hasselblad.photography monthly. . by downloading single issues or subscribing to Photography Monthly. www. Birmingham. but the deadlines for entries to the accompanying Street Photography awards are looming. Photography Monthly Editor Grant Scott.apple. scroll around the page. starting with Focus on Imaging 2011 at the NEC.co. So get online and start voting for Michael’s black-and-white masterpieces! www.com/masters-finalists VIVIAN MAIER DANCING IN THE STREET The London Street Photography Festival takes place this summer from 7 to 17 July.com/uk/itunes W W W. which is dedicated to HDSLR film making. on 1 and 2 March. Which Digital Camera and World of Photography. a Chicago-based street photographer whose incredible archive of works spanning the 1950s to 1990s was only recently discovered. It even works on your iPhone. The festival. There is also an exhibition featuring the work of Vivian Maier. Available in the iTunes store.” Joe’s daily talks at Focus will be held at the Graphistudio theatre and are supported by the Master Photographers Association. Michael is one of 110 photographers to be in the final stages of the competition. will be discussing the impact of convergence on photographers. The line-up includes one-hour workshops covering all aspects of DSLR film making from creativity to workflow. listen to podcasts and view video footage. Photographer Annie Leibovitz once said: “Joe sees the wedding as a rite of passage and approaches his subjects with great love and respect. PM www. The competition is divided into two categories – a UK student award and an international award. The festival will feature a diverse programme of exhibitions and interactive events across London at venues including the National Portrait Gallery.theconvergence. Joe is a wedding photographer whose clients have included celebrities such as Christina Aguilera and Jennifer Lopez.joebuissink.CO M [ 1 5 ] Congratulations to Ceri Jones for his image Snow field which is the winner of our February Readers’ Challenge competition. One winner from each category will be chosen and then provided with Hasselblad kit to work on their Masters project. which counts as one vote for each category.com JOE BUISSINK GO ONLINE We update the website daily to bring you news as it happens www. www. The public poll.PHOTOMONTH SHOOTING STARS Beverly Hills photographer Joe Buissink is giving a series of talks across the UK this year. the app lets you expand features. www.com AT THE MOVIES The Converge Festival returns to the National Film Theatre in London for the second year running. from 6 to 9 March. will be added to the votes of the judges. One of the guest speakers. and a series of lectures. is a forum for pioneers of the HDSLR world to discuss their work and explore what is happening in the world of convergence.org READERS’ CHALLENGE WI NN ER FOTO MAGS NOW The Foto Mags Now app means you can enjoy our magazines on your iPad. The deadline for submissions in both sections is 31 March.

visit lowepro. @LoweproUK See the latest products at the Focus On Imaging show 6th-9th of March stand B10 For details.com/sfseries Call 0845 250 0792. Then build with components to suit your needs. Fast access.S&F Modular Carrying System ™ Freedom of movement. You can also follow us on © 2010 DayMen Photo Marketing LP . Next add a vest or harness. Change out lenses with one hand with the breakthrough S&F™ Lens Exchange Case 200 AW. S&F™ Series It starts with a belt. Gear up or down – whatever the shoot calls for – with SlipLock™ attachment tabs and loops. Flexibility.

Editor W W W. P H OTO G RA P H Y M O N T H LY. A beautiful portrait handled well.photographymonthly. styling and lighting.CO M [ 1 7 ] . we choose the best and publish them the following month. Simple! GALLERY YOUR IMAGES ED IT OR ’S CH OI CE IMAGE OF THE MONTH This sophisticated but simple image goes to prove that less can often be more when dealing with portraiture. Christine Xuan Thompson Sofia Canon EOS 350D 50mm Grant Scott. You can’t ask for much more.Upload your images to www.com. This approach needs an understanding of the importance of getting the details right in make-up. which is exactly what Christine has done.

Chris Hancock Through the mist Canon EOS 50D Canon EF 24-105mm USM Ed Gorochowski Norton sub Hamdon Canon EOS 5D 70-200mm [18] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 .

READERS’ GALLERY Dan Rayner Ellie 4YO Canon EOS 5D MkII Canon 24-105mm Adrian Per Evening home Nikon D80 Nikkor 18-55mm John Hope Katie & Gee Canon EOS 450D Canon 50mm Gosia Wlodarczyk Her first journey Nikon D50 Nikkor 50mm W W W.CO M [ 1 9 ] . P H OTO G RA P H Y M O N T H LY.

Mary Cufflin Strolling Canon EOS 400D Canon EFS 18-200mm Miguel A Jaen Sunset Canon EOS 7D Tokina 12-24mm Barri Elford After sunset Nikon D700 Sigma 24-135mm [20] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 .

Bart Hoga Rape field Nikon D80 Nikkor 18-70mm

W W W. P H OTO G RA P H Y M O N T H LY.CO M [ 2 1 ]

Lucie Averill Cuckmere meander Canon EOS 7D Sigma 10-20mm

Scott Edwards Blue pier Nikon F5 24-120mm Jamie Skilling Through These Eyes Canon EOS 5D MkII Canon 28-105mm

Sam Kinge Shiver Nikon D2x 28mm

Andre Axford-Bryars Starfish Nikon D700 Nikkor 24-120mm

[22] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1


Jukka Björn Zen Nikon D200 Sigma 80-400mm

Pat McDonagh The fight Nikon D300s Tamron AF 18-200mm

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photographymonthly. while the 400x CF cards are even faster.photographymonthly. and the Editor’s Choice will win a card and reader. SD or CF. Even if you shoot at machine-gun speeds.CO M [ 25 ] . the choice is yours. they’ll keep up.com.000 RAW files from a 10-megapixel DSLR.com and upload your favourite images. WIN! & WIN! W W W. start uploading your images today to www. at 60MB/sec — and at that rate you will need their 8GB capacity. the 133x SDHC cards can sustain write speeds of 20MB/sec. For more visit www. if you want to shoot away unhampered. secure in the knowledge that your pictures are being stored safely. look no further than Lexar’s Professional range. If you want the ultimate in memory cards. visit www.READERS’ GALLERY Gavin Clark Icelock Nikon D300s Nikon AF-S Micro 105mm Trevor Wain Whoa!!! Nikon D200 150-500mm Peter Langford Red Arrows breakout Nikon D200 500mm mirror lens Joan Thirlaway Dancing in the snow Nikon D300 Tamron 200-500mm UPLOAD IF YOU WANT TO SEE YOUR IMAGES IN THE MAGAZINE and have the opportunity to win an 8GB Lexar Professional memory card and reader. That’s room for more than 5. We will choose the best work uploaded each month for inclusion in the magazine. So.lexar. P H OTO G RA P H Y M O N T H LY.com.


CO M [ 27 ] . perseverance and little thought for his personal safety. and I’ve covered whisky country. sailing the waters and observing the wildlife. soft spot in my heart. Isle of Skye The Storr is part of the Trotternish Ridge and the largest of the rock pinnacles is the Old Man of Storr. the rugged. “I have been doing stories on Scotland for 15 years. became the subject of a stunning National Geographic magazine spread that ran in the January 2010 edition of that iconic publication. my first being a National Geographic piece back in 1994 or 1995. on the Isle of Lewis. HIGHLANDER National Geographic magazine photographer JIM RICHARDSON is a master of innovative and daring photography.” The Hebrides hold a particular attraction for Jim and. jagged rock emerging from a ravaging sea and the birdlife flocking above the little boat from which Jim shot the images bring to mind a film set – beautiful.” he explains. W W W. “I have been out to the A summer solstice at the Callanish stones.Learn the techniques and get the best tips from the professionals PRO ZONE EDGE OF THE WORLD SPECIAL The Storr. Yet in reality the work is the result of Jim spending a lot of time with the locals of these far-flung islands. magical and almost unreal in form. as such. so Scotland has always had a great. he captured these incredible images of the Hebrides in Scotland. CASS CHAPMAN caught up with Jim to find out what drives him to photograph extreme landscapes. it is the calmness exuding from professional photographer Jim Richardson that explains how he is able to spend weeks shooting in locations as harsh and isolated as the islands of the Hebrides. JIM RICHARDSON LTHOUGH HE CLEARLY HAS A GREAT LOVE FOR THE RUGGED AND WILD RURAL CORNERS OF SCOTLAND. After he pitched the story to National Geographic and had it accepted. The colour of the sky. The Cuillin mountains are on the horizon. P H OTO G RA P H Y M O N T H LY. the real challenge came with researching how this landscape had been shot before and finding ways in which to make his own mark. Through patience.

where you could make the process invisible.” Although seeking to increase people’s awareness of the Hebrides was his main goal. a healthy dose of respect evident in his voice. It gave me some reassurance.” Jim’s thoughts soon wandered across the Atlantic to the Hebrides. and so I let that be my guide. “I was looking for some place that had much more. the flint hills of Kansas. “Both those places. Jim determined that he “wanted to shine a light on this wonderfully wild and beautiful place for folks who hadn’t discovered I’M A BELIEVER THAT PLACES THAT AREN’T APPRECIATED ARE AT MUCH GREATER RISK EITHER OF EXPLOITATION OR OF BEING DEGRADED BY SENSELESS DEVELOPMENT. the Hebrides are “not as unknown. “I’m always scheming to come up with new projects and an assignment that would take me to the outer islands and off to St Kilda it yet as a spectacular place with a wonderful geological story to tell. “I expanded into great landscapes. I looked for ways.” Inside advice on the area was all that Jim sought Isle of Lewis The Callanish standing stones are thought to have been erected nearly 5. having already done one in that series on a place very close to home. but curiously lesser-known in the US than I thought. but he is a rich source and I had already been through his website looking for locations. He was incredibly generous. not of doing beautiful pictures – that wasn’t the motivation – but of telling a story and to make the geology visible and vibrant. Jim was also relishing the chance to return to the islands.000 years ago. After he had completed a series on United States national parks. but breathtaking beauty. from James before shooting. He shoots “just beautiful stuff. who is based on the Isle of Lewis in the Outer Hebrides and is well-known for his panoramic landscapes of the islands. Jim sought out the advice of landscape photographer James Smith.” [28] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . which with time to stay in the Argyll Hotel on Iona and stay the night on Staffa. not just going out and blindly repeating things. By the time I visited James I had already done a bunch of research that had really involved pulling out the map. “I called him and asked for his take on locations. and all those things? That’s a good scheme. I don’t want to claim nobody has been up to the Old Man of Storr before.” states Jim. could be conducive to preservation. so it was only fair to go to him personally.Jim’s objective in presenting the Hebrides was opening it up to those who were unfamiliar with its harsh.” Just as Kansas’s flint hills aren’t well-known outside the States. I wanted to draw attention to a place with its own quiet beauty. he has done it beautifully. a sort of unsung landscape. the turmoil. especially as there is such a wealth of material to shoot.” he laughs. I asked him if I was missing something.” are the largest stretch of tallgrass prairie left in America. if you mention the Hebrides Overture by Mendelssohn. that has been a favourite of mine since high school. nobody knows what you’re talking about.” Research was imperative: “It’s really important for photographers to know who has been there before and what has already been done. “I didn’t want to copy anything.” Jim stresses the importance of this research. I thought. For instance.” But before shooting anything. because that will show you haven’t done your homework. People have done the Hebrides before. I’m a believer that places that aren’t appreciated are at much greater risk either of exploitation or of being degraded by senseless development. the raging wildness. Having had the project accepted by National Geographic.

” Finding a way to shoot them in an innovative way again proved the challenge: “The problem is that I and many other photographers have already done a whole lot of pictures on them so you can’t go back and do the Mangersta. He has photographed more than 25 stories for National Geographic and gives talks about his work internationally. the way you could see it and the interconnection of the geology and the range of mountains.000 years ago and are sometimes referred to as the Stonehenge of the North. and the last outpost of St Kilda. and the way that the islands sit out there as the bowl against the raging Atlantic and how that makes the outer edges of the west shores of Lewis and Harris wildly rugged.jimrichardsonphotography. Isle of Lewis The sheer cliffs and rugged sea stacks on the west coast of the island. rugged look and this incredible melancholy of the lost people and the safe haven for all the seabirds on their migration to nesting that you get at the island of Boreray. where you have both the wild. whereas some of the inner islands have a softer. but so beloved to sea birds looking for secluded spots.PRO ZONE The Hebrides Jim Richardson JIM RICHARDSON Among his subjects were the extraordinary Callanish standing stones on the Isle of Lewis. He lives in Kansas. Traveler magazine.com W W W.” BIOGRAPHY Jim Richardson photographs for National Geographic and is a contributing editor of its sister publication.” So he sought out the “wild story of geology over time. which are thought to have been erected nearly 5. protective look to them. USA. seen here at sunset. the fangs of rock coming out of the sea and their incredible hostility to humans. P H OTO G RA P H Y M O N T H LY. www. you can see in the rocks the way they are folded and you notice those layers and how this rock has been thrown back into the cauldron of the Earth over again. same thing. “It’s Lewisian gneiss and they are some of the oldest rocks on the Earth.CO M [ 29 ] . make a dramatic sight.” Jim looked for “the effects of the sea washing into the core of the volcano at Fingal’s Cave [on Staffa] and this whole huge landslip that created the Old Man of Storr on Skye.

which is where you show the editors what stage you’re at. but they are breathtaking in their ferocity. “I’d anticipated going back for the winter season to capture the raging storms dashing against the rocks. harsh sea and jagged rocks around them. his editors were thrilled with what he had shot already. so I didn’t get to go back. he spent approximately five weeks in the Hebrides. I had apparently done too good a job.Once Jim was clear as to what he wanted to shoot. A great sense of movement pervades each. [30] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . They can then make changes or pull the plug if they think it’s an absolute disaster. something Jim sought to achieve. but sadly for Jim. it meant they did not require any more images. The landscapes are not conventionally beautiful.” In fact.” The resulting shots are epic in both proportion and the effect they have on viewers. “We got to what is known as a ‘halfway show’ at National Geographic. Unfortunately. although the assignment didn’t last as long as he had hoped. The scenes are intimidating as one imagines the cold air.

W W W. P H OTO G RA P H Y M O N T H LY.PRO ZONE The Hebrides Jim Richardson JIM RICHARDSON Boreray. St Kilda Gannets flying out from Boreray Island – which is famed for its colonies of birds – in the St Kilda archipelago. the remotest place in the British Isles.CO M [ 31 ] .

The Hebrides Jim Richardson


“Landscape photography falls into some complacency, a bit of a rut, too often, because we have conventions of what beautiful landscape pictures look like and we tend to go out looking for the spots where we can get those sorts of pictures.” I sense, while talking to Jim, that this unconventional, ‘un-pretty’ beauty is what keeps drawing him back to Scotland, particularly the Hebrides. Looking at the pictures I can’t help but wonder how exactly he set himself up for some of the shots. One image is clearly taken from the water amid

Boreray, St Kilda Remote and wild, Boreray Island was the site of incredible feats of cliff climbing by the St Kildans who hunted the birds. The last inhabitants left the islands in 1930.


Fingal’s Cave, Staffa

what looks like a brewing and heavy storm. In this situation, lighting was a big consideration, although Jim’s methods were anything but sophisticated or expensive. He had shot Fingal’s Cave several times before, “all miserably,” and the same problem occurred time and again: “The deepest part of the cave is black and the light dwindles, so when you look at pictures other people have done they’re all pretty much the same picture. I had seen some old line drawings, lithographs maybe, of these Victorians in boats going into Fingal’s Cave and in some you see them standing on the bow with a lantern.” It was hardly innovative stuff, but these simple illustrations provided Jim with just what he needed: “That was my key and I thought, there we go, we need to light the inside of the thing. We need light from the back end so we can see it.” Soliciting the help of a few local enthusiast photographers to act as lighting crew with large torches, Jim got his shots.

The same worked for the Callanish stones. “I was pretty sure I wanted to do something at night. I experimented with a flashlight and did multiple versions of the shot to get it right.” A good old-fashioned torch gave him just what he was after, although he admits he spent years thinking about these shots before taking them, so the mental preparation was substantial. His stunning shot of the birds flying out from Boreray Island had some hairy moments and proved the trickiest of the lot. On his previous visits to St Kilda (the remotest part of the British Isles), Jim had experienced nothing but solid rain, although he hastens to add: “I didn’t have many moments where I couldn’t use the weather.” Realising that Boreray had never been shot at sunrise or sunset because of day trip boat schedules, he decided to get there at an unusual time and get some rare shots. He hired a boat at “not inconsiderable expense to go out there for sunset, but when we got there it was socked in with cloud.”

