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ISSUE 120 APRIL 2011
26 PAGES OF PORTRAIT TIPS & TECHNIQUES
JONATHAN & ANGELA SCOTT • THE 5 LIES OF SHADOWS • MASTERING PORTRAITURE • OLYMPUS E-5 REVIEWED
WILD AT HEART
Exclusive Interview Jonathan and Angela Scott explain the secrets of their award-winning images
GET LIGHT RIGHT
The 5 lies of photographing shadows revealed
Three of the best explain how to master post-production
HOW TO SHOOT THEM, LIGHT THEM, STYLE THEM & CREATE THEM SUCCESSFULLY
GET KITTED OUT
Your essential laptop roundup, the Olympus E-5 toughs it out and the Pentax K-5 reviewed
The magazine for people who love photography
Lumix GF2, 1/250 sec @ f2.8, ISO 200
The Lumix GF2 sold with a variety of lens conﬁgurations. Check with dealer for details.
‘‘GET OUT OF THE ORDINARY”
“Like the shots it lets you take, the Lumix GF2 is a break from the ordinary. It does everything conventional cameras can, but in a smaller, more compact body so you can capture inspiration anywhere with ease. For photographers who like to look at the world differently, it completely redeﬁnes what’s possible.” Will Cooper-Mitchell uses the Panasonic Lumix GF2. D-SLR performance and interchangeable lenses in a more compact body. See more pictures taken by Will on the GF2 at panasonic.co.uk/acityexposed
Will Cooper-Mitchell Photographer
APRIL 2011 | ISSUE 120
FROM THE EDITOR
EDITOR’S IMAGE | MATT HALSTEAD THIS IMAGE | JONATHAN SCOTT COVER IMAGE | PETER VERVER
THE LIVES OF OURSELVES, FRIENDS AND FAMILIES ARE RECORDED THROUGH A SERIES OF PORTRAITS TAKEN BY FRIENDS AND RELATIVES THROUGHOUT OUR LIVES, BUT HOW MANY OF THE IMAGES MAKE COMFORTABLE VIEWING? And how many of them do we feel are successful portraits which capture the spirit of the person the photographer was trying to portray? I know how I would answer these questions and that is exactly why this month we have decided to focus on improving our and your portrait photography. From dealing with shadows, conquering lighting setups and improving our compositional skills to learning how to successfully master the art of image manipulation, I really think that this month we’ve got portraiture covered in a new and fresh way. As always, we’ve asked some of the world’s greatest photographers to share their secrets and advice and I hope you agree with me that what they say is both informative and entertaining. Which is what we try to make the magazine every month. But that’s enough from me; it’s time for my close-up, Mr DeMille. PM
Grant Scott Editor, Photography Monthly
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88-93 LAPTOP ROUNDUP Jessica Lamb takes a look at the best laptops for photography on the market. 23. 73. E T H ER ON OV C 62-63 PETER DENCH Peter shares his advice and experience so you never have to fail at portraits again. 71 EMILY ANDERSEN Emily discusses her experience of shooting a commercial portrait project. INCLUDING: Our roundup of the best innovations from Focus on Imaging 2011. WorldMags LUIS BELTRÁN / ANGELA SCOTT / DREW SOUTHCOTT E TH E R ON OV C . They are best known for their work on BBC television’s Big Cat series. 64-69 TED SABARESE Professional photographer Ted shows you how to use four simple lighting setups. E TH ER ON OV C E TH E R ON OV C 74-75 FILM SCHOOL John Campbell brings you the latest news and kit. E T H ER ON OV C WorldMags MASTERCLASS 49-53 NEIL TURNER We decided to keep things simple this month for our lighting master Neil Turner. plus time is running out to get your entries in for this year’s International Garden Photographer of the Year and Nikon Foundation competitions. WIN STUFF ON PAGES 12. 96 PHOTO ZONE 56-61 MARTIN MIDDLEBROOK This month Martin examines the five great lies associated with shadows. 34-44 JONATHAN & ANGELA SCOTT Jonathan and Angela Scott are wildlife photographers based in Africa. including the Olympus SZ-30MR and Vanguard’s Novello tripod for CSCs.CONTENTS PHOTO MONTH 9-13 ESSENTIAL NEWS FROM THE WORLD OF PHOTOGRAPHY. Tor McIntosh caught up with them to find out more about the team. as well as protective cases. PRO ZONE 27-32 MATT HUMPHREY Photographer Matt Humphrey reveals to deputy editor Sean Samuels how and why he embarked on a journey to shoot 31 portraits of actors and directors in as many days.  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 96-97 READERS’ CHALLENGE Win great prizes by uploading your images to the gallery. as well as inspiration from the world of film making on your DSLR. 76-87 THE MANIPULATORS We ask three of the best post-production masters how they create their stunning work. Armed with just a handful of reflectors and natural light we asked him to find out how best to use these elements to help you get the most from your portrait work. This month – portrait.
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warren-meeks@archant. If you are sending your entry by text and do not wish to be contacted.uk MANAGING EDITOR Simon Reynolds simon. for example.co.dufty@archant. Cheltenham.uk PRODUCTION MANAGER Susan Bozzard REPROGRAPHICS MANAGER Neil Puttnam SUBSCRIPTIONS/BACK ISSUES CUSTOMER CARE 01858 438832 ORDER HOTLINE 01858 438840 VISIT www. Archant House.crosta@archant. London W1T 3EX.reynolds@archant. that information is obtained from a variety of sources and neither the publisher.godwin@archant. If you are sending your entry by post.photographymonthly.com | pm@photographymonthly. 01242 264751 MD SPECIALIST MAGAZINES Miller Hogg WHOLESALE AND RETAIL DISTRIBUTION If you have difficulty obtaining a copy of Photography Monthly contact Seymour.co.co. I Archant Specialist may wish to contact you in the future. Ted Sabarese Photographer New York-based photographer Ted Sabarese shoots for a number of advertising clients around the world.uk DEPUTY EDITOR Sean Samuels sean.uk HEAD OF DIRECT CUSTOMER MARKETING Fiona Penton-Voak SUBSCRIPTION MARKETING EXECUTIVE Lisa Flint-Elkins lisa. where Ted tries to work out how commercial images were lit.co.cree@archant. Light Up Your Life is on page 64. Competition terms and conditions: I The closing date for competitions/giveaways is displayed alongside the competition/giveaway online. His blog Guess the Lighting.flint-elkins@archant. I Unless otherwise stated.com www. the printers nor any distributor is responsible for errors or omissions. copies of which are available from the advertising department.co. please add the word ‘NO’ to the end of your text message.uk.FRIENDS MEET THE TEAM Each month we introduce you to the people we work with to produce Photography Monthly Jonathan and Angela Scott Photographers Award-winning husband-and-wife team Jonathan and Angela Scott are best-known for their work on the BBC television series. I The editor’s decision is ﬁnal and no correspondence will be entered into. I Prizes are as described and no alternatives can be given.CO M [ 7 ] WorldMags . 01242 211099 GROUP COMMUNICATIONS MANAGER Lucy Warren-Meeks. All advertisements of which the content is in whole or in part the work of Archant Specialist remain the copyright of Archant Specialist. 86 Newman Street.uk EDITORIAL ASSISTANT Jessica Lamb jessica. is an internet phenomenon.uk.co. are not eligible to enter. or pass your details to selected third parties.co.324 W W W. 020 7396 8000 Photography Monthly is published by Archant Specialist. Gloucestershire GL50 1BB www. In Out of Africa on page 34 they explain how their different shooting styles complement each other to help make great images. so we asked him to share his invaluable expertise and wisdom to help you make successful portraits. I While reasonable care is taken to ensure the accuracy of the information in Photography Monthly.co. All prices and data are accepted by us in good faith as being correct at the time of going to press. 01242 211092 SALES EXECUTIVE Leigh Barr leigh. Matt Humphrey Photographer When Matt Humphrey had the idea of shooting 31 black-and-white portraits of British actors and directors in 31 days for email@example.com. so we asked him to reveal the techniques behind some of his own shots to help you with lighting your subjects.uk SPECIAL THANKS Mandy Pellatt ADVERTISING DIRECTOR Eleanor Godwin eleanor. I Employees of Archant Specialist. Reproduction in whole or in part of any matter appearing in Photography Monthly is forbidden except by express permission of the publisher. to introduce new products and services to you. 01242 265895 SALES EXECUTIVE Amy Pope amy.co.uk EMAIL photographymonthly@subscription. Big Cat Diary. 01242 216054 CLASSIFIED SALES EXECUTIVE Bianca Dufty bianca. P H OTO G RA P H Y M O N T H LY. Oriel Road.firstname.lastname@example.org | 01242 211096 © Archant Specialist. employees of the sponsor company. ABC certiﬁed circulation (Jan-Dec 2010): 17.samuels@archant. Over the years he has arranged and shot numerous portraits around the world. how to connect with your subjects and how to work with available light. competitions/giveaways are only open to UK residents.co. Archant Specialist is part of Archant Ltd. 01242 264783 lucy.pope@archant. 01242 211092 DEPUTY ADVERTISING MANAGER Nicola Crosta nicola. Pound conversion rates correct at the time of going to press.co.uk FEATURES ASSISTANT Kelly Weech kelly.uk ART EDITOR Bob Cree bob.co.co. Peter Dench Photographer Peter Dench is an award-winning photojournalist and regular contributor to our sister title Professional Photographer. and those professionally connected with the competition/giveaway. Turn to page 62 for Never-Fail Portraits. he explains how to plan a photography email@example.com. WorldMags GROUP BRAND EDITOR Grant Scott grant. In Playing the Part on page firstname.lastname@example.org. but they also travel the world together to capture wild animals in their natural habitats. he did not know the project would push his creativity and also help to develop his style. Advertisements are accepted for publication in Photography Monthly only upon Archant Specialist’s standard Terms of Acceptance of Advertising. please tick the appropriate boxes on the entry form.
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rock and pop. Brigitte Bardot and The Beatles. W W W. both private and public.CO M  WorldMags . 1965. including Michael Caine. created by O’Neill from his original negatives. Sean Connery on the set of Diamonds Are Forever. Tucson. when O’Neill was able to shoot candidly. having been discovered only during research of his archive. 1970. Audrey Hepburn. PM www. theatre and fashion. 1971.PHOTOMONTH All you need to know from the world of photography WorldMags SHOOTING STAR TERRY O’NEILL THE WORK OF BRITISH PHOTOGRAPHER Terry O’Neill will be on display in London this spring to celebrate more than half a century of his work. O’Neill captured many of the major personalities from the world of 1960s cinema. London. Paul Newman. Arizona. London. Britt Ekland. from top left: Lee Marvin on the set of Pocket Money.com Clockwise. Brigitte Bardot. Goldie Hawn on the set of There’s a Girl in My Soup. 1971. 1963. His photographs offer an intimate insight into the stars’ lives. P H OTO G RA P H Y M O N T H LY. Spain. Many have never been seen before.CO M [ 9 ] W W W. 1971. 1971. The Beatles. Arizona. Terry O’Neill: 50 Years at the Top is at the Chris Beetles Gallery in London from 23 March to 23 April 2011. The Rolling Stones. P H OTO G RA P H Y M O N T H LY. The Chris Beetles exhibition features small vintage prints and large modern ones. Tucson.chrisbeetlesfinephotographs. Key unseen images include ones taken during the making of some of the early Bond films. Paul Newman in costume for Pocket Money.
As you’d expect from Lowepro. Featuring fluid cartridges.com  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 The Photography Monthly team was out in force at Focus talking to readers. www. www. We thought the ILC Classic Series was particularly well-timed to accompany the raft of interchangeable lens cameras on the market.GITZO TWO WAYS FLUID HEADS Photographers who like digiscoping should take a look at the GH1720QR and GH2720QR two ways fluid heads from Gitzo. soft-brushed interior specially designed to accommodate compact cameras and accompanying lenses.lowepro. an extra lens. We have one of these tripods to give away. The ILC Classic 50 fits a compact camera with its attached lens kit and spare memory card.com We were really drawn to the innovation and design behind these compact tripods from Vanguard. the Africa range is a sophisticated and subtle collection. We were joined by some of the photographers who contribute to PM: master of light Neil Turner and regular columnist David Ward. the Nivelo 204 is smaller and lighter than the average travel tripod and includes features such as shock-absorbing rubber feet. impact-resistant covers for bridge and DSLR cameras. while the ILC Classic 100 fits a camera plus lens. A 360° rotating head allows panoramic shots while side-to-side tilting gives you a unique take on the world.vanguard. twist-n-lock legs and a spirit level on the pan head. The CompuDay Photo Series can accommodate both a laptop and a single camera ineither a messenger bag or backpack while the Quick Case series features snugly-fitting. metal hardware and adjustable straps. www. events and environmental portraits. with SlipLock attachments.5 through to f/22 The Sweet 35 Optic is part of the Lensbaby Optic Swap System and is compatible with the Composer. CompuDay Photo and Quick Case. The Nivelo 204 is available in black and silver.99.95 and the GH2720QR is priced £254. a single lock system and ultra-precise inner mechanism. Made with today’s CSCs in mind. WorldMags . Its wide 35mm focal length is goodfor landscapes. depending upon which lens body is being used. a flash and two memory cards. Muse. PM Editor Grant Scott (above) donned a head mic to give a talk on the Nikon stand which went down well with a crowd eager to pick up tips and advice. turn to page 96 to find out more.com WorldMags NICK SARGEANT The Nivelo 204 tripod is a lighter and smaller alternative for photographers looking to support their CSC. www.gitzo.com LENSBABY SWEET 35 OPTIC The Sweet 35 Optic from Lensbaby is a 35mm. Both are well made and great for shooting stills and video. no matter how long that may be. www. PM MEET & GREET THE URBAN JUNGLE National Geographic has released a new range of stylish bags for carrying your camera and computer equipment as well as enough personal items to cover the length of your expedition.5in from the front of the lens to the subject. these pan-and-tilt heads give ultra-smooth movement at very low speeds. This new streamlined shoulder bag series has a padded. selective focus lens with a 12-blade adjustable aperture for controlling creative focal points and the amount of blur in your images.geographicbags. Check your favourite retailer for prices. the series is sturdy and practical.95. Designed for travelling from city to city. who answered questions and shared their expertise with the crowds.lensbaby. It allows photographers to focus anywhere from 3in to 7.com VANGUARD’S NIVELO TRIPOD FOR CSCs LOWEPRO ILC CLASSIC SERIES Lowepro released three new series at Focus on Imaging at Birmingham NEC – the ILC Classic. The GH1720QR is priced £213. This is the widest focal length available offering changes from f/2. from shoulder bags to rucksacks to large-sized duffle bags. Control Freak and Scout lens bodies. priced at £59.
the SideKick. Also on show was the 16-megapixel SZ-20. “It used to be just students who came for the film cameras but now we’re seeing a much wider interest in them. or original and filtered. This month they were back at Focus on Imaging with a nifty new product. it costs £10 for two replacement heads. Designed to remove those unsightly marks from the iPad’s supposedly fingerprint-resistant screen. Eye-Fi compatibility and a 3D shooting mode for still images. The new multi-recording function.co. it uses the same carbon-based cleaning compound as the award-winning Lenspens.95. a slender camera with 12. Mike Birbeck. In addition to providing impact protection. according to the society’s honorary life president.com SPECIAL WHAT WE LOVED AT FOCUS OLYMPIC GOLD We love the sleek look of these compacts from Olympus. www. www.cameraclean. available in black and silver. For more information about the society visit www. in a variety of combinations. www. The SideKick comes with one replaceable cleaning head that lasts for 150 to 200 uses and costs £14. using one of the seven magic filters.co.uk WorldMags LENSPEN SIDEKICK We first spotted the LensPen people at Photokina in Germany last September and featured their handy camera lens cleaning pens. and a mode for blur-free shooting at night time without a tripod.lenspen.olympus.95 each. USB charging. The SideKick will be available from April in the UK from Jessops and independent retailers. the covers FOTON VIDEO PLATINIUM DSLR RIG The Platinum shoulder support gives easy access to all your camera functions when shooting video. which the company claims are the first cameras able to capture movies and 16-megapixel stills simultaneously. Both cameras carry built-in flash.uk WorldMags . as a movie and digital stills or two movies at once in wide angle and close-up.disabledphotographers. with a vast array of second-hand kit and photography books on its stand.99. Among the other benefits. for example.photography monthly.99 and the SZ-20MR is priced £199. There has been a resurgence of interest in buying high-quality film cameras. or their carers. P H OTO G RA P H Y M O N T H LY.CO M [ 1 1 ] DELUX GUARDS If you have ever knocked the end of your lens then you’ll want to take a look at this range of protectors from DeluxGear. in-camera manual.deluxgear.” he said. scrapes and dented filter rings. where the cameras will capture two shots (automatically or manually) of a scene from two different angles to create an image that can be viewed with the added realism of 3D on a 3D compatible source.PHOTOMONTH GO ONLINE We update the website daily to bring you news as it happens www. also safeguard against bumps. combined with the photo with movie clip setting. The Olympus SZ-30MR features a super-zoom (24x wide optical zoom) and can record film in more than one mode. It is priced £120. The SZ-30MR is priced £299.uk W W W. They are available in three sizes to fit most lenses and are priced £19.com DISABLED PHOTOGRAPHERS’ SOCIETY The society was back at Focus this year.com The Olympus SZ-30MR (above) and SZ-20MR cameras can take stills and video at the same time. The Disabled Photographers’ Society promotes photography for people with disabilities. making it good for transporting kit as well.co. A moveable arm can be placed to the side of the rig or to the front of the support to help counterbalance heavier lenses. makes it possible to capture moving footage before and after taking a single photograph. which allows users to capture sweeping stills by panning the camera. both cameras feature a smart panorama function.5x wide optical zoom. The Lens Guard can fit snugly over both ends of your lens. www.
Gallery One. wide-angle shots.THE LIVES OF OTHERS The National Media Museum in Bradford houses works from some of the world’s greatest photographers and while its images might be familiar to us we don’t always know much about those who took the pictures. quarter-twist leg locks and non-slip. A Vanguard Alta Pro 283CT Tripod worth £319. It has advanced camera vibration and shock control. Flexible and stable.com The Vanguard Alta Pro 283CT is an award-winning. portraits and work of legends such as William Henry Fox Talbot and Edward Steichen sit alongside images and work of Weegee. The exhibition features a variety of photographers dating back to the early days of the medium.nationalmediamuseum.photographymonthly. The Instant Swivel Stop-n-Lock (ISSL) System securely repositions the central column in a simple movement while maintaining the tripod’s stability. The Lives of Great Photographers. 50° and 80° angles. A new.org. www. It’s a great insight into the minds and motivation of those who have changed how we see the world. National Media Museum. 15 April to 4 September 2011. www. The innovative Multi-Angle Central Column (MACC) System lets you move the central column from zero to 180° angles in variable vertical and horizontal positions – so the tripod is ideal for macro photography and awkward. Dorothea Lange and Larry Burrows. legs that adjust to 25°. a hexagon-shaped central column for extra stability.uk WorldMags © RICHARD SADLER FRPS. explores the lives of the men and women behind the lens with images and histories of the photographers themselves as we’ve never seen or heard them. spiked rubber feet for varying terrains. The Lives of Great Photographers. Bradford. free exhibition at the museum. it incorporates clever features that also make it extremely versatile. some of their remarkable images and intensely personal effects such as notebooks.99 To be in with a chance of winning one of these great tripods go online to our Vanguard competition in the competition section of www.vanguardworld. 1963. carbon fibre tripod and we’ve got three to give away.99 (including VAT).com WIN  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . COURTESY OF THE NATIONAL MEDIA MUSEUM / SSPL Weegee in Coventry. each photographer – none of whom is still alive – is represented by a portrait. The suggested retail price is £319. Famous for shining a light on how others live.
Based on specific themes. and that succeeding is not just about taking pictures. so you can safely capture still and video images when diving or snorkelling. Aimed at final year students studying photography at higher education universities and colleges. a finalist in the Garden Views category of International Garden Photographer of the Year 2010. “I’m looking forward to seeing the portfolios and interviewing the finalists to find someone with raw talent who is able to embrace a challenge and appreciates that a career in photography requires commercial awareness and drive.uk DEEP SEA DIVER Fantasea Line has released a new underwater camera housing for the Nikon Coolpix P7000 camera. before embarking on a tour of other UK venues. entitled Monochrome. An exhibition of the winning and finalist images will be held outdoors in the grounds of the Royal Botanic Gardens. Kew. or when taking pictures at the beach or by the pool. The three-month placement with celebrity and fashion photographer John Wright will begin in June 2011.nikonfoundation.igpoty. ice and snow. ergonomically designed and clearly labelled controls.CO M [ 1 3 ] WorldMags CHARLES NEEDLE Morning Splendour by Charles Needle.nikonhousings. The competition follows the gardening year from January through to November.000 of high-end Nikon kit as the top prize. The winner will be announced on 3 May following a review of the entries by a panel of industry professionals. dust. . the competition carries a three-month paid internship. so you can use it in most environments where the elements could cause damage. The FP7000 (above) is depth rated to 200ft (60m) and features fully functional. sand.com WorldMags E CHALLENGE R Congratulations to Rory McDonald for his image Inside Dove Cottage which is the winner of our March Readers’ Challenge. The housing is compatible with wide-angle and macro lenses and a variety of filters and lighting systems.com HOW DOES YOUR GARDEN GROW? You can now go online to see the images chosen for the finals of International Garden Photographer of the Year 2010.” www. The housing is shock-resistant and protects the camera from water. WI READERS’ NN W W W.000 in cash and £4. invites creative black-and-white garden images. P H OTO G RA P H Y M O N T H LY.com THE APPRENTICE Time is running out to enter this year’s Nikon Foundation Competition. the first. New Mornings. including representatives from the Royal Botanic Gardens. The competition closes on 31 March 2011. “I am delighted to be part of the Nikon Foundation and am really keen to support emerging photographers. The next theme. Now in its fourth year. is open for entries between 1 April through to 31 May. the National Trust and The Royal Photographic Society. with the winners announced in April. £3. as is the first of four seasonal competitions.PHOTOMONTH GO ONLINE We update the website daily to bring you news as it happens www. www.co. up until 31 March.” said John. The fifth annual contest is now open. so you can enter images for a number of different themes. Kew in May. www.photography monthly. the contest to find the best images from the world of botanical photography is open to enthusiast and professional photographers.
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com. bold image where the photographer has taken risks with the position the model has adopted and the styling of her clothes and make-up.CO M [ 1 5 ] WorldMags . we choose the best and publish them the following month Berna V Stacey in black Canon EOS 400D Canon 18-55mm GALLERY YOUR IMAGES ED IT OR ’S CH OI CE WorldMags IMAGE OF THE MONTH This is a strong. Everything works well together to create an unconventional image which perfectly reflects contemporary fashion photography. Editor W W W. P H OTO G RA P H Y M O N T H LY.photographymonthly.Upload your images to www. And that’s not an easy thing to do! Grant Scott.
Yaman Ibrahim Malay man Nikon D3 Nikkor 24-70mm Charlotte Jarman Eye can see you Canon EOS 50D Canon 90-300mm zoom WorldMags Richard Pardon Zebra Canon EOS 5D MkII Canon 70-200mm  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags .
P H OTO G RA P H Y M O N T H LY.CO M [ 1 7 ] WorldMags .READERS’ GALLERY Barri Elford Cardiff Bay night Nikon D700 Sigma 24-135mm WorldMags Jon Howard Survived Canon EOS 450D Canon 55-250mm W W W.
Nick Homer Morning mist Nikon D80 Nikkor 18-135mm WorldMags Damir Murseljevic Splash Canon PowerShot S5 IS  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags .
Southwark Canon EOS 1000D Canon 18-55mm Sani Maikatanga Cat Nikon D90 18-105mm W W W.READERS’ GALLERY Declan Courell Strandhill surfers Canon EOS 5D Canon 70-200mm Leila Murseljevic Closeness Canon PowerShot S1 IS WorldMags Drew Southcott Loch Morlich Canon EOS 500D Canon 10-22mm Bev Hadland Butlers Wharf.CO M [ 1 9 ] WorldMags . P H OTO G RA P H Y M O N T H LY.
READERS’ GALLERY Ryan Stevenson Rannoch moor Canon EOS 550D Canon 18-55mm Chris Ogden Mist in the valleys Canon EOS 5D Canon 24-105mm EF Kieran Murray Arctic drive Nikon D300s Nikkor 55-200mm WorldMags Ceri Jones Winter lane Canon EOS 30D Canon 17-40mm  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags .
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Joe Breen The dance Kodak EasyShare Z650 35mm
IF YOU WANT TO SEE YOUR IMAGES IN THE MAGAZINE and have the opportunity to win an 8GB Lexar Professional memory card and reader, visit www.photographymonthly.com and upload your favourite images. We will choose the best work uploaded each month for inclusion in the magazine, and the Editor’s Choice will win a card and reader. SD or CF, the choice is yours.
If you want the ultimate in memory cards, look no further than Lexar’s Professional range. Even if you shoot at machine-gun speeds, they’ll keep up; the 133x SDHC cards can sustain write speeds of 20MB/sec, while the 400x CF cards are even faster, at 60MB/sec — and at that rate you will need their 8GB capacity. That’s room for more than 5,000 RAW files from a 10-megapixel DSLR. So, if you want to shoot away unhampered, secure in the knowledge that your pictures are being stored safely, start uploading your images to www.photographymonthly.com. For more details visit www.lexar.com.
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com PROFESSIONAL WEBSITES WorldMags FREE! WorldMags 6 MONTHS * * 12 month minimum contract term applies for special offers on web hosting packages. . Learn2Sail www. Terms and Conditions apply. We hope to grow our sailing school website for years to come using the services offered by 1&1.learn2sail.“ Mark Sanders. Special offer price on .co.uk domains applies for the ﬁ rst year of registration. subsequent years will be charged at standard price.1&1 WEB HOSTING “ We at Learn2Sail have found the hosting and services offered by 1&1 extremely reliable and excellent value for money. Prices exclude VAT. please see website for further details. Their control panel is simple to use yet full of features. NetObjects Fusion 1&1 Edition software only compatible with Windows operating systems and available as download from 1&1 Control Panel.info and .
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over 65 and overseas subscriptions .IMAGE: CLAIRE PEPPER ARPS WorldMags THE ROYAL PHOTOGRAPHIC SOCIETY ENJOY The Society’s acclaimed journal (10 issues per year) packed with news.rps.org *** By direct debit only. entry to Society competitions and associated offers With Membership at just £8.000 web users per month SHARE & LEARN through our online community and practical workshops SAVE exclusive member discounts on selected photographic workshops.RPS. reviews. in-depth articles and inspirational photography ACHIEVE a Society Distinction PROGRESS by uploading your images for exclusive expert advice* PARTICIPATE with local meetings and events in your region BELONG to a Special Interest Group free in your first year of Membership AFFILIATE with The Society through exclusive use of our crest on your website** PROMOTE your portfolio on The Society’s website and get your work in front of 32. monthly payments will be less for student.ORG OR CALL 01225 325 733 WorldMags * Only applies to members working towards a Society Distinction ** The Society crest must be used as a hyperlink to www.50 per month*** JOIN NOW AT WWW. disabled.
W W W. He stuck to it and tells SEAN SAMUELS how and why he did. Soon I was taking more and more portraits while working at the Old Vic Theatre. HERE DID THE IDEA FOR THIS COME FROM? The idea behind the project www. as it were. P H OTO G RA P H Y M O N T H LY. I really liked the idea of people making this a part of their daily routine.com originated from an earlier one where my intention had simply been to get out of the house and photograph every day so I could post the image I was happiest with on a Facebook group.PRO ZONE Portrait special Matt Humphrey PLAYING WorldMags Having an idea and seeing it to fruition can be one of the biggest challenges to developing your photography. THE PART W MATT HUMPHREY Actor and writer Noel Clarke. logging in every day to see the photo I had taken. but also the most rewarding. I like the formula.31thirtyone.CO M [ 27 ] WorldMags . Photographer MATT HUMPHREY had the idea of shooting 31 portraits of actors and directors in as many days. A mention on a BBC 6 Radio phone-in and within 10 minutes I had 100 people following the first project. Shot with a single light source and no other visual distractions.
This gave me the confidence to think the idea had legs and I started asking other actors I had worked with through crewing at the Old Vic and got a few names together. I realised it was not going to be a one-a-day job. with the Michelle Ryan shot. but also naturally strong. That was a general matter with a lot of the sitters. Before this he was a school teacher. for example. because she is a pretty girl. Take the Noel Clarke image (previous page). It was a very different type of British film and I really felt he was putting himself out there and making a stance in terms of the films he wanted to make rather than the films other people thought he might make. including playwright Tom Stoppard. So we moved outside and at first she seemed very guarded. I STARTED ASKING OTHER ACTORS I HAD WORKED WITH THROUGH CREWING AT THE OLD VIC AND GOT A FEW NAMES TOGETHER. I really loved the whole month for this excitement and the planning of the shoot. But by the start of that month I only had 11 people signed up. Matt wanted the images of the Bionic Woman and EastEnders star to have a natural and and earthly look. We talked a lot before I even got the camera out. I had this idea of him coming in from the side of the picture with a single light source and no other visual distractions in the background.matthumphreyimages. I thought about the subjects I could get involved with and started as close to home as possible with people in the theatre. This was an interesting aspect of the project and kept me on my toes. I just moved a few [28 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . little bit and talked about her work and I quickly realised the portrait had so much more to do with the relationship between us than the technical side of taking portraits. but just with portraits.WorldMags of artists with dressing rooms. I watched a couple of films he had been in and realised it had been a big breakthrough for him to step away from the safer roles he had in Auf Wiedersehen. and I wanted to move away from that and present her as someone quite feminine. earthly look to them. So I saw him as an emerging talent and wanted to portray him as such. I thought it would be good to do something similar to my first 28 days. Through this connection he has created a body of work focusing on the capital’s theatres. The idea was there in the first place. 28 photos idea. Lesley Manville. or something.com especially involving her role as Bionic Woman over in the States. I thought it was important we felt at ease with each other.31thirtyone. HOW DID YOU APPROACH THE PORTRAIT SITTINGS? Well. sat in the garden for a Michelle Ryan.” BIOGRAPHY Matt Humphrey is a documentary and portrait photographer based in London. it was the first shoot and also the longest of the 31. I had not met a lot of these people so it was important they felt at ease and that I was not intruding on them. relaxed. which is what I wanted from the outset – for all of the photos to have a natural and organic. Light coming in through a nearby window was enough to light this shot. This was nerve-wracking and it was this side of things that was probably the most difficult to deal with – not knowing whether I’d get my 31 in the 31 days. We set this up in his kitchen. He was. www. We spoke. She was in EastEnders and quite lad-mag in that respect. The more people I approached the more people they recommended I approach and I started to get a few bookings in the two months before I planned to do the shoot in August. but really this shot evolved out of that. Quite often these shoots were glam-FHM style shoots. I approached actor and artistic director of the Old Vic Kevin Spacey just after a table tennis tournament we had been having between cast and crew.com www. that became all the more apparent as the month went on. Pet or Doctor Who and to star in the film Kidulthood [which he also wrote]. I played him at table tennis and then asked him if he would be interested in being involved in the project. So it took a while for her to relax into it. I knew she had done hundreds of shoots. but that on some days I’d have two or three or more and then nothing for three days. which he came down to watch. In the past three years he has worked on and off as one of the stage crew at the Old Vic Theatre in London.
THEN I COULD BECOME A BETTER PHOTOGRAPHER.PRO ZONE Portrait special Matt Humphrey WorldMags “I FELT THAT IF I COULD MASTER NATURAL LIGHT.CO M [ 29 ] WorldMags . P H OTO G RA P H Y M O N T H LY. MATT HUMPHREY W W W.
Use the surroundings to your advantage and look for any complementary shapes or lines. angle and intensity of the natural light source. LOOK FOR THE LIGHT If you are able to scout out the venue for the shoot beforehand. as well as let them feel as if they can relax into the situation. how I see myself and how a lot of other people see me. I like the textures you get from black-and-white. because the important thing is to come out with a shot that is true to the situation. This is the most important thing you can do in preparation to get an idea of the person you are shooting. The most important thing is the relationship between you and the sitter and that will show through over lighting. I really wanted to get it as raw as possible and for that reason I didn’t want colour to pull attention away from that. I didn’t want to detract from the person at all or the situation. To know where he was coming from helped to produce an uncomplicated portrait. as your sitter relaxes and opens up by talking. THINK ABOUT THE BACKGROUND Work out what it is you want to say with your portrait and go for an appropriate background. It may spur something on and generate an idea for the shoot. Obvious starting points are next to windows or doorways.” It’s very simple. also think about the [30 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . something I really wanted to work on as well. When planning the recce. the better you can represent them and portray them. where to position their head. you are able to focus a lot more on composition and use of light. Read up. The better you know your subject. and work out your shooting angle and camera settings. at least it will be a starting point from which the shoot can develop. He loved it and said. Dialogue also breaks up the shoot and provides the off-moments. don't fight it. think about positioning of any props or furniture. that is obviously preferable. look at previous photos of that person. you may see something that cannot be missed. things around so there was nothing in the background. ”It is exactly me. IS THIS WHY YOU CHOSE TO SHOOT BLACK-AND-WHITE? Since school when I got into photography – black-and-white film in the darkroom – I loved the effects you could get very simply by using light in black-and-white photography. you are seeing the location for the first time when you arrive for the shoot. as you can take some test shots. This will help dramatically with the composition of the picture. as this might affect direction. This will help you to feel in control. however. eyes and hands. which are sometimes the most interesting shots you’ll get. which both parties can be happy with. If it does take its own path. DO YOU THINK WORKING IN THE THEATRE HAS INFLUENCED YOUR PHOTOGRAPHY? Working in the theatre has definitely informed my work. If. watch videos. Remember that the dialogue can also feed into the sitting in terms of laughter and facial expressions. GET TO KNOW YOUR SUBJECT If possible do this before the shoot. I prefer uncluttered backgrounds without any bold statements going on behind the sitter. One of the main benefits of working backstage at a theatre HAVE AN IDEA (OR SEVERAL) UP YOUR SLEEVE Even if you don't end up using the idea that you've planned out. then the most important thing to look for is a good light source that you can use to your advantage. TALK TO YOUR SITTER Don’t be afraid to let them know how to sit. research.WorldMags WORDS OF ADVICE time of day it is. although be open to other options. spend time talking and relaxing into the situation and developing the dynamic of you and them. When you meet. It’s just him. composition etc in any natural portrait.
which I loved – turning up and thinking how I could use the light there to make the shot I wanted. I sat her next to a window. It was a really overcast. then I could become a better photographer and feel comfortable to take the photograph I want to take in any situation. which was one of the hardest images to light. If I could do this.CO M [ 31 ] WorldMags . WorldMags and being involved in the whole production process of any play being put together is that I have witnessed extraordinary masters of light and how they have used different lights to light a scene to bring out the poignant moments in a play and to light a space which is essentially a black box. cloudy day. In most of the situations I went for a single light source and only used another light source if it was absolutely necessary. Henri Cartier-Bresson. so I watched the subjects’ shows. I did a lot. Annie Leibovitz (I sat in on a shoot of hers of Cate Blanchett a couple of years ago). I turned off all light sources and used a single spotlight on the wall above her. as it were. This was something I had picked up on from several photographers’ books. I have definitely learned a lot from that time and so for the portraits I wanted to focus on how to harness the light that was there already. I enjoyed bringing in the research side of things.PRO ZONE Portrait special Matt Humphrey “I DIDN’T WANT TO GO IN BLIND. I like the Lesley Manville shot (previous spread). Matt shot the American actress using only a single spotlight on the wall above her. I wanted to get everything right in camera as much as possible. Jane Bown. SO I WATCHED THE SUBJECTS’ SHOWS. WHO DID YOU TURN TO FOR INSPIRATION? Irving Penn. W W W. P H OTO G RA P H Y M O N T H LY. but at work it was a lot harder because the places they were working in were not well lit. I felt that if I could master natural light. which had no natural light whatsoever. This was the case with [American actress] Mercedes Ruehl (facing page). HOW MUCH PREPARATION DID YOU DO? I hadn’t been to any of the places I photographed in before I got there. Homes were not so bad because these were going to be somewhere they felt at ease and they would come out of their shell. I had reflectors with me. I didn’t want to go in blind. wet and Mercedes Ruehl. I arrived late in the day and just had to make use of the light there.8 lens. FILMS AND TELEVISION PROGRAMMES. HOW LONG DID YOU SPEND WITH THE SUBJECTS? Over the shoots I probably had on average half an hour with the MATT HUMPHREY HOW WAS IT WORKING IN THIS WAY? There were moments when I arrived and there was not much light. but what was there was enough to achieve what we wanted. and made sure I was clued up on their backgrounds. It ranged from a trailer with artificial light on a trailer set to horrible neon lights in an underground dressing room in a theatre. WHAT KIT DID YOU USE? I shot everything with a Canon EOS 5D and an 85mm f/1. that’s a large part of your work done for you. Cinema star and theatre actor Jeff Goldblum. HOW MUCH RESEARCH DID YOU DO? In the months running up to this. That was the challenge. but never used them that much. I shot in colour RAW and then converted to black-and-white. AND MADE SURE I WAS CLUED UP ON THEIR BACKGROUNDS. That was the focus and reason for me choosing to shoot with available light. The light wasn’t great. films and television programmes. I was arranging the shoots to tie in with the subjects’ own private agendas so I wanted to make it as easy for them as possible and a lot of the shoots either happened in their homes or where they were working. Edward Steichen. American actor Christian Camargo.
Matt Humphrey Portrait special
IF YOU HAVE AN IDEA AND IT IS A GOOD ONE, IT WILL WORK OUT, NO MATTER WHAT.”
subject, but it really ranged from as little as three minutes up to an hour and a half. DID THE FACT YOU WERE SHOOTING FOR A CHARITY [CROHN’S AND COLITIS UK] MAKE IT EASIER TO COMPLETE THE PROJECT? At first I wasn’t sure it would be an idea that would work, until I started talking to people and got them on board. I also knew that approaching people would not be easy without the charity angle. In retrospect I don’t think it mattered which charity it was. I wasn’t that established as a photographer so I felt that if I could get this one big project under my belt it would make things easier. Other photographers had done similar projects, but not as concentrated as this. WHAT HAVE YOU LEARNT FROM THE PROJECT? I learnt a lot personally in terms of having an idea and not letting it go until I had seen it through. I could have given up a lot of times. If other photographers have ideas similar to this, they should just go for it. Consider the project and the outcome as the end goal rather than having these stumbling blocks of thinking this is not going to happen because of this or that. Perseverance is essential to any project like this. If you have an idea and it is a good one, it will work out, no matter what. IN YOUR MIND WAS ANY ONE FACTOR FUNDAMENTAL TO ITS SUCCESS? Getting people interested in the project was the key to its success. I did a lot of PR through social networking sites and by keeping a blog on the site itself. I like the capability that services such as Twitter and Facebook give you to be able to connect with people on the other side of the world. I had people getting in touch from Japan, New Zealand and the States and in that respect it was a far-reaching project. I’d like my
Actor Benedict Cumberbatch, who takes the title role in BBC’s Sherlock.
To see a short video made about the 31thirtyone project and exhibition visit
[32 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1
next project to be similar to it because I have now built up a base, a method and a way of working not just photographically, but also the whole process that comes after that. I am planning the next 31thirtyone, which will focus on musicians, for early summer 2011. I really like the formula, it’s a nice and neat idea and even though I am turning 32 this year, I think I will keep the 31. I have friends who run a charity for street children in Mali, Africa, and I have already started to call musicians I have come into contact with. It is going to hold different challenges. With the actors I knew them or had worked with them. It was easier in a way and is a whole other world I have not really stepped into, but interests me nevertheless. I am thinking I am going to start using light differently and I want to investigate other possibilities for this project. PM
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Sunrise over Musiara Marsh, Maasai Mara, Kenya. Topi and impala are silhouetted in the mist as sacred ibis fly overhead. It pays to be up early to catch the best of the light.
 P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1
when I was given the chance to interview husband-and-wife photography duo Jonathan and Angela Scott. Although a close-knit husband-and-wife team. WorldMags HOTOGRAPHY DUOS HAVE ALWAYS INTRIGUED ME. appearing on and presenting wildlife programmes such as Nature Watch in the 1980s. Does one person focus and the other one press the shutter release? Or do they simultaneously do everything in a ridiculous confusion of hands? I had no idea. IN FACT. for the past two decades he has been one half of a prolific partnership with his wife that has seen them write numerous books. Wild Things in the 1990s and the BBC’s long-running and hugely popular Big Cat series. they bring their individual approaches to photographing wildlife. EVERY TIME I SEE A PHOTOGRAPH CREDITED TO TWO PEOPLE I’M SLIGHTLY PERPLEXED AS TO HOW THE SYSTEM WORKS. TOR McINTOSH caught up with them to see how they work together to capture animals in the wild.CO M [ 35 ] WorldMags . but I’d always wanted to ask them. In addition to his broadcasting credentials. So. P W W W. Many will be familiar with Jonathan through his television work. I knew I would finally work out the enigma surrounding the art of dual picture-taking.PRO ZONE Photographing wildlife Jonathan and Angela Scott AFRICA Fans of the BBC’s Big Cat television series will be familiar with the work of professional photographers JONATHAN and ANGELA SCOTT. P H OTO G RA P H Y M O N T H LY. produce many pen-and-ink drawings and travel around the world as wildlife and travel photographers.
WorldMags WorldMags .
Whether I took it or not isn’t the point. capital of Kenya. only one person can have their face behind the camera and click the button. when photography is such a one-person show most of the time.” explains Jonathan. so the way it tends to pan out is that one of us handles the big lenses while the other takes the wider view. in East Africa. which is in stark contrast to the pushy and macho characteristics of some photographers clamouring to capture the moment.CO M [ 37 ] WorldMags . “We seem to work in incredible synchronicity and harmony. and expect them to produce great photographs. pick up ONE OF US HANDLES THE BIG LENSES WHILE THE OTHER PERSON TAKES THE WIDER VIEW. And if I missed it and she got it. and the fact that we haven’t strangled each other yet. Her husband chips in: “It’s an extraordinary thing to take two people who are very much individuals and put them in a confined space. after all.” laughs Angela.” the complementary lens to the one he’s using. I’m just delighted that she got it. with no fuss or dilemma. “I get as much pleasure out of looking at a great shot that Angie has taken as I do of my own shot. or vice versa. “I think that’s the one thing that everybody is fascinated by.” Well.PRO ZONE Photographing wildlife Jonathan and Angela Scott WorldMags Through a slightly crackly ANGELA SCOTT long-distance Skype call to their home near Nairobi. rather than pick up a lens. “At the end of the day we love each other’s photographs.” says Jonathan. nevertheless W W W. Angela continues by explaining the intricacies of life in the Scotts’ 4WD. which is often our 4WD vehicle. especially if the working environment is the expansive African plains and the subjects are unpredictable wild animals. as you know what the other person is thinking. if he sees that I’m shooting some action he’ll get the car into the perfect position for me.” The key advantage of working as a duo is that there is always an extra pair of hands and eyes. because whenever Johnny picks up one lens I’ll instinctively. As husband and wife for nearly 20 years Jonathan and Angela also have the uncanny ability – some would call it a sixth sense – to silently read what the other Two young male lions stand proud on Paradise Plain. You don’t really think of it as being something that people can combine in doing because. which means you can help in making life easier for them when all panic lets loose. which means you can get really good coverage of your subject. which enables them to focus on a subject in its entirety – quite a feat for an individual photographer.” Photography is inherently a selfish and competitive profession. So even if I’ve pressed the button we actually consider all our photographs as ‘our’ shots because Johnny has perhaps facilitated the wildlife aspect and enabled me to press the button in the perfect position. part of a powerful coalition of six males that dominate the lion territories in this part of the Mara. that’s precisely my confusion with his ’n’ hers photos – how on earth can they both get a credit on one image? Sensing my bafflement. Also. person is going to do. boy am I happy!” Perhaps only a doting husband can take this attitude. WHICH MEANS YOU CAN GET REALLY GOOD COVERAGE OF YOUR SUBJECT. “There’s only so much equipment one person can deal with at a time. P H OTO G RA P H Y M O N T H LY. I launch straight in and quiz them about the logistics of working as a team. but what makes it easy for Jonathan and Angela to work together is that these traits aren’t part of the way they work in the field. “It becomes very intuitive after a while.
They have both won the Wildlife Photographer of the Year Award. Nairobi. “other  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . Angela takes the production stills for the series and is also a game spotter. which Jonathan co-presents. Big cats have been the focus of much of their work. so I carefully broach the subject that having Jonathan at her side has perhaps helped Angela to succeed Wildebeest plunge into the Mara river on their annual migration through the Mara-Serengeti in East Africa. before adding: “Often female photographers have asked me what my best advice is to them.com it’s refreshing to hear one photographer admire another photographer’s work. in this macho field. ‘Get yourself a really great husband. The vast herds (numbering nearly two million wildebeest) roam an area of 25. www. just outside the capital. Gently brushing off Jonathan who. especially in an industry where many photographers are too quick to disparage a competitor’s work. including three books accompanying the BBC’s Big Cat Diary television series and its successors. Until quite recently wildlife photography has been a male-dominated profession (in the past 20 years Angela is one of only three women to have been awarded the top prize at the annual international Wildlife Photographer of the Year competition). she is quick to point out that although Jonathan is allowed to carry her prized lens and set it up on the tripod.WorldMags JONATHAN SCOTT BIOGRAPHY Wildlife photographers Jonathan and Angela Scott live in Kenya.jonathanangelascott. However. especially one who can help carry your kit!’” And when your favourite piece of gear is a hefty 800mm lens I can understand Angela’s need for extra muscle. Angela agrees with my observation. starts to answer the question for her. and I often laugh and say. ironically.000 sq km.
