Photography News Issue 51

Your FREE newspaper packed with the latest news, views and stories from the world of photography news Photography Issue 51 15 Jan – 8 Feb News Tests Reviews Interviews Techniques Competitions Exhibitions Clubs Produced by


A Samsung 128GB memory card Enter thecompetition onpage48 WIN!

Awards Vote for your top gear See page 11

Canon EOS M100 Gomirrorless on a budget, page 34

Camera Club of the Year Portrait results are in. Turn to page 20 to admire them

A telephoto first fromNikon Nikon’s newest telezoom features an integral 1.4x teleconverter

Photo 24 2018 – dates confirmed Photo 24, our annual day- long festival of photography around London, in association with Fujifilm, will take place 29 and 30 June, starting at 3pm. We’ll have more news on how to get a place on Photo 24 and what we have planned in forthcoming issues.

The latest lens to join the Nikon range is the AF-S Nikkor 180-400mm f/4E TC1.4 FL ED VR. This telephoto lens is the first in the Nikon line-up to offer a built-in 1.4x teleconverter. The addition of this teleconverter allows you to increase the focal length range up to 560mm with a maximumaperture of f/5.6. Ideal for sports and wildlife photography, the lens features

N i k o n ’ s Vi b r a t i o n

features weather sealing. A fluorite lens helps to reduce the weight of the lens, while a fluorine coating on the front element repels water, dust and dirt. The AF-S Nikkor 180-400mm f/4E TC1.4 FL ED VR is available from 8 March with a recommended price of £10,999.

Reduction, which gives a four-stop benefit even when using the teleconverter, and it also has an advanced autofocus and Sport VR for tracking fast-moving subjects. Design-wise the lens’ zoom and focus ring positions have been reversed to offer more balanced handling and the body also

Photography News | Issue 51 |


Photography News | Issue 51 |


A first for Samyang

Samyang the launch of its first Canon EF mount autofocus lens. The AF 14mm f/2.8 EF lens is designed for use with full- frame Canon DSLRs and features weather-sealing. Its optical design has 15 elements in ten groups that includes seven special glass lenses. To help minimise distortion and aberration two aspherical, four high-refractive and one extra-low dispersion comprise the seven lenses. This lightweight optic weighs just 485g and also features a built-inAF/MF switch allowing you to quickly switch your preferred style of focusing. The AF 14mm f/2.8 EF will be available from February at a recommended price of £649. has announced

Manfrotto’s 190 tripod range has grown with these new lightweight tripods The Manfrotto 190go! M-series features a new twist lock (M-lock), which offers quick and easy set- up. In addition to this the tripod offers a 90° column mechanism, which can be adjusted to the horizontal position for versatile shooting. Other features include four leg angles and an Easy Link attachment. The M-series is available in aluminium and carbon versions and with the MHXPRO-3W three-way head or the MHXPRO-BHQ2 XPRO Ball head. The carbon versions have a new carbon- fibre weave to increase the strength of the tripod, while still remaining light. Prices start at £174.95. Manfrotto 190go! collection announced

Panasonic Lumix GH5 focuses on video

Panasonic has unveiled a new version of the Lumix GH5, the GH5S. Targeted at videographers, the GH5S features a newly- developed 10.2-megapixel high- sensitivity LiveMOS sensor. Based on the GH5, it offers expanded video recording and enhanced image quality. It offers amaximum ISO of 51,200 and Dual Native ISO

technology, pre-installed V-Log, time code in/out for multi-camera shoots and internal 4:2:2 10-bit recording at 400Mbps All-Intra in 4K 30p/25p/24p. The Panasonic Lumix GH5S will be available at the end of January for £2199 body only.

Meet the smallest EpsonA3+ printer

The Epson Expression Photo HD XP-15000wireless photo printer canprint up toA3+ size photos on a range of media including card, CDs and DVDs, yet it only takes up the same kind of desk space as an A4 printer. It features a new six-colour Claria Photo HD ink set, which enhances the grey and red inks and its new grey ink means mono photos will have smoother gradations between shadows and highlights. The inks have a claimed longevity of up to 300 years in an album. The Epson XP-15000 can print nine colour pages per minute and A4 double-sided. It features a 2.4in LCD screen and

there’s also a motorised output tray and auto power on. Which all points to this being a very user-friendly printer. Available now the Epson XP- 15000 is priced at £279.99.


Photography News | Issue 51 |


Hähnel Cube charging

News in brief

DxOPhotoLab 1.1 improvements DxO has announced that its Raw processing software PhotoLab 1.1 now has an easier-to-use design and the ability to interface with Adobe Lightroom CC Classic. The software is now also compatible with additional cameras and drones including the Canon EOS M100, Olympus OM-D E-M10 Mark II and DJI Mavic PRO drone. Those who purchased or updated a DxO OpticsPro licence on or after 1 September 2017 can upgrade their software for free. Otherwise you can choose from two packages; the DxO PhotoLab ESSENTIAL Edition for £99 or the DxO PhotoLab ELITE Edition for £159. 3 Legged Thing Following on from the success of the QR11-L Universal bracket released in 2017, 3 Legged Thing has now introduced two new models, the QR11-FBC and QR11-FBG for full-frame DSLRs. Both models are designed to allow you to quickly switch between portrait and landscape orientation. The quick release plates feature a 110mm working base that is compatible with standard Arca Swiss style clamps and heads. Priced at £59.99 the brackets will be available in copper and metallic slate grey from the end of January.

