Photography News Issue 35

Your FREE newspaper packed with the latest news, views and stories from the world of photography news Photography Produced by Issue 35 1-25 August News Tests Reviews Interviews Techniques Competitions Exhibitions Clubs FujifilmX-T2 shoots great stills (andmovies) The X-T2 joins the X-Pro2 at the top of Fujifilm’s X-series range, giving photographers the choice of DSLR-style handling or a rangefinder camera SPECIAL EDITION Advertisement feature

The Fujifilm X-T2 is the ultimate mirrorless camera offering premium still and movie image quality from its 24.3-megapixel sensor, outstanding DSLR-style handling and advanced autofocus. The heart of the X-T2 is the 24.3-megapixel X-Trans CMOS III APS-C sensor that is low-pass filter free to enable image quality comparable to full-frame cameras. Working with the sensor is Fujifilm’s X-Processor Pro high-speed image processing engine to deliver excellent quality stills with outstanding colour reproduction, smooth tonal gradation and low noise levels even at high ISO settings.

Fujifilm has worked especially hard on the X-T2’s autofocusing ability with an improved algorithm to cope effectively with low-contrast, fine-detailed subjects like bird feathers and animal fur, and its skills with fast-moving objects have been significantly enhanced. Five presets give the user the option to tailor the autofocus system’s parameters to the subject being photographed and there is a sixth custom preset option too, so you can dial in your own preferences. While the X-T2 with its mechanical shutter is capable of shooting at eight frames-per- second, things can get even speedier. Add the

optional Vertical Power Booster Grip VPB- XT2 and this increases to a stunning 11fps. A Boost mode on the grip gives even more responsive performance with shorter shutter lag and blackout times enabling even more accurate tracking when panning with a fast- moving subject. The grip can also house two extra batteries, thus boosting the camera’s shooting capacity to an impressive 1000 frames or more. Turn the page for more details on the X-T2’s exciting key features.

Working with the sensor is Fujifilm’s X-Processor Pro high- speed image processing engine to deliver excellent quality stills

fujifilm.eu/uk

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Photography News | Issue 35 | absolutephoto.com

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Amazing autofocus

Stunning image quality

The 24.3-megapixel X-Trans CMOS III sensor, working in conjunction with the X-Processor Pro engine, is capable of excellent quality images with outstanding and accurate colour reproduction. The X-T2’s sensor and processor combination is also very fast, about four times faster than the X-T1’s, giving greater autofocus accuracy as well as keeping shutter release time lag and delays between shots very brief. The shutter release time lag is 0.05sec and shooting interval is 0.19sec – both are improved further with the Vertical Power Booster Grip in Boost mode. The random pixel array of the X-Trans sensor effectively minimises the risk of moiré and false colour without the need of a low-pass filter. That means intricate detail is faithfully resolved giving image quality comparable to a full-frame camera. Fujifilm’s rich film heritage is embraced with its Film Simulation modes that can be applied to in-camera JPEGs. The modes are perfect for photographers wishing to emulate the reproduction of renowned colour films like Velvia, Provia and Astia. For monochrome the ACROS black & white setting gives moody results with great highlights, deep blacks and smooth mid-tones. The native ISO range is 200 up to 12,800 with expansion possible up to 51,200. Low noise is a key characteristic of the sensor even when used at higher ISO settings and images at these levels also exhibit good colour saturation and solid blacks.

Autofocus performance of the X-T2 has been significantly improved over previous models in all areas but particularly with respect to fast-moving subjects. There are 91 AF points (up to 325 points can be selected) available with 49 in the centre with phase-detection AF pixels covering about 40% of the image area. About 85% of the imaging area is covered with contrast-detection pixels and performance has also been improved for faster focusing and superior accuracy in light levels as low as -3EV. For action subjects, the X-T2 has an enhanced AF-C algorithm for high accuracy when tracking or panning with moving objects. Also available are five preset AF settings where Tracking Sensitivity, Speed Tracking Sensitivity and Zone Area Switching are tailored for specific situations. For example, Preset 2 tracks the subject while ignoring any foreground obstacles, while Preset 5 allows for erratically moving subjects, so is perfect for field sports where subjects enter the focusing area from different directions at varying speeds. A sixth custom option lets you set these three parameters to suit your needs.