PRO ZONE Photographing wildlife Jonathan and Angela Scott “I GET AS MUCH PLEASURE OUT OF LOOKING AT A GREAT SHOT THAT ANGIE HAS TAKEN AS I DO OF MY OWN SHOT. photography was never his number one passion. whereas Angela’s passion has always been photography. After completing a degree in The leopard is the most elusive of all of Africa’s big cats – to see one is the icing on the cake for a safari. “My interest in photography was actually because I wanted to record animal behaviour. P H OTO G RA P H Y M O N T H LY. I’M JUST DELIGHTED THAT SHE GOT IT. The cubs were later killed by new pride males who had taken over the Marsh Pride territory. WorldMags ANGELA SCOTT than that I won’t let him have his sticky paws on it!” Jonathan is the first to admit that compared to Angela.” their paths to becoming wildlife photographers differed greatly. my prime passion was wildlife. W W W.CO M [ 39 ] WorldMags . Although they both “messed around at school with black-and-white film and the fun of the darkroom. Khali the lioness (a member of the Marsh Pride) stands watch over one of her four 10-week-old cubs.” explains Jonathan.
Wildlife Photographer of the Year for his photograph of a wild dog catching a wildebeest. Antarctica. “Angie always tries to be creative. but I didn’t get that the reason it was so beautiful was because the photographer used light in an interesting way – sidelight and backlight were alien to me. I remember  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags ANGELA SCOTT . which was to record animal behaviour. Angela spent her childhood in Tanzania and it was there that her lifelong love affair with photography began. presented live television documentaries. but I wasn’t being creative and most crucially. and been named the 1987 Prudential Cape petrels swirl around the foot of an iceberg off Antarctica in search of prey stirred up by the ocean currents. In those early years he worked as a guide and naturalist at Mara River Camp on the north-west boundary of the Maasai Mara National Reserve. A pair of emperor penguins perform their beautiful greeting and courtship ritual.WorldMags zoology from Queen’s University in Belfast. By the time the couple met in 1990 Jonathan had already had several books published. resulting in reels of blank film. I remember this defining moment – and this just shows how cocky one can be at times – when we went to visit friends in America and they asked us to take some pictures of their kids out in the garden. I didn’t understand light. It was meeting Angela. art and photography. “However. Egypt. “With my wildlife background I had a clear agenda with my photography. It was so easy for me living in this amazing place to press the shutter release and get a saleable picture. “I was quite well-established when I met Angie and although she’d been taking pictures for many years. I just looked at where the sun was and put it over my shoulder. which made for some very dull photos!” It was Angela’s open-minded and creative approach to photography that helped him to switch from having the eye of a naturalist to one of a photographer. she hadn’t had the opportunities or the equipment that I’d accumulated. As a child she made her own darkroom beneath the stairs of her parents’ house where she experimented with black-and-white images and started to develop her intimate and imaginative style of photography.” explains Jonathan. The couple have both been inspired by photographers such as Henri Cartier-Bresson. Ross Sea. After spending two years in Botswana he moved to Kenya in 1977. but his dream was to become a wildlife artist – living and working near such a wildlife hotspot meant he was in the perfect place to refine his skills as an illustrator and he began to take photos of the animals so he could draw from them. but for Jonathan it’s clear that his greatest inspiration is his wife. I would look at somebody else’s picture and think it was amazing. a kindred spirit who shared his love of Africa. Jonathan spent four months travelling overland from London to South Africa – a trip that ended in disaster when the lens he had bought for his first proper camera (a Canon EF) didn’t sync. Sebastião Salgado and Steve McCurry. I was a lazy photographer. he has not made that mistake again. in Kenya in 1990 (they married two years later) that triggered the creative side of Jonathan’s photography. where he has lived ever since. In fact. ‘Wow! These are so much better than mine!’” Born in Alexandria. so we both took some photos and I remember looking at Angie’s and thinking.
not wanting to take all the credit. Emperor penguins raise a single chick each year – if it survives the Antarctic winter. because they were stirring up insects with their feet. but she just brushed me away like an irritating fly and continued to use her 500mm lens. “Whereas Angie likes to be away from all the cars and people.” recalls Jonathan. I live more on the adrenalin side of things. WorldMags JONATHAN SCOTT Snow Hill Island in the Weddell Sea. Then she went on to win with one of the shots she had taken that day.” It’s difficult not to place a gender stereotype on their different approaches. it’s nothing quite like being with Johnny in the 4WD.” explains Jonathan. “I think we have very different styles. if there’s an eagle on the tree he’ll clue me and say it’s just pooped so it’s going to fly..” she acknowledges. Adults recognise each other and their chicks by their voice and feed only their own offspring.PRO ZONE Photographing wildlife Jonathan and Angela Scott “WHAT I LIKE IS WHEN IT GETS FRANTIC – WHEN ALL HELL BREAKS LOOSE AND YOU’VE GOT TO PICK UP YOUR CAMERA AT A MOMENT’S NOTICE AND GRAB THE ACTION.CO M [ 41 ] WorldMags . We’re so lucky to get a portfolio of images that has both a sense of the female and W W W.. one particular day when the wildebeest were streaming into the Mara and I was thinking. “What I like is when it gets frantic – when all hell breaks loose and you’ve got to pick up your camera at a moment’s notice and grab the action or move the car or get into position. Angela admits that without Jonathan’s knowledge of wildlife she wouldn’t have been able to take many of her photographs.” It was this unique way of seeing that earned Angela the title of British Gas Wildlife Photographer of the Year in 2002 for her image of an elephant family drinking in the Luangwa river in Zambia. Using lenses creatively she manages to create a particular point of view or sees a subject in an interesting way. P H OTO G RA P H Y M O N T H LY. so for me it ups my game hugely because he puts me in the right position and gives me the clue at the right time of exactly what behaviour is going to happen. spending hours looking for the perfect shot. Although I’ve picked up a lot through osmosis over the years. “For instance. Consequently one of these chicks went hungry. ‘Okay let’s photograph the wildebeest milling around the plain’.” It’s their very different approach to photography – and their different personalities – that seems to help them rub along so easily as a team.. When I looked at my photos from that shoot they were a joke compared to Angie’s beautifully composed shots. but they’re also very complementary. but Angie saw some cattle egret that were jockeying for position on the backs of the wildebeest. Because I come from a much more bohemian and artistic background I wouldn’t know that key information. “He is supreme in his understanding of animal behaviour. “I can remember trying to convince Angie as to where best to photograph the elephants. But it’s amusing to learn that if she had listened to her husband’s opinion that day she might not have won such a prestigious photography award. Antarctic Peninsula. I like mayhem. Angie is a much more centred and calm person. now..” However. “I was sure a low-angle shot was the way to do it. but even Angela agrees with me when I tentatively point this out. and she captured some beautiful backlit images of these egrets – it was a detail that I hadn’t seen.
OBEDIENT. The baked earth of Sossusvlei (famous for its towering sand dunes) is one of the harshest environments on the planet and a landscape photographer’s paradise.ANGIE LIKES TO BREAK THE RULES WHEREAS I TEND TO BE A LOT MORE. southern Africa.” Dead Vlei (Dead Marsh). Namibia.  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags ANGELA SCOTT . WorldMags HOW WOULD I PUT IT.
PRO ZONE Photographing wildlife Jonathan and Angela Scott WorldMags WorldMags .
” adds Jonathan. if there are strong foundations.com doing some people photography. like chop ears off and get terribly close into the picture. Angie likes to break the rules. attracted to the spot by the ripples of water. I was actually editing some of his pictures of giraffes earlier today. “With the surname Scott I’ve always felt a huge connection to Scott of the Antarctic. Angela says: “I tend to do things that will make Johnny’s heart shatter. and also because it was such a contrast – the colours. I think you can tell the difference. and would want to. “When we first started with our photography in Africa. the landscape and the wildlife – to Africa. a willingness to make compromises and utmost respect for each other then there’s a high chance of longevity. visiting the Antarctic Peninsula. obedient. South Georgia and the emperor penguin breeding colony at Snow Hill Island in the Weddell Sea. Through him. It was in 1992 that he and Angela made their first journey together to Antarctica on the expedition cruise ship MS Explorer. India also ignites their joy at being photographers. As Jonathan says to me at the end of our conversation: “The combination of the two of us sharing this core thing. [The image earned Angela the 2002 Wildlife Photographer of the Year Award]. they’ve travelled widely over the years and have visited all seven continents. because I love the wider view that takes in the whole landscape. a naturalist and a TV presenter.PRO ZONE Photographing wildlife Jonathan and Angela Scott ANGELA SCOTT WorldMags a broad body of work. visit the website www. I ask if it’s obvious when looking through their portfolio who has taken particular shots. it was Antarctica. but also to his son Sir Peter Scott. so we Intrigued by this. work as closely as they have over the past two decades. Their book Antarctica: Journeys to a Fragile Eden. “Yes. but for me it was all wildlife. which he would never naturally do. the people and the wildlife. And if there was ever going to be a place that stimulated both of them as much as Africa. GO ONLINE For more photography advice and to order back issues of the magazine.” PM  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . Part of it will be because a lot of the big lens shots will be Angela’s – she uses big lenses to create a more intimate photo – and a lot of the wide-angle shots will be mine. published in 2007. So for us. including the Ultimate 2011 Technique Guide. Zambia. but they’re acutely aware that what they have is a rare thing. We are terribly.” says Jonathan. In stark contrast to the mainly uninhabited continent of Antarctica. which is the love of life in all its forms – its people. While Africa is at the heart of much of their work. whether it’s personal or professional. travelling to India we experienced the amazing colours. who was one of the founders of WWF [originally the World Wildlife Fund]. its wild places and its wild animals – and doing something together with it creatively to make a living is an incredible blessing.” “Basically. although the emphasis in India is on the people more than the wildlife. In many ways he covered all the fields that I wanted to do and has inspired me greatly.photography monthly.” Jonathan and Angela’s success as a photography duo reads like any relationship between two individuals. celebrates this wilderness of a continent that they’ve fallen in love with over the years. The elephants were fascinated by the arrival of a grey heron searching for fish. Few people could. whereas I would’ve probably gone in and chopped their heads off. terribly lucky. how would I put it. there were about 12 giraffes and every single one was perfectly placed. the Falkland Islands.” explains Jonathan. Angela was A family of elephants slake their thirst in the Luangwa river. But then we got incredibly involved with the Maasai people who live in the Mara and began photographing them and the beautiful ceremonies.” can offer the male within our pictures. a wildlife artist. whereas I tend to be a lot more. and since then they’ve returned regularly. Antarctica was always somewhere I wanted to visit.
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. During the day you’ll gain and develop an understanding of the skills you have to help organise your time better.' The Melen Courses Diploma is a modular photography course designed to help you to become a professional photographer.” PHIL RICHARDSON WorldMags T. We will show you how to take stunning images simply and creatively. We help you to alleviate your concerns and provide you with the skills to start taking beautiful wedding images. 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. then the Business of Photography course is the way forward for you.. I am currently teaching an A Level photography course at a local school. We'll show you how to formulate a business plan. Using the skills learned in our businesses at both MelenStudios and Tagg Partners we want to share with you our knowledge and experiences. tackle web development and planning for e-commerce.co. helping them to manage change and build effective businesses. The photography courses at MelenCourses are great fun which is something I personally enjoy. George Horn from tagg partners has been working with individuals on a one-to-one basis for over six years. an essential element for any business.WorldMags Something to smile about. If you want to develop. 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. create a marketing One of my passions is learning new things. 01582 840172 melencourses. producing situations for you to create informal candid photographs. Wedding Photography Course Introduction to Wedding Photography. 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. progress your business reaching further and achieving your goals. which can be the difference between success and failure. The MelenCourses Diploma will give you the skills to develop your photography whilst helping to develop your own style. especially in photography and I believe that knowledge is to then be shared. learn to deal with clients. develop your style so that you can communicate your ideas clearly to your customers and giving you the confidence to gain more work. Showing you simple techniques which are easy to learn helping you to enhance and develop your photography business. The day will show you how to generate new business ideas. getting a lot of satisfaction from helping other photographers improve their hobbies or businesses. '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. network and achieve more with your business.uk MELEN STUDIOS . posed and also groups. strategy.. This wedding photography course is based at the beautiful period building at Ashridge near to Berkhamsted with easy access. 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. 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.
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There were. 60cm x 40cm. P H OTO G RA P H Y M O N T H LY. a Barbie doll (Action Man will do as well) and a window. shapes and colours. CANON EF 85MM F/1. REFLECTORS ARE REALLY USEFUL THINGS TO HAVE IN YOUR KIT BAG.CO M [ 49 ] WorldMags . It is these memories that help with getting reflectors in the right place. our lighting master. Generally reflectors work best when they are opposite the light source (right). shapes and colours.MASTERCLASS Bouncing light with reflectors Neil Turner MOMENTS OF WHAT’S IN YOUR KIT BAG? REFLECTION This month we kept things simple for NEIL TURNER. however.8L USM LENS Subject Light source Subject Reflector MANFROTTO LIGHTING STANDS Light source Subject Reflector placement and angle options LASTOLITE48IN SILVER/WHITE REFLECTOR CALIFORNIA SUNBOUNCE MINI ZEBRA GOLD/SILVER REFLECTOR CALIFORNIA SUNBOUNCE MINI SILVER REFLECTOR CALIFORNIA SUNBOUNCE LIGHTING STAND CLAMP LASTOLITE48IN WHITE REFLECTOR/DIFFUSER W W W. When I first discovered them I thought they were the answer to all my lighting issues and dreamed of owning dozens of them in different sizes. In my mind’s eye I can still see my first reflector – it was a piece of three-ply wood. Eventually my dream came true. some glorious exceptions. By sticking your model at different angles to the light source you quickly learn where to put the reflector (mirror in Barbie’s case) and how to angle it.8 USM LENS HOW TO ANGLE A REFLECTOR science lessons WorldMags Someno relation to my in school seemed to bear life or the real world. How light is reflected and refracted was covered in physics and information about the angles at which light bounces off surfaces has also proved useful. This isn’t always possible and the only proper way to learn how to place and angle reflectors is either to get out there and have a go or to mess about with a small mirror. they are not the answer to every lighting issue that I meet daily. Back in the days when we shot film I relied heavily on the simple tips a chemistry teacher gave us on how to work out amounts of chemicals in measuring cylinders. ITHOUT A DOUBT. Sadly. painted matte white on one side and with silver kitchen foil glued to the other. As a very green CANON EOS 5D MKII BODY W amateur photographer I used it a lot and by the time I could afford to buy a reflector I had repainted the white side a couple of times and had at least four layers of aluminium foil on the other. but they are a set of very valuable tools that I use whenever the conditions are right. now I own a lot of reflectors and they are all sorts of sizes. Light source Reflector CANON EF 24-70MM F/2. Using only natural light and just a few reflectors. we asked him to reveal the secrets to this simple setup to help you to take successful portraits.
which allows you to get a lot of light without having to get too close – the bigger the reflector. We set up a very simple picture with a model using only available light and the four reflectors we were trying out. where there is just a small amount of fill. you may not always want the maximum amount of bounced light – I prefer the second frame along. My assistant is holding the panel slightly below the bottom of the frame and angling it to get the desired effect (above).1 2 3 4 WorldMags THE SIMPLE TEST On a dull January day I set out with Jonathan (Jonny) Fleetwood. but you may think one of the others is the best. …THE BIGGER THE REFLECTOR. The Mini reflector used here is 3ft x 4ft. We achieved very similar results with a silver Lastolite reflector and also with a California Sunbounce Micro-Mini when it was closer to the subject. This series of four frames shot using the California Sunbounce Mini with a silver cover shows the progression from no reflector to getting the maximum amount of light bouncing back in. the more light you can get from a given distance. Depending on your taste in pictures and the effect you are looking for. a young photographer who sometimes assists me on jobs. to see just how much difference a good reflector can make. THE MORE LIGHT YOU CAN GET FROM A GIVEN DISTANCE.”  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags NEIL TURNER .
I have found them easy to hold steady too. Many of them paint all of the surfaces in their studios black too. The quality of the light is pretty much governed by the same factors as the amount. The flatter the surface (semi-matte white) the less you will get. This piece was never meant to be an equipment review but here is what Jonny (below) had to say: LASTOLITE “I’ve worked with just about every type of Lastolite.” CALIFORNIA SUNBOUNCE “These are a lot lighter than I expected. the quality and the colour. The thing I like about them is that you can bend and flex them to focus the light almost on to exactly the right spot. W W W. while duller surfaces will reflect it in a more diffuse manner. given that he was the one handling the kit most of the time. Rigid and semi-rigid reflectors just don’t have this flexibility. he has assisted quite a few photographers and I thought it would be interesting to get his opinion about the different reflectors on the market. If you have a limited budget or more time you might want to consider buying a big piece of matte black fabric and using clips and clamps to hold it in place to achieve much the same effect. Most people find a subtle warm tone is pleasing for portraits. Increasingly. P H OTO G RA P H Y M O N T H LY. If the reflector bends.MASTERCLASS Bouncing light with reflectors Neil Turner THE COLOUR & QUALITY OF THE LIGHT There are three things to consider when talking about the kind of light we get from reflectors: The amount. but I like the idea that you can swap covers and they seem really well made.CO M [ 51 ] WorldMags . Attaching them to stands is okay indoors or if there is no wind. The most extreme (and efficient) flat reflector would be a high-quality mirror. but these larger folding ones need to be handheld if there is a breeze. including a 6ft x 4ft monster. I use a couple of black Lastolites regularly in my work to kill reflections and I often dress from head to toe in black clothing so I’m not reflected myself. They take some getting used to when it comes to assembly and putting them away. which is why the various gold/silver and gold/white striped reflectors are becoming very popular. The amount of light is dictated by the size and proximity of the reflector and what the surface is made of. I really like the zebra effect gold/silver covers – they seem to be more subtle than the straight silver or gold. Make the mirror convex and you could give back effectively more than 100% because it is focusing the light. Every manufacturer is keen to point out that its reflectors are available in a range of colours. In real terms black reflectors are incredibly useful when it comes to making sure light isn’t reflected by shiny or light-coloured surfaces and damages your shots. For this article we had four reflectors: Two 48in Lastolite round ones and two of the smaller California Sunbounce models – a Mini and a Micro-Mini. The accessory for attaching the frame to a lighting stand is great. companies are combining colours in stripes to give subtle colour shifts – especially for those of us who like the idea of warming tones a little in portraits. Jonny sometimes assists me on jobs. The double bar that tensions the Mini size makes it really easy to hold the reflector still. The most common misconception is that silver reflectors give a cold light. but who find gold reflectors too warm. If they are made properly they will give exactly the same colour of light that is shining on to them – exactly the same as a white reflector would – it’s just they do it far JONNY’S OPINION When reflectors are required. silver and gold are the most common and often come in a reversible combination of any two of those colours – one on each side. The image above shows the California Sunbounce zebra gold/silver finish. White. they don’t. Since leaving the foundation degree course at the Arts University College at Bournemouth. then it will have the ability to alter dramatically the light it is reflecting.” WorldMags ‘ANTI-MATTER’ OR BLACK REFLECTORS more efficiently. Highly reflective surfaces will reflect harsh sunlight in a harsh way. really solid and simple to use. Studio photographers have always used flags or black reflectors to ‘subtract’ light. The shinier the surface (in photographic terms this means a metallic silver) the more light you’ll get. which would reflect back almost 100% of the light that hits it.
WorldMags  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags .
the wind. Large reflectors can literally make a nice portrait a beautiful one and in these Photoshop-obsessed times using the right reflector can save you hours of retouching by To read more lightening eyes and filling in of our masterclasses shadows that you might otherwise visit the website www. and winced as we realised how expensive this was going to be. So how you hold a reflector suddenly becomes almost as important as what kind of reflector you have. If you also take into account that most reflectors have a degree of flexibility and that any bend in the reflector will give you different qualities of light. but a well-placed and large reflector can add a lot of detail. He started to squint and it made for a very poor picture (left). however. like me. WORDS OF WISDOM If Photography Monthly had wanted me to write about reflectors in a single paragraph I would have restricted myself to explaining when and where you could and couldn’t use them. To be effective. Terry was far more comfortable with a white reflector when the sun came out (for about five minutes). especially when it was coming from almost directly behind him and the silver reflector was just under the lens. These helpful people can either be used as a human stand holding the reflector or they can carry the 20kg sandbags that you need to hold a stand with a 1m diameter reflector attached to it. you are looking at some pretty tight tolerances between useful and useless. We are all familiar with the shape of soft boxes and umbrellas in models’ eyes from flash units and we are all aware of how bad certain lighting techniques can make the human eye look. you work with assistants when you need to. P H OTO G RA P H Y M O N T H LY. then there is no problem. Of course. Umbrellas. Jonny and I agreed that the real skill in using reflectors was in knowing when they weren’t the right things to use. Terry.MASTERCLASS Bouncing light with reflectors Neil Turner THE MODEL’S OPINION How often do we bother to ask the subject of our pictures for their opinion? Not very often would be my answer but while we were shooting the sample images for this piece our model. reflectors need to be held at exactly the right angle in relation to the light source and to the subject.com I’m even brushing up on reflectors myself – especially as we seem to be in an era when photographers are being asked to shoot video and my ‘go to’ way of adding light – flash – is not an option for moving images. regularly became uncomfortable with the amount of light that the silver reflectors were putting back into his face. Over coffee at the end of the afternoon. If. If you read Jonny’s thoughts on reflectors you will quickly realise that a good assistant doesn’t just get the reflector in the right place – they can also bend the reflector and actually shape the light. The reason I love reflectors for certain jobs is the effect they have on catchlights. Fill-flash can achieve nice results and a flashgun is not quite as much of a liability in the wind. feel and even beauty to eyes. the harder it is to get it right.photography have had to lose in post-production. The slightest breeze will move a reflector. and anything not held in place by something 20 times its own weight is going to act like a sail on a yacht and blow away. Shortly after the first squinting incident the theme tune for the rest of the afternoon became the Bruce Springsteen song Blinded by the Light (although these two 20-somethings only knew it from a Johnny Depp film!) Sticking too much continuous light into your subject’s face can be a real issue both in terms of their comfort and in the way the light looks. We all saw a couple of the polystyrene boards being used as reflectors or flags blow over and take a light with them. but most of my working life has been spent shooting in the UK where you can never count on shooting on a breezeless day. This is a huge issue if you are working outdoors but I’ve even seen disasters occur indoors with a window open or when a photographer using a wind machine started it up for the first time after carefully placing his lights and reflectors.CO M [ 53 ] WorldMags . A lot of the time there is very little room for error and the smaller the reflector in relation to the subject. soft boxes and reflectors all share the same disadvantage – they are all close relatives of the sail (left)! WorldMags GO ONLINE NEIL TURNER PM W W W. if there isn’t any breeze. The elephant in the room is. monthly. Every reflective surface and every light source that is in the subject’s eyeline will be reflected in the eyes. you will have less to worry about (below).