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I used my Nikons – a D700 and a D3 – and basic kit.” There were.” PM JIM RICHARDSON St Kilda The abandoned village and the bay.” he laughs. He’s holding on to me and I’m trying to shoot pictures that are halfway level. It was incredibly cold. A 24-70MM LENS AND A 70-200MM. and to be out there by myself among the stones that night was pretty remarkable.” Most of our time together is spent reminiscing on the nature and one-off geological structure of the Hebrides. but every once in a while some bird that hadn’t gone to sleep yet would twitter from some place and there would be the odd creak of the earth. I also had a 24 PC-E (perspective control) lens. So it cost me about $2. “My kit was pretty simple.500 (£1. I stayed until dusk.” He has clearly become intertwined with the communities where he stayed: “Tourism numbers are always precarious because any ferry boat ride knocks out about 95% of tourists. “A lot of these [shots] I couldn’t have done without digital. being summer and that far north. I hiked seven miles up the valley and stayed there way too long. The lighting of Fingal’s Cave. It was stupid. “We stayed in the bay of St Kilda. swarmed down by the tens of thousands. they went away again. “I’ll keep coming back and conspiring to find ways to get more stories out of it. tilt-and-shift lens. I hope it’s always remote enough.” Almost as quickly as the light and the birds emerged. I thought that I was going to die out there. come into Edinburgh. take the bus tour 45 minutes north and think they’ve been to the Highlands. implying that he only scratched the surface with his latest National MY KIT WAS PRETTY SIMPLE. because I’m not a mountaineer. “The place is loaded with good material. I’m not quite sure why it had that look but it was good light that day and there was lots of contrast in the scene. a 14-24mm lens. but all of a sudden you would hear this first twitter – the signal that morning was coming. but it’s clear he will be back there as soon as he can get another commission. a 24-70mm lens and a 70-200mm. Most go to mainland Scotland. The torches and that give it a nice warm colour. it looked like to me.” This cannot have been easy but the resulting shots are astonishing. He even wondered what on earth he was doing in such a rough terrain. moments that were magical and intensely memorable.600) to get a boat out there for about 15 minutes of light.” he says.CO M [ 35 ] .PRO ZONE The Hebrides Jim Richardson After he had done several rounds in the water. Then at about 2. a shaft of light suddenly burst through the dense cloud and “all these birds. not some idea that I’ll change the world. There was a tiny window of only “three or four minutes in which the birds were really streaming out and that was magical. “That’s because it’s crystal. P H OTO G RA P H Y M O N T H LY. I was hooting and hollering. but maybe if I could be one of those people that contribute something to the place – I’d be happy with that. “These scenic places are perfect for a wind farm and you don’t have the political body of people with enough clout to stand up and say no to that. so it wasn’t that high. for example.” equipment. one in particular being the time he spent in the Callanish stones at 2am.” He is a big fan of digital equipment and gives it a lot of credit. A 14-24MM LENS. intimidating even during the summer he spent there. I am intrigued to know whether Jim compensated for torch lights and handheld shots with more complex was 4am. is the answer. Those little communities out there have a hard time of it. Nikon designation. The boat was tossing us around and I’m on the back deck and a guy is holding my belt to keep me from going off. however. and I then had seven miles of hiking back to my car that evening. “I was on the Isle of Skye one day and it was raining. “I hope that [place] never changes. There always lingers in me.” Jim’s photographs have certainly done what he intended: To bring the unique and rugged beauty of the Hebrides to all who view them.45am. and there was this beautiful light for about 15 minutes. I was lucky though because it could have been for nothing. flash and camera bag with the occasional flash light. I shot it at ISO 1000. but as we talk about lighting challenges and setups. and I got up at4am to see if we would have light again and it was total solid grey. morning comes pretty darn early and it never really gets dark. “I can think of a number of moments that left me wondering what I was doing. thinking I could get this dramatic shot. although he admits people often question his shot of the Old Man of Storr. sleeping on the boat overnight. W W W. it was still pouring with rain. the gannets. but the exposure was 180 seconds and it Geographic spread. Absolutely not. I USED MY NIKONS – A D700 AND A D3 – AND BASIC KIT.” Jim did not do any significant post-production.” There were many moments when Jim questioned whether he would get what he was after.


skier and explorer. Speaking with him I suspect there are few challenges in the world that would faze him. drive and a youth spent outdoors. and participated in several pioneering climbing expeditions. South Africa and Argentina. This confidence is a combination of experience. from first ascents of towers in the Karakoram mountain range of Pakistan to being one of a handful to have climbed and then skied down Mount Everest during the autumn. he has worked with and captured some of the world’s foremost athletes in these fields. Mali. Wyoming Jimmy Hartman climbing the Ford Couloir W W W. National Geographic photographer JIMMY CHIN is a world-class adventurer whose expeditions have placed him in some of the world’s most dramatic landscapes. China. Nepal. P H OTO G RA P H Y M O N T H LY. He has BORN OF A travelled to Tibet.CO M [ 37 ] . Pakistan. An accomplished climber. His passion for creating breathtaking images of places few people will ever see is matched only by a calm and cool confidence that enables him to execute every project he undertakes.PRO ZONE Graphic landscapes Jimmy Chin FIRE&ICE DVENTURER JIMMY CHIN IS A RARE BREED OF PHOTOGRAPHER. EDGE OF THE WORLD SPECIAL JIMMY CHIN Grand Teton. SEAN SAMUELS caught up with him to learn more about his approach to photography at the edge of the world. Tanzania.

Kit and Rob DesLauriers on the summit ridge of Mount Everest before their ski descent. People love sports. Returning from the successful trip to Pakistan. While doing Asian studies at Carleton College. which at the time was a lot of money to him. they are inspired by athletes and here were these first-class athletes operating in some of the most amazing locations and beautiful landscapes with no way to share the experience and to inspire others. Northfield. he took up climbing. Yuji Hirayama on a sport climbing expedition. He also discovered it was hard not to shoot these sorts of images. Jimmy sold one of the photos he had taken. He bought his own camera and began developing this new skill. I found it was my calling to share this. Jimmy picked up the camera of a climbing buddy and immediately felt the same rush he had while climbing. Wyoming. In 1999. [38] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 .Jimmy was born in Minnesota. Little did he know this would lead to a hobo lifestyle that would last six years. climb and travel the world. Turkey. while training in Yosemite National Park for an expedition to Pakistan. It earned him $500. in 1973. After college he moved to Jackson. building valuable experience in rough conditions.” Jimmy’s favourite photographic style is documentary with big cinematic shots. He wanted to capture the space before him while featuring a figure in the concept and found the composition was straightforward. but there was nobody there to see it. they are just incredibly passionate about what they do. fuelled only by a sense of freedom and the mental and physical challenges of climbing increasingly difficult ascents all across America. USA. where he carved out a living doing odd jobs while continuing to ski. They weren’t playing in an arena or stadium. I related to that. “The biggest thing for me when I started shooting was the total surprise I felt. During the winters he would ski in the Tetons of Wyoming and on Mammoth Mountain in the Sierras of eastern California. He found his eye was drawn to the people interacting with these amazing landscapes that were difficult to get to. because it came very easily and I found I had a passion for wanting to share what these world-class athletes were doing. Photography quickly became a big part of his climbing and skiing. yet they were performing at a skill level that could easily match any of the world’s greatest athletes. and Jimmy realised this was a way to fund his adventurous lifestyle. These athletes are not making millions.

because they know I am not a liability and that I have a good sense of the objectives and how to balance them. and I pride myself on being able to do that. skiing or trekking situation is less dangerous. He believes W W W. This is something we see in great photography and great photojournalism. That’s something I try to instil on really difficult expeditions and that’s why people call me to come and shoot with them. then of I STARTED TO REALISE THAT WHAT MADE THE PHOTOGRAPHY UNIQUE WAS THE ABILITY TO SEE SOMETHING FROM THE INSIDE. for example. not only to keep each other safe. “If it is a really serious expedition. After a while I was moving into really serious climbs. and the style Jimmy favours. then he can plan his shots more and orchestrate the situations clients require. Some photographers might view this as a handicap. when a client has particular needs. “I started to realise that what made the photography unique was the ability to see something from the inside. which is why friendship and trust are vitally important to the way he works.” There is a difference between commercial photography. and I leant on my personal connection with the athletes who were my friends. which is a combination of an image that looks really intense. He and his fellow adventurers are forced to depend on each other. the extreme cold and being completely physically drained are difficult conditions in which to be creative. In the mountains problems are far more extreme and often unexpected. If you are trying to climb up and then ski down Everest.” There are obvious obstacles in this kind of work. so it requires a flexible attitude to adapt when necessary. and I tried to take this to my subjects in the adventure. shooting from that perspective and then bringing back that kind of story. P H OTO G RA P H Y M O N T H LY. but he is still the man clients call when they require a photographer to be in the mountains in an inaccessible location. ski descents and expeditions where I had to be really close to the people I was with. JIMMY CHIN . often anticipating things or trying to stay ahead at certain points to shoot the group behind him. “There are many variables to consider when on a really difficult climb or expedition.CO M [ 39 ] course it’s purely documentary and getting what I can without hindering the climb.” The more serious the climb. the more trust is required. but Jimmy draws strength from it.” intimacy and authenticity Jimmy expects. but also meets the brief. but also to help give his shots the sense of Everyone going into a shoot with Jimmy knows from the start exactly how much direction he is going to give and what impact the photography is going to have on whatever the team is doing. which is a controlled environment. a life-or-death situation. “Often the more difficult the climb. It would be impossible to do this alone. even when shooting the more structured shots required by his commercial clients.PRO ZONE Graphic landscapes Jimmy Chin his photography comes from a place that is honest and authentic. the less of a director Jimmy is and his shots are made on the fly. He wants to get all the different angles without affecting the speed or efficiency of the climb or ski descent. It’s probably at the opposite end of the spectrum of studio shooting and there are so many things that can go wrong then. so he relies on others to get him where he needs to be. climbing and skiing realm. but when the project is more commercial and the climbing.

Arita Sherpa carries a load to Camp 2 through the Western Cwm on Mount Everest [40] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 .

CO M [ 41 ] .PRO ZONE Graphic landscapes Jimmy Chin JIMMY CHIN W W W. P H OTO G RA P H Y M O N T H LY.

skier and photographer.000ft’ and.” The amount of kit Jimmy carries does vary. “So they say. because the skiing up there was a case of ‘if you fall you die’.” Jimmy and some that don’t.” One of his primary aims on this trip was to bring back a photo nobody had ever seen before. he takes one body and one lens. . www. The objective was what I call a very low percentage trip. “All you can do is set up everything the best you can. it’s not an easy shot BIOGRAPHY Professional photographer Jimmy Chin shoots for a wide range of commercial and editorial clients. believe me. but not a great deal. In 2003.” Skiing down Everest was one of Jimmy’s most memorable and successful expeditions. ‘that is somebody skiing down Mount Everest or skiing above the Hillary Step at about 28. So it didn’t seem very likely that we would pull it off. “This expedition was an amazing trip because everything came together. but you put one foot in front of the other and you go for it. But climbing Everest in the autumn ALL YOU CAN DO IS SET UP EVERYTHING THE BEST YOU CAN. surfaces. so you learn to be prepared to shoot in those situations. something that would stop them in their tracks. Turkey.” There are also challenges when going after a specific type of image in a limited amount of time.” Gear is a particular cause for concern – moving tons of it around in the mountains or not forgetting something on an expedition. but again Jimmy’s calm confidence. He was also really pleased with the photography. bordering on nonchalance. So I was really happy everyone was safe and I was able to come back with a couple of photos that I liked. TRY TO WORK WITH THE RIGHT PEOPLE AND HOPE THE CONDITIONS ARE RIGHT FOR SHOOTING. There are expeditions that go well for is challenging in the first place. If he is going on a really difficult climb. Then on top of that we had to ski down it. People magazine named him one of the most eligible bachelors of the year. given that he is weighing food down to the ounce for every day. This is the same challenge all photographers face when they are under pressure to create something that is produced. we were the first people in six years to be climbing it in the autumn. People trying to cope in that situation can make for an amazing photo and you know the most rewarding pictures come from the most challenging moments. try to work with the right people and hope the conditions are right for shooting.jimmychin.PRO ZONE Jimmy Chin Graphic landscapes Outside there’s physical stress when you don’t even want to get out of the sleeping bag because the wind is blowing at 80mph and it is -20°C outside. “The details in packing and making sure you get everything where you need it to be are important. There are high percentage trips that you go into feeling pretty good and knowing you are going to get some good images. The people he was with were all close friends and he trusted them implicitly. [42] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 JIMMY CHIN to get when you are skiing as well. and the success of the photography depends on how successful the trip is. such as the Meru Peak in the Himalayas. which is already far and beyond what he should be carrying. He has received the Rowell Award for his excellence and breadth in adventure photography and has been recognised by National Geographic as one of their emerging explorers. something I have learned over the years is that it’s critically important to have the right people on the team and that comes from being a climber. so essentially when we got to the top we were at the beginning of the real objective and had to be on our absolute A-game.com Sam Elias during a sport climbing expedition. including The North Face clothing brand and National Geographic and Outdoors magazines.




Jimmy also shoots film and last year formed the Camp4 Collective production company to meet clients’ ever-increasing demand for video. but we can still learn from his photography.4 and 85mm. says Jimmy.PRO ZONE Jimmy Chin Graphic landscapes Cedar Wright and Kevin Thaw climbing Kaga Tondo tower on the Hand of Fatima rock formation. Africa www. Granted. and he is not going to accept as many photo assignments. We got close.” The camera setup is very similar if Jimmy is going to Chad or Mali in Africa where the objective is big desert towers. three lenses and two flashes. but it’s not that bad. First and foremost. including a celebrity shoot in Tanzania with actors and musicians climbing Kilimanjaro. but as he is clipped in and not going anywhere. Drama. He will try to ski Lhotse in the Himalayas in the spring and GO ONLINE To see film footage taken by Jimmy and other extreme photographers visit the website then head back to Meru in the autumn.” On trips where Jimmy is taking only one lens. I’ve had two-page spreads in magazines such as Outside and National Geographic using the 18-200mm lens. “It’s a little uncomfortable to climb around with all that stuff. The primes usually stay at base camp for when he has a specific shot in mind. 24-70mm and 70-200mm lenses and probably a 50mm f/1. he packs a Nikon D3s with an 18-200mm lens. He will be shooting and filming both for The North Face as well as an editorial client.” While we have been talking. This choice of lens is often met with a mixture of disbelief and wonder. Besides. and encompass awe and spectacle. Rest assured it doesn’t take extreme measures to achieve this feeling. but rather his vision and the way he sees the world around him. Mali. so it does the job. but far from bring elusive to all but the hardiest photographers. I’ve had a building in Munich wrapped in a photo and billboards. but it’s not so much of a life-and-death scenario.com [46] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 JIMMY CHIN “For this particular trip we battled it out at 21. This year he hopes to concentrate on his sport. the only kind of variants he can have on a photo is the focal length. His career swings from year to year between being creative and being an athlete. and with base camp relatively close by he’ll probably take a couple of bodies. colourful. so he can prepare physically for the trips. the locations are intrinsically exciting. He can then cruise around for shots. His ability to endure extreme discomfort for extended periods of time has meant he is able to go further both as an adventurer and as a photographer. He has been to parts of the world that most of us will never come close to reaching. so when you are clipped to a rope hanging from a giant wall it is helpful to have a little bit more control over focal length. Here the heat is a hazard.000ft for 20 days on a really slim eight days ration – even carrying a camera body. as you can imagine. it just takes passion and confidence. If he has a little more space he’ll shoot with a Nikon D700 with 14-24mm. PM . Jimmy has been preparing for a month-long trip of publicity events. 300ft from the summit and that is the top end of highly technical alpine big wall climbing. He does not rely on kit or technical ability. Photography dominated in 2010 with multiple shoots and commissions. Jimmy Chin is an athlete. these qualities are the key ingredients to successful images. a climb in Turkey and The North Face athlete team’s expedition to Chad.photography monthly. ambition and exceptional beauty are contained within the frames. His images are inspiring. It has been attempted 20-plus times and nobody has done it and that’s probably without a 10lb camera set up on top of everything else. lens and spare batteries was something. “You don’t often have the chance to scout locations.

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by Satoshi Matsuoka and Yuki Tamura. light. using Fuji Provia 100. for his own architectural portfolio. movement and mystery to create stunning architectural images. a temporary architectural installation in Vancouver. as playing an important part in developing his spatial sense and natural ability to compose a photograph. where the landscape is vast and linear. He cites his upbringing in rural Canada. THE BOUNDARIES THAT WERE PLACED ON ME AS A CHILD and the general isolation growing up on a farm instilled a strong curiosity and fascination with things outside my reach. and offers his top tips to help you improve your own photographs. P H OTO G RA P H Y M O N T H LY. with strong lines of the horizon and contrasting vertical lines of endless roads. atmosphere. I remember noticing the planes flying high overhead. BLURRING “ THE LINES KRISTOPHER GRUNERT Professional photographer KRISTOPHER GRUNERT explains to RACHAEL D’CRUZE how he uses lines. sharing their knowledge with Photography Monthly readers MASTERCLASS Balloon Caught. Kristopher took this photograph with a Hasselblad 500C/M. Canada.CO M [ 51 ] . W W W. I’d wonder where on earth all those people were going.Each month the masters will hold master classes.” says architectural photographer Kristopher Grunert.

as a successful professional photographer with international clients. Kristopher remains as amazed and enthused by the systems. I should probably do a project on this someday soon. which he is updating constantly. architects incorporating elements that are not conducive to the skateboard. despite being so busy working with advertising and design agencies. Kristopher took a second job managing the artists’ domestic/work apartments where he lived.” urban environment. Kristopher’s personal work remains incredibly important for him in keeping his passion for photography alive. I WOULD SHARE MY WORK ANY WAY I COULD THINK OF. It’s interesting how skateboarding has influenced architecture. Group shows are great because everyone benefits from each others’ contacts – it nurtures community among the artists as well as those who attend.” So how did the boy on the farm get to where he is today? Kristopher studied photography on a two-year diploma programme at Langara College in Vancouver. “I didn’t fully appreciate it until I discovered photography and looked at a building through a camera. but after finishing high school. he was a fantastic employer and mentor. After a two-year stint with Rob. Talking about the importance of personal work he Vancouver Convention Centre. bridges and infrastructure of the city. As well as being instrumental in helping him to make his name in the beginning. [52] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . “At the time Rob was primarily shooting architecture and interiors. he moved to Vancouver and immediately became fascinated with the large buildings. Adobe and i-D magazine. this enthusiasm is key to his success and shows in his work. “I have always loved to share my work.Kristopher Grunert Photographing architecture “In the winters my father worked in a boiler room and I remember going with him occasionally and being fascinated by all of the pipes. he still makes time to produce a wealth of personal work. architects. Kristopher was lifted 100ft up and 30ft out over the water on a crane to get this photograph. REALLY JUST AS MUCH AS PRODUCING IT. really just as much as producing it.” says Kristopher. Because he grew up in a small farming community. which provided a regular wage and also enabled him to be constantly exposed to a creative environment. This is where his interest in industrial subjects and man-made infrastructure was born.” says Kristopher. he set out out on his own and started to get his own commissions while still assisting occasionally for his mentor and a handful of other carefully selected photographers. For two years after leaving Rob. “I guess this is a bit ironic considering most architects probably don’t like skateboarders because of the damage they can do to the buildings. it is like a microscope. he says it was all about sharing his personal work. it is striking how.” Today. When asked how he initially began to make his own name in the world of photography. corporations and various publications to produce architectural and industrial/corporate images. lights and gauges. The camera definitely plays a role in changing the way I look at the world. processes and structures that human beings are able to engineer as he was while growing up.” he says. Photographer friends and I would get together and organise group shows. graduating in 2000. He was then hired by any way I could think of. architecture did not really play a big role in Kristopher’s environment as a child. and you begin to see that his thoughts have never been far from the man-made. Looking through Kristopher’s website. I would share my work I HAVE ALWAYS LOVED TO SHARE MY WORK. Add into the mix his obsession with skateboarding as a youth. including Chanel. which before photography gave Kristopher a reason to continually explore the photographer Rob Melnychuk as a full-time assistant/digital technician. Commissioned by DDB Canada advertising agency to create a library of images for the convention centre. often in non-traditional venues.