High-speed shooting

Fast continuous shooting is available on the X-T2. The camera can capture pictures at eight frames-per-second using the mechanical shutter in continuous shooting mode, with the buffer allowing 83 JPEGs or 30 uncompressed Raws in this mode. Switch to the electronic shutter and the continuous shooting rate increases to 14fps, but can still capture up to 42 JPEGs or 28 uncompressed Raws in a single burst. Being able to capture the action at 8fps in its standard form is good enough for many purposes, but the X-T2 is ready for even faster shooting with the addition of the optional Vertical Power Booster Grip VPB-XT2.

Vertical Power Booster VPB-XT2

Improved handling

The X-T2 on its own is a high performing camera with the ability to shoot continuously at eight frames-per-second with the mechanical shutter. The optional Vertical Power Booster Grip (VPB-XT2), which retails for £299.99, increases the camera’s performance to 11fps in Boost mode, but that’s not all. This setting also offers reduced blackout time, shorter shooting interval time (0.17sec from 0.19sec) and a briefer shutter release time lag (0.045sec from 0.05sec). This grip holds two NP-W126S li-ion batteries so, together with a third battery in the camera, gives enough capacity for over 1000 frames. It also doubles as a battery charger, and two cells can be charged in about two hours. The VPB-XT2 duplicates several key features of the camera body including the shutter release, focus lever, the Q and Fn buttons and command dials.

The Fujifilm X-T2 offers significant handling and design improvements over its predecessor that makes it an even more enjoyable, responsive camera to use. The 2.36 million dot electronic viewfinder has a magnification ratio of 0.77x to give a large viewing image and it provides a particularly bright image with minimal blackout during continuous shooting to allow accurate panning with a fast-moving subject. An Automatic Brightness Adjustment function alters the viewing image to ensure you get the best possible view in changing ambient light conditions. Being able to adjust the focus point or zone selection quickly can mean the difference between getting the shot or missing it and the X-T2 has gained a focus lever to speed this process. This is ideally placed for the right thumb to use and also frees up the four-way control pad for other important functions. The camera’s 1.04 million dot three-inch monitor sits flush with the body when not in use, but for situations when a low or high camera viewpoint is needed it can be tilted into position. The X-T2 is the first X-series camera to have a three-direction tilt monitor so the screen folds out to make accurate portrait format shooting from a low angle feasible. Two SD memory card slots are available. They can be configured for one to behave as backup, to be used sequentially or to save Raws to one card and JPEGs to the other. The X-T2’s ISO and shutter speed dials are both lockable, with just one push they can be freely adjusted; another push secures them in place. A simple but highly effective locking mechanism that definitely improves handling.

Your FREE newspaper packed with the latest news, views and stories from the world of photography news Photography Issue 35 1-25 August News Tests Reviews Interviews Techniques Competitions Exhibitions Clubs Produced by

DIGITAL EDITION every month* *at absolutephoto.com FREE GET YOUR

A Samsung 64GB Pro memory card Enter the competition on page 60 WIN!

Watch the birdie Every tweet & chirp about Birdfair, page 29

Testing times First impressions on essential kit, page 40

Winning shots Turn to page 35 to see Photo 24’s winners

The X-T2 has landed Fujifilm’s celebrating the fifth anniversary of its X-series in style. First we had the X-Pro2, now the much-anticipated X-T2

Fujifilm’s X-series now has two flagships with the X-T2 joining the X-Pro2 launched earlier this year. So whether you prefer to use a DSLR-type or rangefinder-style camera, you’ll have the choice when the X-T2 becomes available in September. Its body price is £1399 and £1649 with the XF18-55mm f/2.8-4 lens. The X-T2 sees several significant improvements over the X-T1, its popular predecessor, most notably in its autofocus performance, and the 24.3-megapixel CMOS III X-Trans sensor that supports, for the first time in an X-series camera, 4K video recording. Its improved AF algorithm, increased number of AF points and continuous AF presets offer a high level of focusing performance that makes the X-T2 is a very viable camera for action. This is enhanced by the camera’s ability to shoot at 8fpswhich becomes 11fps (14fps with the electronic shutter)