With battery charging such an important aspect of modern day image making, the Hähnel pro CUBE2 charger should be top of your shopping list. The original CUBE had limited options when it came to camera battery types and switching charging plates meant fiddling with a connector. Although it wasn’t too difficult, the CUBE2’s cableless plate has made the process much more user-friendly. All you

have to do now is use the supplied tool to release the plate and then you slot home the new one. The range has been expanded too to cover Fujifilm/Panasonic, Olympus and Sony as well as Canon and Nikon. Each camera plate can charge two cells at the same time and the new model shows an mAh reading on the LCD monitor to show how much capacity has been added during charging. A 15-minute

charge can give 300mAh, which will offer sufficient power to take approximately 150 photos. As with the original CUBE, AA cells can be charged and that plate simply rests on top of the camera charging plate. The pro CUBE2, complete with plates, a mains unit and car charger, costs £69.99.

Banish shadows withNanGuang

One system, three prime lenses and two aperture mechanisms – that’s the new Neptune Convertible Art Lens from Lomography. This single lens system features three interchangeable lenses, which can be attached to the lens base allowing you to shoot at fixed focal lengths of 35mm f/3.5, 50mm f/2.8 or 80mm f/4. Each of the lens elements works with a seamless iris diaphragm aperture mechanism to help produce sharpness andsmooth bokeh. The system also comes with special aperture plates, which feature different designs to help you create different bokeh shapes. The system, the result of a Kickstarter campaign, is available in Canon EF, Nikon F and Pentax K mounts, with prices varying between £839 and £858.90. See the full range at Lomography introduces the Neptune

The range of NanGuang LED Mixpads features three models to helpphotographersandfilm-makers alike banish unwanted shadows from their subjects. All three Mixpads can be used in the studio or on location. The NanGuang Mixpad 32 priced at £119.94 features 328 LEDs in a 14.5x15cm panel offering 765 lumens of power. The Mixpad 41 has 440 LEDs and measures 170x163mm and is priced at £149.94. Both of these compact models feature a built-in cold shoe and are aimed as those lighting product sets or close-ups. Ideal for larger subjects such as portraits, the Mixpad 106 measures 35.6x29.7cm and it can act as a stand-alone light or as part of a full studio set-up. This model has 1144 LEDs, offering a brightness capability of up to 2308 lumens and is priced at £329.94. Also new is the NanGuang Luxpad22 kit, priced at £99.96. Designed to sit on top of the camera, it measures 17.5x12cm.

Images With threemodels of different sizes andwith varying numbers of LEDs, the NanGuangMixpad range offers a sure-fire way to avoid shadows.

Get ProfessionalPhoto magazine Enhance your earning power with Professional Photo magazine. Every issue is full of practical advice on how you can take your business further.

ToTheCustomer:Simplycutoutthiscouponandhand ittoyour WHSmithHighStreetretailertoclaimyourcopyof Professional Photo for£3.75 insteadoftheusual£4.75.Thiscouponcanbe usedaspartpaymentfor issue141or142of ProfessionalPhoto on salebetween4Januaryand28February2018.Onlyonecoupon canbeusedagainsteach itempurchased.Nocashalternative is available.Nottobeused inconjunctionwithanyotheroffer. TotheWHSmithRetailer:Pleaseacceptthisvoucheraspart paymentofonecopyof ProfessionalPhoto onsalebetween4 Januaryand28February2018.Thisvoucher isworth£1plusa2p handlingallowance.Theoffer isvalidtotheconsumerupto28 February2018andmustbereturnedtoyourclearinghouseto arriveno laterthan31January2018(issue141),28February2018 (issue142).Asyourshopbelongstoamultiplegroup,please handle intheusualway.Thisvoucher isnotredeemableagainst anyother itemand isonlyvalid intheUK. Offer subject to availability andwhile stocks last

Issue 141 is currently on sale, offering advice and inspiration on how to boost your profits and also gives an insight into when you should say no to free work. There’s also lighting techniques, business advice and a test of the FujifilmX-E3, while issue 142 available from 1 February will look at what products and trends are going to be hot in 2018, showcases two book projects, and has not just one, but five lenses on test. Take advantage of our exclusive money-saving offer and buy a copy of Professional Photo from WHSmith using this voucher, saving you £1 off the usual £4.75 cover price.


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Photography News | Issue 51 |

Photography News | Issue 51 |


Photography News | Issue 51 |


Great news for Fujifilmflashusers

Get free Affinity Photo Software

News in brief

Profoto now has its Air Remote TTL transmitter available for the Fujifilm X Series camera system. The Air Remote TTL-F costs £320 and meshes fully with Profoto lighting units so you can enjoy such features as TTL flash and high-speed sync at shutter speeds up to 1/8000sec. Wireless operation is available up to 300m from the unit, and there is the option of eight channels and three groups per channel. Its user-friendly interface also makes the trigger simple to navigate.

XP Distribution and Serif have continued their partnership in 2018 and are pleased to offer a free software download of Affinity Photo, worth £48.99, for MacOS or Windows desktop with each purchase of selected X-Rite products when bought before 31 March 2018. The X-Rite products included in the offer are the i1Display

Pro, Kit, ColorChecker Passport Photo, ColorMunki Display and ColorMunki Photographer Kit. To claim your free licence for Affinity Photo visit xritephoto. eu/affinity, enter your details on the form and upload a proof of purchase. i1Photographer

Protect your lenswith Tenba Tenba has launched a

range of Soft Lens Pouches, which features a neoprene construction to protect lenses from dust and minor damage when in your kitbag. The pouches are available in five different sizes with prices starting at £15.

