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Saturday 17 January 2015

Passionate about photography since 1884

Have Nikon,will travelOne reader’s verdict on the D7000 that he took around the world

Mortifi ed by MortensenAnsel Adams called him ‘the Antichrist’. Roger Hicks begs to differ

7 daysA week in photography

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In this issue10 Light work

Jamie Harrison on how to achieve a classic fashion look with a simple and adaptable set-up

15 Competition

Win a Billingham 550 bag worth £600

20 American grotesque

Why has American photographer William Mortensen been largely erased from photographic history? Roger Hicks investigates

26 Wildlife watch

David Tipling with tips and tricks on how to photograph barn owls

28 The only way is up

Romain Jacquet-Lagrèze explains how he takes his dizzying views of Hong Kong’s high-rise towers

40 Evening class

Martin Evening sorts out your photo-editing and post-processing problems

44 On the road again

Globetrotting photographer Jacob James on how the Nikon D7000 took him around the world

53 DxO OpticsPro 10

We test the latest version of DxO’s image-editing software, with improved noise-reduction processing and new Clear View features that can detect and edit hazy images

Regulars 3 7 days

16 Inbox

34 Reader Portfolio

42 Accessories

57 Technical Support

82 Final Analysis

ONE OF the loudest debates within photography over the past decade has been about the use of Photoshop. There are those who view anything more

than basic image correction and enhancement to be cheating, while a sizeable contingent question whether any substantial manipulation is even photography. Much depends on the genre. There’s a reasonable expectation that documentary photography is an honest

representation of the truth (although that’s another debate entirely) but should creative photography have such barriers?

This week’s feature on William Mortensen reminds us that this debate has been raging since long before the digital era. His montages depicting often dark and lurid themes show just how far reality could be stretched using traditional methods, and outraged purists like Ansel Adams at the time. Judge for yourself on page 20. Nigel Atherton, Editor

Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:Email Email a selection of low-res images (up to 5MB of attachments in total) to [email protected]/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 17. Via our online communities Post your pictures into our Flickr group, Facebook page or the gallery on our website. See details above.Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 17.

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This unusual take on landscape photography was uploaded to our AP Flickr page by Clive Maidment.

‘I took this shot with a Canon EOS 5D Mark III plus Canon 16-35mm f/4L lens one Sunday afternoon in November,’ says Clive. ‘I wanted a long exposure to fl atten the running water, so I set the ISO low and stopped down to f/16. A Lee 0.6 ND fi lter and 0.3 soft ND grad helped to achieve balance, along with the 4sec exposure.

‘The outline of the trees on the opposite bank, their refl ection in the River Brathay, as well as the symmetry caught my eye. A trial shot confi rmed there was potential, despite the position of the sun being less than ideal. Simply setting the picture style to monochrome and then rotating the camera by 180° to view the in-camera image upside down gave me the alternative view I was after. Thanks for Joe Cornish and Mark Banks for these tips.’

Brathay by Clive MaidmentCanon EOS 5D Mark III, 16-35mm, 4secs at f/16, ISO 50

Each week we will choose our favourite picture posted

on the AP Facebook and Flickr communities and the AP forum. The winner will receive a year’s digital subscription to AP worth £79.99.

ONLINE PICTURE OF THE WEEK

Win!

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4 17 January 2015 I www.amateurphotographer.co.uk I subscribe 0844 848 0848

Shoot from ground levelFrequently, we photographers put the camera to our

eye, compose and shoot without paying too much

attention to the foreground. The foreground can

oft en be rather drab and, if we’re not careful, it can

dominate the image more than we intend it to. For

example, when taking pictures of a car, the road is

not very exciting and oft en detracts from the image.

By switching the perspective of the shot and

shooting from a low angle, little of the road surface

will appear in the image and far more emphasis will

be placed on the subject.

This technique can bring a freshness to a whole

host of subjects, providing there is a strong focal

point to the shot. This weekend, why not try using

this ultra-simple trick to add some more impact to

your images.

1Many recent cameras have an articulated LCD screen, which can tilt and

rotate. If you have a camera with this feature, use it to your advantage to get down to a low vantage point.

2If your camera has the type of Wi-Fi connectivity that

allows you to control the camera using a smartphone or tablet, then connect the camera to the device and trigger the camera remotely.

NEWS ROUND-UP

WEEKEND PROJECT

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Hetherington awardFrench photographer William Daniels has been awarded the Tim Hetherington Grant, a €20,000 prize created in memory of the British photojournalist killed in Libya in 2011. The photographer was chosen for his work on the Central African Republic.

The week in brief, edited by Chris Cheesman

Film scannerIf you have a collection of slides and negatives languishing in the loft, then a new 35mm desktop film scanner from Reflecta may come in handy. The RPS 10M film scanner costs £696 and is available now. Call 01793 615 836.

Winning formula Racing driver Jensen Button is among Formula 1 stars who have taken photos to raise money for Great Ormond Street Hospital Children’s Charity. The drivers were asked to take a photo that represented a ‘snapshot of their world’. Their signed images will be up for grabs at the Zoom charity auction in London on 16 January, backed by Nikon.

Wildlife battle startsThe Wildlife Photographer of the Year Awards has opened for entries. It features 21 categories for adults and young photographers. The contest is co-owned by the Natural History Museum and BBC Worldwide. Visit www.nhm.ac.uk.

Drone sales soarSales of drones at the electronics chain Maplin soared 450% in the weeks before Christmas. However, Maplin Direct managing director Oliver Meakin voiced concerns about users being unaware

of the rules. He told AP: ‘Maplin has asked its main suppliers to

include a leaflet covering the appropriate regulations, as well

as training all store colleagues to advise

customers of their responsibilities.’

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3Some tripods boast the ability to remove the centre column or

move it out of the way, allowing you to shoot at ground level. This will be useful if shooting at shutter speeds too slow to be handheld.

4Subjects do not react to a photographer shooting at ground level in the

same way as they do when the camera is at eye level. This makes it an excellent technique to use when you want to capture people candidly. ©

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Get down low for a more dynamic composition

The painter constructs, the photographer

disclosesSusan Sontag

Writer and fi lmmaker

(1933-2004)

This shot is just one of the entries that has been

submitted for the 2015 Sony World Photography Awards, Nature & Wildlife category, Open Competition.

Titled ‘Dinner Time’, Kyle Breckenridge took this shot of a mother and cub in the Great Bear Rainforest of British Columbia, Canada, near a small village called Klemtu. What makes this shot a bit more special is the fact that these bears are spirit bears, or Kermode bears, a subspecies of the North American black bear. Living in the Central and North Coast regions of British Colombia, these bears are rarer than the giant panda in the wild and it is understood that it is only the second time a white mother and cub have been documented. Most mothers and cubs are a black and white combination. www.worldphoto.org

BIGpicture

£6 millionThe amount compact system

camera sales were estimated to have risen in the UK last year,

compared to 2013

‘Dinner Time’ entry for

the 2015 Sony World

Photography Awards

Words & numbers

SOURCE: GFK

FORMER Life magazine photographer Ralph

Morse has died at the age of 97.

Morse, who worked as a staff photographer for Life for 30 years, will be most remembered for his work documenting the space race.

The photographer became the magazine’s youngest war correspondent when in 1942, aged 24, he was assigned to cover the Pacifi c region during the Second World War.

‘Known for his technical innovations, as well as his great versatility, he shot everything from sports to the Space Race,’ states a Getty Images profi le.

In a biography, NASA says on its website: ‘Morse covered the John Glenn fl ight in 1962 and was recalled from retirement to cover John Glenn’s second fl ight in 1998.’

Ralph Morse dies aged 97

Nikon reveals D5500with touchscreen

Visit amateurphotographersubs.co.uk/15E

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NIKON used the CES trade show in Las Vegas, USA, to unveil the

Nikon D5500, a new DSLR with a vari-angle touchscreen ‘housed in a ‘compact, lightweight body’.

Billed as signifi cantly lighter and much slimmer than its predecessor, the new DX-format DSLR is claimed to be easier to handle, partially thanks to its ‘deep grip’.

Nikon also claims that the D5500’s contrast-detect AF is 20% faster than the D5300 when shooting in live view.

Priced £639.99, body only, and due in shops on 5 February, the Nikon D5500 measures 124 x 97 x 70mm and weighs 420g (without battery and memory card).

‘Since the explosion of smartphone technology, there has been a huge wave of innovative and creative photography worldwide,’ said Simon Iddon, a group product manager at Nikon UK.

‘The D5500 is a chance for people to expand on their photography skills while providing outstanding results,’ he claims.

The 24.2-million-pixel model features an ISO of 100-25,600 and a 39-point AF system, with nine cross-type sensors at the centre.

Also on board is a 5fps burst rate and Expeed 4 image processor.

The 3.2in vari-angle screen has a resolution of 1.04 million dots. The touchscreen can be used to focus and shoot, or to adjust aperture, shutter speed and ISO, for instance.

A Touch Fn function is designed to allow the user to ‘quickly adjust key settings with a fi nger wipe’ while using the viewfi nder. Up to eight settings can be assigned to the Touch Fn mode.

Other features include a new Flat setting to help maximise dynamic range, ten special effects, full HD video and a built-in stereo microphone.

Images can be shared using the built-in Wi-Fi mode, which also allows the photographer to control

the camera remotely from a smartphone.

US astronaut John Young testing a space suit in 1964

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Available from 5 February, Nikon’s D5500 DSLR will be out in red or black versions

The D5500’s Touch Fn function allows key settings to be adjusted ‘quickly’

The D5500 has a 1.04-million-dot

vari-angle touchscreen



Paul Hill at YorkLong-standing photojournalist and photographer Paul Hill will be hosting a day in conjunction with the RPS to talk about his life and work. As the first art photographer to receive an MBE and author of Approaching Photography, Paul should be a treat to listen to. Book at the RPS site.

Upgrade in the January salesThe one good thing you can say about this month is that the sales make it a great time to upgrade your kit. Why not look into picking up a bargain?

RPS International Biennial Members’ Print Exhibition 2015The RPS presents its exclusive members-only exhibition, which happens only once every two years. One hundred prints, whittled down from 3,300 entries, represent the society’s members in 16 countries.

Events at London Art FairLondon Art Fair hosts a selection of photography related events. Photo50 is an exhibition of 50 contemporary works, while Photography Focus Day (21 January) includes a discussion on the future of photo books.

He Wasn’t an Easy Gentleman to DescribeThe Museum of London uses photography and fashion to imagine the most famous detective to never exist – Sherlock Holmes. A bold and enjoyable idea.

YORK

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25 January. www.rps.org/events/2015/january/25/paul-hill-at-york or www.hillonphotography.co.uk

Until 31 January. www.grantbradleygallery.co.uk

21-25 January. www.londonartfair.co.uk

Until 1 March. www.museumoflondon.org.uk

The most interesting things to see, to do

and to shoot this week. By Jon Stapley

Tributes paid to ‘reluctant star’ Jane Bown

TRIBUTES have been paid to renowned

Observer photographer, and former AP award winner, Jane Bown, who has died aged 89.

Bown began her Observer career in 1949, with her fi rst assignment being a portrait of philosopher Bertrand Russell.

She went on to photograph politicians, fi lm stars, artists and comedians, with her subjects as varied as the Queen, Mick Jagger, Desmond Tutu and Björk.

Great photographerRoyal Photographic Society director general Dr Michael Pritchard told AP: ‘Jane Bown HonFRPS was one of Britain’s great photographers, producing portraits that always told the viewer far more about her subject beyond the straight image.

‘Jane had the ability to capture the essence of

her subject with just a few frames of fi lm and there are few photographers with that skill. She will be missed, but she leaves an important archive that will stand the test of time.’

Power of the portraitAwarding Jane Bown the Power of Photography award in 2001, AP honoured her substantial body of work, saying she ‘demonstrates the power of the portrait’, and ‘her genuine affection for people shows in her work’.

AP added: ‘Her style is unobtrusive, simple and unpretentious and she has a knack of revealing her sitters’ personalities in her gently perceptive images.

‘She almost always uses available light, simple equipment (an Olympus OM-1 with 50mm and 80mm lenses) and minimum fuss. She frequently has little time, often taking her shot during a newspaper

interview, yet her portraits are distinctive and full of character and charm.’

She worked without extra lights, aiming to complete her shoots in ten minutes.

Following Bown’s death last month, former Guardian picture editor Eamonn McCabe told The Observer: ‘Nobody has taken so many wonderful photographs of so many great faces, with such little fuss, as Jane Bown. She was a reluctant star, hating the attention of being well known herself.’

McCabe added: ‘When other photographers of her generation were selling their archives for small fortunes, she donated hers to The

Guardian, parent company of her beloved Observer.’

Bown’s motto was, ‘Photographers should neither be seen nor heard.’

Jane Bown died at her home in Hampshire.

For the latest news visit www.amateurphotographer.co.uk

Get up & go

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Jane Bown CBE, photographed looking in a mirror, joined The Observer in 1949


New BooksThe latest and best books from the

world of photography. By Oliver Atwell

Volunteer by Paul Seawright, Artist Photo Books, £25, hardback, 64 pages, ISBN 9-780-99274-851-7

THE THOUGHT of joining the army has never once occurred to me. Yet for many individuals it’s a decision that occupies their mind from a very early age. Why is this? What is the

difference between me and a person who decided to enter into a career in the military? In this powerful collection of images, Paul Seawright has gone some way to answering that question. Seawright has shot at around 500 temporary recruitment locations in 15 American states, and judging by the impoverished landscapes he captures, the answer perhaps lies in the empty streets and vacant shops. When faced with limited options, people will turn to any opportunity that provides escape from drudgery. In these locations, the American Dream has turned stale. The expectation of a fulfi lling life seems to have abandoned the individuals who once occupied these streets. An air of tragedy pervades these images. We know full well that many of the individuals who once traversed these walkways and visited these stores will never return. Volunteer is a haunting project and is also utterly engaging. +++++

I love the 1950s design of the Kodak Brownie Flash 20, which is dominated by an enormous built-in fl ash refl ector. With its retro look,

this camera appeals to both collectors and those in search of fashionable 1950s memorabilia, so the prices tend to be a little higher than for similar, less glamorous models. I found mine in an antiques centre (AKA junk shop) in Norwich, Norfolk, and paid £12 for it, complete with a cream-coloured faux-leather case.

As post-war austerity faded away and colour photography became more affordable, the market for simple but reasonable-quality cameras took off. Manufacturers were keen to introduce ‘idiot-proof’ features to reduce the chances of disappointing results, which might result in lucrative fi lm sales stalling.

Film factsSo while, in essence, this is an eye-level box camera, there are a few minor sophistications. It has three apertures and three focus zones, together with a wind-on system that doesn’t require you to use the red window, other than to advance the fi lm to the fi rst frame.

An immediate obstacle is the fact that it uses 620 fi lm. This is identical to 120 fi lm, which is still widely available today, but it uses a slimmer spool. The vast majority of 620 cameras will not accept 120 spools, so some way has to be found to get around this. The cheapest solution is to re-roll a fi lm yourself, or failing that, re-spooled fi lm can be found online. Any original 620 fi lm you might come across is likely to be very much past its best, as it was last made in 1995. I opted for the DIY route, using some recently expired and cheap Fujifi lm slide fi lm.

I’m not a fan of fl ash photography, which is a shame, as the fl ash refl ector is what

gives this camera its striking appearance. I was tempted to have a go anyway, but the cost of the esoteric

22.5V battery required to fi re the fl ashbulb put me off, so I stuck with natural light, although, having decided to cross-process my fi lm, I knew there would

be nothing particularly natural about the colour

rendition of the results.Where possible, I try to match the

subject to the camera, so Professor Jon’s Flea Circus, a faithful rendering of a 1950s fairground sideshow, was a lucky fi nd. Billed as the smallest circus in the world, it’s guaranteed to leave you itching for more.

But don’t worry about his unhealthy looking skin tone, as this results from using slide fi lm cross-processed in negative chemistry – it’s not due to an unpleasant fl ea-borne disease!

Do you have something you’d like to get off your chest? Send us your thoughts in around 500 words to the address on page 17 and win a year’s digital subscription to AP, worth £79.99

Goodwood Revival by Uli Weber, Skira, £39.95, hardback, ISBN 9-788-85722-293-6

EVERY year, Goodwood stages a race meeting for the kind of cars and motorcycles that would have competed at this historic circuit between 1948 and 1966. This series of images by Uli Weber is a thrilling step back in time, and one that will set any nostalgic petrolhead drooling. There is undeniably

something spine-tingling about seeing these majestic and beautifully designed machines in action. It’s also a great history lesson in the development of the motor vehicle and racing culture. For just a few pounds, you can leave the modern world behind and dream. +++++

© PAUL SEAW

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When Tony Kemplen resolved to use a

diff erent fi lm camera each week, he found

a treasure trove of lost gems. Here he looks

at the Kodak Brownie Flash 20

Viewpoint

Professor Jon’s Flea Circus – the ideal subject for such a camera

© TONY KEM

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Tony Kemplen

Tony Kemplen’s love of photography began as a teenager and ever since he has been collecting cameras with a view to testing as many as he can. You can follow his progress on his 52 Cameras blog at 52cameras.blogspot.co.uk. You can also see more photos from the Kodak Brownie Flash 20 at www.fl ickr.com/tony_kemplen/sets/72157633518635984

Here, I used just the 150cm octa and a black

bounce. I warmed the image by adjusting the

colour temperature, then added a vignette with

Lightroom and used the Imagenomic Portraiture

Photoshop plug-in to soften the skin to an

almost painterly effect


STUDIO LIGHTING Technique

JAMIE’S KIT LIST

Lightwork

Jamie HarrisonJamie Harrison is a professional photographer and journalist, specialising in beauty, commercial portfolios and portraiture. With almost 30 years’ experience, he has had photographs published extensively in magazines and websites worldwide. Jamie regularly works with model agencies, testing new models and building portfolios for more established models. www.jamieharrison.net

Lighting is the fundamental starting point of photography, and for those who are

venturing from the outdoors into the studio, the vast array of lighting equipment available and complicated lighting set-ups this seems to open up can be overwhelming. When you’re shooting people, the simplest way is to start with one light, and then build up the light around it. Although I work mainly with young female models in the beauty, hair and fashion fi elds, the same techniques can be used with a variety of subjects – I’ve used them for corporate portraits, actors’ head shots and even kids.

This set-up is something you can use again and again, and it can be adapted to your personal needs, the subject and even to the equipment you own.

Key light The key light provides the majority of your picture’s illumination and is always the starting point before you begin to build the lighting around the subject. One of my most used light modifi ers is a 150cm Lencarta folding octa softbox, which opens like an umbrella

before the diffuser panel is placed on the front. It’s called an octa because it is an octagonal shape, and it is available in a variety of sizes and depths.

