Photography News 06


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All the latest gear fromtripods to bags to paper, plus photo trips &holidays

Two years on from the D4, Nikon has introduced its new flagship, the D4 s . At first glance the cameras look identical but under the bonnet Nikon has worked hard on improvements. The new 16-megapixel sensor works with Nikon’s EXPEED 4 processor and the combination gives a standard ISO range of 100-25,600 but the top sensitivity can be expanded to an incredible 409,600 (ISO equivalent). This sort of sensitivity means using fast shutter speeds in the lowest levels of ambient lighting is feasible. Of course, until we try it for ourselves we can’t vouch for image quality at such high ISOs but we hope to get our hands on the D4 s very soon. With the camera aimed at action and press photographers, speed is obviously a priority for the D4 s . Thus it can race along at 11fps with continuous AF (this compares with 10fps on the D4) and with a shutter lag of a mere 42 milliseconds, catching the decisive moment is easier than ever. The new shutter/reflex mirror mechanism keeps mirror bounce to a minimum so you get a stable image with minimal viewfinder blackout and that in turn 11fps continuous with full AF, a new 16-megapixel sensor and a top ISO of a mere 409,600 TOPGUN Nikon’s new flagship boasts

Turn over for all the industry’s top stories

7 pages of hands-on tests start on page 23 • FujifilmX-T1 • NikonD3300 • SamsungNX30 Winningways for green-fingered photographers The low-down on the premier ‘garden’ competition

makes tracking high-speed action more precise even when shooting at 11fps. The AF system has had a revamp too. Autofocus is still principally with Nikon’s 51-point AF system but the new Group AF setting monitors five different AF fields across the 51 points and lets you control the size of the focusing area. Naturally, for a top-end, top-of-the-range model, the D4 s isn’t cheap and the body only price is £5200.

We announce the second 24-hour London shoot extravaganza run by sister title, Advanced Photographer . See page 5 for details. PHOTO24

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Issue 6 | Photography News

Photography News | Issue 5

Latest photography news


NEWS INBRIEF TOUGHBAGS Look out for this new range of colourful and very practical Interceptor bags in your local photo shop. They are made from special ‘Tarpaulin’ cloth that’s very durable and waterproof. Four models are available: Small, Medium, Tote and Sling. The Small costs £40 and the other three £50 each.


Manfrotto’s 055 series has been the mainstay for photographers for many years and now a new collection has been introduced. Quick Power Locks allow fast, secure, one-handed opening of the legs and also give increased locking power for maximum stability. Manfrotto’s research shows the new 055 series tripods are 50% more rigid than their predecessors. Maximum payload is quoted at an impressive 9kg. Prices for the range start from just £200. Perfect for the photographer on the move is the new X-Pro three-way head that features retractable locking levers to help keep size down. It sells for £115. For reliable support, look no further than Manfrotto’s update of its original 055 series

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Hi-tech Elinchrom

consistent colour temperature output. Each unit has an integral EL-Skyport receiver for wireless triggering and there is a Speed Sync mode for synchronising up to 1/320sec with enabled cameras. Guide prices are £699 for the ELC 500 and £899 for the ELC 1000. Kits, including two stands, two 16cm reflectors, bag and Skyport transmitter, start from £1499.

Two compact, high-specification heads have been added to Elinchrom’s range of monobloc flash units. ELC Pro-HD 500 and 1000 are feature rich, including super-fast recycling times, short flash durations, an OLED screen and three new shooting modes. Recycling to full power on the 500Ws ELC 500 is 0.6secs and flash duration is as short as 1/5000sec with

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Issue 6 | Photography News


Latest photography news

Gitzo climbs newheights

New products added to the line-up Fotospeedmedia

NEWS INBRIEF BOBCARLOS CLARKE’S LIVING DOLLS EXHIBITION , supported by Olympus, is at London’s The Little Black Gallery from 10 May to 21 June. The showmarks the tenth anniversary since Carlos Clarke’s last exhibition and includes images from his Love-Dolls series, plus 18 classic black & white images. Opening hours are Tuesday and Thursday 11am-1pm and 2-6pm.

Leading inkjet media maker Fotospeed has announced several new papers: Platinum Etching, Metallic Pearl and Photo Smooth Pearl. There are also two papers to replace two Ilford materials: Photo Smooth Pearl 290 and Platinum Baryta 300 – the latter replaces the Ilford Gold Fibre Silk. There is also a Panoramic Inkjet paper that allows you to make long, thin prints without needing a roll paper facility. Each sheet measures 21x59.4cm so it can go through A4 printers. A 25-sheet pack costs £29.99.

