It’s a new year, which means setting new goals and taking your photography to the next level. Whether you’re looking to expand your kit, tackle a technique or take a holiday, our latest issue has it all. Browse our buyers’ guides, stay up-to-date on recent releases, or read product reviews of what’s been tested by our team. Our aim’s stayed the same: providing you with key information and experience-based advice on all things photo. Pick up a copy of Photography News today.
ISSUE 103 17 Jan-13 Feb 2023 photographynews.co.uk
Pg16 Canon EOS R6 II / Next-gen hybrid with a seriously skilful sensor Lumix launches lead the way Pg11 Courses & holidays / Indulge your passion with the trip of a lifetime Pg31 Making movies / Beginner’s guide to your camera’s video functions
Turkey leftovers were barely finished when Panasonic released two full-frame bodies plus a pair of ultra-wide zooms WE DIDN’T HAVE to wait long for the first major camera announcement of 2023. Before anyone had even taken their decorations down, Panasonic was out of the blocks with the Lumix S5II and S5IIX. Headline features on the pair include hybrid phase detection autofocus, improved IS and a new 24-megapixel full-frame sensor. The key differences between the two are in finish and video functionality, but we’ll have to wait a while for both. The ‘classically styled’ S5II will cost £1999 when it goes on sale towards the end of the year, while the matte black S5IIX will be available in spring, but retails at £2299. Thanks to a new imaging engine and sensor, developed in partnership with Leica, both bodies feature a Lumix first: Phase Hybrid AF, which combines phase and contrast detection AF to improve performance. The system measures 779 points and claims to be able to detect subjects in more challenging conditions, like low-light or backlit shots. With autofocus locked, subjects can be tracked within the frame, even with other moving elements, plus AF micro-adjustments and continuous AF while zooming are available. For stills, the new cameras offer burst shooting at up to 9fps with the mechanical shutter, or 30fps for up to 300 frames with the electronic shutter. A 96-megapixel high- resolution mode is available for both JPEG and Raw, while the dual-native ISO sensitivity offers ISO 51,200 – or 204,800 when extended. Image stabilisation has also been boosted. The new Active IS is claimed to be up to 200% better than the system from the original S5, and is deemed especially useful for scenarios involving telephoto or handheld video capture while walking. Speaking of video, it’ll come as no surprise that the new models are loaded with the latest movie tech, enhancing their hybrid credentials. 10-bit video can be recorded internally in up to 6K resolution at 30fps, or 4K/C4K at 60fps. High frame rates of 120fps and 180fps feature for fans of slow-motion footage, while recording time is unlimited in conditions between 0 and 40°C thanks to improved heat management. 6K/30p footage does automatically stop after 30 minutes, though. Continued on page 3
Lumix S5IIX Lumix S 14-28mm Lumix 12-35mm f/2.8 Lumix S5II
2 Photography News | Issue 103
photographynews.co.uk
Read FREE online
Get the latest issue FREE to your inbox when you sign up for our newsletter at photographynews.co.uk
If you prefer a print copy delivered to your door, a yearly subscription costs just £19.99 . See our website for details.
A flying start for Panasonic
anything to release me from my picture-taking fug. I’m keen to hear from PN readers who have suffered from similar states of mind – and what you did about it. But enough about me, how are you? I trust you had a restful festive period and are excited to see what 2023 can offer you and your photography. You’ll be pleased to hear PN will be with you all the way as we revert to a monthly format. You can see what this issue has in store below – two big camera tests, ideas for holidays and courses and, of course, more guides and tests in case you have some surplus cash after Christmas. One date for your diary is Photo 24, which I’m delighted to announce will be back this year – find initial details on page 9. I’m sure many among you will be happy to hear I’ve twisted Will Cheung’s arm to come help out. We’re switching things up this year, with a new location to test your photography skills on. Sadly, it isn’t North Norfolk – I’ll push for that next year – but if you head up my way in 2023, you’ll probably see me around. I’ll be the one with a big smile on my face, photographing anything and everything. Here’s to a great 2023 – I’ll catch you out there.