Nikon’s new arrival Nikonadds to its fast lens rangewithanAF-S 105mm f/1.4E ED … continue reading on page 3

with the optional Vertical Power Booster Grip VPB-XT2 that sells for £299.99. This grip accepts two batteries which increases shooting capacity to over 1000 frames and offers a Boost mode for even shorter

shutter lag and minimal blackout time in continuous shooting. Turn to page 3 for more news and to page 44 for a hands-on preview.

fujifilm.eu/uk

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Photography News | Issue 35 | absolutephoto.com

News

The X-T2 has landed Fujifilm’s latest CSC is designed to cope with all subjects including fast action and it’s its first 4K-video capable camera

The EF-X500 is a dedicated hotshoe flashgun for Fujifilm X-series cameras. Priced at £449.99, it will be available from September. It is a powerful, weather-sealed unit with a GN of about 50 and the auto zoom head covers lenses from 16mm to 65mm, wider is possible with the supplied diffuser. Features include TTL functionality and FP flash which pulses flash rapidly for correct flash sync at high shutter speeds. The EF-X500 also supports multiple flash set-ups. Power is supplied by four AA cells and an optional EF-BP1 is available for £169.99 and this accepts eight cells for faster recycling. Fujifilmadds a flash

fujifilm.eu/uk

The Fujifilm X-T2 is a mirrorless CSC with a centrally positioned viewfinder for DSLR-style handling. That is enhanced by its design and layout with control dials playing a large part in camera usage. Two key dials, the ISO and shutter speed, have been redesigned to feature one-push locks for more assured, improved handling. The X-T2 is based around a 24.3-megapixel CMOS III X-Trans sensor (the same sensor is used on the X-Pro2) that delivers excellent image quality even at high ISO settings and gives the option of shooting 4K video using the camera film simulation modes. The X-T2’s AF system represents a significant step up from its predecessor. The phase detection AF sensor is now larger with 91 (switchable to 325) AF zones and uses an improved algorithm to cope with tricky subjects like those featuring delicate or indistinct textures. The AF system is also capable of dealing with fast action too and its continuous focusingmode features five custom Presets or ‘case studies’ to suit different subject types. With these settings the tracking sensitivity, speed tracking sensitivity and zone area switching are tailored to deal with different situations. For instance, Preset 4 is for suddenly appearing subjects and Preset 5 is for erraticallymoving subjects. There is a sixth custom setting so that you can set up your own parameters to suit the movement characteristics of your subject.

The AF system benefits with the inclusion of an AF lever or joystick which makes moving the active AF point in the frame a quick and more convenient process. Key to the X-T2’s handling is its electronic viewfinder. Its 2.36 million dot EVF is said to be twice as bright as the X-T1’s and has an auto brightness function to help you see the image in all lighting conditions. Compared with the X-T1, the X-T2 has a reduced blackout time making it easier to track moving subjects as you pan. The basic camera body has a shooting rate of 8fps with the mechanical shutter (14fps with the electronic shutter), but add the optional Vertical Power Booster VPB-XT2 grip (£299.99) and you increase this to 11fps. In Boost mode, this grip also reduces shutter release lag and gives a shorter blackout time. The grip also houses two batteries and with the third one in the camera, there is shooting capacity of over 1000 frames. An important innovation is the camera’s dual SD slots. Card failure is rare, but when it does happen you don’t get any warning and having that option for peace of mind is very welcome. The X-T2 is expected in the shops in September at £1399 body only, but meanwhile you can read more about it in our hands-on preview later in this issue.

Adrian Clarke, senior vice president, electronic imaging FujifilmEurope

fujifilm.eu/uk

It’s a good day for portrait, fashion and low-light photographers with the announcement of Nikon’s new AF-S Nikkor 105mm f/1.4E ED. It joins Nikon’s fleet of fast f/1.4 primes, and is currently the only 105mmAF lens available with the f/1.4 aperture. Its huge light- gathering capabilities allow you to work in available light or in the studio with ease, while the optical construction claims to produce unrivalled edge-to-edge sharpness and clarity even when shooting wide open thanks to its three extra-low dispersion (ED) elements. A nine-bladed aperture design should decrease diffraction and provide rounded bokeh and smooth transitions with no rough edges. The ‘E’ in the lens’s title means an electromagnetic aperture mechanism is on board to give more stable autoexposure control. Nikon’s tried and tested Silent Wave Motor is used for brisk, quiet and accurate autofocus. Nikon’s engineers have apparently paid particular attention to the edges of the picture frame, so that distortion and flare are minimised and light sources are rendered as fine rounded points. The Nikkor 105mm f/1.4E ED will be available from the end of August at a suggested price of £2049.99. Nikon’s newarrival Nikonadds to its fast lens rangewithanAF-S 105mm f/1.4E ED