The world’s first carbon fibre tripod was introduced in 1994, and guess what, it was a Gitzo Mountaineer. The Mountaineer range has now been redesigned and uses a newly developed format of carbon fibre called eXact that offers even greater rigidity than before without any weight penalty. The twist grip G-locks have been improved too, are more comfortable to use and are sealed to reduce the risk of debris getting into the leg lock mechanism. Stability has also been enhanced by a redesigned spider (this is where the legs and centre column meet). The new Mountaineer range is available now with prices starting from £480. The trusty Mountaineer range has a revamp

Saturday 11am-4pm. www.thelittleblack

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RUCKSACK MindShift Gear, a subsidiary of ThinkTank,

has launched an innovative photo rucksack perfect for landscapers. The

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rotation180 Professional Deluxe MSG210, which sells for £454, features a clever belt and waist- pack arrangement to let you bring the compartment that holds your primary gear round to the front so you can get at it without having to take the rucksack off your back. The design also means the whole backpack can be slid round to the front so you can get at the contents in the top section from the back, without having to take the bag off. We tried the bag for ourselves at the recent Photography Show, and the sliding waist-pack idea does indeed work very well. THECOMPANYOF DOGS PETPORTRAIT EXHIBITION The exhibition, with Gerrard Gethings, is at The Gallery, 81 Leonard Street, London EC2A 4QS, 21-29 March. The images feature dogs owned by celebrities (like Elle Macpherson) as well as those with the Dogs Trust looking for a home. The prints are being auction with the proceeds going to the Dogs Trust. STARS JUMP FOR RANKIN&OXFAM Rankin has been photographing celebrities, such as Simon Pegg and Nicole Scherzinger, for an Oxfam campaign, called Lift Lives for Good.

New Passports and a trio on wheels Keep rolling with Lowepro

cover so it can be used as a separate bag when needed. Lowepro also announced its new Passport series comprising a Backpack (£52), the Messenger (£60) and Sling III (£52.) All three products are soft-sided and perfect for city shooting, and the internal compartment can be lifted out if you want to reconfigure the bag.

Leading photographic bag maker Lowepro has introduced three roller bags with a difference. Three sizes are available: x100, x200andx300, costing £316, £367 and £400 respectively. The difference is that the storage compartment can be unzipped and separated from the wheelbase section and used as a normal photo backpack. The wheelbase has its own

All tripod ranges rebranded, and introducing the Air range New lookGiotto’s

Giotto’s has rebranded its entire tripod range as well as introducing the brand new Air range. The Air collection comprises four models – two aluminium and two carbon fibre – and employs the company’s y-shaped centre column for tripods with a very thin profile. The Air models are perfect for travel, especially when travelling light. The Air Kit 17, which comes complete with the aluminium YT9224 and a Giotto’s ball head, costs £180. If you prefer carbon fibre, look at the Air Kit 19, which features the YT8324 tripod and a ball head; it costs £300. A major change in the branding is that the Silk Road series will now be known as the Silhouette series and 12 new kits will be on sale. The kits include the legs and compatible ball head. And speaking of ball heads, all Giotto’s heads will now use the Arca standard quick release plate.

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Photography News | Issue 6

Latest photography news PHOTO 24 2014


Join us in London for another 24-hour shoot Last year, Photography New ’s sister title Advanced Photographer hosted a 24-hour photographic shoot in London, sponsored by Samsung. It was so successful that it’s being held again, and the date for your diary is 20 June, 6pm start, finishing at 6pm the following day. Everyone is welcome whether you want to spend the whole 24 hours shooting or you can only stay a few hours. It’s free, there’s no time limit, you can strike out on your own, buddy up, or come along as a club. Numbers are limited however. We are sorting details now, but the aim is to meet in central London and go from there, and there will be competitions for the best images taken during Photo 24 2014. We’ll have more news on the event in future issues and in Advanced Photographer magazine. Meanwhile, if you or your club are interested in joining us and to help us gauge numbers, pre- register online at

ABOVE Taken at 1.23am during last year’s Photo 24. Samsung NX20 with an 18-55mm lens, 15secs at f/9 and ISO 160. The chap stayed still texting for several minutes without being asked.

A trio of new paper treats PermaJet papers With the closure of the Ilford factory in Switzerland, PermaJet has developed three products that replace three popular Galerie products. The three new materials are Smooth Pearl 280, Smooth Gloss 280 and PermaJet FB Gold Silk 315. Smooth Pearl 280 and Smooth Gloss 280 are available in a wide range of sizes, from 100 sheet packs of 6x4in to A2 sheet and roll sizes. For an idea of price, it costs £15 for a 50-sheet pack of A4 Smooth Pearl 280. PermaJet FB Gold Silk 315 is available in a smaller size range with sheet sizes of A4, A3, A3+ and A2 plus two roll sizes. A 25-sheet box of A4 costs £26.95 and the same sheet box of A3 is £53.95.

NEWS INBRIEF PRESTONPS is hosting a talk by leading landscaper David Noton. It’s called Chasing the Light and takes place on 2 May at the Greenbank Lecture Theatre, University of Central Lancashire, Preston. Tickets cost £10 each. prestonphotographic NEXT ISSUE Issue 7 of Photography News is out on Monday 21 April.

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Issue 6 | Photography News


Latest photography news

Experience long days, hot springs and wonderful waterfalls on a photo holiday this summer Iceland adventure

Expert photographer John Gravett ARPS is leading a photographic adventure to Iceland this June. The eight-day experience LEFT Join Lakeland Photographic Holidays for a week this June to sample and shoot the sensational landscape of Iceland. landscape

trip runs from 15 to 22 June and costs £1995 excluding flights. John will be available throughout to ensure you make the most of the fabulous locations that Iceland has to offer. On this trip these include Thingvellir World Heritage Site, the Geyser Geothermal Area, the Gullfoss Waterfall and the Jökulsárlón Lagoon.

