Photography News Issue 36

Your FREE newspaper packed with the latest news, views and stories from the world of photography news Photography Issue 36 29 Aug – 22 Sept News Tests Reviews Interviews Techniques Competitions Exhibitions Clubs Produced by


A Samsung 64GB Pro memory card Enter the competition on page 64 WIN!

People power How to get perfect portraits, pages 31 & 56

Gearing up Race straight to page 36 for honest opinions on kit

Back to school Turn to pages 25 & 63 for the latest lessons

More pixels, more features, more powerful, less weight; season four of the EOS 5D series looks set to be a massive blockbuster Canon smashes a four

Nikon targets DSLR newbies The Nikon D3400 is an entry-level 24.2-megapixel DSLRpriced at £469.99with the 18-55mm f/3.5-5.6 AF-P lens … continue reading on page 4

The announcement of the latest generation of the EOS 5D family is big news to all fans of Canon full-frame DSLRs. In what has been a busy year for Canon, the EOS 5D Mark IV strengthens an already impressive product line- up with the latest arrival boasting a 30.4-megapixel resolution, native ISO up to 32,000, 4K video and an advanced, high performing AF system featuring 61 points.

The EOS 5D Mark IV is also Canon’s first camera to feature Dual Pixel Raw technology. Each of the camera’s pixels comprises two photo diodes that can be used individually or together. Used individually resulting Raws are twice as large, but you get more focusing flexibility when files are processed in Canon’s DPP software. Body price is £3599 and sales will start from September.

Find out more by reading our hands-on report on page 3. Canon also added two high performance L lenses to its huge lens system. The EF 24-105mm f/4L IS II USM is priced at £1129, while the EF 16-35mm f/4L IS III USM at £2349. The 16-35mm will be available in October and the 24- 105mm later this autumn.

Photography News | Issue 36 |


Photography News | Issue 36 |


Canon EOS 5DMkIV Photography News attended the London announcement of the EOS 5DMkIV and Roger Payne got the chance to enjoy its delights – or at least of a working beta sample – and he came away mightily impressed


Price £3629 body only Effective pixels 30.4 megapixels Total pixels 31.7 megapixels ISO range 100-25,600 Sensor size/type 36x24mm CMOS Processor DIGIC 6+ Image size 6720x4880pixels ISO range 100-32,000 (expandable down to 50 and up to 102,400) Autofocusmodes One Shot, AI Focus, AI Servo AF Autofocus points 61 Exposure compensation +/-5 EV in 0.3 or 0.5 EV stops, AEB +/-3 EV in 0.3 or 0.5 EV stops Shutter speeds 30secs-1/8000sec, plus B Metering 150,000-pixel RGB+IR sensor, 252 zones. Evaluative, partial (approx 6.1%), spot (approx 1.3%), centre-weighted Exposuremodes Scene Intelligent Auto, Program AE, shutter-priority AE, aperture-priority AE, Manual, Custom x3 Max frame rate 7fps unlimited JPEGs or up to 21 Raw files LCD Fixed 3.2in touchscreen, 1620k dot resolution Video functionality 4K (4096x2160 pixels) at 30p/25p/24p, Full HD at 60p/30p/25p/24p, HD at 120p/60p Other Built-in GPS, Wi-Fi and NFC Interface USB 3.0, HDMI mini out, 1xCompactFlash (UDMA 7 compatible) and 1xSD (UHS-I compatible) Dimensions (wxhxd) 150.7x116.4x75.9mm Weight 890g (body only) Contact microphone socket, headphone socket Storage Dual card slots:

Words by Roger Payne

Eleven years after the original 5D we have the EOS 5D Mk IV and very impressive it looks too. The resolution has seen a big jump, now weighing in at 30.4 megapixels with a supporting DIGIC 6+ processor taking care of data handling. In reality, there’s a DIGIC 6 processor which takes careofmetering, leaving the 6+ to concentrate on image capture. New algorithms mean enhanced low-light performance, plus there’s also a jump in native ISO, which now extends from 100 to 32,000 and onward to 50 and 102,400 with expansion. Frame rates top out at seven frames-per- second for unlimited JPEGs and up to 21 Raws, while Live View images can be recorded at up to 4.3 fps. Design and handling are reassuringly familiar for existing EOS 5D series owners. EOS 5D spotters will notice that the handgrip and rear thumb rest are both a tad deeper for a more solid

Summary Canon had beta working samples of the camera and a group of bike riders and skateboarders on hand to be photographed at the London launch, so it was rude not to give the EOS 5DMk IV a try. Although I only had the camera for a matter of minutes, its capabilities were immediately evident; keeping up with trick- performing cyclists in a low-lit interior and delivering remarkably impressive results at high ISOs. The camera is everything you’d want the latest incarnation of the EOS 5D dynasty to be, although some may bemoan the lack of articulated LCD. Perhaps the only eyebrow raiser for me is the £3629 price tag, but we’ll have to see where the price settles on the high street after the initial flurry of pre-orders.