The key light is placed to the right or left of the camera and at a 45° angle to the model. This is essentially Rembrandt lighting, and is named after the artist who often used the same fl attering form of window lighting in his paintings. I like to work in this way because it creates a huge soft pool of fl attering light, allowing the model to move position without worrying too much about affecting the way in which the light falls on him or her.

A large light source can also illuminate the clothes and body for full-length shots. The concentrated light produced by smaller octas requires the model to be more static and remain within the beam, as the light falls away to shadow more quickly with this smaller light pool. A smaller light source can also increase contrast, if that is the effect you wish to achieve. Placing the light high and pointing down towards the subject ensures that the model’s shadow will fall on the fl oor and not on the background.

Bowens produces reliable flash models of varying outputs and at a range of prices. Invest in decent stands that can take the weight and allow you to reach the necessary height.

Lencarta soft boxesI’m very impressed with Lencarta’s range of affordable softboxes. Unfortunately, the 150cm model is now discontinued, but the company offers 120cm and 85cm versions. Other models from Profoto, Westcott, Elinchrom and Bowens are available in a variety of shapes and sizes.

Manfrotto Expan background systemThe Expan system is designed for permanent fixing to a wall in the studio, but free-standing systems are available if permanence is not an option.

The Storm Grey background is a midtone grey that is a standard in most fashion studios. Colorama also produces lighter and darker tones, and myriad other colours. Alternatively, you could just use a wall.

With a 35mm equivalent of 90mm, this lens is perfect for three-quarter-length and head shots, and has impressive sharpness for its price and size.

Adobe Lightroom 5I can’t work without Lightroom and it’s my standard tool for organising and editing my shoots. I also use the Develop tools to add effects and tweak colour before exporting to Photoshop CC for retouching.

Olympus M.Zuiko Digital 45mm f/1.8 lens

Colorama Storm Grey 11ft paper background

2x Bowens Gemini 500R fl ash and stands

Jamie Harrison demonstrates how to achieve a classic fashion look with this simple and adaptable set-up


Technique

ExposureThe key light determines your exposure. I aim for an aperture of

around f/8 to f/11 to ensure that I achieve suffi cient sharpness. However, if I’m shooting beauty, which tends to require close-ups of the model’s face, I may decide to use a wider aperture.

Working with studio lights requires you to use manual exposure and, because it’s fl ash, the shutter speed is fi xed to whatever your camera dictates for fl ash photography. My Olympus OM-D E-M5 has a maximum fl ash synchronisation speed of 1/250sec. However, because I use a wireless fl ash trigger between the camera and strobe, I reduce it to 1/125sec. This is because, occasionally, there may be a slight delay between the trigger and receiver. Although this is a fraction of a second, it can cause the shutter curtain to miss the exposure, resulting in a partially exposed frame. Almost inevitably, this happens with the best image from the session.

Because the shutter speed is fi xed, exposure is therefore determined by the power and position of the light, and the aperture. Because I know the aperture I want to shoot with, all exposure decisions then rest on the strobe. All modern studio lights allow you to incrementally adjust the power output of the fl ash, usually in 1-stop increments, with smaller steps in between of 1/10 stop. Just as the relationship between shutter and aperture is reciprocal, so is the relationship between the light power and the aperture. So if, for example, you are shooting at f/5.6 and want to stop down to f/8, you would increase the light output by 1 stop. If you wanted to shoot at f/4, you would decrease the light output by 1 stop.

The second factor to consider when setting your exposure is the distance between the light and the subject. Moving the light closer to the subject will brighten him or her, while increasing the light-to-subject distance will darken the subject, so you need to adjust accordingly. For example, if you want to shoot at f/8 and your light is at maximum output but your subject is still underexposed, move the light closer, and vice versa.

This is all explained in the inverse square law, which is the mathematical formula that explains how the power of light reduces over distance. The beauty of photography is that technological advances mean we don’t need to worry too much about it these days, as we can simply measure the light using a handheld fl ash meter, or by simply looking at the LCD screen on the camera. If you can tether your camera to the computer and review as you shoot, even better.

Fill lightIf you’re happy with the lighting you can begin shooting, but you may want

HOW TO GET THE LOOK

1 Model positionFor a clean background, don’t position your model right up against your backdrop. If he or she is too close, they will cast a big shadow. This may be fi ne for some images, but I preferred to avoid it with this shot. By placing my model approximately 2m from the background, the shadow is lost. As the main light is also now further from the background, it appears darker.

2 Key lightThe main light is a 150cm octa softbox on a Bowens strobe, which is set up in front of and at 45° to the model, and positioned to the left of the camera. It is placed high on the stand, at around 2m, and is set to full power. I positioned the light to the left to catch the detail of the pleats of the skirt. This is a fashion shot, so there has to be detail in the clothes.

The key light was an octa to the model’s right, with a black panel around 1m to her left. A fill light with a small square softbox directly above her head emphasises the bright-red hair


3 Fill lightWith only one side lit, I am presented with three options. I can leave the natural shadow as it is, I can emphasise and deepen it, or I can fi ll in the right-hand side with more light. None of the three choices is wrong, but in this instance, I wanted to throw a little bit of light back to brighten the model’s face and also to bring out a little more detail in the black skirt, so I used a white 8x4ft polyboard as a fi ll light. You could also use a refl ector.

4 Kick lightI could have stopped there, but I wanted to add a little more modelling to the right-hand side of the image. Adding a second light fi tted with a strip softbox on the model’s right and slightly behind her adds a rim of light into her arm and down her right side, which also creates a separation from the background.

5 Posing and croppingShooting at three-quarter length with a 90mm equivalent lens and just below the skirt shows off both the clothes and the model to their full potential. Some models will throw themselves around the set and twist themselves into dramatic positions, but sometimes simplicity is king. I directed the model just to make small movements – a tilt of the head, shifting her weight from one leg to the other, a hand on the hip or dropping a shoulder.

Lighting termsKey lightA key light is the main light in your set-up and provides the majority of the image’s illumination. It is usually placed in front of the model.

Fill lightThe fi ll light is the secondary light source, which opens up any underexposed or darker areas. This could be local fi ll, such as clothing or the face, or the complete subject. Fill lighting can be produced by a second light or using a refl ector.

Kick lightThe kick light, or kicker, is typically placed to the side of the model in order to provide a strip of illumination down the side of the body. These lights can be used on just one side, or you could double up and have one on each side.

Rim lightA rim light is similar to a kick light, but is placed more directly behind the model in order to provide a rim of highlight, especially in the hair, often with a snoot placed over the strobe. Generally, this is currently seen as a little old-fashioned, but fashions change.

The key light was a large octa set at

low power, placed to the model’s right, and a small strip light for

fill to her left. I used a Lensbaby Composer

at f/2.8 for the shallow depth of field

and distortion

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Technique

Finding modelsTHERE are a number of brilliant resources on the internet specifically designed for photographers, models, make-up artists, hairdressers and stylists to network and begin working together, such as modelmayhem.com, purpleport.com and purestorm.com.

Facebook is also a great resource, with several local groups where people can seek out new connections, show off their work and discuss all things photographic. Many also offer local group shoots, giving you the chance to split any costs, share tips, compare kit and network over a pint afterwards.

Always remember to be friendly and respectful, and to make the models feel comfortable so they will recommend you and make it easier to find new subjects. Most of all, make the shoot fun!

to introduce a secondary light source, or fill light, to bring some modelling

– or depth – into the shot. This could be from a second strobe, or a reflector for a softer fill. If you’re using a strobe, then generally the fill light will be set either at a lower output to the key light, or placed further from your subject. Set it up on the opposite side to the key light to fill in areas of underexposure on the face or in clothes.

Most photographic studios have large 8x4ft polystyrene panels, called polyboards or V-flats, which have a black side and a white side. Using the white side bounces the light back on the model to ‘fill’ in the shadow. The black side absorbs light and produces a deep shadow. Again, this is often used for a moody effect, or to emphasise bone structure or muscle tone. It’s often used to produce a V-shaped light on the cheekbone as the shadow from the nose falls across the face to meet the shadow of the jaw line.

Polyboards aren’t practical in home studios or on location shoots. In cases such as these, a collapsible reflector is more practical. If you prefer, silver or gold

A black bounce very close to the model on her left-hand side, the monobloc lower at around 5ft, a smaller 80cm octa, and Lightroom vignetting all combine to produce a stark, high-contrast black & white image

reflectors can be used to bounce light back in your studio set-up, as they provide more reflectance than white panels. Reflectors come in a range of finishes, offering a variety of diffusions of light and, in the case of gold reflectors, adding warmth to the subject. The desired effect is achieved simply by moving the reflectors closer to or further from the subject.

Kick lightOnce the key and fill lights are in place, you can begin shooting. Alternatively, you can continue to build up the lighting with a kick light. Kick lights are generally placed to the side or behind the model to provide highlights along body parts and hair, and to create a separation from the background. A kick light can also be

placed directly above the model to illuminate the hair, which is usually referred to as a hair light, or directly behind the model to provide a highlighted silhouette effect. This is more commonly known as a rim light. Kick lights are often set either at higher power than the key light, or closer to the model, in order to achieve the highlighted effect.

The beauty of this technique is that it can be adapted to a variety of spaces and requirements. The key light can be placed to the left or the right, the fill can be added or not, or a black reflector used instead – and the kick light is entirely optional. In post-processing, the set-up allows further creative options, from converting to mono, increasing or decreasing contrast, or adding false tones and colour.

The octa was placed just above the model to her right and a black polyboard to her left to produce some shadow without losing detail


COMPETITION

Pink Lady® Food Photographer of the Year is delighted to off er

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* CO

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C

B

A

D

In AP 20-27 December, we asked…

Did you fulfi l your photographic New Year’s resolutions in 2014?

You answered…A Yes 14%

B No 15%

C Partially 18%

D I didn’t make any 53%

What you said‘I set out to “get my work out there”, and I ended up getting my writings about photography “out there”!’

‘I could answer no but I could equally answer yes, because I didn’t make any.’

‘Partly – I wanted to make a book, but haven’t yet. Just fi nishing them (two books!) in Lightroom, but won’t be ready in 2014.’

‘Of course I haven’t, photographic or otherwise. Resolutions are statements of intent, normally made while recovering from far too much food and alcohol.’

‘My photographic resolutions in 2014… were between 7 and 8 megapixels (*waggles eyebrows*).’

Join the debate on the AP forum

This week we ask

How much Photoshop manipulation do you consider to be acceptable?Vote online www.amateurphotographer.co.uk

Guess the date

Every week we post an old AP cover on our Facebook page and all you have to do

is guess the issue date (day/month/year). The person who is closest to the exact date wins a year’s digital subscription to AP, worth £79.99. To guess the date of this cover (above), head over to www.facebook.com/Amateur.photographer.magazine. Forum members can also enter via the Forum.

Win!

The 20-27 December issue’s cover was from 2 February 1972. The winner is Bryan Metters from Lancashire, who was closest with his guess of 28 November 1972.

True grit

Inbox

Georgia on my mindI loved the feature in AP 6 December on the photos taken by Frank Hurley in Antarctica. It brought back memories of a trip I took a few years ago to the Falklands, South Georgia and the Antarctic Peninsula. One of the many highlights was a trip to the South Georgia Museum in Grytviken, where there is a comprehensive display about Shackleton’s voyage, with many artefacts and a number of Hurley’s photographs.

At the post offi ce in South Georgia, I bought a number

of stamps featuring Herbert Ponting’s photos (he was the photographer on Robert Falcon Scott’s expedition) – a great memento, reasonably priced, and very light and easy to bring home. They are now framed and on the wall of my study, alongside some of my photos of the trip.

Thank you for a very informative magazine.Steve Rawlins, via email

Funnily enough, I have a framed print of Ponting’s famous ice cave image on the wall of my study – Nigel Atherton, Editor

A mug’s game?Am I missing something, or am I going soft in the head now that I have reached the grand old age of 65? Why are cameras and lenses and all things photographic so expensive? Are we being brainwashed by the photo industry and press into shelling out a king’s ransom for so-called ‘serious’ gear?

I’m beginning to see my wife’s point of view since we replaced our cooker last week. A double oven suitable for a family of four at the price of £235! I could have added a medium-range washing

Email [email protected] and include your full postal addressWrite to Inbox, Amateur Photographer, Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London SE1 0SU

LETTER OF THE WEEK

Two years ago, a friend and I went shooting at Keswick in the Lake District in the depths of winter. I’ve never been so cold in my life. So it caused my admiration for the Shackleton expedition photographer Frank Hurley (AP 6 December) to increase tenfold. Like Robert Falcon Scott’s equally dedicated photographer Herbert Ponting, Hurley was a breed apart in terms of his dedication in the most extreme conditions imaginable.

Unlike the awkward and bulky cameras Hurley (and particularly Ponting) used, for our visit to Keswick I was armed with just a Nikon D90, an 18-200mm lens and a tripod. We also had the luxury of my friend’s warm camper van to help alleviate our discomfort. So I’m trying to imagine the sheer grit of Hurley and Ponting who, despite the appalling conditions they endured, managed to return with such awesome images – or the tooth-gnashing frustration Hurley surely felt at having to dump 400 precious glass plates in order to reduce weight for their journey.

Recalling the biting cold of our shoot in Keswick really helps put Hurley and Ponting’s achievements in conditions far worse into perspective. To return with such iconic images after what was – on both

expeditions – a journey to hell

and back was truly commendable. In his editorial for that issue, Nigel Atherton asked if we have ever risked our safety for the sake of a picture. Those guys certainly did – and just look at the quality of their work!Terry Armstrong, Tyne and Wear

I wonder what Hurley and Ponting would have made of your D90? – Nigel Atherton, Editor

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ContactAmateur Photographer, Time Inc. (UK), Blue Fin Building,110 Southwark Street, London SE1 0SUTelephone 0203 148 4138 Email [email protected] returns: Telephone 0203 148 4121Email [email protected]

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AdvertisingEmail [email protected] ed telephone 0203 148 2929. Fax: 0203 148 8158Display telephone 0203 148 2516. Fax: 0203 148 8158 Inserts call Innovator on 0203 148 3710

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All contributions to Amateur Photographer must be original, not copies or duplicated to other publications. The editor reserves the right to shorten or modify any letter or material submitted. Time Inc. (UK) or its associated companies reserves the right to re-use any submission sent to the letters column of Amateur Photographer magazine, in any format or medium, WHETHER PRINTED, ELECTRONIC OR OTHERWISE Amateur Photographer® is a registered trademark of Time Inc. (UK) © Time Inc. (UK) 2015 Amateur Photographer (incorporating Photo Technique & Camera Weekly) Email: [email protected] Website: www.amateurphotographer.co.uk Time Inc. switchboard tel: 0203 148 5000 Amateur Photographer is published weekly (51 issues per year) on the Tuesday preceding the cover date by Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London SE1 0SU. Distributed by Marketforce (UK) Ltd, Blue Fin Building, 110 Southwark Street SE1 OSU. ISSN 0002-6840. No part of this publication may be reproduced, stored in a retrieval or transmitted in any format or medium, whether printed, electronic or otherwise, without the prior written permission of the publisher or the editor. This is considered a breach of copyright and action will be taken where this occurs. This magazine must not be lent, sold, hired or otherwise disposed of in a mutilated condition or in any authorised cover by way, or by trade, or annexed to any publication or advertising matter without fi rst obtaining written permission from the publisher. Time Inc. (UK) Ltd does not accept responsibility for loss or damage to unsolicited photographs and manuscripts, and product samples. Time Inc. (UK) reserves the right to use any submissions sent to Amateur Photographer Magazine in any format or medium, including electronic. One-year subscription (51 issues) £145.55 (UK), e259.99 (Europe), $338.99 (USA), £221.99 (rest of world). The 2014 US annual DEU subscription price is $338.99, airfreight and mailing in the USA by named Air Business Ltd, c/o Worldnet Shipping Inc, 156-15, 146th Avenue, 2nd fl oor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Amateur Photographer, Air Business Ltd, c/o Worldnet Shipping Inc, 156-15, 146th Avenue, 2nd fl oor, Jamaica, NY 11434, USA. Subscriptions records are maintained at Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London, SE1 0SU. Air Business Ltd is acting as our mailing agent.

Panasonic Lumix DMC-CM1 A smartphone with a 1in sensor? Or a camera that makes phone calls? Whichever it is, we put it to the test

Social climbersMarvel at these amazing mountaineering photos, the likes of which you’ve never seen before

Taylor WessingHighlights from the UK’s most prestigious portrait photography competition

In next week’s issue On sale 20 January

machine and a dishwasher, all for a total of £700. Small change compared to camera gear. I just would not have got any serious photographic gear for £700! Why?!

I feel as if I have been a mug all my life, brainwashed into accepting the rhetoric regarding the price of all things photographic. Can anyone justify what I am now agreeing with my wife is one big con? Have I been a mug all my life? My answer is yes, I have!John Heywood, via email

I can’t say I agree with you, John. Cameras, in real terms, have never been cheaper. Looking back through AP’s Christmas 1984 issue, for example, Dixons was advertising the fairly basic Canon AE-1 for the ‘unbeatable’ price of £199.99. Today, you can buy the Canon EOS 1200D with 18-55mm lens from the same company (Currys) for £289.99 – just £90 more. Look at the difference in technology between them, and then consider how average salaries, house prices and so forth have changed over the past 30 years. You may be able to buy a double oven for £235 but you could also spend over £1,000 on one (just like with cameras) and

there’s very little technology in an oven compared with a camera – Nigel Atherton, Editor

Camera questionWe had a visit from a relation and their little girl, who is nearly two. We went to a play area, where I wanted to take a picture of her. As I took out my Samsung NX11, the little girl looked at me, looked at her parents, looked at my camera and said, ‘What’s that?’

I was surprised and saddened. All she was used to were camera phones and tablets from her mum and dad. My learning of photography from the age of 14 (I am now

73) makes me wonder at the speed of technology and how young children are moving so quickly with it.Martin Harrity, Cumbria

Years ago, my non-photographic friends were perplexed by my 5x4in monorail camera. My own children were always thrown by the absence of an LCD screen when they picked up a 35mm camera. Perhaps a camera of any description is an object of mystery to today’s kids. But people will always take pictures, even though the tools may change – Nigel Atherton, Editor

The Samsung NX11 – would your child

recognise it as a camera?

Comeththe hour

Why the fi rst hour of the day is the best time to shoot landscapes

Improve Your Photography‘There is no better way to learn and improve our photography than to enrol on a proper GSYVWIPIHF]UYEPM½IHERHexperienced tutors who can offer one to one coaching and guidance. Our own SPI courses have been created by respected tutors, with the collaboration of the Amateur Photographer and What Digital Camera teams, to ensure they’re tailored to the needs of our readers, and by allowing you to work at your own pace they’re ideal for those of us with busy lifestyles.’Nigel Atherton, Group Editor

DIPLOMA IN DIGALL PICTURES ©

STEPHEN DALE

Student profi le‘I enrolled on an SPI course because I

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On joining, you receive the course manual and the module book, which outlines the work you need to submit to your tutor as you progress through the course. You can work to suit your own schedule, but 10 modules should be completed within two years.