1 place left Price includes 2 nights dinner.com WORKSHOPS 2011 March Do you want to go to the Isle of Skye but thought it too far? Isle of Skye and Glencoe .00 .Watching how the light changes the landscape made me appreciate the magical hours of just after sunrise and just before sunset.£425. bed and breakfast WorldMags April Shropshire 8th . I hope to book another workshop soon.00 .Glencoe 2010. bed and breakfast September Isle of Skye .1 place left Price includes 2 nights dinner. he will show you how to produce your favourite image from the workshop.Glencoe 16th.£695.1 place left 4 nights including dinner. upto 24” x 18” ALL SINGLE ROOMS . bed and breakfast Lake District 15th .£425.Two location workshop 1st . www.Lightscapes Photographic Workshops “Many thanks for the fantastic Glencoe workshop.NO SUPPLEMENT Maximum 5 Photographers Free Post Workshop Telephone Support t: 07779 122034 e: info@garygroucutt.Glencoe 4th.£695.8th .£395.5th . I feel I now understand the use of ‘Manual’ mode.00 . bed and breakfast October Isle of Skye . bed and breakfast Isle of Skye 22nd.£695.00 .17th .com WorldMags .” Moira Gardner .20th .FULL 4 nights including dinner.garygroucutt. bed and breakfast Free Post Production The courses uniquely include a free post production day at Gary’s studio.00 Price includes 2 nights dinner. It was magical to get snow on the mountain tops and along with the Autumn colours made photography extra special.10th .20th . bed and breakfast Lake District 18th .£695.00 4 nights including dinner.00 4 nights including dinner.26th .
jumped out with his camera and captured To enter competitions people to care about the planet.com the detail in the animals makes for an outstanding photograph. Founded in 1888 to “increase and when he spotted this lovely pair of horses at the side of the road. Ciaran.” GO ONLINE W W W.nationalgeographic. sponsored by Bowmore Islay Single A stormy seascape by Andreas Edman from Nyhamnsläge in Sweden was the Malt Scotch Whisky. who also took first place in the Nature category with the The National Geographic Society is one of the world’s largest non-profit picture. Ireland and Sweden submitted images to of two grand prize winners chosen by judges in the National Geographic the competition in the three categories: People. one of Scotland’s oldest deliberate chewing of the horse. Karen Gunn.” Geographic magazine.com www. prizes visit www. P H OTO G RA P H Y M O N T H LY. colours and tonal range distilleries.000 people from the UK. it immediately transports the of the Inner Hebrides. The two winning images will also star in a future Bowmore Islay Single Malt Whisky advertising campaign which will appear in National combine to make this a classic. this image. where they will stay for three nights at Bowmore viewer. WorldMags WILD HORSES CIARAN CUNNINGHAM This outstanding image of a pair of horses on Ireland’s west coast was one More than 1. editor-in-chief of the Nordic National photographer Ciaran Cunningham has captured. “What stands out for me about this photograph are and win fantastic The winning images and finalists from this competition are now the colours.photography available to view online. Places and Nature. diffuse geographic knowledge”.PHOTO ZONE The home of creative photography “THE COLOURS OF THE HORSES ARE ECHOED IN THE BACKGROUND AND THE DETAIL IN THE ANIMALS MAKES FOR AN OUTSTANDING PHOTOGRAPH. senior photo editor at UK National Geographic Magazine Online. to reveal so much of the animals’ characters. and how the portrait appears Geographic titles.” said fellow judge Cristina Creager. the Society’s mission is to inspire He stopped his car. International Photography Contest 2010. Cottages. Entries were invited that “captured life from a personal or fresh angle”.ipcuk2010. described it as “a technically beautiful image with a great atmosphere and depth”. The composition.CO M [ 55 ] WorldMags . The team at Photography Monthly loves the moment of peace that second grand prize winner. which form part of the Bowmore Distillery. PM “The colours of the horses are echoed in the background and monthly. The winners each receive a trip for two to Islay. was driving through Connemara on the west coast of Ireland scientific and educational institutions. the southernmost island Monica Corcoran. described the image as “simply beautiful. You can almost feel the slight coastal breeze and hear the slow.
the topic of shadows was in fact something replete with possibility. shadows. I had never truly appreciated. those pesky shadows! When I was asked to write about shadows I thought it was going to be a stretch finding enough words to say on the subject. So I did what I usually do and sketched a basic narrative from which I could fill in SHADOWS MARTIN MIDDLEBROOK is not content to hear the same old comments being made about photography and this month he turns his attention to the world of light and shade. [5 6 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . I began to understand what a significant role shadows played in photography. S the gaps. in a way that. where to start. if I am honest. I soon realised that far from being the poisoned chalice I had feared.WorldMags GREAT LIES OF hadows.
and somehow that oblique slash sets up a painterly quality that mirrors the abstraction that resonates throughout – this is an image that isn’t so much photographed as painted. And if we ever needed proof of the shadow’s value.CO M [ 57 ] WorldMags . by their dominance they paradoxically subdue. Without shadow. W W W. and yet its significance is more than the sum of its rather insignificant parts. are the result of light reaching any surface in variation. so often we don’t see them at all. but their apparent absence or their seemingly overbearing presence still adds to that wonderful and key quality of an image – reality! The image (top) is such an obvious example of this thesis that it hardly needs stating. and in their apparent absence they enliven.PHOTO ZONE 5 great lies of shadows Martin Middlebrook WorldMags SHADOWS ARE AN EVIL THING – NO. all our images would look like an 18% grey card – not a stimulating thought. What we regard as form and tonality. the three-dimensionality of any surface. Its jaunty angle sets the animation for the scene. variation caused by the play of light across the rise and fall. brutal and subtle. We underestimate the value of shadows. In so many ways shadows are photography and yet we seem to spend so much time avoiding. they are straight and soft. stop and look a while. Shadows can be readily seen or not. P H OTO G RA P H Y M O N T H LY. lay to rest some lies. in the broadest sense. the shadows in the image (top left) provide a restful and sombre repose. but most of all they are ‘everything’. however small. It is in every sense the essence of the image. Suddenly the magpie is alive and precipitous. it really is the biggest part. the smallest and yet most important part. So shadows really are at the heart of what we shoot. In the same way that the shadow from the magpie’s tail animates that image. Shadows are the visual armature upon which we build form through the use of light and shade. In their dominance they subdue – a paradox I love. and bring shadow back into vogue with my Five Great Lies of Shadows in Photography! MARTIN MIDDLEBROOK Shadows are curvaceous and harsh.000th of the whole image. however subtle and reduced. ready to make that leap of faith at any moment. have a look at the same image with the shadow removed (above) and we see that. The shadow in this image can’t be more than 1/1. eliminating and masking them that we have somehow missed a trick. they set the featherbed inertia and in their entirety invite us to slow down. So let’s unmask some truths. THEY ARE THE FORM AND STRUCTURE OF AN IMAGE! “I BEGAN TO UNDERSTAND WHAT A SIGNIFICANT ROLE SHADOWS PLAY IN PHOTOGRAPHY.
IT’S A DIFFERENT WAY OF THINKING. It is such a standard visual metaphor that maybe we are put off by it. so light can fall upon just the tiny part that is most important. It adds a drama that other isolating mechanisms fail to match – there is a punch and depth to the image. It’s something to be aware of. but an actor spotlighted on stage only works because everything else has succumbed to the shadow’s presence – our subject is brought into sharp focus by a lack of intrusion. We may call it the ‘limelight’ if we wish. Your subject will be blown out. trying to make those dark shadows 18% grey. NOT THE SUBJECT. but so long as you allow for it you can create a perfectly isolated image simply by using shadow as an enhancer. but you can shoot at f/16 and use shadow carefully to achieve exactly the same effect. It considers the overall scene to be underexposed and compensates accordingly. maybe more. to darken everything in our image. However. overall tonality is usually ‘balanced’ so metering is comfortably within range.5 so the subject jumps off the page. IN CONTRAST IT CAN THROW OUR SUBJECT INTO STARK RELIEF! Sometimes we need shadow for other reasons than we might imagine.THE KEY IS THAT I HAVE BEEN TRYING TO PHOTOGRAPH A SHADOW. It is allowed the space to breathe in its frame because it is alone. When you use depth of field to isolate the subject. The only technical consideration in these circumstances is that the camera frequently interprets the scene incorrectly and overexposes. We talk often of shooting at f/4. the camera will frequently overexpose.” WorldMags TOO MUCH SHADOW DESTROYS AN IMAGE – NO. WorldMags . when trying to isolate the subject through use of shadow. but it is as effective as isolating the subject through precise and narrow depth of field. We might need it to dominate.
with a napkin ring placed upon the book’s gutter. I have tried to reproduce this shot several times. the angle of the sun and the prevailing weather conditions. shadows can be the whole picture. I was absolutely trying to photograph the perfect shadow. they should be sought out that way. Sometimes. but never with the same success. in fact very often. It may be clichéd but it was a wonderful example of using one shape to make another – this is shadow photography at its best.” I wouldn’t go and see it and I don’t suppose you would either. W W W. not the subject. P H OTO G RA P H Y M O N T H LY. most importantly. I was just waiting MARTIN MIDDLEBROOK for the right time of day. An open book. go out and photograph a shadow. I saw a rather brilliant but simple photograph the other day that expresses this position with such elemental beauty that it’s worth relating. So when the light is right. They are not just additional information that sets the time of day. Shadows should be treated that way and. SOMETIMES THE SHADOW IS THE PHOTOGRAPH! It’s easy to see shadows as playing only a minor role – “and the winner of this year’s best supporting shadow is ‘slightly darker area’ in the F-Stop Conspiracy. The key is that I have been trying to photograph a shadow. The napkin ring’s shadow becomes the perfect loveheart as its circular form unfolds into the book. the perfect alignment between rasateur and bull – this was a previsualised shot.PHOTO ZONE 5 great lies of shadows Martin Middlebrook WorldMags SHADOWS SHOULD PROVIDE SUPPLEMENTARY INFORMATION – NO. it allows you to see three-dimensional form in an entirely new way. When I took the photograph of the bullfighter (above). not the subject. and backlit. sometimes they are the ‘majority dimension’ of the image.CO M [ 59 ] WorldMags . In fact. It’s a different way of thinking.
define the generality of something. the reverse. but after writing this article I am minded to do so – my. softer and harder. in the same way that colour temperature is a constantly shifting thing. if you don’t like the one you have now. A shadow that falls upon the surface of a porcelain teacup will have an entirely different quality to the shade from an oak tree. Contrast it to the image (below) where the shadows are harsh and dominant. When we look at the sleeping man in a doorway. Shadows come in every shape and form. And shadows change by the minute. but glance out of the window at a familiar object and see how it constantly updates itself. shadows are on the move. This is something that’s worth considering: the value and nature of shadows and how they affect the overall quality of your images. Definitions. dappled nature of the shadows – so subtle that you wouldn’t notice it unless I pointed it out. but of course we know this not to be true. throughout the day. It’s the nature of shadows that they affect the overall ambient feel of the image. shadows allow us to see negative space. WorldMags This simple texture (above) is made by the soft. what a breadth of opportunity it would provide. what strikes us first are the shards of light that split the door.” ALL SHADOWS ARE THE SAME – NO. [6 0 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . To discuss every possibility of shadows would be to labour the point. When we read the above definition we could be forgiven for thinking that all shadows have the same qualities. brighter and darker. diffused. EACH SHADOW HAS ITS OWN QUALITIES! Dictionary definition of a shadow – ‘an area that is not or is only partially irradiated or illuminated because of the interception of radiation by an opaque object between the area and the source of radiation’. Therefore the same object shot throughout the day changes constantly. This is the wonder of shadows. because shadows shorten and lengthen as the sun tracks across the sky and clouds impede the potency of direct light. and succeed in making the ‘highlights’ the pivotal centre of the image.IT’S THE NATURE OF SHADOWS THAT THEY AFFECT THE OVERALL AMBIENT FEEL OF THE IMAGE. but it can never capture the ‘nuance’ of it. become bigger and smaller. Shadows allow us to see the difference. every degree of intensity. But they only exist as such because the rest of the image is in shade. I haven’t created a portfolio of shadows. by their nature. cross the threshold and spill on to the tiled floor. They change by the second. It may encapsulate the essence of that thing. wait 10 minutes and a new one will come along.
A frosty monthly. regardless of size and location. They appear on such a grand scale that we think of them as ‘the’ landscape. And whether it is obvious and grand. is three blank sections. the hill behind is in a living. Everything casts a shadow. PM GO ONLINE W W W. and failure. or is in shade. allowing the hoar frost to revel in its sparkle. we appreciate that shadows set the values and tone of our images. So often we treat shadows as some cumbersome interloper. exists with such beauty article. I don’t think I had A silhouette. aggravation that stains our images. For more of Martin’s So here is my call to arms: if you with them it is animated articles visit the website www. an Pink Floyd extraordinarily wealthy. REGARDLESS OF SIZE AND LOCATION. breathing thing. but to me. when we learn how to look.com equally embrace the dark side. while not strictly speaking appreciated this myself until I wrote this a shadow.PHOTO ZONE 5 great lies of shadows Martin Middlebrook WorldMags EVERYTHING CASTS A SHADOW. ‘shadows’ have because no light is falling upon the dark become my marvel of photography. and Rolling hills become a biblical landscape yet it is clear that they are often the because the shifting clouds cut the biggest single factor between success image up into slices that ebb and flow. rather than light’s meandering effect. it is backlit tree exists because the bones to light’s flesh and we of the value of hidden need it all for a picture to become shadows.” SHADOWS ARE OBVIOUS AND CAN ALWAYS BE SEEN – NO. Cross-sections of a striated Everyone will tell you that ‘light is all’. then you should brush strokes. OR IS IN SHADE. side.CO M [ 61 ] WorldMags . without them it you simply can’t have the other. AND WHETHER IT IS OBVIOUS AND GRAND. it is there. Look at the images (above): The moon is in shadow. SOMETIMES SHADOWS EXIST IN SUCH A WAY AND ON SUCH A SCALE THAT WE DON’T RECOGNISE THEM! Sometimes shadows are so much a part of the landscape that we almost don’t see them. helping to make rock band IN CONCLUSION MARTIN MIDDLEBROOK Once we start to see differently. or hidden and small. P H OTO G RA P H Y M O N T H LY. IT IS THERE. OR HIDDEN AND SMALL.photography embrace light. complete shade. field set up compositional but in equal measure so is ‘shadow’ – values that make the it stands to reason – without one picture.
Even if it’s a family member. You can never be sure how the  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . then move the subject into a more fluid environment. If the surroundings are relevant maximise them. If the surroundings are a problem you can always blow them out with a minimum depth of field and compose tightly. if I could offer you only one tip on how to take never-fail portraits. seated. lover or someone else you know well. close and full length. Try to compose the picture in an environment where the sitter feels aking portraits can be easy. It’s as complicated as you want it to be. Even the wallpaper or a pair of jazzy curtains might make a good backdrop. Get them looking directly into the lens. For a triumph in composition. approach the sitting with a level T comfortable. the final piece of a journey that began the moment you arranged to take the portrait. Composition is the heartbeat before releasing the shutter. Get one safe portrait in the bag. Perfect your routine. think about why you want to photograph them. skeletons and manuscripts added to the charisma of the shot. prepare to be flexible. of professionalism. A close-up of granny’s lived-in face might work best or a full-length to capture the glamour of a leggy aunt. but remember it’s not an interiors shot. serious. a fraction of a second where everything fits fleetingly. Photographing explorer and writer Redmond O’Hanlon at his home among woodcarvings. don’t be afraid to cram things in. what interests you about them and what composition would enhance those characteristics. Mix up the compositions – animated. Light one location for a formal composition. Here PETER DENCH takes a light-hearted look at how to win every time. standing. then vary it. composition would be it.Singer Tom Jones WorldMags NEVER-FAIL PORTRAITS When you are working as a professional portrait photographer you cannot afford to miss the shot. then push for the unexpected. To paraphrase Australian film director Baz Luhrmann: Ladies and gentlemen of the class of 2011. don’t let the heavyweight protectors of the genre tell you otherwise. Personal objects in a composition can help the sitter to relax and the viewer to take an interest.
If they are a it’s only a portrait. change location. you will learn to just know.PHOTO ZONE Composition Peter Dench Lifestyle advisor Carole Caplin Hypnotist Paul McKenna WorldMags Footballer turned actor Vinnie Jones DO NOT OVERSHOOT. Check the corners.” A detail or suggestion will be enough. IF YOU THINK YOU HAVE IT IN THE BAG AFTER 20 MINUTES OR IF THE SUBJECT BECOMES DISENGAGED. Try not to have one locked idea about Handing a shotgun to footballer turned the sort of composition you would like to actor Vinnie Jones helped to achieve achieve. Let them unpack the kit while you have a conversation with your sitter.com PETER DENCH shoot will unfold. If. In my experience this has never ended well. compose and shoot. if I could offer you only one tip on how not to take ‘never-fail’ portraits. Let your eye rove around the frame. then by all means go for it. and great hotels have great bars. do not ask them to tell you a joke. Take enough kit to be calm and confident.CO M [ 6 3 ] WorldMags . a great hotel. If you have bought be commissioned to take a professional or hired it specifically for the shoot do not portrait it is likely to be in a hotel. spotty individual magazine (I asked him if it was loaded. feel obliged to use it. Do not overshoot. P H OTO G RA P H Y M O N T H LY. As the American comedian. Be aware of perspective. shuffled into the room. Match the kit to Do not rack up an exuberant bill the sitter. have faith in your ability. however. When the momentum passes. Do not eat garlic. Rules are there to be in relative silence. If you want to compose a before or after the shoot and then strong portrait what you use must come as second nature. and shoot some of them to get them involved. symmetry and tone. If they are relaxed and inspired it will ultimately help you to achieve a good composition. PM but avoid burdening the sitter. A portrait is a two-way process. do not quote one of their lines. don’t get stressed. For more techniques and advice visit the website can enhance a composition. show them respect but don’t be overawed. Mistakes I have made include a strong composition in a portrait for GQ setting up for a tight headshot before a jetlagged. Shoot vertical and horizontal (except if shooting square!). monthly. I asked hypnotist imparted – consulting the rules of Paul McKenna to “look into my lens. If you think you have it Beware of having any preconceptions in the bag after 20 minutes or if the subject about your subject (except perhaps if it’s becomes disengaged. but try not to confuse this with an invitation to flirt or ask for a date. WRAP IT UP. photographer Edward Weston wisely Do not tell them a joke. Don’t overwhelm the broken. but have fun. Both will www. Kit can be a burden. Ladies and gentlemen of the class of 2011. bill it to the sitter’s room. practice. GO ONLINE W W W. direct any diagonal lines towards the subject. cold-riddled. work with them. actor Danny Dyer). When all the elements have come together. If you’re a bit unsure ask a friend along to help. through subject immediately with suggestions. They simply said no! he fired it over my head in confirmation). Composing a portrait can be a very intimate and bonding experience. it is Props included constructively unlikely to be well-received. not composition before taking a photograph is around the lens but straight into my lens” like consulting the laws of gravity before before having released the shutter. don’t shock your A final warning: If you are lucky enough to subjects with too much. they ask you.photography compromise your composition. take on board their ideas. Somehow as photographers. which meant the rest of the shoot was conducted going for a walk. If your subject is an actor Above all. composition would be it. wrap it up.
lit. BIOGRAPHY [6 4 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags TED SABARESE Ted is based in New York and his clients include computer giant Microsoft. ON A BUDGET? You don’t need to buy a white reflector panel specifically designed for the job if you want to start experimenting with reflective light. For this shot. toymaker Hasbro and clothing brand Nike. He is also editor of the blog. this image demonstrates moderate Rembrandt lighting where the model is simply. finding out the answers to these questions has become a constant obsession which takes the form of his blog Guess the Lighting. natural light of the sun. www. Guess the Lighting. This is a popular lighting technique because only one light source is required to create a compelling image that resembles the singular.419.com . I call it ‘moderate’ because there is a greater amount of fill light than is traditionally present. Now he’s brought his limited drawing technique and expert lighting knowledge to his own work exclusively for Photography Monthly.LIGHT UP Have you ever looked at a portrait and wondered how it was lit? What lights and reflectors were used and where they were positioned? For professional photographer TED SABARESE. A white V-Flat sits just out of frame to camera right and helps to fill the shadows on that side. yet dramatically. I placed a medium Elinchrom Octabank high and about 6ft to camera left. You could start out by using white polystyrene ceiling panels from a builders’ merchants or DIY store fixed to some stiff card.99) 1 Bowens Octo 150 soft box (£590) Elinchrom Octabank TECHNIQUE USED Taken from my Evolution series. YOUR LIFE USING A SINGLE LIGHT SOURCE KIT USED 1 Profoto-7a 2400 power pack with Profoto head White V-Flat 1 Hasselblad H1 camera with 80mm lens 1 Leaf Aptus 75 digital back WorldMags1 Elinchrom medium Octabank Alternative lighting options: 1 Bowens Quad 2400 Studio Kit (£2.tedsabarese.
PHOTO ZONE Lighting setups Ted Sabarese GETTING THE POSE RIGHT By asking his subject to look slightly to the right Ted has been able to create a very thoughtful mood to the portrait while also being able to use the one light source to illuminate the main area of the face.” WorldMags W W W. NATURAL LIGHT OF THE SUN. “ONLY ONE LIGHT SOURCE IS REQUIRED TO CREATE A COMPELLING IMAGE THAT RESEMBLES THE SINGULAR. P H OTO G RA P H Y M O N T H LY.CO M [ 65 ] WorldMags .
[6 6 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . The props and subject should feel and look as one.” WorldMags USING PROPS When using props such as the podium Ted has chosen here. I WANTED PUNCHY LIGHTING THAT DREW THE EYE QUICKLY TO THE MODEL.“FOR MY HUNGER PAINS SERIES. BUT ALSO FELT THEATRICAL. make sure to use strong and simple shapes that enhance the subject’s pose rather than distract from the main focus of the image.
WorldMags . this was pre-Lady Gaga. TED SABARESE Using fewer lights usually translates into creating more drama. A large striplight box. In this case Ted needed the extra quality of the medium format. I wanted punchy lighting that drew the eye quickly to the model.358) 1 Broncolor striplight box Striplight box AD WorldMags White beauty dish TECHNIQUE USED ON A BUDGET? If you don’t have a striplight box. Alternative lighting options: 1 Broncolor Visatec Solo 232 Monolight Flash 2 head kit 2400w (£2. My key light is a white beauty dish placed high and 7ft to camera left. For my Hunger Pains series. with its bottom half flagged off. almost spot-lit key light places the model and her clothes figuratively (and quite literally) on display. but also felt theatrical. the type of location they are shooting in and how the final image will be used.PHOTO ZONE Lighting setups Ted Sabarese USING TWO LIGHTS TOGETHER KIT USED 2 Profoto-7a 2400 power packs with Profoto heads 1 Profoto white beauty dish 1 Elinchrom large striplight box 1 Hasselblad H1 camera with 80mm lens 1 Leaf Aptus 75 digital back WHY MEDIUM FORMAT? Professional photographers choose the right format for the type of image they are shooting. I allowed the background to go darker by moving the model away from it and not throwing any additional light on to it. you can always experiment with using full-length reflective panels to bounce even light on to the model or using a flashgun on a stand in a full-length soft box. sits similarly to camera right for fill at two stops less than the key. Just for the record. The soft.
concentrating the light.430) 1 Interfit SLBR39 30cm x 90cm striplight box (£95) 1 Elinchrom grid reflector 1 Elinchrom 18cm 60° reflector and 20° honeycomb grid set (£41. in this case. I placed a medium striplight box nearly perpendicular to the model.” 20° grid reflector TECHNIQUE USED Another great way to utilise a two-light setup involves lighting the background as well as the model. Ted has balanced his lights by creating a series of reflectors which soften light and create subtle highlights and shadows. White V-Flat Medium striplight [6 8 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . on her face and nose. “THIS EFFECT HELPS TO SEPARATE THE SUBJECT FROM THE ENVIRONMENT IT IS CONTAINED IN. I created a glowing halo around her head (bringing even more focus to her face). To cut down on the contrast. I then positioned a reflector with a 20° grid behind her and by aiming it at the background. black seamless paper. You can see the light fall off on the back of her arm and head. and the viewer’s attention.99) WorldMags BALANCING LIGHT There are few rules to lighting a portrait and as you can see from this portrait. For this image. I did place a white V-Flat just out of frame to camera left for fill.USING TWO LIGHTS TOGETHER KIT USED 2 Profoto-7a 2400 power packs with Profoto heads 1 Chimera medium striplight box 1 Profoto grid reflector with 20° grid 1 Hasselblad 503CW with 80mm lens 1 Kodak Ektachrome Epp100 colour slide film Alternative lighting options: 1 Elinchrom Digital 2400 RX pack and digital A3000N head (£2. This effect helps to separate the subject from the environment it is contained in.