“Quite often I am sent to locations that my clients themselves have not seen.MASTERCLASS KRISTOPHER GRUNERT says: “I think it’s paramount for photographers if they want to have a long. Kristopher is incredibly patient. in order to get the perfect shot. W W W. Kristopher usually spends the first half a day on location touring and getting familiar with the landscape. Interior designed by Rem Koolhaas. constantly waiting for all the elements to align.” he explains. When I’m Seattle Central Library. I’ve learned to be very flexible. neither you nor your clients will ever know what that vision is. “Passion for photography creates fuel. Kristopher took the image with a Nikon D3 for his own architectural portfolio. sometimes the grass needs to grow.” Assignments that take Kristopher to new places which most people don’t get the chance to visit give him a thrill and he makes sure to take personal pictures while there – he will work all day for the client.” As well as being flexible.” Kristopher’s clients hire him because they know he will bring something to the table that they could not necessarily imagine themselves. I am usually given a brief that contains basic parameters of the subjects they need to capture. Clients are hiring you for your distinct vision. “The light. the clouds. USA. out and I see something cool. suddenly I’m not tired any more. the gems are quite often the shots that neither I nor the client foresaw. self-fulfilling and successful career.CO M [ 53 ] . Then he will always schedule the rest of his day(s) with the light in mind.” he says. have a meal and then head off with his camera to capture the place where he is staying. allowing for change in the plan. P H OTO G RA P H Y M O N T H LY. taking note of all the interesting aspects as well as the position of the sun and the line it will follow throughout the day. Unless you pursue personal work. “In the end. along with examples of other photographs that communicate somewhat the mood they want to capture.

noting the direction the main façade is facing and working out where and when the sun will rise and set. “You will likely want to photograph the building at least one of these times. Be sure to incorporate these in the photographs. This photograph was selected for the 2010 Applied Arts Photo Annual award in the architecture category. Kristopher advises asking three questions: Is the construction 100% complete. location is incredibly important. and is the landscaping 100% complete. “If the answer to any of these questions is no. it may be best to suggest holding off until they are taken care of. Kristopher always walks around the entire building observing and taking reference photos of all potential vantage points. If time is of the essence. “Take notice of any vantage points that Vancouver Convention Centre.When doing architectural shoots. realise that considerable post-production and retouching will be needed. [54] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . is the site clean and free of rubbish bins.” he says. if not both.” he advises. especially if you want to try to sell your images. “If you’re lucky to have the architect as a guide. be sure to ask what inspired them and about any features that play a leading role in the design.

CO M [ 55 ] .MASTERCLASS Photographing architecture Kristopher Grunert offer a higher perspective because a high vantage point almost always offers a more interesting photograph. www. Choosing the day of the week is also important – do you want cars or people in the photograph? You would be surprised what time some people show up to work and the early birds often choose the best parking spots closest to the entrance which is likely to be in your photo.grunertimaging. especially when composing the shot of the century. the builders or site maintenance workers will usually have one on the site. In 2010 he took first place in the industrial category of the International Photography Awards. Berlin and Vancouver. New York. ”If possible ask the building manager to send a memo to employees so they are aware of the photo shoot. Today Kristopher's fine art and commercial assignments have taken him around the world. His work has been exhibited in London. If there aren’t any consider using a 10ft ladder. that makes his pictures. That’s a surprise you don’t want. where he also spent endless nights exploring industrial landscapes and honing his style with his 1972 Hasselblad camera.” Another thing to do if you can is make sure all the lights are working and will be turned on. Brussels. as well as his creative vision.” BIOGRAPHY KRISTOPHER GRUNERT Kristopher Grunert studied photography in Vancouver. “Find out what their schedule is and arrange for them to be turned off for your shoot day.com W W W. P H OTO G RA P H Y M O N T H LY.” It is Kristopher’s attention to detail. One detail he advises checking when planning a shoot is if there are any automatic lawn sprinklers.

He has never used a lens hood. such as lampposts. 2 BUY A COFFEE MAKER WITH A TIMER Get to the location an hour before sunrise. people.” When it comes to seeing pictures. Architects usually like to see the building in daylight and at night. I think it’s important to stay true to their vision and capture it as purely as possible. and position them at the edge of his frame so the camera can use them to create a streak of light from the edge. mid. 6 KNOW YOUR SHOT LIST Overall.” Kristopher shoots on manual.” He says industrial work is different. Although Kristopher likes working through the day. I find myself connecting or reconnecting to the world around me. Kristopher says architecture is simple to previsualise. Know where you have to be and when. usually taking photos over 10 seconds. I keep it pretty simple. This is the shot list. detail. they would have suggested to the landscape or lighting architect to install a light. then I will spend the time it takes to get the shot. planes. I usually know what the best camera positions will be after walking around the building once. It’s easier said than done but trust me. don’t forget it. or come back when I know the light will be right. The most magical shots always happen when the weather is unpredictable. If you don’t have a sky lift. 4 BE CURIOUS Curiosity is a source of energy that will always teach you something new while taking you to new vantage points. They can create interest and scale to an overall or mid shot. a big reason why clients choose him. The best photographs are often unforeseeable. Taken with a Nikon D3 for Kristopher’s personal portfolio. 12 DON’T STOP SHOOTING Shoot from dawn to dusk. a time which is of special interest to him.” says Kristopher who will look for light sources. as he likes lens flare and the little starburst effects you get. then try a 10ft ladder. 8 SEE THE LINES Buildings are made up of lines. works with low ISO speeds and favours long exposure and small aperture work. “As far as adjustments go. 9 DON'T FORGET ABOUT PEOPLE Include them when you can. VCC-Clark Skytrain station. it is then just about capturing it in the most flattering light. “When I find a good spot that looks great and has the ability to communicate the particular idea that the client wants. “When taking photographs at night. He likes the light you get with a long exposure and a lens open at f/2. This will add energy and visual excitement to a photograph. 5 FOLLOW THE LIGHT It should be the motivating factor. Working almost exclusively with natural light means Kristopher captures the essence of the building as it is. Bracket three up and three down. they can breathe life into the building. you’ll be glad you did once you get there.” he says. If it’s not raining… go. Vancouver. 11 GET UP HIGH A higher perspective will almost always create a more interesting exterior shot. 10 CAPTURE MOVEMENT 3 13 KEEP AN EYE ON THE SKY KRISTOPHER GRUNERT DON’T TOUCH THE CAMERA Always use a remote shutter release or use the shutter timer if you want your photographs to be sharp. He enjoys the concept of compressing time into a single frame. Use a long exposure to capture the movement of cars. I always correct vertical perspectives if necessary and work with colour temperature. Observe it. [56] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . I’m very conscious of it and like to work with it in terms of my composition. use them to draw in viewers and lead them on a visual journey. trains and helicopters. but be ready to run if you have to.MASTERCLASS Kristopher Grunert Photographing architecture favouring Aperture for processing DSLR RAW and Infocus for processing Hasselblad files. KRISTOPHER’S TIPS FOR TAKING GREAT ARCHITECTURAL PHOTOS 1 DON’T CHECK THE WEATHER FORECAST Make a weather call the morning of the shoot. Later he returned to shoot a personal time-lapse project entitled My City Moves Me. horizontal and vertical. They hire me because they know I am going to do whatever it takes to capture the essence of the building. around 80% of the photographs he shows on his website are taken at night. If they had wanted a tree to be lit. Hold down the trigger and turn it into a time-lapse. Again. time seems to dissolve. watching the light change. appreciate it and capture it. hue saturation and contrast levels. which won the moving image category at the 2009 International Photography Awards. Often there are multiple times of day that work for each angle. because typically the sites are huge and offer many more possibilities in terms of angles and subject matter and he ends up shooting many more frames. “The architect is commissioning you to document their project. it’s all about keeping an open mind and staying flexible without using up precious time. Kristopher edits using Apple computers exclusively. Use clouds to frame the building or as a design element in the composition. “The subject itself limits possibilities. “Lens flare breathes life into photographs and adds unique elements. Designed by Stantec Architecture. 7 BE PREPARED TO CHANGE THE PLAN Always have a plan. Try using a polarizing filter to accentuate them.


” adds Kristopher. after Kristopher had completed When I spoke to him he was an assignment gearing up for a shoot on the Baja for Adobe with OnRequest Images. using this as something to get clients excited about. HC 80mm f/2. and then focus.” People rarely appear in Kristopher’s personal photographs. even if these elements will not appear in his photograph. He uses this time to position himself. to prepare himself for the golden light. Kristopher explains how he becomes aware of elements. For more advice and It has always been his personal techniques from the pros goal to blur the line between fine visit the website at art and commercial photography. my head clears.” he says. Nikon 24-85mm f/2. rather than seeing it as a Biosphere. HC 150mm f/3. As with every shoot. In doing so. breathe and open the shutter.5 lens. an hour before sunrise. where he studied and built his business. “I want them to enter the image.8 Rodenstock Polarizing Filters Nikon SB-800 flash Nikon Wireless Shutter Remote Hasselblad 500C/M LENSES: Carl Zeiss 50mm. He will A photo taken for a be converting a grain silo into his personal portfolio studio this spring. Kristopher plans to make a buzz around himself as an out-of-town photographer. Peninsula in Mexico for a Canadian GO ONLINE mining company. PM WHAT’S IN YOUR KIT BAG? Nikon D3x body Nikon D3 body LENSES: Nikon 17-35mm f/2.com something he does exceptionally well. judging by his images. It’s time to set the alarm clock a little earlier.8. 80mm and 120mm Manfrotto Tripods and accessories FREQUENT RENTALS: Hasselblad H4D-50 body. HC 35mm f/3. Kristopher and his wife have just returned to his family’s farm in the province of Saskatchewan to renovate a house on the prairie. you’ll notice the sky beginning to brighten. but don’t rush.MASTERCLASS Kristopher Grunert Photographing architecture [58] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 KRISTOPHER GRUNERT “All of my senses come alive. most likely adjusting your shutter speed too. travelling through the aperture into the camera and finally recording permanently on to the transparency film or temporarily on the CCD sensor. which is part of the reason for his move. I compose. I want to inspire the viewer. www. feeling as I did when making the photograph. I love to capture or add an element of mystery. imagining themselves there. previsualise where the first light will fall and how he will move around the building to get the most of the magic hour.2.” he advises. hindrance or step backwards. after spending the past 13 years in Vancouver.” he says.8. Canada. while consciously visualising the light entering the lens. knowing they will appear as trails rather than points of light. Then I take a breath. “In my personal work. people are noticing my style. “Over years and years of trying to blur this line.photography monthly.8-4. “The street lights are still on. “Once my composition is fine-tuned. including the direction the clouds are moving and the position of the moon. Nikon 80-200mm f/2.” he says. Sometimes it’s just there and in other cases I add it. who agrees this does sometimes spill over into his commercial work too. that sense of connection to a vast source of unlimited energy. Bracket all exposures three up and three down. he is sure to be showing up early. Profoto 1000 Pro Air Monolights . Start shooting and don’t stop for the next hour. I want them to ask questions. as he leaves that space for the viewer. I feel as though I am nurturing a relationship with the light. Montreal. I become aware of the stars and the movement of the Earth in relationship to them. The photography market has become increasingly saturated in Vancouver.

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with people allowed to enter as many images as they want. of anything. taken anywhere. so why don’t we have a Great British Photograph? We need a competition to find one image that sums up our nation in 2010. There I was indulging in my usual early morning wash listening to the radio when an item came on about the renewed interest in the Great British Breakfast. winners and the final winning choice. “We have a Great British Breakfast. Open to all.GREAT BRITISH PHOTOGRAPH As the overall winner of the most popular competition we have ever run is announced. Instantly I thought. THE WINNER IT’S FUNNY WHAT CAN COME FROM HAVING AN IDEA IN THE SHOWER BEFORE COMING TO WORK. Photography Monthly Editor GRANT SCOTT talks about how the competition came into being. the incredible response from the photographic community to the challenge and the difficult task of narrowing down the vast number of entries to county-specific short lists.” [62] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . A truly democratic competition based on pure photography.

GREAT BRITISH PHOTOGRAPH Competition winner SUSSEX Chris Mole Swimming in December W W W.CO M [ 6 3 ] . P H OTO G RA P H Y M O N T H LY.

I went down on that particular day because I knew conditions were going to be a bit rough and the coast always looks spectacular then. aged 17 and 21. It transpires that they are members of Brighton Swimming Club and this is the ritual at the end of the swim where they try to push each other back into the water. When not shooting he works for an IT company based in London.greatbritishlife. each county represented by an Archant Life magazine was judged by that magazine’s editorial team. You are in control of the image without having to mess around with chemicals in the dark. The advent of digital makes it much easier to experiment. so when the water runs back you can get a good white effect in the foreground. What will you do with the £5. SO I FEEL VERY LUCKY…” see how high the overall standard of the entries was. it was clear to It shelves quite steeply at this point on the beach.uk/article/great -british-photo-local-winners-28816/ [64] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . He has two sons. I took the picture with this setup. You have to admire anyone brave enough to go swimming in the sea in December.000 photographic entries from all over the United Kingdom. Wales and Northern Ireland were unable to supply images from every county. (A big thank you is due to them. I use a Canon EOS 7D with a 10-22mm wide-angle lens. so I feel very lucky to have won on this occasion. Other entries reflected their chosen counties in more abstract ways. I often go WINNING THIS COMPETITION IS DEFINITELY INSPIRATIONAL. How do you feel now you’ve won? Winning this competition is definitely inspirational. so we decided to choose national winners from these countries. Not surprisingly. OFTEN YOU ENTER THESE SORTS OF COMPETITIONS UP AGAINST HUNDREDS OF THOUSANDS OF OTHER GREAT IMAGES. Scotland. All of those areas not covered by a title were short-listed by the Photography Monthly team with the final winners being judged by me also.co. That’s the mundane truth of it. however. to ensure that no one could be swayed in their final choice. especially for landscapes. meant that a tie-up with them was an obvious route to ensure that we could let as many people as possible know about the competition. As expected there was a predominance of landscape imagery. Ashdown Forest is close. lives in mid Sussex near Hayward’s Heath with his wife. Each of the four judges chose five of their favourite images from the regional winners independently.GREAT BRITISH PHOTOGRAPH Competition winner The fact that Archant publishes 45 magazines across the country. especially out of season. Every day you get a different combination of elements and on this day I was especially lucky with the weather. But you have to be prepared to get your feet wet because you need to be near to where the water rushes through. Photography is a weekend hobby so I generally shoot whatever is around. How long have you been into photography? I have been interested in photography since I was a teenager. I want a decent camera such as the 7D to be able to do what I want to do. When all of these choices came together it transpired that every judge had chosen different images from each other except one. only one image stood out clearly. and to ensure as wide an opinion in the judging as possible. as well as making it easy for people to enter. And then the image poses a little puzzle about what the figures in the background are doing. You can get some interesting lines and angles next to the pier. I am a big fan of Brighton. Slowly but surely. a little bit of sport maybe. 50. Chris Mole. Sadly. I was drawn to this spot because it had the makings of a great winter landscape with its fabulous colours and converging lines of the sea. I really like the kit I use and I am not really interested in kit for kit’s sake. This is the standard lens I use. which is great. Some counties were amazingly represented with both great quality and quantity of images. We are also close to the Downs. PM You can see all of the winners and shortlisted images by visiting www. who are also both interested in photography. It can be much more interesting and different than during the spring and summer months. How and why did you take this picture? The picture was taken in December 2009. Often you enter these sorts of competitions up against hundreds of thousands of other great images. while others attempted to capture a spirit or atmosphere of their chosen subjects. so mostly landscapes.000 prize? I am not going to do anything really exciting with the prize except pay a few bills. to London to take street photography. Last year I went along to photograph the Brighton Marathon. Thanks to the support of Great British Life we received more than 30.) Each team created a short list of 10 images from which I chose a county winner. When it came to the final judging for the national winner. Chris was both pleased and delighted when we rang to tell him the good news. of an incredibly high standard. covering individual counties and areas. We had our winner. and also has the Great British Life website. street scenes. It’s whatever is there. Every single one chose Chris Mole’s image of swimmers on Brighton beach. without reference to the other judges’ choices. Due to the vast number of images entered. as all of the short lists and winners came together. The silhouettes of the swimmers add an element of human interest to the scene.


lightly coated in chalk dust. To be fair. They singularly failed as role models. I’ve swapped the dingy classroom T . California THE RIGHT COURSE [66] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 OF ACTION As well as contributing to Photography Monthly every month. and masters of the withering stare – often followed closely by a well-aimed duster.Zabriskie Point. Here he shares his experiences as a teacher and offers advice to help you get the most from a photography course. the circumstances are somewhat different. But to my never-ending surprise I find myself teaching for a living and actually enjoying it. HE TEACHERS OF MY YOUTH WERE SEEMINGLY EMBALMED IN CHEAP TWEED JACKETS with leather elbow patches. DAVID WARD runs workshops to help and inspire other photographers to find their own vision. giving me little grounds to think I would one day follow in their footsteps. Death Valley.