EDITOR’S LETTER ROGER PAYNE
Continued from page 1
The video differences lie in the fact that the S5IIX can record Apple ProRes All-Intra footage up to 5.8K to an SSD via HDMI or USB, or Apple ProRes Raw to an Atomos device. It also supports wired and wireless IP streaming and USB tethering. A raft of advanced video functions can be found, based on user feedback. These include Real Time LUT, which allows colour grading LUTs to be uploaded to an SD card and applied in-camera, waveform monitor, vectorscope and zebra patterns. Improvements aren’t purely to the tech spec. Panasonic has added a new eight-way joystick, expanded the drive dial and improved the free- angle three-inch touchscreen LCD and OLED EVF. The magnesium alloy body is splash and dust resistant, plus there’s more connectivity options, with both models featuring a full- size HDMI socket and USB 3.2 Gen 2 terminal. Wireless connectivity has been boosted, with 5GHz Wi-Fi added to the existing 2.4GHz. Further enhancements, including Live View Composite and Raw data output will follow with firmware updates. “Thanks to a new engine, both bodies feature a Lumix first: Phase Hybrid AF”
Some personal news. Over Christmas, I moved house. From a stress perspective, I wouldn’t recommend it, but I now live in what I think is one of the most beautiful parts of the country – North Norfolk. I’m like a child on Christmas Eve thinking of the photo opportunities I now have on my doorstep. I may go as far as ordering a new camera to celebrate what will be a busy 12 months of picture taking. We’ll see. While I accept moving house is a drastic way to inject new life into my photography, I must say my output had become a tad stale in the past few years. If you listened to the PN Podcast (though we’ve stopped recording, episodes are still available on the website), I regularly spoke of my struggles to find reasons to go out with my camera. It’s a creative hurdle I think many photographers go through. Looking back, I should have got in the car and gone for a drive or tried something new – Roger Payne
AHEAD OF THE PACK The Lumix S5II combines great spec with new technology
features a micro-step aperture control for smooth exposure changes. The Lumix S 14-28mm f/4-5.6 Macro comprises 14 elements in ten groups, weighs 345g and has a 15cm minimum focusing distance. Moviemakers are well catered for with controls to vary the speed at which focus is changed, minimal focus breathing and a micro-step aperture control. Like the 12-35mm, it’s dust, water and freeze resistant and has a fluorine coating on the front element. Both ultra wide-angle zooms will be available in February for £879.99. panasonic.com/uk
Alongside the new camera bodies, Panasonic announced a brace of ultra wide-angle zooms, one for Micro Four Thirds users, the other for full-frame. The Lumix 12-35mm f/2.8 for Micro Four Thirds offers a constant f/2.8 aperture throughout its range, a splash- and dust-resistant finish, plus optical IS in a lens that weighs just 306g. The 14 lens elements in nine groups feature four aspherical, one ultra extra-low dispersion (UED) and one ultra-high refractive index (UHR) element, while Nano Surface Coating reduces flare and ghosting. Its design minimises focus breathing and
Follow us:
@photonewsPN @photonewsPN
@photonewsPN
What’s inside 03 News We had a rousing end to 2022 and it looks like 2023 has kicked off in similar fashion. Panasonic wins the award for first camera launch of the new year with two new models, plus we have
16 Big test: Canon EOS R6 Mark II Canon’s latest mirrorless is a speed demon, but is it a one-trick pony or an able all-rounder? Editor Roger Payne puts it through its paces 22 Big test: OM System OM-5 Will Cheung gets hands-on with the second camera in the revamped OM System’s range. See how this mid-priced Micro Four Thirds stacks up 31 NEW SERIES! Making movies Do the video settings on your camera leave you feeling flummoxed? Our brand-new series is designed to help you get your head around the fundamentals of filmmaking 35 Buyers’ guide: lighting Flash, LED, mains, battery – whatever your lighting (and budget) requirements, we have
options for you to consider in our round-up of the key players in this illuminating world 43 First tests A quartet of stylish Langly bags, a Fujifilm telezoom and a brace of Rotolight LEDs are given the Photography News verdict by our team of experts
all the latest from around the photo world 09 Samsung word search and Photo 24 What’s the missing word from this month’s word search? Work it out and you could win yourself a Samsung memory card! Plus – drum
22
roll please – Photo 24 is back for 2023! Find out the location and dates now, with plenty more details to follow 11 Courses & holidays Making photography plans for the year? Don’t book until you’ve read our handy guide. From far-flung trips to options closer to home, we have a selection of ideas for you to pore over
31
11
Issue 103 | Photography News 3
photographynews.co.uk
4 Photography News | Issue 103
photographynews.co.uk
News
Fresh firmware for Tamron Seven of the manufacturer’s most popular optics now offer enhanced compatibility, autofocus and bug fixes
receive the same improvement to their AF algorithms. Fujifilm X Series owners with the 18-300mm f/3.5-6.3 VC VXD can add a live stabilisation option when their camera is in continuous AF. Tamron says this is ideal for those that employ subject tracking while using back-button or half-press AF, as stabilisation remains active while the button is down. This functionality is also available to X Mount owners of the 17-70mm f/2.8 VC RXD. In both cases, firmware may be upgraded via a formatted memory card. Finally, users of the 18-400mm f/3.5-6.3 VC HLD in Canon EF will get a bug fix if they update to firmware v3.0. This resolves the issue for EOS R7 and EOS R10 users who could find AF communication cut when turning the camera on and off. Further details of all upgrades – and how to apply them – are available on the website. Tamron’s UK distributor, Transcontinenta UK Ltd, announced that it’s now the exclusive distributor for Broncolor lighting in the UK and Republic of Ireland. Read more about Broncolor in our lighting guide on page 35 of this issue. tamron.eu broncolor.com
Tamron has released a raft of firmware upgrades to enhance functionality of some of its most popular lenses. Key improvements, which can be applied by the user, include compatibility with the recently announced Tamron Lens Utility Mobile app for Android and what are claimed to be ‘huge’ AF gains. Select Sony E, Fujifilm X and Canon EF mount lenses are those with firmware available. Owners of 20-40mm f/2.8 VXD, 50- 400mm f/4.5-6.3 VC VXD, 28-75mm f/2.8 VXD G2 and 35-150mm f/2-2.8 VXD optics in E-mount can use the USB-C port on their respective glass – and Tamron Lens Utility software on a computer – to add compatibility with the Android version of the Lens Utility Mobile app. This allows users to customise function and focusing characteristics to their own needs. Those that wield the E-mount 50- 400mm, however, may also boost the optic’s AF acquisition and tracking algorithms. Furthermore, the update also improves the accuracy of Sony’s eye tracking AF and adds an AF assist function to video recording for more precise control. Owners of the E-mount 150-500 f/5-6.7 VC VXD, meanwhile, can