hold, plus there’s a new thumb- controlled button on the rear of the camera that can be customised to your own taste. By default, this button provides access to the new AF Area Selection feature for quick AF point selection. The rear LCD is now touch sensitive, plus there is a modest increase in the size of the pentaprism to house the necessary gubbins for the built-in GPS and Wi-Fi. Weatherproofing has also been improved and there are dual cards slots: one for CF, the other for SD. Despite these additions, the body is 50g lighter than the Mk III. The autofocusing system is plucked pretty much straight from the EOS-1D X Mk II. There are 61 points, 41 of which are cross- type. AF sensitivity goes down to EV-3 if you’re viewfinder shooting or EV-4 with Live View. Attach a teleconverter and you still keep all 61 points, plus you retain 21 cross- types, too. Like the EOS-1D X Mk

II, the 5D Mk IV uses Dual Pixel AF technology to deliver a more accurate focusing performance, but now Canon has added extra functionality off the back of this tech in the form of Dual Pixel Raw. Activated through the menu, this new feature works with each pixel being split into two separate photodiodes that can be used individually or together. Raw file size virtually doubles as a result, but the captured file allows you control sharpness and resolution in post-production, although it’s only available through the proprietary Digital Photo Professional software. Canon stopped short of suggesting this was a cure for inaccurate focusing, but it’s a feature that will be worthy of further investigation when we get a test sample. Video has also been given a leg up, after significant enhancements were largely overlooked on the Mk III. 4K footage is possible up to 30p.

David Parry – product specialist, professional

DP: It’s the fundamentals. This camera is all about image quality, giving the best images possible. The EOS 5D Mk IV has the latest sensor and I think it represents a big step forward for a full-frame sensor. You will notice straightaway the difference in the detail, high ISO capability and dynamic range. PN: Tell us about the new reflex mirror mechanism. DP: We’ve been trying to get rid of the springs in the mirror box, because once you release the energy in a spring there’s no controlling it. So we’ve tried different cams, gears and motors that you can control a lot better and eliminate mirror bounce. The new design slows the mirror down when it comes to the end of its travel and then speeds it up incredibly quickly. PN: Canon is dominant in all markets apart frommirrorless. Will we ever see a mirrorless model with an EF mount? DP: We are 100% behind mirrorless with two bodies and five lenses, but we don’t want to go off on a tangent and sacrifice other parts of our business. There are a lot of cameras in our offering and mirrorless sits as part of that.

Photography News: 11 years on, do you feel the essence of the original 5D has been retained in the EOS 5D Mk IV? David Parry: Without a doubt, but it has been moved on leaps and bounds. It’s still the workhorse, the tool, the thing that gets the job done. PN: Who is the typical EOS 5D user. Is there one? DP: Yes and no. The people who need to make the money out of photography, those are the guys who will be really excited by this new generation of 5 series, but there are a lot of enthusiasts out there who will enjoy using this product as well. There’s so much you can learn about this camera and it opens up so many different opportunities. What’s great about the last two generations – the Mk III and now the Mk IV – is that one day you can be shooting weddings and the following day you can be shooting motorsport with the same camera, which I think is really powerful.

Eleven years after the original 5D we have the EOS 5D Mk IV and very impressive it looks too

PN: What do you think are the key attributes of the new 5D Mk IV camera?


Photography News | Issue 36 |


Nikon targets DSLRnewbies The Nikon D3400 is a 24.2-megapixel DSLR priced at £469.99 with the 18-55mm f/3.5-5.6 AF-P lens. It’s also Nikon’s first entry-level DSLR to feature SnapBridge

News in brief

...Continued from cover

Bowens gets a newGM Following the acquisition of Calumet Photographic and Bowens Group by Aurelius, Euegene Ciemnyjewski is now the new general manager replacing interimmanager John Gobbi. Nikon get adventurous The Nikon COOLPIX W100 is a tough 13.2-megapixel compact that is shockproof to 1.8m, cold resistant to -10°C, dust proof and waterproof to a depth of 10m. Other key features include SnapBridge capability, Full HD video shooting and a Smart portrait system. The W100's design makes it easy to use and features dedicated one-touch buttons and an easy to use interface. It is due in the shops from early September and is priced at £129.99. includes firmware update 2.1, Leica Image Shuttle 3.4 and Leica Tethered Plug-in 1.1.0. Registered Leica SL owners can download the new updates from the Leica Owner’s Area or visit their nearest Leica Store or Leica Customer Care. Leica SL firmware update Leica has announced firmware updates for the SL which AuroraHDRgets an upgrade Macphun has addedmore functionality to its Aurora HDR software including batch processing, new tools, extra presets and reworked tone mapping and bracket merging for realistic HDR. It is available to pre-order now at a price of $89 to new customers. including to Blu-ray and USB drive. The full version costs $69.95 while existing users can upgrade for $44.95. ProShowGold8 Popular slide show software ProShowGold now sees version 8 which features an improved wizard, new caption features andmore output options

360fly has announced the launch of its 360fly 4K camera. This new model is able to produce 2880x2880 360° 4K video and has advanced features such as LIVIT Live Streaming, a Front-Facing Mode, Time-Lapse Mode, Motion and Audio Detection Mode and more. It also features Bluetooth and built-in Wi-Fi. The 360fly 4K is available now for £599.99. 360fly with 4K Nikon has announced a new entry- level DX-formatDSLR in theD3000 series. The D3400 is the first entry- level model to feature SnapBridge connectivity. SnapBridge allows you to download images straight from your camera via Bluetooth to your smart device so you can edit and upload images almost instantly. It is a low energy technology which means the connection can be left on constantly. The Nikon D3400 boasts 24.2 megapixels and the powerful EXPEED 4 image processor to produce highly detailed shots. It also features full HD video recording. With a low-energy design and high-capacity battery the D3400 can capture up to 1200 shots on one charge and offers razor-sharp autofocusing and an ISO range of 100-25,600.