... continued fromcover

“We launched the X-T1 in March 2014 and it’s been a very successful product for us. Users loved the design, the new electronic finder, the intuitive operation, but most of all the image quality. At the same time, we introduced the XF56mm f/1.2 and XF10-24mm f/4 lenses. That expanded the shooting field of X-series to portrait, wedding and landscape. We think expanding the shooting field was the one reason that X-T1 was so successful. “Since then we have been working on the X-T1’s successor. Developing such a sophisticated camera with such processing power is a huge task. The processor alone took two years to develop and program. This has culminated in the birth of the X-T2. “With the X-T2, we hope to expand the usage of X-series to almost any subject you care to try to shoot. “We’ve also tried very hard to cover every requirement of today’s photographer, and we realised that our video functionality and quality was one of our weaker points. The XT-2 doesn’t just give 4K resolution, but really excellent image quality in 4k. We have HDMI output and new video standby mode. We also have Film Simulation in video, which is particularly fantastic in ACROS black & white mode. “The Vertical Power Booster Grip can house two additional batteries, helping increase capacity to around 1000 frames between charges. It also adds a headphone socket and a Boost switch that improves responsiveness and ups the frame rate to 11fps. “So in summary, we are very pleased to launch a second flagship camera alongside the X-Pro2. Some may prefer the rangefinder or optical style of the X-Pro2, some may prefer the SLR and large EVF-style of the X-T2.”

nikon.co.uk

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Photography News | Issue 35 | absolutephoto.com

News

Hands-onHasselblad Will Cheung gets to enjoy an exclusive experience with the latest camera sensation, the Hasselblad X1D, the world’s first mirrorless medium-format digital camera

Specs

Price Body only £7188, XCD 45mm f/3.5 £1788, XCD 90mm f/3.2 £2148 Sensor 16-bit CMOS, 43.8x32.9mm, 50 megapixels Sensor format 8272x6200 pixels ISO range 100-25,600 Shutter range 60mins to 1/2000sec, flash sync at all speeds Drivemodes 1.7-2.3fps Metering system Spot, centre-weighted and centre spot Exposuremodes PASM Monitor 3in 920k with touchscreen functionality. EVF with 2.36 million dots Focusing Contrast-detect AF, instant manual override Video HD 1920x1080p Connectivity Wi-Fi, mini HDMI, audio in/out, GPS, USB 3.0 type-C connector Storagemedia 2x SD card slots Dimensions (wxhxd) 150.4x98.1x71.4mm Weight 725g body with battery Contact hasselblad.com The clarity and reproduction of fine detail was really impressive and the X1D was very clearly superior

Words by Will Cheung

Hasselblad is the name in medium- format photography and in recent times has added three new cameras to its range, the latest being the X1D, a mirrorless medium-format camera, whichwe covered in the last issue of Photography News . “We are really excited with this product and there is the potential for newmarkets and new business,” says Hasselblad UK’s managing director Simon Coleman. “The X1D will make a big impact on our business and our brand, and give users a unique imaging experience.” Last month, I got to spend some time with pre-production samples in London and while the firmware was some way off final, it was a chance to take some pictures using this revolutionary product. The X1D will retail at £7188 (all prices quoted include VAT) and is being launched with two lenses, the XCD 45mm f/3.5 and the XCD 90mm f/3.2 priced at £1788 and £2148 respectively. In 35mm format terms these lenses equate to 35mm and 71mm. A wide-angle lens is on the way soon and more lenses, including a zoom, will be introduced into the system. In my average-sized hands the X1D fitted perfectly. To be frank, the handgrip could not have been a more comfortable fit if it had been custom-made for me. It really was that good, but that is a personal viewpoint. Speaking of which the X1D’s feel reminded me of the Mamiya 7, a 6x7cm film rangefinder camera. The X1D’s body is slimmer and less tall, though. With either lens it is useable one- handed if that is a consideration but obviously stability is better if the left hand supports the lens. The lenses are not especially compact and the integral shutter fitted in each lens does mean that is no wriggle room here in terms of making, for example, a pancake lens for greater portability. No matter, the camera/ lens combination felt very good in