649) 1 Interfit SLBR39 30cm x 90cm striplight box (£95) 1 Elinchrom 44cm silver beauty dish with deflectors (£138.99) TECHNIQUE USED I love the different effects you can achieve by bringing strobes outside into the daylight. But it is actually a simple idea simply lit. is a stop and a half stronger than the sunlight falling on the rest of the group. The sun is behind everyone to camera right.PHOTO ZONE Lighting setups Ted Sabarese WorldMags USING KIT USED A SINGLE LIGHT AND THE SUN 1 Profoto-7b 1200 power pack with head 1 Profoto white beauty dish 1 Canon EOS-1Ds MkII body with 50mm lens Alternative lighting options: 1 Elinchrom Style 1200 RX twin kit (£1. The beauty dish.” TED SABARESE W W W. Here I used a single.CO M [ 69 ] WorldMags . PM THINK BIG! Ted’s concept here is big and so is his attention to detail. the background models would be even darker. white beauty dish to highlight my yoga practitioner and create a focal point. P H OTO G RA P H Y M O N T H LY. White beauty dish “I LOVE THE DIFFERENT EFFECTS YOU CAN ACHIEVE BY BRINGING STROBES OUTSIDE INTO THE DAYLIGHT. as you can see from the couple sitting in the foreground. and it is this attention to the composition that makes this image so strong. placed 4ft to camera right. It is also an image that could be created using a large reflector and natural light. If I had increased its power. Depending on power levels you can add just a touch of drama or even make day look like night.
oca-uk.. Open College of the Arts www.BA (Hons) Photography WorldMags by OCA student Victoria Rahm Learn from home In your own time Start when you want Study just one course .or a full degree..com 0800 731 2116 WorldMags .
I needed a ladder to get up to the mirror. as I was going to mix the daylight with the flash. I worked with her when she had her own company. Arrive early and set up as much as you can before the shoot begins. I could then shoot into the mirror and asked Anthea to stand next to the fireplace (that had a figure of a woman her height carved into it) and to look as if she were reading a catalogue. When she was based in Hong Kong for a couple of years I shot stories in London. set up lights and generally chat to. We arranged to meet at 9. and there was a large ornamental one with a gold frame opposite the pea-green wall. Middlesex. in this case. through the acres of land. a couple of other paintings with figures. EMILY ANDERSEN/JANUSZ PODRAZIK To read more of Emily’s columns visit www. with silver umbrellas on the 1. I had 50mm. tripod and camera bag in three trips up a long flight of marble stairs through the entrance hall to the gallery which is 130ft long. followed by a 10-minute wait. By this time I was quite cold.photographymonthly. and a selection of lenses. ONE OF THE PEOPLE TO HAVE HELPED ME WITH MY PHOTOGRAPHIC CAREER IS ART DIRECTOR DEBI ANGEL. angel:thomas.500W and two 1. shot for a Farrow & Ball catalogue. I met Anthea Palmer and we talked while I had a coffee. It was then a question of scheduling a day when we could all be there together. evoking a scene from a thriller. Fortunately. It reflected the huge marble fireplace. The gallery had a pea-green wall on which hung Canaletto and other 17th and 18th-century Venetian paintings. I decided to shoot without an assistant as the rate was editorial and I like working alone sometimes. I climbed up about 6ft while managing to elevate the tripod to the same height. for a corporate client’s catalogue. This pea green was the colour that Farrow & Ball had mixed to the exact colour specifications of the original 19th-century wallpaper.5ft soft box on the 1.000W flash heads on stands.EMILY’S PEOPLE EMILY ANDERSEN Emily is a veteran portrait photographer. having visited as a child and later with visitors from abroad who like historic buildings.andersenphotographic. an attendant finally came to the door. There was a slot at the end of February during which we could shoot before the house reopened its doors. the historic buildings representative for the National Trust. I eventually found the tradesman’s entrance at the back of the building. bags of stands. I set up the lights directed at the pea-green wall: three Bowens monolights – a 1. I was given the phone number of Anthea Palmer. In 2009 she designed my book Paradise Lost and Found. It was good to have this time with her as she was going to be in the photograph. Middlesex. This month Emily describes photographing at Osterley Park and House. The daylight filled in and the flash maintained the correct colour.000W lights and a 3ft x 2. I carried the box of lights.CO M [ 7 1 ] WorldMags . After a number of calls and possible dates mooted. I was ready to go when the designer from Farrow & Ball arrived with his assistant. One commission I received was to shoot for the catalogue of the paint company Farrow & Ball. take light readings. I didn’t need to see the house before the shoot as I was already familiar with it. P H OTO G RA P H Y M O N T H LY. we found one. 80mm and 120mm lenses with me. diffusers. It was a freezing day and driving up the road Osterley House. Debi used the photograph full page in the catalogue. it was important the marble figure next to her held definition. Middlesex. A selection of her images forms part of the National Portrait Gallery’s permanent collection. reflectors. Venice. and that of the designer for Farrow & Ball. Farrow & Ball was happy with the result and I went on to shoot for three more issues. load the cameras. We had a two-week deadline in which to shoot without the public being there. I took light readings and a couple of Fuji instants to check reflections and the light on Anthea. I shot four rolls at 1/15sec at f/22 and bracketed the rolls with shutter speeds from 1/8sec to 1/30sec. a painting by Canaletto entitled St Mark’s Square. umbrellas.org EMILY’S ESSENTIALS Have a strong trolley for carting lights and stands around. a pair of gold sconces and a couple of chairs covered in pea-green damask.com W W W.500W. which was imperative for Farrow & Ball. I set the flash to give an aperture of f/22 on Fuji400 ASA colour negative film and took some light readings to shoot Fuji 100 ASA instant film with the Polaroid back on the Hasselblad. I put a Hasselblad 500C camera with a 50mm lens on a tripod. complete with knocker and bell. Take plenty of film/memory cards and backup. opposite this wall were windows facing west. The disadvantages are that there is no one to help carry your equipment.30 on the morning of the shoot. We agreed that the story should be people-led. I first met and worked with Debi when she was at Elle magazine and then Elle Decor in the 1980s and 1990s. I have often used mirrors in photographs. The firm wanted to show the interiors being used in situ. Find out as much as you can about who and where you are photographing. After a couple of knocks and rings over five minutes. which the gallery attendant provided. I placed the soft box high up and to her right and directed the other two flash heads towards the fireplace and the wall. the mist hung low over the lake and house. PM www. Take a couple of camera bodies and backs. at the National Trust’s Osterley Park and House in Isleworth. Working with Debi is always a great experience because she is enthusiastic about images and passionate about photography. WorldMags “THE GALLERY HAD A PEA-GREEN WALL ON WHICH HUNG CANALETTO AND OTHER 17TH AND 18TH-CENTURY VENETIAN PAINTINGS. Over the years she has put me forward for numerous jobs that have turned out to be both exciting and rewarding.
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his career and the future of photography. sponsored by Nikon. Grant Scott. and deputy editor Sean Samuels speak about what caught their eye and the latest innovations from Focus on Imaging 2011 at Birmingham NEC. They also discuss the latest news from the world of photography. They also discuss their time at Photokina 2010 in Germany.photographymonthly. In case you missed any. Find out how they risked their lives for the opportunity to make some amazing shots. Sean speaks to C J Kale and Nick Selway. PM WorldMags APRIL ISSUE ISSUE PODCAST The Editor of Photography Monthly. Sean speaks to Steve Bloom about his creative approach to photographing wildlife. go head to head to see who will win the Nikon D3s worth £4. enter our competition at www. MASTERS SPECIAL PODCAST In this month’s masters special podcast. MASTERS SPECIAL PODCAST In this month’s masters special podcast.photography monthly. WAVELENGTH NOVEMBER ISSUE PODCAST Grant and Sean speak to professional photographer James Appleton and discover how he captures extreme colour in his landscape images. FEBRUARY 2011 ISSUE PODCAST Grant and Sean discuss their time at the CES Show in Las Vegas and reveal all their favourite things. New commissions from lifeboatman Nigel Millard and yachtsman Rick Tomlinson. MARCH ISSUE ISSUE PODCAST Grant Scott and Sean Samuels speak to National Geographic photographer Jim Richardson about his wonderful landscape work made in the Hebrides. worth £30. www.com SPECIAL ISSUE TEST ZONE AWARDS SPECIAL PODCAST Grant and Sean discuss the winners of this year’s Test Zone Awards. as featured in the December issue of the magazine.CO M [ 73 ] WorldMags . they are available via the website and can be downloaded from iTunes. both leading photographers. Sean speaks to our Lighting Master. DECEMBER 2010 ISSUE PODCAST Grant and Sean speak to British professional photographer Jake Chessum. are shown alongside historic treasures from the world’s finest maritime collections. THE BACK CATALOGUE All of our podcasts featuring photographer interviews and industry news specials are available online. WIN! W W W. Neil Turner. who has shot many top rock bands and celebrities. about how he uses flashguns to add depth and atmosphere to family and group portraits.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. For your chance to win a copy.com FACE TO PORTRAITS FACE OCEAN This book gives a stunning account of pioneering ocean photography and modern portraiture. about his approach to capturing group portraits. Jake shares his passion and advice to help you take better photographs. P H OTO G RA P H Y M O N T H LY. MASTERS SPECIAL PODCAST In this month’s special podcast. 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. JANUARY 2011 SPECIAL PODCAST NIKON MASTERMIND FINAL The final contestants of our Mastermind quiz.200. Goes live on 23 March 2011.
photographymonthly. has opened the door for all DSLR film makers after taking two top prizes in the documentary category of the Sundance Film Festival in Utah. He now works as a freelance film maker for public bodies and arts organisations across the UK and mainland Europe.com/cr04 John Campbell received his MA in film from the International Film School. It may also around the world.  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags .. It follows a marine fighting in the Afghanistan war and his subsequent rehabilitation.04 million dots. Sky News reporters used the Canon EOS 5D MkII again to film remarkable footage of the violence in Egypt. the ability to shoot covertly or at least subtly puts the DSLR into a class of its own. THE DOGS OF WAR CUT AND ACTION.danfungdennis. have an articulated LCD screen with 1. Wales. and have the advantage of being a touch screen. so watch this space. and the audio was recorded on a Tascam DR-100 recorder and a Sennheiser mic. He won the cinematography award at the Bristol International Film Festival for a short film called Blue Morning You in 1999. USA. His film Hell and Back Again. Apparently. because the indie movie Like Crazy. www. WorldMags According to the rumour. HOLD THE FRONT PAGE THE RUMOUR MILL Danfung Dennis. as even more cameras are launched with moving a suggested image capabilities. Like Crazy has since been sold to Paramount Pictures for a whopping $4 million (£2.. with English actress Felicity Jones receiving the special jury prize for her performance in the film.photographymonthly.5 million). JOHN CAMPBELL recommends some of the best films being created on DSLRs and keeps you informed 24-megapixel sensor and a dual DIGIC 4 about how the world of still photography is merging with film to keep us updated from the political and social frontlines processor. won the world cinema jury and cinematography awards.The word is that Canon is about to launch the much-anticipated EOS 5D MkIII or 6D. was given the US dramatic competition grand jury prize. Danfung asks two fundamental questions: What does it mean to lead men into war and what does it mean to come home? The trailer speaks far louder than any words. with This month. shot on a Canon EOS 5D MkII. a photojournalist turned film maker. www.com/bv04 The Canon EOS 5D MkII – is the MkIII on the way? BIOGRAPHY FROM THE FRONTLINE The mass protests in North Africa have shown again that in places where political unrest harbours fears of outside interference. directed by Drake Doremus and shot on a Canon EOS 7D. it will be released by the middle of the year. which will surely interest film makers.com SHOW ME THE MONEY That wasn’t the only Sundance DSLR news. they used the Canon EF 24-105mm IS kit lens with no rig or Z-finder. making it the first full frame camera to have such technology. www.
Spaces are limited. it packs a punch. has the added ability to control time by either speeding it up or slowing it down. it has an outstanding ability to shoot in low light. Using one means you’ll never miss a sequence again.” he says. directed by Darren Symonds. Zacuto is one of the leaders in producing equipment designed for HDSLR film making and the Pro 2. and got his inspiration from Victorian literature and the album Boxer by US rock band the National.CO M [ 75 ] WorldMags . a diopter and a field of view matched to 3in LCD screens. which is compatible with the Canon EOS 550D and 60D.5x is attached via a mount that sits on the bottom of the camera. After all. The LCDVF 3/2 turns your video-enabled DSLR LCD screen into a huge electronic viewfinder for precise image evaluation – it’s like viewing a 42in screen from 55in (140cm). an eyecup preventing extraneous light leakage. though. Likewise. http://hddslrworkshops. The tip this month is to help you on the road to controlling time. as we are hearing increasingly. keep your shutter open long enough and you will capture the stars as they move across the night sky. The diopter allows you to dial in the focus to match your eye. Being magnetised. This is because you have shot twice as many frames as normal in a second.5x focusable magnification (3x is available). otherwise playback could potentially result in mistiming. If you were to shoot at 50fps. EVER WONDER HOW THEY FILM A MOVING BULLET? One of this month’s ‘Films to Watch’. http://vimeo. students and budding artists in a series of live online workshops on Vimeo. it is important to feel secure that what you are seeing is what you are getting.com/user1942955 ZACUTO Z-FINDER PRO 2. Cinematographer Ben Ruffell. you must increase the shutter speed. which is essential if you are moving around in a frantic bid to get footage. Underscored by music. mastering the ability to capture a moment in time is what photography is about. The Pro 2. it shows us what we would not normally see in real time.” http://vimeo. you’re pretty much stuck with 25 frames per second – at least if you want to capture motion in real time. It sounds counter-intuitive. Denmark. Tank Girl and The Addams Family.5x is excellent for the semi-pro film maker. said: “I really like working with both of these systems – and I often use them together on the same shoot. the more light you are going to need. delivering a unique glimpse of the world in all its microcosmic beauty. making the viewfinder secure from bumps and knocks. you will capture a split-second of time. But it was also great fun and an adventure.html CARRYSPEED VFINDER At the lower price of around £50 (through Amazon or eBay stores).html WorldMags OUT OF A FOREST The short film Out of a Forest is an award-winning animation which is beautiful to look at and features great storytelling. which now reside permanently in his toolkit. the viewfinder is prone to being knocked off the camera if it is bumped with any force. If you want to capture objects in slow motion.5x. Alex Roman’s Above Everything Else. P H OTO G RA P H Y M O N T H LY. Leave it open and you can capture an image over a period of seconds.com PM COURSE/EVENT Gale Tattersall is a world-renowned cinematographer whose cinema credits include The Commitments. It’s a must-see short whose visual approach will inspire any budding film maker. The most important part of this tip is to work only in multiples of 25. Pushing Tin. so if you have planned images to sync up with other video or audio. But as a starter piece of kit and considering what it provides when it comes to shielding you from the sun. understanding time is of the utmost importance. Symonds needed the 5D for this New Zealand-shot film because. it will probably result in everything being out of sync. At £96. Ghost Ship. the film Say Yes. as shooting stop-motion in the forest at night for long periods offered a lot of problems. this is a good example of basic kit available for the HDSLR market. Even though this is a midrange viewfinder. shows how manipulating time is an important aspect of the philosophy of the film-making language. and cost $400 (£247) a session. http://vimeo. http://store.com W W W. He is now director of photography for the American TV series House.com/9335203 LCD VIEWFINDER 3/2 My midprice choice is the LCD ViewFinder 3/2.com/user1337612 KIT CHECK When it comes to recording video on your DSLR. This is the same way they shoot fast-moving objects such as bullets: shooting with an extremely fast shutter speed. the CarrySpeed Vfinder is a great choice for new film makers. For example.videogear. controlling shutter speed is a basic requirement of producing great images. I would rather have this than nothing at all. www. You will wonder how you have ever managed without one. “It was painful to finish. which is 25fps. by Alex Roman. Gale recently shot a whole episode of House on Canon EOS 5D MkII HDSLRs. TIP OF THE MONTH Insider techniques to help improve your film making. Director Tobias Gundorff Boesen shot the 5min 53sec film in the forests surrounding Viborg. so a viewfinder for your screen is invaluable.com/Z-Finder-Pro-2. The workshops will take place over three Sundays in April. if you use a quick exposure. Also remember that the higher the shutter speed.5X Zacuto’s Z-Finder Pro 2. causing trails to appear on your final image.76.com/sign-up/ To read more of John’s Film School columns visit www. shows the power of slowing down film. As photographers. so be quick.zacuto. Above Everything Else. then your footage would be 50% slower when played back at normal speed. Gale has decided to share his knowledge and techniques with film makers. They block out excess light and offer superb clarity.photographymonthly. an anti-fog coating protective cover. but increasing shutter speed allows you to play back your footage in slow motion. SAY YES Although shot primarily with a Sony EX3 with Letus lens adaptor and Nikon and Zeiss primes.co. starring Hugh Laurie as the crotchety doctor. Film making.5x is top of our price list at £326. www. is a great example of how seamlessly a Canon EOS 5D MkII can cut it alongside other HD cameras.FILM SCHOOL Shooting film on your DSLR John Campbell FILMS TO WATCH ABOVE EVERYTHING ELSE For all of you photographers and film makers. This animation just shows what can be achieved by utilising the diversity of DSLR film making.uk/DSLR-Gear/LCDVF/LCDVF-3/2Loupe-for-550D-/-T2i-/-60D/prod_1142. Wild Orchid.carryspeed. who used the 5D mainly to shoot the night scenes such as the bathtub and taxi sequences. It has 2. minutes or hours. But as you might have found when shooting film on your DSLR. a 40mm diameter Zacuto optical designed lens.
but shoots on location around the world. in the south of the Netherlands. www.nl [76 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags PETER VERVER .WorldMags BIOGRAPHY – PETER VERVER Dutchman Peter Verver is an image manipulator and photographer. Peter has a studio in Eindhoven.shootings. at the forefront of digital photography.
HOW TO CREATE IMAGINARY LANDSCAPES 01 THE PROJECT This image was made for S-lec. camels. a Japanese glass producing company which wanted me to show some of the ‘wonders of the world’. the angle of the lens to the ground and the position of the sun – I needed all this information to take the right images of people. which we needed for the 3D part of the image. My team and I measured the height of the camera.PHOTO ZONE Photo manipulation Post-production masters MASTER MANIPULATION WorldMags When used correctly. and so on. I shot lots of images. From the slightest change in colour to the creation of new worlds. sand. editing software will set your imagination free. photo manipulation can bring images to life. so I could use all these different gradations in the final manipulation. from almost black to almost white exposures. After finding the right angle. combined with its new-technology glass. which was to be done in Cinema 4D software afterwards. to put into the main image later.CO M [ 77 ] WorldMags . THE START I flew out to Cairo and went to the pyramids on the first morning I was there to start taking the shots I needed to make the manipulation. W W W. I also took shots of a reflection ball. and because there would be fewer people around. I chose to shoot in the early morning for the best light and longer shadows. RACHAEL D’CRUZE found three masters to reveal the secrets behind getting it right. P H OTO G RA P H Y M O N T H LY.
I was able to create a really natural 3D image. I repositioned it slightly and brushed it in by hand. I developed my images from the shoot using Adobe’s RAW converter. contrast and feeling. With this done. Canon 580EX II Speedlites with PocketWizards and an assortment of reflectors. as I feel they are not precise enough for high-resolution files. when and at what time you took the image. My brief was that the images had to have a serene atmosphere. four heads. set to multiple with the opacity brought back to 40%. Canon EOS-1Ds MkIII. sand dunes. which you would have got at that place and at the exact time of day. which tells you where. Cinema 4D and Hasselblad’s Phocus software with a range of third-party plug-ins. As St Peter’s Square is made of shiny stones it’s almost impossible to do what I normally would – take lots of images and combine the empty parts into one shot. desaturated image. To combat this I shot lots of exposures from almost black (-5 stops) to almost white (+5 stops). so everything was in the position I wanted and shot for. PETER’S EQUIPMENT Peter shoots with Hasselblad H3D-39. not the middle. rocks. if you know that a man is going to be put in the image on the left side. The next morning I shot the pictures of the camels. For example. Brussels. Canon EOS 5D MkII and Canon EOS 7D cameras. feathered. umbrellas and soft boxes. St Petersburg and Berlin. I did all the necessary masking. I again used many tools to achieve the finished image: curves. and created 16-bit PSD files. I then started cleaning up the images. in Lightroom 3. On location Peter uses a 13in MacBook Pro. but giving the image that special feeling of reality is not. so I would be WORKING WITH LAYERS AND MASKS WorldMags Next. Peter uses Adobe Photoshop 5. Mask Pro. I always make a rough combination of the images while I’m on location to see if they will work – not when I get home and it’s too late. where he lights with two Hensel Porty 1200 power packs. 02 THE PROJECT This manipulation of St Peter’s Square in Rome is another image I did for S-lec. One of the nice things about Exif and positioning data. The main difficulty with this shoot was that from 9am until sunset there were just too many people in the square.Photo manipulation Post-production masters This precise way of shooting is essential for this kind of work and it makes life much easier when it comes to actually making the manipulation. [78 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . Instead I decided to take the main image really early in the morning when there were only a few people on the square. as the edges always need some fine tuning. in which the number 10 would fit well. I was shooting in low light and big areas of shadow were underexposed in my photographs. London. I never use the pre-set tools in Photoshop. gives a really nice-looking. I find these elements are often underestimated by a lot of people – putting images together is quite easy. and all the other elements you see in the picture. All my masks have different outlines – soft. with their landmark buildings and a big glass number 10. including those from Topaz Mask Pro and Nik. CLEANING THE IMAGE Back home in my studio. both with 24in Eiso monitors. is that I can put this data into Cinema 4D and the software can then create the precise shadow and light combination. I find that adding an extra black-and-white layer on top of your image. For studio work and image manipulation he has two Mac Pro computers with 16 gigabytes of RAM. Bedouin. The company wanted to show famous European places: Rome. As it was so early in the morning. 19in second monitors and a Wacom A3+ tablet. desaturation and an extra black-and-white layer to get the finished image right. I finalise all of these by hand. When you shoot ‘extra’ pictures like this you need to be really precise. THE START GETTING THE COLOUR RIGHT Finally comes the trickiest part of the manipulation: colour. colour range. it was time to put in the 3D part of the image: the top of the pyramid. which I do in Photoshop using brushes. MANIPULATING THE IMAGE My next step was to reposition all the different inputs on the main image. just after the stones had had their daily clean and were still a little wet and shiny. Adobe Lightroom 3. with a range of lenses for both systems. Using my Exif data and the information I got from the reflection ball I had photographed when on location in Cairo. something that is essential to do before combining them. very hard and so on. The vast majority of Peter’s images are shot on location. I created a multi-layer file with the glass top to put in my Photoshop file. take the picture of him from the left side. contrast layers and channels.