15th anniversary Travel Photographer of the Year winners

Nikon releases SnapBridge 2.0

Bowens repairs available at FixationUK Fixation UK (part of Wex Photo Video) has now set up a dedicated team of lighting equipment experts to offer Bowens kit repairs and service requirements, which will include flash tube replacements; technician’s structure and includes instructions to help you connect to your camera. Further additions include a power-saving mode, more stable connections, the ability to control camera settings and faster displaying of images. SnapBridge is available for iOS and Android devices and can be downloaded now. Nikon has announced the release of version 2.0 of its SnapBridge app, allowing you to connect your smart device to your camera via low-energy Bluetooth. The new version has an updated design and menu

More were




submitted 2017 Travel Photographer of the Year competition from photographers in 129 countries. The overall winner was Alain Schroeder, a photojournalist from Belgian who submitted portfolios of Kushti wrestling in India and the complex rituals associated with death in Toraja, Indonesia. As well as being named the Travel Photographer of the Year Alain received £4000, £750 to spend on Páramo clothing and a Plastic Sandwich personalised leather portfolio case. Taking the Young Travel Photographer of the Year title was 12-year-old Morgan Wolfers from Colorado, USA, who submitted a beautiful shot of aspen trees and leaves, which she took when she was 11. Ifyouloveallthingsnaturethenthe RHS Photographic Competition might be the perfect competition for you. The competition is calling for entries across nine categories; Celebrating Gardens; Welcoming Garden Wildlife; Pure Plants; Abstract; Urban Gardening; Social Media; Under 18s (age 11-17); Under 11s and Portfolio. The first, second and third place winner of each category will receive a cash prize from the overall fund of £10,000, and the winner of each adult category will also receive a year’s membership to the RHS. Free to enter, the competition closes at 10am on 1 March. Enter at uk/photocomp. to the

Images The Travel Photographer of the Year contest is growing every year and in this its 15th incarnation over 20,000 images were received from all around the world. Go to to enjoy the full array of winning images.

A full gallery of all 140 winning, runner-up, commended and special mention images can be seen at tpoty. com/winners/2017.

RHS Annual Photographic Competition

inspection for insurance needs; replacement of

failed components; and free estimates within two working days.

Crumpler joins Intro2020 Intro2020 has been appointed the sole UK distributor of Crumpler photo bags. The range includes small camera pouches, camera straps, shoulder bags and backpacks.


Photography News | Issue 51 |

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 achievements; 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: 5 February 2018

We need words and pictures by 5 February 2018 for the next issue of Photography News , which will be available from 12 February 2018. 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

RPS Thames Valley hosts TimPile

Potters Par PS

SeeJoeCornish atAyrPS

Eastbourne PS Eastbourne PS (EPS) has continued its success in external competitions and the club recently represented the KCPA in the PAGB InterClub National Print Championships in Blackburn. As winners of the Ross Cup, Eastbourne PS was chosen to be one of two clubs representing its region, and although the club did not win, it was the best result for years. The Thames Valley RPS DIG Group is offering the rare chance to attend a full day with the internationally recognised photographer TimPile. The day follows Tim’s journey from entry into digital photography, through to how and why he came to specialise in nudes and his journey to achieve his many awards and distinctions. He also explains how he findshis locations, howheworkswith his models on location, how he uses natural light, and other aspects of his work including his post-processing. Ticket cost £8 for RPS DIG members, £12 for RPS members and £15 for others, all with free refreshments. The event takes place

Potters District Photographic Society enjoys its 70th anniversary year in 2018 with a programme of competitions, presentations and visits offering a varied line-up of events for photographers at all levels of experience and with exhibitions in the local area throughout the year. At the final meeting of 2017 the Potters Bar & District PS presented its trophies for the past year. The Society awards 14 trophies across a range of year-long and one-off competitions. Fiona Adamson won six including for Advanced Print of the Year and Projected Image of the year, so well done to her. Potters Bar & District PS meets on Mondays at the Wyllyotts Centre from 7:30pm. Potential members may visit up to three times before they decide to join. Bar &

at Woosehill Community Hall, Woosehill, Wokingham, Berkshire RG41 3DA. Doors will open at 10am for a 10.30 start with a 3.30pm finish For more details and to book, please visit march/25/di-group-thames-valley- centre-event.

Clacton CC Clacton Camera Club has wildlife photographer Ashley Grove as its guest speaker on 16 March. The event takes place at the McGrigor Hall, Fourth Avenue, Frinton on Sea, Essex CO13 9EB, at 7.30pm. Ashley took to wildlife photography in 2005. He gets a great deal of pleasure from the natural world and in sharing his experiences with others. Tickets are £10 each including refreshments and available from secretary@ Ayr PS has internationally renowned landscape photographer and author Joe Cornish booked to deliver a keynote address entitled Changing Light at 7.30pm on 22 February 2018. It is a rare opportunity to hear this hugely respected photographer talk about his work. The event will be in the lecture theatre of Kyle Academy, Overmills Road, Ayr KA7 3LR. Tickets cost £8 including refreshments and are available from Eddie Telford, edmundtelford@btinternet. com.

Images: Learn the skill of fine art nudework fromTimPile, an award-winning photographer.

member Peter Bettley a Gold Medal and the Portman Cup, and this helped Eastbourne PS win the Open section of the competition. The club meets at 7pm on Friday evenings at its new venue, the Bridgemere Centre, 100 Bridgemere Road, Eastbourne BN22 8TY. If youwould likemore information on the club please contact: membershipsecretary@

The club also entered a selection of images from photographers of various levels in the Sussex Photographic Federation PDI held at Burgess Hill. One of the images won EPS

Shoot models at Solihull PS

Tonbridge CC’s on show

Solihull PS has amodel shoot booked for 30 January 2018. Members will have the opportunity to take photos of two professional models using studio lights and backdrops. The evening commences with a brief presentation about how to use studio lighting, what camera settings to choose and how to interact with models. Members will then work in pairs – one as photographer and one as assistant – taking it in turns to visit each of the studio areas. Solihull PS meets at the WI Hall on Warwick Road, Solihull, starting at 7.30pm. Entrance is £3 on the door. Visitors and potential new members are always welcome.

