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Preview: Photo Review Dec-Feb 201011 Issue 46
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A U S T R A L I ADEC-FEB 2010/11
WIN THE FEATURE-PACKED CANON EOS 550D WORTH $1499
www.photoreview.com.au
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ISSUE 46
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A GUIDE TO SHOOTING AND EDITING 3D IMAGES
3D PHOTOGRAPHY
Photo Review AUSTRALIA ISSUE 46 � www.photoreview.com.au2
contents
INSIDE01 WHY DO YOU TAKE PICTURES? Our editor meditates on what motivates photographers
and manages to work in a reference to Shakespeare.
05 Products & Trends Silver-based prints no longer rule the High Street. There
are now a range of printing technologies pushing out those 6x4s - with varying success.
10 Photo Challenge This issue’s challenge is definitely inside the frame!
INSPIRATION
12 AN EXTRAORDINARY LIFE: WAYNE QUILLIAM Wayne Quilliam attributes his success as a photographer
to his willingness to first spend time understanding his subjects.
22 BOOK REVIEW: CIRCUS Shot in 2006 and 2008, Circus is about ‘the relationship
between the body, costume, performance and Identity’.
24 ME AND THE MICROBES: RENATA BUZIAK Brisbane artist Renata Buziak works in a field of visual
wonder created by encouraging photographic material to decay!
Cover image by Wayne Quilliam. See page 12.
We encourage submissions to: The Editor [email protected] T: (02) 9948 8600 Office 4 Clontarf Marina, Sandy Bay RoadClontarf NSW 2093
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contents
3Photo Review AUSTRALIA ISSUE 46 � www.photoreview.com.au
contents
Editor Don Norris [email protected]
Technical Editor Margaret [email protected]
Trade News Editor Keith [email protected]
Contributor Steve Packer
Creative Director Darren Waldren
Publisher David O’[email protected]
Publication Manager Pauline [email protected]
Accounts Manager Heather [email protected]
Media [email protected]
AdvertisingPhone (02) 9948 [email protected]
SubscriptionsOne year (4 issues) $29.00 including GST and delivery in Australia.See page 37 this issue or phone: (02) 9948 8600 or online:www.photoreview.com.au
Photo Review Australia is printed on Monza Satin Recycled Paper with ISO 14001 Environmental AccreditationPrinted by Pegasus Print Group
Design by itechne [www.itechne.com]phone (03) 9421 8833
Distributed by NDDPhoto Review website by itechne
All content in Photo Review Australia is protected under copyright and cannot be reproduced in any form without written consent from the publisher.
Photo Review Australia is published by
Media Publishing Pty LimitedABN 86 099 172 577Office 4 Clontarf MarinaSandy Bay Road, Clontarf NSW 2093 AustraliaPh: (02) 9948 8600 Fx: (02) 9948 0144 Em: [email protected] Review website:www.photoreview.com.au
SUBSCRIPTIONS
36 SUBSCRIBE TO PHOTO REVIEW AND WIN
Have Photo Review Australia delivered to your door at a reduced price - or extend your current subscription - and you could win the feature-packed Canon EOS 550D Single IS Kit - DSLR body plus EF-S 18- 55mm f/3.5-5.6 IS Lens valued at $1,499.
INSIDER
38 UNDERSTANDING AND USING MTF GRAPHS
TECHNIQUE
32 SHOOTING CLOSE-UPS Tips for taking big pictures of little things.
49 REMOVING UNWANTED PEOPLE FROM HOLIDAY PHOTOS
Some useful ways to eliminate tourists from scenic shots.
BUYERS GUIDE
41 3D PHOTOGRAPHY A guide to shooting and editing 3D images
contents
PhotoReviewA U S T R A L I A
NET EFFECT
64 LINKS FOR PHOTOGRAPHERS, #46 The things you find on the internet . . . Our editor
uncovers, among other things, a better iPhone app, photo manipulation websites and a homage to close-up photography...