the hands and more compact and lighter than, say, a full-frame DSLR with a standard zoom lens fitted. The X1D’s layout is conservative and isn’t overpopulated with buttons and dials. The EVF and monitor are excellent and there is a sensor so when you put the camera to the eye the monitor switches off. The fixed three-inch monitor is touch-sensitive and it’s from here that many of the X1D’s settings are adjusted. As with any menu system, finding your way takes a little time, but the clear layout and large icons make it easy on this camera. Also to preview images you can move from shot to shot by swiping or pinch to magnify into the image, gestures we’ve grown used to on our phones. Push the shutter button and you get three distinct sounds as the camera closes the lens, makes the exposure and opens up the lens for viewing the next shot. Despite that, the camera is quiet, shutter lag is minimal and the preview image appears very quickly. Autofocus seemed swift and quiet. The sample I had only had the central AF working so that was used along with manual focus. The 2.36 million dot EVF helps with

accurate manual focusing. The exposure system proved competent in the limited indoor situation I used the X1D in. Our early sample didn’t have AWB to test so I used a manual Kelvin value or a preset. In comparison The X1D’s 43.8x32.9mm CMOS sensor is anti-alias filter free and boasts a resolution of 50megapixels – it’s the same sensor as used in the H6D-50C. This sensor also offers 16-bit capture which compares with 14-bit for the top 35mmDSLRs. I shot a set of ISO range images in natural daylight and did a number of shots with Bron studio flash lighting. Because the shots were taken on a pre-production camera we are unable to show them here. I did some comparison shots with the X1D alongside a 36-megapixel full-frame DSLR. The resulting Raw files were processed in Lightroom and Hasselblad’s own free software Phocus and then compared on screen at 100% and also at the same magnification in Photoshop – this meant at 100%on the X1D and 126% on the 35mm image. It’s early days but I couldn’t help but be impressed with the quality of the X1D shots.

The XID’s ISO range is 100 to 25,600 and even at the top speed noise levels were low and it had a filmic appearance. There seemed little noise impact on fine detail. In the X1D/35mm DSLR comparison, the clarity and reproduction of fine detail was really impressive and the X1D was very clearly superior to the already excellent full-frame shot. Of course, the reason film photographers used to migrate from 35mm to medium-format was primarily for quality and that still applies. The degree of benefit and whether you need it are different arguments which will be worth delving into when working X1D samples arrive later in the summer. The X1Dwith two lenses will cost over £11k so it’s not exactly a budget system. Yet from a medium-format perspective it’s very competitively priced and it does appear from this preview to offer the quality benefits of the larger format without the bulk. It could be a tempting proposition for quality-conscious photographers whether enthusiast or professional.

hasselblad.com

Above Photography News editor Will Cheung got to spend some time with the Hasselblad X1D.

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News

Six have a grand VIP day out Samsung and Photography News hosted a VIP shoot for six competition winners at Painshill Park in Surrey recently. Here’s a story of the day

Samsung’s latest generation of SD storage cards are very highly specified and ideally suited for use in top-end high- resolution DSLRs as well as smartphones, tablets and cameras shooting 4K video. The Pro Plus SD range comprises 32GB and 64GB capacity cards and satisfies UHS-1 Class three and Speed Class ten performance levels. In practical terms, read speed is 95MB/s and write speed is up to 90MB/s. Reliable fast read/write performance is important but there’s more with Samsung’s five-proof features. The Pro Plus SD cards are waterproof, temperature proof, X-ray proof, magnetic proof and shockproof. Drop one of these latest Pro Plus cards in seawater and it can withstand 72 hours’ submersion. While we were unlikely to encounter adverse shooting conditions during our special event, you never know when the Samsung Pro Plus’s SD five-proof features will come in very useful. What our readers thought about Samsung Pro Plus SD memory cards Diane Le Count: “I really liked the memory card particularly from the point of view of multiple exposures where I was impressed with the speed between one image to the next.” Steve Lissemore: “Great card, very fast at saving images. I was shooting Raw and JPEG at the same time and had no lag at all. I highly recommend this card.” Paul Graber: “Six of us took the Samsung memory cards out with us to shoot; none of us had any problems. Cleary very reliable.” Frank Robinson: “First impressions, the card seemed very fast at saving images.” Alan Cooper: “When on JPEG and Raw at full size the card is fast and I did not have to wait for the next shot.” Samsung Pro Plusmemory cards

