Photography News Issue 40

Your FREE newspaper packed with the latest news, views and stories from the world of photography news Photography Issue 40 16 Jan – 9 Feb News Tests Reviews Interviews Techniques Competitions Exhibitions Clubs Produced by


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

First tests A selection of the latest imaging kit reviewed, page 50

Vote in our 2016 Awards Have your say in our Gear of the Year Awards, page 23

Hasselblad X1D World’s first mirrorless medium-format tested page 48

Photography is big news these days at the global tech fair, with news on what will be big in 2017 coming from a selection of the leading imaging brands All the latest launches fromCES

Every imaging year kicks off with the enormous CES (Consumer Electronics Show) over in Las Vegas. A few years ago, you wouldn’t have seen many photographic brands at the event but now that has all changed and the show is a major launch platform for key products to look out for in 2017. This year, though, it was all pretty low key with no truly headline- grabbing products. The Panasonic Lumix GH5 we already knew about but now it has been revealed that it will be available from this March at £1699 body only. Canon announced its latest premium compact, the PowerShot G9 X Mark II, a 1.0 sensor 20.1-megapixel camera that offers 8.2fps continuous shooting even in Raw and a 28-84mm (35mm format equivalent) optical zoom lens. And Fujifilmunveiled graphite versions of the X-Pro2 and X-T2. The X-T2’s finish is actually called Graphite Silver and the same as the X-T1 version but the X-Pro2 is a new colour simply called Graphite. It’s a classy metallic finish and is

Camera Club of the Year 2016-17 Sponsored by Fujifilm, this year’s contest is underway. The results of Round 1 are now in and Round 2 is launched in this issue. Winning a round qualifies your club for a very special final shoot-out See page 14 for full entry details and Round 1 results

offered with the XF23mm f/2 R WR and lens hood in matching colours. The X-Pro2 kit is priced at £2149 with the X-T2 Graphite Silver body priced at £1649. Sidestepping the CES bunfight and launched just before Christmas was Sigma’s latest Foveon sensor camera. The sd Quattro H is to sell at £1499.99 and will be in the

shops this January. The newly developed APS-H format sensor measures 26.7x17.9mm and gives an equivalent resolution of around 51 megapixels. It accepts Sigma SA mount lenses and offers DNG Raw format shooting so image files are widely compatible.

Continue reading on page 3...

Photography News | Issue 40 |


Photography News | Issue 40 |


Premium PowerShot

Panasonicexpands its portfolio

Panasonic released the full spec for the LUMIX GH5, which was first introduced at Photokina last year. The latest LUMIX G CSC features a new Digital LIVE MOS sensor, which offers 20.3 megapixels, 4K 60/50p video and 6K photo. It will be available fromMarch, body only for £1699, or with the 12-60mm lens (MKit) for £1899 or with the Leica 12- 60mm lens (L kit) for £2199. Panasonic has also announced the LUMIXGX800, which boasts 4K video and 4K photo as well as a 16-megapixel sensor and the ability to capture selfies thanks to its 180° tiltable screen. Available from March, the LUMIX GX800 comes in four colours – silver, black, tan or orange – with a price of £499.99. In addition to this is the FZ82 compact camera, which features an 18.1-megapixel sensor,

4K video and photo, as well as a 20mm wide-angle lens with a 60x optical zoom. The LUMIX FZ82 will be out in March for £329.99. Not forgetting lenses, Panasonic has announced the Leica DG VARIO-ELMARIT 12- 60mm f/2.8-4 lens and will be renewing the 12-35mm f/2.8 II ASPH Power OIS, 35-100mm f/2.8 II Power OIS, 45-200mm f/4-5.6 II Power OIS and 100- 300mm f/4-5.6 II Power OIS. Also released is firmware Ver 1.1 which will be available from February for the Leica DG VARIO-ELMAR 100-400mm f/4-6.3 ASPH Power OIS lens, which makes it compatible with 5-Axis Dual IS 2.

Adding PowerShot G-series, Canon has launched the PowerShot G9 X Mark II compact. Small in size, the G9 X Mark II has a 1.0in 20.1-megapixel sensor, Canon’s DIGIC 7 processor and shooting speeds of up to 8.2fps. Its 3x optical zoom gives a range of 28- 84mm (in the 35mm format). to its

The G9 X Mark II also offers Full HD video recording and has Wi-Fi connectivity, Dynamic NFC and an LCD touchscreen, which offers full control and access to settings. Available from February, the PowerShot G9 X Mark II has a price of £449.99.

Sigma sdQuattroH

Sigma announced a new addition to its Quattro range of cameras. The Sigma sd Quattro H features the newly developedAPS-H size Foveon X3 direct image sensor, offering 51-megapixel equivalent resolution. With the Sigma SA mount, the sd Quattro H is compatible with Sigma’s lenses in the Contemporary, Art and Sports lines. It is also the first Sigma Foveon camera to offer DNG Raws files allowing you to develop images in a wide choice of softwares. The sd Quattro H also offers a 2.36-megapixel electronic viewfinder and dual monitors, which include a three-inchTFTLCD main monitor and a sub-monitor on the rear of the camera, displaying settings and the remaining shots available. The sd Quattro H is on sale now for £1499.99.