P H OTO G RA P H Y M O N T H LY. be they technical or aesthetic. W W W. Good workshop leaders don’t simply deliver facts to be learnt by rote. To become a good teacher of photography you have to find a way of explaining that procedure. that satisfaction comes from two things: The broadening of my artistic horizons that teaching has brought and the pleasure of seeing my students grow in photography. they have to be open to fresh ideas and eager to engage in meaningful conversations with each participant. leading to revelations about how to make my own images. For me.CO M [ 67 ] . The dialogue I have with students and the need to analyse how I work has altered and improved my photography immeasurably. but the job satisfaction is immense. should then be enlightening and enriching for both student and teacher.PHOTO ZONE Get the most from a photography course David Ward DAVID WARD for the great outdoors. There’s no security of tenure and the wages aren’t that great. Before I was invited to lead workshops I made images more or less completely instinctively – I’m pretty sure this is how most people work. The process of examining how I make images to be able to teach others has become a virtuous circle for me. These conversations. which feed back into new insights to pass on to my students. but most of us struggle to put into words how we arrive at aesthetic judgments when making images. To teach a subject well you need to be able to dissect it so as to explain it to your students. The technical details are relatively easy to teach. and learning from dog-eared textbooks for hands-on experience in some of the most beautiful landscapes in the world.

So a one-week workshop isn’t going to transform anyone from a beginner to competent or from competent to masterful. It’s the tutor’s job to help the participant achieve the right balance. The leader. their own personal style of photography. As I noted above.) To develop as a photographer one needs to pay as much. There’s no magic wand that a tutor can wave over the student to transform them into a great (or even good) photographer overnight. For others it is a much longer and harder journey. eg which composition should we pick from the host of possibilities.” expect to improve without applying themselves – and they have to believe in themselves. One German man. There is simply no getting around the fact that it’s a much longer journey. This is where the tutor can really help the student by sharing their hard-won expertise at the point at which an image is made. who travelled to Andalucia with Charlie Waite [of the Light & Land photographic tour company] would utter the same querulous phrase whenever the group reached a location: “So. It’s equally rewarding for me to see a student progress along either path. In contrast. IF NOT MORE. It’s a sad fact that one cannot just read a manual to master photography. In my Fstop column this month (page 122) I’ve written about how 10. it requires regular practice combined with a different way of solving problems to the one we employ in everyday life. art presents us with divergent problems with many different but equally valid ‘correct’ answers.When I began teaching photographic workshops I had no idea how involved I would become in the photographic journeys of my students. (Nor will simply plonking them in front of an inspiring landscape. therefore. needs to allow the student room to make their own choices. With such a guiding hand the student can develop their own voice. After all. ATTENTION TO AESTHETICS AS TO TECHNIQUE.000 hours’ practice is the minimum required to become truly proficient at anything. one in which they move from making illustrations to making images that do much more than describe. attention to aesthetics as to technique. Sadly. including making mistakes. Charlie. if not more. Seeing how they grow in confidence and find their own voices has been both a revelation and a deeply rewarding experience For most students the journey they undertake is quite modest. But there’s little benefit to be gained from the tutor being either prescriptive or proscriptive. ver is ze picture?!” Charlie could simply have given the man a ‘Charlie Waite’ but ultimately it’s better for the student if they are helped to find their own solution. because humans learn far more readily from their failures than from their triumphs. taking this approach only leads to the production of artistic clones of the tutor. the student needs to make a serious commitment – they can’t Most of the day-to-day difficulties we encounter present themselves as convergent problems with a single correct solution. eg 2+2=4. TO DEVELOP AS A PHOTOGRAPHER ONE NEEDS TO PAY AS MUCH. Lessons learnt in these circumstances really stick with the student. they wish to master the equipment in order to make a faithful ‘copy’ of a landscape that inspires them. as some photographic tour companies seem to believe. mastery of technique alone won’t make them a good photographer. Whatever their ambitions two things are absolutely clear to me. there is sometimes an unreasonable expectation of how quickly one might progress. But to me enhancing the student’s experience in this way seems the least we can do. technique is reasonably easy to pass on and I have seen workshop participants improve in leaps and bounds technically in a matter of days. [68] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 DAVID WARD .

CO M [ 69 ] .PHOTO ZONE Get the most from a photography course David Ward DAVID’S ADVICE WHAT TO LOOK FOR An inspiring workshop leader whose images move you and are not just technically good. Greg. Biographical details. Talk to the leader or ask them questions by email if you have any doubts. A clear description of what to expect in terms of locations for a photo tour and learning outcomes for a workshop. Comprehensive insurance cover for both public liability and vehicles. articles and images by your chosen leader that provide evidence of the depth of their knowledge. Favourable testimonials from previous workshop participants. Lynn and Sandy in Pienza on Light & Land’s Tuscany tour in 2010 W W W. A proven track record – how long has this leader or organisation been running tours or workshops? Remember that an ability to make good images doesn’t prove a photographer can teach. Proof of compliance with EU package holiday regulations – if an organisation combines any two of travel. accommodation or an activity they must protect you by holding your money in trust until the tour or workshop has been completed. P H OTO G RA P H Y M O N T H LY.

The MelenCourses Diploma will give you the skills to develop your photography whilst helping to develop your own style.” PHIL RICHARDSON T. This wedding photography course is based at the beautiful period building at Ashridge near to Berkhamsted with easy access. George Horn from tagg partners has been working with individuals on a one-to-one basis for over six years. tackle web development and planning for e-commerce. If you want to develop. develop your style so that you can communicate your ideas clearly to your customers and giving you the confidence to gain more work. I am currently teaching an A Level photography course at a local school.co. network and achieve more with your business. The stats are similar for 1-2-1 personal tuition where the photography training showed slightly higher numbers for female photographers 63% female photographers 37% male photographers This is better than the national average of 33% female photographers.Something to smile about. progress your business reaching further and achieving your goals. 01582 840172 melencourses. We'll show you how to formulate a business plan. getting a lot of satisfaction from helping other photographers improve their hobbies or businesses.uk MELEN STUDIOS . Using the skills learned in our businesses at both MelenStudios and Tagg Partners we want to share with you our knowledge and experiences. producing situations for you to create informal candid photographs. We will show you how to take stunning images simply and creatively.' The Melen Courses Diploma is a modular photography course designed to help you to become a professional photographer. During the day you’ll gain and develop an understanding of the skills you have to help organise your time better. The day will show you how to generate new business ideas. which can be the difference between success and failure. The Business of Photography is run in partnership with George Horn and is an interactive workshop designed to help you evaluate your business and manage its progress to increase your profitability. strategy. Showing you simple techniques which are easy to learn helping you to enhance and develop your photography business. Why not attend our Business of Photography course? MelenCourses Photography Diploma Course Module based diploma for photographers 'Learn photography from the beginning and become a professional photographer. Phil Richardson will use the knowledge acquired from capturing weddings for over 10 years and has the experience to help you with your wedding photography. Wedding Photography Course Introduction to Wedding Photography. Business of Photography Learn the skills needed to become a professional photographer How do you promote yourself? Do you have your own style? What do you offer as a photographer? We will help you to help yourself develop a business plan. learn to deal with clients. an essential element for any business. We help you to alleviate your concerns and provide you with the skills to start taking beautiful wedding images. helping them to manage change and build effective businesses. posed and also groups.. More Female Photographers on DSLR One Photography Course! After reviewing our statistics for photographers on our beginner photography course DSLROne there were 55% female photographers 45% male photographers. create a marketing One of my passions is learning new things. 'You have some photography experience and now want to become a wedding photographer' MelenCourses wedding photography course is ideal for you if you are looking to start or improve your wedding photography business.. then the Business of Photography course is the way forward for you. The photography courses at MelenCourses are great fun which is something I personally enjoy. especially in photography and I believe that knowledge is to then be shared.

it won’t be (as one recent participant was pleasantly surprised to find out) like the most boring camera club evening you can imagine. In the UK drivers of minibuses with nine to 16 seats need to hold a D1 PCV licence. Find out more from www. Before going on their first photo trip many people worry that other participants will be snooty about a perceived lack of knowledge or high-end gear on their part.000-year-old bristlecone pines. My group stayed nearly three hours and spread across a wide area. Clients have paid for a photography trip but I don’t think it should all be about photography. My aim is to be available to offer advice and guidance whenever needed. but worry our companions will become bored while we mess around or wait an hour and half for a cloud to move. Landscape Within. I’m sure he felt he was getting the brush-off. One last thought.500ft up in the White Mountains “A POOR MENTOR WILL PREVENT YOU FROM LEAVING THEIR SHADOW BUT A GREAT ONE WILL HELP YOU TO FIND YOUR OWN PLACE IN THE LIGHT. I find this one of the most inspiring places I’ve ever visited and somewhere that offers a huge range of possibilities for photography. but most of the direction I offer is necessarily subtle rather than blatant. Travel Trust Association (TTA) or Air Travel Organisers’ Licensing (ATOL). I’m always very aware that clients have chosen to spend their valuable leisure time with me so I work hard to ensure everyone is enjoying themselves. Failure to do so invalidates insurance cover.lightandland. helping them to avoid the worst obstacles. cameras on tripods. and two have travelled with me more than 20 times without me having to threaten them with detention or lines. I advised the man to find a spot and just sit still for a few minutes. making a diverse range of images. Companies can legally take credit card payments only if they have such cover. We’ve all been in the situation at one time or another when we want to make an image. I vividly remember a client on one of my workshops in the Scottish Highlands complaining that they couldn’t find any images at a particular location. although you’ll no doubt be relieved to hear that there’s never a knobbly knee contest! Perhaps I take the humour too far sometimes and people lose sight of my serious intent. and I would certainly take the group out then if the weather is favourable. In my experience nothing could be further from the truth and everyone is very keen to share their knowledge which further enhances the learning experience for everyone. I aim to go to between three and four locations during a full day out. 11. it’s vital to give each participant the time and the room. which gives plenty of time at each to explore and find images beyond the obvious. In my experience (and I’ve now led close to 100 tours and workshops). I want clients to go home from one of my tours or workshops feeling that they’ve learnt something new and exciting about photography but just as importantly that they’ve had a great time. Self-criticism is essential to the process so we need to guard against self-doubt. I will always have a number of different locations in mind during the day and keep my options open depending on the weather. We were at the Patriarch Grove. chosen to remain quiet throughout my lecture. Some participants are unable to appreciate the need for this – at least initially. to explore their potential. “There’s more to you than meets the eye!” A backhanded compliment I was happy to accept. and make the same image – at least on my tours. with a slightly shocked expression and told me in a very earnest tone. been to some fantastic places and met some interesting people. both physically and artistically.uk. A poor mentor will prevent you from leaving their shadow but a great one will help you to find your own place in the light. something that happens surprisingly frequently.co. but it’s equally important to teach them how to work with different light and match it to locations. “Inspiration will come.PHOTO ZONE Get the most from a photography course David Ward That’s not to say I would ever leave a student entirely to their own devices and there are even moments when urgent intervention is called for. Sometimes I feel more like a Butlins Redcoat than a photographer. I was in California with a group and watched in disbelief as an American tour leader (I’ll save his blushes by not naming him) told his group to do exactly that.” I assured him. but five days long! There will be plenty of laughs as well as amazing opportunities to make images. From the look I got. You can dismiss from your mind the notion that everyone will meekly line up and home to 5. some of the oldest living trees. which has more than 15 years’ experience leading in excess of 500 tours around the world.CO M [ 7 1 ] . Any photographer needs to believe that what they have to say is worthwhile. Time should never be a concern on a workshop. so I hope this means I have the balance about right. I noticed that one of the tripods was in an unstable position and was worried the camera might blow over in the stiff evening breeze. Another great advantage of going on a workshop or photo tour is the chance to be completely immersed in photography for a number of days without worrying about one’s significant other. P H OTO G RA P H Y M O N T H LY. Yet this other group stayed for barely 40 minutes and stood in a row to photograph a single fallen tree. PM WHAT TO AVOID Organisations you can’t speak to – it’s a bad sign if your calls/emails are never answered. Each of us needs quiet self-belief to manage our voyage of artistic discovery. A number of years ago a lady on a large format workshop borrowed a copy of my first book. At the end of my speech she stared at me blankly for some time and then said in a slightly puzzled voice. perhaps wisely. So I turned to the lady whose camera it was and proceeded to give a sermon on the dangers of not spreading her legs – always a delicate subject. The leader therefore needs to know the area of the tour intimately and be willing to change their plans at a moment’s notice to make the best of the conditions. especially when the client isn’t a native English speaker. LEARN MORE FROM DAVID David Ward is a tutor with tour company Light & Land. But 30 minutes later he came over to tell me what a great image he’d found and the profound lesson he had learnt. “But it’s not my camera…” The real owner was sitting shamefaced a couple of feet away and had. Next day she approached me at breakfast at my command. Much is made of the magical quality of the light at dawn and dusk. So what can a student expect on a tour or workshop? Well. only then will they have the confidence to move beyond making banal and vacuous pastiches. So in some ways a tutor’s task is simply to steer the student in the right general direction for their artistic journey. Organisations using vehicles with nine seats or more without properly qualified drivers. Last November. A provider who is not covered by a bond through membership of a recognised organisation such as the Association of Bonded Travel Organisers’ Trust (ABTOT). A major part of what the tutor provides for the participant is confidence. More than 90% of my clients return for a second trip. W W W. On a trip to Provence four years ago the group was photographing the beautiful hilltop town of Gordes from a rocky ledge above a deep ravine.

8L IS LENS CANON 12MM EXTENSION RING 2 CANON 580EX II SPEEDLITES NEIL TURNER Once I had the arrangement roughly how I wanted it. In addition to this I wanted the image to have a touch of the warmth that aged varnish gives old paintings. plain black fabric about two metres by one-and-a-half metres which I spent some time arranging over the table and as a draped effect in the background. giving me an effective focal length of roughly 135mm. This interest came largely from studying art and T the work of painters who made beautiful images from the most mundane of subjects and from the influence of an art teacher who taught his pupils to read pictures. Before I started to build the picture I made a few decisions. subject matter and composition. and for the whole scene to be based around the kind of simple angle of view and composition of a 17th-century painting. and I was ready to start arranging the simple dark red carnations and foliage in a small crystal vase. ‘reverse engineering’ them. OF THE NIGHT This month we asked lighting master NEIL TURNER to create a still life with winter flowers and to make it feel like a detailed oil painting. The main light that I used was an Elinchrom Ranger Quadra with a small Photoflex LiteDome Q39 soft box. Here he shows you how to do just that. As a young photographer I was very interested in still life. Using the skill of a Miss Marple or a Hercule Poirot we learned to pick out the clues that mattered and see how the paintings had been made: Brush or knife? Watercolour or oils? Realism or Surrealism? When my attention turned from painting to photography I found my basic detective skills helped me to study the work of other photographers and this is a skill that I still make use of every day.8 EF LENS CANON 24-70MM F/2. backdrop and sides.5 on ISO 200. Within half an hour I had built a small set that had a black base. for the background to be black fabric. HERE ARE THREE THINGS THAT GO TOGETHER to make a scene reminiscent of a painting – the same three elements that make any picture: Light. WHAT’S IN YOUR KIT BAG? CANON EOS 7D BODY CANON EOS 5D MKII BODY CANON 85MM F/1. to use the vernacular.8L LENS CANON 70-200MM F/2. With the dark background and foreground it is no surprise that the scene is badly overexposed at one second at f/3. Looking at a whole range of still-life paintings I realised that the angle of view used by artists is often slightly ‘telephoto’ and so I settled for an 85mm lens on a Canon EOS 7D body. I wanted the light to feel very much like the north light of a traditional artist’s studio.8 USM LENS CANON 50MM F/1. I’m no florist so I went for something simple – the stems of the flowers were kept to a similar height and the extra foliage used sparingly. I kept back several flowers to be placed on the black cloth around the base of the vase once I was ready to shoot. We spent time looking at work ranging from the Renaissance masters through to Picasso and. I had a piece of reasonably heavy.IN THE STILL WINTER FLOWERS At home I commandeered the kitchen table and brought my equipment into the room. I put the camera on a tripod and shot a couple of frames without flash using the ambient light and the camera set to auto exposure and auto white balance (above). Using a glass vase is something of a risk because the shiny surface will pick up SPARE BATTERIES TRANSMITTERS & RECEIVERS [72] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . Other lighting would be Canon Speedlites in manual mode.

Secondly. knowing where it comes from lets you get rid of it without ruining the feel of the overall image. When deciding how much light to bring in from each source I kept referring back to the idea that old paintings often have much of their fine detail disguised by years of grime and dirt built up on the varnished surface of the canvas or board. it tells you where any shadows or reflections are coming from. In the series of images pictured right I have isolated each of the three lights: 1 Canon Speedlite with a HonlPhoto snoot from behind the set pointing at the top and rear of the vase set on 1/64th power with an orange colour correction gel. The big advantage of using separate light sources for each part of the image is that you can have total manual control over the output of each and adjust them easily in relation to each other. This image (above right) shows the set at the beginning of the shoot. The first is to give the photographer absolute control over how the image will look. I kept the two accent lights deliberately dark and warm. P H OTO G RA P H Y M O N T H LY. Doing this alone would have given an even but slightly boring effect and so I decided to use a main light from the side (the left as you look at the scene) and then add some back lighting to accentuate the flowers and the vase as well as to put some modelling into the draped backdrop. You can also turn off some or all of the lights to see how much difference each of them makes to the overall image. The main light ended up further away and lower and the Speedlite being used to give some modelling to the drape is hidden by the main light. If there is something there that you don’t like. portraiture or even the odd landscape.CO M [ 73 ] . Repeatedly testing and adjusting the output of the individual lights serves two very important purposes. allowing 1 2 3 4 them to experiment with subtle changes. Therefore. I also set the white balance in the camera away from the more obvious flash preset and went for the cloudy day preset which made the whole image feel quite a bit warmer – again to add to the ‘painterly’ feel. The north light feel that I was originally looking for would normally mean using one very large and very diffused light source some distance away. 3 Elinchrom Ranger Quadra on 50W/secs output with a Photoflex LiteDome 40cm x 30cm soft box as main light. MEDIUM & LARGE CLAMPS W W W. 7 MANFROTTO LIGHTING STANDS 2 MANFROTTO LITE-TITE CLAMPS PHOTOFLEX LITEDOME Q39 SOFT BOX HONLPHOTO SPEED SNOOT VARIOUS GELS SMALL. 2 Canon Speedlite on 1/128th power with an orange colour correction gel pointing down to give modelling to the drapes. The bonus is that the more time you spend working with each of the light sources. the more knowledge you will build up in knowing when and where to place supplementary lights in the future – either in still life. 4 Same as above but with a small reflector made of kitchen foil bouncing a small amount of light back on to the vase.MASTERCLASS Winter still life Neil Turner all sorts of reflections. but it also offers an opportunity to make use of back lighting to give the scene plenty of life.