Students are assigned a personal tutor who is responsible for providing written feedback and guidance, and who will be able to answer any UYIWXMSRW8YXSVWEVIJYPP]UYEPM½IHphotographers and either teach photography professionally or have extensive occupational experience [MXLMRXLI½IPH

On successful completion of the GSYVWI]SY[MPPVIGIMZIEGIVXM½GEXIgraded and signed by your tutor and the SPI senior tutor.

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FINDING OUTABOUT YOUApproach a wide variety of subjects and give your tutor an insight into your photography.

COLOUR CONTROLIN SOFTWARECorrect colour casts in your images – creatively adjust colour in your images for effect.\EXPOSUREMaster exposure for highlight and shadow detail and predict the range of tones your camera can record.

IDENTIFYING TONESLearn how to use the Levels tool to adjust, contrast and brighten your images.

USING CURVES&IGSR½HIRX[LIRusing curves – create complex curves to adjust contrast.

WHITE BALANCE SETTINGSIdentify common types of light and decide on the best white balance setting to suit your light source.

RETOUCHINGLearn how to use ½PXIVWERHZEVMSYWtools to remove dust and unwanted objects from images.

SHARPENINGSharpen images using unsharp masking in your image-editing software and analyse your results.

WORKING IN MONOCHROMESelectively convert a colour image to monochrome and tone a monochrome image.

A DIGITAL PORTFOLIOStudents select a coherent set of images for a portfolio and produce good-quality prints for presentation.

THE course consists of 10 in-depth modules, HIWMKRIHJSVETIVWSR[MXLEGSR½HIRXKVEWTof photographic technique who wants to learn

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Foundation in PhotographyLearn how to take images of a high technical standard and artistic quality, from the basics of composition to shutter speeds and movement.

Foundation in Digital Imaging TechniquesTake control of your images and master the techniques of digital imaging software to edit and enhance your photographs.

Foundation inDigital PhotographyLearn how to utilise your camera’s various tools and settings to take exquisite images and push your photography to the next level.

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American photographer William Mortensen has been largely

erased from photographic history. However, a new book hopes

to place him within the annals of photographic legend. Roger Hicks takes a look back at Mortensen’s challenging career

ALL PICTURES © W

ILLIAM M

ORTENSEN

21

Imagine a major photographer being systematically written out of photographic history. Not merely neglected;

not accidentally forgotten; but deliberately excluded, airbrushed out of existence, like the victim of a Soviet show trial in the 1930s. This is what happened to American photographer William Mortensen (1897-1965). He and Ansel Adams were at daggers drawn, and Group f/64 sided with Adams. Worse, Beaumont and Nancy Newhall, authors of the otherwise excellent The History of Photography (1937), hated him as much as Adams did, and refused to mention him.

A new book, American Grotesque (Feral House, 2014) should redress the balance considerably. It is an excellent summary of Mortensen’s life and work, and it fills in and enlarges upon many of the points that are glossed over or indeed wilfully distorted in Mortensen’s own account of his life in his autobiography The Command to Look. The latter is the summa summarum of his philosophy, and is simultaneously reissued by Feral House with a valuable introduction and an interesting if tangential postscript on Satanism.

So what did Mortensen do? Why was he so unpopular with f/64 and the self-appointed purists? And why are there still unabashed and indeed evangelical devotees of his work, long after his death?

On the aesthetic side, he was as far from the sacrosanctity of the captured image, the unspoiled (though Zone-processed) negative, as can readily be imagined. He used texture screens, combination printing, retouching of both negatives and prints,

WILLIAM MORTENSEN

Main picture: ‘A Family Xmas in 1914’,

c1927. This (highly staged) scene dates

from less than a decade after the

end of the First World War

Right: Self-portrait,

c1955. This is a combination-printed,

selectively toned, hand-coloured ‘Metalchrome’


WILLIAM MORTENSEN

composite paper negatives, selective toning, hand

colouring, bromoil and bromoil transfer, drawing, distortion, actors, make-up (including prosthetics) and all sorts of other things that were anathema to Adams and his chums, who claimed to be ‘straight’ or ‘purist’ photographers. In reality, of course, they were nothing of the kind. Anyone who has read Adams’ famous trilogy, The Camera, The Negative and The Print, can vouch for that. Adams was all for manipulation, but only on his own terms. Mortensen was at least as good a printer as Adams, and a better manipulator, but far less blinkered. His view was that there are few, if any, rules in art, but that there are plenty of guidelines, useful tricks and even formulae.

And yet, his pictures remain resolutely photographic, with the inherent authenticity of a photograph. You can’t believe that you aren’t looking at a photograph, but equally, you can’t believe that you are. This, I suspect, frightened the f/64 brigade most of all. They

had very fixed ideas of what a photograph should be, and Mortensen’s images weren’t it.

This was quite apart from his subject matter, which incorporated a fair amount of nudity, suggestions of sadism and more than a slight anti-religious slant. Adams’ ‘trees and mountainsides’ (to quote Adam Parfrey of Feral House) were essentially anodyne and pretty-

American Grotesque is published by Feral House, priced £32.50. The Command to Look, also published by Feral House, costs £14.99

Above left: ‘Belphagor’, 1935. Most of the effect is down to extremely heavy make-up and prosthetics

Above right: ‘The Tribunal’, c1926 – sex, sadism and combination printing

pretty: few, if any, could be offended by looking at them. Puritans and prudes were, however, immediately receptive to attacks on Mortensen’s work from (photographic) ‘purists’.

On the technical side, he propagated his own theory of exposure that was in direct opposition to Adams’s long-winded Zone System, with its insistence on capturing long tonal ranges

and complex development regimes. Instead, he believed in keying the exposure to the highlights, and ‘the fullest possible development’. His theories are a highly opinionated interpretation of Hurter and Driffield’s 19th century work in sensitometry (much like Adams’).

On top of all this, thanks to his friend, collaborator, model and ghost writer George Dunham, his


WILLIAM MORTENSEN

‘You can’t believe that

you aren’t looking at a

photograph, but equally,

you can’t believe that

you are. This, I suspect,

frightened the f/64

brigade most of all’

be either completely ignorant of his work or deeply repelled by what little they have seen of it. The latter is not impossible. As he said himself of ‘The Pit and the Pendulum’: ‘I take malicious pleasure in observing the horrified reaction of the innocent spectator as he comes on a picture that strikes past his guard of polite tolerance.’ He called this ‘intellectual sadism’, and it certainly explains why even his fans commonly have mixed feelings about his photography.

Then again, Mortensen’s pictures make you think as well as feel. They are not pretty postcards. Some call to mind Renaissance paintings and woodcuts; others, Dutch masters; yet others, high Victoriana such as the works of Sir Lawrence Alma-Tadema or Gustave Boulanger. There are curious nudes such as ‘Youth’ and even more curious nudes such as ‘Fragment’. The grotesques owe as much to monster movies as to anything else: Mortensen worked in Hollywood in the 1920s and was one of the favourite stills photographers of Cecil B DeMille. He was also responsible for launching Fay Wray, of King Kong fame, on her movie career at the age of 14. As Ms Wray wrote decades later of his portraits of her, ‘There was a person in those pictures I hadn’t seen before, even if I had suspected she could be there.’

His famous ‘L’Amour’ (seen on the cover of American Grotesque) is

books are vastly more readable than Adams’ turgid, pedestrian prose. Consider their description of the prudy-nudy nude who ‘disposes of her hands with such accuracy and cowers in such an ecstasy of modesty that the blushing observer feels a kindred embarrassment’.

Anyone who would deny Mortensen his place in the photographic pantheon must

a magnificent illustration of how we bring our own imaginations and preconceptions to whatever we see, while simultaneously being led to see things anew. Of the picture, he says himself, ‘Sex, of course, is the subject interest and is given added morbid pungency by implications of a sadistic variety.’ He says that, and he presumably knew what he intended. But did he? In Monsters and Madonnas, he gives a panegyric to the unconscious: ‘The photographer… will be borne along on a free-flowing stream of association. He will depart widely, weirdly, wildly and outrageously from his first concept…’

This is a part of what makes him seem so modern. The sex and violence foreshadow Japanese Manga cartoon strips, but there is also social comment: ‘Human Relations 1932’, for example. Or ‘A Family Group – Xmas 1914’. It is posed, but gruesomely convincing: a whole family dead or dying in the cellar of a house wrecked by war. In other pictures, the sex is no longer anything like as shocking as it must have been in the 1920s

Portrait, 1924. Although the portrait is widely believed to be of Fay Wray, this is not certain

‘Caprice Vennois’, c1930. A superb image of decadence


WILLIAM MORTENSEN

‘If you love to read and to take pictures, read

Mortensen and follow his advice on art history’

and 1930s, and the vision is torn between antiquity and

modernity, but there is still an incredible amount to be learned from almost everything he did. Much has often been made of Adams’ musical background, and of his famous comment that the negative is the score and the print is the performance. But if Adams is the musician’s photographer, then Mortensen is the literary intellectual’s photographer. If you love to read and to take pictures, read Mortensen and follow his advice on art history. You are unlikely to regret it.

What, then, of his decline? He had fallen out of fashion by the early 1950s, but this seems to be because he had to a considerable extent lost his way. His highly staged and conceptualised grotesques and classically themed pictures, whether nudes or more conventional portraits, increasingly gave way to nudes in pin-up style: he was always somewhat sexist by modern standards, but then, he was born in

1897. He was also let down by the mediocre standard of reproduction in many Camera Craft books, even though many of the pictures are good enough to rise above it. Slowly the books went out of print. But even his worst ‘How-To’ and ‘How-Not-To’ shots are often gold mines of information. He was still teaching shortly before his death in 1965, but by then he was regarded as a leftover from another age.

Allowing for all this, the inspirational value of Mortensen is not to be underestimated. You may think, ‘Good grief! That’s awful! I could do better!’ Go on, then. If you can’t, then res ipsa loquitur: the thing speaks for itself. If you can, better still. It would be odd if there were no one today, 118 years after Mortensen’s birth, half a century after his death, who could take some of his ideas and remake them, or draw inspiration from them, in the 21st century. The new books are an excellent source of inspiration,

Monsters and MadonnasTHERE are two signifi cantly different editions of William Mortensen’s most famous book. The 1936 Camera Craft original is all in black & white, while the 1967 edition from Jacques de

Langre has eight colour plates. Both are frighteningly expensive in good condition, typically £100-£250. The ‘monsters’ are not his famous grotesques, as many imagine, but what he calls ‘the machine’: the camera as the focus of consumerist and technical obsession, as master rather than servant. His correspondence with Richard Simon of Simon & Schuster throws this into sharp relief and is summarised in the new introduction to The Command to Look, which is very nearly worth the price of the book in its own right.

To understand Mortensen more fully, seek out not only the surprisingly slim Monsters & Madonnas, but also technical books such as The Model (1937), Outdoor Portraiture (1940), Mortensen on the Negative (1940) and even Pictorial Lighting (1935). Most were published by Camera Craft of San Francisco and can sometimes be found for sale, often at surprisingly high prices. Search online for downloads: some are available from www.whmortensen.com and you can fi nd The New Projection Control at archive.org/details/newprojectioncon000727mbp.

but the older ones, especially from the 1930s, spill over with ‘how-to’ information: ideas, tips, techniques. Many are as applicable to the digital age as to fi lm. Surprisingly, many are even more applicable, simply because they are easier nowadays.

We all owe a debt to the past. Sir Isaac Newton famously said that if he had seen further, it was because he stood on the shoulders of giants. Mortensen was a giant, and it is time to acknowledge his stature. Buy both of these new books. But be warned: if you do, you may well fi nd yourself haunting used bookshops and the internet to round out your collection with everything he ever wrote.

Left: ‘Fear’, also known as ‘Obsession’, c1927

Right: ‘Human Relations’, 1932.Mortensen openly referred to some of his pictures as ‘propaganda’ and some of them are very hard to forget. Once again, this relies on heavy retouching

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KIT LIST


ALL

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AVID

TIP

LING

Clothing Natural-coloured

clothing is a must, while a ghillie suit is designed to resemble heavy foliage and offers perfect camouflage, so the wearer blends in with their natural surroundings.

Barn owlsTo photograph a barn owl fl uttering moth-like over a meadow on a crisp winter’s day is special. David Tipling reveals how to get the shot

David TiplingDavid Tipling is one of the most widely published wildlife photographers in the world. His pictures appear on hundreds of book and magazine covers, and have been used in various other ways, from wine labels to being projected in New York’s Times Square. www.davidtipling.com

BARN owls are normally nocturnal, but in the UK, and particularly in eastern England, they can be seen hunting during the day, especially in late winter and when feeding young in summer. Getting great images requires good fi eldcraft, while keeping an eye on the weather forecast will increase your chances (see opposite page).

HabitatBarn owls favour hunting over grazing marshes and meadows and along wide fi eld margins adjoining hedgerows. These sites will hold good populations of rodents, particularly voles. Meadows that are heavily grazed soon prove unattractive, though, as voles leave locations where there is insuffi cient cover. Individual owls will have favoured hunting sites and repeatedly return to quarter the same area, so once a regular hunting haunt is located perseverance should pay off.

The east coast counties of Suffolk, Norfolk and Lincolnshire offer the best opportunities for day-fl ying owls, with the north Norfolk coast being top of the list.

Best time to shootThe peak period for shooting is early January to late February. A combination of low prey numbers, cold weather and a need to get into breeding condition means hungry barn owls will be hunting throughout the day. However, I fi nd the fi rst couple of hours after dawn and then from around 2-3pm until dusk are most productive. Do not ignore the summer months. Evenings, particularly in July, can be good when the owls often have large hungry broods to feed.

WILDLIFE WATCH

A long focal length of 500mm was used to capture this female barn owl hunting

Barn owls can be found across most of the UK

This barn owl was photographed on a frosty morning in Norfolk

One of our most distinctive and much-loved countryside birds, the barn owl is an expert hunter with excellent vision. Location: Widespread across the UK and Ireland, with the exception of some areas of Scotland and Ireland. Size: 30-40cm, with the female larger than the male. Nest: Unlined nest of floor debris in barns, ruins, haystacks, hollow trees or holes in a cliff. Diet: Rats, mice, voles and occasional fish and frogs. Population: There are estimated to be 4,000-5,000 breeding pairs in the wild.

About the barn owl

Monopod A monopod will offer relief from the weight of a big

lens and is a good alternative to

handholding as it offers more

freedom than using a

tripod.


WILDLIFE WATCH Technique

This barn owl shot was taken in

Norfolk during the late afternoon

Shooting advice Quiet shutterIf your camera has a noisy shutter, try to dampen the sound a little. The clicking will not go unnoticed by a hunting owl that is using its sensitive hearing to locate prey. I normally keep focused and only fire the shutter once the owl is within optimum range. If the owl you are trying to photograph does not like the sound of your shutter, or you move too much, it will react by veering away and may steer clear of where you are standing.

CamouflageI normally handhold my telephoto lens as it frees me up to track the owl, which can fly past relatively quickly, so you need to pan at a decent pace. I position myself against a hedgerow or tree when waiting, and sometimes wear camouflage gear that can prove very effective. At some sites, owls are used to people and clicking cameras, but at most locations moving slowly and using good fieldcraft will increase success.

PositioningA hunting owl will always quarter a field flying into the wind if there is more than just a light breeze. This gives the bird greater control to hover and stoop. So place yourself ahead of the owl and you should be able to shoot it coming towards you.

WeatherBarn owls find it tough to hunt in wet and windy weather, so as soon as conditions improve they will be out hunting in numbers. The best conditions in winter are still days or a day with just a light breeze, which has followed a period of wind or rain. Very cold weather will see increased numbers of owls hunting during the day too.

28

way

When we wander around while exploring a new city, very rarely

do we take the opportunity to look up beyond eye-level, to ease our necks back and see what lies above. Yet this is exactly what French photographer Romain Jacquet-Lagrèze has done in his ‘Vertical Horizon’ series of images of Hong Kong.

This oft-photographed region is famed for its high-rise towers that house a densely packed population, but rarely do photographers opt to document these buildings from the ground up. Yet when Romain arrived in the Kowloon district of the city in 2009, he found that he eventually began to do just that.

‘At the very beginning, I was simply exploring and discovering the city with my camera,’ explains Romain. ‘I was just pointing my camera at anything that looked

Romain Jacquet-Lagrèze’s images

are a dizzying view

of Hong Kong’s

cluster of high-rise

towers. He talks

Jade Severs through the process

behind his work

interesting to me. People, nature, animals, street scenes, cityscapes – I was doing all kinds of photos. But in a city like Hong Kong, it’s not surprising that my most vibrant shots were the cityscapes.’

Recognising the potential in these shots, Romain decided to start looking specifi cally for buildings that would represent his aesthetic vision of Hong Kong, partly driven by the fact that no one else seemed to be looking up with a camera as he was.

‘What gave me the energy to drive this project to the end was simply the fact that I could not fi nd any other photographs that illustrated my vision of Hong Kong,’ says Romain. ‘This place is the perfect city for taking such photos because of its incredible density. When you know that 70% of the area is covered by forests and mountains, that doesn’t leave much land for its seven million inhabitants.

Above: ‘VH #33’, Nikon D5200, 10-20mm, 1/25sec at f/4, ISO 100Below: ‘VH #17’, Nikon D5000, 10-20mm, 1/10sec at f/4, ISO 100

‘VH #43’Nikon D5000, 10-20mm, 15secs at f/4.5, ISO 100

The

uponly

ALL PICTURES © ROM

AIN JACQUET-LAGRÈZE

ARCHITECTURE


‘This is why the city has to grow vertically rather than horizontally. And all the tall buildings are packed together very tightly, so it gives this amazing scenery above our heads when walking through the streets. I don’t think it is possible to fi nd such a dense and tall urban environment anywhere else in the world.’

Of course, the towers vary in their appearance as well as their height and luxury. Romain decided to focus his project on three very different areas to show the effect of extreme vertical growth in Hong Kong in all its guises.

‘I wanted to portray the most accurate possible representation of the city’s architecture, so I decided to focus on the three main areas that are found here: the business districts; the old-style districts; and the densely populated residential districts,’ he says. ‘For me, ‘Vertical Horizon’ is the expression of the vertical expansion of the human

urban environment when facing the physical limitation of a territory and land. It is a way of optimising space, by reclaiming the sky instead of expanding horizontally, as is the case in most of the cities in the world.’

Location, locationWhen it came to fi nding the buildings to photograph, Romain’s vision was led very much by contrasts and opposites, juxtaposing old and new.