Nikon’s line-up of Z series optics is set to welcome two new additions in the coming months, following confirmation from the company that a telephoto and wide-angle prime are in development. No timescale has been given for availability of the lenses – an 85mm mid-telephoto and 26mm wide-angle – but similar announcements have seen products officially launched in a matter of months. The Nikkor Z 85mm f/1.2 S looks set to be a hit with wedding, portrait and fashion photographers, thanks to its fast maximum aperture offering tight control over depth-of-field – and what is likely to be impressively smooth bokeh. It’ll be another addition to Nikon’s rapidly growing S-Line of optics, designed to deliver outstanding results with the latest optical technologies as well as offering cutting-edge features. The Nikkor Z 26mm f/2.8, meanwhile, could be less of a strain on the wallet. A slimline design suggests it will be one for travel and lifestyle photographers looking to find a lightweight option that doesn’t compromise image quality. Nikon’s own press information alluded to its budget-friendly aspirations by saying it would be Nikon confirms two prime lenses for its mirrorless system are currently in development Duo of Nikkor Z series lenses arriving soon
Sound investment Rode’s Videomicro II delivers pro-grade sound quality and a sleek design
Rode has released the Videomicro II, the follow-up to its best-selling on-camera shotgun microphone. The Videomicro II is a professional- grade condenser microphone that promises high sound quality. Thanks to a supercardioid polar pattern and Rode’s annular line tube technology, the mic captures audio in every
direction in order to help achieve full-bodied sound. The Videomicro II comes with a Helix shock mount that protects it from knocks, bumps and handling noise. Made from thermoplastic, the mount minimises vibrations while keeping the mic stable on-camera. Also included are Rode’s foam pop filter and furry windshields for improved noise reduction. With plug-and-play functionality as well as no batteries required, the Videomicro II is suited to beginners and experienced creators alike. The unit connects to either a camera or smartphone via 3.5mm TRS or TRRS, and even comes with a patch cable and splitter. It is compact and lightweight, with an all-metal body that weighs 39g, measuring 80mm long and 22mm in diameter. Rode’s Videomicro II is shipping worldwide at £83 (including VAT). rode.com
‘ideal for amateur photographers looking to take their cameras with them on the go. The prime lens is the perfect photography companion; ensuring shooters never miss an opportunity to capture beautiful imagery’. Pricing information is not yet available for either lens. Nikon also announced a new YouTube series entitled Nikon Sessions. Season 1 comprises six episodes featuring a range of Nikon photographers, educators and staff. Topics range from music, urban and street photography to news and portraiture, as well as the practical art of editing. Episodes release fortnightly – search for ‘Nikon Sessions’ on YouTube. nikon.co.uk
Issue 103 | Photography News 5
photographynews.co.uk
News
£479,000 for an M4 Biannual Leitz Photographica Auction sees German military-spec Leica M4 go for almost half a million pounds – expected to be a new record
Sigma is claiming its new 60-600mm f/4.5-6.3 DG DN OS Sports lens is the world’s first and only 10x ultra-telephoto zoom for mirrorless cameras. Available from February 17 in L-Mount and E-mount, it has a feature set designed for pro use, but at one pence short of £2000 is likely to be on the radar of keen enthusiasts, too. With a dust- and splash-proof construction, the far-reaching optic features a newly developed High-response Linear Actuator (HLA) focusing motor for fast and quiet autofocus performance. The optical stabiliser, meanwhile, employs a new algorithm to provide a seven-stop benefit at the wide end and six stops at the telephoto end. It also has dual-action zoom, which can be used by either rotating the zoom ring or pushing/ pulling the end of the lens, a focus limiter switch and an Arca Swiss-compatible tripod mount. The L-Mount version is compatible with Sigma’s 1.4x and 2x teleconverters, for even greater reach. sigma-imaging-uk.com One-of-a-kind 10x telephoto zoom lens will be available from February for £2000 ultra-telezoom for mirrorless Sigma unveils ‘world’s first’ 10x
Leicas have always been pricey, but the 41st Leitz Photographica Auction in Vienna saw some eye-watering prices paid for cameras, including what may be a new record for a military-edition model sold at auction. Recognised as the world’s most prestigious auction for vintage cameras and historic imaging accessories, six months earlier the event had seen a new world record for the most expensive camera of all time – £12.7 million for a 100-year-old ‘Barnack camera’. While sales didn’t achieve the same level this time around, a Leica M4 Olive Bundeseigentum (which means ‘federal property’) fetched £479,000 against an estimate of £266,000-£310,000. British military Leicas also came under the hammer, but not for such fantastical prices. A Leica IIIa British Marine sold for £38,300 (against an estimate of £1400- £1700!), while a Leica Standard British Navy ‘Admiralty NP’ sold for almost £32,000 against an estimate of £3500-£4500.
UNDER THE HAMMER Military-issue Leicas caused a stir at the Leitz Photographica Auction
explained Alexander Sedlak, managing director of Leica Camera Classics and Leitz Photographica Auction. “The three edition prints of Marilyn Monroe are remarkable because they show the future Hollywood icon posing in a completely carefree manner. The sorrow of later days seems far away. Entire proceeds from the charity lot go to charity Licht ins Dunkel.” leitz-auction.com
Alongside the hardware, the auction also saw rare photographs sold for the first time in three years. These included a series of three prints of a young (and then unknown) Marilyn Monroe photographed on Tobay Beach, Long Island in 1949 by legendary Hollywood photographer André de Dienes, which sold for £13,800 with the profits going to charity. “At each auction we provide an exhibit for a good cause,”
ON THAT BOMBSHELL These prints of a 1949 Marilyn Monroe shoot sold for £13,800 with the proceeds going to charity Licht ins Dunkel
Laowa adds GFX lens and shift converter Fujifilm GFX users have a new wide-angle
(MSC), transforming a normal lens into a shift lens for architecture and product photography. The MSC uses an optical design that enlarges the image circle to create room for the shift capability. With converter attached, the mechanism allows for up to +/-10mm of movement to help avoid converging verticals and keep uprights straight. One stop of light is lost. Previously only Canon EF, Nikon F and Nikon G to Sony E-mount options were available, but these have now been joined by Canon EF to RF, Canon EF to Nikon Z and Nikon F/G to Nikon Z, broadening the capability enormously. Prices for the new MSC fittings range from £247 to £264. Additional mounts for other Laowa lenses have also been announced. The 4mm f/2.8 Fisheye, 9mm f/2.8 Zero-D and 65mm f/2.8 Ultra Macro APO are also now available in Canon RF mount, while the 12-24mm f/5.6 zoom is now available in L-Mount. venuslens.net
option thanks to the Laowa 19mm f/2.8 Zero-D GFX. Offering the equivalent to a 15mm for the medium format system, the lens offers a 110° angle of view with zero distortion (hence Zero-D), yet is compact at 80mm in length and lightweight at just 546g. Ideal for landscape, architecture and astrophotographers, the new lens offers a low-price alternative to Fujifilm’s own GFX optic – it costs just £825 ($999). However, the lens is manual focusing only, plus the aperture diaphragm comprises five blades, compared to nine on the Fujifilm’s closest equivalent – the GF23mm f/4. Other features include a close focusing distance of 18cm, a 77mm filter thread and an optical construction of 12 elements in ten groups including two aspherical lenses, three ED glass elements and one UHR glass element. Alongside this, the company unveiled new mount versions for its Magic Shift Converter
6 Photography News | Issue 103
photographynews.co.uk
Issue 103 | Photography News 7
photographynews.co.uk
8 Photography News | Issue 103
photographynews.co.uk
News
Photo 24 is back! Our 24-hour creative extravaganza will return in June with unique challenges and a new location
A Samsung memory card! WIN!