Shooting test frames with and without the .” mini-reflector and with it positioned at varying angles gives you genuine control over how the picture will look. The absence of distinct shadows or obvious catchlights is one of the defining features of very diffuse and directionless light – north light. We can accurately judge its height and direction. THE LIGHT DETECTIVE Reading photographs or paintings isn’t rocket science. By the same token. but when you add them to the overall scene (above) they play an important part. CATCHLIGHTS Most surfaces will show the reflections of the light source and the shinier they are the clearer those reflections will be. Most of us have learned to recognise the shape of an umbrella or a soft box in a human eye. clear backgrounds and surfaces. but what if there are multiple shadows? What if the shadows are not all that strong? The more time that you spend working with light and the more that you study it. other than a subtle brightening in Adobe Camera RAW.6 on ISO 200. there are two things to look out for when trying to work out how a picture was lit – shadows and catchlights. We all know that a shadow appears opposite a light source and so it is easy to see where the main light is. The final image was shot at 1/160sec at f/5. [74] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 NEIL TURNER Most of my still-life pictures end up with some kitchen foil reflectors before too long. Sometimes they are obvious and sometimes not. light. No post-production techniques were used in any of these pictures. it is surprisingly easy to insert a ‘fake’ catchlight if you want to. the better you will become at reading shadows. It’s far easier to see them on nice. If you look at the difference between images 3 and 4 on the previous page you will see that the second one has extra light and highlights down the right-hand side of the vase. There isn’t even a hint of any ambient light here. There are always telltale signs that will lead you to an understanding of how the picture was lit and even give you a big clue as to whether any post-shooting changes were made. All light sources will have a signature catchlight but some are very difficult to read. You can see from the images using just the background lights that their effect in isolation is pretty minimal. You can also see the exact position of the two accent lights. This is due entirely to a 20cm x 15cm piece of aluminium foil placed just to the right of the vase.MASTERCLASS Neil Turner Winter still life Final image “SHOOTING TEST FRAMES WITH AND WITHOUT THE MINI-REFLECTOR AND WITH IT POSITIONED AT VARYING ANGLES GIVES YOU GENUINE CONTROL OVER HOW THE PICTURE WILL LOOK. Essentially. This frame (left) shows two foil reflectors – a small triangular one behind the vase to kick some light up through the glass from behind and a slightly bigger one to throw some of the main light back on to the side of the vase. SHADOWS Where there is light there will be shadows.


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8L IS) with a 12mm extension ring to see what a more detailed image would look like. be really careful to remove unwanted light. Allow yourself light source was six or seven stops underexposed. P H OTO G RA P H Y M O N T H LY. Nothing is moving. but that’s another lesson. time. I put my very old and very cheap 50mm f/1. the ambient light always has to be This shoot was about three hours in total – I could accounted for – whether or not you want it to be have done it in one. in a dark room.photography monthly. NEIL TURNER WORDS OF WISDOM Every time I write a technique article I extol the virtues of shooting manually. I like working with a really narrow depth of field (far right).com easy to do and usually gives you as much do what you want. You can Remember though. Finally. Automation works with a single light source as long as it isn’t too far around to the side of the camera and the subject matter isn’t too light or too dark. Still-life photography takes time. simple ruin your picture. it is good practice always possible when you change a to do a test shot with all of your own light with a reflector working from it. When you’ve decided that you need a bit of light in one area of the image you have to answer a simple question: Do I add another light or would it pay to use a reflector? Most of the time another light makes sense because of the flexibility it gives you. On this shoot I simply made sure extra time added to the quality of the image. lights turned off to make sure that the To read more Just how many light sources could available light isn’t doing anything to of our masterclasses you end up with in a single. Again. You have independent control of two parts of the image. whereas using a reflector links two areas – change one and you Sometimes there is enough light that you have to will change the other by default.8) on a full frame body (top right) and it quickly becomes clear just how much of the feeling of an old painting is dictated by the composition and angle of view. I messed about with the scene. four. This picture looks a lot less like a painting – largely because wide-angle points of view were not part of the classical painting tradition.8 EF lens on to a Canon EOS 5D MkII with the 12mm extension ring and tried a few extra close-ups. five or more is always utilise ambient light and make it www. this doesn’t look much like a painting – I cannot think of a painter who shows out-of-focus details in anything like the way that a fast lens can. With this lens the depth of field at such a close range is very small but the result is interesting (centre).MASTERCLASS Winter still life Neil Turner VARIATIONS ON A THEME With the main image looking how I had imagined it. Nothing changes unless you change it. that kind of experimental control is why I like shooting pictures and not getting my hands dirty with paint. Getting everything back as it was isn’t shadows or reflections. which is why it makes a lot of sense to shoot using as much manual control as your skill and experience allow you. I started off using a wider lens (24-70mm f/2. control as you could possibly want. Of course you can visit the website still life? Three. Ultimately.CO M [ 77 ] . Other than changes and that requires testing and time. do lots of testing and enjoy the ride. no matter how many flash get a decent frame pretty quickly but half of the joy units or continuous lights you add to the scene you of still life is in making subtle but interesting have to take care of the ambient light. GO ONLINE PM W W W. If you any ambient light was so far underexposed that it are a beginner at this kind of thing I would strongly didn’t matter. Perfect. but I honestly believe the part of the image. Adding a second and then a third light source is a question of logic. Add a second light source and you might be lucky but you won’t have much control. I also threw on a longer lens (Canon 70-200mm f/2. which has a far more modern feel. Still-life photography is the discipline in which to build up your manual control skills. I removed the orange gels and increased the power on the Speedlite with the HonlPhoto snoot and shot this frame (below left). I screened off the ‘set’ and used a advise you to do some research and start by high enough shutter speed to ensure the ambient copying a painting that interests you.


One of the things that fascinates me about twins is that although they can look alike. I asked them to sit and look at the camera.andersenphotographic. Helen was welcoming and relaxed.30am and I knew we had to start as soon as possible because the light was good. PM www. or is it a photograph of the photographer? Ideally. The first pair recommended to me were Millennium twins Jamie and Isabella.photographymonthly. and to look at each other.CO M [ 79 ] . I took a light reading in the highlights and the shadows. Since the shutter speed was fast enough I could handhold rather than use a tripod. ANY TRUTH YOU SEE IS MY TRUTH. The next set of twins I’m planning to photograph are Estonian sisters in their mid-20s. I also shot a few digital photographs of them standing outside with an avenue of trees behind them. Twins Isabella and Jamie “WITH THE DAYLIGHT ON THEM THERE WERE STRONG HIGHLIGHTS AND SHADOWS THAT WORKED. a white brolley (which I shoot through to diffuse the light). EMILY ANDERSEN/JANUSZ PODRAZIK To read more of Emily’s columns visit www. back to the shoot.” With this in mind. When I arrived. When we had finished they were keen to go outside to the communal garden and for me to photograph them on the trampoline. If they are under 16 their parent or guardian has to sign them. I used the Nikon with an 18-200mm lens and took a spare memory card. [With the Hasselblad 500C] I used Kodak TRI-X 120 film. which had sunlight streaming in. I emailed their mum. For lighting I took the Norman 200B portable flash with its battery pack. The twins were very concentrated for the 20 minutes we shot. Yesterday. 120mm and 150mm lenses. Take spare batteries for the flash meter and portable flash. We were all in the sitting room. but Agfa has stopped producing it. The fact is. is no longer produced. as I find it is less distracting than colour and has a timeless quality to it. With the daylight on them there were strong highlights and shadows that worked. “MY PHOTOGRAPHS ARE WORKS OF FICTION. They looked at my website to see what I do and exclaimed over the photographs. I TOOK A LIGHT READING IN THE HIGHLIGHTS AND THE SHADOWS. There was a comfortable sofa and I asked the twins to sit on it. So it’s back to Kodak Professional D-76 – another developer of choice from 20 years ago. or both. A couple of months ago I decided to find more twins to photograph. “Are they identical?” he would be a millionaire. TRI-X is the film I used when I first started taking photographs and I still like it. If you intend to publish or exhibit your photographs you will have to ask the sitters to sign model release forms. right from conception. I decided to continue my portrait series predominantly in black-and-white. I prefer to have the freedom to move around. So. I sent Helen and the twins a disc and a selection of black-and-white 10x8in prints. they aren’t. as I explained to them what the project was about. neighbours of a jeweller friend of mine in Crouch End. There is a fascination with and certain confusion surrounding twins. north London. I will shoot any colour portraits digitally. The photographs that worked best are the interior ones. I used to develop Neopan in Rodinal. I also took with me a spare Hasselblad body with three backs and 80mm. who were full of joy and energy. to ask if the brother and sister would like to be photographed. I shot three rolls on the Hasselblad with the 80mm lens. AND BALANCED THE APERTURE AND SHUTTER SPEED BETWEEN THE TWO. Her twins were bouncy and happily met me at the door. we met a family they know with twins – a boy and a girl aged 14 – who agreed to be photographed. I didn’t need to use the Norman as the natural light was good and flash can be distracting.” I used a Hasselblad 500C with black-and-white film and a Nikon D200 for shooting colour. The challenge I have set myself is to photograph numerous sets of twins. It is easy to mix as a stock solution and the development times for 1:1 stock to water are similar to Rodinal. and digital RAW and fine Jpegs on the Nikon. I processed and printed the black-and-white negatives and burned the colour Jpegs to disc. Their dad said that if he were given a penny every time he was asked.com W W W. a stand. I have photographed pairs of people. It was around 11. Helen. because my first choice. while visiting the Bridget Riley exhibition at the National Gallery in London with my parents. Fujicolor Neopan 400. and balanced the aperture and shutter speed between the two. I started to ask people if they knew any twins. There was a brief break when we discussed pets and they brought in their hamster to be photographed. for more than 20 years. I arranged to photograph them on a Sunday morning. and the digital rated at400 ASA the same. She replied. and I will try to portray this within the project.EMILY’S PEOPLE EMILY ANDERSEN Emily is a veteran portrait photographer. post-war block of flats with plenty of daylight. I shot the TRI-X at 1/60sec at f11/16. I think it is both. they have never been alone. This month Emily describes photographing twins and wonders just how much of the photographer is an influence on any portrait. especially when shooting children. RICHARD AVEDON SAID. I love working with people and it was a great experience meeting these children. is the portrait a photograph of the person portrayed. A selection of her images forms part of the National Portrait Gallery’s permanent collection. including twins. Send your sitters prints or photos on disc. then see what the images tell me. Bring extra lenses for your cameras.org EMILY’S ESSENTIALS Take plenty of film. tripod and a Minolta light meter for flash and ambient light. Helen suggested we pull the blind down for diffused light and these photographs worked too. P H OTO G RA P H Y M O N T H LY. to edit them and weave a story for the audience in an effort to make them as fascinated in the subject as I am. which I did. saying that they would. The twins live with their mum in a five-storey. There is a mystery to the outsider as to how a person feels about being a twin.


NOVEMBER ISSUE PODCAST Grant and Sean speak to professional photographer James Appleton and discover how he captures extreme colour in his landscape images. about how he uses flash to add depth and atmosphere to group portraits.photographymonthly.CO M [ 81 ] . for industry news specials are available online. Sean speaks to C J Kale and Nick Selway. In case you missed any. Gordon has explored and photographed some of the world’s most unforgiving environments. A veteran adventurer for more than 30 years. He shares advice and techniques for making All of our podcasts featuring unusual landscape images. DECEMBER 2010 ISSUE PODCAST Grant Scott and Sean Samuels speak to professional photographer Jake Chessum. There is also an essay on Beato and the photography of war.PODCAST In case you missed them… WE’RE ON YOUR Thanks to everyone who has listened to our monthly podcasts over the past two years. Grant Scott.com FEBRUARY 2011 ISSUE PODCAST Grant and Sean discuss their time at the CES Show in Las Vegas and reveal all their favourite things. They also discuss the news from the world of photography. enter our competition at www. For a chance to win a copy. Neil Turner. Sean speaks to Steve Bloom about his career and approach to photographing wildlife. and deputy editor Sean Samuels speak to National Geographic photographer Jim Richardson about his wonderful landscape work made in the Hebrides. SPECIAL ISSUE TEST ZONE AWARDS SPECIAL PODCAST Grant and Sean discuss the winners of this year’s Test Zone Awards.95. Sean speaks to National Geographic photographer Gordon Wiltsie. Sean speaks to our Lighting Master. they are available via the website and can be downloaded from iTunes. two Hawaiian landscape photographers who have pioneered a new way of shooting the world’s longest-running volcano – from the surf into which it flows. MASTERS SPECIAL PODCAST In this month’s podcast special. this fantastic book charts the life and entrepreneurial career of Felice Beato. a major photographer of the 19th century.photography business opportunities available to serious monthly. often as part of a team of climbers and fellow explorers accustomed to living on the edge. Goes live on 23 February.com enthusiast photographers from Canon’s range of large format printers. THE BACK CATALOGUE MASTERS SPECIAL PODCAST In this month’s podcast special. about his approach to capturing group portraits. as featured in the December issue of the magazine. which Grant was a judge. JANUARY 2011 MASTERS SPECIAL PODCAST In this month’s masters podcast special. WIN! W W W. who has shot many leading rock bands. PM MARCH ISSUE ISSUE PODCAST The Editor of Photography Monthly. P H OTO G RA P H Y M O N T H LY. They also photographer interviews and discuss this year’s AOP Open Awards. WAVELENGTH OCTOBER ISSUE PODCAST Grant and Sean speak to black-and-white landscape photographer Michael G Jackson about his intriguing and original images taken on Poppit Sands beach in west Wales. as well as the www. Find out how they risked their lives for the opportunity to make these amazing shots. worth £27. MASTERS SPECIAL PODCAST In this month’s masters special. They also discuss their time at Photokina 2010 in Germany. FELICE BEATO A PHOTOGRAPHER ON THE EASTERN ROAD As well as a large selection of his images.



Has Sony, after dragging its heels for so long, finally updated its DSLR-A700? If so, it could be good news for Sony users and exciting for photographers, but I Convergence has finally emerged from the shadows, from all have heard nothing of the criticism, prodding – and sneering. Both amateurs and the video capabilities. professionals are now using the same equipment to produce their work. This month, JOHN CAMPBELL keeps moving Surely they are offering forward with new kit, while also taking a look back at one of the founders of this movement, who produced some of the high-end 1080p full HD? Anything less and they will get film making that kick-started this journey. left way behind. It has been suggested that the Sony DSLR A800 will be CAR ADVERT SHOT ON launched at the CliQ CANON EOS 7D Shot simultaneously with annual imaging more than 20 Canon EOS 7D cameras, the new Volkswagen technology trade show, Polo Last Tango in Compton formerly known as the TV spot shows how far into the industry HDSLR shooting Photo Marketing has infiltrated. Absolutely stunning. It was shot by Association (PMA) trade director Jonathan Glazer, show, in Las Vegas in who did the famous Guinness Surfer, Sony Bravia TV Paint and Levi Strauss jeans Odyssey ads. This commercial September. So we shall is a great advert, not only for the car it’s trying to sell, but also for the cameras themselves, because now everyone sees the high quality they can realistically soon see...
achieve. Hiring 20 RED cameras instead would be a nightmare and too expensive. If you missed it on the box, check it out now at www.youtube.com/watch?v=0Yww2VhbFL8

Samsung has announced the arrival of the NX11, the next generation of its NX cameras. The NX11 is a mirrorless entry-level camera with a large sensor and has support for the i-Function feature, which was introduced with the NX100. The i-Function is a button that allows you to quickly access the camera’s advanced settings. It can shoot only 720p HD video and a movie format: H.264 MP4 with audio. Although not truly HD, this model should be a good test to see how far entry-level cameras have come with regards to video. www.samsungimaging.com

In other camera news, the Nikon D700 has arguably been ready for a replacement for some time. As most Nikon prosumers use the D700, they would no doubt have been excited by the imminent launch of the D800. With an expected 21.1 million effective pixels and an EXPEED 2 image-processing engine, this camera is said to have the ability to shoot full HD 1080p video with full-time AF available in video mode. Reports say its sensitivity is expandable to ISO 102,400 with a nice 8fps for continuous shooting. Anticipation is gradually building among photographers and film makers, waiting to see if it will live up to the hype. For more speculation about the D800 go to http://photorumors.com/

John Campbell received his MA in film from the International Film School, Wales. He won the cinematography award at the Bristol International Film Festival for a short film called Blue Morning You in 1999. He now works as a freelance film maker for public bodies and arts organisations across the UK and mainland Europe.

[82] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1

Shooting film on your DSLR John Campbell

yet structured environment. See it at http://vimeo.com/18154197 and how he did it at www.dslrnewsshooter.com/2010/12/ 28/nathan-mauger-shoots-captivatingtimelapse-of-beijing-on-a-canon-eos7d/

Camera stabilizers have become a useful tool for DSLR film makers, as we all want to create professional-looking shots. The fluid movement it gives as you move through a crowd can make a big difference. It’s great for all conditions, from a wedding photographer/videographer who wants to walk through the celebration, to a film student planning a running sequence, like that at the start of the film Trainspotting. For a relatively low price the effect can be outstanding. Here are three models for different budgets, with suggested retailers.