Simon Iddon, head of product management at Nikon UK, says: “The D3400 is an exciting new addition to the already successful D3000 series. This small and fast DSLR inherits superior technology from Nikon’s higher-end cameras whilst retaining the ease of use that Nikon’s entry-level range of cameras is known for. “Alongside this, SnapBridge enables always-on connectivity allowing people to share high- quality images in real time.” The camera will be available from 15 September with a body only price of £399.99. Two kit options are available for the D3400, the 18- 55mm AF-P non VR kit is £469.99, while the 18-55mm AF-P VR kit is £489.99.

Creative backgrounds





Manfrotto has also updated its Digital Director with a new app which is now compatible with the iPad Pro 12.9in and the iPad Mini 4. Digital Director is priced at £249.95.

announced creative, reversible backgrounds. These collapsible backgrounds are portable and fast to set up offering two different backgrounds in one. Each background measures 1.2mx1.5mand is pricedat £118.95. new

Nikon has launched its first telephoto zooms to boast the new AF-P Stepping Motor, which ensures smooth and fast autofocus. The DX 70- 300mm f/4.5-6.3G is available in a VR and non-VR version. Both lenses feature extra-low dispersion glass elements and offer a compact build. The lenses will be available from 15 September with the VR version costing £349.99 and the non-VR version is priced at £299.99. Nikon 70-300mm

Interfit’s new line of professional softboxes are made from heat-resistant polyester, rated at 1000W and also feature a UV coating, as well as offering increased durability. The new range includes 13 models with sizes range from a 24in square up to an 84in octabox. Prices start from £85.99 up to £244.99 and are available Interfit announces heat-resistant softboxes

to purchase now. Also new from Interfit are the Deep Parabolic Soft Boxes available in 48in, 6in and 72in, 16 different traditional and tri-fold umbrellas and 12 deep parabolic umbrellas. See the range on the website.


Photography News | Issue 36 |


The PV270 photo and video editing monitor from BenQ offers a 2560x1440 (QHD) resolution and is priced at £788.40. It features 99%AdobeRGB, 100% Rec.709 and a 96% DCI-P3 colour gamut with IPS Technology. Thanks to a 14-bit 3D Look Up Table an accurate colour mixture can be displayed. The BenQ PV270 comes with a five-year warranty, Palette Master Colour Calibration Software and a monitor hood. BenQ unveils new 27inmonitor

News in brief

BronControl app The new BronControl app

offers photographers control of Siros lights direct from their smart device. A range of new features which includes Delay, Group, Synchronized Sequence, Freemask and Alternate modes are available. BronControl is available now as a free download from the Apple Store or Google Play. Track rechargeable battery powerwith ExpoImaging The Rogue Indicator Battery Pouch allows you to carry 12 AAA batteries, eight AA batteries, four 9V batteries or twomirrorless camera batteries and keep track of whether they are charged or not with its reversible green and red insert cards. It’s available to buy now for £12.99. NewNovo Accessory brand Novo Photo has a newwebsite so check it out for its camera support and gear carrying solutions. There is a special launch promotion with 20% off all products. Novo has also introduced a new range of high-quality, great value ball-heads. All are Arca Swiss-plate compatible. The entry-level LGH 25 has a maximum load capacity of 5kg and costs £49.95, while the top-of-the-range LGH 55 can take 25kg and costs £199.90. These are the normal prices so the 20% discount applies if you order while the launch offer is available.

Monochrome withAndy Beel Acclaimed black & white photographer Andy Beel FRPS has announced a seasonofmonochromemasterclasses, workshops and tours, whichwill start in September. Workshops include a five-day trip to Snowdonia for the It’s all about the light workshop where you’ll get to photograph the mountains, lakes, waterfalls and more, receive feedback on your images and see a post- processing demonstration. There’s also a photo tour from the Seven Sisters to Dungeness and other opportunities.

Magnum Photos has added three new products to its gift range, which includes a photographic travel journal so you can document your adventures, a poster book of prints from Magnum photographers including Henri Cartier-Bresson and Elliot Erwitt and a collection of street photography notecards. These unique gifts have all been produced in anticipation of Magnum’s 70th anniversary in 2017. MagnumPhoto gifts

Fujifilm’s X-series lens system has gained a new member, the XF23mm f/2 R WR, a fast-aperture, moderate wide-angle lens. Priced at £419 and available from late September, this lens, which is equivalent to the 35mm focal length in the 35mm format, offers a lightweight, more compact and tougher alternative to the existing 23mm f/1.4. Its size is similar to the XF35mm f/2 and the AF system uses a stepping motor for silent and fast autofocus. The metal body is robust and weather and dust-resistant, and will operate in temperatures as low at -10°C. Optical construction comprises ten elements in six groups with two aspherical lenses that are used as part of the focusing group to optimise performance with different subject distances. These lenses also ensure impressive edge-to-edge sharpness. The black option is available first with the silver model going on sale from next January. Fujifilm has also announced the X-A3, an X-series camera available exclusively from Jessops. The X-A3 with the XC16-50mm f/3.5-5.6 OIS II costs £599 and will be available in pink, brown and black. It features a new 24.2-megapixel APS-C sized CMOS sensor and five integral mechanisms to help selfie shooting. Availability is from late September. More fromFujifilm


Photography News | Issue 36 |


Landscape Pro

The creators of Portrait Pro have released a new software dedicated to editing landscape images. Landscape Pro allows you to select areas within an image; sky, trees, buildings etc. and adjust them individually. Head to page 55 to find out more and see our test. Available for PC and Mac, Landscape Pro is currently on sale with 50% off making the studio version £49 and the stand-alone version £29.95. Photography News readers can get an extra 10% off these prices by using the code, PN36 at the checkout.