Images: Previous awardwinners fromTonbridge CC’s exhibitions.

Not many camera clubs can claim more than 50 public exhibitions but Tonbridge CC is holding its 52nd annual exhibition in Tonbridge Castle from 9 to 15 February. Members

were invited to submit six each of prints, slides and DPIs which were judged for the exhibition by Roger Reynolds Hon FRPS.

Photography News | Issue 51 |

Photography News | Issue 51 |


Photography News | Issue 51 |


Gear of the year The Photography News Awards 2017 It’s time for you to recognise brilliant products and outstanding service in our annual Awards. Your votes will decide the winners so please check through our nominations and pick the products and services that you think deserve the ultimate accolade

Thephotographicgearlandscapeisconstantly changing and we have more gear options than ever before as progress and innovation continues apace. The aim of our Awards is simple: it’s your chance to recognize awesome kit and wonderful service. We’ve shortlisted products in key categories and then you get the chance to pick what you think deserves to win. It couldn’t be simpler: voting is done online and it’s free. You don’t even have to register to vote. The

only categories where we haven’t done any shortlisting are in the service categories like Best Retailer, Best Website Provider. In those you nominate who you think deserve to win. In the case of categories like Best Retailer where there may be a chain of stores, please nominate the name of the store group and the individual shop please. To vote go to, follow the Awards link and complete the voting form. You can vote in every category

but if youprefer tovote for just a fewcategories that is perfectly fine too. It’s entirely up to you, and it shouldn’t take more than a fewminutes even if you vote in all categories. Thank you for support.

Closing date for votes is 26 February 2018


Photography News | Issue 51 |


WIDE-ANGLE LENS Canon EF 11-24mm f/4L USM Fujifilm XF23mm f/2 R WR
 Laowa 12mm f/2.8 Zero-D Nikon AF-S 28mm f/1.4E ED

ADVANCED CSC Canon EOS M6 Fujifilm X-T20 Olympus OM-D E-M5 Mark II Olympus PEN-F Panasonic DC-GX800 Sigma sd Quattro H

Sigma 12-24mm f/4 DG HSM A
 Sigma 14mm f/1.8 DG HSM A
 Tamron 10-24mm f/3.5-4.5 Di II VC HLD
 Zeiss Milvus 25mm f/1.4

MACRO LENS Fujifilm XF80mm f/2.8 R LM OIS WR Macro Olympus M.Zuiko ED 30mm f/3.5 Macro
 Samyang 100mm f/2.8 ED UMC Macro Sigma 105mm f/2.8 EX DG OS HSM
 Tamron SP 90mm f/2.8 Di Macro 1:1 VC USD Voigtlander E-Mount 65mm f/2 Macro Apo-Lanthar


Nikon D5600 Nikon D7500

Pentax KP Sony A68

PROFESSIONAL CSC Fujifilm X-Pro2 Fujifilm X-T2 Leica M10

STANDARD LENS Fujifilm XF16-55mm f/2.8 R LM WR Fujifilm XF35mm f/2 R WR Olympus M.Zuiko ED 25mm f/1.2 PRO 
 Sigma 24-70mm f/2.8 DG OS HSM A Sigma 50mm f/1.4 DG HSM A Tamron SP 24-70mm f/2.8 Di VC USD G2 Voigtlander Nokton MFT 25mm f/0.95 II Zeiss Touit 32mm f/1.8

Panasonic Lumix DC-GH5 Olympus OM-D E-M1 Mark II Sony A9

ADVANCEDDSLR Canon EOS 6D Mark ll Canon EOS 7D Mark ll

Nikon D500
 Nikon D850
 Pentax K-1 Sony A77 II

TRIPOD: ALLOY Benro Travel Angel FTA28AB1

COMPACT/BRIDGE Canon PowerShot G1 X Mark III Fujifilm X100F Fujifilm X70 Leica X-U Panasonic Lumix DMC-LX15 Sony RX10 IV

Kenro Karoo Compact Tripod (Aluminium) 102 Manfrotto Be Free Aluminium Travel Tripod Nest NT-363AT Aluminium Systematic
 Slik PRO 400DX
 Vanguard Alta Pro 2+ 264AT TRIPOD: CARBON-FIBRE Gitzo Systematic series 5 long, 4 sections GT5543LS Kenro Karoo Ultimate Travel Tripod 401C Manfrotto 190 Go! Carbon 4-section Nest Traveller NT-6264CK

TELEPHOTO LENS Fujifilm XF100-400mm f/4.5-5.6 R LM OIS WR Fujifilm XF50mm f/2 R WR Nikon AF-S 105mm f/1.4E ED Olympus M.Zuiko ED 40-150mm f/2.8 PRO Sigma 120-300mm f/2.8 DG OS HSM S Sigma 85mm f/1.4 DG HSM A Tamron SP 150-600mm f/5-6.3 Di VC USD G2 Zeiss Otus 85mm f/1.4

PROFESSIONAL DSLR Canon EOS 5DS R Canon EOS 5D Mark IV Canon EOS-1D X Mark II Nikon D5 Sony A99 II