‘Hong Kong is fascinating both for its messiness and also for its slick and geometrical architecture,’ he says. ‘I was looking to include this extensive variety of buildings in my series to depict the urban diversity of this city. I felt I could do this best by searching for the extremes at either end of the spectrum. So, I would shoot an old and messy residential building, and then more modern buildings with no trace of life, that look almost like abstract sculptures.’

Once Romain had narrowed down his subject matter, there was then the hurdle of fi nding the right light and time of day to shoot. There were many times when he would need to revisit a location in order to get the light just right, particularly as he was shooting with ambient light and no artifi cial lighting.

‘There were many times when I would fi nd a good spot to shoot in, but I’d then fi nd the light was not at its best,’ he says. ‘In such cases, I had to come back again very early in the morning or around dusk to catch the best light. And for other locations, it was

‘VH #24’Nikon D5200, 10-20mm, 1/13sec at f/8, ISO 100

ARCHITECTURE

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at night that I found the most vibrant scenery.’

Getting the shotKey to Romain successfully capturing the vertical rise of Hong Kong is a camera that has a pull-out rotating LCD screen, used with a tripod and a wideangle lens. His choice of camera was a Nikon D5000 at the start of the series, followed by a D5200. He mounted both on a tripod with the lens pointing upwards.

‘These cameras are especially good thanks to the LCD screen that pulls out and fl ips up, enabling me to work on the composition in live view with great accuracy without suffering too much neck pain,’ he reveals.

Positioning the camera on a tripod just below shoulder level ensures that the photos show a view that is realistic to what anyone would see when looking up, and Romain says this arrangement ‘gives a more human aspect to the photos, like a journey of someone looking up through the city’.

The tripod is also an essential piece of kit for the buildings he shoots at night, helping to minimise camera shake when the shutter speed can be quite slow.

In order to condense as much of the architecture as possible into the frame, Romain shoots with a wideangle lens set to 10mm. This ensures that he is able to include an extensive amount of detail in the frame, as well as keeping the lines in his images straight without the

‘The photos show a view that is realistic to

what anyone would see when looking up’

My favourite shot ‘I SHOT this photo with my Nikon D5200 and wideangle lens at 11mm in late 2013,’ says Romain. ‘I was taken aback by the refl ections that these mirrored glass buildings were creating in one another and wanted to capture them. The glass on the buildings itself is a golden-orange colour, so with the double refl ection it made the colour even deeper, reaching an almost red hue.

‘In this photo I wanted to show the slick aspect of the buildings with their straight lines and shapes. I like to play with the symmetrical aspect of buildings, especially when the symmetry is altered in some way, because perfection is actually never reached. Here the symmetry is interrupted with the refl ection of another building in blue in the top-right corner of the image. It breaks the symmetry without removing the absorption that comes from looking at this image.

‘The challenge of this photo came from the fact that the available ambient light was much too bright. In order to avoid backlighting, I had to shoot two photos: one underexposed with a shutter speed of 1/30sec, and one overexposed with a shutter speed of 1/5sec. I then assembled both of them digitally to create one HDR image that showed the desired effect.’

distortion you would get using a fi sheye lens.

‘The most important thing with this type of photography is to avoid using fi sheye lenses, which completely bend and distort lines,’ explains Romain. ‘I love the lines to be straight in my photos in order to match with the reality. With a non-fi sheye wideangle lens, there isn’t any correction needed to get the lines straight.’

CompositionRomain’s obsession with straight lines, patterns and angles runs throughout his ‘Vertical Horizon’ series, and it is a theme that has roots in his childhood.

‘Throughout my studies, I was always interested in geometry and mathematics,’ he says. ‘And when I was a kid I was fond of geometric

‘VH #84’Nikon D5200, 10-20mm, 30secs at f/8, ISO 100


drawings. I would take a ruler and a pencil and could draw with these for hours. Whether the subject was abstract or figurative, it didn’t matter: I just loved the feeling of drawing the world with perfectly straight lines.’

It is this way of thinking that has clearly influenced the direction of Romain’s ‘Vertical Horizon’ series, where shooting in such a style requires a sharp and precise approach to composition.

‘In my photographs, I am looking for balance,’ he explains. ‘I wanted my series to look coherent, although the architecture of each building can be very different. In order to achieve that, working on the composition was key, otherwise the whole thing would look too much like distracted snapshots. I wanted to share the feeling of absorption

that I have when looking up in these places, so I made the perspective as deep as possible so the viewer feels surrounded and has no other choice but to get sucked inside the photo.’

HDR and post-processingThe strong geometric patterns in Romain’s images are made all the more dominant thanks to his bold use of colours and light that help to define the clean lines and shapes. The time of day that he shoots his images dictates the colours that will be cast, and whether or not a little HDR will be required to help the exposure.

‘For night photos, the strong lights coming out from the buildings are enough to bring a rich density of colour to my photos,’ says Romain. ‘Hong Kong also has very strong light pollution when the clouds pass

at low altitude, which is ideal for lending a bright purplish look to the sky in my images.’

When it comes to shooting photos in the early morning or during the day, Romain will use HDR to combine shots with different exposures in order to ease the backlit effect and adjust the image to be closer to what the human eye sees.

‘I’ll take two photos at the exact same location, but with one underexposed and another one overexposed,’ he says. ‘I’ll then blend these two photos with software afterwards.’

Hong Kong is a city that pushes the boundaries of what we consider possible and in every element of his photographs, from composition to post-processing, Romain manages to effortlessly convey just that to the viewer.

Romain Jacquet-Lagrèze was born in France in 1987, living in Paris until moving abroad in 2008. His interest in photography began after his arrival in Kowloon, Hong Kong. His project ‘Vertical Horizon’ was released in 2012 as a photo book. It was reprinted as a second edition in 2014. Visit www.rjl-art.com

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34

Reader PortfolioSpotlight on readers’ excellent images and how they captured them

On the Street2 There’s an interesting visual parallel to be found in the patterns of the woman’s jacket and the textures of the pavementNikon F3, 35mm, 1/250, Ilford HP4

Stepladder1 Anselm has discovered the graphic possibilities of an everyday scene here. The shadow is a vital compositional element Nikon F3, 35mm, 1/250sec, Ilford HP4

Registration3 Anselm has achieved a depth to this image by including the feet of the pedestrians and their reflections in the car bonnetNikon F3, 35mm, 1/250sec, Ilford HP4

Anselm Gallagher, HertfordshireAnselm is committed to discovering the visual possibilities of people in everyday places – something he credits to his love of the images created by photographers such as Josef Koudelka and Tony Ray-Jones. While he was

initially fascinated by the anticipation of waiting to see the results of his work on fi lm negatives, this been replaced by the instant thrill of seeing what he has captured on the back of his DSLR. Here we see a series of images taken in Manchester between 1994 and 1998.

1 4

2

3

YOUR PICTURES IN PRINT

35

The Reader Portfolio winners chosen every week will receive a SmugMug Power account, worth £35 each, on which to host their images

SmugMug is the world’s leading independent cloud-based photo website for a new generation of photographers. SmugMug Power account gives you a fully hosted, customisable website where you will receive unlimited photo uploads and gorgeous full-screen galleries. Visit www.smugmug.com

Submit your images Please see the ‘Send us your pictures’ section on page 3 for details or visit www.amateurphotographer.co.uk/portfolio

Snow4 The influence of Josef Koudelka is clear here. The great photographer took many images of the everyday that were elevated through his careful consideration of subject, location and framingNikon F3, 35mm, 1/250sec, Ilford HP4

Backstage5 Here we find a beautiful use of light and shadow. By exposing in just the right way, Anselm has managed to highlight the sections of the scene that tell us just enough about the location and storyNikon F3, 35mm, 1/250sec, Ilford HP4

5

C


Mesquite Flat Dunes… 11 Photographing in such stunning natural landscapes can tell you much about how light, shadow and form can work together to create beautiful images. The lines in the sand are a gorgeous natural feature hereNikon D7100, 18-200mm, 1/250sec at f/18, ISO 200, tripod

Michel Hersen, USAMichel’s painterly infl uences are clear not just from the locations in which he shoots, but also from his treatment of light and

framing. His many trips to art museums when he was child have carried through into how he pursues his subjects and, with his photography, he aims to draw out the luminous qualities of the natural landscapes that interest him. Michel’s goal for the future is to continue shooting the stunning vistas found in the national parks of the United States.

1


Reader Portfolio

Mesquite Flat Dunes… 23 The burst of colour against the pale tones of the sand gives this image an extra level of interestNikon D7100, 18-200mm, 4secs at f/16, ISO 200, tripod

Sunset at Zabriskie Point2 It takes a photographer with a keen eye for composition to find order in chaosNikon D7100, 18-200mm, 1sec at f/18, ISO 200, tripod

Moonset Over the Cottonwood Mountains5 There’s so much to admire about this shot. The subject is beautiful enough, but the pockets of shadow add a degree of depth and dimension to the awe-inspiring landscapeNikon D7100, 18-200mm, 1/30sec at f/18, ISO 200, tripod, polariser

Sunrise at the Badlands4 Michel has employed a subtle lead-in line to draw our eye towards the sunrise in the horizonNikon D7100, 18-200mm, 1sec at f/18, ISO 200, tripod

2

5

3

4


Reader Portfolio

Headland Waterfall4 Sometimes the best thing to do is to allow a landscape room to breathe and to communicate its own natural majesty, as we can see in this shotNikon D7100, 18-105mm, 1/200sec at f/9, ISO 200

North Coast Viðoy3 These evening rain clouds drifting over Kunoy Island have provided a wonderfully atmospheric subject, particularly in the pools of lightNikon D7100, 18-105mm, 1/320sec at f/13, ISO 200

Puffi ns 2 What makes this image particularly effective is one single element: the centre puffin, which, unlike the rest in his group, is looking directly at the cameraNikon D5100, 55-300mm, 1/1250sec at f/9, ISO 504

Faroe Island Sheep Pen5 This may appear to be a snapshot of sheep waiting for their annual shear, but a closer look will reveal Duncan has carefully considered his compositionNikon D7100, 18-105mm, 1/250sec at f/5.6, ISO 317

Viðareiði Church1 This church is in the northernmost settlement in the Faroes and lies on the island of Viðoy. It’s an incredible foreground subject to include against such a stunning and dramatic backgroundNikon 7100, 18-105mm, 1/320sec at f/18, ISO 200

2

5

3

4


Faroe Island Puffi n6 Duncan has created a simple but compositionally excellent shot here. Having the puffin off-centre has left necessary space on the right-hand side. This works especially well with the shallow depth of fieldNikon D5100, 55-300mm, 1/1000sec at f/6.3, ISO 307

Duncan Steward, SomersetDuncan’s love of photography was born largely from his travels around the UK and Europe as a child. It wasn’t long

before he decided to pick up a camera to make a record of the places he had visited and it’s something that has stayed with him throughout his life. In the future, Duncan intends to capture the things he encounters when he makes return trips to both Norway and Canada.

6


Photoshop guru Martin Evening sorts out your photo-editing and post-processing problems

Evening Class

1 Apply Camera Raw lens correctionsTo correct the extreme lens barrel distortion, in Camera Raw I went to the Lens Corrections panel and applied the maximum +100 Distortion, +66 Vertical and -100 Aspect slider adjustments to compensate for the vertical stretching.

2 Add Basic panel adjustmentsIn the Basic panel, I applied a -100 Highlights adjustment to reveal detail in the clouds and sky, and a +100 Shadows adjustment to show detail in the shadow areas. I also warmed the image slightly and added some Clarity to boost the midtone contrast.

3 Apply the Lens Correction fi lterThe geometric distortion was not fully corrected so I opened the adjusted image in Photoshop. In the Filter menu I selected the Lens Correction filter and applied a maximum Distortion correction along with a +27 Vertical Perspective correction.

WHILE there are problems with lens chromatic aberration and focus in the original image from Adrian Maltby, the biggest issue is the extreme lens barrel distortion. Rather than using a Photoshop lens profi le, I used Camera Raw to apply a fi rst-pass correction and

then took the image into Photoshop, where I applied a further adjustment using the Lens Correction fi lter. The result wasn’t perfect, but you will notice how many of the lines that were curved are now straighter and the globe in the top-left corner now appears less elliptical in shape.

Correcting geometric distortion

AFTER

BEFORE

Submit your images

Please see the ‘Send us your pictures’ section on page 3 for details or visit www.amateur photographer.co.uk


YOUR PICTURES

IT CAN be incredibly diffi cult to photograph insects close-up. For a start, they tend to move pretty quickly, and getting your subject in sharp focus using a macro lens is never that easy. Andy Kyriacou has done well here to get this great view of a mantis head-on.

The exposure in the original was a bit dark, so it needed to be lightened up a bit, but it was also important to boost the contrast. Normally, I use the Highlights and Shadows sliders in Camera Raw to lower the contrast and open up the tones at the highlight and shadow ends.

Here, I used these two sliders to do the opposite and add more contrast instead. I also used the HSL Luminance slider controls to add more sparkle by enhancing the colour luminance contrast between the green mantis and the blue backdrop.

Adding sparkle to an image

Lens correctionsLENS corrections in Photoshop or Camera Raw are possible due to Adobe having a database of lens profi les for many different camera lenses. This includes most of the popular brands and models. Basically, the software is able to reference the camera’s

Exif lens data, and using that information it knows exactly how to correct known lens anomalies such as geometric distortion and vignetting. It’s not just the lens corrections in Camera Raw and Photoshop, but also other tools such as the Adaptive Wide

Angle fi lter and Photomerge that benefi t from this feature. Shown here is a before and after

example of a photograph shot with a fi sheye lens automatically corrected using a lens profi le.

Martin Evening is a noted expert in both photography and digital imaging. He is well known in London for his fashion and beauty work, for which he has won several awards. Martin has worked with the Adobe Photoshop and Adobe Lightroom engineering teams over many years and is one of the founding members of a software design company. Visit www.martinevening.com

1 Lighten the imageI began by opening the JPEG master image via Camera Raw, where I first went to the Basic panel and applied a +1.75 Exposure adjustment. The aim was also to increase the contrast, which I did by lightening the Highlights and darkening the Shadows. I also added a lot of Clarity and some extra Vibrance.

2 Apply a rotated cropIn the bottom left-hand corner there was an out-of-focus straight edge creeping into the frame, which was a little distracting. To get rid of this, I selected the Crop tool and applied a rotated crop (as shown here), adjusting the corner handles to avoid cropping the image any further than was necessary.

3 Make some HSL adjustmentsIn the HSL/Grayscale panel, I selected Luminance and then the Target Adjustment tool. I clicked and dragged downwards on the blue background to darken the Blues very slightly. I then clicked on the body of the mantis and dragged upwards to lighten the Yellows and Greens.

AFTER

BEFORE

Fisheye Auto corrected


At a glance

Transfers stills and video to a smartphone or tablet

Hotshoe-mounted device Works with Android and iOS Creates its own Wi-Fi signal

UNLIKE the original Weye Feye DSLR controller from XSories, the Weye Feye S does not have the ability to control a camera wirelessly while in live view. Instead, this smaller, more affordable version is designed only for transferring images and not for remotely controlling cameras.

The Weye Feye S connects to the camera via a USB cable and can be mounted on the hotshoe. Once connected and turned on, the Weye Feye S can be accessed from a smartphone or tablet using the free Android/iOS Weye Feye S app. Also, images can be accessed via a computer by connecting to the Weye Feye S and typing a URL and port number into a web browser. Once set up, users can preview and download all JPEG, raw and video fi les that are stored on the card. These can then be shared out to social media channels or relevant apps.

VerdictAs many recent high-end cameras, such as the Nikon D810 and the Canon EOS 7D Mark II, don’t feature any Wi-Fi connectivity, it’s extremely helpful that the functionality can now be added for less than £80. Equally, it’s very useful for older cameras. Being able to email JPEGs wirelessly from my Canon EOS 5D Mark II is great.

There are plenty of cheaper alternatives for wireless image transfer, such as wireless card readers and Eye-Fi memory cards, but the Weye Feye S has the advantage of allowing the photographer to shoot images while it is connected. If this isn’t a necessity, it may be worth looking at the alternatives.AL

L PR

ICES

ARE

APP

ROXI

MAT

E ST

REET

PRI

CES

Micro USBOn the side of the

Weye Feye S is a Micro USB port where the device is charged.

Hotshoe mount

Included in the box is a hotshoe mount with a tripod thread on the end,

which screws into the Weye Feye S.

Weye Feye app

The free Android/iOS app is easy to use and navigate,

although annoyingly it doesn’t refresh itself

when a picture is taken.

AccessoriesUseful gadgets to enhance your photography, from phones to fi lters…

Kingston MobileLite Wireless£14, www.kingston.com

The MobileLite Wireless card reader enables users to send their files wirelessly from SD or a flash drive to a smartphone or tablet.

Eye-Fi Mobi 8GB SD card£40, www.eyefi.com

Eye-Fi support is built into many cameras, allowing users to transfer images wirelessly to a smartphone or tablet – it now also boasts cloud storage.

Weye Feye£199, www.weyefeye.co.uk

For users looking to share images wirelessly and also have the ability to control their cameras remotely via a smartphone, the original Weye Feye DSLR controller is the product to get.

ALSO CONSIDER

XSories Weye Feye SCallum McInerney-Riley tests a

pared-down version of the Weye Feye,

for transferring images wirelessly

£80 www.xsories.co.uk

Recommended


More great picturesMore techniqueMore opinionMore inspiration Download online, enjoy offl ine Buy from the comfort of your own home Available the day the magazine goes on sale Missed an issue? Simply download a back copy

Try it todaywww.amateurphotographer.co.uk/digital-edition

The latest photography kit and technique at your fi ngertips

Macphun Intensify Pro £35 macphun.com/intensify

The split screen view makes it easy to compare before and after shots

BEARING more than a passing resemblance to Adobe Lightroom, Macphun Intensify Pro is a simple-to-use editing program for your raw or JPEG images. The software concentrates its resources on contrast and detail adjustments, extracting as much or as little detail from specifi c areas as you require. For example, you can choose to adjust the micro contrast in the highlight, midtone or shadow areas. Some basic colour adjustments are also on hand to tweak the saturation or colour balance, and you can also create black & white images. Adjustments can be localised by using any combination of the software’s gradient, masking or layer tools.

The fi nal result of the editing depends entirely on your personal taste, with everything available from subtle increases in local contrast and sharpness, to very over-the-top adjustments that create extreme HDR-like images. However, the proprietary algorithms do an excellent job of bringing out hidden details in even the fl attest scene.

If you don’t know where to start, there are more than 70 presets that can be applied with a single click – and, of course, you can create your own. Changes are displayed in real time, and the software is extremely responsive.