Fujifilm has unveiled Graphite Silver and Graphite editions of its flagship interchangeable lens cameras, the X-T2 and X-Pro2. Both cameras are available to pre-order now. The X-Pro2 Graphite Special Edition is priced at £2149 and comes with the XF 23mm f/2 R WR and lens hood in the same colour, while the X-T2 Graphite Silver is priced at £1649. If pre- ordered before 23 January you can take advantage of Fujifilm’s pre-order offers allowing you to receive a free X-Pro2 Globetrotter Strap or pay half price on a Vertical Battery Grip when you buy it with the X-T2 Graphite Silver. Fujifilmhas also releasedFirmware v1.10 for the FujifilmX-T2, which offers tethered shooting capabilities with the Tethered Shooting Plug-in Pro application. Going graphite

Photography News | Issue 40 |


Photography News | Issue 40 |



Starting the new year in style, Cullmann has launched a whole range of new products. First is the introduction of two lines of tripods; the Mundo and the Neomax. The Mundo features an integrated monopod making it ideal for landscape and also sports or action photographers, while the Neomax range offers mini travel tripods. Available in three sizes the Neomax tripods have an aluminium

ball head, quick-release system and robust feet. Prices start at £59.99. Also new is the Cullmann Stockholm bag range which includes a daypack and four shoulder bags. Prices start from £49.99 and all of the bags are made from water-repellent and abrasion- resistant polyester material. Adding some light into the mix there is also a new Cullmann flashgun, the CUlight FR 60, which

offers TTL functions for Canon, Nikon and Sony cameras and also works from 100m away thanks to its integrated radio remote control. For video shooters there is also the addition of five different sizes of CUlight LED video lights, which offer users three daylight and two bicolour options. Prices for the lights begin at £49.99.

The Slik Lite Travel Series tripods are the first tripods to feature a removable LED torch in the centre column, giving you a handy light source when shooting in the dark. The range consists of five models, three aluminium and two made from lightweight eight-layer carbon- fibr. All of the models allow you to detach the centre column, which can be converted to a shorter column – ideal for low-angle shots. The aluminium tripods have four-section level-locking legs, while the carbon-fibre CF-422 model has four-section twist-locking legs and the CF-522 has five-section twist- locking legs. Available now and prices start at £121.99. Slik tripods

MetzmecablitzM400 formirrorlessmodels

Offering up to 1500 lumens, the Lume Cube is a compact little cube with a powerful LED light which can operate as an external flash for photos or as a continuous light for video. With a brightness that can be adjusted and 6000K colour temperature output the Lume Cube is very flexible. Its battery gives 20 minutes of light at full brightness or two hours at 50% brightness. The Lume Cube can be attached to tripods or camera accessories and extra accessorymounts are available separately. While it can act as a slave for your DSLR to allow you tousemultiple cubes, it can also be used with smartphones thanks to the Lume Cube App. Prices start from £89.99 for a single pack, and twin and quad packs are also available. Lume Cube lights theway

Metz has announced a new compact system flash for mirrorless cameras. The mecablitz M400 is available in Canon, Nikon, Micro Four Thirds, Pentax, Sony and Fujifilm models and is powered by four AAA batteries. Wireless TTL is offered for limited models and it also features master and slave modes. Other features include an adjustable LED video/

modelling light, bounce card and integrated wide-angle diffuser and a zoom-swivel head offering a vertical tilt of 90° and full 360° horizontal movement as well as a motorised zoom of 24-105mm. The M400 features a USB interface, allowing you to receive the latest firmware updates.

Kenro has announced the release of its KNSC101 Film Scanner, which features a 2.4in TFT LCD preview screen and accepts both colour and black & white negatives or mounted and unmounted slides. While white-balance is automatic, you can adjust exposure by up to +/-2EV or use the automatic exposure system. The scanner can be plugged into your computer via a USB cable or used as a stand-alone scanner by scanning the images directly to an SD card. The KNSC101 Film Scanner is available for £99.99. Also from Kenro is the addition of the Standard Video Carbon Fibre Tripod Kit (KENVT102C). Made with eight layers of carbon-fibre, it weighs just 2.8kg and has aluminium alloy castings. Its maximum height is 170cm and it can hold a weight of up to 6kg. The kit also comes with the Kenro VH01B smooth action, two-way, pan fluid head. An aluminium version (KENVT102) and twin-tube version (KENVT103) are also available. Newkit fromKenro

Photography News | Issue 40 |


Photography News | Issue 40 |


Nikon has announced its 2017 Nikon-NOOR Academy programme of masterclasses for aspiring photojournalists. Each of the masterclasses will take place over four days in the UK, the Netherlands, Germany or France. Each workshop has space for 15 selected participants; to be considered, apply via the website. The UK workshop takes place in Manchester, from 30 March to 2 April and will be guided by NOOR member photographers Asim Rafiqui, Tanya Habjouqa and Robin Hammond. To be eligible to apply for the UK workshop you need to be a photographer living and/or working in the UK, aged between 18 and 35. The application process requires you to complete a form detailing your photographic background, interests and Nikon-NOOR Academy