I sharpened the mammoth and increased the contrast of its fur so much that it looked almost frozen. The film Ice Age 2 had just been released and ‘ice is coming’ was the W W W. 03 THE PROJECT PETER VERVER BRINGING THE IMAGE TO LIFE With the mammoth now in place.jandrenth. so I was immediately able to see if it would fit. I had to change angle and position a couple of times to get the right result against a white background. I did my manipulation using exactly the same steps as the pyramid image. www.CO M [ 79 ] WorldMags . curves. approximately four metres high.com I was commissioned to do this manipulation for Mitsubishi Europe. I used ReMask 2 and third-party software from Topaz. height and position I needed to shoot from. I found that there was a vacuum-sealed replica mammoth. a map with different layers of people. and softening and hardening of the masks. I added more snow as per my brief. solely because of the time of year. I had a map with layers of the main image. I worked out the right angle. contrast and ‘blending in’ were a matter of colour corrections. WorldMags to combine the images later and able have some detail left. Using Phocus software I can put a layer underneath the shooting layer. P H OTO G RA P H Y M O N T H LY. LOOKING FOR IMAGES I started to do internet research and soon discovered that a ‘museum-mammoth’ was not an option. Right at the end I added more grain all over the total shot. to fit it into the background stock image I already had. as masking by hand would be complicated because of the mammoth’s fine fur. It’s so very important to put all the layers in maps. so that you keep an overview of the manipulation – it’s crucial to work in an organised way in Photoshop. in the Netherlands. The feeling. Normally I shoot the most difficult part of the end result first. to combine the images perfectly.PHOTO ZONE “THE BIGGEST PROBLEM I FACED WAS THAT IT WAS THE MIDDLE OF SUMMER AND MY CLIENT HAD ASKED FOR AN IMAGE OF A MAMMOTH IN A SNOWY STREET. Jan Drenth worked alongside Peter on the manipulations. one with the new sky. concept behind this campaign. desaturation. so it would all work when merged. So I arranged for the mammoth to be placed on four plateaus with wheels. Again. I used a white screen as a background to get the COLOUR CORRECTION With good layer organisation and handmade masks. so that the quality matched the high ISO of the background stock image I used. Finally. CUTTING OUT The first thing I did was to mask the mammoth. I shot the mammoth tethered to my Mac Book. FINDING THE RIGHT SHOT I used a lot of layers with this image. focal length. via the internet. which is what I did here. giving each a name. I added grain all over. one for overall curves. snowy reflection on the mammoth. so it could be turned at any angle and direction in which I wanted to shoot it. but in this case I had no choice but to resort to using stock. so it would eventually fit well into the background of the final manipulation. colour correction and desaturation etc. so we bought a stock image of a mammoth. The biggest problem I faced was that it was the middle of summer and my client had asked for an image of a mammoth in a snowy street. the mammoth fitted into the image well.
I made sure that the exposures were good. scouring the coastline for the perfect one.WorldMags HOW TO CREATE DREAM LANDSCAPES 01 [8 0 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 THE PROJECT I wanted to create an ocean scene. This shot took me about a month and a half to put together. TAKING THE SHOTS Shooting the images of the waves in the bottom of the shot was the starting point of this process. The boat I finally chose to photograph had the right scale. I shot about 50 to 60 images so that I could develop. WorldMags . There was to be a huge storm above a boat. hence the boat heading towards the sunset. Before I started I knew I wanted the image to have the feel of a Victorian oil painting too. but despite its darkness. My work is very much like putting a puzzle together. in my mind. I wanted the image to maintain optimism. I had a very particular type of boat in mind for this image and as a result I spent a week in Cork. look and feel to enable this picture to work. to provide the detail needed for me to be more creative in post-production. When shooting the waves. Ireland. with waves crashing against a harbour – this simple idea was the beginning of the manipulation. the perfect wave.
At this point. Using careful layer mask selections. I started to work on the different parts of the scene. also using Adobe After Effects CS5. from 22mm to 300mm. I drew out colour that already existed in the image and also made some W W W. I next added the fine detail. I created the glow of the sunset using about 30 feathered selections. different colours within each area of the scene. soften edges and draw out ADDING IN THE DETAILS With the composition roughly sorted and colour introduced. which enabled me to slowly introduce warm colours into the shot. to create a realistic reflection of the sunset. elements lighter and some darker. the image was still a crude jigsaw. positioning the layers to work with the other images. working to feather sections.andrewbrooksphotography. By adding colour you can change the atmosphere of the picture dramatically. Through careful use of the transform tool I was able to rotate the elements and skew them.com ANDREW’S EQUIPMENT Andrew shoots with a Nikon D700 and a variety of lenses. to make them more vivid within the scene. in need of refining. Andrew works on a 27in Dual-Core iMac and exclusively in Adobe Photoshop CS5. P H OTO G RA P H Y M O N T H LY. In this image it was about emphasising the blue-green hues in the wave against the warm tones of the sun. CHOOSING THE COMPOSITION All the elements in this manipulation were brought together as about 130 separate layers. I also added more complex detail – for example. BRINGING THE IMAGE TO LIFE Embedding the boat in the shot so it looks real was important. SO THE VIEWER FEELS AS IF THEY ARE IN THE SCENE. I did this by feathering lassoed selections and then using the feather tool to soften the edges.CO M [ 81 ] WorldMags . so the viewer feels as if they are in the scene. ANDREW BROOKS DRAWING OUT THE COLOURS Next. I was then able to slowly bring all the photographic elements into one full composition. To do this I sampled an area near the sunset by the birds and pasted it on to the glass of the boat’s window. www. I tried to visualise how much colour would be reflected and as a result had to really tone down the colour and light to ensure it was realistic. BIOGRAPHY – ANDREW BROOKS WorldMags Andrew Brooks is a digital artist based in Manchester who creates hyper-real manipulations by stitching together hundreds of individual photographs. Andrew’s shooting process is all about collecting as much visual information as possible from the real world and then building this into his final pieces using Photoshop.PHOTO ZONE Photo manipulation Post-production masters “EMBEDDING THE BOAT IN THE SHOT SO IT LOOKS REAL WAS IMPORTANT. I created the foam on the wave by inverting the blackbirds to pure white.
I was visiting Shanghai to get inspiration for my work when I came across Nanjing Road, one of the busiest places I’ve ever visited. I decided to create an image that would allow others to feel as I did when I was there.
CREATING THE BACKGROUND
I started this manipulation with the background, which is a composite of about five or six photos. As I knew the foreground would be so detailed, I kept the background fairly simple. The flag on the right was part of the actual background, although the flag in the child’s hand was an addition. The sun was naturally above the building and, coming down the street in this way, created flare in the shot. I simply used a darker exposure to retain the detail in the clouds.
FINDING THE FOCAL POINT
I decided to have the child as the centre point, with everyone else facing in another direction. The child was one of the few people looking back at me. I knew from the moment the child looked into my lens, he would be the centre point of the image. The flag in his hand was added and the red made more vivid, to increase its prominence.
CHOOSING THE COLOUR PALETTE
I wanted to create a warm, golden feeling, with the colours of the sun bringing a sun-bleached, optimistic atmosphere, so I used curves to inject more red and yellow.
This image was developed over about five or six minutes as I walked down the street and shot about 80 frames. I knew I’d need a range of exposures, for example, having darker images of the sky and having cloud detail available, so I bracketed my exposure.
CHOOSING THE FOREGROUND
I then got to work on the foreground. By working with many different photos, I was able to take the people in the best positions and most interesting poses for my final piece. Working in this way meant there were about 150 photos creating about 75 layers.
GIVING THE IMAGE DEPTH
As you can see, the centre of the image is a little misty, to develop the feeling
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Photo manipulation Post-production masters
of distance. I created this by painting the area with a low-opacity whitewash.
In this image of Shanghai at night I wanted to capture the different layers of the city, from the corporate area in the background to the bustling street scene in the foreground.
capture the movement of people, so I took many exposures of the same section of street, to give me a choice of people to incorporate in the image.
used layer masks to paint out any detail not required for the final composition. After all the images were incorporated, I flattened the layers to create one composite scene.
CHOOSING THE COMPOSITION
I started by opening all the images and arranging them next to each other to see how they interacted. I selected a central image, near the cluttered rooftops, to be the start point, which I would then build on. Then I extended the canvas to create room around it, to allow me space to build in the additional detail I wanted to add. I did this by simply using copy and paste.
MAKING THE IMAGE GLOW
I wanted the shot to have a neon look, with vivid greens and purples lighting up the scene, so I added this element. I did so by making careful selections and feathering edges, and later using curves to inject the colours. Many of these tones actually existed within the original photographs – I just made an enhanced version. I added contrast by making the whites lighter and the blacks deeper, using Photoshop’s dodge and burn tools. I also added a glow to the neon colours and lightened the sky to give it a daytime brightness. The last stage was to increase saturation to the colours, creating an almost science-fiction-like feel.
GETTING THE SHOTS
This image is a composite shot, taken out of the ninth-floor window of a hotel. Shooting at night meant working with long exposures of about two or three seconds. I wanted to
MAKING THE IMAGES WORK
As I added each new detail to the piece, I used the transform tool at a low opacity to position and overlap the images. I then
W W W. P H OTO G RA P H Y M O N T H LY.CO M [ 83 ]
HOW TO CREATE ABSTRACT LANDSCAPES
I was walking in the small town of Novelda, Spain, when a small tree with lots of blossom caught my eye, so I took several shots of it, exploring unusual angles. When I reviewed my images at home, I liked the image that I used for the starting point of this manipulation, but it didn’t really say anything to me. So I started thinking about spring and had the idea for the butterflies. With this in mind, I set to work on the manipulation.
WORKING WITH THE LIGHT AND COLOURS
When I initially put both images together, the butterfly didn’t look like part of the image, so I added shadow below the butterfly and to the left, to respect the natural direction of the light and make it look like it belonged. To add the shadow, I selected a small area to house the butterfly, in the background image, with the lasso tool and modified the levels to darken this selected area. To get the vignette effect in the image, I used the Colour Efex Pro filter from Nik Software. I opened the plug-in and selected the darken/lighten filter and adjusted border luminosity. Next, I applied another filter from Nik Software, called Duplex, which allows you to create an effect like Duotone, using only black and one additional colour. You can make several effects by moving the control of this filter, but for this image the default worked well.
CHOOSING THE IMAGES
As my image of the tree already looked good, I didn’t make any unnecessary adjustments to it. I searched through my image library to find a photograph of a butterfly that would work well with the tree. In Photoshop, I cut out the butterfly using the pen tool, saved it out and then copied and pasted it into my background tree image. I decided to put the butterfly in the centre of the image, for a dramatic composition.
SO I STARTED THINKING ABOUT SPRING AND HAD THE IDEA FOR THE BUTTERFLIES. WITH THIS IN MIND, I SET TO WORK ON THE MANIPULATION.”
ADDING TEXTURE TO THE IMAGE
I wanted to add some texture to the image, so I selected a suitable texture from my archive and copied and pasted it into the image, changing the mode of the layer to multiply. I did this because you have to change the opacity mode to multiply to make the ‘lights’ transparent.
BIOGRAPHY - LUIS BELTRÁN
Spanish photographer Luis Beltrán uses his digital manipulations to tell the stories of his daydreams. Luis’s style is quietly seductive and his images all share the same dreamlike quality because of their deeply saturated and muted colour. Digital manipulation allows Luis to add the elements which are central to his finished pieces. www.luisbeltran.es
BRINGING THE IMAGE TO LIFE
I had created the digital manipulation I wanted, but it still needed some work to make it look good. I wanted to increase the image’s highlights and luminosity, so I used a new levels layer to do so, boosting the levels of highlights, by sliding the white arrows to the left. Finally I modified the colour balance by applying a balance colour layer, selecting mid tones and increasing the level of yellow.
Luis shoots with a Canon EOS 400D and Nikon D7000. He works on a 27in Apple iMac, which he uses with a Wacom Intuos4 L tablet. Luis creates his digital manipulations using Adobe Photoshop and Nik Software plug-ins.
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WorldMags WorldMags .PHOTO ZONE Photo manipulation Post-production masters “I DECIDED TO PUT THE BUTTERFLY IN THE CENTRE OF THE IMAGE FOR A DRAMATIC COMPOSITION.
” WorldMags [8 6 ] P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . OR IT JUST WON’T WORK.WORKING LIKE THIS YOU NEED TO BE CAREFUL WITH THE PROPORTIONS – THEY HAVE TO BE REALISTIC.
I created a new adjustment layer and adjusted the levels. P H OTO G RA P H Y M O N T H LY. or it just won’t work. I decreased the colour of the boy. With this done. I wanted to darken the edges of the image and to do this I again used Nik Software’s darken/lighten filter. I copied and pasted the boy into the cemetery image. selected it. and copied and pasted it into the image. I copied and pasted in both the tree and the sheep. The next step was to create a new black-and-white layer to convert the image into greyscale. When working like this you need to be careful with the proportions – they have to be realistic.CO M [ 87 ] WorldMags . CHOOSING THE COLOUR PALETTE With this manipulation I chose to work in black-and-white to give a dramatic atmosphere. CHOOSING THE IMAGES I found a photograph of a boy that I wanted to use in my final image. as well as adding some grain and a soft-focus effect. While I was taking the picture. were missing. where you simply use a slider to adjust. so I went to the cemetery to find inspiration. I changed the mode to multiply and then the opacity of this new layer.PHOTO ZONE Photo manipulation Post-production masters 02 THE PROJECT I wanted to create something between life and death. Finally. darkening the overall contrast of the image. cool mood to the image. ADDING GRAIN AND TEXTURE To add a diffused. something mystical and spiritual. To add texture to my finished piece. sky and grass – all of which I photographed LUIS BELTRÁN BRINGING THE IMAGE TO LIFE At this point the image didn’t have any pure whites and the image’s highlights For more techniques from the pros visit our website at www. so I selected levels and slid the highlights slider to the left. using the pen tool. I opened the texture I wanted from my archive. When working like this. Next I copied the sky and grass images and pasted them into the new document to create my background image. I cut all of the elements from their respective images. so the texture could be seen. I decided I was going to add a little boy running toward the light. so all the elements were together. so I selected ‘create clipping mask’ from the layers menu and made the adjustments affect only this area. WorldMags CHOOSING THE COLOUR PALETTE Next. I always create a new layer mask to hide any elements that I consider distracting. After taking several photographs. atmospheric effect by modifying the ambient light. I applied the Monday morning filter from Nik Software. Finally. 03 THE PROJECT With this manipulation I simply wanted to express the idea of family and what it means to me. putting him in the centre and adjusted so that he was to scale.photographymonthly. cut him out using the pen tool and then saved this file. I then knew exactly what I wanted to create.com W W W. which I wanted to affect only the boy. increasing them to compensate for this lack of luminosity. This manipulation is made from four images – sheep. PM PREPARING THE IMAGES To begin with I created a new white document. separately. tree. I saw a good composition: the dramatic angle you see in this manipulation. to fit in with the rest of the image. I created a more dramatic. I created a new tone/saturation layer. I selected Nik Software’s darken/lighten filter and increased the luminosity of the corners and centre.
and is ideal for developing RAW photos.Laptop roundup Jessica Lamb LAP OF THE GODS With a bewildering range of laptops and notebooks on the market. A new energy-efficient battery provides up to 10 hours’ battery life when doing everyday tasks such as writing and surfing the web. Pros: Slimline design. The MacBook Pro comes with a 250GB hard drive as standard. backlit keyboard and a fantastic 10-hour battery life mean that this is a perfect laptop for using on the move. APPLE MACBOOK PRO 13in WorldMags Dimensions: Width: 32. making it ideal for photographers on the move. then the MacBook Pro could work out to be fairly expensive compared with other laptops out there which have the same specifications. while the LED-backlit display with wide-angle viewing makes it perfect for looking at images and watching movies. ultra-thin and durable. its size and sleek aluminium design mean that it will slot easily into most bags and cases.7cm • Height: 2. The ones selected here provide great power and functionality at prices to suit a range of budgets.020 www. but you can upgrade to 500GB for an extra £123. giving you more options for high-performance graphics.5cm • Depth: 22.11n wireless technology.com/uk The 13in MacBook Pro features the latest 802. MacBook Pros feature the new NVIDIA GeForce 320M integrated graphics processor. A seamless glass enclosure makes the 13.3in display strong. JESSICA LAMB does all the hard work for you and chooses 12 of the best machines to meet the needs of today’s photographers.  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags .apple. giving you ample space for photo libraries and files.41cm Vital statistics: Weight: 2.066MHz high-speed memory with 4GB as standard but offers support for up to 8GB of RAM. The MacBook Pro features a 1.04kg • Screen size: 13in • Operating system: Snow Leopard • CPU: Intel Core 2 Duo processor • Memory: 4GB • Storage: 250GB • Battery life: Up to 10 hours From £1. Cons: If you needed the 500GB hard drive.
96kg • Screen size: 15.3kg • Screen size: 15.toshiba. so there is plenty of room for photo libraries. Dell provides the ‘Dell design studio’ when you buy from them.4cm • Height: 2.8cm front / 3. The Satellite A660-1FM has4GB of memory.co. this model is perfect for home office use but also for photographers on the move. Weighing 2.uk The Aspire Ethos AS5943G-5464G50Bnss has a4GB memory and 500GB hard drive.41cm front / 3. for work or leisure. P H OTO G RA P H Y M O N T H LY. This model also has a Blu-ray disc writer and an impressive audio system with Harman Kardon speakers and Dolby Advanced Audio. This particular model has a battery expectancy of three hours and 20 minutes and comes with a year’s international traveller’s warranty. Your media is brought to life on the 15. the XPS 16 laptop is great for travelling photographers and is Skype-certified with a built-in HD webcam. Cons: Slightly heavier and bigger than we would like for taking out and about. This model in the XPS series has a backlit keyboard for working in poor light. the AS5943G-5466G64Bnss has 6GB of memory for an extra £199.94cm Vital statistics: Weight: 3. Dimensions: Width: 38cm • Depth: 26.5cm • Depth: 25.6in 1. though you can upgrade to a nine-cell giving you almost five hours’.56cm back Vital statistics: Weight: 2.080p Full HD RGBLED LCD display. people with a passion for art. Cons: Low battery life. all varying in specification and price. Pros: Great for entertainment with its HD screen and brilliant audio system.4cm • Height: 2.4GHz) which give excellent performance when running programs simultaneously. The Studio XPS 16 features Intel Core 2 Duo P8600 processors (2.6kg.080p display with excellent colour and contrast. which isn’t as good as some other laptops of a similar spec on the market. film and photography.6in • Operating system: Windows 7 Home premium • CPU: Intel Core i5 processor • Memory: 4GB • Storage: 500GB • Battery life: Three hours. each with a different specification. Weighing just 2. which automatically locks your laptop when you step away and unlocks it with a simple scan of your face when you get back. which allows you to modify your laptop’s features and appearance to meet your specific requirements and individual style.PHOTO ZONE ACER ASPIRE ETHOS AS5943G From £999. great when editing photos or even watching films on the Blu-ray disc player. though it only guarantees three hours.uk Dell’s XPS laptops were designed with creative individuals in mind.99 www. however.uk The Satellite series of Toshiba laptops is pitched at those wanting high performance at a reasonable cost. it is handy for travel.9cm • Height: 3.dell. There are 10 notebooks in the Aspire Ethos range. Dimensions: Width: 38cm • Depth: 25. Dimensions: Width: 38.CO M [ 89 ] WorldMags .73GHz processors ensure great performance and the ultra-fast Wireless LAN technology can hook up to the internet at your favourite Wi-Fi hotspots in a flash. This model features facial recognition security software. Pros: LED CineCrystal backlit display perfect for viewing and editing images.6in • Operating system: Windows 7 Home Premium • CPU: Intel Core 2 Duo processor • Memory: 4GB • Storage: 500GB • Battery life: Approximately three hours WorldMags TOSHIBA SATELLITE A660-1FM From £816 www.34cm back Vital statistics: Weight: 2. Pros: 1. 20 minutes DELL STUDIO XPS 16 From £929 www.co. the battery life might let you down. if you wanted to take the XPS 16 out and about. brilliant for editing and viewing photos or watching movies.3kg. 20 minutes W W W. The latest Intel i7Core 1. fantastic when viewing and editing photos. Weighing 3.96kg. with space for up to 8GB. should you require a higher RAM. there are seven satellite laptops in the range. The 15. 20 minutes of battery life. and a 500GB hard drive. not as good as some on the market at a similar price and spec.6in LCD screen has CineCrystal display screen technology and an LED backlit display. The Toshiba Satellite A660-1FM features a 16in HD TFT NVIDIA screen. Cons: Short battery life.acerdirect.62kg • Screen size: 16in • Operating system: Windows 7 Home Premium • CPU: Intel Core i7 processor • Memory: 4GB • Storage: 500GB • Battery life: Three hours.co. The standard six-cell battery will provide around three hours’ battery life.
the Inspiron Duo functions more like a Tablet.co. Pros: Great speed and functionality at a competitive price.1in • Operating system: Windows 7 Home Premium • CPU: Intel Atom processor • Memory: 2GB • Storage: 250GB • Battery life: Three hours SONY VAIO S SERIES From £764 www. alarm clock or music player. Sony’s S series Vaios feature an assist button on the front just above the keyboard.5cm • Depth: 19.9cm • Height: 2. allowing you to switch from touch to type in seconds.dell. a new and powerful software application that helps to maintain performance and diagnose or troubleshoot problems. not to mention great fun to use and at a great price. Pros: For viewing your images and accessing emails while on the move this is a nifty piece of kit. allowing you to zoom in the same way you might on an iPad or iPhone. Cons: Memory and hard drive aren’t fantastic but you can always store larger media files on an external hard drive. but with one swift flip of the screen you can use it as you would any other laptop. the keyboard is also backlit for easy use in poor light.uk The new Inspiron from Dell has a rotating screen.co. As well as this new function Sony’s S series now features fingerprint recognition security for added peace of mind.62cm front / 2.45 minutes  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags .3in • Operating system: Windows 7 Professional • CPU: Intel Core i5 processor • Memory: 4GB • Storage: 500GB • Battery life: Four hours.9cm • Depth: 22. Cons: Fairly uninspiring design lets down this otherwise great notebook. You can also read books on the Inspiron as you would on a Tablet. This spec of the Inspiron Duo has 250GB storage but you are able to upgrade this to 320GB. This particular model has a 4GB memory but support for up to 8GB. It features a multi-finger gesture touchpad. Dimensions: Width: 32.54kg • Screen size: 10.DELL INSPIRON DUO From £449 www. The Inspiron Duo transforms easily into a digital picture frame.87cm back Vital statistics: Weight: 1.8cm Vital statistics: Weight: 2kg • Screen size: 13.1in HD LCD screen. When closed.45cm • Height: 2.uk The tough Vaio S series from Sony is designed to be easy to carry and enjoyable to use. which is brilliant for effortless browsing. which takes you straight to VAIO Care. WorldMags Dimensions: Width: 28. with the optional audio station featuring JBL speaker technology.sony. A Broadcom Crystal HD Media Accelerator allows you to view images in brilliant quality on the 10.