In Photography News issue 33 we ran a competition with six prizes of a a Samsung 32GB SDHC Pro Plus memory card, a VIP day out and photo shoot at Painshill Park and a panoramic print from LumeJet. On the day itself, our six winners then had the chance to win further prizes, a package comprising a Samsung 250GB T3 SSD drive, a £250 voucher to spend at lumejet.com and a family ticket to Painshill. This fabulous prize went to the photographer who shot the best image of the day with Photography News ’s editor Will Cheung the judge. The judging was to take place at the end of the day of JPEG shots straight out of the camera so the emphasis was very much on good technique and accurate composition. Having to get it right in-camera did mean that art filters and features such as multiple exposure were available for our readers to exploit. Painshill Park has plenty of photographic potential even on changeable days like we experienced. Our winners, in search of the prize-winning shot, had the option of using the two buggies provided by Painshill to get around the historic site or walk – or both. The shoot kicked off with an introduction to Painshill from CEO Mike Gove and a photographic briefing by PN ’s editor and then it was off to the buggies for some photography. Much of the time it was cloudy but we did have occasional bursts of bright sun and blue sky, and then the odd shower

Above Our readers clutching their Samsung SD 32GB prizes. From left to right: Frank Robinson, Paul Graber, Steve Lissemore, PN editor Will Cheung, Alan Cooper, Diane Le Count and Peter Winter. Below The overall winner, Diane Le Count, receives her prizes from Photography News editor Will Cheung. She won a Samsung T3 250GB SSD, £250 to spend on LumeJet products and a family day ticket to Painshill. Right Diane Le Count’s shot of the Crystal Grotto interior won her the overall prize which includes the Samsung T3 250GB SSD.

too. Key scenic features of Painshill including the Ruined Abbey, Gothic Tower and the Turkish Tent were on the itinerary with plenty of time allowed at each spot for everyone to get their shots. We also had exclusive access to the Crystal Grotto, a man-made feature dating back to 1760 featuring thousands of crystals and restored to its original glory by volunteers.

In the short time we had and in themostly cloudy conditions our six winners did a great job and between them shot over 500 pictures of Painshill on their Samsung 32GB Pro Plus SD memory cards capturing the wonderful follies, the overall landscape and the plentiful wildlife. Thanks to them for their time and enthusiasm and congratulations to Diane for winning the overall prize.

samsung.com

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Photography News | Issue 35 | absolutephoto.com

News

Jet power printing LumeJet is a brand-new digital printing service aimed at

Xeen stealer New from Samyang Optics is the Xeen 135mm T2.2 cine lens, which brings the company’s range of Xeen lenses to six models. The 135mm T2.2 is designed to offer the top image quality required for 4K and higher resolutions, and is optimised to work on full-frame DSLRs, as well as Super 35, APS-C and APS-H cameras. At 135mm it’s a very useful telephoto option and allows impressive shallow depth-of-field effects. The Xeen 135mm T2.2 is released this month at £1799.99 and available in Canon, Nikon, Sony E, Micro Four Thirds and PL mounts. intro2020.co.uk