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It’s your chance to take your tripod up the Shard The View from the Shard is hosting two photography mornings on 22 and 29 March, from 8am to 9.30am. It’s your chance to shoot 360° views of London from levels 69 and 72 of western Europe’s tallest building and for these special events photographers can use tripods and other equipment not usually permitted at normal opening times. Tickets cost £29.50. Shoot from on high

NEWS INBRIEF WINNERS We had lots of correct answers to our Prize wordsearches in issues 3 and 4. The winners, who each receive a Samsung 32GB Plus SDHC card, are Ian Hoole and Peter Mitchell. The runners-up each receive a Samsung 4GB SDHC card, and they are David Burrows, Wendy Williams, David Holden, Ian Davison, Dave Hollows, John Munday, Ian Perry, Nick Wainwright, Peter Elgar and Steve Andrews.


CUSTOMISEYOUR FUJIFILMX-SERIES CAMERA The Fujifilm X-Signature customisation service will reskin your existing camera in a choice of colourful and textured order a new camera in an X-Signature colour. The service is available on X-Pro1, X-E1, X100, X20 and X10 with services on X-E2 and X100S to follow shortly. Orders can be placed at the website and there is a two-week turnaround time. If you want your current camera reskinned, prepaid packaging is sent to you after you have placed your order, and there is the added benefit of a free check and clean. signature leathers. The cost is £130 or £100 if you

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PRINTS FOR SALE Tony Ray-Jones died in 1972, age 30, but his images inspired a generation and helped to change the face of British photography. London’s Science Museum has six Ray- Jones prints on sale, chosen by Martin Parr. Strictly limited, the prints have been made from original negatives and printed to match Ray-Jones’s own style. Two sizes are available, unframed: 43x28.5cm, 15 prints at £450 each, and 53x36cm, ten prints at £550 each. For details, go to The Science Museum has been host to the Only in England exhibition by Tony Ray-Jones and Martin Parr and it’s now moving to the National Media Museum in Bradford. It runs from 28 March through to 29 June. Entrance to the exhibition is free.

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Your opinions

Give us your feedback, email:

You’re still telling it like it is… Your feedback on… PN&fluffybunnies

“Judges in competitions do not encourage deviation from the generally accepted ‘fluffy bunny sunny landscape’ norms. Judges need to promote creativity and stretch people’s imaginations through themediumof photography. It is noticeable that members are adverse to street photography and photojournalism where they must interact with the subjects being photographed. I am currently a club chairman and have tried to change attitudes within the club but have sadly made little progress due to the very entrenched conservative views of a majority of the members. I have seen numerous prospective younger (under 50) club members put off joining for the very reasons expressed by Del Barrett in Issue 3. “The membership is falling as members leave or die and there is a lack of new younger members to bring new ideas and energy into the club. As of next month I will no longer be chairman and I am moving away from the area, and will give serious consideration to not joining another camera club but making far greater use of the web and social media for my photography.” Fred Dawson, Malden Camera Club Ed: It’s disheartening to hear that someone has tried to move the club forward only to be stifled and ultimately defeated. Have you tried to take on the ‘establishment’ and run into a similar brick wall, or have you moved your club forward? Please email your stories to

“Congratulations on the first few issues of PN . I picked up the first issue at my camera club and keep a lookout each month for the next issue. I particularly enjoy the camera reviews – they’re just the kind of detailed, thorough tests that enthusiasts like me can get their teeth into. I’ve also enjoyed the insights into the judging process in the Before the Judge articles. It’s good to know what’s actually going through the minds of judges when they look at competition entries, and reassuring to hear how much thought and commitment goes into it – from some judges at least! I’ll take some of the tips on board next time I’m submitting an image.” Mike Allen

PN is excellent with a great range of articles and it focuses onwhat clubs are trying to do AndrewEvans, president-elect, ChesterfieldPhotographic Society

“ PN is a very good read.” Terry Draper, Rushcliffe Photographic Society

“The members love it and it’s very popular.” Ashley Franklin, Derby City Photographic Club

“We love it; it’s an enjoyable read and full of useful information.” David and Sharon Barton, publicity officer and treasurer, Crewe Photographic Society

It’s like amagazine in a bigger format, and it’smuchmore than just a free newspaper Derek Lemarchand, Newent andDistrict CameraClub

“It’s so popular, it’s a bit of a bun fight when PN arrives because we have over 100 members so you may have to wait to read it, but it’s worth the effort.” L to R: Jed Wee, Stephen Bell and Ian Stafford, Durham Photographic Society

If you have an opinion about anything photographic and especially what you’ve read in Photography News , please drop us an email at WHATDOYOUTHINK?

Photography News | Issue 6

Issue 5 | Photography News


Camera clubs

Tell us your club’s latest news, email:


NEWS INBRIEF WIGAN 10 WINAGAIN The PAGB GB Cup 2014 results are in, and Wigan 10 won the PAGB Open GB Cup with Chorley PS second and the Arden Photo Group third. Wigan 10 also won the PAGB Nature individual award for the best animal behaviour image. Dumfries CC and Rolls Royce PS came joint second. Winner of the PAGB Small GB Cup was Duston CC, with Doncaster CC second and Atherton & District Amateur PS getting third. Among the individual winners were Harish Chavda and Kathryn Scorah, both of whom have recently had portfolios published in our sister title, Advanced Photographer . results We welcome any aspect of club news. It could be a member’s individual success or it might be a great club shoot, maybe the club won a regional contest, has a special anniversary or exhibition coming up, or a big speaker due and you simply want to sell more tickets. Getyour clubnews heard Whatever it is, if you want any items considered for Club News email them to clubnews@ photography-news. before the deadline, 11 April. Deadline for the next issue is 11 April, out Monday 21 April. GB Cup with Austin Thomas winning an

The closing date for the Neath and District Photographic Society’s UK Salon is 31 March. This popular salon is supported by the BPE and sponsored by Hornbill. There are four subject categories: Open Colour, Open Monochrome, Industry and Nature, with gold, silver and bronze medals in each of the four sections. All acceptances go towards BPE Awards. Entry cost is £10 for the first section entered (up to four images) and £2 per section thereafter (four images per section).