Novo Explora T20 Velbon GEO E543D



ON-CAMERA FLASH Hahnel Modus 600RT
 Kenro Speedflash KFL101 Rotolight NEO 2 Nissin Di700 Air 
 Pixapro Li-ION580 MK II TTL Profoto A1

SUPERZOOMLENS Fujifilm XF18-135mm f/3.5-5.6 R LM OIS WR
 Nikon AF-S 28-300mm f/3.5-5.6G ED VR Olympus M.Zuiko ED 12-100mm f/4 IS PRO Tamron 18-400mm f/3.5-6.3 Di II VC HLD Tamron 28-300mm f/3.5-6.3 Di VC PZD

Hasselblad H6D-100c Hasselblad X1D-50c Leica S-E
 Pentax 645 Z Phase One IQ3 100MP Trichromatic

Fujifilm X-A3 Fujifilm X-E3 Olympus PEN E-PL8 Olympus OM-D E-M10 Mark III


Photography News | Issue 51 |


BEST RETAILER Whether you shop for your photo kit online or in store, nominate the photo retailer that has you going back time and time again.

BEST USED SPECIALIST RETAILER The market for secondhand or (pre-loved!) imaging gear is growing so whether you’re buying or selling, you need a dealer you can trust. This is your opportunity to name your favourite used dealer.

PORTABLE FLASH broncolor Siros 400 L Elinchrom ELB 1200 Pixapro PIKA200 TTL Pixapro CITI 600 TTL

EXTERNAL STORAGE DEVICE Drobo 5C G-Technology G-Drive USB-C LaCie Fuel 
 Samsung Portable SSD T5 Seagate Backup Plus Desktop Western Digital My Passport Wireless Pro

Profoto B1X Profoto B2

PROCESSING LAB Which processing lab do you trust with your photos, albums or stationery? If they offer high- quality and utterly reliable service at competitive prices, are they worthy of a PN award?

INKJETMEDIA: PHOTOGRAPHIC FINISH Canson Infinity Baryta Prestige Gloss 340gsm Epson Traditional Photo Paper Fotospeed Platinum Baryta 300 Signature Hahnemühle FineArt Baryta Satin
 Ilford Galerie Prestige Gold Fibre Silk 310 PermaJet FB Mono Gloss Baryta 320 INKJETMEDIA: FINE ART FINISH Canson Infinity Rag Photographique 310gsm Epson Ultrasmooth Fine Art Fotospeed Platinum Etching 285 Signature Hahnemühle William Turner 310

PHOTOWEBSITE PROVIDER For gallery websites or full-service sites with client- proofing and a blog, which provider offers the best range of templates and customisation options together with top-notch customer service?

MAINS FLASH Broncolor Siros 400 S Elinchrom ELC Pro HD Godox QT II Pro 600 Lencarta SuperFast Pro 400Ws Pixapro Storm II 600 Profoto D2

Da Vinci Soft Textured 315 PermaJet Photo Art Silk 290

TRAINING PROVIDER From basic photo knowledge through particular tips and techniques to camera-specific training, in the classroom, studio or out on location, which provider offers the best learning experience, in your opinion?

SOFT SHOULDER/SLING BAG Cullmann Amsterdam Maxima 335 Lowepro ProTactic SH200 AW Manfrotto Windsor camera reporter Mindshift BackLight 26L Tamrac Anvil 23 ThinkTank StreetWalker V2


 DataColor Spyder5ELITE DataColor Spyder5CAPTURE PRO X-Rite ColorMunki Display
 X-Rite ColorMunki Photo X-Rite i1Photo Pro 2 MONITOR BenQ SW320 Pro 32in IPS LCD
 BenQ SW2700 PT 27in IPS LCD Eizo ColorEdge CG277 27in NEC MultiSync 27in LCD 4k UHD IPS
 Phillips BDM4037UW 40in 4K display

FILTER Cokin Nuances family Hoya PRO ND family

Lee Filters ProGlass IRND Manfrotto Xume Adapters Marumi DHG Super Circular Polariser SRB Elite Filter System

ROLLER/HARD CASE B+W International Type 5000
 Lowepro Pro Roller X100AW Manfrotto Pro Light Reloader 55 Novo Dura 400 Hard Rolling Waterproof ABS case Panzer Centurion 30 Peli Air Case 1535

INNOVATION Fujifilm GFX: mirrorless medium-format system Profoto A1: world’s smallest studio light Rotolight NEO2: continuous light and HSS flash Sony A9: 693 AF points and 20fps shooting

The details

How to vote Go to and follow the link to the Awards to vote. It’s free and you don’t need to register. Voting closes on 26 February 2018. The results We’ll announce the results in issue 53 of Photography News, out from 12 March 2018, and we’ll present the awards to the deserving recipients at The Photography Show, at the Birmingham NEC, 17-20 March 2018.

PRINTER Canon imagePROGRAF PRO-1000 Canon PIXMA TS8150 Epson SureColor SC-P600 Epson SureColor SC-P800 Epson SureColor SC-P5000 STD Fujifilm instax SHARE SP-2

MEMORY CARD PNY SD Elite Performance 256GB
 Samsung PRO Plus 128GB microSDXC SanDisk Extreme PRO microSDXC UHS-II 128GB Transcend Ultimate 64GB microSDXC 633x

Advertisement feature 14

Photography News | Issue 51 |

The difference is clear The journey to great photography starts with light passing through the lens and onto the sensor. If you use a filter it needs to be the best you can afford so those rays of light reach the sensor unscathed. Leading filter brand Hoya has introduced two new filter ranges that can do that job brilliantly