Overall, Macphun Intensify Pro is straightforward and easy to use. It acts as great standalone software for a quick fi x, although advanced users can easily incorporate it into their Lightroom or Photoshop workfl ow as a plug-in. Edits can then be made to images before they are loaded back into the main software for fi nal editing. A standard version is also available, priced £14, although this lacks a few of the more advanced features and does not work as a plug-in. Richard Sibley

Recommended

Macphun Intensify Pro can help to recover highlight and shadow details

The combination of the D7000 and 50mm f/1.4 lens makes for a great portrait combinationNikon D7000, 50mm, 1/1000sec at f/1.8, ISO 160


Globetrotting photographer Jacob James explains

how the Nikon D7000 took him around the world

On the road again

IN THE FIELD Testbench

At a glance

16.2-million-pixel, APS-C-sized CMOS sensor

ISO 100-25,600 Full HD 1080p video Up to 6fps shooting rate 100% viewfinder Around £520 (body only)

The D7000 offers great colour depth and tonalityNikon D7000, 35mm, 1/2000sec at f/2, ISO 200

At the start of 2010, I was in the position that most hobbyists reach at some point in their

photographic life: I had played around with near enough every style of photography until that point, dabbling in sports, macro, portraiture and landscapes, but had never really clicked with any of them. It wasn’t that I was struggling to produce decent images; I was just not enjoying the process. I was suffering from the photography equivalent of writer’s block and had absolutely no desire to get out and shoot anything meaningful.

It was around this time that I signed up for a six-week volunteering trip to the rural west of Thailand, close to the border with Myanmar. My trusty Nikon D40 was by now getting old and starting to show its

limitations, particularly when shooting in low light.

As the weeks went by, I started to consider upgrading my camera. At the time I was just about fi nishing sixth form and, like most poor, part-time-employed 17 or 18-year-olds, the idea of spending a signifi cant lump of cash on a decent camera was a tough decision.

Back in 2010, the camera market was a little easier to navigate. Compact system cameras were in their infancy and not really thought of as ‘real’ cameras by most photographers, so the choice was either an APS-C cropped sensor or full frame for the majority of hobbyists. Straight away I knew that the cost of full-frame lenses would prevent me from heading in that direction, so I started to look more closely

at the professional end of Nikon’s DX sensor range.

I began tossing up whether to stump up the cash for the D300S or save some money and get the D90 along with an extra lens or two. I liked the idea of the pro features of the D300S, such as the weather-sealing, magnesium-alloy body and upgraded video features, but I wasn’t ready to spend that kind of money on a camera body just yet.

It was in September 2010 that Nikon launched the D7000. When I fi rst saw the spec sheet, with its magnesium-alloy body, 16.2-million-pixel sensor, weather-sealing, full HD video, class-leading dynamic range and ISO performance, I knew that it was my dream


Testbench IN THE FIELD

camera. It seemed that somehow Nikon had listened

to my needs and made a camera that ticked every single box – and at a price that wouldn’t make it inaccessible to me.

After a few more weeks of saving every penny I could, I fi nally took the plunge and ordered a D7000 body. Upon its arrival it was clear that this camera was a step up from what I was used to. For the fi rst time I had a top LCD screen, dual control wheels and a built-in AF motor to allow me to make use of Nikon’s huge range of lenses.

Surprisingly though, despite my initial impressions, my relationship with the D7000 was rocky for the fi rst two to three months. Coming from the simple 6.1-million-pixel sensor on the D40, the D7000’s 16.2-million-pixel resolution was brutal on my technique. Many of my images were coming out slightly blurry, which meant I started to grow frustrated. It wasn’t a fl aw of the camera – it was just that the lower resolution of the D40 had been

covering up my shortcomings.After months of frustration

and lots of time working on my technique, I gradually grew to love the camera. But it wasn’t until I took the D7000 out of the UK that my passion for both the camera and photography really blossomed.

After six weeks of shooting images in rural Thailand, I was hooked, not just on the camera but on travelling in general. During my stay the D7000 had performed fl awlessly despite it even being temporarily submerged in a monsoon-fl ooded river while I rode on the back of an elephant.

After that fi rst trip my interest in travel photography really took off. I set up my website and got my portfolio out, and I started to make inroads and occasionally even a bit of cash from my work. It was then that I realised I wanted to try to make a living out of travel photography.

A second D7000 joined my fi rst just a few months later, in time for my departure back

‘Coming from the 6.1-million-pixel sensor

on the D40, the D7000’s 16.2-million-pixel

resolution was brutal on my technique’

The D7000 produces clean images even in

long exposuresNikon D7000,

12-24mm, 12mm, 2.5secs at f/18,

ISO 100

The high resolution of the sensor makes

for sharp portraitsNikon D7000, 35mm,

1/60sec at f/2.5, ISO 1000


Testbench IN THE FIELD

to Asia. I was due to spend fi ve months on the road,

travelling through Thailand, Myanmar, Laos, Cambodia, Vietnam and China, and this time I wanted to really start creating a solid portfolio of images.

Only seven days into my trip, a power hose unfortunately destroyed my old D7000 during the Thingyan Water Festival in Myanmar. Fortunately, my second body held up after a few days’ drying out and went on to perform fl awlessly for the next three years – and is still going today, though minus a bit of paint and the addition of a couple of dents.

FeaturesThe D7000 will always be special to me because it was the camera that got my career going. It travelled with me for 12 months across south-east Asia, during a hitchhike across Europe, on camel-back in the Sahara, while standing neck deep in the Mekong River and even on the back of a motorcycle for three weeks through the rainy season in

Rajasthan, India. It has worked equally well on the streets of Budapest in Hungary and Prague in the Czech Republic as it did on the streets of Delhi in India and Hanoi in Vietnam. The D7000 has dealt comfortably with almost everything I have thrown at it. Whether cityscapes or landscapes, portraits or documentary work, I discovered very few faults.

I believe the D7000 is one of the best all-round DSLRs that has ever been made. There are many features that I love about it: the 16.2-million-pixel sensor is still, even today, one of the best low-light crop sensors on the market, and I’ve shot work at ISO 5000-6400 that has been printed in publications around the world.

The beauty of the Nikon system is its wide range of lenses, even though they were made decades ago. One of the main reasons for my step up to the D7000 was for autofocus with the whole range of Nikon lenses. The majority of my best work has been shot on fairly inexpensive lenses, like the 50mm

Dynamic rangeTHE STANDOUT feature of the D7000 when it was launched was the incredible dynamic range of its sensor. Even four years on, and with many advances in sensor technology in that time, it still has one of the highest dynamic ranges of any camera with an APS-C-sized sensor.

With around 13.9EV of dynamic range, there were very few situations where I genuinely wished for something greater. More often than not,

I will shoot fairly spontaneous subjects, such as people in markets, but even when shooting in the harsh midday sun, so long as I exposed for the highlights there would normally be plenty of detail to lift the shadows and capture a decent exposure.

The advantage of the dynamic range is not just being able to capture highlights and shadows in the image – with the D7000 you also get great exposure leeway when processing its raw fi les.

f/1.4 and 35mm f/1.4. The sharpness of Nikon’s primes really complement the D7000 sensor and offer a huge weight saving over the much larger and more expensive pro zooms.

The D7000 was also one of the fi rst Nikon DSLRs to sport full HD video capture. Looking back now, the process of shooting video on the D7000 is really not very intuitive. The codec is very poor, there is no headphone input or audio control and even

exposure control during fi lming is pretty much non-existent.

One feature that is excellent is the D7000’s wireless control over Nikon’s Creative Lighting System (CLS). I spent almost three weeks in India shooting purely off-camera fl ash portraits. Never once did the system let me down, even in monsoon rains and high humidity.

If I had to fi nd a weakness with the D7000, it would defi nitely be with the focusing system.

The 6fps frame rate makes capturing action easyNikon D7000, 80-200mm, 1/1600sec at f/4.5, ISO 1250

The great dynamic range helps in tricky lighting conditions. Nikon D7000, 11-16mm, 1/100sec at f/8, ISO 100

Even at extreme ISOs, the images are still

very usableNikon D7000, 50mm,

1/200s at f/8, ISO 5000


132mm

105mm

77mm

Focal pointsIt may be more than four years old, but the

Nikon D7000’s features can still hold their own

MeteringMaking sure that images are exposed correctly is a 2016-pixel RGB sensor, which is the same sensor used in the current Nikon D610.

IntervalometerFor time-lapse photography, the Nikon D7000 has a built-in intervalometer that allows users to set the camera to take a number of images at set intervals.

AutofocusThe Nikon D7000 has 39 AF points, nine of which are cross-type. The AF sensor is the Multi-CAM 4800DX, which allows for 3D tracking.

Autofocus was neither the quickest nor the most accurate. In broad daylight it worked fi ne for most subjects, but as the light started to fade the D7000’s Achilles heel really started to show. This is a weakness I learned to deal with over the four years of owning the D7000, but it’s the only weakness that I felt prevented this camera from being truly legendary.

Moving onAs with most things, over time my preferences and needs started to change. I was beginning to fi nd two D7000 bodies and a bunch of lenses rather cumbersome, especially as my travel started to get a little more extreme. I was fi nding that carrying a rucksack with 5-6kg of camera gear was no fun in hot climates or over rough terrain. In the end, I was starting to leave gear in my hotel room and even some at home.

Over the past 12 months, I decided to make a move to a smaller system and, earlier this year, fi nally made the move to a Panasonic Lumix G micro four thirds set-up to reduce the weight and size of my gear. As I start to look back over the work I have

shot with the D7000, I have slowly come to remember just what an awesome camera it is.

I have seen many photographers over the years turn their noses up at cameras because they aren’t full frame. For the four years I owned the D7000, I never once felt the need to upgrade to a full-frame system. The image quality really is outstanding and the cropped sensor has never been a hindrance to getting my images published.

It’s all too easy to get caught up with wanting the most recent and best camera, but even today cameras such as the D7000 and D300 still produce images that will be suitable for 95% of photographers. Unless you need to be able to shoot in darkness or really enlarge your images, then often new cameras are more of a want than a need.

As you might have gathered, the D7000 is a very sentimental camera to me, and despite my two bodies being relegated from my kit bag I still haven’t sold them. I think I’m still secretly holding on to them for now, and sometime in the future I will give them one fi nal run out.

Weather-sealed

With magnesium-alloy top and

back panels, the D7000 is strong and lightweight,

and is fully weather-sealed.

Video The D7000 is capable of

shooting full HD video at 1080p resolution.

ViewfinderImages are composed using the pentaprism viewfinder, which has a 100% field of view.

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MACRO PHOTOGRAPHY

Wednesday 11 February 20156pm-8.30pm at the Blue Fin Building, 110 Southwark Street, London SE1 0SU

SEMINAR WITH HEATHER ANGEL

© H

EATH

ER A

NGEL

Due to popular demand,

on Wednesday 11 February 2015 we are

delighted to welcome

back Heather Angel, the renowned wildlife

photographer with

a passion for plants,

mammals and macro photography.

See how refl ectors, diffusers and fi ll fl ash

help to improve macro shots in the fi eld.

Discover how to gain arresting macro still-

life shots with simple lighting – including

window light, LED lights, fi ll fl ash and a

light box. Examples of how depth of fi eld is

enhanced using focus stacking will also be

shown and explained.

This exclusive seminar is held at the home

of Amateur Photographer and What Digital Camera in the Blue Fin Building,

rising above the impressive skyline of

London's South Bank.

Tickets are sold on a fi rst-come, fi rst-

served basis at £39 per head, to include a

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Angel from 6pm-8.30pm.

Book your placeEMAIL us at [email protected] with the words 'HEATHER ANGEL SEMINAR' in the subject line. Please include your name, address and telephone number.

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£39 per person Price includes: All talks/Q&As, glass of wine. Please note that the places are only confirmed upon receipt of payment. Tickets are non-refundableFor full details visit www.amateurphotographer.co.uk/macro or call 0203 148 4326

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SOFTWARE TEST Testbench

The DxO OpticsPro 10 interface

To get the best results from a digital camera, you really need to shoot in the raw fi le format.

However, processing raw fi les can be time-consuming. For years, DxO OpticsPro has made raw-fi le editing easier by using corrections that can help photographers to apply edits to their images quickly and easily. The latest is version 10, and it adds a number of new tools and optimisations to the existing features. The software should make it even easier to make optical and geometric corrections, optimise exposure and contrast, reduce noise reduction and maximise colour and detail.

Image organisationWhen you fi rst launch DxO OpticsPro 10, you are greeted with the Organizer mode interface.

This displays a hierarchy of your computer’s folders and, once a folder is selected, all the images contained within it are displayed in the Navigation panel at the bottom of the screen. The Organizer mode is very similar to the Library modes found in other raw-editing software, such as Adobe Lightroom. If you don’t like the Navigation panel being at the bottom, it can be repositioned anywhere on the screen, or viewed on a second monitor. Supported fi le formats include JPEG, raw, TIFF and DNG (8-bit and 16-bit), but sadly not Photoshop PSD and other application native formats.

The real key to DxO, and one that has until recently separated it from the likes of Adobe Lightroom, is that DxO has more than 20,000 camera and lens

combinations in its database. By reading the Exif information for each image, the software can optimise your images based on the camera and lens used. If the software detects that your camera and lens combination isn’t available in its database, it will automatically connect to the DxO online database and download the relevant module. Of course, an internet connection is required to do this. Most current cameras and lenses are supported and new cameras are added regularly.

Editing imagesIn the Editing workspace you will fi nd all the main image-processing features, such as Histogram, Essential Tools, Light and Colour, Detail, and Geometry and Optical Corrections. These are on the right side of the screen. Each

The latest version of DxO’s image-editing soft ware

features improved noise-reduction processing and new

ClearView features that can detect and edit hazy

images. Vincent Oliver gives his verdict

DxO OpticsPro 10

DxO OpticsPro 10 Standard Edition is available from shop.dxo.com, priced £99; the Elite Edition is priced £159

A fully functional one-month trial version of the software can be downloaded from www.dxo.com/ intl/photography/download. Mac and Windows compatible

At a glance


Testbench SOFTWARE TEST

DxO ClearViewDXO CLEARVIEW eliminates atmospheric haze in landscape photographs and smog in urban scenes. Haze is a phenomenon that is encountered when photographing landscapes in the mountains and near the sea. It is seen as an opaque veil that alters the contrast, colours and the textures in an image. Click the ClearView button in the Essentials tools palette to activate it, and then use the Intensity slider to bring out distant colours and details in a photo.

ClearView analyses the colours in an image (RGB) to evaluate the amount of light diffusion affected by haze. ClearView then cuts through haze by adding micro contrast to the affected areas of a photograph, particularly in distant mountain shots where the haze can take on a blue cast. The ClearView fi lter gives you full control over how much strength and image intensity you want to achieve.

For urban shots, it adds dynamic contrast to architecture by bringing out details that you may have previously thought were lost. The results are spectacular – a clear winner as a tool for use by both landscape and architectural photographers. The results of using ClearView are more pronounced than using a UV or haze fi lter on a camera lens.

Preset previews on a selected image

Before and after screens make it easy to see the changes you make

Original

Original ClearView applied

Smart Lighting

Photo with Smart Lighting applied and colour temperature adjusted

of the tool palettes can be expanded to reveal the

individual adjustment tools. At fi rst glance, the number of palettes and adjustments may be overwhelming, as many of the tools appear in more than one palette. However, the workspace is customisable, so palettes that you don’t use can be hidden. There is even the option to create your own custom palette of the correction tools you use most often.

Many of the adjustments can be applied with an on or off switch, with the software using its correction profi les to analyse the image and ascertain which corrections are necessary. These include lens corrections for optical distortions such as barrel and pincushion, vignetting, lens softness, and lateral and longitudinal chromatic aberrations. Noise reduction and sharpening can also be automatically applied based on the ISO sensitivity setting.

PresetsOne of the most useful features is the Preset Editor palette. This enables you to apply a built-in preset, import or export presets, create your own custom preset, or edit a pre-defi ned preset. This makes batch-processing images quicker and easier, although it is a little slower than using Lightroom.

OpticsPro 10 offers a library of 30 presets that include portrait, landscape, black & white, high dynamic range (HDR), atmospheres and smartphones. Presets can appear in a visual presets window as large thumbnails displaying the effects applied to the image being worked on, and you just click on a preset to apply it.

From here you can make further adjustments and then save the settings as a new preset, which will be added to the library for future use. Any image corrections or enhancement adjustments that you make can be saved as a custom preset – just right-click on the image and select ‘Create preset from current settings’. So if you regularly use the same camera and lens, and make the same basic corrections, these can all be saved as a preset to save you a lot of time.

Improved featuresPRIME (Probabilistic Raw IMage Enhancement) noise reduction is a feature that was introduced in version 9, but has now been improved with faster processing times. PRIME analyses the structure of raw images and differentiates between noise and fi ne detail, which produces a noticeable gain in image quality. This enables you to shoot at a


DXO OPTICSPRO 10 is a feature-rich image-processing application that produced excellent results on every image throughout our test. OpticsPro 10 offers signifi cantly more control than Adobe Camera Raw, and the results speak for

themselves. Although it may lack some of the image-management and cataloguing features of Adobe Lightroom, OpticsPro 10 is excellent at its primary task: getting the very best from your raw images as quickly and easily as possible.

Our verdict

+ Very fast processing+ Faster PRIME noise reduction + Extensive database of camera

lens combinations– Multiple display of palettes

can be overwhelming– Print function does not have an

option to centre image on page

GOLD

For and against

System requirements

Microsoft Windows 8/8.1 or 7 (64 bits). 4GB RAM (8GB recommended), 2GB disk space (6GB recommended). Intel Core 2 Duo, AMD Athlon 64 X2 or higher. DirectX 9.0c-compatible graphics card with 512 MB of video memory to handle GPU acceleration.

OS X 10.8, 10,9, 10.10. 4GB RAM (6GB recommended), 2GB disk space (6GB recommended). Intel Core i5 or higher. Graphics card with 512MB of video memory to handle GPU acceleration.

Photo shot at ISO 1600 for noise-reduction samples

The Prime noise reduction reduces shadow noise

No noise reduction

Prime

higher ISO sensitivity and get similar results that are obtained by shooting at a lower ISO. PRIME noise reduction removed the visible noise in our test image, although some fi ne detail such as hair can look softer than in the original. PRIME is only available with raw image fi les; for JPEG fi les you can still obtain excellent results by using the High Quality setting. Compared to other dedicated noise-reduction software, PRIME reduced noise excellently, managing to preserve colour saturation particularly in shadow areas and maintaining a high level of texture detail.

Other improved features include DxO Smart Lighting and DxO Lens Softness optimization. The Smart Lighting palette has fi ve settings: slight, medium, strong, DxO OpticsPro 7 and Pro 9, plus a custom setting. A slider enables you to vary the intensity from 0 to 100 (or 200). This recovers

highlights and unblocks shadow details that may have been previously thought of as lost. This fi lter works best with raw fi les, but will also work with JPEGs. I wasn’t overly impressed by this: it worked up to a point but lacked fi ne control beyond the slider.