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THE RPS AT THE CAVE Until 18 April there is an exhibition of RPS London members’ best work of 2013 at The Cave, Linear House, Peyton Place, Greenwich SE10 8RS. The exhibition has an open subject theme and the only entry criterion was that images had to be from London region members. It runs until 18 April and entry is free. Open Monday to Friday, 9-5pm.

This year sees the 51st Exhibition of Midland Counties Photography, an exhibition open to all members of the Midland Counties Photographic Federation (MCPF). The selected work is on show at the Old Schoolhouse, Churchbridge, Oldbury, from 19 to 23 March. Doors open 7-10pm on the weekdays and 10am-5pm on Saturday, and until 4pm on Sunday. MidPhot 2014

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Guildford Photographic Society is delighted to welcome the well-known magazine editor, photography tutor and professional photographer Will Cheung FRPS to share his passion for his subject on the evening of 31 March.  Will, whose photography ranges from landscapes and street photography to portraits and nature, will give a talk entitled My passion for photography, which promises to offer fantastic insights into his thinking and practice. Will is editor of Advanced Photographer magazine, and has also edited Practical Photography and Photography Monthly . A Fellow of the Royal Photographic Society, Will takes an active interest in the RPS and sits on the travel distinction panel. All are welcome to attend this event; tickets are available for non-club members to purchase for £10. Places are limited, so don’t delay! For further details and to book your ticket, see the website. MeetWill Cheung

NEWSLETTERS WANTED If your club or society publishes a newsletter, please add us to the mailing list using this email address: clubnews@ photography-news.

On show at the ArtCell Gallery (in the Cancer Research UK headquarters at the University of Cambridge) is the RPS International Images for Science 2013 print exhibition. The exhibition is on until 30 April, open 10am-5pm on weekdays. Images for Science

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Photography News | Issue 6

Advertisement feature All the support you need MANFROTTOTRIPODS


For great photos, you need a tripod and head you can rely on, and you can rely onManfrotto’s new055 tripod collection and 3-way head

ABOVE The X-Pro 3-way head gives you precision in a package little bigger than a ball head.

Strong and simple Number one on anyone’s list of tripod requirements is stability, and the new Manfrotto 055 collection provides more of this than ever before: tests of torsional rigidity show that the new collection is 50% more rigid than previous models. What’s more, the new Quick Power Lock system keeps the legs stiffer and firmly in place so that the tripod can support up to 9kg – that’s plenty for even the heaviest of full-frame DSLRs with a super- telephoto lens attached. Strength isn’t the only benefit of the Quick Power Lock system either – it’s specifically designed so you can open all the locks on one leg with one hand simultaneously when the tripod’s folded, making it easier and quicker to open it out to full height.

Never underestimate the importance of a good tripod in capturing great images. Not only do you need it to be strong and sturdy to make sure your images are sharp, but good ergonomic design helps you set up quickly, position your camera exactly as you want, and frame up precisely. The new Manfrotto 055 tripod and X-Pro 3-way head come with plenty of design innovations that give you all of this and more.

And simple ergonomics don’t stop there – a newly designedmechanismmakes it easy to switch the centre column from a vertical to horizontal position. With just one finger, you can push the centre column up from the bottom, and the whole mechanism is released from the central casting so the column can swing into the horizontal position – no disassembly is needed and you don’t even need to remove the camera. Combined with the option of four leg angles, it means you can get the camera into any position you like. With the Easy Link attachment, the new 055 collection also goes beyond the traditional boundaries of tripod functionality. This lets you attach an arm that can hold a light, reflector or any other accessory you might need to achieve your creative vision. Compact and precise A 3-way tripod head gives you maximum precision, but the levers often make them bulky and inconvenient to carry. The new Manfrotto X-Pro 3-way head has been designed specifically so that it delivers the performance you’d expect, but in a more compact package. The levers on the X-Pro 3-way head are retractable but can be extendedwhen needed. The overall size when not in use isn’t much bigger than a ball head, in fact it folds down to just 13.5cm 3 , so it’s much easier to transport than a normal 3-way head. What’s more, its all-aluminium body makes it light at just 1kg, but allows it to hold up to 8kg. There’s no compromise in precision either – friction controls on the pan and tilt axes let you adjust the movement to balance the weight of the camera so you can make fine adjustments to framing before locking the head in position. Three bubble levels also let you get things perfectly lined up so you can get your composition perfect first time in-camera.