With the need for superfast, high-capacity memory greater than ever, the Samsung 256GB Pro Plus microSD card could be just the ticket – and here’s your chance to win one. Boasting up to 160MB/s read and 120MB/s write speeds, the card is ideal for expanded mobile device storage and capturing quality photos or 4K UHD video. Complete the word search below, and you’ll find one word in the list that’s not in the grid. Email us on puzzle@photographynews.co.uk with that word in the subject box by 13 February 2023 and the winner will be drawn at random from all the correct entries received. Only entries from UK residents will be accepted. Malcolm Tinn is our winner from PN issue 102. He correctly identified the missing word as ‘panorama’. samsung.com/uk/memory-cards
T U I
T I
O N L I
M T
DPROFOTOZ I
E
P A N A S O N I C R L DSVTNONACRE RLKWQVJJPOZ U O M I H I G R B R O CWLNODPBFLO K M U T L E F J I E M S O M E I O L A L S U A L I R D G A N M S W CEXWARSUMRS KPZRYAHAAZA Y U G I S P V R K T F B V B Y K H K Y I P A O I D U A E U F N M R GKLUKRBJGY I T H G I L O T O R R N N Z M O R H C N I L E
crucial dates for when to register. The eagle-eyed among you will notice we have also included video as part of the remit, so any budding filmmakers can come along and get involved in this fantastic event. Why Cambridge? So many reasons, but primarily because it’s full of possibilities for unleashing creativity. From pretty university buildings and bustling streets to parks and wide open spaces, there is something for every photographer and videographer. Naturally, we understand that a smaller city may not present as many photo opportunities at night, so we’ll be ensuring there are plenty of activities to keep everyone entertained and engaged through the 24-hour period. What better way to spend quality time indulging your passion with like-minded people? We’re already excited about what’s to come, but keep your eyes peeled on our website and in the magazine to ensure you don’t miss the registration dates as we release them! We look forward to seeing you in June! photographynews.co.uk
Whatever you’re currently planning to do on 3 and 4 June this year, cancel it. Those are the confirmed dates for Photo and Video 24, and you’ll want to be part of this mainstay of the UK photographic calendar. We’re delighted to announce that MPB will be back as our headline sponsors, but we’re switching things up by moving to a new location. Waving goodbye to the bright lights of the capital in 2023, we’re decamping to the beautiful city of Cambridge, where fantastic photo opportunities await at every turn. Over the coming months, we’ll be telling you more about what to expect, as well as the “Keep your eyes peeled on the website and magazine for all those key dates”
Editorial team Editorial director Roger Payne rogerpayne@bright.uk.com Deputy chief sub editor Matthew Winney Sub editors Harriet Williams, Ben Gawne Contributing writers Will Cheung, Adam Duckworth, Samara Husbands, Katie Kasperson, Lee Renwick
Design team Design director Andy Jennings Design & ad production Hedzlynn Kamaruzzaman, Emma Di’Iuorio and Man-Wai Wong Distribution Distribution and subscription manager Phil Gray philipgray@bright.uk.com Publishing team Managing directors Andy Brogden & Matt Pluck As well as your local camera club, you can pick up Photography News in-store from: Cameraworld, Castle Cameras, Jessops, London Camera Exchange, Park Cameras, Wex Photo Video, Wilkinson Cameras
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ www.bright-publishing.com
ISSN 2059-7584
Advertising team Sales director Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com Senior sales executive Claire Cornish 01223 499462 clairecornish@bright.uk.com
AUDIO CANON CONTINUOUS ELINCHROM FILMMAKING
FLASH HOLIDAYS JANUARY LUMIX MIRRORLESS
PANASONIC PROFOTO ROTOLIGHT RUCKSACK SAFARI
SLOWMO TELEZOOM TUITION VIDEOGRAPHER WINTER
When you have finished with this newspaper, please recycle it
Photography News is published 11 times a year by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Photography News is a registered trademark of Bright Publishing Ltd. The advertisements published in Photography News that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at time of writing is quoted for products.
If you do not want to receive any marketing information from Bright Publishing or our partners, please type NO INFO in your email entry.