©TanyaHabjouqa |NOOR

News in brief

Kodak EKTACHROME is back At CES 2017 in January Kodak announced that it will be reintroducing the Kodak Professional Ektachrome colour reversal film. The iconic filmwill be available in late 2017 and will support 135- 36x camera formats. Leica firmware update Leica has released a firmware update 2.2 for the Leica SL camera systemoffering improved support for Leica Image Shuttle 3.5 as well as support for the newMicrosoft Windows version. The firmware update can be downloaded from the Leica owners’ area on the Leica website or users can visit Leica stores or Leica customer care. A1 Performance fromSanDisk SanDisk has launched the world’s first microSDTM card that meets A1 requirements. The 256GB Ultra microSDXC UHS-I card, PremiumEdition, offers transfer speeds of up to 95MB/s and can hold up to 24 hours of Full HD video. Also new from Sandisk is the 256GB SanDisk Extreme PRO USB 3.1 Solid State Flash Drive. The microSDTM card is £166.99 and the Solid State Flash Drive is £125.99. Siros firmware update The latest firmware update from Broncolor allows you to use the new version of the BronControl app as well as the Broncolor HS for the Siros L, Siros 800 and Siros 800 S. The BronControl app is free to download from the Apple App Store or on Google Play and the firmware update can be downloaded from the Broncolor website. YI Technology YI Technology has launched a new action camera, the YI 4K+ Action Camera, which will be available fromFebruary and captures 4K videos at 60 frames-per-second.

motivation and provide a CV. You also need to submit a portfolio containing a photo story and single images. Registration is free, as is the workshop. The deadline is 29 January.


We have a special offer for all PN readers of 10% off Landscape Pro, the world’s first intelligent landscape editing software. We did a full test in issue 36 and found it useful, easy to use and feature-packed. Adaptive, landscape- specific controls allow you to get dramatic results quickly and easily. Key features include: • Sky controls: replace sky, change clouds and colour, cast cloud shadows. •  Lighting: change light source, temperature, time of day, go from dawn to sunset. •  Automatic area selection: tag areas as sky, trees, buildings, grass, sand, rocks, water. • Targeted editing: specially designed controls for different areas. • Distance controls: highlight objects, add fog. • One click presets: wet sand, stormy water, red sunset, lush trees. •  And more... A free trial is downloadable from the website and to get your PN discount when you buy it, enter the code PNA40. Save onLandscape Pro Above A young man enjoys a cigarette in his car as traffic finally clears on the last evening of Ramadan. He is bringing home a sheep for the upcoming Eid celebration. This image was taken by Tanya Habjouqa, one of the NOORmember photographers who’ll be running the Manchester masterclass. Left Nikon-NOORMasterclass 2016 inAlmaty, Kazakhstan.





Get up close towin

PN has teamed up with expert photographic printer LumeJet to bring you the chance towin £200 to spend on the LumeJet website. LumeJet is passionate about printing great photographs and uses its own S200 printer for high- end photographic and commercial print use. This high resolution printer features the LumeJet RGB Digital Print Head and Fujifilm professional-grade Crystal Archive materials to achieve a unique, ultra- high quality with extraordinary colour fidelity. Close-up is the theme thismonth, so it’s time to explore the minimum focus of your lenses. We’ll be accepting a wide interpretation of the theme, so it could be a close-up portrait of a pet, person or insect, a macro shot of a flower or group of coins or it could even be a closer close-up shot of sand grains or ice

crystals. Free your imagination and get creative. Upload images to groups/3085147@N24/. There is no fee to enter but you will have to join, which is free. Only one photograph per person can submitted and the entrant must also be UK-based. Images should be 1500 pixels across and we will contact you if we need you to provide higher resolution files that we can judge or publish. The editor’s decision in this contest is final and for full terms and conditions please see The closing date for entries is 6 February 2017 and the winner announced in PN issue 41 which is out the week beginning 13 February 2017. The winner of last month’s Low Light contest was Jake Cook for his image Bridge to Nowhere, so congratulations to him.


Photography News | Issue 40 |


The world’s largest photo art contest opens for entries on 20 January. The Trierenberg Super Circuit attracts thousands of entries from around the world, andprizes include cashmoneyawards,medals and theVictoria statue for the overall winner. There are 30 themes, such as Portrait, Phototravel, Sunrise and Sunset, Music & Dance and Macro Photography Entries can be uploaded to the website or submitted by post and must be received before the closing date of 20March 2017. Trierenberg Super Circuit 2017

News in brief

Olympus Art Bermondsey Project Space are supporting the next generation of photographers from the University of the Arts London students. The students were given the theme of Site/In Situ and three categories to submit to – print, projection and multimedia – with the winner of each category receiving a camera from Olympus, as well as there being a viewer’s choice award. 30 finalists were chosen and their work is on show at the Art Bermondsey Project Space in London, 17‑28  January. Olympus university and the FotospeedAcademy 2017 The Fotospeed Academy has announced new dates and tutors for 2017. They include a Printing and Colour Management Masterclass with Doug Chinnery: Interpreting Your Image – a Printing Masterclass with Joe Cornish: Mobile Phone Photography – Skill Development with Jo Bradford: Preparing your Distinction Panel – Skill Development with Margaret Salisbury; and a Street Photography Day – Skill Development with Gagan Sadana. For more information and to book, visit the website.


Olympus Ambassador Cleveland Aaron’s (aka One Man and his PEN) Shapes from the Streets series will be exhibited at the Art Bermondsey Image Space in London from 31 January until 4 February. Cleveland’s collection of images show light, shapes and space focusing on architecture and the city and were all shot using the Olympus PEN-F. Shapes fromthe street

The MillenniumHotels and Resorts Through the Lens competition winners have been announced. 12 finalists were chosen frommore than 3500 entries, but it was Brian McCready who was named as the overall winner of the competition and received the top prize of £5000 worth of photography equipment. His winning shot is of the summit of Slieve Corragh in Northern Ireland. A public vote was also taken to choose a runner-up from those who didn’t make the final 12; Chris Ibbotson was voted winner with his image of Portrush beach. Through theLenswinners


Photography News | Issue 40 |


Photography News | Issue 40 |

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: 30 January 2017

We need words and pictures by 30 January 2017 for the next issue of Photography News , which will be available from 13 February 2017. 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