Fotospeed has launched Foto Fest 2016, a free festival taking place 3-4 September in Corsham. The festival includes a marketplace with the chance to get special festival deals and talk to specialists from brands such as Canon, Kaiser, Herma, Datacolor and Lee Filters. There will also be a series of talks and an exhibition. While the event is free, you can buy tickets for Fotospeed Presents, offerings talks from the likes of Andy Beel, Tony Dudley, TomMason and Joe Cornish. Tickets are £25 for a day or £45 for the weekend. For tickets call 01249 714555 or buy online. Fotospeed Fotofest 2016

The Eye International Photography Festival The Eye International Photography Festival takes place Friday 30 September until Sunday 2 October at the Aberystwyth Arts Centre. Featured photographers include Eamonn McCabe, Nick Danziger and Maria Gruzdeva. Tickets cost £65 for the full weekend, £55 for students and seniors. For other ticket options and more information visit the website.

Archivum has partnered with LumeJet Print Technologies to produce a series of prints in special editions of the Beatles book, All You Need is Love . Another new book featuring photographs by Tom Murray will also include LumeJet photographic prints from Tom’s collection of Beatles images, all signed by Tom and numbered. The Beatles printed on LumeJet

PNY accessories has launched a new range of action camera accessories which includes five products; the Action Pole, Action Grip, Action Charger, Powerpack ST51 and PNY MicroSDHC Turbo Performance memory cards. Prices start from £24.99. PNY accessories

Digital Splash 16 – bigger and better than ever before!

WilkinsonCameras’ Digital Splash goes from strength to strength, with this year’s event taking place over two days in the brand-new Exhibition Centre Liverpool. With inspirational seminars from leading photographers including Tim Wallace, Jonathan Chritchley, Ross Grieve and Kate Hopewell-Smith, hands-on workshops and demos, photo walks and more – there’s lots to see, learn, do… and, of course, photograph!

Digital Splash 16 sees new brands exhibiting, including Hasselblad with its incredible medium-format X1D; Zeiss with a range of its top quality lenses and binoculars; and Bowens with its latest lighting range. Be the first to see new kit from Canon, Nikon, Olympus and more major releases hot off the press from Photokina 2016. Register online for free entry and a 25% discount on seminars.

Photography News | Issue 36 |


Photography News | Issue 36 |


RPS International Print Exhibition 159 winners announced For the first time in the world’s longest-running photo exhibition, women photographers scoop the four major awards

The Royal Photographic Society’s International Photography exhibition is the world’s longest running. This year its 159th edition saw the first time all four winners were female photographers. The gold, silver and bronze awards were won by UK photographers Carolyn Mendelsohn, Polly Braden and Poem Baker

respectively, with Russian photographer Anna Shustikova winning the under 30s category gold award. See all the pictures at the London’s Photomonth International Photography Festival on 13-18 October.

Andy Parkinson from Matlock in Derbyshire was named as the Bird Photographer of the Year 2015 at this year’s BirdFair. The competition saw over 6500 entries from 40 countries, but it was Andy’s image of a mute swan that saw him take the title and prize of £5000. Entries for the 2017 competition are now open. BirdPhotographer of the Year

Fifty Paths to Creative Photography Professional photographer Michael Freeman is releasing a new book through Ilex Press, Fifty Paths to Creative Freedom . The book is available from 6 October for £20. Fifty Paths to Creative Freedom looks at Freeman’s own work as well as work from other photographers and offers 50 paths to think about taking photographs, providing a new way to explore your favourite subject and get creative.

Industrial scars Environmentalist and photographer J Henry Fair, has announced the release of a new book. Industrial Scars, The Hidden Costs of Consumption will be available from October for £30. His photographs offer an aerial view of the effects on our planet from human impact.

The Weather Photographer of the Year received over 800 entries and now The Royal Meteorological Society and The Royal Photographic Society are asking the public to help choose the winner. See the finalists and cast your vote online. The winners will be announced 10 September. Weather Photographer of the Year

Detroit: Against TheWind

Magnum photographer Bruce Gilden will be exhibiting more than 20 new photographs shot on the Leica S-System and M-System at the Leica Gallery Mayfair, 17-30 September. Back in 2009 Gilden documented foreclosed homes and their owners in Detroit; earlier this year he returned to the city and will now be showcasing his work. The exhibition is open Monday to Saturday, 10am-4pm.