Issue 103 | Photography News 9
photographynews.co.uk
10 Photography News | Issue 103
photographynews.co.uk
Courses & holidays
THERE’S NO TIME like the present to book that course, convention or holiday you’ve been meaning to try. Looking to learn a new medium or practise your craft? This guide has something for every skill level. Choose from mentoring, online or in-person events, trade shows and more, offered by some of the best in the business. Time to hone your craft If workshops are what you’re after, Karl Taylor Education, The Photographic Academy and The Societies of Photographers all offer online courses and live events. The Nikon School also delivers Zoom webinars, on-location experiences and other educational materials. Want something more immersive? Chris Simmons boasts unique multi- Indulge your hobby this year with tuition. Whether you want to learn at home or in Masai Mara, our guide has you covered Words by Katie Kasperson and Samara Husbands day trips around the south coast of England in his Cornish seascape workshops. Embark on an Untamed Photo Safari and experience wildlife up close in Africa. Or, spend a week in the French countryside and capture the incomparable atmosphere of the Dordogne region. Details on these follow, but don’t delay – places are sure to fill up!
The Photographic Academy
expertise and intimate environment all ensure everyone has the tools they need to succeed in photography, be it personally or professionally. Plus, Academy attendees receive discounts on paper and hardware purchases. The Academy offers 11 courses, focusing on colour management, infrared photography, monochrome printing and more. Prices range from £45 to £89, depending on course format, duration and content. thephotographicacademy.co.uk
Partnered with Permajet, The Photographic Academy offers a range of both in-house and webinar courses in photography and printing techniques. Based in the idyllic countryside of Stratford-upon-Avon and located within The Imaging Warehouse, the Academy has been helping photographers expand their skills for over 12 years. The Photographic Academy is a friendly and safe place for photographers to get together and learn. Its experienced tutors, technical
Karl Taylor Education At Karl Taylor Education, users will find a comprehensive range of photography and visual arts classes. If your interests go beyond imaging, Karl has you covered with courses on post-production, CGI, filmmaking and more. With in excess of 700 options, photographers can fast-track their creative growth, helping
Post-production and business courses are especially relevant to photographers tackling editing software like Photoshop and Lightroom, or those looking to monetise their hobby. Whatever your skill level, dive into the visual arts and learn what you want, when you want – all at your own pace. Join Karl Taylor for live interactive workshops, interviews with world- renowned creatives, competitions, challenges, ‘working to a brief’ assignments, gifts and discounts on top brands, a thriving members’ community, personalised support – and more! karltayloreducation.com
them achieve goals and find new work. Karl Taylor’s courses range from basic training to more advanced topics. They cover lighting, equipment and creative techniques, as well as five types of photography: travel, portrait, product, fashion and landscape.
The Societies of Photographers
There’s more to The Societies of Photographers than live events, however exciting. In the mentoring programme, photographers receive personal reports with suggestions on improving their craft, guiding them towards relevant qualifications. Online, there’s over 100 hours of training that covers all aspects of photography, including business advice for pros. Sign up for a Societies membership to access these opportunities and more, or start a two-month free trial at thesocieties.net/try. thesocieties.net
The Societies of Photographers supply training opportunities for serious photographers of various levels, covering portraits, wildlife and everything between. They offer one- to-one mentoring, webinars, seminars, roadshows and – from 15 to 18 March – the London Photo Convention. Want to attend? General access is free, but certain events, like the trade show and masterclasses, require a fee. Use the exclusive discount code PN23 to get 10% off all masterclasses, and pre-register for the trade show by 1 February to avoid the £10 entry.
Issue 103 | Photography News 11
photographynews.co.uk
Courses & holidays
Chris Simmons Photography
Apply compositional and atmospheric factors essential to capturing the best shots at the tideline, then head back to a state-of-the-art studio to edit with the best software. His approach includes mastering manual settings, filtering and light manipulation techniques to encapsulate the true essence of a moment. Stays are two to five days, all-inclusive, all year round. Flexibility means you can choose when best suits you. It’s no surprise Chris was nominated for the PN 2022 Awards! chrissimmonsphotography.youpic.com
If you’re looking for an intensive and perspective-shifting experience, the Cornish Seascape Workshops from Chris Simmons are for you. Chris offers one-to-one residential courses based around his core principle – ‘you, me, your camera and the sea’. He believes a beach can become compromised with more than two people on it, so he conceived the one-to-one residential courses. Roam the awe-inspiring surroundings and take in Chris’ extensive knowledge of Cornwall’s golden beaches and hidden coves on this internationally acclaimed excursion.