Secondyear success for Smethwick

Bromsgrove PS are champions again! For the second year running, Bromsgrove Photographic Society have won the Midland Bank Trophy. The annual photographic competition between the Redditch, Studley and Bromsgrove Societies is hotly contested with each club entering its own selection of prints and digital images. These are appraised by an external judge who allots points to each of the images. With Bromsgrove leading by 14 points at the end of the contest, it was an outstanding performance by its members. Roger Lewis, chairman of Bromsgrove PS commented “This is a great result onwhich to end 2016. Our new season in September started with an amazing enrolment of over 30 new members. With the total membership now nearing 90, we are looking forward to seeing more great images in our monthly competitions.” EveshamCC Photo2017 The Vale of Evesham Camera Club’s National Digital Exhibition Photo2017 will be the 19th National exhibition and the 28th Annual Exhibition that the club has organised. Last year the event attracted 4896 entries from which 1114 images gained acceptance into the exhibition. Entry for Photo2017 will open on 1 January, closing on 28 February. Every entrant receives an A4-sized colour illustrated printed catalogue. There are four different categories to enter: Colour, Natural History, Monochrome and Experimental/Creative.

“Smethwick Photographic Society was delighted to win the FIAP World Cup for the second year in a row,” says Roger Parry ARPS, secretary of Smethwick Photography Society. “As winners last year we had the job of running the selection for this year’s competition and in April we host the Awards Ceremony. With 197 clubs taking part from all over the world it was a tough competition and although I was present at the judging, there was no way of seeing how well we were doing as all the images are

totally scrambled. So it was a great surprise when we asked the computer for the final scores and to our delight found we had won again.” It’s a brilliant achievement so well done to Smethwick from Photography News .

Beckenham Photographic Society hold their annual exhibition from Thursday 16 to Saturday 18 February at Beckenham Public Hall, Bromley Road, Beckenham BR3 5JE. Open to the public from 10am to 8pm (10am to 5pm on Saturday). Entrance is free and all visitors are very welcome. The society holds meetings on Wednesdays at 7.45pm for 8pm between September and May at St. John’s Church Hall in Beckenham. Newmembers and visitors are always welcome – there’s a friendly atmosphere and it’s a great opportunity to meet others who are keen to enjoy and improve their photography. Beckenham PSexhibition

Below The Begging Bowl by Peter Gennard from Smethwick PS won the FIAP Silver Medal in the club’s World Cup entry.

Clacton CC event Clacton Camera Club are holding an evening with photographer Colin Edwards on Friday 3 March at 8.30pm. Colin’s talk is entitled Wildlife on our Shores, and he will be showcasing some of his excellent images. The event takes place in McGrigor Hall, Fourth Avenue, Frinton-on-Sea CO13 9EB. Contact Jean Pain at photopains@talktalk. net to buy tickets; they’re £8 each, including refreshments.

A great year for Bungay CC Bungay CC celebrated another successful year with their Annuals competition and the club’s youngest member at age 11, won a trophy for ‘Endeavour and Enthusiasm’. The club meet at 7pm on the second and fourth Wednesday of each month. presentation. The Hare and the HarvestMoonbyPeterNixonwas Highly Commended in the Colour Print section and Joshua Finch,

Photography News | Issue 40 |

Photography News | Issue 40 |

Photography News | Issue 40 |



Before the judge David Steel Join us for our monthly chat with an experienced photographic judge. This time, it is the turn of David Steel, a judge and lecturer of the East Anglian Federation

I became a judge because I like looking at photographs anddeciding what works and what doesn’t. I also like working with people. It wasn’t long after joining Cambridge Camera Club that the then president and established judge, Peter Rice, suggested that I give judging a try. He mentored me by inviting me to his judging events where I noted his scores and compared them tomine. I learnt a lot from Peter. I’m now a Panel A judge for the East Anglian Federation (EAF) and much of my judging is internal or inter-club battles. I also select for club exhibitions and occasionally get invites to select at some of the major national open exhibitions. Judging is very rewarding. It’s a two-way thing – I impart my knowledge and discover new things in return. I like helping others with their photography and it keeps my mind sharp when critiquing my own work. The standard of photography has changed enormously over the years. Not just the quality of the work being produced but the creativity as well. Modern digital cameras, computers and printers have made it easier to produce quality images compared with the film days. However, the bar is being edged higher year after year particularly for some genres – natural history and photo art, for example. There was a dip in standards a few years ago when digital cameras became more affordable and many people joined camera clubs to learn about photography but those people are generally now well-up on the learning curve and are producing excellent work. If there is any issue, for me it is overprocessing, particularly with HDR. As in the art world, it is knowing when an image has been worked enough. It’s too easy to go beyond the point of improvement and into overcomplication or image degradation. The other thing, of course, is originality. I


David Steel David’s first camera was his

father’s Voigtlander Bessa 120 roll- film folding camera. It was also the camera he used to enter his first- ever photographic competition almost 45 years ago. Years in photography 45 years. I started as a teenager after buying a contact printing frame in a jumble sale. Home club I’ve been a member of Cambridge Camera Club for 23 years. Favourite camera My current one; an Olympus OM-D E-M1. It gives me the image quality I want in a compact body that suits street and travel photography. Favorite lens The Olympus M.Zuiko Digital ED 40-150mm f/2.8 Pro. Favourite photo accessory A Billingham canvas bag to carry my camera and lenses. I have four! Favourite photographer I like Robert Doisneau’s photojournalistic style and the humour he puts into photos. I also have a penchant for Sebastião Salgado and Elliott Erwitt. What is your own favourite photographic subject or technique? Photojournalism and travel photography are my favourites. Photojournalism captures a ‘slice of life’ in much the same way as Picture Post used to many years ago. It’s something we don’t see too much of on the camera club circuit perhaps because what we see today is deemed as ‘ordinary’, but by not taking or keeping these images we are denying future generations a glimpse of today. Today’s photographers should be recording tomorrow’s history. What awards/distinctions/ medals have youwon? My greatest success is a FIAP silver medal for an image that was rejected at the next exhibition it was entered in!