Number one on anyone’s list of tripod

RIGHT Manfrotto’s new 055 tripods and X-Pro 3-way head can hold your heavy kit in just about any position.

requirements is stability, and the newManfrotto 055 collection providesmore of this than ever before

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Issue 6 | Photography News


Camera clubs

The members of Smethwick Photographic Society were going for gold when they took to Birmingham’s Jewellery Quarter to each shoot it in their own style. Kaz Diller explains what they got up to and shows us their exhibition- worthy images GROUP CHALLENGE The JewelleryQuarter

CLOCKWISE FROM TOP LEFT St Paul’s – The West Door at Dawn by Paul Cutland; Gas Welding by Maria Ollis; The Big Peg by Mike Williams; Warstone Lane Cemetery by Terry O’Connor; Stamping Ground by Graham Hales.

monochrome negatives, before scouting the area to find the original locations, which I re-photographed digitally. My portfolio comprises pairs of images – the original monochrome photograph and a colour print taken from virtually the identical location 40 years later. It was really interesting to see just how much the area had changed, or in some cases remained the same, over this period. Paul Cutland chose to photograph St Paul’s Church in the Jewellery Quarter. This was built in 1777 and became the church of the city’s manufacturers and merchants, and is set in a beautiful Georgian square. Paul was particularly interested in the effect of light on the building and its surroundings. He photographed the church from before dawn to after sunset to show how lighting affected his subject and his pictures were taken over a six-month period. Maria Ollis enjoys capturing moments as they happen. She doesn’t restrict her photography to any particular subject, genre or style. She says that she is still experimenting and always will. Maria decided to focus on the human aspect of the Jewellery Quarter. She spent some time in a family-run jewellery workshop where she photographed many aspects of modern-day jewellery manufacture and repair. In her portfolio, Maria has illustrated some traditional manufacturing methods that are still in use today together with photographs of modern machinery and current manufacturing techniques.

Words by Kaz Diller

Birmingham was once described as the first manufacturing town in the world. Its distinctive economic model comprised thousands of small workshops practising a wide variety of highly skilled trades, one such trade being jewellery manufacture. This activity was concentrated in a small part of the city, which became known as the Jewellery Quarter. Six members from Smethwick Photographic Society worked together on a project to photograph the JewelleryQuarter. Smethwick is one of the largest –andprobably the friendliest –photographicsocieties in the country. The society truly encompasses all aspects of photography, encouraging all members to develop their photographic craft and vision. Each photographer working on the project focused on a different aspect of the Jewellery Quarter. As a team we agreed to a loose project framework, with individuals photographing the area and then meeting up again to discuss the project over a few drinks, reviewing our work and obtaining constructive feedback from each other. I decided to take a historical approach to the subject. I had originally photographed the Jewellery Quarter in the 1970s and I was interested to see what changes had taken place there over the last 40 years. I scanned and digitally remastered my old

As a teamwe agreed to a loose project framework, with individuals photographing the area and then meeting up again to discuss the project over drinks

Photography News | Issue 6

Camera clubs


CLOCKWISE FROM LEFT St Paul’s – The West Face by Paul Cutland; Albion Street then and now by Kaz Diller; Legge Lane by Graham Hales; The Jeweller by Graham Hales; Urban Coffee by Mike Williams.

Mike Williams’ perspective was to concentrate on the architectural features. He began to notice various shapes within the buildings and the contrast between the new and old parts of the area. As his project progressed, he became more and more impressed by the architecture and was drawn to the powerful shapes and patterns that were all around, particularly when shot from unusual angles. Graham Hales concentrated on the urban landscape and architecture of the Jewellery Quarter. He was drawn to the decay, particularly the disused warehouses and dark alleys. His urban exploration gave rise to a portfolio of very powerful gritty, grungy images of decaying urban architecture. Terry O’Connor was instantly drawn to the Warstone Lane Cemetery, which dates back to 1847 and is Grade II listed. He loved its character, history and atmosphere and was captivated by the wide range of shapes. Terry enjoyed photographing the textures that had developed on the gravestones and other graveyard buildings after they had been exposed to the elements for many years. On completing all the photography, processing and printing, we found that the individual portfolios

came together coherently to make a multi-faceted portrait of the Jewellery Quarter. We wanted to share our work with a wider audience so Mike negotiated the use of an exhibition space in a prominent location within the Jewellery Quarter itself where we displayed a selection of prints from our portfolios for a month. The exhibition was extremely well received with many favourable comments. Maria is now working on a self-published book as a permanent record of the project. We are looking forward to exhibiting the full body of work in Smethwick Photographic Society clubroom in the 2014 season. Our experience of working together has been immensely fruitful. We learnt a great deal from each other, especially from the different approaches to a single subject. We enjoyed the camaraderie. This approach has energised similar activities of like- minded people within Smethwick Photographic Society and other projects are now progressing. We would really encourage other photographers to try this approach for themselves and see where it leads.

If your club is planning (or has already shot) a project similar to the one featured here, we want to hear from you. Or if you have an event or group shoot planned, get your organiser to email PLANNING APROJECT?

us some details at challenge@

photography-news. You could see your work on these pages.