Photography News | Issue 36 |


Photography News | Issue 36 |

Tell us your club’s latest news, email:


Camera club news If your club has any news that you want to share with the rest of the world, this is the page for it. Your story might be about your club’s success in a contest, or a member’s personal achievement; it could be about a group outing you had recently or when the annual exhibition is on show. Any news is eligible for inclusion, so club publicity officers please take note of the submission guidelines and get your stories in

How to submit

Deadline for the next issue: 16 September 2016

We need words and pictures by 16 September for the next issue of Photography News , which will be available from 26 September. Write your story in a Word document (400 words max). Please include contact details of the club, exhibition or event – website, meeting times, opening times, whatever is relevant. Images should be JPEGs, 2000 pixels on the longest dimension, any colour space, and image credits should be included. If the story is an exhibition or event, please send a picture from the exhibition (not the publicity poster) or one from the event. If it includes people please identify them. Attach the Word document and JPEGs to an email and send to Autumn in Droitwich

News in brief

Dingwall closes Get your entries into the Dingwall National Projected Image Exhibition by 30 September. There are four categories – Open Colour, Monochrome, Nature and Landscapes – with 19 medals and 48 ribbons to be won. Full details are on the website. Billericay Photofold Camera Club member Tina Reid was the first female Brentwood member to win her LRPS. She showed her winning panel at a members’ evening at the club. Macro talk Heswall Photographic Society starts its 2016/17 season with a talk by Ron Thomas on macro photography. The talk is on Friday 9 September, in St Peter’s Centre, Lower Heswall. Details are on the website. Market Drayton showcase Join Market Drayton U3A Photographic Group members at their showcase in October. The group’s images will be on display and its members in attendance at the Dorothy Clive Gardens Pavilion for the first two weeks of the month. Entry to the pavilion is free, but there is a small fee to enter the gardens. marketdrayton Knaresborough turns 50 Formed in the year England won the football World Cup, Knaresborough Camera Club is now kicking off its 50th anniversary season with an enrolment evening on 14 September. Find out about the celebrations at the website. knaresboroughcameraclub. First for Brentwood Brentwood & District Photographic Club and

Droitwich Camera Club’s Robin Couchman has won a spot in the Worcestershire Wildlife Trust 2017 calendar with this lovely shot. His winning image will feature on the September page of the Trust’s calendar next year. “Pipers Hill is one of my favourite locations because of the shapes of the old trees. I just went up there for dawn as it looked like being a misty morning,” says Robin, “definitely worth getting up early for.”


Dorchester celebrates 80 To commemorate the club’s eight decades, the members have produced a book

Above Robin Couchman of Droitwich Camera Club got his shot featured in the Worcestershire Wildlife Trust’s 2017 calendar.

Dorchester Club’s programme secretary and vice chair, Penny Piddock hit on a novel idea for celebrating the club’s longevity: to create a book documenting the club’s history. But they hit a snag, says Penny. “Archive information was virtually non-existent, a few names on trophies, snippets from descendants of founder members, memories and photographs from some of our older members were all that remained of our history before the 1980s.” So instead, the club members have created a book for the next 80 Camera

years, documenting the club as it exists now. “All the members were invited to provide a page for the book, including images important to them, a few words and a selfie. I hoped we’d have enough pages to make it worth the effort and I wasn’t disappointed,” says Penny. The result is a 114-page book summarising the club’s early years and documenting the club as it is now. A copy remains with the club and another is in the county archive.

Above Among the images in the Suffolk Monochrome Group’s exhibition at Aldeburgh’s Snape Maltings in Suffolk is Low tide, West Mersea by Alan Turner. The exhibition runs 16-22 September, and is open daily from 10am. Entry is free.

Day trip to Ripon?

Ripon City Photographic Society invites you to visit its exhibition andcity. ThePS’s annual exhibition is at Allhallowgate Methodist Church Hall on 3 September and includes prints and digital images from club members. Entry is free, refreshments are available and the exhibition is open 9.30am to 4pm.

Once the exhibition, why not stroll along the city’s Law and Order trail and check out the canals? You could even wait until 9pm for the Ripon Hornblower on the marketplace. you’ve visited


Photography News | Issue 36 |

Photography News | Issue 36 |

Photography News | Issue 36 |

13 Interview

Profile Fine art photography LUMAS Gallery will be celebrating the work of British photographers this autumn, so we caught up with Honey Teslim, gallery director of LUMAS London and Jan Seewald, director of public relations at LUMAS to find out more

Can you tell us a bit about LUMAS and its aims? HT: LUMAS fine art photography is dedicated to making contemporary photography accessible to a wider audience of art enthusiasts and young collectors, both online and in over 40 galleries around the world. The portfolio of over 2000 works by 230 established photographers and rising stars, delivers a comprehensive look into theworld of contemporary art. Can you tell us about your role at LUMAS and what it entails? HT: As gallery director for LUMAS London I manage the day-to-day running of the gallery, from sales to event management – we host four to six exhibitions, lectures, artist talks and private views a year. I also liaise with the curatorial and portfolio team based in Berlin to ensure we have regular new hangings in the gallery andareup todatewithnewartistsand works joining the portfolio. However, the best part of the job is interacting with the clients and finding them the perfect piece for their space –whether it’s their home or office. You look at art every day so you have to love the art you buy, and it’s really rewarding to see a client’s excitement when they leavewith the perfect work. How do you find photographers and work to sell? JS: It’s very important that our portfolio represents a well-balanced list of artists and photographers, which means we want to support and work with a collection of new artists as well as establishing a strong relationship with those who have perhaps been part of the LUMAS portfolio for eight or nine years. LUMAS has a team of expert curators who keep informed on the latest trends in the international art market by regularly attending exhibitions, conventions, and festivals. In this way, LUMAS always stays current and exciting. What do you look for when choosing work? JS: I think our approach to choosing new work, or even to curating an exhibition, is quite organic. We track our global sales, and have subsections on the website that tell us and our clients when a particular work is reaching bestseller status, or has sold out. We also respond to moods and trends in the wider photographic industry, attending fairs and keeping up to datewith industry publications.