However, the user manual suggests that the Smart Lighting fi lter can be fi ne-tuned when used with the Selective Tone palette or Light and Colour – Advanced palette. Using the combined fi lters produced a much better result, so I would have liked the controls to be available within the Smart Lighting palette rather than having to go to another tool palette. The Lens Softness tool adds sharpness to photos from the centre to the edges to produce a crisp-looking image, with adjustment sliders including Global, Detail and Bokeh.

The Single Shot HDR preset produces a similar effect to that obtained by shooting multiple exposures that are then combined to make up an HDR photo. The options include HDR Realistic, HDR Artistic, HDR Backlight and HDR B/W. The effects are perhaps not as pronounced as those obtained by shooting multiple exposures, but each one added something extra to the photo, which can be useful as a starting point.

When you have fi nished processing images you can Export to Disk, which generates JPEG, TIFF and DNG fi les to a folder of

your choice. You can export the same fi le in different fi le formats or image dimensions to separate folders or drives with a single click, although this is only available in the Elite edition. The Export to Application option sends the processed photo directly to your selected image-editing application as a JPEG, TIFF or DNG fi le. The next two options are Export to Facebook and Export to Flickr, which are self-explanatory and allow you to add tags and privacy options. Finally, there is the option to export your image to Lightroom.

The last feature is Print. This allows you to send a fi le directly to an installed printer, with plenty of options available including ICC profi le selection for colour-managed printing. One notable missing feature is the ability to centre the image on a page, although by carefully altering the margins and image size you can manually reposition it.

As the Standard edition of DxO OpticsPro 10 does not include ClearView or Prime technology, we would recommend the Elite edition to get the most out of the software.

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EXPERT ADVICE TIPS TRICKS HACKS KNOW-HOW

TechnicalSupport

White balance woes

Q The default white balance settings on my Nikon D5200 never seem to

capture colours as I see them. In cloudy conditions the greens are too yellow, in sunlight they are too blue; in tungsten the whites are yellow and the auto is hardly ever accurate.

Taking the pictures in raw and adjusting them later means I can’t compare them with the colours at the time of shooting. I have rectifi ed the problem to a large degree by making my own adjustments in the white balance settings on the colour matrix, and this gives me a fairly accurate colour reproduction most of the time. All these adjustments work, but it is disappointing for a camera costing more than £500.

I understand that white balance defaults can never suit every situation perfectly, but I would like to know if my camera has a fault and, if so, if it can be reset in some way. I mainly use an 18-55mm kit lens with a Hoya HMC UV fi lter and HB-45 hood.Sherwin Chase

A White balance presets are as much an aesthetic choice by the camera

maker as they are about any notion of colour accuracy. Also, white balance presets for various types of artifi cial light are, by necessity, an approximation. Not all tungsten lights are the same colour, and fl uorescent tubes vary widely in the spectra of light they emit. So a camera maker has to pick the preset it thinks is best overall. With this in mind, it may be worth recalibrating your presets to accommodate lighting conditions you encounter frequently, but you could end up being further off neutral in different lighting.

I’d expect all samples of a given camera model to behave the same, and in practice all models

of a given type from any one manufacturer also tend to behave similarly in terms of colour rendition. Cameras like your Nikon D5200 are mass-produced, so it’s simply not practical for manufacturers to calibrate them individually. However, image sensors are made under carefully controlled conditions, so every sample of a camera model is expected to behave in almost the same way. This means your DSLR will probably have a generic set of white balance presets shared with every other sample of the same type, and if you were to replace it with another one, chances are you would see near-identical behaviour. You’re therefore unlikely to solve your problems by buying another DSLR from the same maker.

Also, manufacturers can deliberately choose not to fully neutralise the white balance under low-colour-temperature light – for example, tungsten bulbs, fi relight or candlelight. The rationale behind this tends to be about maintaining an ‘attractive warmth’ to the images, although I’m not sure many photographers would recognise this phrase when looking at strongly orange-tinted interior shots. But then they might also complain if candlelit shots came out looking too cool in tone.

Another consideration with this kind of light is noise. Fully neutralising the white balance requires strongly amplifying underexposed green and blue channels, and this results in an undesirable increase in noise. So again, there’s a balance to be struck between correcting the white balance and overall image quality.

Colour rendition and white balance vary signifi cantly between brands, with some known for the quality of their JPEG colour rendition. What

matters is that your pictures look pleasing, which normally means some degree of colour enhancement. Andy Westlake

Zoom recommendation

Q I have just bought a Nikon D810 that I plan to use mostly for studio/portrait

photography. I like prime lenses, but I’m also quite keen to buy a good-quality zoom. Can you recommend a lens that represents a good balance between price and quality?Paul Lewis

A The obvious choice of lens for many people when buying a

professional-level Nikon DSLR is the AF-S Nikkor 24-70mm f/2.8G ED. It has a classic focal length and is ideal for portrait and wideangle shots. However, you may fi nd it quite pricey (at around £1,235), especially when you have just paid a few thousand pounds for a new camera. You may instead want to look at the AF-S Nikkor 24-120mm f/4G ED VR, which is a highly versatile lens that performs well. It costs around £800. If you’re after more reach, the AF-S Nikkor 28-300mm f/3.5-5.6G ED VR is cheaper than the other two mentioned at around £660, and is also known for being sharp and reliable.Jon Devo

Email your questions to: [email protected], Twitter @AP_Magazine and #AskAP, or Facebook. Or write to Technical Support, Amateur Photographer Magazine, Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London SE1 0SU

Sharper JPEGs

Q I have noticed that the image on the LCD of my Olympus OM-D

E-M1 is sharper when I shoot in JPEG mode than when I shoot raw. I realise that both are JPEG images on the screen, but why is one sharper than the other? I have also noticed this effect on the Panasonic Lumix DMC-GX7.Alan Thompson

A As you know, Alan, when a camera shows a raw fi le

on-screen, it’s actually displaying a JPEG version that’s embedded within the fi le. However, to help keep the fi le size down, this is often a much lower resolution version of the image. Therefore, it often looks rather less sharp than a full-resolution JPEG. One way round this is to shoot a full-resolution JPEG alongside your raw fi le, which will give you a more detailed review image.Andy Westlake

JPEG images often appear sharper and more detailed than raw files on the camera’s screen

Raw

JPEG

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I

Technical Support


AP’s deputy editor

shows us what he

uses when he is

travelling light

© RICHARD SIBLEY

List of kit Sony Cyber-shot DSC-RX100 II, Sony LCJ-RXC jacket case, PNY PowerPack CL51, Micro USB to USB lead, Sony NP-BX1 battery, MagFilter adapter ring 58mm, 58-67mm fi lter holder, Cokin A-series fi lter holder, Manfrotto Small Hydro Arm Kit, various fi lters

Cokin A-series fi lter holderI have a couple of these filter holders left from the 1990s. The

smaller graduated filters are quite a good match for the front lens element of the RX100 II

PNY PowerPack T10400I love USB batteries and always have one with me. I can charge

my camera, phone and tablet all from one device. A Micro USB lead is all I need, although I do keep a fully charged camera battery in reserve too.

1

2

MagFilter adapter ringI often go away for a few days and take only the RX100 II, but by

using the MagFilter adapter ring I can attach circular filters and filter holders to the camera. I’ll try to have an ND, ND grad and polariser filter with me so I can always get good travel and landscape pictures.

Sony Cyber-shot DSC-RX100 III like to carry a camera with me at all times, so the Sony Cyber-shot

DSC-RX100 II spends most of its time in my bag. It produces excellent images for such a small camera.

Manfrotto Small Hydro Arm KitThe Manfrotto hydrostatic arm and clamp kit is very useful.

Obviously it isn’t as flexible as a tripod, but it is a lot smaller and lighter. I carry it screwed to the bottom of the camera, and when I need a bit more stability I can usually find something to clamp it to.

1 2 3

3

BLAST FROM THE PAST

Ivor Matanle looks at the last and best of the metering Nikon F cameras

Nikon FTN Photomic

LAUNCHED 1968

PRICE £259 17s 6d (£259.87) in 1968 with 50mm f/1.4 Nikkor lens

GUIDE PRICE TODAY £180-£250 with f/1.4 lens, £130-£200 with f/2 lens and slightly more for the Apollo version illustrated

The Nikon FTN improved on earlier FT metering by introducing an automatic ‘wap-wap’ setting of the maximum aperture of the lens in use. You insert the lens (at f/5.6), engage the prong with the meter pin, then quickly twist the aperture ring to the smallest aperture then the maximum aperture. This sets the meter for full-aperture exposure measurement.

The Nikon F was the leading professional 35mm SLR from 1968-1973, when the Nikon F2 appeared.

What’s good With its magnifi cent engineering and lenses, the Nikon FTN was almost indestructible – which made it the photojournalists’ favourite.

What’s bad A carbon resistor in the Photomic head wears with age, so the meter wavers or does not work at all. Check the shutter operation and light seals before buying.

4

4

5

5

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Call now 0844 249 1902Mon to Fri 9am to 6pm

or visit www.amateurphotographerinsurance.co.ukAmateur Photographer Insurance Services is a trading style of Thistle Insurance Services Ltd. Lloyds Broker. Authorised and regulated by the Financial Conduct Authority. A JLT Group company.

Registered office: The St Botolph Building, 138 Houndsditch, London EC3A 7AW. Registered in England No 00338645, VAT No. 244 2321 96. Time Inc. (UK) Limited are an Appointed Representative of Thistle Insurance Services Ltd.

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Professor Newman on…

Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer

Lens size

More great picturesMore techniqueMore opinionMore inspiration Download online,

enjoy offl ine Buy from the comfort

of your own home Available the day

the magazine goes on sale

Missed an issue? Simply download a back copy

Try it todaywww.amateurphotographer.

co.uk/digital-edition

Technical Support

The Sony Cyber-shot DSC-RX100 III’s fixed 8.8-25.7mm f/1.8-2.8 lens is smaller and faster than the 1 Nikkor VR 10-30mm f/3.5-5.6 PD-Zoom (top), despite both being designed to work with a 1in-type sensor

‘In a built-in lens, the control motors

and mechanisms can be placed outside

the lens, in the camera body’ I

was recently asked why the lens built into a fi xed-lens camera can often be much more compact than a

similar interchangeable lens designed for the same sensor size. It is this factor that can make a fi xed-lens camera an attractive alternative to a system camera, because not only is the lens more compact, since it is permanently attached, but it can also be better sealed and more robust.

To see the kind of difference I am talking about, compare the profi les of a Sony Cyber-shot DSC-RX100 III to a Nikon 1 V3 fi tted with its standard zoom lens (see below). You can see that the Sony’s lens is much more compact, even though both cameras are fi tted with a 1in-size sensor. While not exactly the same, the lenses are quite similar. The Sony has a slightly smaller zoom range (25.7mm compared to the Nikon’s 30mm at the long end), but it is also 2 stops faster (f/2.8 as opposed to the Nikon’s f/5.6 at the long end). The reason the Sony lens is so much smaller is that the fi xed-lens format frees up a number of design choices for the optical designer, which can result in a much smaller package.

First, the ability to use all the space, right to the focal plane, provides the designer with additional degrees of freedom. For instance, one of the most diffi cult-to-achieve attributes of a high-quality lens is fl atness of fi eld. An additional element called a ‘fi eld fl attener’ can help, but it is more effective the closer it is to the image plane. If the camera and lens are designed as a unit, the fi eld fl attener can be placed very close to the sensor (in some cameras it actually forms the glass cover to the sensor) and thus be

at its most effective. In turn, this frees the design of the rest of the lens from some of its former constraints, and the additional freedom can be used to make the optical cell more compact.

Second, in a built-in lens, the motors and mechanisms that control focus, aperture and zooming can be placed outside the lens, in the camera body. This allows the apparent body of the lens to be smaller.

The space available in the camera body can also be used to allow the lens to collapse into

a smaller package when not used. Whereas in an interchangeable lens everything must be contained in the lens barrel, in a fi xed lens parts of the lens (such as the aperture mechanism or whole groups of elements) may be moved out of the way into the camera body, allowing the remainder of the lens to collapse further.

Taken as a whole, these three additional freedoms allow fi xed lenses to be designed to be smaller than interchangeable lenses, without sacrifi cing lens quality.

Why are lenses on fixed-lens cameras often more

compact than those on interchangeable-lens models?

The latest photography kit and technique at your fi ngertips


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=9F

A-)D 1FF 0$':/

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270A> C8 8B .0C

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A-)D $ ,8#78(( 512* =9F =://

A-)D 1 581 =@: =@%/

1%(%$-- #?5$;$5: 58= =?F =@$F

?$(1FF-- @5! 5* =@% =!:$

?$(1FF-- #%;$5: '& 57,* =%F =@9/

?$(1FF-- #%;$5: $':/ 57,* =%F =@9/

1FF(?FF-- #%;$5: 5 ,8 =1? =?//

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1%-- #@5$ 7 $':/ 57, =@? =@/$

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1FF 7+ 521 =9: =$//

1:(9F-- #% )88 +9)6 52** =%/ =:$F

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270A> C8 8B .0C

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=$F

1 1!($$--#7 $F(@?F-- , .8 #70- A*)#),-

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270A> C8 8B .0C

701 ,(( 81(( 52** =$F =:%/

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A*) 1 +< 5** =$F =!%/

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A7B >72 9 '& (+00 5 =/ =?/

,, >72 1 '+/' 5 * =1F =?/

,, >72 1 '& 5 * =1F =?/

)+ >72 '& '+/' !/< 5 =1$ =?/

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207> #> ,)- 3207> @4 521 =1! =%/

207> ,)- 3207> @4 521 =1! =%/

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=1F

1!(?FF-- #?5$;:5? )+) $&+)

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270A> C8 8B .0C

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? 578= =@1 =@//

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ŽŽůƉŝǆ WϲϬϬ άϮϳဓŽŽůƉŝǆ WϳဒϬϬ άϯϰဓ

ŽŽůƉŝǆ WϲϬϬ ůĂĐŬ Žƌ ZĞĚ άϮϳဓ

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ŽŽůƉŝǆ ^ဓϳϬϬ ůĂĐŬ ZĞĚ Žƌ tŚŝƚĞ άϭϳဓ

ŽŽůƉŝǆ ^ϯϲϬϬ άϳϮ

ŽŽůƉŝǆ ^ϱϯϬϬ άဓဓ

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ϰǆŽƉƟĐĂů ǌŽŽŵ

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^ƚǇůƵƐ ^,ϭ άϮϭဓ^ƚǇůƵƐ dŽƵŐŚ d'ϯ άϮϰϰ^ƚǇůƵƐ ^WϭϬϬάϮϮϱ^ƚǇůƵƐ dŽƵŐŚ d'ဒϱϬ ůĂĐŬ ^ŝůǀĞƌ ΘtŚŝƚĞ άϭဓဓ

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EKE >E^^& ϮϬŵŵ ĨϮဒ h^D άϰϬဓEt &%^ Ϯϰŵŵ ĨϮဒ WĂŶĐĂŬĞ άϭϳϭ& Ϯဒŵŵ Ĩϭဒ h^D άϯϳဓ& ϯϱŵŵ ĨϮϬ /^ h^D άϰϰဓ& ϰϬŵŵ ĨϮဒ ^dD άϭϯϰ/ŶĐůƵĚŝŶŐ άϮϱ ĂƐŚďĂĐŬΎ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϭϲဓd^% ϰϱŵŵ ĨϮဒ άϭϭϮဓ& ϱϬŵŵ ĨϮϱ DĂĐƌŽ >ĞŶƐ άϮϮဓDW% ϲϱŵŵ ĨϮဒ ϭ%ϱǆ DĂĐƌŽ άဒϱϯd^% ဓϬŵŵ ĨϮဒ άϭϭϮϰ& ϭϬϬŵŵ ĨϮဒ h^DDĂĐƌŽ άϰϭဓEt & ϰϬϬŵŵ ĨϰϬ K /^ h^D // άϲဓဓဓ&%^ ϭϬ%ϮϮŵŵ Ĩϯϱ%ϰϱ h^D άϰϬϯ/ŶĐůƵĚŝŶŐ άϰϱ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϰϰဒ&%^ ϭϱ%ဒϱŵŵ Ĩϯϱ%ϱϲ /^ h^D άϱϳဓ&%^ ϭϳ%ϱϱŵŵ ĨϮဒ /^ h^D άϱϯϭ/ŶĐůƵĚŝŶŐ άϰϱ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϱϳϲ&%^ ϭဒ%ϱϱŵŵ Ĩϯϱ%ϱϲ /^ ^dD >ĞŶƐ άϭဒဒ&%^ ϭဒ%ϭϯϱŵŵ Ĩϯϱ%ϱϲ /^ ^dD άϯϯϰ/ŶĐůƵĚŝŶŐ άϮϱ ĂƐŚďĂĐŬΎ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϯϯဓ&%^ ϭဒ%ϮϬϬŵŵ Ĩϯϱ%ϱϲ /^ άϯϱϰ/ŶĐůƵĚŝŶŐ άϰϱ ĂƐŚďĂĐŬΎ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϯဓဓ& Ϯϰ%ϳϬŵŵ Ĩϰ > /^ h^D άϲϲဓ/ŶĐůƵĚŝŶŐ άϭϲϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άဒϮဓ& Ϯϰ%ϭϬϱŵŵ ĨϰϬ > /^ h^D άϳဒဓEt & Ϯϰ%ϭϬϱŵŵ Ĩϯϱ%ϱϲ /^ ^dD άϰϱဓ& Ϯဒ%ϭϯϱŵŵ Ĩϯϱ%ϱϲ /^ h^D άϯϱဓ& ϳϬ%ϮϬϬŵŵ ĨϰϬ > h^D άϰဓϱ& ϳϬ%ϮϬϬŵŵ Ĩϰ > /^ h^D άဒϳဓ/ŶĐůƵĚŝŶŐ άဒϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άဓϱဓ& ϳϬ%ϯϬϬŵŵ ĨϰϬ%ϱϲ /^ h^D άϯϮϰ/ŶĐůƵĚŝŶŐ άϰϱ ĂƐŚďĂĐŬΎ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϯϳဓ

E/<KE >E^^ϭϬϱŵŵ ĨϮဒ ' /&% & y &ŝƐŚĞǇĞ άϱϰဓϭϰŵŵ ĨϮဒ & >ĞŶƐ άϭϮϯဓEt ϮϬŵŵ Ĩϭဒ ' &%^ άϲϳဓϮϰŵŵ Ĩϭϰ ' &%^ άϭϰϲϱEt Ϯဒŵŵ Ĩϭဒ ' &%^ άϰဓϱEt ϯϱŵŵ Ĩϭဒ ' &%^ EŝŬŬŽƌ άϰϮဓϰϬŵŵ ĨϮဒ ' &%^ yDŝĐƌŽ άϭϲϱ/ŶĐůƵĚŝŶŐ άϮϬ ĂƐŚďĂĐŬΎ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϭဒϱϱϬŵŵ Ĩϭϰ ' &%^ άϮϳဓϱϬŵŵ Ĩϭဒ ' &%^ >ĞŶƐϱ%ϱϲ ' sZ άϭϰဓϱϬŵŵ ĨϮဒ ' &%^ DŝĐƌŽ άϯϲဓϲϬŵŵ ĨϮဒ & DŝĐƌŽ EŝŬŬŽƌ >ĞŶƐ άϯϲဒEt ϱဒŵŵ Ĩϭϰ ' &%^ >ĞŶƐ άϭϱဓဓဒϱŵŵ Ĩϭϰ ' &%^ άϭϭϳϳϭϬϱŵŵ ĨϮဒ ' &%^ sZ /& DŝĐƌŽ άϱဒဓ/ŶĐůƵĚŝŶŐ άϰϬ ĂƐŚďĂĐŬΎ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇάϲϮဓϭϯϱŵŵ ĨϮϬ & άϭϬϮဓϭဒϬŵŵ ĨϮဒ & /&% άϲဓϱϮϬϬŵŵ ĨϰϬ & DŝĐƌŽ άϭϭϳဓϯϬϬŵŵ ĨϰϬ &%^ /& άϭϬϮဓϭϬ%Ϯϰŵŵ Ĩϯϱ%ϰϱ ' &%^ y άϲϯဓϭϮ%Ϯϰŵŵ Ĩϰ ' &%^ /&% y άဒϯဓϭϰ%Ϯϰŵŵ ĨϮဒ ' &%^ άϭϭϰϬ/ŶĐůƵĚŝŶŐ άϭϳϱ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇάϭϯϭϱϭϲ%ဒϱŵŵ Ĩϯϱ%ϱϲ ' &%^ y sZ άϰϯဒϭϳ%ϱϱŵŵ ĨϮဒ ' y &%^ /& άϭϬϰဓϭဒ%ϯϱŵŵ Ĩϯϱ%ϰϱ' &%^ EŝŬŬŽƌ άϱϭဓEt ϭဒ%ϱϱŵŵ Ĩϯϱ%ϱϲ ' &%^ y E/<<KZ sZ //άϮϮဓϭဒ%ϭϬϱŵŵ &%^ y EŝŬŬŽƌ Ĩϯϱ%ϱϲ ' sZάϮϬϰϭဒ%ϭϰϬŵŵ Ĩϯϱ%ϱϲ ' &%^ y sZ άϰϱဓϭဒ%ϮϬϬŵŵ Ĩϯϱ%ϱϲ ' &%^ y sZ // άϱϯϰ/ŶĐůƵĚŝŶŐ άϱϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϱဒϰϭဒ%ϯϬϬŵŵ Ĩϯϱ%ϱϲ &%^ sZ άϲϳဓϮϰ%ϳϬŵŵ ĨϮဒ ' &% άϭϬϲϬ/ŶĐůƵĚŝŶŐ άϭϳϱ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϭϮϯϱ

Ϯϰ%ဒϱŵŵ Ĩϯϱ%ϰϱ &%^ ' sZ άϯဓဓϮϰ%ϭϮϬŵŵ Ĩϰ ' &%^ sZ άϳဓဓϮဒ%ϯϬϬŵŵ Ĩϯϱ%ϱϲ ' &%^ sZ άϲϱဓϱϱ%ϮϬϬŵŵ Ĩϰ%ϱϲ ' &%^ y sZ /&% άϮϮϭ/ŶĐůƵĚŝŶŐ άϮϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϮϰϭϱϱ%ϯϬϬŵŵ Ĩϰϱ%ϱϲ ' &%^ y sZ άϮϰဓ/ŶĐůƵĚŝŶŐ άϯϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϮϳဓϳϬ%ϮϬϬŵŵ Ĩϰ ' sZ άဒϲϰ/ŶĐůƵĚŝŶŐ άဒϱ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άဓϰဓϳϬ%ϮϬϬŵŵ ĨϮဒ' &%^ sZ // άϭϰဓϰ/ŶĐůƵĚŝŶŐ άဒϱ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϭϱϳဓϳϬ%ϯϬϬŵŵ Ĩϰϱ%ϱϲ ' &%^ /& sZ άϰϭဓ

^/'D >E^^ ǁŝƚŚ ϯ zĞĂƌ tĂƌƌĂŶƚǇϯϬŵŵ Ĩϭϰ ,^D άϯϲဓϯϱŵŵ Ĩϭϰ ' ,^D άϲϯϲϱϬŵŵ ĨϮဒ y 'DĂĐƌŽ άϮϲဓϱϬŵŵ Ĩϭϰ y ' ,^D άϯϭဓϳϬŵŵ ĨϮဒ y 'DĂĐƌŽ άϯϱϭဒϱŵŵ Ĩϭϰ y ' ,^D άϲϰဓϭϬϱŵŵ ĨϮဒ WK y ' K^ ,^DDĂĐƌŽ άϯϳဓϭϱϬŵŵ ĨϮဒ y ' K^ ,^DDĂĐƌŽ άϲϲဒဒ%ϭϲŵŵ Ĩϰϱ%ϱϲ ,^D άϱϰဓϭϬ%ϮϬŵŵ ĨϰϬ%ϱϲ y ,^D άϯϰϱϭϬ%ϮϬŵŵ Ĩϯϱ y ,^D άϯဒဓϭϮ%Ϯϰŵŵ Ĩϰϱ%ϱϲ y ' ,^D // άϱϳϱϭϳ%ϳϬŵŵ ĨϮဒ%ϰϬ K^ ,^D άϯϮဓϭဒ%ϮϬϬŵŵ Ĩϯϱ%ϲϯ K^ ,^D // άϮϯဓϭဒ%ϮϱϬŵŵ Ĩϯϱ%ϲϯ K^ ,^D άϯϬϲϭဒ%ϮϱϬŵŵ Ĩϯϱ%ϲϯ DĂĐƌŽ K^ ,^DάϮϳဓEt ϭဒ%ϯϬϬŵŵ Ĩϯϲ%ϲϯ DĂĐƌŽ K^ ,^DάϯဓဓϮϰ%ϳϬŵŵ ĨϮဒ /& y ' ,^D άϱϳဓ

ϱϬ%ϭϱϬŵŵ ĨϮဒ y WK K^ ,^D άϳϯဓϱϬ%ϮϬϬŵŵ ĨϰϬ%ϱϲ K^ ,^D άϭϭဓϱϬ%ϱϬϬŵŵ Ĩϰϱ%ϲϯ ' K^ ,^D άဓϳဓϳϬ%ϮϬϬŵŵ ĨϮဒ y ' K^ ,^D άϳϰဓϳϬ%ϯϬϬŵŵ ĨϰϬ%ϱϲ WKDĂĐƌŽ ^ƵƉĞƌ ' &ƌŽŵάϭϱϬϳϬ%ϯϬϬŵŵ ĨϰϬ%ϱϲ ' K^ άϮϳϱϭϮϬ%ϯϬϬŵŵ ĨϮဒ K^ άϮϳဓဓϭϮϬ%ϰϬϬŵŵ Ĩϰϱ%ϱϲ ' K^ ,^D&ƌŽŵ άϲϯဓϭϱϬ%ϱϬϬŵŵ ĨϱϬ%ϲϯ ' K^ ,^D άϱဓဓEt ϭϱϬ%ϲϬϬŵŵ ĨϱϬ%ϲϯ ^ ' K^ ,^Dάϭϰဓဓy ' WK dĞůĞ ŽŶǀĞƌƚĞƌƐ &ƌŽŵ άϭဓဒ

dDZKE >E^^ ǁŝƚŚ ϱ zĞĂƌ tĂƌƌĂŶƚǇဓϬŵŵ ĨϮဒ%ϰϬ s h^DĂĐƌŽ άϯϳဓϭဒϬŵŵ Ĩϯϱ ŝ ^W & DĂĐƌŽ άϲဓဒϭϬ%Ϯϰŵŵ Ĩϯϱ%ϰϱ ŝ // > ^W & ^W /&άϯϰဓϭϲ%ϯϬϬŵŵ Ĩϯϱ%ϲϯ ŝ // s WDĂĐƌŽ;ĂŶŽŶ Ĩŝƚ4 άϰϳဓϭϳ%ϱϬŵŵ ĨϮဒ yZ ŝ // s άϯϰဓϭဒ%ϮϬϬŵŵ Ĩϯϱ%ϲϯ & yZ / // άϭϯϮϭဒ%ϮϳϬŵŵ Ĩϯϱ%ϲϯ ŝ // s W άϯϮဓϮϰ%ϳϬŵŵ ĨϮဒ ŝ s h^ ^W άϳϰဓϮဒ%ϳϱŵŵ ĨϮဒ yZ ŝ άϯϱဓϮဒ%ϯϬϬŵŵ Ĩϯϱ%ϲϯ ŝ s W ;ĂŶŽŶ Ĩŝƚ4 άϱϰဓϳϬ%ϮϬϬŵŵ ĨϮဒ ŝ s h^ άဓဓဓϳϬ%ϯϬϬŵŵ Ĩϰ%ϱϲ ^W ŝ s h^ άϮဒဓϭϱϬ%ϲϬϬŵŵ Ĩϱ%ϲϯ ^W ŝ s h^ άဒဓဓ

WŽǁĞƌ^ŚŽƚ 'ϭ yDĂƌŬ //

άϱϮϯ /ŶĐůƵĚŝŶŐ άϱϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇάϱϳϯ

ϭϮဒŵĞŐĂƉŝǆĞůƐ

ϱϬǆŽƉƟĐĂů ǌŽŽŵ

ϭϬဒϬƉŵŽǀŝĞŵŽĚĞ

Et WŽǁĞƌ^ŚŽƚ 'ϳ y

άϰϰဓ /ŶĐůƵĚŝŶŐ άϱϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇάϰဓဓ

ϰϮǆŽƉƟĐĂů ǌŽŽŵ

ϮϬϮŵĞŐĂƉŝǆĞůƐ


Et WŽǁĞƌ^ŚŽƚ ^yϲϬ ,^

άϯϱဒ /ŶĐůƵĚŝŶŐ άϰϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇάϯဓဒ

ϲϱǆŽƉƟĐĂů ǌŽŽŵ

ϭϲϭŵĞŐĂƉŝǆĞůƐ


ϮϬ άϭϮϰϯϬ άϭဒဓϱϬ άϮϭဓ

DĂŶĨƌŽƩŽWƌŽĨĞƐƐŝŽŶĂůĂĐŬƉĂĐŬƐ'HVLJQHG

WR KROG

D '6/5

OHQVHV DQG

VHYHUDO DFFHVVRULHV

/yh^ Ϯϲϱ ,^ άϭϭϰ

WŽǁĞƌ^ŚŽƚ ^yϲϬϬ ,^άϭϭဓ

WŽǁĞƌ^ŚŽƚ ^yϳϬϬ ,^άϭϳဓ

/ŶĐůƵĚŝŶŐ άϯϬ ĂƐŚďĂĐŬΎ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇάϮϬဓ

WŽǁĞƌ^ŚŽƚ ϯϬάϮϬဓ

/ŶĐůƵĚŝŶŐ άϯϬ ĂƐŚďĂĐŬΎ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇάϮϯဓ

Et WŽǁĞƌ^ŚŽƚ ^yϱϮϬ ,^ άϮϯဓ

WŽǁĞƌ^ŚŽƚ ^ϭϮϬ άϮϳဓ

WŽǁĞƌ^ŚŽƚ 'ϭϲάϮဓϰ

/ŶĐůƵĚŝŶŐ άϰϬ ĂƐŚďĂĐŬΎ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇάϯϯϰ

1(:

1(:

1(:

7RSORDGHU 3UR

$: ,, %ODFN

Et dŽƉůŽĂĚĞƌ#WƌŽ ϳϬ t // άϲϲWƌŽ ϳϱ t // άϳϭ

Et WƌŽ dƌĞŬŬĞƌ#ϰϱϬ t άϯϮϱϲϱϬ t άϯϲϱ>ĞŶƐ dƌĞŬŬĞƌ#ϲϬϬ t // άϮϱϱ

3UR 7UHNNHU

$:

%ODFN

3HUIHFW IRU

FDUU\LQJ

3UR '6/5V

OHQVHV ÀDVK D

WULSRG SOXV D ´

ODSWRS

3HUIHFW IRU

FDUU\LQJ D 3UR

'6/5 SOXV D

VWDQGDUG OHQV

SOXV

DFFHVVRULHV

1(:

1(:

1(:

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>Ƶŵŝǆ dϲϬ άϮϳဓ

/8

/8

ϭဒϭŵĞŐĂƉŝǆĞůƐ

ϭϮϬŵĞŐĂƉŝǆĞůƐ

ǇďĞƌƐŚŽƚ ,yϰϬϬάϮဓဓ /ŶĐ άϰϬ 5ĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϯϭဓ

ǇďĞƌƐŚŽƚ ,yϲϬн &Z ĐĂƐĞάϮϮဓ /ŶĐ άϯϬ 5ĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϮϱဓ

ǇďĞƌƐŚŽƚ tyϯϱϬάϭϲဓ /ŶĐ άϮϬ 5ĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϭဒဓ

ǇďĞƌ^ŚŽƚ ZyϭϬϬ //н &Z ĐĂƐĞάϯဓဓ /ŶĐ άϱϬ 5ĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϰϰဓ

ǇďĞƌ^ŚŽƚ ZyϭϬάϲϰဓ /ŶĐ άϱϬ 5ĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϲϳဓ

ǇďĞƌ^ŚŽƚ ZyϭάϮϬϰဓ /ŶĐ άϮϬϬ 5ĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϮϮϰဓ

ǇďĞƌ^ŚŽƚ Zyϭ ZάϮϬဓဓ /ŶĐ άϮϬϬ 5ĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇάϮϮϰဓ

ZyϭϬϬάϯϭဓ /ŶĐ άϯϬ 5ĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇάϯϯဓ^ŽŶǇ ĂƐŚďĂĐŬΎ ĞŶĚƐϮϱƚŚ :ĂŶƵĂƌǇ ϮϬϭϱ

,ƵƌƌǇ6 ĂŶŽŶ ĂƐŚďĂĐŬΎ ĞŶĚƐ ϮϭϬϭϭϱ

,ƵƌƌǇ6 ĂŶŽŶ ĂƐŚďĂĐŬΎ ĞŶĚƐ ϮϭϬϭϭϱ

EŝŬŽŶ ĂƐŚďĂĐŬΎ ĞŶĚƐ ϮϱϬϭϭϱ

:H XUJHQWO\ UHTXLUH \RXU XVHG SKRWRJUDSKLF HTXLSPHQW :H KDYH

FXVWRPHUV ZDLWLQJ IRU 1LNRQ &DQRQ /HLFD &RQWD[ %URQLFD

+DVVHOEODG DQG PRVW RWKHU PDNHV RI FDPHUD OHQVHV DFFHVVRULHV

ELQRFXODUV DQG FROOHFWDEOHV

:H ZLOO EX\ IRU FDVK IURP \RX RU ZH DUH KDSS\ WR VHOO RQ \RXU

EHKDOI RQ D FRPPLVVLRQ EDVLV %HVW SULFHV SDLG :H FDQ DUUDQJH

FROOHFWLRQ DQG HYHQ FDOO DQG FROOHFW DQG SD\ RQ WKH VSRW LI

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1 5555555555555555555555555555555555555555555555555555555555555555555555555556 ?11&5DD 1 55555555555555555555555555555555555555555555555555555555555555555555555556 ?1'&5DD A 5555555555555555555555555555555555555555555555555555555555555555555555555566 ?..5DD 1< ) A&,, %B5$ 78 6 555555 ?$;&5DD 1; ) 'D,, %' 78 55555555555555555555555 ?';&5DD BD ) A&,, %B5$ 7855555555555555555555555555555555555555555555555555555 ) ?'..5DD B$ ) ADD,, A5&=&5< 78 555555555 ) ?1!'.&5DD ;D ) BDD,, %B5$ 78 1 55555 ?$..5DD ;D ) BDD,, %B5$ 78 5 ?1!A;&5DD ;D ) BDD,, %' 785555555555555555555555555555555555555555555 ?''&5DD ;D ) ADD,, %'=&5< 555555 ?'..5DD 1',, %B5$ 785555555555555555555555555555555555555555555555555 ) ?;.&5DD 1A&,, %B 78 $B,, 55555555555555555 ?&..5DD BDD,, %B5$ 78 555555555555555555555555555555 ?';&5DD 'DD,, %&5< 78 5555555555 ?$'&5DD 'DD,, %' 555555 ) ?A!'.&5DD &DD,, %'5& 78 55555555555555666 ?1!&..5DD 1&,, %B5$ 5555555555555555555555555555555555555555 ) ?''&5DD BD,, %B5$ 55555555555555555555555555555555555555 ?B..5DD B',, %B5$ 555555555555555555555555555 ?1.&5DD 'D,, %B5$ 55555555555555555555555555555555555555555555555 ?1B.5DD &D,, %15$ 1 3 455555555555555555555555555555555 ?1&&5DD &D,, %B5& 555555555555555555555555555555555555555555566 ?1B&5DD <D,, %B5$ 555555555555555555555555555555 ?B;.5DD $&,, %15$ 55555555 ?B'&5DD 1DD,, %B5$ 55555555555555555555555555555555555555555 ?B..5DD 1& ) $&,, %A5&=&5< ) 6 5555555 6 ?';&5DD 1; ) &&,, %B5$ 5555555555555555555555555555 ) ?''&5DD 1; ) &&,, %B5$ 6 555 ?';&5DD 1; ) $&,, %'=&5< 5555555555555555555555 ?1;&5DD 1$ ) &&,, %A5&=&5< 5555555555555555555555555555555555555555555555555555555 ?&.5DD 1$ ) 1A&,, %A5&=&5< 555555555555555555555 ?B;&5DD 1$ ) BDD,, %A5&=&5< ) 55555555 6 ?AB&5DD B$ ) $D,, %A5&=&5< 55555555555555555555555555555555555555555555555 ?'.5DD B$ ) .D,, %'=&5< 55555555555555555555555555555555555555555555555555555555555 ?<.5DD B$ ) 1D&,, %A5&='5& 5555555555555555555555555555555555555555555555555555 ?1'&5DD B$ ) 1A&,, %A5&=&5< 55555555 ?B'&5DD B$ ) BDD,, %A5&=&5< 5555555555555555555555555555555555555555555555555555 ?1;.5DD A& ) $D,, %'=&5< 55555555555555555555555555555555555555555555555555555 ?A.5DD && ) B&D,, %'=&5< 55555555555 ?1&.5DD