BUYERS GUIDE
DSLR53 CANON EOS 60D The first Canon DSLR camera with an adjustable monitor
screen.
54 SONY ALPHA 55 Back to the future with a pellicle mirror EVF and some
new shooting modes.
55 NIKON D3100 A DSLR for novice users who want a camera that helps
improve their photography.
ADVANCED56 CANON POWERSHOT S95 IS AND
PANASONIC DMC-LX5 We compare two of the latest ‘raw-sumer’ digicams.
LENS58 TAMRON SP AF 90mm F/2.8 DI
MACRO 1:1 LENS58 SIGMA 50mm F/2.8 EX DG MACRO LENS59 SIGMA 105mm F/2.8 EX DG MACRO LENS59 SIGMA 180mm F/3.5 APO EX DG HSM
MACRO LENS60 TAMRON SP 70-300mm F/4-5.6 DI VC USD60 SONY SAL75300 75-300mm F/4.5-5.6
ZOOM LENS
13Photo Review AUSTRALIA ISSUE 46 � www.photoreview.com.au
Inspiration
Louie, Mutitjulu, 2009
InspirationInspirationInspiration
‘THIS ONE NIGHT IN HONG KONG started it all, believe it or not. I went out with the boys to have a couple quiet ales and that led to me coming back to the ship at a very early hour in the morning with a few sherberts under my belt’, Wayne Quilliam explained.
It was the era of duty free and Hong Kong was full of huge shops specialising in everything from jewelery to hi-fi and photographic gear. The young sailor making his way back to his berth
happened to wander past one such glittering emporium and was momentarily stopped in his tracks.
‘I passed this camera store and went, “wow! I’ve always wanted to do this...”, so I went in, bought this you-beaut camera. Later that day I woke up and there was this wonderful silver piece of technology sitting beside my bed and I thought, “I wonder where that came from?”’
By the time his ship put to sea again, Quilliam had a bucketload of colour film in his locker and all the time in the world to get to know his new Yashica FX-D Quartz.
‘I knew nothing about f-stops or shutter speeds, all I knew is it was a device to try and capture what I saw. That was the beauty of it. Here we are on board a ship, so life at sea for a young man was taking photographs of shipboard life and beautiful countries.
‘Once, we were doing exercises off Subic Bay in the Philippines, watching jet fighters of a night touching down and doing live firing at sea; it was just a young
man’s dream really. I just kept shooting and playing around until we got into port and I could put my film in.’
Without so much as a camera course or even a mentor, Quilliam gradually taught himself the fundamentals of photography during the remainder of his time in the Navy.
In 1984 he returned to civilian life in his native Tasmania and for a time the camera was put away as he worked at a variety of occupations before starting up his own little chimney-sweeping business in Hobart.
‘One day I was sweeping an old house for an old lady and there were these amazing black and white images in the place. I told her how wonderful they looked and she told me her father was a photographer. She showed me his old darkroom setup (he’d passed away many years ago) and I was absolutely fascinated with it.’
Quilliam came to an arrangement with the customer. He’d clean the chimneys a few times and in exchange, she’d give him all the darkroom equipment.
‘I took it home, blacked out all the windows in the bathroom, set it all up and thought, “what the hell am I doing now?” I just went ballistic, fell in love with it, I just couldn’t stop doing it, it was an amazing experience.’
A member of the Tasmanian Aboriginal community, Quilliam was soon sending stories and pictures to Aboriginal publications even as he came to grips with the art of darkroom work. He freely admits that his early efforts were sometimes not all they might have been. But he was a keen experimenter who employed such techniques as colour tinting; push-, pull- and cross-processing, and even printing on to photo emulsion coated rocks.
‘The beauty of it is that some of it came up quite nice; again it was a whole learning process. It was a unique and beautiful time to learn.’
While Quilliam is still a firm believer in the value of introducing beginning
A YOUNG SAILOR, AN EXOTIC PORT AND A FEW DRINKS. IT’S A FAMILIAR STORY. BUT THIS ONE DIDN’T END WITH A SORE HEAD AND NEW TATTOO.