black & white shots open our eyes to the wildlife of the Alps, showing us ananimal kingdomworthpreserving. Hiswork is selling extremelywell, not just in London but in Zurich, Munich and Berlin. Our London collectors immediately fell in love with Gotsch’s portrait of a highland cow. Are there any photographers whose work is more popular than others amongst buyers? JS: These days, we have a good sense of which works will become favourites. For instance, one of our German photographers, Werner Pawlok, is a true bestseller with his Cuba pictures. He combines the art of the photograph with the power of a painting. We are convinced that the painterly character of his works is a big part of their success. People also like the story behind the photographs. By contrast, a work that really surprised us was Girl with a Fish by the Russian duo Andrey Yakovlev & Lili Aleeva, which sold out in a flash. In the piece, classical painting meets high fashion, utilising all the playful characteristics of the Russian avant garde. This combination proved fresh and new. We recently premiered new works by Canadian artist André Monet, who portrays the pop icons of our time in impressive, large-format collages. Before David Bowie’s death, Monet created a very melancholy, piercing portrait of the superstar. Our collectors were instantly smitten with this interpretation – we’ve never sold a limited edition so quickly before. How do you feel the UK views photography as art? JS: I think it’s been a recent development in art history, but I would say that the UK, and the wider world, now view photography as an art form in the same league as painting and sculpture. There has been an evolution from it as a niche market, perhaps documentary photography and photojournalism,

and now I would say it is one of the most important media in art.

which is apparent from growing worldwide interest in photography fairs such as Photo London and Paris Photo. Therehasbeena rapid increase in value and in prices, especially when it comes to the big names such as Horst P. Horst, Bert Stern or Cindy Sherman. I think the industry will continue to growinpopularityandwe haven’t seen its peak yet. What do your clients buy images for? Investment, interior decor, personal enjoyment? HT: All of the above and more. LUMAS in London has a developing business to business side to what we do, working with interior designers to provide a variety of work for a specific brief. Our core clients are usually individuals who buy art because they love it and many of them then find an interest in the investment potential. Is there a particular type of image or genre of work that sells in theUK and how does that compare with other markets – especially Europe and the US? JS: The LUMAS portfolio includes all styles of photography from abstract or conceptual to classical and modern portraiture. The themes represented in LUMAS’ portfolio include fashion, landscape, water, interiors, celebrities, nudes, architecture, cityscapes, movement, still life, technology, sport and wildlife. Our London collectors tend to prefer fashion shots such as the works from our Vogue archive collection, which includes masters such as Horst P. Horst, Edward Steichen and Erwin Blumenfeld. Wolfgang Uhlig’s photographs are also among our bestsellers, indicating our collectors are equally likely to fall in lovewith contemplative images. What is the LUMASUKbest-selling image, and why does it sell so well? HT: In June 2016, we released works by Swiss photographer Claudio Gotsch. His breathtakingly intense

Years in the photo industry? JS: Almost 15 now HT: Two years Current location? JS: Berlin HT: London Last picture taken? JS: The last picture I took was on an old graveyard in Berlin. I was walking with a friend and came across a pile of old gravestones, broken and ready to be taken away. I thought of all the lives and stories behind those stones and took a couple of great pictures. HT: My family When youwere younger, what did youwant to bewhen you grewup? JS: A doctor, which I am now... sort of! HT: Artist Dogs or cats?

This autumn you’ll be celebrating theworks of Britishphotographers, Jane Bown, Justin Barton, Peter Adams and Jonathan Andrew to coincide with Frieze London. Why did you choose these particular photographers? HT: Justin Barton is new to the portfolio and we’re launching his first series with LUMAS this September. At the same time two other really strong landscape photographers stoodout, JonathanAndrewandPeter Adams, and we wanted to celebrate the art of landscape photography. LUMAS artists come from all over the world; previous exhibitions have seen us looking to Cuba, to New York and further afield, but for this autumn we decided to look closer to home, celebrating the best of British. JS: Knowing that we were going to focus on British artists, I felt it was imperative to include the works of Jane Bown. Jane, who passed away two years ago, was a portrait photographer for the Observer , andher photographs are magnificent – black &white and completelymesmerising. A series of her portraits, of David Hockney, Samuel Beckett, Orson Welles and Dennis Hopper to name a few, are going to be in the gallery from earlyOctober.

JS: Both HT: Dogs Toast or cereal?

JS: Cereal HT: Cereal Email or phone call?

JS: Email HT: Email

Next at LUMAS

LUMAS will be exhibiting work in a series of events in September and October, to coincide with Frieze London. The Justin Barton exhibition opens September 15 and the Jane Bown exhibition opens 4 October.