Taking high-quality photographs is simple and it all starts with the lens. It is the lens that gathers the light and focuses it onto the digital sensor; how well a lens does this determines image quality. But there is a stage before the lens and light has first to pass through the filter on to the front of the lens, so it makes sense to use the best quality filters possible, such as new NX-10 and Ultra-Pro ranges from world renowned filter brand Hoya. Both ranges feature ultra-violet (UV) and circular polarising filters in a full range of screw-in sizes, from 37mm to 82mm and are available exclusively in the UK through selected retailers (see opposite). The flagship Ultra-Pro range is stain and scratch resistant plus it’s water and oil repellent. For maximum light transmissionUltra- Pro filters feature 16 anti-reflective coatings with 99.5% of light passing

through in the case of the UV filter and 90% for the polariser. The NX-10 is equally impressive with ten coatings on the UV filter to give 98% light transmission. It is also water and oil repellent. As with many high-value consumer items, you should be aware that fake Hoya filters are on the market. Fakes may resemble the real thing on the surface but they will not deliver the same quality performance. If you see what are claimed as Hoya filters at bargain prices, check them thoroughly. Fake filters may feel poorly engineered and you may see misspellings like ‘Mode in Japan’, so if you have any doubts, steer clear. To avoid the risk of buying fake Hoya filters, the NX-10 and Ultra- Pro ranges are available exclusively through a selected network of UK retailers so you can buy from them in complete confidence.

The joy of UV – for protection

The polariser explained

both offer circular polarisers. The ‘circular’ is not a reference to the filter’s round shape, but to its design and how it works. This polariser type is ideal for all autofocus cameras. Hoya uses the finest optical glass and polarising film for neutral results so you won’t get a colour cast. In the case of the Ultra-Pro, 16 anti-reflective coatings have been applied for flare-free results and maximum light transmission. Water and oil repellent coatings have been used too. Hoya’s polarisers also feature a very thin rotating frame to minimize any risk of vignetting with ultra wide-angle lenses and its smooth rotation makes it easy to use. The filter’s front has a thread to accept another filter if needed.

The polariser is the single most useful filter in photography and with no more than a simple twist of the filter in its rotating mount can transform a good image into something truly spectacular. The polariser’s value comes from its versatility. It can reduce reflections off glass, water and painted surfaces, enhance blue skies and saturate colours. One extra job of the polariser is that it can be used to allow you to set a longer shutter speed. Furthermore, its effects can’t be truly replicated in editing software so the polariser must be used at the time of capture. It is a really powerful piece of kit and its usefulness is beyond measure. The NX-10 and Ultra-Pro ranges fromHoya

Image Facing towards the sun can cause flare and ghosting that can spoil your pictures. Hoya usesmulti-coating

to help deliver high-contrast

photographs free of such problems.

With polariser

coated UV filter such as the NX-10 or Ultra-Pro version so you don’t affect the light entering the lens. Poor quality filters can soften the image and be affected by flare and ghosting when shooting towards the light. The example above illustrates this well and shows how well these new Hoya filters deal with tricky lighting. So while the UV filter might appear not to actually add much to your picture-taking, its role is very important and can save your lens from irreparable harm. It’s definitely worth having a UV filter permanently left on every lens you own, so take a look at the NX-10 or Ultra-Pro range.

issues can be corrected with a change of white-balance or during editing should it happen. Secondly, the UV filter protects your lens from scratching and physical damage. It stops dust and water getting onto the lens front element, and it can be cleaned with a wipe of a microfibre cloth. If you get dust or water on the lens itself you’d be more circumspect cleaning it because if it gets damaged there might not be much you can do about it. Scratch a filter and it can be replaced cheaply. Fitting a UV filter to every lens you own is recommended but it is important to use a high quality multi-

At first glance the UV filter looks like a piece of plain glass yet nothing could be further from the truth: it’s an advanced piece of optical engineering featuring high-tech coatings to deliver outstanding performance. In the case of the Hoya Ultra-Pro, 16 coatings give 99.5% light transmission helping your camera sensor to deliver images of outstanding clarity, detail and contrast. The UV filter has two jobs. Firstly, it cuts out excessive UV radiation which is important with film photography because it stops your pictures looking blue or cool which can happen at the coast, in the mountains or on clear blue sky days. With digital capture such

Without polariser

Photography News | Issue 51 |

Advertisement feature 15

The polariser – enhances skies


These are the official UK stockists of Hoya NX-10 and Ultra-Pro filters

Blue skies can be made much more vivid with a polariser and white clouds will stand out strongly. The key technique with the polariser is to look through the camera as you rotate the polariser in its mount and stop when the effect is what you want. Its maximum effect can be too strong for some scenes – particularly if the sky is already vividly blue – and skies that look too dark don’t look right. Sometimes the filter’s effect is minimal. This is not a fault in the filter but how polarised light works and the effect is best seen on areas of sky at 90° to the sun – there is no effect facing into or directly away from the sun. Because of this, with extreme wide-angle lenses the polariser’s effect can be patchy and uneven across the sky which looks strange and unnatural.

With polariser

Priddy's Ltd Somerset

T4 Cameras Ltd

Beverley Camera Centre Limited

Cambrian Photography Ltd

Camera World Ltd

Chiswick Camera Centre

Dale Photographic Limited

SRS Microsystems Ltd

Focus Optics

Without polariser

Image Aweak blue skywill usually benefit from the use of a polariser. Bemore careful with strong blue skies because they can turn almost unnaturally dark.