don’t mind seeing the same subject matter but I would like to see a different interpretation; replicating somebody else’s award-winning work doesn’t cut it for me. I want to see originality and innovation. Sometimes I am lost for words and have to ask myself ‘what am I looking at?’. This usually applies to an image that is abstract in nature, and sometimes the title doesn’t help at all. It is like the close-up of a household object – when the penny drops, all becomes obvious. Part of judging an image is assessing how well the author has interpreted the subject matter. If the subject is non- obvious this goes out the window. As my mentor, Peter Rice, used to say, ‘don’t confuse the judge!’. Speaking of judges, of course there are good judges and there are not-so-good judges in the same way there are good and not-so- good photographers. Some judges

miss things when put on the spot, some have a limited vocabulary and some don’t develop a rapport with the audience. It’s like learning to drive; you become good with practice and experience. Judges give up their time to judge and select for exhibitions and some travel great distances to do it. It’s only too easy to sit in the audience and criticise. I’m sure all federations would love more quality judges on the circuit but people need to put their names forward and give it a try. Many never go beyond a workshop because they realise it’s harder than they thought. Variability of judging is what makes it so interesting. Only once have I had a serious disagreement on a judging panel. A really great image was in line for an award but one of the panel objected to the subject matter. I didn’t care myself for the cruel sport being depicted but I appreciated how the emotion of the moment was captured and handled. It showed great skill and understanding from the photographer. This applies equally to war photography; war and suffering are terrible but I have great respect for photographers who capture images that show an otherwise ignorant world what is happening. After discussion, the image was given an award. I never consciously mark down a subject matter because it is something I have seen before or doesn’t appeal to me. I ask myself, ‘is this a good image of its type?’. If it is, it gets a good mark. Sometimes images are so well executed that it’s difficult to critique them. This

is where I have fun by maintaining a poker face and not showing any enthusiasm, knowing inside that it’s likely my top image in that event. I like keeping an element of suspense until the final moment. Therearenorulesinphotography, only guidelines. Guidelines make it easyforthenovicetocreateavisually acceptable image. Even images from the top photographers will often follow some formulae whether that be the rule of thirds, the golden ratio, triangulation, etc. Sometimes it’s possible to deliberately go against these guidelines and create tension in an image. These tend to be high- risk images that move from general appeal into a more subjective zone that is personal to each viewer. I dislike the idea of promoting imaging trends as the way to get acceptances. The amateur photography scene is quite inward- looking and needs new and refreshing ideas. Don’t be a trend- follower, be a trendsetter. However, if somebody needs to know what is currently gaining acceptances, the best way is to see exhibitions or at least try to procure exhibition catalogues to see what the standard is like. My final bit of advice is don’t give up. Getting to the top in anything needs determination and perseverance. Don’t be put off by what judges say. Seek opinions from others and follow your own path. Don’t produce work just to please the judge because you will never please all the judges all the time.

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-news. with the judge’s name and, if possible, their contact details.

Photography News | Issue 40 |


CameraClubof theYear in associationwith Camera Club of the Year contest 2016-17 This year’s competition is in full swing and the results for Round 1 are in. There are still chances for your club to qualify for a very special photo event where the overall winner will be decided

The search for the Photography News Camera Club of the Year 2016-17 starts here. To be victorious, your club has to overcome two challenges. The first is to qualify for the final by coming top of the pile in one of the five monthly rounds. Then the final itself is going tobeaveryspecial day’sphotoshoot, thedetails of which will be released simultaneously to the five finalists. However, what we can reveal now is that the final will be a unique event that will offer a tremendous creative challenge and a never-to-be-forgotten experience for the finalists. The overall winner will thoroughly deserve the prestige of being our Camera Club of the Year 2016-17. But we’re getting ahead of ourselves here so let’s start from the beginning. For this year’s contest we have teamed up with long-established imaging brand Fujifilm Fujifilm has had a very busy 12 months, in that time launching two flagship X-series cameras and announcing the development of a medium-format camera system that is due for launch later this year. And if that lot wasn’t enough it also added several optics including the XF100-400mm f/4- 5.6, the XF35mm f/2 and a 2x teleconverter to its expanding system. The X-system has found a serious following in a very short period – the X-Pro1 and three prime lenses were announced only six years ago. The lens system now has 23 products including high-spec zooms and superfast fixed focal length lenses including the amazing XF56mm f/1.2. At the heart of X-system cameras is Fujifilm’s X-Trans CMOS APS-C sized sensor and its unique filter array design. Working on a grid of 6x6 pixels to give a random pattern rather than the regular 2x2 of the Beyer array, that means Fujifilm managed to do away with the need for an optical low-pass filter (OLPF) because the risk of moiré was minimised. This in turn eliminated the risk of artefacting and false colours from using an OLPF and maximised image quality because there was no extra filter in front of the sensor, giving excellent quality pictures comparable to those from full-frame sensors. The dual flagship line-up of the X-T2 and X-Pro2 both use the X-Trans CMOS III sensor with a resolution of 24.3 megapixels and a native ISO About Fujifilm