News in brief

Wilkinson Cameras is running the biggest specialist photography show in the UK. Digital Splash 16 takes place 15 and 16 October at the Liverpool Echo Arena. This year’s show is hosted by Damien Demolder and speakers across the two days include acclaimed fine-art photographer Jonathan Chritchley, one of the world’s most widely published photographers Michael Freeman, award-winning portrait and fine- art nude photographers Faye and Trevor Yerbury, iconic-brand photographer Tim Wallace and Leica’s standard The Apo-Summicron-M 50mm f/2 ASPH is claimed to be Leica’s sharpest ever standard lens. It is said to resolve the finest details from corner to corner at all aperture settings including f/2. The guide price is £5900. uk.leica-camera.com Fujifilmupdate New firmware is available for the Fujifilm X-Pro2. Benefits include a new AF algorithm (as featured on the new X-T2), compatibility with the EF-X500 flashgun, auto power off and improved parallax correction. fujifilm.eu/uk Fight for your rights DACS is a not-for-profit visual artists’ rights management organisation and this year its Payback campaign saw £5.5 million of royalties made available for visual artists whose work has been published in print or on TV. The scheme has been running for 15 years and distributing over £43.5 million, and from now until 30 September 2016 you can apply for your share in collective licensing royalties. dacs.org.uk/for-artists/ payback G-Whizz Good news for photographers who don’t throw anything away: G-Technology’s range of hard drives are being treated to higher capacities as well as improved performance. Among others, there’s a new 10TB G-Drive with Thunderbolt (up to 245MB/s transfer) at £650, and a titanic 20TB G-RAID with Thunderbolt and USB 3.0 connections at £1375. g-technology.com

photographers who want high- quality, natural and accurate- looking prints. The company is offering a huge range of print sizes and options including whopping one-metre long panoramic prints, premium lay-flat photobooks, bespoke wedding albums, hospitality keepsakes, professional photographic portfolios and mounted and framed prints. Whatever product, a faithful print reproduction is promised, matching what you see on your screen and staying true to your intentions. Paul Anson, Co-Founder of LumeJet identifies the company’s process as an “ultra-high quality, true 400dpi continuous tone resolution, with much reduced flare and pixel cross talk.” The service has been emphatically endorsed by a number of pro photographers, and Paul adds that “of the print output so far, some have commented that it is the highest quality photo printing they have ever seen.”

Ordering should be refreshingly simple, too thanks to LumeJet’s online service which has been developed to provide a “flexible, tailored and simple user experience, allowing the customer to complete their journey through the photo print design and buying experience with minimum fuss.”

lumejet.com

Samsung at top speed Lighting guang

Samsung has launched the most powerful card in its class, the high- capacity EVO Plus 256GB MicroSD. With a read/write speed of 95 and 90MB/s respectively it”s currently the only 256GB microSD card to reach such speeds. The huge amount of storage combined with the blistering transfer speeds allows you to capture plenty of very high- resolution images at a fast frame rates; and if you’re a heavy video user, you can pack in up to two hours of 4K UHD video (or 33 hours at Full HD). All this performance comes from the use of Samsung’s latest

The use of LED lighting is on the rise andNanGuang has a range of products to cover every need including handheld, on-camera, stand mounted devices and lighting cases. The Portable LED Light (£198) packs in high-efficiency LEDs, can be used handheld or on a stand and is supplied as a kit with case, filter and diffusers. It’s also available in a larger size, the LEDStudio Light (at £396). Also in the range are the Portable Photo Light (£150), supplied with a table-top tripod which doubles as a hand grip and there are two lighting panels; the camera-mounted LED Luxpad 22 (£45.54) and larger LED Luxpad 43 (£155.94) both of which run off mains or battery packs. Finally, for product photography, there are two lighting cases, the LED NGT4730 (£150) measuring 47x47x53cm and the larger sized NGT6240 (£200) at 62x62x67cm, both of which measure only 9cm deep when folded.

V-NAND technology, putting the EVO Plus 256GB on par with the PRO Plus cards. And in case you’re accident-prone it’s also water, temperature-, X-ray- and magnetic-proof, and comes with a limited ten-year guarantee.

samsung.com

kenro.co.uk

Make a Digital Splash

husband and wife wildlife team Ann and Steve Toon. Visitors will be able to see the latest products and talk to experts from Canon, Fujifilm, Nikon, Olympus and more. Live shoots, demonstrations, photo walks and exhibitions are also on offer. Entry is free if you register in advance on the website before 7 October and you’ll also be sent a 25% discount code to use against talks and workshop bookings. Turn up on the day and entry is £5 per person.

digitalsplash.tv

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Photography News | Issue 35 | absolutephoto.com