Photographic Hire

The polariser – subdues reflections

The Galway Camera Shop

settings will change as you do this. This is normal and the polariser will absorb 1 or 2EV light as it is rotated, but the camera’s autoexposure mode will account for this.

pink building, left) so shooting from front on has no effect. So, rotate the filter in its mount while observing the effect. You will see that the camera’s exposure

Reflections off glass and water can be subdued or eliminated by the polariser. The strongest effect comes when you are oblique to the reflective surface (see shots of the

Harpers Group (Woking) Ltd

Hilton Photographic

The polariser – saturates colours

D.H James Photography

When light rays strike a subject it reflects back in many different planes, ie. it is polarised. In practical terms you get glare and that weakens colour saturation and means detail is lost. What a polariser does is eliminate polarised light with the result of superior colour saturation and more detail and is really useful with subjects like rock surfaces, painted areas and shiny leaf foliage. As with other polariser effects the situation has to be right for the filter to be seen at its best. If you want to check the potential quickly, just hold the filter up to the eye with it facing in the direction it would be used when fitted to the lens and rotate it to examine the effect and then fit it once you’ve decided it is worth using. Generally, you have to be at an oblique angle, rather than face on, to the subject to achieve a significant effect – the optimum angle is called Brewster’s Angle.

With polariser

JRS Photo Hardware

London Camera Exchange

Park Cameras Ltd

Concord Foto Centre

The Camera Centre Northallerton

Camera Plus

Camera Centre Swansea

Warehouse Express Ltd

FrankWilkinson Cameras Ltd

Image In receptive conditions the polariser can provide amassive benefit to showdetail and enrich colours. These shots were taken a few seconds apart.

Hoya filters are distributed in the UK by

Without polariser

Photography News | Issue 51 |

Technique 16

Five easy steps to better people pictures Portrait basics Want to improve your portrait photography this year? Here are five simple ways in which you can do it – as well as tips on breaking the tried-and-tested rules when situations allow

Words and pictures by Kingsley Singleton

1. Pick up some portrait gear

2. Keep it sharp

You can shoot very good portraits with a typical 18-55mm kit lens, but investing in portrait-specific glass will pay off in the long run, so the first thing you should look at is getting a portrait lens. Portrait lenses tend to offer focal lengths from 85mm to 135mm on full-frame cameras, or 50mm to 90mm on cameras with a cropped sensor. These focal lengths feature very little distortion meaning facial features look natural and they commonly have very wide maximum apertures, such as f/1.4, f/1.8 or f/2, making it easier to blur the background. Using a longer lens, like a 150mm or 200mm for example, will give a good look, too, but you’re likely to need to stand further from the subject, so there’s not such an easy connection with your model. You’ll also want to take some steps to control lighting, either improving on what’s in the scene or adding your own. For the former all you need is a collapsible reflector, such as Pixapro’s 100x150cm 5-in-1 Reflector with Grip Handles (£32). This will help you create even, shadow-free lighting and fill in shadows by bouncing the light back onto the subject. 5-in-1 reflectors will also include a diffuser that can be used to soften direct light. If you need to add your own light, it can be done with flash or continuous lighting gear, both indoors and on location as you’ll find out in this month’s Buyers’ Guide, starting on page 32. Used correctly, a single flashgun can improve portrait shots enormously; and for very little outlay you can get a kit with two or more flash heads that will give you complete control of illumination.

Control the depth-of-field

One of the things that often marks out a successful portrait is precise control over depth-of-field – the amount of the scene that’s kept sharp. There’s no magic aperture for portraits, but it can often help to shoot ‘wide open’, using a large aperture or a low f/number. This setting will create a shallow depth- of-field in the picture and if you focus accurately on the subject, they will in turn stand out clearly from a blurred background. Using a shallow depth-of-field is particularly useful when the backdrop is distracting. Setting a wide aperture also lets more light into the camera, and that means it’s easier to use a fast shutter speed, thereby helping you to keep the subject sharp and free from motion blur. For full control of aperture it’s best to shoot in aperture- priority (A or Av). If you’re using a lens with a variable aperture, like an 18-55mm f/3.5-5.6 or 18- 105mm f/3.5-5.6, you’ll be restricted in what aperture you can use as you zoom in, but f/5.6 will still allow you to create lots of

blur when the lens is used at its longest focal length setting. The same goes for any lens; the longer the focal length, the shallower the depth-of-field will appear to be. BREAK THE RULE Of course, when the scenery is important in framing the subject, or when you’re shooting an environmental portrait, you may want to use smaller apertures (higher f/numbers) and/or shorter focal lengths for a wider view that shows more of your subject’s surroundings, giving them some context. There’s no magic aperture for portraits, but it can often help to shoot ‘wide open’, using a large aperture

Above Depth-of-field is very important in portraits; blurring the background isolates the subject and removes distractions – but sometimes you’ll want to keep the backdrop in focus, especially if the subject is interacting with it. Shoot in aperture- priority mode (A or Av) for full control.


Photography News | Issue 51 |


3. Focus in the right place

If ‘the eyes are the window to the soul’, it makes sense that you should focus there, right? So, for most portraits keeping the eyes of your subject sharp is what you need to do, but this becomes more difficult if you’re using very wide apertures where the depth-of-field gets very shallow; for instance, using an 85mm f/1.8 lens you could have just a fewmillimetres to play with. It’s also important to focus on the closest eye to you, particularlywhen the subject is turned; if the nearest eye is blurred, but the trailing eye is sharp, it can look odd. The best way to focus for portraits is in single AF mode (rather than continuous) and using single point AF area, where you can move a small focusing area to any part of the frame. As you compose, move the focus point as close to the subject’s eyes as possible, so that you can focus there without needing to

move the camera after you lock on. If you do need to lock focus and then reframe, try not to move toward or away from the subject as you do. Some cameras have face and eye recognition AF, and this can be useful as an alternative. Some even pick out the closest eye. Experiment with these modes and if you get better results than using single point AF, use them. If you’re using a very shallow depth-of-field and struggling to keep the eyes in focus, try setting a slightly smaller aperture (a higher f/number) to provide a little more depth-of-field. BREAK THE RULES You don’t always need to focus on the eyes, and can get some very creative results by not doing so. For instance, some environmental portraits use the tools of a subject’s trade as the focal point of a portrait.