Top left House of Eduardo II by Werner Pawlok Top right Girl with a Fish by Andrey Ykovlev and Lili Aleeva

this industry? JS:

Photography become increasingly popular both in the industry and with the wider public, has

Photography News | Issue 36 |



Before the Judge

Each month, a respected judge or exhibition selector shares their thoughts and experiences. This month we speak to David Gibbins who’s been judging since the 80s David Gibbins


DavidGibbins David Gibbins is the judges and lecturers secretary for the North & East Midlands Photographic Federation (N&EMPF) Executive Committee, and he is also chairman of PAGB Patronage on the PAGB Executive. He has been judging since 1983, graduating through the N&EMPF senior list to the PAGB list. Years in photography Photography has been my main hobby for over 35 years. It is not just ‘taking pictures’ as I get even more enjoyment from the camaraderie of being a member of a camera club, and visiting clubs as a judge and speaker as well as helping clubs through my active involvement on the N&EMPF Executive. Home club Beeston (Notts) Camera Club. I have recently had the honour of being made president. Favourite camera I don’t have a favourite camera. My workhorse camera is a Canon EOS 60D. Favourite lens My 75-300mm zoom is the one I use most. Favourite photographers I don’t have one specific favourite photography; over the years there are many I’ve admired. When I first got into photographer I started in landscape and I was influenced by Colin Baxter. Favourite subject I still have a soft spot for landscape work, but I like all genres. Awards ARPS, APAGB, EFIAP/bronze and BPE4*

My reward from judging is seeing good pictures. I have also learnt so much from visiting different clubs and different federations over the years that I may not have learnt if I had not gone out judging. I enjoy all judging events whether at the smallest club or the largest club and the different exhibitions and salons. Perhaps the most rewarding experience was when I was an adjudicator at the Awards for Photographic Merit at Keyworth in November 2014 when four photographers gained their MPAGB. Personally I believe the general standard of photography has increased over the 30 years I have been judging. Overall the technical side has greatly improved. In my opinion the standard of amateur photography in the UK is very high. The UK has done extremelywell at club level and PAGB level in recent FIAP World Cups and Biennials. Some of the best work in the UK can be seen at the PAGB Inter- Club PDI and Print Championships. In all my exhibition judging I have never been frustrated with my fellow panel members. There will always be occasions where one of us will score highly and another panel member will score low for a specific image. That is the benefit of having a panel. Sometimes when it comes to awards compromise may be required, but given that we have all scored highly for that image it is no major issue, and many exhibitions have a judge’s personal award. I prefer the spontaneity of cold judging as I see the images at the same time as the audience and can enjoy the impact with them. During the course of a season I see many images I consider outstanding. For me the skill, as a judge, is to try and articulate why the image works forme. The emotional response canbe very strong but for another person the imagemay not work as well.

From a technical perspective there is a tendency to oversharpen or overprocess images. Many images suffer from poor use of lighting; for landscapes this is often because the picture was taken under flat lighting conditions. Some images could be improved by selective cropping to simplify the image. The rule of thirds is a good guideline, especially for beginners. Many images are enhanced by the use of thirds. However, I have seen stunning images where all rules are broken, so from a judging perspective it is important to be open-minded. An ordinary snapshot could mean many things to many judges. There are some locations I see several times in a season and some interpretations workbetter than others, oftenbecause of lighting conditions, a slightly different viewpoint, and different exposure times. In a club competition if there are two very similar images I often compare them together to explainwhyoneworks better than the other.Ihaveyettofindanimagewhere I can’t find something positive to say, although sometimes it is difficult. There are a number of techniques or styles of photography that one could easily get fed up with. However at club level it is crucial to evaluate each picture against others in the competition and not to express any prejudices. If it is a good picture and conveys themessage it shoulddowell. It is not easy to stand up and analyse images in front of anaudience. This all comes with experience and knowledge and I am sure many judges might have done or said

Words by David Gibbins

I have been judging at camera club level for over 30years and I amhappy to travel anywhere. As well as visiting clubs I have undertaken taped and written judging for many clubs who do not have easy access to judges within the PAGB area. I have judged many exhibitions, my latest is the 2016Midland Salon. In the early 80s I volunteered to be a judge with the North & East Midlands Photographic Federation. I wanted to give something back to the federation and other clubs as I had called upon the services of lecturers and judges at my own club. I graduated quite quickly from the Federation’s supplementary judges list and eventually was honoured and delighted to be appointed to the Photographic Alliance list of judges. I always find judging rewarding. I sincerely hope I provide constructive feedback but that is for clubs to comment upon. I always try and find something positive to say about a picture and where I think improvements could be made, then makethesuggestionssympathetically.

something differently, especially in their early days of judging. I mention this because the judge who comes maybe just starting out. Alternatively, some judges are not always aware of current trends. I recognise that some judges seem unduly harsh or let personal dislikes influence their marking but the majority do a very good constructive job. It is important to recognise we all have different likes and dislikes; the best judges are thosewhocanevaluate every picture and allow the audience to understand how they came to their conclusion. Of course not everybody is open to criticism. My advice to potential entrants is to see as many exhibitions as possible as this will give them a general idea of the standard required and the type of image that is getting awards. From personal experience that some of my images are more successful overseas. Regardless of trends, excellent images will succeed. My recommendation would be to keep the image simple and ensure that it is the best quality possible, even more sowith prints. My advice to potential entrants is to see as many exhibitions as possible

What do you think?

Have you seen a photographic judge at work who you’d like to see profiled in Photography News ? If so please drop us a line to opinion@photography- with the judge’s name and, if possible, their contact details.