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Issue 6 | Photography News


Advertisement feature Weathering the storms EPSON PRINTERS

Nigel Millard spent years photographing the RNLI, a project that eventually turned into a touring outdoor exhibition. The crews withstand the harshest conditions and it was only right that the prints could do the same

The bright orange livery of the RNLI lifeboats is a sight that can be spotted all around Britain’s coastline. The crews, made up almost entirely of volunteers, work relentlessly in some of the most challenging weather conditions and it is this striking imagery that initially intrigued reportage photographer Nigel Millard. “I watched a lifeboat launch from one of the RNLI stations on the Wirral and I was just amazed by this brilliant splash of colour,” Nigel explains. “There was this huge boat trundling down the beach like a dinosaur, its striking colour standing out against the grey skies. Compositionally, it was a strong project for any photographer to approach and there was a lot of subject matter to get into.” What started out as a personal portfolio project turned into amuch larger project to spread theword of the important work that the RNLI does. Nigel began visiting lifeboat stations around the country, creating an ever-increasing back catalogue of images. One image in particular (above) resonates not just with the RNLI, but also the public. “It just shows a splash of orange and a huge wave breaking around the boat. It’s about as dramatic an image as I can get and was taken in about as

The prints hold incredible

detail, in both the highlights and the shadows, the colour range is just phenomenal

ABOVE Winter in the North Sea provides a tough test for the Buckie Severn class lifeboat William Blannin. BELOW Porthdinllaen’s new Tamar class lifeboat gets its first coat of paint in RNLI colours. BOTTOM RNLI lifeguards up early for a morning’s training session on Perranporth beach before going on duty for the day.

challenging and difficult conditions as you get out there,” Nigel recalls. “I wasn’t there to sensationalise everything, but to just document the work that the RNLI do in order to raise money and awareness for their cause. I actually ended up joining my own local RNLI crew.” The images began to garner more attention and eventually led to the publication of a book, The Lifeboat: Courage on Our Coasts (, £25), from which a touring exhibition Courage on Our Coasts was created for the RNLI. Printed by Epson on a SureColor SC-S70600 large-format printer using Ilford’s waterproof NanoSolvent Satin paper, the prints stood outside in various city centres around the country for six months. It rained, snowed and even shone a little, but regardless of the weather the prints remained in as good a condition as the day they were printed. “The prints were just less than two metres wide and I thought we might have to lose a little of the quality in order to get the exhibition outside, but there was absolutely no compromise,” he says. “I was absolutely astounded by how amazing it looked; it was outside for 24 hours a day, seven days a week in every condition and the prints have not degraded. They’re still as strong in colour, still as contrasty, still as detailed – it was fantastic!” Each of the final images were test printed by Nigel beforehand on an Epson Stylus Pro 7890 on Ultrasmooth, Fine Art and Hot Press Bright paper. “I was amazed at the quality. The prints hold incredible detail, in both the highlights and the shadows, the colour range is just phenomenal,” he says. “Seeing my images on my computer screen and then getting a print that looks exactly the same is just amazing.” A range of limited edition prints was also created on Epson’s Fine Art paper, enabling Nigel to sign them in pencil, a quality that standard waxy

photographic paper doesn’t allow for. Being able to produce such high-quality images was crucial in allowing both Nigel and the RNLI to create an impactful print exhibition that was as hardy as the RNLI crews themselves. The exhibition might be over now, but for Nigel the project continues as he works with the RNLI on their various campaigns – visit for more details.

To find out more about the entire Epson range of inkjet printers, go to where you’ll also find details on the cashback offers available on the Expression Premium and Photo ranges between now and 31 March 2014.

Photography News | Issue 6

Latest photography news


THE PHOTOGRAPHY SHOW Showreport Busy and bustling definitely, but was there

What the manufacturers said

Paul Scott, head of product marketing, Samsung Digital Imaging “Our aim was to provide a real understandingof theneedsofphotographers and demonstrate how our products and smart technology can meet their needs and bring to life their images. Our stand featured the new NX30, as well as the expanded line of NX lenses and accessories and the newest members of our award-winning compact line-up including the Galaxy 2 camera. “We had an exciting mix of interactive features offering visitors the opportunity to touch and try the products whilst seeking expert advice from our helpful staff. Another feature was the Getty Images masterclass studio and our upper level stand, which featured a viewing area showcasing our range of NX lenses. “We were delighted with the interest we received in our products and services and would like to thank all those who took the time to visit our stand.” Mark Thackara, national marketing manager, Consumer Products, Olympus “We loved it. Fresh people, new atmosphere, positive vibe, more sales. All in all we came away feeling rather good about the industry after a year when the market has been rather flat. Well done. It even inspired me to get all creative on the stand!” “We were thrilled with how the showwent. The X-T1 camera was in incredible demand, as were all our new lenses. There was a constant flow of visitors and it was far busier than we had anticipated. Generally, we felt there was a really good vibe to the show with a younger audience than in previous years and much more life about it with the Live stages. We definitely sensed a real shift of consumer focus with many people considering switching from DSLRs to CSCs seriously for the first time.” Susie Donaldson, Consumer Imaging marketing director, Canon UK & Ireland “It was great to see the photography industry come together at The Photography Show. “We wanted to bring photography to life for those visiting and we feel we achieved that with talks fromour Canon ambassadors, supporting the Student Conference and the interactive elements of our stand like the Slo Mo booth and our EF lens bar. The show was a good opportunity for us to speak with people at all stages of their photography journey, from students wanting to take their next step to professional photographers looking for that extra bit of kit. For us it was a great show and the feedback we’ve had from our customers and partners is extremely positive.” Lucy Edwards, marketing manager, Electronic Imaging, Fujifilm