By Don Norris
AUSTRALIA ISSUE 46 32
buyers guide
AUSTRALIA ISSUE 46
We’ll start by clarifying the definition of ‘macro’. True macro refers only to ‘life-size’ reproduction – which means a 1:1
reproduction (magnification) ratio. In other words, an object that is 20mm high (or wide) will be reproduced at the same size (20mm) on the image sensor.
It doesn’t matter how large or small that sensor is – although it probably won’t fit onto a 4/3-inch type sensor; the magnification ratio is totally independent of sensor dimensions. Half life-size reproduction – or a 1:2 reproduction ratio – is often included in the ‘macro’ category, although it’s not true macro.
Equipment The most straightforward way to get into true macro photography is to buy a macro lens. Specialised macro lenses are offered to suit all DSLR cameras – and a few interchangeable-lens compacts. Three popular focal lengths are readily available, each suited to a different type of macro photography. Options include:
50-65mm – typically used for product photography (eg, jewellery) and small, non-mobile objects;
90-110mm – the standard macro focal length range; ideal for photographing flowers, insects and other small objects;
150-200mm – a better option for mobile insects and other small animals because it provides more working distance (see right).
Many zoom lenses also claim to have ‘macro’ capabilities, although this is more of a marketing term than a true description of their capacities, because few of them can achieve reproduction ratios greater than 1:4 (one quarter life size). Tamron and Sigma each have a 70-300mm lens that claims 1:2 reproduction – but this is quite unusual.
Lenses that provide a 2:1 reproduction ratio – or greater – also qualify as macro lenses because they reproduce subjects at twice life size (a 20mm
tips: shooting
By Margaret Brown
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33AUSTRALIA ISSUE 46
long object is magnified to 40mm on the sensor). These lenses are usually highly specialised and put in a special high-magnification category.
Alternatively, you can increase the distance between the lens and the sensor by attaching either extension tubes or extendable bellows to the back of the lens. This enables the lens to focus closer and provides greater magnification of the image. However, it also reduces the amount of light transmitted to the sensor and may make accurate focusing difficult. Higher ISO settings will probably be required.
Fitting a close-up lens to the front of the camera’s lens is another, relatively inexpensive, option. However, most such lenses suffer from chromatic aberration and sharpness is also reduced. Reversing rings, which allow lenses to be fitted wrong way round, can also produce up to 4x magnification. However, they may be difficult to find for most modern cameras that rely on electronic contacts for focusing and metering.
Finally, if you simply want good close-up capabilities, use a compact camera and set the focus to the macro position. Compact digicams have an advantage over interchangeable-lens cameras for close-up photography because their smaller sensors provide a greater depth-of-field and allow a greater working distance for their reproduction ratios. Many models come close to a 1:1 reproduction ratio at shooting distances of just a centimetre or two.
Working DistanceIt’s essential to have a good working distance between the front of the lens and the subject when shooting close-ups, particularly if your subjects are animals (including insects and arachnids). As a rough guide, the longer the focal length of the lens, the greater the working distance it provides. The closer you get to the subject, the more likely you are to encounter the following problems:
1. The subject gets ‘spooked’ and disappears. (Scientists often chill their subjects before a shoot to prevent this from happening – but it requires care to apply just enough cold to slow the creature down without making it torpid or killing it).
2. The lens shadow interferes with the subject and there’s not enough room to introduce artificial lighting. Flash units can be too harsh, while studio lights add unwanted heat. Ring lights tend to ‘flatten’ the subject, even when there’s enough working distance to use them.
3. Focusing is difficult because depth-of-field is very restricted. The autofocusing system will probably hunt for focus and, if you’re hand-holding the camera, it’s difficult to keep it steady enough for focus to lock onto the subject.
tips: shooting
The EOS 60D gives you even more creative control of your photography.
With its new Vari-Angle LCD screen, you can experiment and take high quality images from creative angles you never thought possible.