My first film pick this month is by photographer Vincent Laforet, one of the founders of this whole movement, who has pushed both technique and technology to its limits, inspiring a lot of other photographers to grasp the opportunity and follow him into the world of film making. Being one of the first people to exploit the Canon EOS 5D MkII’s capabilities, he has made several films that you can find all over the web. Laforet’s most notable film is his debut, Reverie, probably also the first HD video shot on an HDSLR. But the one to see is The Cabbie, the first chapter of an eight-piece work. The short was commissioned by Canon USA to launch a nationwide campaign that was awarded three Titanium Lions at the 2010 Cannes International Advertising Festival. http://vimeo.com/8595246

The third film for this month is a special selection for all you Star Wars and action movie fans. Film maker Ross Ching’s 3 Minutes was shot entirely on HDSLRs and has great pace. I’m not sure how serious it is meant to be, but it will only take three minutes to watch and is well worth it. http://rossching.com/3-minutes



The Hague DSLR Motion-Cam system can alleviate camera shake on cameras weighing up to 2kg such as the Canon EOS 5D and 7D. This simple system has a ball-type stabilizer which will elevate your shaky handheld footage to that of a semi-pro camera operator, allowing you to roam freely without having to worry. It is priced £186. www.cameragrip.co.uk




My second film choice is yet another excellent example of time-lapse, which has quickly become the most used technique within convergence. I think it’s because it utilises skills from film and photography, making it a perfect bridge between the disciplines. I never get bored with the aspect of playing with time. Too Fast Too Much from Nathan Mauger was shot on a Canon EOS 7D and is a fine example of this technique. He used a heavily populated city and traffic to encapsulate a chaotic

My favourite piece for some time is Last Day Dream by Chris Milk. The film, which was produced for the42-Second Dream Film Festival in Beijing, shows a person’s life from birth to death, and utilises a Canon EOS 5D and a cheap Lensbaby pan-and-tilt lens. This film should be watched by all new film makers looking at how to create a simple yet effective film. Pay particular attention to the editing and how this is used to create pace, almost like a heartbeat, and the use of a blank screen to create the passages and links in time. http://vimeo.com/4155700

The Glidecam 2000 Pro is probably the most popular for wedding videographers. The ability to maintain a smooth motion even when running or climbing stairs has made this a key bit of kit. Priced £297. www.markertek.co.uk/Catalog/ Camera-Support-Stabilizers/ Glidecam-2000-Pro-GlidecamCamcorder-Stabilizer

The 2000 Pro’s big brother, the Glidecam4000 Pro, comes in at £439 and is a high-end prosumer option. Although not as good as the professional Steadicams, the Glidecam4000 and indeed 2000 can be added on to because they are designed almost as a modular piece of equipment. You can attach a body suite that will help with strain of the camera, allowing you to take longer when shooting. If you’re planning to be moving around a lot while shooting, this could really be of benefit. PM www.creativevideo.co.uk/index.php?t=product/ glidecam_4000-pro

Don’t be frightened of lighting your scenes with available light. In most cases, you probably won’t be in control of the light, especially if you’re shooting a real event. But bouncing light with a well-placed reflector or white card can really make a difference, helping texture and details to pop out of shadows. This is especially relevant when you’re in a large room with predominantly downlighting. In many such scenarios, a top light on your camera could be off-putting for people, but a small reflector or card used subtly won’t bother anyone and will get the effect you require. When I was a student I frequently used ironing boards and white doors taken off their hinges to achieve nice bounce light; these days I’m luckily in a position to spend a few quid on a nice, small foldable reflector.

To read more of John’s Film School columns visit www.photographymonthly.com
W W W. P H OTO G RA P H Y M O N T H LY.CO M [ 83 ]

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high key. somehow we can understand and master black-and-white. which somehow belies the subtleties and nuances that exist within this generic definition. Shooting fashion in New York is as far away from capturing a cheetah in Namibia as Strictly Come Dancing is to Premiership Rugby. then we can see the world in black-and-white as well.CO M [ 85 ] . A big size 12 of a description. into one big hobnail boot. in the same way. with steel toecaps and 3in heels. we somehow believe that if we can shoot in colour.PHOTO ZONE 5 great lies of black-and-white photography Martin Middlebrook GREAT LIES OF S BLACK & WHITE This month professional photographer MARTIN MIDDLEBROOK reveals why you should throw out the rulebook when it comes to making black-and-white images. We shouldn’t expect that just because we create great colour images. in fact a thousand varieties of the visual art form that is photography. I mention this because. P H OTO G RA P H Y M O N T H LY. OMEHOW WE SHOEHORN colour. photojournalism and fashion. landscape. PHOTOGRAPHY MARTIN MIDDLEBROOK W W W. mono.

A GOOD COLOUR PICTURE ALWAYS LOOKS GOOD IN MONO – NO. In life information. richer blacks and less grain. and knowing these rules in advance lets us maximise our shooting. it only works if the image allows. We need to see shooting black-and-white digitally as an issue of workflow. So here are my Five Great Lies of Digital Black-and-White Photography! people fall into different demographics. whether they are captured in mono or not. then I do so with that in mind. It will have greater tonality. In the same way that we can’t retrospectively change our minds. Look at the image below of three squares of data. If you can’t visualise the vibrant. We might presume that a landscape looks better in colour and that a portrait in mono strips back the subject so we get to the truth more quickly. When I go out to shoot black-and-white. but I often find that shooting in colour will give me a much richer mono image. IT IS STILL IMPERATIVE TO UNDERSTAND BLACK-AND-WHITE. or shoot in mono first. It works because of the vibrancy of colour and how these primary colours work together. Now look at the image of the woman in the feathered head dress (above left). and the mono conversion that follows. we should in the first place agree the final response. FROM VISUALISING THE IMAGE. then you will seriously reduce your capacity to create dynamic and compelling images. This is a facile argument. And here’s the best bit. Technology allows us to do anything – with the flick of a switch we can cross-process an image or solarise it. In my experience shooting in RGB gives me three channels of TO CREATE BLACK-AND-WHITE IMAGES. this is how we worked. we have ’early adopters’ and others who cling to tradition. it doesn’t mean we should. but digital cameras and computers have changed all that. and yet our brains are trained to believe that yellow is brighter than red. YOU NEED TO SHOOT BLACK-AND-WHITE IN-CAMERA – NO. dynamic and complementary. They are appealing neither separately nor together.5 great lies of black-and-white photography Every discipline in photography comes with its own checklist of required skills. I had my own darkroom and couldn’t wait to switch on the red light and see what I had. The greyscale versions look like the flat slabs of grey they are. I cannot stress enough how important this is. allowing for further interpretation. which means that in many areas I am a non-specialist and would describe myself as average at best. is literally everything. I grew up shooting black-and-white film. using different styles and techniques accordingly. without that capacity we will become unstuck time and again. YOU CAN SHOOT IN COLOUR! I work across a range of disciplines. It’s interesting to note that the red-and-yellow section highlighted in the image is identical in tonality to the mono conversion. Red and blue juxtaposed looks rich. but take a photo in colour and convert it to mono. dead and works only on a compositional level. Shooting in colour first provides you with options. saturated world in a monochromatic manner. These treatments pertain directly to the subject and composition in a very real way. CAPTURING IT IN-CAMERA AND WITH OUR COMPUTERS AS DARKROOM. and I can’t provide you with the technical proof. however it is captured. I really believe that in doing so I have become a much better all-round photographer. In the days of film. If I shoot when the brief demands a colour response. This is a very simplistic argument. [86] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . Producing a great image is about a set of linked processes. from visualising the image. I have shot plenty of black-and-white in-camera. Knowing that your final image is going to be black-and-white. It’s not happenstance. simply because some images lend themselves to black-and-white.” shoot in another. dynamic and tonal elements. I try everything because I just love producing images and improving skills in one area necessarily informs how I “PRODUCING A GREAT IMAGE IS ABOUT A SET OF LINKED PROCESSES. RGB. whereas shooting in mono appears to give me one. greater contrast. a landscape can look amazing in mono and a portrait can look flaccid. you will have a colour version too. colour for colour. if you shot black-and-white you would chose a mono emulsion. Black-and-white is about so many compositional. and I can assure you that the converted image will look richer. Early digital cameras did not come with a black-and-white capture mode and yet we saw many wonderful mono images. but just because we can. I may sometimes capture it in colour first. and mono is no different. and yet as a mono image (left) it is flat. capturing it in-camera and with our computers as darkroom. To be successful black-and-white photographers we simply must learn to see colour as tones of grey. but I unequivocally visualise in mono at the point of capture.

not colour. backlit MARTIN MIDDLEBROOK subjects and high contrast. is an active. but the lighting setup means it works perfectly well in mono. To achieve this we need contrast and delineation. Light and colour are two different things. Shooting in mono is more often about extreme light. The scene works beautifully in colour. great mono is effective because the frame. W W W. but flat and lifeless in mono. However. IT’S FUNDAMENTALLY ABOUT STRUCTURE! In taking great black-and-white shots. are what really matter. Understanding tonality and how colour converts is key. Exactly the same scene.PHOTO ZONE BLACK-AND-WHITE PHOTOGRAPHY IS ABOUT TONALITY THEN – ACTUALLY. really great black-and-white works because of the structural dynamics that underpin composition. would still be pleasing in colour. Shooting in colour is more often about colour temperature. either in-camera or not. dynamic region just waiting for you to set up tension and structure. sympathetic light and specular highlights. become wonderful mechanisms that support our composition. shot with the sun behind us. elements which bounce the eye around the scene until it arrives at a defining point. P H OTO G RA P H Y M O N T H LY.CO M [ 87 ] . If we exclude portraits for a moment (because they work on a different level). be it 35mm or 5 x 4. so we must understand the qualities of light in a different way. It is these qualities that introduce perspective into a scene that leads the eye where we want it to arrive. seeing in black-and-white is crucial. Shadows. The images above are a great example. In both forms of photography we use light. but in mono the qualities of light. so often a nuisance.

I really got into colour temperature and began to shoot at very high ISOs simply so I could mimic the grain of fast mono films.” 1 2 3 4 [88] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . the subject matter. “… USING YOUR CAMERA’S IN-BUILT FACILITIES WILL OPEN UP A CORNUCOPIA OF OPPORTUNITY. When I made the transfer from film to digital. contrast and punch that I had become used to with Fuji Velvia 50 reversal film. I would never do any post-production on my colour images and so I was always left feeling let down. So I now change my settings depending upon the look I need. This simply had the effect of bringing the images back into line with the reality I was seeing before me. or that cross-processing produces natural-looking images. I prefer my landscapes to be rich. straight out of camera. but I have used other systems and been impressed with their image control and quality. so I increase my saturation and contrast to mimic film. to darken the sky and dump the red out of the scene. allowing you to create great black-and-white shots straight out of camera. as well as employing flash techniques to enhance tonality. and add colour filters in-camera. but somehow sensor technology didn’t catch up with film quality quickly enough. so I began to add just a little saturation and contrast in Photoshop afterwards. Every one of these controls is available in-camera and by playing around with them we can begin to produce great shots right away. For a long time I steadfastly refused to change any of my images once they had been captured.YOU CAN’T GET GREAT BLACK-AND-WHITE SHOTS IN-CAMERA – YES YOU CAN. Yet I didn’t really see how I could be a worse photographer just because I was now shooting digital. After all. The third is a mono shot of the same scene. didn’t quite match what I had seen. the end use and so on. As I was schooled in the old ways of doing things. because it introduces grain that mimics the look and feel of old emulsions. So you begin to realise that using your camera’s in-built facilities will open up a cornucopia of opportunity. film was hardly realistic and no one can tell you the world looks like Fuji Velvia. The first is the neutral setting for the 5D MkII and the next is my default setting with added saturation and contrast. The great news was that sensor technology began to catch up and in-camera controls became more available. Below is a series of four shots of the same image that show what in-camera control can do. affect contrast. because it’s easier that way. I was immediately disappointed that my images lacked the saturation. I was always unhappy that my images. ALLOWING YOU TO CREATE GREAT BLACK-AND-WHITE SHOTS STRAIGHT OUT OF CAMERA. I work with Canon EOS 5D MkIIs now and the level of image control in-camera is exceptional. It might have been digital. proving again that red and blue together don’t work. so I increasingly began to use in-camera controls to bring back this contrast and saturation. Just think – many digital cameras now let you shoot in mono. When I shoot black-and-white in-camera I often shoot at ISO 1600. and the expectations I had from using film. sharpness and saturation. and the fourth is the same shot with a red filter. change the ISO range from 50 to 6400 and more. BUT YOU HAVE TO TWEAK THINGS A LITTLE! Most modern digital cameras provide us with so many image controls that we tend to leave the camera on default settings. I see it time and time again. but I was now getting the control in-camera that I previously had with film and I could change it for every shot.

but a soft glow from choosing a high ISO. P H OTO G RA P H Y M O N T H LY. dig inside a little and discover all the possibilities that exist within – you will be amazed. Combining these settings has produced a tonally rich image.PHOTO ZONE 5 great lies of black-and-white photography Martin Middlebrook I took this photograph of my daughter a couple of days ago.CO M [ 89 ] . Shot at ISO 500 for a softer look and a little grain. I implore you to open up your camera. with solid blacks due to filtration. I upped the contrast in-camera and set the filter in-camera to red. I could equally have shot at ISO 50 and used flash carefully to provide an entirely different image quality. MARTIN MIDDLEBROOK W W W.

through to their plans for the wedding and what the future holds for them as the King and Queen of the United Kingdom.co. The Royal Wedding: Prince William & Kate Middleton is the perfect souvenir guide to this historic occasion. Whether you plan to cheer the royal couple on along the streets of London or watch events unfold from the comfort of your own home. Cheltenham.The Royal Wedding PRINCE WILLIAM & KATE MIDDLETON Celebrate the biggest event of 2011 with this special commemorative guide to Prince William and Kate Middleton’s wedding. romance and engagement. Oriel Road.subscriptionsave.99 with FREE delivery in the UK (your order will be despatched at the end of February) www. Heritage magazine.uk/royal 01242 265 892 Send a cheque payable to Archant Specialist Ltd to: Royal Wedding. taking place on 29 April at Westminster Abbey. This beautiful 100-page guide will take you on a journey back through the royal couple’s childhood. GL50 1BB . Archant House. ON SALE ~ 1st MARCH 2011 Pre-order your copy now for ONLY £9.

com maximising the amount of time you can take pictures. I often shoot water in direct sunlight. ambient and warm – yummy. Colour can be mono in a very real sense. I have often written that many of us take out our cameras only in perfect weather. P H OTO G RA P H Y M O N T H LY. Shooting in extreme light intrinsically creates monochromatic form and is so often the best time to achieve great black-and-white imagery. so the final treatment is what counts. a blinding interpretation of a flickering. but have a wonderfully monochromatic feel to them.photography monthly. It has the feel of Japanese art. begin to understand when and how a great black-and-white shot can be made and when it will fail. but remember that creating images is a matter of workflow. By extreme light.PHOTO ZONE 5 great lies of black-and-white photography Martin Middlebrook THE WORLD IS A PLACE OF COLOUR. simplified form that is imbued with a pared-down rhythm that colour would destroy. MARTIN MIDDLEBROOK W W W. But these are not the best occasions for shooting in black-and-white. aiming my lens directly at the point where sunlight bounces ruthlessly off the water. in colour. and you will begin to make wonderful mono images. HOW DO I GET GREAT MONO SHOTS? MUCH OF THE WORLD IS ALREADY MONOCHROMATIC. It is another example of GO ONLINE For more of Martin’s articles visit the website www. With that in mind. The shots here are both as shot. fluid surface. I underexpose by up to three stops and this is what you get. I don’t just mean glaring light. it is critical to pre-visualise the final image before you create it. that wonderful morning light in May. however you might achieve it. In doing so you will start to see the world in mono.CO M [ 9 1 ] . these occur when everything is against us. Understand structure and see in tones of grey. because you simply won’t have to wait for the right weather – the wrong weather is the right weather! PM IN CONCLUSION In truth it is not easy to produce great black-and-white shots digitally in-camera. rich. Black-and-white lends itself to so many more situations and conditions than colour ever will. A foggy day will do just as well or a dull and moody sky will be suitable.

co.28kg and measuring 40cm long when folded up. the tripod has a maximum load of 4kg and weighs 2.co. which is created by removing a tripod leg and centre column.velbon. FIRMA LIGHTWEIGHT TRIPODS 1 VELBON SHERPA 750R £90 including head • Weight: 2.giottos-tripods. and joining them together. Here JESSICA LAMB selects six of the best lightweight tripods and.20kg The four-section Sherpa 750R tripod comes complete with the PH-157Q three-way panhead with quick release platform and features a racked and removable centre column that can be split for more versatile camera control. Vitruvian VGR carbon fibre tripods are designed to give photographers not only a lightweight and compact piece of equipment. www.uk —BEST FOR— VALUE —BEST FOR— SIZE 2 GIOTTO’S VGR8255 VITRUVIAN £219 • Weight: 1. making it suitable for everyday use. It is supplied with a soft case shoulder strap.20kg. The Giotto’s VGR8255 tripod has a maximum load capacity of 4kg and comes with a ball head and padded carry bag. to suit the style of work you shoot and your budget. six leading heavyweights. www. weighing just 1. Made primarily of aluminium.uk [92] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . it’s difficult to know which is the right one for you. The tripod measures 155cm when fully extended and just 55cm when folded up.ON TERRA With a vast array of tripods on the market. but also a monopod. but also light enough for the photographer on the move. on the following page.28kg Giotto’s VGR8255 Vitruvian is an ideal travel tripod.