a lot of business done at The Photography

What the punters said Show? The many visitors, exhibitors and organisers all seem to think so… The first Photography Show at Birmingham’s NEC held earlier in March proved an amazing success, so much so that most of the photographic exhibitors have booked for next year’s event already. Visitors had the chance to enjoy tutorial sessions, see the very latest products including the Nikon D4 s and buy the newest kit. One of the show’s big sellers was the Fujifilm X-T1 – stocks ran out on Monday, and although more cameras were rushed in for Tuesday’s show, most of those had gone by the day’s end. A date for your diary: The Photography Show in 2015 takes place 21-25 March. Terry Draper “I was pleased with the new look and the exhibitors and tutorials. It seemed to be very well attended. I attended on two days, Monday and Tuesday. Signage was lacking and a floor plan would have been helpful. I have next year’s date down in the diary already.” Jules Holbeche-Maund “The show was great. The Olympus stand with Damian McGillicuddy was good as always. Overall, I liked the way it was set out and the feel was different and more relaxed.” Alistair Balharrie LRPS “The new format with a mixture of live shows, lectures and trade shows made for a much better balanced event. There were areas, however, that were difficult, with not enough space between stands given the volume of people. Well done to all the organisers for pulling it together.” Adrian I Barnett “Went on the Sunday. Everyone seemed to enjoy it, and we really enjoyed the demos. Nice to see action, rather than just products on tables. Nearly went again on the Tuesday because we enjoyed Sunday so much!” Chris Grew “Show was great and similar to the old Focus. Gripes: paying £5 for the brochure is nuts as the exhibitors had already paid for it with their advertising.”

TOP LEFT A lucky person buying a Fuji X-T1. TOP RIGHT Tamron showing off its 150-600mm. ABOVE Samsung featured its NX30 pro studio. BELOW Damian McGillicuddy on the Olympus stand.

Ray Liu “I went on Monday. I would say it was similar to the old show, but it was a little cramped as it was only in two halls. Some of the stands that did demos/talks were a little close to each other so it was hard to hear the demo whilst another one nearby was going on.” Martin Devlin “Having visited the last seven Focus shows my experience was that it was much better and fresher. There are some things that can be improved upon next year, but overall, a great show, with so much to see and do in one day.” Peter Coda Chadburn “There was a lot of wasted space at the rear of the stands that could be used to show a few pictures from local colleges or for seating where you can get a good cup of coffee.” Romilly Lockyer “The popularity of the tutorials was self-evident: many were rammed. Adobe Lightroom and Photoshop theatres had to introduce ticketing to manage numbers. Overall a great success.” David Stew “The new organisers should feel proud of what they achieved and they have left me wondering how they will top it next year.” Gary Collyer “The free demos were very good, but the speakers on the Super Stage were outstanding. I enjoyed Rankin, but Joe McNally was excellent.”

All in all, a great showand pickedup a few little bargains. Anice updated version of the old showreally. Will be going againnext year MarkMiddleton

Issue 6 | Photography News




Gardening for gold Set up by a circle of garden photography pros, the International Garden Photographer of the Year (IGPOTY) is in its eighth year. Co-founder and managing director, Philip Smith gives us a behind-the-scenes insight into what is considered to be the most coveted competition of its kind

BELOW Springtime Rivalry, by Martha Cabey, Wildlife in the Garden 2013 winner.

Most entries come from the UK, but we’ve actually had more winners from overseas. This year, there are more entries coming from overseas, particularly Poland, Italy and the USA; those are the big territories, as well as Australia. How are the judges selected? How do you put together your judging panel? We get a mixture of professional experiences so we have three of the leading garden photographers on the panel this year, Clive Nichols, Andrew Lawson and Paul Debois. We have a representative from the Royal Photographic Society, which is one of our partners, and that’s Ray Spence. Then we have a range of people from the world of magazines and publishing; we have people from publishing at Kew

one in Portugal at Monserrate Palace in Sintra, a world heritage site outside Lisbon. We’ve had two exhibitions in New York Botanical Garden in the States. We have an annual exhibition in Bavaria, Germany at Schloss Dennenlohe and we’ve had two exhibitions in Italy. How many entries did IGPOTY receive in its first year? And despite its international tag we presume the contest is predominately popular in the UK, but are numbers of overseas entrants increasing? We received 15,000 in 2007 and last year there were 20,000 entries. The growth has been in the scope and scales of the exhibitions and the proliferation around the UK and the world.