;D ) ADD,, %'5&=&5< 5555555555555555555 ) ?B.&5DD ;& ) ADD,, %'5&=&5< 6 5555555555555555555555555555555555555555555555555 ?$.5DD ;& ) ADD,, %'5&=&5< 55555555555555555555555555555555555555555555555555555 ) ?..5DD ;& ) ADD,, %'=&5< 3 455555 ?1B.5DD B& 55555555555555555555555555555555555555555555 ?;.5DD 1B 55555555555555555555555555555555555555555555 ?'&5DD 1B!BD!A<,, 55555555555555555555555 ?..5DD 15'C 55555555555555555555555555555555555555555555555555555555 ?1;.5DD 15'C 5555555555555555555555555555555555555555555 ?1..5DD B5DC 55555555555555555555555555555555555555555555 ?1;&5DD B5DC 5555555555555555555555555555555555555555555 ?B1&5DD ADD B5D 555555555 ?1<&5DD ; ; BC 555555555555555555555555555555 ) ?$.5DD B =55555555555555555555555555555555555555555555555 ) ?'&5DD BC =5555555555555555555555555555 ) ?&.5DD )B 555555555555555555555555555555 ?1B&5DD &'D 6 55555555555555555555555555555555555555555555555555 ?<.5DD &'D 6 555555555555555555555555555555555555555555555555 ) ?&.5DD 'BD 55555555555555555555555555555555555555555555555555555555555555 ?A.5DD 555555555555555555555555555555555555555555555555555555555 ?;.5DD 5555555555555555555555555555555555555555555555555555555 ?1B&5DD A 555555555555555555555555555555555555555 ?11&5DD '5&,, %B5$ 5555555555555 ?';&5DD 1D,, %B5$ 5555555555555555555555555555555 ?A'&5DD 1',, %B5$ 5555555555555555555555555 ?A'&5DD AD,, %15' 555555555555 ?1..5DD 1D&,, %B5$ 555 ?B<&5DD 'DD,, %&5< 55555555555555555555555555555555555555555 )) ?B.&5DD 1D ) BD,, %A5& 5555555555555555555555555555555 ?AB&5DD ;D ) ADD,, %'=&5< 6 555555555555555555555555555555 ) ?&.5DD ;D ) ADD,, %'=&5< 6 55555555555555 ?.&5DD 1BD ) 'DD,, %'5&=&5< 555555555555555555555555555555555 ?'.&5DD 1&D ) &DD,, %&=<5A 55555555 ?&B&5DD 1;D ) &DD,, %&=<5A 55555555555 ) ?B..5DD .D,, %B5$ * 555555555555555555555555555555 ?BB&5DD B$ ) ADD,, %A5&=<5A = * ?A;&5DD 1D )1;,, %A5&='5& 34 5555555555555555555 ?B..5DD

B 5555555555555555555555555 ) ?'<&5DD * 6 555555555555 ?A'&5DD .D,, %B5$ 78 6 55555555555555555555555555555555555555 ) ?1$&5DD 1'D 1=B 555555555555555555555555555555555555555 ?<&5DD BDD 1=B 555555555555555555555555555555555555555 ?$.5DD 1 A55555555555555555555555555555 ) ?<.5DD )B 5555555555555555555555555555555555555555555555555555555555 ?&&5DD 3 455555555555555555555555555555555555 ) ?A<&5DD 5555555555555555555555555555555555555555555555555555 ) ?1..5DD B$,, %B5$ 5555555555555555555555 ?<&5DD '&,, %B5$ 6 5555555555555555 ?1.&5DD &D,, %15; 5555555555555555555555555555555555555555555555555555555 ?1B&5DD $&,, %15' 555555555555555555555555555555555555555 ?'<&5DD 1A&,, B5$ 5555555555555555555555555555555566 ?1.&5DD B$D 555555555555555555555555555555555555555555555555555555555555555555555 ) ?.&5DD

$ <'( 5555555555555 ) ?1!D.&5DD BD 5555555555555555555555 ?1.&5DD ) 1 55555555555 ) ?B'&5DD ; 55 ) ?1!B.&5DD ' 555555555555555555555555555555555555555555555555555 =666 ?<.&5DD ' 555555555555555555555555555555555555555555555555555555555555555566 ?&.&5DD B 555555555555555555555 ) ?$.&5DD " 0 1B<&. 1.;D 55555555555555555555555555555 ) ?'B&5DD " 0 1'111 1.;&);<5555555555555555555555566 ?A..5DD &D,, %B 37 84 55555555566 ?A<&5DD 1 37 84 55555555555555555555555 ) ?B<&5DD 37 845555555555555555 666 ?B'&5DD 5555555555555555555555555555555555555555555555555555555 ?B'&5DD = &, %B 5555555555555555666 ?A<&5DD 555555555555555555555555555555555555555555555555555666 ?B'&5DD &, % A5& 55555555555555 ) ?A.&5DD 555555555555555555 ) ?B.&5DD 'D,, %B 55555555555555555555555 ) ?;.&5DD B1,, %'5& 55555555555555555555555555555555 ?<..5DD B1,, 5555555555555555555555555555555555555555555555555 ?1..5DD B1,, %' 6 6 555555 ?1!B.&5DD A&,, %15' 6 555555555 ?1!..&5DD A&,, %B 55555555555 ?1!&.&5DD A&,, %A5& 55555555555555555555 ) ?A.&5DD A&,, %A5& 55555555555555555555555555555555 ) ?A.&5DD &D,, %B < 5555555555555555555555555 ?..&5DD &D,, %B 0 A<AD1//55555 6 ?..&5DD &D,, %B 5555 ) ?;;&5DD &D,, %B 55555 ?$&D5DD &D,, %B 5555555555555555555555555555555555555555555666 ?'.&5DD &D,, %B 555555555555555555555555555555555555 ) ?A..5DD &D,, %B 555555555555555555555555 ) ?<'&5DD &D,, %B 555555555555555555555555555555666 ?&.&5DD &D,, %B 555555555555555555555555555555555555 ) ?&.&5DD &, %A5& 55555555555555555555555555555555 ) ?B'&5DD .D,, %B5& < 6 5555555 ?$;&5DD .D,, %B5$ 55555555555555555555555 ) ?B.&5DD .D,, %' 555555555555555555555555555555555555555555555555555555555555555555 ?B;&5DD 1A&,, %B5$ 555555555555555555555555555555555555566 ?B.&5DD 1A&,, %'5& 555555555555555555555555555555555555555555555555555555555555555556 ?;&5DD 1B,, %&5< = 6 6 555555555555 ?A.&5DD 1&,, %'5& = 6 55555555555555 ?B$&5DD B&,, %' 555555555555555555555555555 ) ?B;&5DD B&,, %' 6 555555 ?B.&5DD B$,, %B 55555555555555555555555555555555555555555555555555 ?A'&5DD 1&,, 5555555555555555555555555555555555555555555555555555555555555 ) ?;.5DD .D,, %' 555555555555555555555555555555555555555555555 ?'.5DD .D,, %' 6 555555555555555555555555555555555555555 ) ?1B&5DD ;= <= < #@ 555555555555555555555555555555555555555555555 ) ?1B&5DD B$,, %A5& 55555555555555555555555555555555555555555555555 ) ?BB&5DD A&,, %B5$ 5555555555555555 ) ?B..5DD A&,, %A5& 55555555555555555555555555555555555555555555 ) ?B..5DD &, %B5$ 55555555555555555555555555555555 ) ?BB&5DD &, %B 555555555555555555555555555555555555555 ) ?B..5DD &, %B 6 66 ?1'&5DD 1A&,, %'5& 6 555555555555555555555555555555566 ?..5DD 1A&,, %'5& 5555555555555555555555555555555555555555666 ?1..5DD 1A5&, %'5& 5555555555555555555555555555555666 ?<.&5DD .D,, %' 5555555555555555555555555555555555555555566 ?1'&5DD 1A&,, %'5& 6 5555555555555555555555555555555555566 ?..5DD 1 &D,, 6 5555555555555 ) ?1B&5DD B' 555555555555555555555555555555555555555555555555555555555555555 ?1$.5DD ')B ' #@55555555555555555555555555555555555555555 ) ?1'&5DD $ 6 555555566 ?A;&5DD 5555555555555555555555555555555555555555555555 ) ?B'&5DD 6 &D,, %B 55555 ) ?A..5DD B 5555555555555555555555555555555555555555555555555555666 ?1;&5DD &D,, %B B 555555555555555555555555555555555555555555555 ?1..5DD 1$D,, %' A 555555555555555555555555555555555555555555555566 ?A'&5DD B$ ) ;D,, %A5&='5& 555555 ) ?&<&5DD A& ) ;D,, %A5& 5555555555555555555555555555555 ) ?B;&5DD < #@ 55555555555555555555 ?1'&5DD

$ C 'B 5555555555555555555555555555555555 ) ?;.&5DD 1D C 'D 55555555555 ) ?'.&5DD < C BD 555555555555555555555555555555 ?1B&5DD $ C &< 555555555555555555555555 ) ?;..5DD

<;! ';,, = 5 555555555666 ?1!&.&5DD &DD $D,, 6 1BD 555555555555555555 ) ?<.&5DD '&,, %' <'& 55555555 ?AB&5DD *! $D,, !!1BD 5555555555555 ?BB&5DD * !1BD ! ;&,, 555555555555555 ) ?1..5DD 6 ! ;&,, 6 1BD 6 5555555555566 ?1<.5DD 'D,, % ' 5555555555555555555 ?1.&5DD 'D,, %' =*55555555555555555555555555555 ) ?1&.5DD &D,, %B5$ 5555555555555555555555555555555555555555555555666 ?..5DD 1&D,, %A5& 555555555555555 ?1'.5DD 1&D,, %A5& 555555555555555555555555555555555 ?..5DD 1&D,, %A5& 555555555555555555555555555555555555555555555 ?$.5DD 1&D,, ' 555555555555555555555555555555555555555555555555555555555555555555555555 ) ?$.5DD * 1BD 5555555555555555555555555555555555555555555555555555555 ?<.5DD *! #@ 5555555555555555555 ?&.5DD 5555555 ) ?1..5DD 55555555555555555555555555555555555555555555555555555555556 ?;&5DD =*55555555555555555555555555555555555555555555 ?;&5DD =*5555555555555555555555555555555555555555566 ?&.5DD ! * #@ 5555555555555555555 ) ?;&5DD =*5555555555555555555555555555555555555555555555 ) ?'&5DD 55555555555555555555555555555555555555555555555555555555555666 ?$.5DD 1&D,, %A5& 5555555555555555555555555555555555555555555555555 ) ?1<&5DD * $D,, !!1BD 555555555555555555555 ?';&5DD &D,, %A5& 55555555555555555555555555555555555555555555555 ?1.&5DD <&,, %' 55555555555555555555555555 ) ?1'&5DD 11D,, %' 55555555555 ) ?A<&5DD 1&D,, %' 555555555555555555555555 ) ?1'&5DD BDD,, %'5& 5555555555555555555555555 ?1;.5DD =* 5555555555555555555555555555555555 ) ?$.5DD =* 555555555555555555555555555555555555555555555555 ) ?&.5DD <'& <D 555555555555555555555555 ) ?A.&5DD <.D 55555555555555555555555555555555555 ) ?&..5DD <;D = .D,, %A5& 5555555555555555555555555555 ?<;&5DD <1; 5555555555555555555555555555 ) ?1!1.&5DD < &D,, %' 1&D,, %'5& 6 6 555555555 ) ?1!'..5DD < &D,, %' 78 < 6 !55555555555 ) ?1!1.&5DD <;6&D,,!.D,,!B&D,, 5555555555555555555555 ?A<&5DD 1&D,, %'5& 78 555555555555555555555555555555555555555555555 ?A<&5DD 'A,, %'5& ;=;5555555555 ?;..5DD 1&D,, %'5& ;=; 555555555555555555555555 ?A.&5DD 1&D,, %'5& 6 ;=; 555555555555555555555555555 ?'B&5DD 1$D,, '5& 5555555555555555555555555555555555555555 ?1..5DD B&D,, %'5& 5555555555555555555555555555555555555555555555555 ) ?1.&5DD 1&D,, %A5& = <'& =555555555555555555555555555555555555555555555 ?B..5DD B1D,, %' <'&5555555555555555555555555555555555 ?1.&5DD 1$D,, '5& 55555555555555555555555555555555555555555555555 ?1<.5DD BBD <; 55555555555555555555555555555555555555555555555555555555555 ) ?.&5DD <C; &&,, %' 3 4555555555566 ?<'&5DD &&,, %A5& <C;5555555555555555555555555555555555 ) ?1.&5DD &&,, %B5$ <'&55555555555555555555555555555555555 ?1..5DD BDD,, ' <; 6 5555555555555 ) ?1..5DD &&,, %B5$ 555555555555555 ) ?1!A.&5DD 1&D,, %'5< <DD$ 5555555555555555 ) ?&;&5DD 'C& <C;55555 ) ?..5DD 1B' 5555555555555555555555555 ) ?1..5DD

< 555555555555555555555555555555555555555555555555555 ?$.&5DD )'D <555555555555555555555555555555555555555555 ?1<.5DD 1D5&,, %B5$ 78 ) = 555555555 ?A.&5DD 1<,, %B5$ = 78 55555555555555555555555555555555555555 ?';&5DD A&,, %15$ 78 ) 55555555555555555555555555555555555555555555 ?11.5DD &D,, %15$ =55555555555555555555555555555555555555555555555555555555555555555555555555 ?$&5DD &D,, %15$ = 78 555555555555555555555555555555555555555555555555555555555555555555 ?$.5DD 1B ) B',, %' 78 ) ) 555555555555555555555555555555 ?&'&5DD 1< ) $&,, %A5&=&5< 78 ) 5555555555555555555 ?AB&5DD 1< ) $&,, %A5&=&5< 78 ) 5555555555555555555 ?AA.5DD 1; ) &&,, %B5$ %B5$ 78 ) ) 6 555555555 ) ?&'&5DD 1$ ) &&,, %A5&=&5< 78 ) 55555 ?..5DD 1$ ) ;D,, %A5&='5& 78 ) 5555555 6 ?1B&5DD 1$ ) 1D&,, %A5&=&5< 78 ) 6 555 ?1<&5DD B' ) ;D,, %B5$ 78 ) ) 555555555555555555555555555555 ?$..5DD B' ) ;D,, %B5$ 78 ) ) 555555555555555555555555555555 ?.'&5DD B' ) 1BD,, %A5&=&5< = 555555 ?B;&5DD A& ) ;D,, %A5A='5& =55555555555555555555555555555555555555555555555555555555555 ) ?;&5DD A& ) $D,, %'5&=&5< = 78 5555555555555555555555555555555555555555 ?&&5DD A& ) 1D&,, %A5&='5& = 555555555555555555555555555555555 ?1B.5DD A& ) 1A&,, %A5&='5& = 6 55555555555555555555555555555555555555555 ) ?1B.5DD && ) BDD,, %'=&5< ) ) 55555555555555555555555555555555555 ?1<&5DD ;D ) BDD,, %B5$ 78 ) 555555555 ) ?1!1.&5DD ;D ) ADD,, %'5&=&5< 78 =555555555555555555555555555555555555555555 ) ?1B&5DD $D ) BDD,, %B5$ ) = 78 B 5555555555555555 ) ?&.&5DD $D ) 'DD,, %'5&=&5< 555555555 ) ?<;&5DD 1' 15'C 5555555555555555555555555555 ?B;&5DD 1; 15;C 5555555555555555555555555555 ?B;&5DD BD )1 B5D 555555555555555555555555555 ) ?1B.5DD BD ) 55555555555555555555555555555555555555555555 ) ?1.&5DD B$ 555555555555555555555555555555555555555555555555555555 ) ?<&5DD 15'C = 78 555555555555555 ?<.5DD BD '==555555555555555555555555555555 ?1.&5DD BD,, %15$ 34 5555555555555555 ?B;&5DD B',, B5$ = 6 5555555555555555555555555555555555555555555555555555555555 ?'.5DD AD,, %15' 55555555555555 ?1..5DD &D,, %B5$ = 78 555555555555555555555555555555555 ?1'&5DD ;D,, %B5$ 3 45555555555 ?B;&5DD 1D ) BD,, %'=&5< 5555555555555555 ?BB&5DD

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Final Analysis

Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his website at www.rogerandfrances.com). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Elliott Landy

Roger Hicks considers… ‘Le Sarto bar’ (2012), by JA

Photo Critique

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Sometimes you see a picture that makes your blood run cold: something so staggeringly brilliant that it makes you

despair of ever being anything more than a merely competent photographer. You think: nobody should be allowed to be this good.

JA’s collages of the café-bar Le Sarto were an example. This was the biggest, and for my money, the best.

Descent into hellWe saw it during the annual photography festival Les Rencontres d’Arles, in 2014. We had taken refuge in the Le Sarto after a descent into hell at one of the offi cial exhibition venues, the Bureau des Lices. If you think ‘descent into hell’ sounds like something of an exaggeration, then you have never suffered from claustrophobia, never suffered from the kind of nightmare where every turning, every action, makes things worse: the ‘Hot Hells’ of Buddhist theology. We had to ask a security guard to lead us out. We were

not alone: we know no one who survived it for more than half an hour.

We had walked past Le Sarto a thousand times. On the 1,001st occasion, we walked in. This picture dominated one wall. It looked far better at 2-3m wide (7-10ft) than it ever could reproduced here, but imagine the full size and you begin to get some idea of what it might be: kaleidoscopic, immersive. Le Sarto bar is superb. The picture of it is arguably even better.

The genius lies in both the scale of the collage itself and the inspired combination of scales in the smaller images that make it up. It’s slightly reminiscent of formal Thai painting, where perspective is subordinated to the importance of each element of the picture: more important elements are rendered bigger, but never in a way we can’t relate to.

JA (Julie Albarel) is young: mid-20s, at a guess. This picture may of course be a one-off, a happy accident. But I don’t think so. There were others at the same exhibition that were close enough to it,

but not as big and therefore not as good. If she can keep this up, she is one of the greatest photographic collage artists of all time: up there with the Russians and Germans of the ’20s and ’30s, up there with Vik Muniz, although of course her style is completely different.

The vast majority of collages leave me cold, because there is always a temptation to judge anything by our own aspirations and potential, and I am not much good at the technique. Then again, very few are. But this: this did not leave me cold. Go to www.ja-fotografi e.com to see if you agree. If you are in Arles in 2015, don’t walk past Le Sarto. Go in. I don’t know if there will be an exhibition there, but if you have looked at this picture, you should feel immediately at home.

© JULIE ALBAREL

‘The genius lies in both the

scale of the collage itself and

the inspired combination of

scales in the smaller images’

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