com 4 GITZO GT2541 £559. Weighing just 1. —BEST FOR— EXTREME www. 50° and 80° angles. so it’s built for strength and rigidity with its 6X carbon fibre tube.vanguardgb.32kg.36kg The Gitzo GT2541 is part of the maker’s Mountaineer range. P H OTO G RA P H Y M O N T H LY. The Alta Pro 284CT’s carbon fibre build makes it light. quarter-twist leg locks.96kg) and has a maximum load of 5kg.32kg For more kit and gadget news.95 • Weight: 1. spiked rubber feet to cope with a range of terrains and a removable hook for hanging accessories. but also manages to be extremely light.44kg The Slik Pro 723AF tripod uses multi-layer carbon fibre material to reduce weight and improve rigidity for a more stable camera support.99 • Weight: 1.co.36kg and having a maximum load capacity of 12kg.manfrotto. The tripod features advanced camera vibration and shock control. the GT2541 is ideal for photographers who are looking for a solid tripod without sacrificing weight.co. with a maximum load capacity of 5kg.uk 5 SLIK PRO 723AF £249.CO M [ 93 ] .com The 190CX carbon fibre three-section tripod belongs to Manfrotto’s most popular range – the 190 series.80kg The Vanguard Alta Pro 284CT weighs 1.uk W W W.80kg and has a maximum load capacity of 8kg.6cm.95 • Weight: 1. www. The 190CX’s 100% carbon fibre tubes and aluminium die castings provide great rigidity and make it extremely light.co. This kit comes with the Slik AF-1100 head (making a total weight of 1.sliktripod. while the aluminium centre column includes a low-angle adaptor at the bottom which can be used as a short column. legs that adjust to 25°. which improves comfort and precision. as well as non-slip.gitzo. It weighs just 1. It makes the perfect piece of gear for serious photographers who need a tripod that can accompany them wherever they go.PHOTO ZONE Lightweight and heavyweight tripods Jessica Lamb 3 VANGUARD ALTA PRO 284CT £349.99 • Weight: 1. www.uk GO ONLINE 6 MANFROTTO 190CX £249. visit the website www. www. so it will be perfect for anyone who needs plenty of flexibility without the added weight. The tripod features a newly-designed. and premium magnesium die-cast canopy and head. Its compact size and light weight make it the perfect tripod for backpacking and hiking.photography monthly. ergonomic leg angle selector. This model has three 25mm diameter leg sections which can be used in multiple positions and fold down to a manageable 69.


com www.PHOTO ZONE Lightweight and heavyweight tripods Jessica Lamb HEAVYWEIGHT TRIPODS —BEST FOR— —BEST FOR— —BEST FOR— WEIGHT VALUE EASE OF USE 1 2 3 X2 EDDIE & B3S BLUE KIT £279 • Holds up to 12kg This carbon fibre tripod from 3 Legged Thing’s Rock Legend range is light but can carry heavy loads up to 12kg. and weighs a total of 1. making it simple to set up on uneven ground or steps.co. rotated through 180° and locked where required.sliktripod.CO M [ 95 ] . spring ballast hook and carry case.com www. It has a maximum height of 166cm but is just 44cm when folded and features a removable central column which can be used as a monopod to give you extra versatility when shooting.99 • Holds up to 10kg The Tracker 2 is designed to hold heavy gear with exceptional durability and stability. The kit includes a B3s ballhead. These Series 3 tripods have a high maximum load capacity of up to 18kg thanks to the redesigned G-lock system.co. www.gitzo. magnesium alloy extension tube.uk —BEST FOR— MACRO 4 5 6 GITZO SERIES 3 GT3330LS £349.co. long telephoto lenses. mounting spigot. It weighs 2.67kg and the legs can support up to 11kg in equipment. The centre column can be removed from its vertical position. Its three-leg section construction gives a maximum height of 150cm. GIOTTO’S MTL9361B £89 • Holds up to 8kg Giotto’s MTL9361B features quick-action lever leg locks.38kg and can hold up to 10kg of equipment. The legs can be adjusted individually to three different angles to help when you are shooting on uneven ground or at low levels.95 • Holds up to 18kg The Gitzo GT3330LS (long version) systematic aluminium three-section tripod is made to support large and medium DSLRs with lenses up to 500mm. The 458B Neotec Pro weighs 2.uk www. It has a two–section centre column for low-angle or normal shooting and four set leg-angle positions. VANGUARD TRACKER 2 £159.3leggedthing. It weighs only 2. The tripod weighs 3. Foam grips on each top leg section make it easy to adjust.4kg and can hold up to 8kg of gear. when combined with the variable leg-angle settings. such as large-format (4x5) field cameras or heavy. The tripod has reinforced leg locks for added stability and reversible rubber/metal spiked feet to cope with a range of terrains. providing comfortable eye-level shooting for wedding and sport photography.uk W W W.uk www. mounting plate.93kg. it allows users to put the camera in the right spot to capture the perfect image. The tripod can be lowered to 38cm for low-angle or macro photography in the field.giottos-tripods. P H OTO G RA P H Y M O N T H LY.manfrotto. SLIK PRO 700DX £120 • Holds up to 11kg The Pro 700DX has a gearless centre column and three-position adjustable angle leg locks.7kg and will go as low as 10cm to the ground for those macro or low-level wildlife shots. The GT3330LS weighs just 2.co. PM www. The built-in carrying handle is perfect for any photographer on the move who still needs stability. MANFROTTO458B NEOTEC PRO £369.vanguardgb.2kg and can support up to 8kg in weight. variable leg-angle settings and a 3D centre column.95 • Holds up to 8kg The 458B features the Neotec leverless mechanism – where pulling each leg down automatically opens and locks it into position – so the tripod can be set up and packed away quickly. making it suitable for larger DSLR cameras and lenses. The AMT-titanium alloy legs make the Slik Pro 700DX strong and stable while still being light and easy to carry around.

travelled thousands of miles across six continents over four years to capture the images. but we’re sure you can do better than us! Good luck and get shooting. I took this picture in the office of one of Italy’s most influential designers – for me where the best still lifes are found. we have included some of your pictures and others by the PM team. There were almost too many plants to choose from. ADRIENNE WHEELER — ART EDITOR PHOTOGRAPHY MONTHLY I took this image during the summer on a trip to the Eden Project in Cornwall. From the magnificence of Alaska to the haunting majesty of the Himalayas. simply upload your best still-life pictures to the Photography Monthly gallery. these are views of the world at its most sublime. but I settled on this humble little flower for its vivid colour which the sun lit perfectly.com PM TEAM PICTURES GRANT SCOTT — EDITOR PHOTOGRAPHY MONTHLY I always refer to intimate groupings of ephemera as ‘eye candy’ and you usually find the best in the homes of creative people. As he notes: “The landscapes of our world are truly wondrous places. by Jaspal Jandu.” To get you started and inspired. SEAN SAMUELS — DEPUTY EDITOR PHOTOGRAPHY MONTHLY If a beautiful still-life image is about lighting and atmosphere then I hope this image of a derelict window in Brighton fulfils the brief. Jandu.photographymonthly. a British-born photographer based in London. The book features stunning panoramic images of more than 20 of the world’s most treasured locations. I love the way the light just catches the bottom of the old bars in the frame set next to the modern graffiti. visit www. worth £25. TAKING PICTURES I N! W READERS’ PICTURES Trevor Wain Still life Darren Muir Make up bag Paul Barclay Yellow To enter and for full terms and conditions. One image will be chosen and the winner will take home this fantastic prize. [96] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 .FOR YOUR CHANCE TO WIN a copy of Natural Wonders: A Panoramic Vision. inspiring each generation by their subtle forms and infinite moods.

ELEANOR O’KANE — DEPUTY EDITOR PROFESSIONAL PHOTOGRAPHER I collect vintage tableware and like the soft tones of the metal that you don’t find with brand new cutlery. JESSICA LAMB—EDITORIAL ASSISTANT PHOTOGRAPHY MONTHLY I took this black-and-white photo with my BlackBerry mobile. vibrantly coloured shot of flowers. It was taken with a Canon EOS 5D and 24-105mm lens. The way the knives were reflecting the other pieces caught my eye while laying the table for lunch. I love the way the depth of field adds an interesting element to the background and helps to create the mood. I wanted to capture the delicate beauty of the rose but with a twist. I think the black-and-white gives a different take on the normal. PM W W W.CO M [ 97 ] . so I grabbed my camera.READERS’ CHALLENGE Upload to our gallery to win prizes Still life Tom Aspinall It’s a monkey puzzle to me Simon Abbott Colour pencils Greg Armstrong Georgivs Joseph Burden The last straw hat in the world Diane Innes A pink shoe KELLY WEECH — FEATURES ASSISTANT PHOTOGRAPHY MONTHLY This image was taken during a cocktail shoot for France magazine. P H OTO G RA P H Y M O N T H LY.

At Focus on Imaging 2011 stand F40 Image by waynelawes.uk .co.

simplifying telephoto shooting. Pentax AF. 7 EASE OF USE For digital cameras with an APS-C size image sensor. for the right reasons TEST ZONE TOP news and ! TIP For more reviews on the latest kit and technology visit the website at ONLY THE VERY BEST KIT www. 1 SIGMA A USEFUL ZOOM The lens covers a medium telephoto range of focal lengths from 70mm to 200mm and has a large maximum aperture of f/2. 4 IMAGE QUALITY The glass is covered with a multi-layer coating that helps to reduce flare and ghosting.com 70-200MM F/2. 8 COMPATIBILITY The Sigma 70-200mm f/2.sigma-imaging-uk.8 TELEPHOTO LENS 8 REASONS TO BUY If you are looking for a good medium telephoto lens for wildlife and action shots. P H OTO G RA P H Y M O N T H LY.8 EX DG OS HSM lens is available in the following mounts: Sigma AF.8 throughout the entire zoom range.com W W W. Canon AF. Nikon AF.99 www. 6 GOOD RANGE It has a minimum focusing distance of 140cm (55.photography monthly.CO M [ 9 9 ] . PM Price: £1. the lens comes with a dedicated hood adaptor which expands the length of the lens hood. take a look at this affordable model from Sigma. 2 GOOD GLASS Two ‘F’ low-dispersion glass elements match fluorite glass in performance. 3 FASTER THAN MOST The optical stabiliser allows shutter speeds to be used approximately four stops slower than would otherwise be possible.1in) throughout the entire zoom range and a maximum magnification ratio of 1:8. Sony AF.539. while three special low-dispersion glass elements enable colour aberration to be corrected. 5 QUIET AS A MOUSE A hypersonic motor ensures a quiet and high-speed operation in autofocus mode.Each month we bring you the reviews you need to make sure you buy the right equipment.

It appears that firmware engineers throughout the digital camera spectrum have agreed on a template. which means if you have used a compact or DSLR from any manufacturer. multi-angled flip touch screen display on the back of the camera is very sharp and remarkably intuitive. I am not going to start now. Apart from the usual modes of shooting. Panasonic’s ability to pack so many features into such a neat and compact-looking camera deserves great praise. should you TOP 5 PANASONIC LUMIX DMC-GH2 FEATURES 1 FAST WORKING 5 fps in 16. by finding the Q (quick) menu button.05-megapixel Full Resolution and Venus Engine FHD 2 GOOD VIDEO CAPABILITY 1. which proves these hybrid cameras and their software are the tools with which her generation will record and view the world around them in the future. I put this to the test by asking my nine-year-old daughter (who uses one of those digital compacts that you can buy for under £30) to set the camera into HD cinema mode and start filming. So the perspective of this review will lean rather Panasonic is fast becoming an unexpected leader in the compact DSLR market and the release of the DMC-GH2 is a welcome addition to the company’s photographic arsenal. She did so in less than a minute. I must state here that I have never before used a camera such as the DMC-GH2. offering interchangeable lenses on a body that looks like a DSLR but feels more like a compact. The 3in 460k-dot resolution. more towards a hands-on feel than towards technical specifications. I have been given a 14-140mm lens and my first impressions are that a lens any longer than this one would probably cause a weight imbalance on such a light body. My background in photography comes from using DSLRs and film cameras. This is what he thought.GIANT KILLER? THE LUMIX DMC-GH2 IS THE LATEST GENERATION OF HYBRID CAMERAS FROM THE PANASONIC Micro Four Thirds stable. Holding this camera is a new experience for me and having never read a manual in my life. 3 TOUCH SCREEN TECH Intuitive Touch-control Shooting and Double Live View [100] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . It’s packed with great image-making technology. you will be able to navigate easily around the menu on this camera. so we armed award-winning photojournalist KIERAN DOHERTY with one and asked him to put it through its paces. BUILD With the body.920 x 1. All the functions that this camera offers are easily accessible with the physical layout of the intuitive controls. it also has a 3D mode (with a dedicated 3D lens) for shooting stills and again these can be viewed on a Panasonic HD 3D TV.080 50i Full-HD Movies in AVCHD Format.

Panasonic has put in an electronic viewfinder which is sharp.CO M [ 1 0 1 ] .TEST ZONE Camera review Panasonic Lumix DMC-GH2 happen to own one. Newsweek and National Geographic.kierandoherty. Once you get over the fact that the resulting video is not going to look quite like a BBC natural history production. It also features Dolby digital stereo and at its top end 1. In the record mode menu on the camera it says that AVCHD (1080i) mode is the best recording mode for playing on TV in HD.” some image tearing appearing when I panned the camera. ISO. P H OTO G RA P H Y M O N T H LY. when attached to an external monitor. The DMC-GH2 is a 16. The touch screen responds and behaves as you would expect an iPhone or an iPad to do. move your eye away from the viewfinder and the touch screen comes back to life.080 HD resolution in cinema mode with a variable frame rate. The recorded audio is not available through the TV. As this is a mirrorless camera. You can swipe through images. I am not convinced the DMC-GH2 would be the choice for specific areas of professional film making. and double or triple tap to magnify one of them when you want to check focus planes.05 usable megapixel camera.com 4 FORWARD-THINKING 3D Shooting Compatible and VIERA Link Networking 5 GOOD COLOUR CONTROL Advanced Intelligent Resolution Technology. particularly the external HDMI slot which. although I did notice “THE 3IN 460K-DOT RESOLUTION. so I decided to see what it looked like on a much bigger screen. A neat function on the DMC-GH2 involves a small sensor under the eyepiece that detects eye proximity. HD VIDEO All the controls associated with using the HD film modes are on screen as well. Now HD resolution written down like this really doesn’t mean a great deal to me. Without wanting to state the obvious. but certainly serious amateur or indie film makers will be suitably impressed with its video credentials. will allow artistic directors on location to see in real time what is happening during a shoot. MULTI-ANGLED FLIP TOUCH SCREEN DISPLAY ON THE BACK OF THE CAMERA IS VERY SHARP AND REMARKABLY INTUITIVE.920 x 1. Panasonic has included a mini HDMI cable socket on the camera which means you can plug it straight into your TV. only through the camera. it’s an enormous achievement that a camera of this size can produce such superb quality. although Panasonic has added the Q menu button that allows all your favourite functions/controls to appear instantly. All the functions are at your fingertips on the camera’s touch screen as you scroll through your still images or video recordings on the TV. Move your eye to the viewfinder and the touch screen shuts down. as well as the New York Times and the Sunday Times. though. Intelligent D-Range Control W W W. a 37in Panasonic flat screen. www. white balance and other factors that are constantly being used by a photographer are a one-button touch away. I have KIERAN DOHERTY BIOGRAPHY Kieran’s photography has fronted and appeared in many top international magazines including Time. but it is exceptionally clear. have a port for an external microphone. the design ergonomics of this camera would lead me to use the viewfinder for stills work and the touch screen for video work. bright and accurate in assessing colour and contrast. so I did just that. The DMC-GH2 does.


The results were pretty astonishing. although I CONCLUSION am assuming this could be achieved only through the use of a remote. But the DMC-GH2 has taken a big step in that direction and I am sure it’s only a matter of time before this becomes reality. 16:9. shadow details and massive exposure differences all in the same frame. 200-600mm and 14-42mm IMAGE SENSOR PIXELS 16. sure that more 4:3. to walk out into a Is it my sort of perfectly-lit street camera? Initially I and start shooting at would have said no. three-quarters of which I cause movement and be counterproductive.youtube. P H OTO G RA P H Y M O N T H LY.co.05MP (effective) RECORDING FILE FORMAT Still Image: Jpeg (DCF. 3:2.99 (including 14-42mm lens) IMAGE SENSOR SIZE For more news and reviews visit our site www. I imagine transformed the image in the that the HD video side of this digital age compared to the film camera is its real pulling power.608 x 3. ISO 200. I then viewed the images through Panasonic’s supplied software SILKYPIX.6mm 124mm STILLS This camera has various stills shooting modes. and I am aspect ratios of 1:1.3mm x 13. I would have loved Panasonic to have taken a step further and offered touch screen magnification for focus checking during recording when not in AFS mode. but the more I used every digital camera it.500-10. as pushing the This model packs a punch with its shutter button during filming would surely functionalities. 4x PRICE £918. DPOF compatible MPO (when attaching 3D lens in Micro Four Thirds standard)/ Motion Image: AVCHD/ QuickTime Motion Jpeg ASPECT RATIO 4:3. auto WEIGHT About 609g COLOUR TEMPERATURE 2.792 and it has on information on the camera. TECHNICAL SPEC: LUMIX DMC-GH2 89.com W W W.0mm (in4:3 aspect ratio) LENS MOUNT Compatible with Micro Four Thirds mounts. including the ability to shoot still images while recording HD video. H: 5fps M: 3fps. I chose to test the DMC-GH2 in programme mode. Functionality like that would have hauled me out of a tricky situation I found myself in while making a documentary in China. I think the Kieran made with Twenty years ago we would either DMC-GH2 is more than likely the DMC-GH2 to our YouTube accept movement as part of the a stepping stone en route to channel picture or hope that people stood what will ultimately evolve into FotoNewsNow. We have uploaded but the stills image side is age is its ability to operate in a short video low-level lighting conditions.photographymonthly.456 to 1.CO M [ 1 03 ] .9 equivalent (ISO 160 m).000k in 100k BURST SPEED SH:40fps (4M). which was a little distracting.com/ user/FotoNewsNow almost complete darkness and www. RAW.uk freeze movement. Now we can shoot in a Panasonic giant killer. manual. haven’t mentioned in this review.TEST ZONE Camera review Panasonic Lumix DMC-GH2 Another huge plus is the DMC-GH2’s ability to follow focus very quickly while recording video through its AFS mode.3). What has speak for themselves. 1:1 SHUTTER SPEED Still images: 1/4. The DMC-GH2’s image sizes range from Everything I have written is based solely 4. an able wing man. GN13. my only alteration being to set a dedicated white balance in-camera. especially when trying to shoot a sequence. taken. really still.panasonic.000sec to 60sec and bulb (up to about two minutes) BUILT-IN-FLASH TTL Built-in-Flash. PM www. the more I enjoyed manufacturer has got doing so and the ISO 160-800 pretty impressive results much covered.792 x 1. The camera’s ability to meter a scene such as the pitch being watered at Fulham football ground was impressive. shutter priority AE. L: 2fps HOT SHOE TTL Auto with FL220/ FL360/FL500 (optional) LCD MONITOR PIXELS 460k dots DIGITAL ZOOM 2x.8mm (D) GO ONLINE 17. as was its ability to work at ISO 1600 for the Damien Duff yellow card incident during Fulham’s 4-0 win over Tottenham in the FA Cup. Let’s face it. I wanted to see how it handled extreme backlighting. When shooting stills I noticed the viewfinder immediately showed momentarily the image I had just 75. Exif 2. built-in pop-up EXPOSURE MODE Program AE. including latest lenses in 3D. technically versed In my opinion it is photographers would never a true test of a glean far more from camera’s capabilities the camera than I did. 3:2 and 16:9. aperture priority AE.