Untamed Photo Safaris
and improve their skills all at the same time. While accommodation is on the more luxurious side, the photographic outings themselves are as ‘untamed’ as possible, giving each participant a genuine chance to capture the action. untamedphotosafaris.com
Untamed Photo Safaris, led by award-winning wildlife photography guide Mark A Fernley, has a selection of African wilderness photographic tours and safaris in some of the most incredible animal hotspots. At each carefully selected destination, guests will embark on a memorable photographic journey into biodiverse landscapes. Each safari is guided by a professional wildlife photographer alongside local experts to ensure all guests learn good techniques, while providing information about the animals and ecosystem. Stay in luxury eco lodges or tents in the heart of the African savannah, where all the wildlife is free to roam close-up – truly a once-in-a-lifetime experience. Tutorials on wildlife photography are available, along with discussions where guests can relax, share stories
LION AROUND Make this the year you put serious investment into your photography skills
Nikon School Experience a mix of easy-to-understand courses for small groups where anyone can benefit. Nikon School caters for every level of photographic ability, from beginner to keen amateur or even professional. Education and inspiration are key to the school, which is why the courses are interactive and visual. Understanding your camera and lenses, shooting landscapes, wildlife and video, editing best practices – a plethora of courses cover the gamut of imaging, from the digital darkroom to the wilds of Snowdonia! Join webinars online via Zoom or opt for learning in real-world environments. Master techniques through hints and tips from the team of professional tutors and receive direct feedback on your work. Whatever your preference, each course is designed to give the best learning experience possible. nikonschool.co.uk
French Photographic Holidays Buried deep in the beautiful French countryside, yet only a few miles from Brantôme in the Dordogne, is the lovely 17th-century home and studio in Les Âgés: your base for a week-long workshop. Relax and soak up the unique atmosphere from the moment you arrive, while pursuing your passion for photography. Embark on six photographic trips to the captivating French countryside, where you will be guided to expand your photographic horizons. A maximum of four guests per workshop means support is tailored just for you, and 24/7 access to a dedicated Apple Mac workstation with Creative Cloud software means you can get the best out of your images. All the main aspects of photography are covered in the class, giving you the best foundation for your trip. Don’t worry, there are no hidden extras – everything is covered by the price, so you can enjoy the superb French cuisine guilt-free, including excellent vegetarian and vegan options! frenchphotographicholidays.com
12 Photography News | Issue 103
photographynews.co.uk
Issue 103 | Photography News 13
photographynews.co.uk
Fujifilm
ADVERTISEMENT FEATURE
The creative mountaintop Irene Yee harnesses FUJIFILM X-H2’s cutting-edge potential to deliver a detailed look into the lives of her climbing heroines
“When you’re dangling in the air, you’ll never frame perfectly. Having masses of resolution is important” with the camera was a week-long trip to Kentucky, to photograph climbers there. X-H2 was the only system I brought, so I really got a deep dive into it,” Yee notes. “I believe the true test of a camera is the everyday hubbub, working from early morning until it gets dark.” Uniquely, Yee didn’t first approach the sport as a photographer. She ACTION SPORTS PHOTOGRAPHY sees creatives throw themselves into the most challenging settings, placing enormous demand on both mind and body alike for the sake of artistry. It takes a special camera to keep up – but that’s exactly what Irene Yee has found in recent months. She has spent hours positioned halfway up a sheer cliff face, with FUJIFILM X-H2 in hand. “One of my recent big projects
was deeply ingrained in the climbing community long before picking up a camera. But through the years since, her artwork has begun to take on a quite distinctive aesthetic, complemented beautifully by X-H2’s refined technology. “Nobody could deny I like bright, bold colours,” she enthuses. “I didn’t realise I was developing a personal style, but you just gravitate towards what you love. So, it’s nice for me to have all of X-H2’s beautiful tones to play with. My perspective lets me present climbing authentically, and the camera helps me frame those moments in artistic ways that you don’t see often in the industry.” In addition to near limitless custom control of the image, there are 19 Film Simulation modes to choose from – each offering a finely crafted look with no edit. Created at once with Raw files, JPEGs are print- worthy straight from the camera. X-H2’s unmatched quality isn’t solely limited to colour science. The camera houses a 40.2-megapixel sensor, setting a new precedent for the APS-C format. Such quality is a huge benefit to all genres, and Yee’s action scenes are no exception. “Most photographers never have to photograph without their feet on the ground, but when you’re dangling in the air, angles become
IRENE YEE (she/her) @ladylockoff Facing the many challenges of sports and adventure photography with creative flair, Irene Yee has broken the mould of traditional rock climbing imagery. Where many focus purely on athletic feats, she presents joyous depictions of community, inclusivity and personal achievement. a challenge,” she reveals. “You’ll never frame perfectly, which means rotation and cropping in post are essential. So for me, having masses of resolution within small sections of the frame is incredibly important. “The other thing I love about the 40-megapixel quality is how well it applies to the versatile subjects I photograph. A human face and a rock face are very different things, but it’s all part of my work, and X-H2 gives beautiful detail both far away and close up.” Groundbreaking resolution alone would be enough to enchant most image makers, but that’s far from all this professional X Series flagship offers. Powerful stabilisation, advanced AF and rugged weather resistance are all incorporated to meet any challenge the creation process may pose. “I am almost exclusively a handheld photographer,” explains Yee, “although this level of IBIS is so helpful for anybody. There’s only so still you can be. “With previous systems, I’ve seen autofocus struggle to pinpoint faces next to textured rock walls. In the
moment, there’s no time to check each photo, but there isn’t time for manual focus either. You need a camera you can trust to detect eyes or faces – and that’s what I’ve been finding with X-H2. “The demand for durability in this genre speaks for itself. So far I’ve been in heat, dust and sand – and the camera has held up well. For one project, I was literally on a sand dune – there’s no chance of keeping it off the camera,” Yee laughs. “In adventure photography, you have to
let go of trying to maintain perfect cosmetic condition, but long-term usability cannot be overlooked.” In the broadest sense, the least we expect as image makers is a set of tools that do not restrict the process, and for adventurers like Yee, freedom is everything – in art and in life. “Having a camera that lets you create the way you want is the most important thing there is. That’s what I enjoy most about X-H2. As part of this project, I photographed a
DEVIL IN THE DETAILS The 40.2-megapixel resolution of X-H2 makes it perfect for capturing mixed textural compositions of human, foliage and sheer rock
14 Photography News | Issue 103
photographynews.co.uk
Fujifilm
friend climbing in her sari, fulfilling her vision to mix her culture and love of the sport. Those meaningful images are my favourites, and I get excited when I see the technology that makes them possible. I relied on X-H2 in that moment and it performed awesomely.”