Bad focus

Above Shoot in single point AF and select the AF area nearest to the subject’s closest eye for more successful focusing.

Good focus

4. Pick the right kind of lighting

For the most flattering looking portraits, you need there to be low contrast on the subject’s face. Low contrast means there will bemostly midtones in that area of the image, and no big shifts between highlight and shadow. This in turn hides many imperfections. The place to find low-contrast lighting is away from direct light. So if you’re shooting outside, try turning your subject away from the sun, or position them in a shaded area. Similarly, if they’re being lit by artificial light, find some way to diffuse or bounce it. Both methods also stop people from squinting. With the light source behind the subject you may find they look a bit too dark in the picture, as the

camera is compensating for the bright background. If that’s the case, either compose with their face larger in the frame, so that the camera can calculate more accurately, or add some exposure compensation; press the exposure compensation button and dial in a positive value. Using exposure compensation will make the background lighter as well as the subject, but the most important thing is the lighting on the latter. You can also use a reflector to bounce light onto them. It’s important to get some light in the subject’s eyes, too; catchlights. If there’s no light in the eyes, the portrait will seem lifeless. Using a flash or reflector is a good way

to provide some sparkle, but so long as there’s some light near to your shooting position you should get some reflections in their eyes. For instance, if you’re inside, try positioning them near an open door or window. You can get more creative with catchlights using accessories like ringlights or on-camera LEDs such as Rotolight’s NEO 2. BREAK THE RULES If youwant the subject to lookmore grizzly, or defined, then you can use direct sunlight or unmodified artificial light. This will increase contrast and show off more detail, such as lines and pores, so it’s good for more ‘characterful’ faces.

Direct light

Images If you want low contrast, avoid direct light. If you want high contrast, do the opposite.

Indirect light

5. Choose your focal length & framing

Your choice of focal length and framing can also make or break a portrait. Wider focal lengths will cause distortion in the subject, making their features look unusual, and they also make it harder to separate the subject from the background, because, even when shooting with a wide aperture, shallow depth-of-field is less obvious. Longer focal lengths are helpful, as they distort less and make it easier to isolate the subject with shallow focus. When it comes to framing, unless the scene the subject is in is particularly important, it helps to feature the subject as prominently as possible, filling the frame to increase impact. But it’s also important what you leave out: avoid cropping them at the joints, which looks odd.

You should also try to include some space in the frame for them to ‘look into’. This simply means leaving some space in the composition on the side they’re facing; if you put more space behind them it can look cramped. BREAK THE RULES There’s nothing to say you can’t shoot portraits with wide-angle lenses or frame the subject so that the space is behind them; the first will make the subject look grotesque or comical, and the second can add some tension to the picture, rather than it looking relaxed. Right Portraits can be improved by leaving some space on the side of the frame the subject is facing.

Photography News | Issue 51 |



Thaxted’s People Andy Griffin didn’t expect his personal photography project to last for over four and a half years, but nor did he expect to photograph more than 150 people and produce a book. Here’s his story of Thaxted’s People

Words by Jemma Dodd Pictures by Andy Griffin

What sparked the idea for this project? As a professional photographer I think it is important to push yourself creatively, and a personal project enables you to do this. It is all too easy to get stuck in a rut with your style of photography, adhering to client briefs or just playing safe and photographing your subjects in a way that you know works. I’ve wanted to take on a personal project for some years, and although I’ve undertaken shoots in the past using models and other subjects who aren’t paying clients, a full-on project helps to focus the mind and requires a plan of action. When I moved to Thaxted over 12 years ago, I was taken by the number of fascinating characters who inhabit this rural medieval market town. I set out a plan to photograph between ten and 20 people for a personal project in order to develop my portrait and lighting skills. I contacted a well-connected gentleman in the town, told

him of my plans, and with his advice about who I should photograph in the first instance, the project was born. You spent four and a half years photographing the subjects; did you ever feel like giving up or that your project wouldn’t be finished? TheprojectbeganinJanuary2013andIthought it would be finished by the end of that year. Every subject I photographed fully embraced my vision and most of them recommended more people who they thought should be included. This took the initial list of 20 or so characters to over 150. I did feel a little like Iwas ‘painting the Forth Bridge’, as I would get to the end of each year and my list of people to be photographed was getting longer, not shorter. It became rather overwhelming and there were times when I thought it would never come to

fruition. I realised I had to be more strict with the planning and execution of the shoots. I carried out interviews with each subject to discuss their background and ascertain what sort of shots I was going to create with them. Then I would get dates in the diary and get on with planning the shoots. Did you know when the project was finally finished? Once the project had gained momentum and I realised the numbers were rapidly increasing, I changed my target to 100 subjects, and started to think about the possibility of a book and exhibition. With this in mind, I then had to think about the aesthetics of the book and exhibition from a photographic point of view, rather than just capturing specific characters. More planning took place to ensure I was representing a cross-section of the

It is all too easy to get stuck in a rut with your style of photography, adhering to client briefs or just playing safe and photographing your subjects in a way that you know works

Top David (Beany) Beanland is the manager of a local private estate.

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