Interview by Megan Croft

Many of our readers will not have heard of the contest, so can you give us some background? International Garden Photographer of the Year is the world’s premier competition and exhibition specialising in garden, plant, flower and botanical photography. It is run in association with the Royal Botanic Gardens at Kew and is in its eighth year. There are eight eclectic categories to enter and a special section for people under 16 years of age. The competition is open to everyone anywhere in the world and there is no distinction drawn between professional and amateur photographers. The heart of the project is to do with our association with Kew. The work that Kew does with plant and environmental conservation is based on world-class scientific research and what we hope to do is provide an interface between the science and the general public. The competition seeks to underpin the key messages about the vital importance of plants in the world that Kew wants to get across. Without plants there is no life on the planet. It’s an accessible and enjoyable way of helping people to see just how wonderful plants are. I have been working as a professional garden photographer for about 15 years and I had taken part in a couple of exhibitions at Kew Gardens and was also a member of the Professional Garden Photographers’ Association. Then in 2007 a few people decided to create a new exhibition called International Garden Photographer of the Year and I was one of those people. And I’ve continued with it ever since. It started out as a UK-based competition and I guess it still is in some ways, but it’s expanded a lot in terms of its international scope and the number of exhibitions we do. The whole project is run in association with Kew Gardens and at first we only had one exhibition a year at Kew but now we have half a dozen in the UK and other ones outside the UK so that’s been the main area of expansion. How did you become involved in the competition? Have there been any significant changes in the competition since it was founded? Can you tell us more about where the exhibition of the best entries gets shown? The main exhibition is held annually at Kew, with a rolling programme of touring exhibitions in the UK and all over the world. Exhibitions are also linked to events such as workshops and lectures on garden photography. We’ve got an exhibition starting in Australia at the Royal Botanic Garden in Sydney; we have

Photography News | Issue 6



Gardens for example, and we also have people from Gardens Illustrated , the leading horticultural magazine in the country. Judging takes place over a period of time – November to January for the 2013 contest. Can you give us some idea of how this is structured with so many pictures and so many judges? Prejudging is done online and then the judges will view a subset online too. The winner of each category is then voted for online by the judges before the votes are tallied and the judges all come together for discussions before the final decisions. IGPOTY offers something rarely (if ever) seen in a photography contest: the chance of feedback on one’s entry. Has this been well received? The reaction has been extremely positive. I believe that competitions are, of course, about winning images and people admiring and being inspired by winning images, but they’re also about encouraging people to move forward with and develop their photography. A lot of people enter the competition in the full knowledge that they’ll never win anything, they’re just interested in comparing what they do with the best that there is in the world, which I think is a very positive thing to do. That experience is very much improved by having a personal one-to-one viewpoint on why their image didn’t make it. Each year, the judges discard an awful lot of really fantastic images which just don’t quite get there for whatever reason and so there are a lot of very talented photographers who are passionate about what they do and we are very interested in feeding that passion, if you like. There are a lot of people who are really at the start of their experience of photography and they’ve decided to get involved with this project in one way or another. We want anybody who enters, whether they win or not, to feel that they’ve been involved in something important – that they’ve contributed towards helping to communicate the power that plants have in the world and the role that they play in our lives. Of the eight categories, which is the most popular category in terms of entry numbers? The Beauty of Plants. I think it is probably the most accessible category in the sense that flowers are all around us and they’re very available even if you don’t have a garden. People’s expectation of garden and plant photography nowadays is around big close-ups of plants and they can be very seductive images with a lot of colour and visual impact. What makes a winning image in your opinion? I think the one common denominator in all the winning images over the last seven years has been the amount of time, dedication and concentration that photographers have put into their work. It’s all about ‘whatever you put into it is what you get out’; it’s the same as anything else really. Are you currently seeing any particular trends? When we started, about five per cent of the images were submitted as prints. We don’t get prints any more, but we still get some images that originated on film and we had four or five winners in 2013’s competition which were originally shot on film. I think that high dynamic range imagery has really taken off in the last couple of years and we do see a lot of overworked HDR images. For a competition

Competitions are, of course, about winning images, but they’re also about encouraging people tomove forward and develop their photography ABOVE Poppy Field by Stephen Moore, The Beauty of Plants 2013, second place. TOP RIGHT Himalayan Poppy by Nigel Burkitt, Photo Projects: Macro Art finalist, 2013. RIGHT Jay taking Acorns by Alan Price, Bountiful Earth 2013, second place.

like this HDR does have to be used very sensitively to improve the sense of reality in the scene in front of you rather than imposing a style that creates a barrier between the viewer and the photograph. Have you any suggestions to photographers keen to enter the contest? Don’t try to second-guess what the judges like. The judges are excited, stimulated or inspired by the images they are presented with and they genuinely don’t come to the judging process with any fixed ideas or prejudices about which type of photograph will win. It’s about seeing what people do and being excited by what people do and that’s often about originality and technical expertise. What are IGPOTY’s longer term ambitions? To tour the exhibition in South Africa and Russia as well as in more venues in the United States. Is there anything else about IGPOTY that you’d like to share with our readers? I’d like to encourage people to have a look at the exhibitions, all the details of which are on the website, and I’d like to encourage people to have a go themselves. This year’s competition is now open and the book of the exhibition, which is available in online bookshops as well as on the high street, contains some very inspiring images which will help budding photographers develop their own personal vision.


You have until 31 October to enter IGPOTY 2014. The eight categories are open to both professionals and enthusiasts: The Beauty of Plants Beautiful Gardens Wildlife in the Garden Breathing Spaces Bountiful Earth

Trees Woods & Forests Wildflower Landscapes Greening the City

There are also two seasonal Photo Projects held throughout the year, the first of which is Monochrome (entries until 31 March) and then Macro Art (1 April to 30 June). Entry is £10 and that entitles you to submit up to four entries into any one category; you can enter as many categories as you wish with submissions to additional categories charged at £10. The International Garden Photographer of the Year wins £5000 and the RPS awards a portfolio prize of £2000. Winners will be announced in February 2015.

π To find out more go to

Issue 6 | Photography News

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