1cm Vital statistics: Weight: 3. this laptop can go everywhere with you. making it ideal for slipping into any bag or briefcase. the Eee Pad Slider is just 17.CO M [ 9 1 ] WorldMags . which is ideal for checking emails in a hurry. The Android 3. Cons: 1GB memory isn’t ideal but for such a compact piece of kit it does the job Dimensions: Width: 27. The Vaio EC series was designed for ease and comfort – the keyboard is generously spaced for quick data entry and there is an assist button on the panel above the keys to provide instant help with maintenance and troubleshooting. The 4GB Vaio EC series has a maximum of 1TB of storage (2 x 500GB). with the Vaio EC series 17.asuslaptop.1in IPS touch screen and full QWERTY slide-out keyboard neatly tucked underneath.3in screen.co. Pros: Sleek and compact in design.sony. When buying from Sony there are several options available to tailor the laptop to your requirements. perfect for editing photos or when just surfing the web.uk The Eee Pad Slider features a 10. email and websites a breeze. Perfect for anyone on the move. The 1GB memory means that this pad is not for storing your image files and work on. and selected models of the EC series have full HD resolution. A handy web button connects you to the internet within seconds. Cons: Low battery life. so there’s plenty of room to accommodate even the largest media libraries.3cm • Height: 3.3in you can add an additional hard disk drive and a Blue-ray disc writer.3cm • Depth: 18cm • Height: 1. this laptop is perfect for a home office.0 operating system makes sharing photos by internet. but with its sleek. Weighing 3. P H OTO G RA P H Y M O N T H LY. The Eee Pad Slider features cameras back and front to allow easy video chat and digital photography. WorldMags Dimensions: Width: 40.9cm • Depth: 27.3kg • Screen size: 17.77cm Vital statistics: Weight: 886g • Screen size: 10.1in • Operating system: Android 3. but it’s fine as a sleek gadget giving you everything you need while away from your office.3kg. Pros: Up to a more than adequate 1TB of storage and at a reasonable price. making it the ultimate travel companion.3in • Operating system: Windows 7 Home Premium • CPU: Intel Core i7 processor • Memory: 4GB • Storage: 1TB • Battery life: Three hours ASUS EEE PAD SLIDER £ Tbc (due out in May) www. slimline chassis it is still easily portable.co.0 (Honeycomb) • CPU: NVIDIA Tegra 2 • Memory: 1GB • Storage: 16GB / 32GB / 64GB • Battery life: Tbc W W W.PHOTO ZONE Laptop roundup Jessica Lamb SONY VAIO EC SERIES 17in From £799 www.uk The stylish Vaio EC series has a 17.7mm thick. not as great as others on the market.
co. which gives functions and programs such as iPhoto. Built NY Laptop Sleeve 16in £34.99 Available in the UK from www.APPLE MACBOOK AIR 13in From £1. and also comes with a detachable shoulder strap. the SF310 is fairly heavy for a 13in laptop.32kg. including an HDMI port.1cm • Depth: 23. SAMSUNG SF310 £749 www. It has 125GB of flash storage which again can be modified up to 256GB.com The Samsung SF310 has a 4GB memory and 320GB hard drive. In keeping with its smooth design there are a range of ports neatly tucked away on the side. This model is N Wi-Fi ready making it fast at finding networks across the country. While it’s not the toughest laptop sleeve on the market. Cons: Although having a neat design. Such changes mean Apple has been able to produce its lightest. the Smart Laptop Sleeve is light and sleek in design.acmemade. The touch control pad makes this model comfortable to use and attractive to the eye. and a brushed aluminium palm rest and surrounding panels inside. most portable laptops. the SF310 has a curved outer chassis.com The 13in MacBook Air has 2GB of memory with support for up to4GB for an extra £82.32kg • Screen size: 13. The curved design adds extra cushioning and protection to the case. allowing you to log on and off the internet quickly and easily. Made from ballistic nylon.4cm • Height: 2. The Smart Laptop Sleeve is available in three designs and in various sizes. this laptop is a clever choice of travel companion.  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . Safari and iTunes. so in order to instal new software or view anything from disc you would need to link up to another machine or buy an external drive. and they are available in various designs and colours. Acme Made: The Smart Laptop Sleeve From £25 www. Built NY has many different sizes in its range of sleeves. Photo Booth. wide-screen and LED backlit display makes it brilliant for viewing your media files. Sleekly designed.13GHz Intel Core 2 Duo processor. more than ample for everyday use. With a battery life of around seven hours and the technology packed into a compact size. elegant feel of the MacBook Air make it a joy to use. weighing 1.122 www.apple.uk The Built NY sleeve is made from neoprene (the same fabric as wetsuits) and ensures that your laptop stays safe and dry while travelling. Cons: The lack of an optical drive means that if you do need to view something on disc you would have to link up to another Mac or buy an external drive. ensuring great performance. Apple provides Mac OS X Snow Leopard software and iLife with its laptops.7cm Vital statistics: Weight: 2.laptopstuff. Here are five of the best now on the market. Pros: The low cost – this laptop offers great everyday performance at an attractive price. is comfortable to hold and will easily slot into rucksacks and cases. WorldMags Dimensions: Width: 32.samsung. The SF310 also features a ‘hot key’ just above the keyboard.3in • Operating system: Snow Leopard • CPU: Intel Core 2 Duo processor • Memory: 2GB • Storage: 125GB • Battery life: Up to seven hours Dimensions: Width: 33. Pros: The smooth aluminium chassis and overall lightweight.7cm Vital statistics: Weight: 1.86GHz Intel Core 2 Duo processor or optional 2. both with 6MB on-chip shared L2 cache. The 13in 720p high resolution.7cm • Height: 1. while the inside features closed-cell foam padding to protect your laptop from bumps and scratches. All specifications are confirmed and chosen by you when buying from the Apple store.uk Ideal for the style-conscious. MacBook Airs don’t have an optical drive. The 13in MacBook Air comes with a 1.co. the outside is water-resistant. it provides good protection.5cm • Depth: 22. This model is equipped with an Intel Core i5 processor.06kg • Screen size: 13in • Operating system: Windows 7 Home Premium • CPU: Intel Core i5 processor • Memory: 4GB • Storage: 320GB • Battery life: Approximately seven hours LAPTOP CASES It is always a good idea to invest in a protective laptop case for when you are on the move.
gearzap.uk With a detachable shoulder strap the 1103 is versatile and perfect for carrying from shoot to shoot.com The HP Envy 17 3D laptop features a 17. but if 3D is your bag.aluminiumcases.43kg • Screen size: 13.co. £ Price on application www. 30 minutes Tech Air 1103 £29.com The Aluminium Case Company creates bespoke cases to give you something that little bit special. The aluminium cases are light enough to carry around all day and are suitable as hand luggage when flying.7cm • Height: 1.techair.40 Available from www. HP ENVY 17 3D £1.PHOTO ZONE Laptop roundup Jessica Lamb TOSHIBA SATELLITE R630-13T From £649 www. including two USBs and an HDMI port for connecting your laptop to TVs etc. absorbing shocks on impact. The R630-13T features a host of ports. it is the heaviest of our laptop choices.6cm • Depth: 22. and has support for up to 2TB in hard drive capacity.2cm Vital statistics: Weight: 3. but this comes at a cost.3in screen features a 1. Toshiba has also built in a sensor which protects the hard drive if it’s knocked or dropped. ZeroShock III Laptop Case 17in – Black Aluminium Case Company £21. these tough cases protect your laptop from impact and scratches. The Satellite R630-13T’s 13.43kg. Made from aluminium with a customisable foam lining. PM W W W.uk This particular model has support for up to 8GB of RAM and many more modifications are possible.CO M [ 93 ] WorldMags .com ZeroShock III cases are made from low-resilience polyurethane to absorb shocks and the memory foam interior adapts to the shape of your laptop for a perfect fit.57cm back Vital statistics: Weight: 1.3in • Operating system: Windows 7 Home Premium • CPU: Choice of Intel Core i3 or i5 processor • Memory: 4GB • Storage: 320GB • Battery life: Up to nine hours Dimensions: Width: 41.8cm front / 2. This case also features a zipped outer pocket to hold small accessories or paperwork.5cm • Height: 3.4kg • Screen size: 17. unlike some of the other 3D laptops on the market (which make use of NVIDIA 3D Vision tech) this one uses AMD’s 3D tech and comes with a pair of active shutter glasses. ‘Airflow cooling technology’.560 www.6in laptops and conceals small compressed air pockets around the edges of the case. The Tech Air 1103 is designed for 15. P H OTO G RA P H Y M O N T H LY. This model comes with a 4GB memory and 500GB hard drive for storing all your digital and media files. handy if you are going to be using your laptop out and about. The water-resistant outer material protects it from rain and spillages and has reinforced edges for added protection.6cm • Depth: 27. WorldMags Dimensions: Width: 31.toshiba. this laptop has all the power you could need in a perfect travel package. All of the laptops in the Satellite series have backlit keyboards.3in 3D Ultra BrightView display.366 x 768pixel resolution and has a Toshiba TruBrite HD High Brightness display with 16:9 aspect ratio and LED backlighting.3in • Operating system: Windows 7 • CPU: Intel Core i7 processor • Memory: 4GB • Storage: 500GB • Battery life: Two hours. At 3. HP allows you to modify the Envy to meet your specific needs. with seven models in this series covering a wide range of needs. The Satellite series of laptops has a new cooling system. It features a large inner pocket for documents and several others for accessories.hp. As with a lot of manufacturers.4kg. Cons: Relatively uninspiring design. Cons: Slightly heavy and expensive compared with other laptops but there is room for a 2TB hard drive – unlike any other laptops we have looked at. Pros: Brilliant battery life and weighing just 1. All of Tech Air’s laptop cases are backed by a lifetime warranty. making it excellent for working in poor light.co. then this is the laptop for you. Pros: 3D screen and Ultra BrightView display allows fantastic quality when viewing images or watching films. which will be useful when you’re working for long periods.99 www.
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Now Robb has applied the technology and build quality to a portable version and I’m going to see if I can kill it. I jumped at the invitation. He plugs it in once more and impressed. Robb demonstrates the Rugged Portable’s underwater capabilities by immersing it in a fish tank and leaving it on the gravel bed for a while. there does not seem to be any serious The Demo-lition is over and we are damage. We are all impressed. They came on the market as ‘the Hummers’ of storage and delivered on every level. military-spec weapon to kill the hard We are all wearing headphones drive. no it starts. ioSafe. a confident shooter. fireproof monsters of data and I loved them. A Remington 12-gauge shotgun with Winchester Xpert Game Load Steel ammo (the kind used for hunting big animals) the weapon of choice.. I have increasingly damaged but will not die. Next up is a fully automatic M16 rifle It’s time to get serious. I’m not the only journalist at the shoot-out and everyone else is both American and comfortable with firearms.com WorldMags GO ONLINE PM The ioSafe Rugged Portable hard drive Demo-lition held at the American Shooters indoor range in Las Vegas. The case is peppered with shot but our mission. They were heavy. working on long edits. P H OTO G RA P H Y M O N T H LY. Every time it’s pulled back and plugged in. so. FIREPROOF MONSTERS OF DATA.. so after a number of particularly weird and wonderful experiments he came up with his own solution. but says they have done before Demo-lition go to www. Robb agrees. the sound of a shotgun going he is not confident it will work To see our films of the off is explosive at close range. A quick web search revealed there was nothing on the market that met Robb’s exacting personal requirements. Robb attaches the firing a 5. The first journalist loads up. ioSafe has been making hard drives that have the same logic behind them as an aircraft black box. Since 2005. It has taken a shooting hole cut in it and lets rip.CO M [ 95 ] WorldMags .” into the portable’s USB port. problem. The case gets any of us have come across so far. meanest son of a bitch that process and hit it every time. a series of hard drives that can be bolted to the floor. MUST DIE! THEY WERE HEAVY.uk at. Robb winds it back for us to look a no-go and we’ve succeeded in co. Robb winds it back in and and protective glasses but. drive on to a pull mechanism that takes it The journalist from Florida steps up to the just above head height 30ft down the plate. The ioSafe Rugged Portable the target. I’m thinking he wants the hard drive to die and he wants that this is the answer to spilt tea when I’m us to kill it. the California-based inventor. http://iosafe.56mm calibre NATO bullet. bolt-down. We will be using live ammunition. put in my order. solo round and takes off the back of the stands behind a Perspex wall with a drive in one shot. wanted to ensure his pictures of his children were safe. W W W. it’s photographer. waterproof. It works. Sadly. all because its CEO. no problem. But before we get a chance to kill. Robb is a nice guy and delivers his rundown on the ioSafe Rugged Portable with an edge of military precision and engineering confidence. Robb is not impressed. then he retrieves it and plugs it straight into his MacBook Pro after a quick puff of air A THE HARD DRIVE You might think that your external hard drive is tough. WATERPROOF. I first encountered the ioSafe range of hard drives at the beginning of last year. so when I was contacted and asked to come to Nevada and destroy their first portable drive. The hard drive is dead. I made an immediate investment and two of them now sit proudly on my studio desk – easy to use and indestructible.professional He has also hit the drive. BOLT-DOWN. even examines the internal workings. Five journalists repeat the the toughest. Welcome to the Demo-lition.PHOTO ZONE Hard drive demolition Mike Bloomfield N INDOOR SHOOTING RANGE on the outskirts of Las Vegas was the location. but have you ever fired at it with a shotgun? MIKE BLOOMFIELD has and he lived to tell the tale. survive a building collapse or be padlocked to anything immovable. engineer and demonstrator Robb Moore. he puts it on to shooting range. It’s time to change weapons. The ioSafe Rugged Portable is again it works. But I knew little about the company or why it had decided to create its indestructible range. despite such damage.
The 20mm-diameter legs provide support at 23°. which has a folded height of just under 12in. When the band arrived at the location they had just had a disagreement. worth £59.vanguardworld. www. To get you started and inspired. so I asked Olivia. simply upload your best portrait pictures to the Photography Monthly gallery. I shot handheld with just natural light. but we’re sure you can do better than us! Good luck and get shooting.32lb/0.  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags . bringing stability to this little tripod.TAKING PICTURES I N! W FOR YOUR CHANCE TO WIN a Vanguard Nivelo 204 tripod. This incredibly light (1. It is small enough to tuck into a rucksack and the features include shock-absorbing rubber feet.com READERS’ PICTURES Kaikala How we see WorldMags Berna V With love PM TEAM PICTURES GRANT SCOTT — EDITOR PHOTOGRAPHY MONTHLY This image is of a band called The Go! Team and was taken as part of a project and exhibition I shot in Brighton. SIMON REYNOLDS — MANAGING EDITOR PHOTOGRAPHY MONTHLY My wife and I were in the grounds of our Cotswolds hotel when we noticed this striking seat.6kg) and compact tripod has been designed to accommodate the latest compact system cameras. visit www.99. and placed her against a plain background. to wear a simple white shirt and blue jeans. Twist-n-Lock legs and a spirit level on the pan head. SEAN SAMUELS — DEPUTY EDITOR PHOTOGRAPHY MONTHLY I wanted this image to have a natural. The sun on Chris’s yellow bag was a nice final touch. we have included some of your pictures and others by the PM team. The 360° rotating head allows panoramic shots and side-to-side tilting means you can get a unique take on the world.photographymonthly. The jazzy stripes stood out against the green vegetation and was the perfect spot for a portrait. contemporary feel. in this case a white wall. so instead of trying to cheer them up I went with their mood.com To enter and for full terms and conditions. the model.
The light was low and I think this relaxed portrait really captures the sense of the day. PM W W W. SOPHY KANT—DEPUTY EDITOR TURNING PRO This image was taken in the early evening at the end of a canal boat holiday. although it was shot in colour I think converting to black-and-white reinforces the fact it was a 1960s-inspired photo shoot. I like the simplicity of this image and the asymmetric pose. KELLY WEECH — FEATURES ASSISTANT PHOTOGRAPHY MONTHLY I love the retro appeal of this image.CO M [ 97 ] WorldMags . We were sitting on top of the boat enjoying the last few hours of the weekend. It was taken on a Canon EOS 20D with an 18-55mm lens in a studio. It shows off Ellie’s joyful and gentle nature perfectly.READERS’ CHALLENGE Upload to our gallery to win prizes Portrait Yaman Ibrahim Smoker 11 Dustin Spengler Abstract symmetry WorldMags Annie Pronovost Heidi is dreaming Holly Moss Mother nature ELEANOR O’KANE — DEPUTY EDITOR PROFESSIONAL PHOTOGRAPHER Having young nieces and nephews means there’s always someone about who is willing to pose for a portrait. P H OTO G RA P H Y M O N T H LY.
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5 BUILT TO LAST Tested in conditions up to -60°C. 3 LIGHT AS A FEATHER At just 1. 2 FIRST IMPRESSIONS Made from a combination of carbon fibre and alloy. The ballhead motion is fluid. making it portable and compact. 1 8 REASONS TO BUY WorldMags THE STUFF OF LEGEND The tripods bear the names of guitar legends from Britain and the United States – a welcome change from the usual monikers – in this case. 8 COMPACT SIZE The tripod folds down small and comes with a sleek carry case and strap.photography monthly. strong and versatile. 7 The load capacity is up to 12kg.com W W W.3kg this tripod makes an ideal companion for all occasions and for all types of photography.Each month we bring you the reviews you need to make sure you buy the right equipment. the heavyweight carbon fibre tripod from British company 3 Legged Thing and immediately fell in love with its design and build. alternatively the centre column can be removed and reversed for more creative ground-level shots. 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. the 3LT X2 Eddie is rugged. the tripod is beautifully designed and constructed.CO M [ 9 9 ] WorldMags . which is more than enough for most general requirements. 4 FOR THE HIGHS AND LOWS A low operating height of 170mm is possible.com 3 LEGGED THING We recently got our hands on Eddie. with a maximum of 1. PM Price: £279 (including B3s ballhead) www.3leggedthing. P H OTO G RA P H Y M O N T H LY. and available in five colours.660mm. the top plate slick and the legs bear easy-to-use locking collars that stay locked. the 3LT X2 Eddie is named after Eddie Van Halen. 6 TWO FOR THE PRICE OF ONE ROUGH AND TOUGH The 3LT X2 Eddie includes a built-in and detachable monopod. Here are the reasons why.
RISE OF THE OLYMPIAN WorldMags TOP 5 OLYMPUS E-5 DSLR FEATURES 1 SOLID BUILD Magnesium alloy body coupled with weather-resistant seals 2 VARI-ANGLE SCREEN HyperCrystal LCD 3in screen that can be positioned to match your composition 3 FOCUSING ACCURACY Fast and accurate focusing even under poor lighting conditions  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags .
but my very expensive camera doesn’t. conference and events photography and is the resident photographer at the Celtic Manor Resort in South Wales – venue for the 2010 Ryder Cup. on a variety of jobs.CO M [ 1 0 1 ] WorldMags . LET ALONE LAID MY HANDS ON ONE. including shooting a celebrity portrait. Having the E-5 in my bag I asked one of the other gymnasts to perform a few jumps so I could test it out. The Zuiko digital ED 12-60mm f/2. a Christmas brochure.fotowales. Steve has covered sporting events across Europe.” familiar with). I started to play with the E-5. Once I had all the shots in the bag taken with my own kit (that I am BIOGRAPHY Steve Pope specialises in sport. a Canon EOS-1D MkIV. P H OTO G RA P H Y M O N T H LY. PR. I will occasionally photograph a conference or dinner with a camera attached to a light stand hoisted up toward the ceiling. So for me the vari-angle screen would be a great benefit to help with composition. with weather and dust-resistant buttons that are almost all self-explanatory and no dials to wear out. THE E-5 PERFORMED VERY WELL ON ALL OCCASIONS. It was soon obvious that the Olympus was more than up to the job. I had three Speedlights set up for the portrait I hope that when it becomes a feature on all pro camera bodies that it is as well integrated and solid as the one on the E-5. “USED ON THE ROAD WorldMags IN A VARIETY OF LOCATIONS AND PHOTOGRAPHING A MIXTURE OF SUBJECTS. a rugby match.4-4.0 SWD zoom lens supplied with the camera (usually sold separately) was never going to work at a rugby match. So getting to play with an Olympus for a week and not feel guilty was a strange experience.com STEVE POPE 4 EASY TO USE The basic custom menu is extremely easy to use and quick to access 5 MEMORY COMPATIBILITY The camera can store files on both SD and CF card formats W W W. Another great feature of the screen is the auto image rotation when you turn the camera on its side. the E-5 performed very well on all occasions. the US and Australia and was the first photographer ever to be inducted into the Welsh Sports Hall of Fame when he was named joint Welsh Sports Journalist of the Year in 2010. It has controls laid out in a similar way to a high-end pro body. Over the few days that I had the E-5 I used it alongside my regular camera. I was particularly impressed by its focusing accuracy under poor indoor light conditions. Used on the road in a variety of locations and photographing a mixture of subjects.TEST ZONE Camera review Olympus E-5 AS SOMEONE WHO HAS BEEN FAITHFUL TO ONE MANUFACTURER FOR NEARLY 20 YEARS I HAVEN’T LOOKED AT ANOTHER CAMERA. a gymnast and a series of athlete portraits. Straight out of the box the magnesium alloy body of the E-5 feels very solid. www. The 920k-dot HyperCrystal LCD 3in screen gives a good preview with the ability to zoom right in to check focus and exposure. But on all other assignments I was pleasantly surprised by how well this kit performed. When used with live view the vari-angle screen will be a real bonus when taking low or high-angle shots. I was commissioned to photograph a gymnast with her medals in a sports hall. Africa. My iPhone does this.