Photography News | Issue 36 |

Photography News | Issue 36 |


Competitions Seasons of the British Isles The Thomson Ecology Photography Competition is all about nature and wildlife. In its sixth year, we speak to marketing manager Gemma Balaam to find out more

I’ve always had an interest in photography, and used to have my own darkroom, so this seemed like a great opportunity to combine wildlife with photography – two areas which I, like so many other people, am interested in. It’s also great fun for us to have so much contact with people all over the world. Last year, one of our runner-up images was taken in West Bengal, India, and the overall winner of the 2014 competition was an image taken in New York City. It’s also useful in helping us generate more images for us to use on our website. We pay the photographer of any images we use a fee for use of their image. This is part of the terms of the competition. Tell us a bit about Thomson Ecology. Thomson Ecology is the UK’s leading ecological expert in gaining consents and managing ecological planning conditions. We have expertise across all ecology services from data gathering, analysis, consultancy and habitat creation. We advise clients inmost

sectors on how to comply, in a practical way, withwildlife laws to gain planning consent for their developments. These may be new power stations, wind farms, rail developments, motorway extensions or any large development projects. Our expertise covers ecosystems fromocean floor tomountain tops. The theme is Seasons of the British Isles. What sort of images are you looking for? Much of our work as an ecology consultancy takes place in the summer, but some ecological activities can be done throughout the year, even in the midst of winter. We are looking for images that reflect wildlife and ecology throughout the year by illustrating the seasons – perhaps a snowy landscape, or flora or fauna in summer, for example. What are you looking for in a winning image? What will make an image stand out? The winning image must have the wow factor. Pin-sharp in all the right places, great

Interview by Jemma Dodd

What role do you have within the photography competition? I started the competition six years ago, initially just as a bit of fun for the company’s staff. Then I thought we could ask some of our clients to enter, and then we decided to open it up to the general public. I thought it would be more fun and interesting to get a wider range of people involved and, of course, that way we would receive a much better selection of images. What are the aims of the competition and this year’s theme? The competition is a great way to generate more interest in UK wildlife and the diverse ecology that is unique to the British Isles. It is also an opportunity to share some of the great images which people have taken. Photography is so popular these days, with most people having access to a camera.

We’re looking for images that reflect wildlife and ecology throughout the year by illustrating the seasons – perhaps a snowy landscape

Above left Little Owls by Phil Scarlett, runner-up in the 2013 competition. Above right Sail Steam and Steel by Trevor Shelley, winner of the 2015 competition.

Photography News | Issue 36 |



Is there anything specific you are looking forward toseeing in thisyear’s competition? We are looking forward to seeing some really good examples of the seasons. Personally I love wintry scenes, so I’m hoping for some good snowy pictures! Having said that, autumn can be a very photogenic season, and spring and summer is when flora and fauna are in abundance. We were lucky this summer that the sun was shining and although it’s almost over now, I hope people managed to get out with their cameras. How has the standard of entries varied over the years? How have the numbers of entries increased? The numbers have definitely increased. In 2013, the winning image was printed in The Telegraph , giving the winner, and the competition, huge publicity. This has helped the competition become better known and we have seen the number of entries increase since then. The standard has always been high. The winner of our first competition, back in 2011, was taken by a photographer who was only 15 years old, but the image has remained one of my favourites. Do you tend to get more entries from amateurs or professionals? Has this changed over time? I think most of the images we get are taken by amateurs, but many are very serious about their photography so are extremely good. We do specify in our rules that any submitted images must not have won a national or international competition or have been published before.

composition, and powerful, so that it still has impact if only reproduced in a small size. Images must clearly demonstrate the subject, in this case, the seasons! What are the requirements for the competition and how do people enter? A maximum of two images can be submitted per person before Friday 30 September. Files must be at least 1MB in size and JPEG format. Images need to be emailed to nature@ and should be named first name-last name-image title.jpg. The email also needs to include a caption and brief description, including any species names; your name, address, telephone number; the date of the photograph and where you took it. The rules and requirements can be found on our website – ecology-photography-competition-2016. How does the judging process work? Three people within the company, myself included, will each pick our ten favourite images. We then compile them all and narrow them down to a shortlist by discussing them. We ask a previous winner of the competition to shortlist them further. More discussion will narrow them down until we have just the winner and runners-up. How are the winners awarded? Each winner will be contacted via email or phone. The prize money of £200 for the winner and £50 for three runners up will be transferred to their bank accounts, and the winners will then be announced on our website and via social media.

Autumn can be a very photogenic season

Above Godwits fighting by David Cantrille, runner-up in the 2012 competition. Top left Root of it all by Kristian Cruz, winner of the 2014 competition. Centre left Splash and Grab by Bill Doherty, winner of the 2013 competition. Bottom left Snail habitat by Ayokunle Ola, runner-up in the 2014 competition. I would advise entering photos that are relevant to the title Seasons of the British Isles. We’re received images which have clearly not been taken within the British Isles, so they are disqualified straight away, which is a shame. Whilst images don’t have to be of a professional standard technically, there are a few rules which are good to follow – such as, horizons should be level and not at an angle, and the subject must be sharp! What’s next for the competition? I hope that we can continue to run the competition and receive many, varied images. We love to use great photography on our website, and would much rather use photographs submitted through the competitions than library images! What advice would you give to anyone submitting an image this year?

Above Left European brown hare by Dave Griffiths, runner-up in the 2012 competition Left Home coming by Debashis Mukherjee, runner-up in the 2015 competition.

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