and over this and the next four issues we’ll be announcing a theme and inviting five pictures from each club. Your club’s competition secretary (or whoever is going to enter each month) must sign up on Terms and conditions are also available on the website. Any club or group is eligible to enter so long as there are at least five members. Online groups, internal company clubs and those clubs not affiliated to the PAGB can still enter. Once you’ve signed up, go the Members Area on the top menu bar, click on that and you will see Camera Club of the Year 2016- 17 in the drop-down menu. Select that, then register your camera club and follow the upload instructions. JPEG files should be at least 1500 pixels on the longest dimension and, preferably, in the sRGB colour space. range of 200-12,800 with the option of expansion to ISO 100, 25,600 and 51,200 – all available in Raw as well as JPEG. The sensor works in combination with Fujifilm’s latest X-Processor Pro for very fast start-up and minimal shutter lag, as well as superfast file processing and highly responsive autofocusing. While the X-Pro2 and X-T2 share a similar feature set, they do offer different approaches to image capture and handling to suit different users. The X-Pro2 provides a rangefinder experience with the optical/EVF finder offset to the left of the body while the X-T2 is more DSLR-like with its central located eyepiece that is EVF only. The X-T2 also has an adjustable monitor including a flip-out upright option and a bolder control design. It also offers 4K video capture while the X-Pro2 is Full HD. X-series cameras are supported by an ever- expanding XF lens system, now comprising 12 primes, nine zooms and two teleconverters – and there’s more on the way. Until 31 January 2017 there’s a promotion on 19 optical products with up to £125 available as cashback. Four X-series cameras including the X-Pro2 are also part of the scheme. See cb-1016/home for details of qualifying products, For a more detailed breakdown on the X-Pro2, X-T2 and XF lenses please see the Fujifilm website.

A club can only enter one set of five images from five different members each round, while failure to enter five shots will mean the missing shot/s scores zero points; so it’s crucial to enter the full number of images. After the closing date each picture will be scored out of 20 points and the highest scoring club each month will qualify for the final. In the event of tied scores, we will ignore the highest and lowest scores and average out the three remaining scores. The highest score wins. If scores are still tied, all five scores will be averaged out. When the issue with that month’s result is published, the scores for every picture entered will be published on the website so you can see how you’ve done. There’s no monthly prize apart from qualifying for the final shoot-out and once a

club has qualified for the final it need not enter again. Of course it can do it for the challenge and pictures will still be scored, but there’s no reward for winning in this instance. In effect, because each monthly contest is self-contained, ie. it’s not a league system over the period of the contest, you do not have to enter every month – perhaps it’s a theme the club is less strong at or the club’s contest secretary has gone on holiday. Clearly it makes sense to give yourself as many chances to win as possible, however. So, good luck everyone. Read the entry details again, check out the theme on the opposite page and start gathering your entry. Qualify for the final and your club could be joining us for a very special photography event with the title of Camera Club of the Year to be won.

Photography News | Issue 40 |


CameraClubof theYear in associationwith Theme 2: Wildlife

Chris Weston is a professional wildlife photographer and his work has been widely published in the national press. We asked for advice on how to capture great animal images. “I believe wildlife photography is about communication. When I make an image what I’m doing is telling the viewer, ‘This is what I feel about the subject. This is the way I see the world.’ So, before I press the shutter release, I askmyself, howwill I caption this image? If the only answer is the species name, I won’t make the image. Only when I have an interesting, relevant or provocative answer do I make the image. It’s a useful technique that has kept my hit rate high and my trash count low.” “Effective communication has to be unambiguous, so I’m mindful of what’s in the image space. One of the main reasons photographs fail is because there’s too much conflicting and competing information. “I also believe that gaining a sense of what it was like to be ‘in the moment’ is far more powerful than revealing an action. I don’t like to be a voyeur; I like to take part and I put this energy into my images by allowing wildlife to come close or shooting from direct angles. “The best way to make a connection is through eye contact. Human beings are visual creatures and communicate visually. To connect the viewer with my subjects I take great care in how I compose the face. Keeping eyes sharp is essential and paying heed to what the eyes are saying is part of the story.” Closingdate Midnight 5 February 2017

Top left Eye contact is the secret to making a connection between the viewer and a subject and holding the viewer’s attention. Left Using exposure technique to remove unwanted background “clutter” gives greater emphasis to the subject and focuses on the story youwant to tell. Belowleft One ofmy aims is to involve the viewer in themoment. Shooting fromunusual angles creates amore intense and energetic photograph. Above Before pressing the shutter, I askmyself, “Howwould I caption this image?”When I have an emotive answer I make the image. Right Careful attention to the subjects’ eyes andwhat they are ‘saying’ enables the photographer to set themood.

For more on ChrisWeston

Chris Weston runs photography workshops and overseas safaris.

Round 1: Portrait results New City Photographic Society are the first qualifiers for our final, which is taking place later this spring. But it was a very, very close thing, with New City winning the round from three rivals, Dorchester CC, Exeter CC and Nuneaton PS, by just a single point. Norwich & District PS were just a point further back. During this first round of the contest the competition could not have been any closer, so well done to the members of New City Photographic Society and commiserations to the runner-ups that made the contest so excitingly close.