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pop art. so quickly rearranged them and attached a PocketWizard to the Olympus. 7. www. Four Thirds Hi-Speed Live MOS sensor that can produce a maximum resolution of 4.1-megapixel.uk PM TECHNICAL SPEC: OLYMPUS E-5 116. These include pinhole. P H OTO G RA P H Y M O N T H LY. and with no shutter delay caught the gymnast at the top of her jump every time.500 (body only) the Olympus is up against some serious opposition from Nikon and Canon in this price bracket. DC input.photographymonthly. but it does offer a genuine alternative to the traditional big two with similar build and definitely similar image quality. They would soon get lost in my bag.032 x 3. but I found the basic custom menu extremely easy to use and quick to access. Images are processed by the TruePic V+ processing engine giving 5fps with shutter speeds ranging from 1/8. I was pleasantly surprised by how well it locked on using the centre of its 11 focusing points. 11 points / fully biaxial. single AF. The camera has two memory card slots for CF and SD. 920k dot MOVIE MODE HD 1.co. manual SHUTTER SPEED 1/8. Other features that may be of interest include 10 art filters that enable some creative effects in-camera. Priced at around £1. AND A LITHIUM-ION BATTERY THAT DOESN’T SEEM TO EVER NEED CHARGING. video out (NTSC or PAL selectable).024. focus.400 Manual ISO 100 to 6. synchro socket and HDMI (mini connector Type C).olympus.280 x 720 HD ready video.TEST ZONE Camera review Olympus E-5 “THE CAMERA HAS TWO MEMORY CARD SLOTS FOR CF AND SD. There are plenty of sockets to plug in to: USB 2.1-megapixel sensor and. diorama. tungsten and three fluorescent settings. in my opinion.280 x 720 (16:9) / SD 640 x 480 (4:3) BATTERY BLM-5 Li-ion battery (included) WEIGHT 800g (body only) PRICE £1.5mm 142. Personally I would have liked to have a custom white balance and kelvin colour temperature for greater control and creativity. of course it also shoots RAW. frames per second and image processing were never going to be as fast as I’m used to.400. single AF and MF.6 cm / 3. 1⁄2. ISO and white balance modes very straightforward and fast.499. 1⁄2EV or 1EV steps EXPOSUREMODES Programme automatic. continuous AF and MF EXPOSURECOMPENSATION +/.5mm 74. infrared. grainy film.9MB file from its 13. focusing.com W W W. but you need the included software to process the files. Although initial start-up. with details in highlights and shadows extremely well reproduced. it would take an expert eye and close inspection to tell the difference between the two sets of images produced. continuous AF.99 (body only) IMAGE SENSOR TYPE For more news and reviews visit our site www.0. program and manual. resolution. but there is also 1. It hasn’t tempted a complete change of camera system.000sec to 60sec and an ISO range from 100 to 6.400 in 1⁄3 or 1EV ISO steps ENGINE TYPE TruePic V+ VIEWFINDER TYPE Eye-level Pentaprism optical viewfinder FOCUSING SYSTEM TTL phase difference detection system. I didn’t have a manual for the camera I was sent and I wasn’t able to sit down and watch the supplied DVD. As I mentioned earlier. which cover most lighting scenarios. and a lithium-ion battery that doesn’t seem to ever need charging. sepia and cross-process. slow sync and fill in. I also found switching between shooting. I shot everything in manual using identical settings to my much more expensive workhorse camera and. shutter. the body is very solid and does have a pro feel. The portraits I shot produced accurate skin tones and again sharp images were obtained using the 12-60mm lens. overcast. At the lower end of the ISO range images are free from noise. 1EV steps) AUTO WB SYSTEM Hybrid detection system with Hi-Speed Live MOS sensor and dedicated external sensor LCD MONITOR Size. Image quality is first class. My only complaint is that the screw-in dust covers for the remote trigger and flash are very small.5 EV / 1⁄3EV. When shooting large Jpegs the Olympus produces a healthy 39.” work. Shooting modes are the normal aperture. shade.5mm (Depth) WorldMags Four Thirds Hi-Speed Live MOS sensor ASPECT RATIO & AREA 4:3 / 17.1MP (full resolution) ISO SENSITIVITY Auto ISO 200 to 6. The white balance options on the camera include sunlight.000sec to 60sec (in 1⁄3.0in. AF and MF FOCUS MODES Manual focus.3mm x 13mm IMAGE SENSOR PIXELS 13.CO M [ 1 03 ] WorldMags . The built-in pop-up flash has a guide number of 13 (ISO 100) with options such as red eye reduction. aperture priority. shutter priority. The image sensor is a 13.
Even the standard 18-55mm kit lens felt solid and more weatherproof than rival offerings. SEAN SAMUELS found it to be as tough as it looked. The most notable is the greatly expanded ISO range of 80-51. water and grease. but you will have to have a taste for the noise produced when shooting at the extremely high end of the scale.WELL DONE OR OVERCOOKED? The Pentax K-5 is aimed at advanced photographers with a love of the outdoors. It also has an HDMI port for playback on an HD TV. Starting up was also fast with the camera ready to shoot in under a second. It worked well outdoors.200.000sec and with the upgraded 11-point SAFOX IX+ AF system it is possible to achieve wider coverage at a faster speed. THE K-5 FROM PENTAX FELT GREAT IN MY HANDS. It has the same build design as the K-7. Its weather-resistant construction is designed to minimise the threat of water and moisture getting into the lens barrel and it has a special coating which repels dust. There’s a built-in microphone for mono recording and a socket for connecting an external stereo microphone. It felt solid and capable of taking a few knocks in all manner of harsh environments. with a stainless steel alloy frame and lightweight magnesium steel alloy body that is dustproof. despite its diminutive size. but not as big as the K-7 and has a chunky contoured handgrip on the right-hand side that is coated in a rubberised compound which is reassuring to the touch. WorldMags TOP 5 PENTAX K-5 DSLR FEATURES 1 FAST WORKING 7fps with a top shutter speed of 1/8. So footage viewed at this speed is comfortable to watch. I was out on a cold. which is significant. It is bigger than the K-r. Image quality at the lower end of the spectrum is pleasing. but wondered if the camera might be a little too much function over form. fully weather sealed and cold-resistant. It is believed that this frame rate closely resembles the speed at which the human eye captures and processes information. wet and grey day and felt secure the camera would not let me down. FROM THE MOMENT I PICKED IT UP I JUST KNEW IT WAS A CAMERA THAT WAS GOING TO GET THE JOB DONE. with a top shutter speed of 1/8. For those wanting to capture action. The shutter has been designed for 100. Certainly the balance felt right when holding the camera during shooting. The inside of the K-5 has a number of interesting new features that will be of interest to photographers who like to shoot outdoors 24 hours a day.080p video at 25fps. On the back is a large 3in LCD screen with a resolution of 920k dots and wide viewing angle. I say diminutive. the camera is fast at 7fps.000sec and upgraded focusing 2 GOOD IN LOW LIGHT The ISO can be used as low as 80 or taken as high as 51. or by my side when not. Also new is full HD 1.000 releases and 77 special seals used throughout mean the camera can operate at temperatures as low as -10°C. The K-5 is aimed at advanced photographers looking to invest in a robust and reliable camera.200 3 BUILD QUALITY Stainless steel alloy frame and lightweight magnesium steel alloy body with 77 seals  P H OTO G RA P H Y M O N T H LY M A RC H 20 1 1 WorldMags . but the K-5 is slightly larger than many of the recent DSLRs released to market.
” WorldMags 4 FULL HD 1.080P VIDEO Capture is available at 25fps. BUT YOU WILL HAVE TO HAVE A TASTE FOR THE NOISE PRODUCED WHEN SHOOTING AT THE EXTREMELY HIGH END OF THE SCALE. P H OTO G RA P H Y M O N T H LY.TEST ZONE Camera review Pentax K-5 “IMAGE QUALITY AT THE LOWER END OF THE SPECTRUM IS PLEASING.CO M [ 1 0 5 ] WorldMags . closely matching the speed of the human eye 5 KIT LENSES The lenses are as robust and weatherproof as the camera body W W W.
behind the scenes Three glorious kitchen gardens Colourful veg for plate and plot Growing tips and seasonal jobs Becoming a gardening smallholder Spring/summer recipes PLUS LOTS. LOTS MORE Order your copy now. Archant House. The English Garden Magazine.uk/ediblegarden POST a cheque made payable to Archant Specialist Ltd to: The Edible Garden. CALL (0)1242 265892 VISIT www.YOUR INDISPENSABLE GUIDE TO SUCCESS WITH FRUIT & VEG G P WorldMags ● ● ● ● ● ● THE EDIBLE ick up your brand-new guide to spring and summer kitchen gardening. Cheltenham GL50 1BB WorldMags . only £4.. you will find: River Cottage ..99 with FREE delivery to the UK ON SALE 19 MARCH IN WH SMITH AND SAINSBURYS STORES OR TO ORDER. from the team at The English Garden magazine ARDEN ● Designing a kitchen garden ● MasterChef’s Gregg Wallace on his passion for veg ● Tempting shopping ideas 19 M LE ARC H NEW ON SA ! FROM THE TEAM AT THE ENGLISH GARDEN MAGAZINE Creating a kitchen garden or growing fruit and vegetables within your decorative plot is the ultimate dream.co. We bring you everything you need to know to reap the rewards from a garden that looks spectacular and offers healthy crops of tasty fruit and veg. The Edible Garden is packed with design ideas and ways to make the most of your growing space.subscriptionsave. Oriel Road. Inside.
PENTAX KAF3-. which allows you to select modes. but it seems to have neglected the fact that advanced photographers want more not less.com W W W. Pentax has instead chosen to add a sensitivity priority option and a combined shutter and aperture-priority modes. However. especially as the filters slow the camera down while it processes the images.TEST ZONE Camera review Pentax K-5 “THE NUMBER OF EXTERNAL CONTROLS IS HIGH.photographymonthly. I didn’t move the dial too often from its manual setting. This enables you to select an ISO speed in rapidly changing light. The Pentax K-5 has a shooting mode dial on the top left of the camera. KAF. Bulb mode: up to ISO 1.. although this applies to Jpeg files only. The K-5 is a great camera. For example. This wheel can’t be turned without pressing a button at the centre of the dial. I found the K-5 complicated to use.7mm x 15.co. The form is beautiful. The number of external controls is high. then press the ‘AF on’ or half-press the shutter button to set the focus.99 with the 18-55mm WR lens.99 with the 18-135mm WR lens For more news and reviews visit our site www. £1. With image quality this good I don’t see the need for these filters.pentax. This process simply takes too long. It is also pleasing to know that the scene modes.600 FOCUSING TYPE SAFOX IX+ AF system with TTL phase matching detection SCREEN TYPE 3in TFTcolour LCD with AR coating and 170° wide-angle viewing SHUTTER SPEED Auto and manual : 1/8. manual: ISO 100 to 12. For those wanting digital filters. all the options are available including aperture priority and shutter priority. but what is needed to complete the package is more simple functionality. you have to turn the dial to movie mode. Pentax is aiming this camera at advanced photographers who like to shoot outdoors in all weathers. The sensitivity priority option automatically selects the best combination of aperture and shutter speed for your chosen ISO. neither can you autofocus.199. if you want to shoot video. 660g. That said. However. even for someone with all the time in the world to compose and take a shot. and a lot of them have more than one function. 16. then press the shutter to begin recording – and again to stop. loaded and ready with Li-ion battery and SD card. P H OTO G RA P H Y M O N T H LY. With these you can apply an effect to a photo before taking it. In shutter and aperture-priority mode the camera selects the most appropriate ISO for a shutter speed and aperture combination.CO M [ 1 07 ] WorldMags . but I did find setting it in the first place a little tricky and clumsy. I would prefer to see these stripped out and the number of functions reduced. Once I had accessed this option I then had to use the scroll wheels to increase or decrease the kelvin scale. and £1. which leads me to my only real complaint with the camera. with more than 25 in total.000sec to 30sec and bulb (1⁄3 or 1⁄2EV steps) FLASH TYPE Built-in retractable P-TTL auto pop-up flash WEIGHT Body only.. however.7mm PENTAX KAF2 bayonet mount. You can’t take a still shot while recording. For me this further compounds the over-complexity of the camera. KAF2-*. allowing you to use ISO sensitivity as a third factor in determining the correct exposure.299.200. which are crammed into so many camera releases these days. that seemed to go on forever. I realised the one thing I really wanted to change – colour temperature – was accessed by using a combination of button holding and toggling at the back of the camera. after searching through the menu options. 1⁄2EV or 1EV steps) Extended sensitivity: from ISO 80 to 51.3MP (effective) ISO SENSITIVITY Auto.and K-mount lenses IMAGE SENSOR PIXELS Approx. www.699. WITH MORE THAN 25 IN TOTAL.99 with the 18-55mm WR and 50-200mm WR lenses. are not present. there are seven to choose from.uk PM TECHNICAL SPEC: PENTAX K-5 97mm 131mm 73mm (Depth) IMAGE SENSOR SIZE LENS MOUNT WorldMags 23.800 (1⁄3EV.” using the industry-standard HDMI mini-out connection. This is a good thing or a bad thing depending on how you transport and handle your camera. but I understand why they are there. 740g PRICE The Pentax K-5 is available in three kits: £1.
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padded waistbelt. At 2. a built-in All Weather Cover and silent zipper pulls. thickly padded shoulder straps with five adjustment points.YOUR QUESTIONS UPGRADE Q I use a Nikon D80 but want to upgrade to a Nikon D300. built-in memory card pockets on inside panel. and provides security. mesh side pockets. picture control presets. The bag’s unique back-entry compartment gives easy access to camera gear when you’re setting up (keeping the harness off the ground). Other features include: a mesh-covered. a 3in 920. It gives both professionals and the most serious amateurs a full-sized. the D300 is ideal for photographers on the move as well as being less conspicuous when you’re out and about. the Flipside 400 AW (pictured) has a large capacity.CO M  WorldMags . Finally. but at about a third of the price. An array of functions includes an autozoom function that automatically sets the optimum illumination angle between 24mm and 105mm. 6fps continuous shooting. Other electronic benefits include Live View (with contrast detect AF). as well as offering bounce and swivel capability. When used with the built-in Wide Panel. white balance. but if these particular qualities are not a priority. focus tracking by colour. The D300 features a CMOS sensor with 12. lighter and easier to carry than other Nikon professional cameras. laptop. in a highly organised pack. because many believed the manufacturer would stake its future on the FX format for professionals. for those who haven’t yet mastered sensor cleaning. It includes side compression straps with quick-release buckles. priced at £249. I am not interested in having an HD movie function. professional camera when fitted with the vertical grip. SlipLock attachment loops. making it ideal for close-up shots. the Pro Runner 350 AW DSLR backpack’s compact and streamlined design is aimed at photographers who carry their gear through crowded urban areas such as busy streets and airports. memory card pockets on the inside lid. using D-Lighting before transferring images to Photoshop. or to the right by 90° and can also be tilted down by 7°.3 megapixels. a 51-point autofocus sensor for better autofocus. Both bags are ideal for the photographer on the move and are of a robust design. which gives DSLR users both a rear LCD Live View and a true through-the-lens SLR view. I like both bags but am not sure which one is better.47. I would like advice on which camera backpack I should buy. it matches the D2X. It has many of the attributes of the top-of-the-range Nikon D3.6kg. padded waistbelt.000-pixel LCD monitor and HDMI video output. The performance of this camera for its weight and price amply justifies Nikon’s decision to continue to innovate in this format. to the left by 180°. tripod and multiple accessories. crucially. mobile phone or MP3 player. It does lack the latter’s robustness and waterproofing. http://products. Being smaller. rainflap lids. the flash can cover the angle of up to a 17mm ultra-wide-angle lens. The street price of the Flipside 400 AW is £99 and the Pro Runner 350 AW is £120. provides two power levels in manual mode: full and 1/16 power. as well as providing extra security for those on the move who need to keep expensive gear securely tucked away. A bag which is comfortable. comfort and protection from the elements for equipment. any thoughts? The dedicated Sony flashgun is the Sony HVL-F42AM. The specifications are impressive. high-speed. On the other hand. a Hideaway Tripod Mount system. durable and functional is a sound long-term investment if you make the right choice. either way I would advise you to see each bag first-hand to evaluate which will suit your needs and way of working. front storage panels and mesh pockets for storing additional gear.lowepro. How important this will be to you depends on what and why you are shooting. which mean that virtually every shot on most lenses is sharper and crisper. as you do not want HD movie capabilities. However. or a comparatively small and lightweight but well-specified camera when used without. In terms of resolution. I am torn between the Lowepro Flipside 400 AW and the Lowepro Pro Runner 350 AW. RRP: £163. back pad and contoured straps for added comfort and wicking away moisture. I mainly take pictures of portraits.com I am looking for an external flash for my Sony A200 on a budget of £200. It has a guide number of up to 53m at ISO 100 and in addition to the automatic mode.99 which is beyond your budget. as are the electronic benefits such as instant chromatic aberration corrections in camera. the D300 has a self-cleaning one.1kg it is slightly heavier than the Flipside 400 AW and is able to carry a laptop. The flash head can be tilted upwards by up to 90°. the D300 is still well worth considering. P H OTO G RA P H Y M O N T H LY. The EF-530 DG ST (Sony fit) is an easy-to-use flash that provides a large amount of light and connects directly to your camera without the need for hotshoe adaptors. Nikon surprised a lot of people by releasing this camera. PM www.com Q WorldMags Q W W W. plus a few personal items. fit in a DSLR with attached lens. scene recognition. frames per second and battery life with the vertical grip. but has now been superseded by the D300s. Basic alterations can also be made in-camera after shooting. a hideaway tripod holder to secure a tripod or monopod to the backpack. However. but is the D300 now outdated or is it still a good buy? The D300 was Nikon’s premium DX format camera. Sigma has a range of flashguns dedicated to the latest auto-TTL exposure system of each popular manufacturer at a competitive price. padded mesh backpad. It comes down to personal preferences when choosing camera accessories. yet close at hand to capture the shot in a moment. Please help me out with some advice. This feature-filled bag can This month KELLY WEECH answers your questions about kit to help you make the right choices. Weighing 1. the D300 is the best DX format camera you can get. This may be the deciding factor or perhaps the back-entry compartment of the Flipside 400 AW is more critical.sigma-imaging-uk. discreet front pocket accommodating a light jacket. metering and. webbing grab handle and zipped document pocket.
All abilities catered for. Africa. Cuba. video lighting.com CONTACT 07958 596 125 pixel-8. from 3 hours to 3 days. SHOOT AND SELL CONTEMPORARY WEDDINGS One and two day workshops / Portfolio days with sought after. courses and tours for small groups to the best water locations worldwide. BOOK. marketing and shooting photos that sell.com CONTACT 0800 731 2116 oca-uk. Learn to see creatively and master any lighting conditions. Only the BEST & WELL KNOWN TOP PROs in the Industry teach on our courses. Venice and the UK as well as regular year round workshops from their base in Biarritz. My 'PhotoWorkshops' are tailored to suit your individual skill levels and interests with workshops. award winning wedding Photographer Chris Chambers including portfolio shooting using natural light. See website for up to date details of the latest workshops.uk chris chambers photography BRITAINS BEST PHOTO DON'T MISS Britain's Best Photography Wedding & Portrait Workshops in 2011.co. We have: • The Annabel Williams Roadshow • 2 Day Wedding & Portrait Workshop with Brett Harkness & Jo De Banzie • The 'All In One' 4 Day Wedding & Portrait Workshop with Bjorn Thomassen. WorldMags 01665 576 012 CONTACT andycraigphotography. lidays & C urses 2011 OCA .com CONTACT 07905 853 155 chrischambersphotography.com CONTACT +33 671 003 769 oceancapture. Ocean Capture now runs trips to 9 countries worldwide including China. CONTACT 01298 835 01 britainsbestphoto. on and off camera flash. All workshops. Means tested grants are available via various national bodies for degree study. covering landscape photography. photojournalism & photoshop.OPEN COLLEGE OF THE ARTS The OCA photography programme is designed so you can study individual courses or take them together towards a photography degree.Essential H NORTHUMBERLAND PHOTO TRAINING Enjoy a short stay in Northumberland on a 'PhotoBreak' or learn-while-you-walk with a 3 hour or all day 'PhotoTrail' set on the beautiful north Northumberland coast. Iceland. For the more experienced photographer there is the option to fast track your degree through Accreditation of Prior Experiential Learning (APEL).biz WorldMags . PIXEL 8 STUDIO PHOTOGRAPHY Improve your glamour photography and learn new skills in both the studio and on location. business strategies. training and 1 2 1 sessions are geared to the participants previous skills. Gordon McGowan and Ryan Browne OCEAN CAPTURE PHOTOGRAPHY Ocean Capture photography was formed in 2006 by professional ocean and landscape photographer Jonathan Chritchley with the aim of providing high quality workshops. Crash Taylor. Greenland.
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But it did remind me of a comedy TV sketch in which Rowan Atkinson played a station announcer. if any of you feel like becoming budding Muybridges there’s now a free iPhone app available called The Muybridgizer. is one example). calling for the invention of the camera shutter and remote release. However. So to have missed such an important exhibition was extremely frustrating. He shoots large format and is drawn to the abstract image. where master craftsmen toil over an extended period to make iconic images (so perhaps it’s no coincidence that Cartier-Bresson first trained as a painter). More often than not. frame by frame. for political propaganda (Walker Evans and James Agee’s Let Us Now Praise Famous Men is a great example). PM www. recently made a ‘blurb book’ while on holiday. Synergy is an overused word. “Anyone who can hear this announcement has just missed the 17:27 train to Cardiff. Eddie Ephraums.photographymonthly. from Marcel Duchamp’s painting Nude Descending a Staircase to the blockbuster film The Matrix. The series collectively reinforced the allusion that he was striving for individually in each image.tate. as each photograph needs to support the others and add to the narrative without shouting. You can see a gallery of images generated by the app on the museum’s microsite.  P H OTO G RA P H Y M O N T H LY A P R I L 20 1 1 WorldMags DAVID WARD To read more of David’s columns and for more advice from pros visit the website www. Working an area of rocky shore in the Mediterranean he made a beguiling series of abstracts that suggested sea creatures and skulls.” Incidentally. and has influenced numerous artists in diverse fields. In reality there are innumerable ‘decisive’ moments (rendering each a little less significant than it might at first appear) and almost as many ‘essences’. applying a vintage style similar to Muybridge’s work and animating them. CALLING FOR THE INVENTION OF THE CAMERA SHUTTER AND REMOTE RELEASE. http://muybridgizer. By placing the emphasis on masterpieces.com . or motion pictures. based around a single bay in Cornwall. because we keep returning to subjects or events and photographing them time and time again. or simply as a record of the photographer’s career. Many of us already make what I call accidental series. AS WELL AS HUGE STRIDES FORWARD IN FILM CHEMISTRY. Isle of Lewis DAVID WARD THIS WAS IN ITSELF A REMARKABLE TECHNICAL FEAT. The crucial step that few of us make is identifying such themes and actively developing them. no matter how masterfully realised it might be. as well as huge strides forward in film chemistry. This month David discusses why creating work as a series of images can make ordinary subjects and ideas all the more powerful. calling at…” At the very start of his motion studies project Muybridge froze the movement of a galloping horse in individual images. as a narrative.uk There were obviously inherent reasons for Muybridge taking a series approach. But the stringing together of the individual images into a sequence produced something even more remarkable than the individual frames. answering once and for all the question of whether all four of its hooves were ever off the ground at the same moment. But they may be collected according to stylistic or intellectual concerns. but I would suggest that the series is always capable of being more powerful than any single image of the same subject. By carefully choosing which photographs sit next to which in a book we create the possibility for a story. It’s no understatement to say that Muybridge’s work forever changed our understanding and interpretation of the world. commissioned by Tate Britain. WHILE IDLY BROWSING THE INTERNET RECENTLY I FOUND out about an exhibition of images by Eadweard Muybridge that had just closed at Tate Britain. Outstanding images can actually be disruptive. images in a book aren’t anchored in a single time or place like this (though Andrew Nadolski’s End of the Land. but might other photographers gain in a different way from making a series rather than single images? Most of us seem more concerned with capturing Henri Cartier-Bresson’s decisive moment in a solitary masterpiece. What is important is how sensitively the images are arranged and how they speak to each other on the page. It actually matters little why they are collected together. Muybridge’s pioneering work led to the invention of cinematography. on occasions.org. photography is following in the footsteps of painting. feeling that the concentration of a subject’s essence into a lone frame is the photographer’s ultimate goal and that such a feat is the definitive expression of the consummate photographer. to place so much stress on a single photographic frame can be extremely misleading and shallow.com WorldMags David is a professional photographer with more than 20 years’ experience.FSTOP Dalmore waves. though this needn’t be a literal narrative and may simply be thematic. My editor.into-the-light. The most common way that we view such series is as a photographic monologue presented in a book. You capture a sequence of images with the iPhone camera which the app allows you to manipulate. This was in itself a remarkable technical feat. and then treats the images.
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