X-H2 SPECS › Sensor 40.2-megapixel APS-C › Autofocus Advanced subject detection AF › R esolution 160-megapixel pixel shift files › IS 7-stop in-body stabilisation › Video quality 8K 4:2:2 10-bit internal video recording › Body Weather-resistant build
eshop.fujifilm-x.com/uk
Issue 103 | Photography News 15
photographynews.co.uk
Big test
Canon EOS R6 Mark II
PRICE: £2779.99
CANON.CO.UK
A little over two years after the original R6 was launched, we have its successor. Is the Mark II a ground-up redesign or more of a subtle touch up?
number on an APS-C sensor, while 35mm equivalents are now packing six times the number of coloured squares. And the results are mind- bogglingly good. So why is Canon fiddling around with just 24.2 megapixels on the R6 Mark II? Sometimes, it’s not the number of pixels, it’s what you do with them that counts, and what Canon has created is a sensor sweet spot. On board the Mark II is a light catcher which not only creates great images that can be made into big prints, but one that does so rapidly and in almost any lighting condition you could care to mention. Of course, there’s another reason cameras like this are popping up – the advent of the hybrid creator. The R6 Mark II, and other cameras like it, are equally adept at capturing stills and video files, with the switch between the two as simple as turning a dial. You may not be coveting this Canon for its moviemaking credentials, but it’s good to know that it has that capability in its locker. 4K video that takes in the full width of the sensor can be recorded internally at up to 60p, while 6K footage is possible via the HDMI port to an Atomos recorder. If slow motion is your thing, you’ll get up to 180fps at Full HD. These headline features really only scratch the surface – the Mark II comes with a host of video functionality that
WORDS AND IMAGES BY ROGER PAYNE
ABOUT 18 YEARS ago, when DSLR megapixel counts started hitting double digits, I recall having a conversation with colleagues about what was going to happen next in sensor design. We were an exciting bunch, you see. Collectively, we agreed that a 10-megapixel, full-frame sensor was pretty much all you needed, as it could deliver high-quality prints from its files up to around A3 size. So, we surmised, manufacturers would start to produce more diverse types of sensor – ones that could perform better in low light, or ones that would provide faster transferring of data. Of course, the history books show that we were completely wrong, but cameras like the Canon EOS R6 Mark II may confirm that our thinking was simply ahead of its time. If you’re a keen watcher of sensor resolution (who isn’t?) you’ll be aware that said designers didn’t stop at 10 megapixels on a full-frame sensor. In 2023, you can get four times that
SPEED SHOOTER While it doesn’t have the highest megapixel count in the world, the R6 Mark II’s talents lie in other areas. A top sensor and beefy processor allow great stabilisation, autofocus, high ISO and some truly speedy snapping
contrasty conditions I can only imagine the focusing to be even more impressive. Canon says its AF works in light levels as low as -6.5EV, and I have no reason to doubt that – it never failed to latch on. In low-light conditions, it can be helpful to have a powerful image stabilisation system, and the R6 Mark II delivers here. The camera is claimed to have up to eight stops of stabilisation – that means if you can successfully handhold at 1/60sec without IS, you’ll be able to handhold the R6 Mark II at around 2secs. That, frankly, seems rather ridiculous – especially to someone with wobbly wrists like me. But I managed to get pin-sharp shots as low as 0.6sec, which I have never managed to achieve with any other camera. Tripod manufacturers must be getting nervy. Stabilisation is also impressive when recording video – I walked around my house, going up and down stairs, with the resulting footage looking like it had been shot with a Steadicam. It’s astonishing.
the countryside at breakneck speed, I thought the R6 Mark II would meet its match, but no. The autofocus is super sticky, locks on quickly and could certainly keep up with my erratic pup. Part of this is due to the expanded range of subjects the system can lock on to, which now includes cats, horses, birds, trains, aircraft and, of course, dogs. But it also uses AI-based learning to help deliver its impressive performance – it will even maintain focus on a subject that leaves the frame and then reappears. Admittedly, there were one or two frames where dog defeated camera, but I suspect that was more down to me than the tech. It’s worth pointing out at this juncture that the weather was truly awful throughout the test period – a camera reviewer’s nightmarish mix of leaden skies and heavy rain – so all of this impressive AF performance was being delivered in the sort of conditions that would normally prompt you to stay indoors and declutter your gadget bag. In bright,
cements it as a solid all-rounder. The mirrorless equivalent to Andrew Flintoff, if you like. It seems only right that I should start any run-through of key features with the R6 Mark II’s speed credentials. The camera uses the same Digic X processor as its predecessor, but the readout speed has been boosted, meaning it can now deliver up to 40fps with the electronic shutter – that includes focus and exposure calculations between each frame. If you prefer a mechanical approach to your shutter operation, you’ll still get 12fps, plus there’s a 30fps Raw Burst mode and pre-release capture that records images 0.5sec before you press the shutter. In short, it’s the fastest full- frame camera in its class. Period. This blistering speed is allied to an autofocusing system taken from the range-topping EOS R3 – and if you’ve ever used that camera, you’ll know it’s no slouch. As the owner of a hyperactive vizsla that loves nothing more than tearing around
FOCAL POINT Not only quick to lock on and very sticky once it does, the autofocus uses AI-based learning to keep subjects that leave and re-enter the frame in focus
Photography News | Issue 103
16
photographynews.co.uk
Big test
PERFORMANCE: IMAGE STABILISATION With eight stops of image
0.6sec
1.3sec
stabilisation at your disposal, the R6 Mark II is fine for those who like to shoot handheld when the light gets low. With a good IS system, I can typically get shake- free results around 1/4sec – my wrists have never been the same since I rearranged them falling off a motorbike. With the Canon, however, I managed to get sharp results at 0.6sec, which breaks new ground for me. With some practice, I’d suggest one-second exposure is achievable, but those with more steady hands might be able to go even slower. As the second image on the right shows, 1.3secs was a step too far for me on this dreary day.