Scores New City Photographic Society Nuneaton Photographic Society

89 88 88

Exeter Camera Club

Dorchester Camera Club 88 Norwich and District Photographic Society 87 Colchester Photographic Society 86 Seaford Photographic Society 85 Preston Photographic Society 85 Earl Shilton Camera Club 85 Park Street Camera Club 84 Harlow Photographic Society 84 Tonbridge Camera Club 83 City of London and Cripplegate PS 83 Wokingham and East Berkshire CC 82 Harpenden Photographic Society 82 Halstead & District Photographic Society 82 Great Notley Photography Club 82 Gloucester Camera Club 82 First Monday 82 West Wickham Photographic Society 81 Peterborough Photographic Society 81 Maidenhead Camera Club 81 F8 80 Dronfield Camera Club 80 Blandford Forum Camera Club 79 Ayr Photographic Society 79 Wisbech and District Photographic Society 78 Consett & District Photographic Society 77 Beckenham Photographic Society 77 Alba Photographic Society 77 Dunholme Camera Club 76 Birlingham Photography Club 74

The overall scores are shown here and the individual scores can be seen on the CCOTY gallery on

Photography News | Issue 40 |


Technique Going for cold Winter landscapes can offer some amazing views, even if you’re not blessed with snow and ice, but in terms of technique, it’s more about adapting to the conditions and staying safe and comfortable, than altering the way you shoot...

Words by Kingsley Singleton Pictures by Various

You inch open your front door a crack and freezing air rushes into the house. It’s like a slap in the face; like the winter weather is actually trying to push you back indoors and back to your warm and cosy bed. It’s pitch-black out there, and the dawn is still hours away. It takes five minutes just to scrape the ice off your car and climbing in is as comforting as sitting in a fridge. So why do it? Why are winter mornings so beloved by landscape photographers? “The first time I climbed Helvellyn in the winter,” says John Gravett, a professional landscape photographer and photographic tutor, “I set off in the dark, and as I climbed, I was walking through thick cloud. Sunrise was just a non-event; but then the clouds cleared, leaving me with a wonderful view across a cloud inversion and a very rare Brocken spectre. I think that was the time I fell in love with shooting in the winter.” A Brocken spectre is a trick of the light and cloud, which affects depth perception,

making the observer’s shadow appear hugely magnified as it’s cast against mist below your position. With the sun at your back to cause the shadow, diffraction adds mesmerising rainbows around the shape. It’s a rare, beautiful event that needs just the right conditions to appear; but most importantly, it needs you to be there – no one has ever seen a Brocken spectre while putting their alarm clock on snooze. In fact, this is true of any great winter landscape; blanketed in white or glittering with frost, it takes a genuine effort to get out into it. But do it – actually take charge of your photography – and the rewards are sure to pay off ten-fold. John, who has been teaching landscape photography workshops for almost 20 years via Lakeland Photographic Holidays has also written multiple books and articles on the subject, so he’s perfectly placed to offer insights on the subject of winter shooting. His LakeDistrict home is also surroundedby some

of the UK’s most compelling winter scenery (well, to be fair, that’s true in any season). According to John, the reasons for making that extra effort go on and on, from the dynamic winter weather to the solitude that those conditions can allow. “I’ve been stood at the top of Skiddaw in a 70mph wind, being buffeted yet getting wonderful, dramatic images of the clouds, or up Grisedale Pike, where the clouds and the snow merged into one in the middle distance. Seeing a snow- covered dry stone wall disappearing into the murk encapsulated the feeling of total solitude. Equally wonderful is to stand next to a lake, with ice patterns at its margins, and enjoy the wonderfully clear light.” John adds that winter walking is actually a big part of the enjoyment, too; “there is far more effort to the trekking, especially when you’re going high. Carrying crampons, an ice axe, clothing and your camera gear... At the end of any day in the winter, it can leave you feeling worn out – but totally exhilarated.”

Above Make the effort to rise early in winter and, thanks to the later sunrise, you can witness and shoot some amazing things. John Gravett, of Lakeland Photographic Holidays, recalls mornings of stunning cloud inversions on the high fells, and seeing his own shadow as a ‘Brocken spectre’.

Photography News | Issue 40 |



The season to be chilly Above Winter landscapes aren’t just about snow. In the UK, you’ll often need to travel to higher ground just to see some of the proper white stuff, so it’s well worth investigating other seasonal subjects, like bare trees, mist, fog and icy details. In John Gravett’s shot above, taken in early March, you can see the texture of the broken ice on the surface of the water, which leads into a bright, beautiful reflection. There’s not a flake of snow in sight, but it still says ‘winter’. Left Shooting in the mist can create amazing recessions and let a subject stand out with perfect clarity, like the walker on the edge of the water, here. Just make sure you watch your exposure settings, as it’s easy to underexpose in such conditions, with the camera overreacting to the brightness of the scene. Below left Cloudy skies don’t have to mean the whole landscape is in shadow. If you’re prepared to wait it out, winter is the time for striking sun rays, which will illuminate sections of the scenery, perfect for capturing with your telephoto lenses. Belowright When the colours are lacking and you have a strong, simple subject, a monochrome treatment is the perfect finishing touch.