I’ve said it. C-4040Z and C-5050Z which featured some of the brightest zooms ever to appear on a compact. and the compacts for advanced photographers are getting better and better. As well as looking good. thanks to recent arrivals from Canon and Nikon. Olympus has been at the forefront of CSC development with the rejuvenated PEN brand and now with the XZ-1 it has made itself a serious contender in the pro compact market just as it did nine years ago with the C-3040Z.com [104] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 . and not only do I like them. Much has BEFORE I BEGIN to speak about the Olympus XZ-1 let me be honest about how I feel about compact cameras. They are no longer just a cheap first step into the world of photography. The focus was GO ONLINE For more news and reviews visit our site www. The shutter release was well positioned and responded positively.photographymonthly. This is one seriously good-looking camera which echoes the clean lines. In fact so clean and simple is the design that from a distance it looks like one big black lens in your hands. I like them. In my mind the quality of image that compacts can now produce has made them an essential piece of kit for any advanced or serious enthusiast photographer. coolest and best-designed compact on the market today. I use them all of the time to take pictures which then go on to be used in all sorts of commercial environments. There has been a lot of development and progress in the world of CSCs (Compact System Cameras) over the past year and the world of compacts has not been far been said about how good-looking the PEN series is and I have to say that for me the XZ-1 looks even better (not a great surprise as the team behind the PEN also developed the XZ-1). There.Olympus XZ-1 Camera review WHITE LIGHT. There is now a compact for every possible user and pocket. with a bewildering choice of models at an incredible range of prices constantly being launched and updated. most stylish. strong detail and pure white aesthetic (although it does also come in matte black) of pretty much everything coming out of the Apple Store at the moment. behind. But can the XZ-1 deliver? PM editor GRANT SCOTT found himself in downtown Las Vegas trying to find out. the XZ-1 just felt right the moment I started to work with it. WHITE HEAT Olympus may have just brought out the best-looking.

The first is the large. ISO and shutter speeds.CO M [ 1 0 5 ] GRANT SCOTT . including one round the lens that can be used to click through apertures. It also has a bright.Zuiko Digital lens fitted to the XZ-1 is an f/1.” camera to come with a Zuiko ultra-bright lens that is normally seen only on Olympus’s SLR cameras. A lot of this great response has to be put down to two major innovations. including the external stereo microphone. To me this is a big deal as by opening up what I can add to the XZ-1 it starts to become an even W W W. electronic viewfinder and flash. The XZ-1 is the first compact “THE XZ-1 IS THE FIRST COMPACT CAMERA TO COME WITH A ZUIKO ULTRA-BRIGHT LENS THAT IS NORMALLY SEEN ONLY ON OLYMPUS’S SLR CAMERAS. But if you feel the need to add more yourself you can. The XZ-1’s light-receptive area of each pixel is twice as large compared to a regular 14MP CCD sensor.63in CCD which is one of the largest sensors to appear in a compact camera with a built-in lens. There’s also an accessory port on the rear that can be used to add an optional electronic viewfinder with a fitting which is the same as that found on the PEN. My walk through the badlands of downtown Las Vegas was rapidly becoming one lived through a lens as I couldn’t stop snapping away. The i. super-sensitive high-sensitivity 1/1. The XZ-1 comes into the game with a competitive 10 megapixels but also compatibility with a large range of dedicated Olympus PEN accessories.5 at the 112mm setting. creating a series of tightly cropped images of the neon signs that surrounded me. The second innovation is that great-looking lens I mentioned earlier. high-resolution OLED screen.8 at the 28mm equivalent end and delivers an impressive f/2.TEST ZONE both accurate and quick to respond even when I was jumping between extreme points of focus and the lens was giving me images that I couldn’t believe were possible with a compact. P H OTO G RA P H Y M O N T H LY. It’s hard to imagine what else Olympus could have fitted into the XZ-1. many people like this but I am not a great fan due to my clumsy fingers. The XZ-1 has two control dials. a flash hot shoe and the ability to wirelessly control off-board flashguns.

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crisp.280 x 720 (16:9). The ultra-bright f/1. which has taken the best bits from the pricier options in the Olympus range to create a classic compact in the making. it’s a great piece of kit and technology. Turn a knob to switch from auto to manual mode. technology that is both eco and photographer friendly with lower power consumption and a considerably higher contrast ratio. The shutter extends to 1/2. I wanted to let you know exactly what I’d been up to. my low-light shooting went into a new dimension for compacts.Zuiko lens is paired with a powerful TruePic V processor and large 1/1. and twist the lens ring to change settings.” sunlight to total darkness the XZ-1 gave me a clean file shot at ISO 1600 file.Zuiko Digital lens.3 megapixels 6. As it got darker it was faster to focus than the Olympus PEN E-PL2. I know that a lot of people do like them and the XZ-1 doesn’t disappoint in both quality and quantity of choice. or Organic Light Emitting Diode. Instead Olympus has created a 610K-dot OLED screen. strong and rich in colour and. plus an AF-illuminator lamp. and always flip the cameras into manual where possible. but it is only in use that you can get to grips with whether it delivers and here are the facts that to me make this a serious contender.0-24mm 1. 1/1. STRONG AND RICH IN COLOUR AND. 225 points/manual selection in magnified view mode LIGHT METERING ZONES 324 zones multi-pattern sensing system ISO SENSITIVITY Auto 100-800. pin hole.8mm 110. grainy film.8 i. P H OTO G RA P H Y M O N T H LY. although it’s not super-high resolution. 4 OLED DISPLAY See clearly what you’re shooting. IT’S A GREAT PIECE OF KIT AND TECHNOLOGY. I loved the white but if you want to be a little more understated you can always go for the matte black.000sec to 60sec SEQUENCE SHOOTING Speed 2fps. The 3in 610K-dot display features deep blacks and great contrast. RAW mode 8 frames.8-2.000sec. W W W. SDXC compatible (Class 6 recommended for movie shooting) WEIGHT 275g (without battery and card) PRICE £399 2 STAY IN CONTROL Set the aperture. Either way. 3 IMAGE QUALITY The i. Manual 100-6400 (adjustable in 1/3 EV steps) SHUTTER SPEED RANGE 1/2. ALTHOUGH IT’S NOT SUPER-HIGH RESOLUTION. Usually the saying goes. The rear viewing screen is a revelation and one of my favourite parts of the XZ-1. diorama and dramatic tone). CRISP. soft focus. shutter speed and sharpness the way you want it. which counters the effects of vertical movement by selectively adjusting the vertical area of the sensor from which each movie frame is selected – especially useful when you are moving at some pace in a rough part of town. SD 640 x480 (4:3) SD memory card. TECHNICAL SPEC: OLYMPUS XZ-1 “THE RESULTS ARE VERY CLEAN. MEDIA SDHC. Any regular reader of my reviews will know I am not a big fan of built-in filters and gizmos. a great-looking camera. Despite the fact that my walk took me from bright Although it is the now-standard 3in size it’s not the standard LCD make-up. The XZ-1 really does have everything going for it to become an iconic compact. coupled with Dual IS (image stabilisation) that both shifts the sensor and increases the ISO sensitivity.CO M [ 1 07 ] . dual-image stabiliser and low light mode are ideal for night photography. a stepping stone between a compact and a CSC.63in CCD sensor 10 megapixels 4:3 11. A low-light mode can shoot to ISO 6400 at full resolution and.3mm (D) 64. PM 42. I do know that if I’d been a bit luckier on the Vegas slot machines I would have bought both. The results are very clean. particularly when used for shooting film footage. sequential shooting approx 7fps/20 frames in HQ Jpeg mode MOVIE MODE HD 1. There you have it. But when it comes to the XZ-1. I have fully embraced movie making with all my cameras and the XZ-1 adds a third dimension in movie mode which Olympus has titled Multi-motion function. Those are the headline features and they stack up well.TEST ZONE Camera review Olympus XZ-1 more exciting proposition. It’s a winning combination and the more I pushed the more it delivered.6mm IMAGE SENSOR TYPE EFFECTIVE PIXELS ASPECT RATIO & AREA FULL RESOLUTION LENS FOCAL LENGTH MAXIMUM APERTURE OPTICAL ZOOM FOCUS AREAS TOP OLYMPUS XZ-1 FEATURES 1 LIGHT-GRABBING LENS Get great low-light pictures and an adjustable depth of field.63in CCD sensor to give high-quality pictures from a pocket-sized camera. It has the same art filters and 720p HD movie modes as the PEN and the Olympus E-5 (pop art. “What happens in Vegas stays in Vegas”. and stays brilliantly visible even when viewed from an angle. However.5 4x 11 points/automatic and manual selection. in-camera ND (neutral density) filters and a variety of aspect ratio choices right through from 3:2 and 4:3 to 16:9 and even a 1:1 square option.


The 15in version is 500g heavier (2.440 x 900. A bigger screen means size and weight become a consideration.apple. All MacBook Pros are equipped with4GB of RAM. reversing the lens eliminates any connection between the body and the lens’s aperture controls.jessops. The high-end 13in MacBook Pro comes with the same 320GB 5. I am wondering if it’s a good idea to get one for my Nikon D3000 and if it is safe for the camera. which attaches to your camera hot shoe and captures the geodata of each picture through a click of your camera. not the weight of the whole lens. but in this case you will have to compromise on power. Do you have any suggestions? Q On your budget I would suggest the Sigma 70-300mm f/4-5. However. But after reading reviews and comments on the internet it seems a 15in would be better for photo editing. RRP $179. DSLR lenses which are 50mm or shorter are more compatible. The 13in version has a 1.com Q I am thinking about investing in a GPS attachment for my DSLR. You get a bigger. such as photoGPS from JOBO.YOUR QUESTIONS UPGRADE Q I am thinking about getting a MacBook Pro. which enables you to search for specific places or streets without having to tag each picture individually. Although the adaptors can offer good results for a minimal investment it is important to remember that the filter threads on the front of your lens were made to support the weight of a filter.280 x 800 resolution panel. So here is what you have got to consider. but is also ideal for portraits.54kg against 2. One side of the adaptor offers a thread to fit the filter rim of your lens while the other side has a mount like the one on your lens. P H OTO G RA P H Y M O N T H LY. while on the cheapest 15in model it is 1. but now the two models are more differentiated.020 and the 15in at £1. It is available at £37. and using it on the outside makes it much more likely that you are going to get dust and dirt inside your lens. It has a 1:2 maximum close-up magnification at the 300mm focal length. The decision should be based on your budget and how often you will be using the laptop. There is generally little or no focus control and only zooms have any control to change magnification. allowing the user to switch to macro photography at focal lengths between 200mm and 300mm. Normal prime lenses will usually take sharper close-up photos when they are turned around backwards. Many major camera manufacturers are including this capability as a built-in function on their latest generation of DSLRs. it seems a 13in model is the one I can afford and it’s a nice size.04kg on the 13in). That in itself is a nice performance increase which will speed up photo editing although. Weighing in at 545g. Bear in mind that the ‘inside’ end of your lens is not always particularly well-sealed. the address – ie country.com PM W W W. of course.jobo. typically. Lenses that lack their own f/stop rings can be problematic and metering can be difficult or even impossible with some cameras. What is your advice? It has become increasingly popular to include location shooting information (GPS) in digital image metadata. but will the extra cost be worth it for you? Next. so the lens can be turned around and mounted on to your camera. and in this regard the 13in is more practical and portable. but that is not necessarily a selling point.com This month KELLY WEECH answers your questions about kit to help you make the right choices.99 www. My budget is around £200. street and closest point of interest – is also captured in the image file. but the one big difference is in the graphics department. enabling you to mount the lens backwards on to a camera body. The 13in model has a custom Nvidia 320M integrated GPU which is roughly half as fast as the Nvidia GeForce GT 330M found in the 15in model. www. you will notice the difference in the performance of the CPU in the 15in MacBook Pro.400rpm hard drive as the low-end 15in.CO M [109] . sports and nature photography. Q I have owned my Sony A200 with the standard lens kit for a few months now and I really want to invest in a telephoto lens that is also capable of taking macro shots.530. The 13in MacBook Pro used to have the same internal specs as the 15in model. think about the size and screen resolution.99 (£113). You can then coordinate the geodata and your pictures on a PC or laptop. using the supplied software. there are some notable trade-offs to consider. While these rings are inexpensive and easy to carry around. It really comes down to whether these are worth the cost.sigma-imaging-uk. The improved DG lens design corrects for various aberrations and this lens is specially coated to get the best colour balance while cutting down on ghosting caused by reflections from the digital image sensor. You screw the adaptor on to your lens’s filter rim. those who bought a camera before this time have devices to help them. The Nikon BR-2A 52mm inversion ring would be a suitable choice for your D3000. What is your opinion? The 13in MacBook Pro uses a Core 2 Duo CPU while the 15in and 17in models feature Intel’s speedy Core i5 or Core i7 CPU which are up to 20-30% faster than the Core 2 chip from the 13in. Where would I be able to buy a lens adaptor? Reverse lens adaptors attach to the filter thread on the front of a lens. although either way you will get the aluminium construction which is the signature of Apple’s Pro laptops. Being able to insert GPS information with each digital image file ensures that the original location can be identified and shared in the future. The most obvious difference between the 13in and the 15in models is in the displays.com/uk A friend of mine took some macro shots using a reverse lens adaptor for his camera and got great results. The 13in MacBook Pro starts at £1. especially on larger files. If you are going to be doing a lot of photo and video editing. So. city.6 DG Macro lens. In addition to the longitude and latitude. especially if you are planning to travel with your laptop. the lens has a versatility and compactness that will be an asset to any photographer on a budget. so there is no difference there. www. You may prefer the lighter weight and increased portability of the 13in. it does come at a higher price and the 13in is still capable of fulfilling your expectations. RRP: £169. especially among landscape photographers or those submitting images to stock libraries. Size and weight are important. higher-resolution screen with the 15in.95 from www.








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The great British photographer Bill Brandt clearly understood the rarity of such acuity when he wrote.into-the-light.FSTOP Porth Nanven. between objects in the world and then being able to arrange them in a significant way within a frame. ROGER. Stare at things until you see them with fresh eyes. It’s obviously very rewarding to have fixed an image. as “the traveller who enters a strange country. Those of us who have unimpaired vision take the process of seeing pretty much for granted. We learn “STARE AT THINGS UNTIL YOU SEE THEM WITH FRESH EYES. journalist and writer Malcolm Gladwell discusses how being truly proficient at something – be it baseball or particle physics – isn’t mystical but depends upon three factors: Intelligence (both IQ and emotional intelligence).com . but practising seeing without a camera will make you a better photographer when you have one with you. luck (opportunities and timing). He shoots large format and is drawn to the abstract image. Any small break in the day can be an opportunity to practise. both literal and metaphorical. Really seeing is more about an understanding of your subject – sometimes this comes as a revelation – than it is about surfaces and forms. I have never believed that great artists possess mystical creative powers. Cornwall DAVID WARD David is a professional photographer with more than 20 years’ experience. In his book. and old-fashioned hard work. sitting in the park eating lunch or waiting for a friend. the drooling baby on its back in the cot staring at the mobile is actually solving the very complicated and ill-put question of vision. One of the most common complaints I hear from fellow photographers is that they don’t have enough opportunities to get out and make images.” Coming from a laconic man.” To see the entire world as new and exciting is surely worth a little practice. simple and straightforward.. It doesn’t matter whether you’re sitting. while helping the market value of some artists. PM www. a journey on public transport. Some of you may be thinking this an example of false modesty. not something I’m wont to do.000 hours might seem a daunting target.000 hours (or approximately five years’ full-time work) are needed to become truly proficient at anything. This month David explains why seeing is the key to successful images and why this takes practice. How to truly see is a skill we can learn and one we shouldn’t be afraid of practising.” how to make sense of the information coming from our eyes long before we have words to describe the process. A GOOD FRIEND AND TALENTED PHOTOGRAPHER. I couldn’t let his compliment go unremarked and pointed out that he was no slouch when it came to finding wonderful images. Perhaps it’s because we learn how to see so early in life that no one understood until the 19th century such basic principles of vision as the fact that two eyes gave us depth perception. Empty your mind of everyday concerns and really look at the world around you. you have the equipment with you at all times. RECENTLY TOLD ME on a rocky shore in north Cornwall that I was “the master of seeing. yet what we see is often only what our prejudices tell us to expect to see…” Noticing this fundamental difference between reality and expectation is crucial to being able to make good photographs. On this last point. Seeing is about being able to make connections. not prone to grandiose statements. I felt this to be both one of the greatest compliments I’d ever received and one I wasn’t worthy of. as Bill Brandt put it.photographymonthly. but let me assure you this isn’t the case. has been extremely detrimental to others – stifling many a novice’s creativity. Outliers: The Story of Success. standing or walking. I assured him that while I could accept I was good at seeing photographic opportunities. or any other kind of visual art.. I could not possibly claim the almost supernatural ability that his use of the definite article suggested – for the simple reason that I consider seeing a matter of practice. Gladwell proposes that 10. Vision seems transparent. REALLY SEEING IS MORE ABOUT AN UNDERSTANDING OF YOUR SUBJECT – SOMETIMES THIS COMES AS A REVELATION – THAN IT IS ABOUT SURFACES AND FORMS. “Most of us look at a thing and believe we have seen it. In my opinion such a viewpoint. In truth his statement shocked me so much that I blushed.com [122] P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 DAVID WARD To read more of David’s columns and for more advice from pros visit the website www. But you don’t need a camera in your hand to practise seeing. so 10. If you practise often you will begin to see the world. Perhaps this is also why few people make the leap from looking to really seeing.

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