SPECS › Price Body only £2779.99 › Sensor CMOS Digic X › Sensor format 24.2 megapixels, 35.9x23.9mm › Lens mount Canon RF (EF and EF-S lenses will fit with adapter) › ISO range 100-102,400; expanded range 50-204,801 › Shutter range Mechanical shutter: 30secs to 1/8000sec, Bulb; X-Sync: 1/200sec mechanical shutter, 1/250th electronic 1st curtain; Electronic shutter: 30secs to 1/16,000sec › Drive modes Mechanical shutter up to 12fps, approximately 40fps for electronic shutter, Raw Burst mode at 30fps with 0.3sec or 0.5sec pre-record for up to 191 frames › Exposure system Stills: Scene Intelligent Auto, Flexible priority AE, Program AE, Shutter priority AE, Aperture priority AE, Manual, Bulb and Custom (x3); Movie: Auto Exposure, TV, AV Manual and Custom (x3); 384-zone metering › Exposure compensation +/-3EV in 1/3 and 1/2 EV steps › Monitor Touchscreen three-inch Clear View LCD II, 1.62m dots › Viewfinder OLED 3.69m dots › Focusing Dual Pixel CMOS AF II down to -6.5EV; AF tracking for humans, dogs, cats, birds, horses, cars, bikes, aircraft and trains. One shot, Servo AF and AI Focus AF › Focus points 1053 › Image stabiliser Five-axis sensor shift, up to 8EV benefit › Video 6K 60p ProRes Raw possible to external recorder 4K 60p/50p/30p/25p/24p Full HD 180p/150p/120p/60p/30p › Connectivity HDMI Type D, mic in (3.5mm jack), 5GHz and 2.4GHz Wi-Fi, USB 3.2, Bluetooth › Storage media 2x SD/SDHC/ SDXC and UHS-II › Dimensions (wxhxd) 138.4x98.4x88.4mm › Weight 670g body with battery and card › Contact canon.co.uk
While we’re on the subject of low-light capabilities, it’s worth mentioning that the R6 Mark II offers a top native ISO of 102,400, which can be expanded to 204,801. At the other end, native ISO goes down to 100, with 50 available in the expanded setting. Beyond these numbers, the image quality at higher ISOs is impressive, with usable images well into five-figure ISO settings. If you’re an existing EOS R6 user, you’re probably wondering what all the fuss is about with the R6 Mark II. Some of the features we’re discussing are exactly the same as the first incarnation – the ISO and image stabilisation capabilities, for example. But I have covered some of the big changes as well – more megapixels, faster frame rates – and there are more to come. The body design, for example, sports some subtle enhancements. Both R6 models are weather sealed (which was handy during my test period), but the Mark II is 10g lighter – probably not a big deal in the “I MANAGED TO GET PIN-SHARP SHOTS AS LOW AS 0.6SEC, WHICH I’VE NEVER ACHIEVED WITH ANOTHER CAMERA” ALL-ROUNDER As well as its impressive stills credentials, the R6 Mark II can record 4K/60p video internally
ON A PLATE Top-plate design has minor changes to the Mark I. Battery power is the same, but gives more images per charge
Issue 103 | Photography News 17
photographynews.co.uk
Big test
PERFORMANCE: ISO The EOS R6 Mark II delivers a superb ISO performance. As you’d expect, the low native ISO settings from 100-800 are all but faultless, with consistent results letting you shoot with confidence. What’s reassuring, though, is that this continues higher up the ISO dial. Noise is well-controlled heading into four digits – 1600, 3200, 6400 and even beyond. I’d be confident shooting at 12,800 before any real drop in image quality started. Once you head above 25,600, noise becomes increasingly prominent, but not to the point of uselessness – the grain effect is manageable and the colours stay true. Delve into six-figure ISO settings and the grain is very evident, but again in a pleasant way – images take on a watercolour look while tones and colours don’t muddy up too quickly either.
100
200
400
800
1600
3200
NEW SHOES The R6 Mark II features the same multi-function shoe as the R3, which allows for new accessories including this Tascam XLR adapter
6400
12,800
25,600
512,000
102,400
204,801
“I SHOT HUNDREDS OF FRAMES AND PLENTY OF VIDEO, YET DIDN’T EVER EXHAUST A FULL BATTERY CHARGE”
and having to crack a code to work out why. Not so on the R6 Mark II – select the feature and the camera will explain why it’s not there. Getting back to Mark I/Mark II differences, battery life has been greatly improved. The R6 Mark II uses the same cell as its predecessor, but Canon has cajoled almost 50% more frames out of it. CIPA ratings suggest you’ll get 580 frames per charge using the normal mode, compared to 360 on the Mark I. In real-world use, I found the battery life to be excellent. I only had the camera for three days, but shot hundreds of frames, plenty of video and incessantly pixel-peeped and dug around in menus on the rear LCD, yet didn’t exhaust a full charge. Must try harder.
grand scheme of things, but a good pub/camera club fact nonetheless. More worthy of note is that the on/ off switch, which resided on the left of the top-plate on the Mark I version, now sits around the command dial on the right and has been replaced with a switch to quickly flick between photo and video capture. Other than that, there’s not much more to see from an aesthetic perspective. As a regular user of Fujifilm cameras, however, I must admit I thoroughly
enjoyed having a sizeable grip to give me a solid purchase on the R6 Mark II. It’s more DSLR in style than mirrorless, but it feels great, as does the body’s rubberised finish. Menu navigation is typically Canon and will be familiar to anyone who’s picked up one of their digital cameras in the last 15 years or so. One feature I really like is the ability to see why a menu option is unavailable. I’m constantly frustrated by finding menu options greyed out,
ONE STEP BEYOND The R6 Mark II represents a design philosophy which focuses on improving features without chasing the dragon of ever-higher megapixel counts
18 Photography News | Issue 103
photographynews.co.uk
Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48Powered by FlippingBook