Photography News | Issue 40 |



How to kit up for winter conditions

(£145) as a mid layer, with either my Halcon (if rain is likely) or Torres Alturo (in colder conditions) over the top. On my bottom half, I’ll often combine Grid Long Johns

Staying warm and dry in winter conditions is paramount. It’s not just about safety in the cold; if you’re not comfortable, you won’t be able to enjoy all the winter goodness and may cut your shooting short. So it’s a good idea to invest in respected brands like Páramo, which offer highly engineered, lightweight kit, that, treated properly, will last decades. For instance, Páramo waterproofs use a combination of two fabrics, which insulate and keep you dry from the inside, so it doesn’t matter if you’re exerting energy while hiking, or stood still waiting for the light. With conventional waterproofs, the garment gets clammy as water can’t escape and you end up clammy, then chilled, but with Páramo’s Nikwax Analogy fabrics water is pushed away from your body. This is evident on jackets like the Enduro (£370) and Halcon (£330), which has fleece-lined pockets, while the Torres Alturo (£150) is designed to be worn over waterproofs, even when they’re wet; its synthetic filling being ideal for times when you’re stationary. Twin this with comfortable, winter trousers like the Cascada IIs (£135) and you’ll be able to wear them next to your skin, eliminating the hassle of putting waterproofs on when it rains. To get more info on dressing correctly for winter shooting we caught up with specialist outdoor photographer Ross Hoddinott, an ambassador for Páramo, as well as Manfrotto and Nikon UK. Whenwas your last winter shoot, Ross? Only recently, actually; it was a week in the Highlands just before Christmas. I was shooting at Glencoe where conditions are often harsh in the winter months, so decent outdoor kit is absolutely essential. Let’s face it, if you’re cold, wet and miserable, you’re unable to operate properly or efficiently. Your priorities switch from wanting to take photos, to just needing to get somewhere warm. For that reason, outdoor kit is as essential an investment as your lens or camera. An early morning visit to the Old Man of Storr, Isle of Skye springs to mind. I walked up in the dark to reach my viewpoint for sunrise. It was freezing, with a dusting of snow on the ground – lovely conditions – and the temperature wasn’t a problem as I was dressed appropriately. The brutal wind chill was more of a concern though. Therefore, it’s important to wear garments that are not only water repellent, but wind proof. It’s situations like this where you reap the rewards for investing in top-quality garments and thanks to my kit, I was able to make the most of the beautiful light. Are there specific items in the Páramo range that stand out for you? I’ve been wearing Páramo for around ten years; the first garment I bought was a Halcon Jacket, and it remains one of my favourites. It’s hard-wearing, lightweight, comfortable and keeps me dry. Its oversized pockets are perfect for holding kit, particularly filters. And when I run workshops, half the group will be wearing Halcons – we must look like clones! Can you pick us an ideal winter outfit then? It really depends on the conditions and temperature. In wintry weather, I tend to wear a Grid Technic Baselayer (£55) for insulation, an Enduro fleece Are there any occasions in particularwhen you’ve been glad of being kitted out with proper outdoor gear?

with Cascada II trousers. All items have great ventilation and moisture control, so it’s easy to regulate your temperature and keep dry. This is important for photographers, as you often walk for a distance to reach a viewpoint, but then stop and remain static for (potentially) hours as we wait for the right conditions.

Right The Páramo Enduro Jacket is perfect for long periods of outdoor shooting in a variety of conditions. Its efficient Nikwax Analogy fabric controls moisture and temperature and it stretch panels allow unrestricted movement.

Benefits of the weather Of course, winter needn’t be so hard on your sleep, as the simplest benefit of the season is in the shortened hours of daylight; there’s so much more good light at accessible times of the day. The sun stays lower, giving the warm glancing light that landscapers love, and on cold, dry days views are often at their clearest. “Sunrise in the Lake District at this time of year is almost 8.30am,” says John “and by the time mist is forming over lakes, it can be anything from 9-10.30am, so it’s hardly early. But climbing higher and longer, and when daylight is so short (sunset can be as early as 3.30pm), you still need to get out early tomake the most of it. It’s never a chore though; to see the sunrise over clouds from halfway up a mountain is so much better than sitting on the morning commuter train into King’s Cross.” Simply scene Winter weather can also simplify a scene in ways that nothing else can, as John points out: “the weather always changes the way you look for pictures, from one season, one day, or even one hour to the next. Coverings of snow or mist, not only simplify your scenes, in terms of highlighting certain details, but also do it in terms of tonally.” The tonality of winter is worth exploring further, because as you take in a reduced colour palette and often lower contrast if you’re shooting in misty conditions, scenes

look less busy and become more relaxing. This means that, even where there’s no snow around, don’t neglect shooting in the gloomy weather that we often face in the UK – it’s really just an opportunity to see a location in a different way. “I always say there’s really no such thing as bad weather,” explains John, “there are only different types of lighting, which create different atmospheres and moods. Rain and fog can create a fabulous feeling of recession and depth in a landscape, allowing foreground elements to stand out from a high-key, pastel- coloured background.” In this way, the changing weather reveals new opportunities in places you’ve shot before, so try to always keep a log of spots that might work well, in an app like Google Maps, or by doing it the old fashioned way. “There are some places I know, perhaps with isolated trees or dry stone walls,” says John “that work superbly when covered in snow or by mist. “Also, remember it’s not all about the bigger views in winter; I’m always on the lookout for ice patterns and details, which you can find in something as simple as a frozen puddle. Those patterns can be just as interesting as a panoramic view, as can a few delicate blades of grass poking from the snow.” Mist and frost can be idyllic, but not always for your camera, and when you’re shooting in those conditions, or snow-covered ground, remember that your metering system can be

Above In this shot of John Gravett’s, the heavy frost hanging from the trees is side lit by the low sun, giving an excellent seasonal flavour. Extra interest is added to the scene by the subtle colour of the trees which lifts the highlights away from the monochromatic shadows.

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