News

Wolf parade

Fancy a challenge for your photo skills? Photocrowd.com is a global, independent online community for photographers, which as well as hosting galleries, images sales and e-learning, runs regular inspiring free-to-enter contents many of which have great prizes. One of the most recent was ‘Shadows and silhouettes’, which revealed a range of stunning efforts from all over the world. For the latest contests, of which there are many, head to the link below. Shadows and silhouettes

News in brief

photocrowd.com/challenges

In your face Want to see something weird? Of course you do. The In Your Face exhibition at the National Media Museum in Bradford (open now and running until 30 October) includes a series called ‘Cloud Face’, which was commissioned by the museum and created by Seoul-based artist duo Shinseungback Kimyonghun. The pictures, shot using a CCTV camera on the Museum’s roof, used facial recognition software to pick out faces in the clouds, and explore the phenomenon of 'pareidolia', where amongst other things, humans tend to pick out faces in random textures. The rest of the exhibition includes more than 20 exhibits and activities in all, plus there’s the rest of the NMM to enjoy. nationalmediamuseum.org. uk

Wolf Haven is a brand-new photography book by American photographer Annie Marie Musselman, whose work has appeared in National Geographic and The New York Times . Musselman was given rare access to shoot at the titular sanctuary near Mt Rainier National Park inWashington State, USA.

The rescued wolves – injured animals found in the wild and those liberated from illegal breeders – have very limited human contact so there’s a wild spirit to Musselman’s images. Wolf Haven is published by Sasquatch in hardback, spans 144 pages and available from September at £16.99.

sasquatchbooks.com

Estuary English

Fancywinning a £100 JohnLewis voucher? All you need to do is enter a photograph that makes you smile into Café du Monde's competition. By entering you’ll also be helping fundraise in aid of Macmillan Cancer Support. All proceeds are going to the charity, so take part, email your photo to kay@cafedumonde.co.uk, then donate £5 toCafé duMonde’s page at justgiving.com/fundraising/ Cafe-Du-Monde-Ltd. The closing date is 1 September and the winner will be announced on 24 September. Winning smiles

Estuary 2016 is a new arts festival which takes it lead from the spectacular Thames Estuary, and which has inspired artists for generations with its unique cultures, industries, wildlife and desolate beauty. Running from 17 September to 2 October, it features plenty of contemporary photography alongside literature, film and music, and takes place across a range of historic venues along the Essex and Kent shorelines. Featured photographers' collections to look out for include Bronwen Buckeridge’s ‘Creatures of the Mud’, Chloe Dewe Mathews’ Thames Log (2016) and Gideon Mendel’s ‘Drowning World’ and Iain McKell’s ‘Infinity’. What’s more, artist Anne Lydiat will be turning her barge, docked at Tilbury Passenger Terminal, into a camera obscura for the duration of the festival weekend.

Best of British This autumn, the Lumas Gallery celebrates the works of selected British photographers across its portfolio, including at its London gallery, 57 South Molton Street, Mayfair, W1K 5SJ. Works by celebrated artists such as Jane Bown, Justin Barton, Peter Adams and Jonathan Andrew are to be supplemented by a series of events in September and October, to coincide with the Frieze London art fair. For instance, the exhibition of Bown’s portraits will be supported by an exclusive event with Guardian Live, including a talk by Luke Dodd, who was responsible for archiving he photographs when she passed away in 2014. If you’d like to knowmore about the events as well as the chance to purchase exclusive prints by the featured artists check out the link below. uk.lumas.com/events

cafedumonde.co.uk

The Student Photographer of the Year has been announced and it’s none other than Gemma Astbury of Norwich University of the Arts. Gemma was also the Curator's Choice Winner in February and her winning image, Happisburgh Fences, was shot on Fujichrome Vevia 100 transparency film and cross-processed. Director Steve Macleod of sponsors Metroprint said of the winning pic: “This photograph has really stuck with me… it evokes feelings of past times, memories and loss.” You can check out other winners at… Student Digs 2016 Fujifilm

estuaryfestival.com

fujifilmstudentawards.co.uk

Photography News | Issue 35 | absolutephoto.com

Photography News | Issue 35 | absolutephoto.com

10

Tell us your club’s latest news, email: clubnews@photography-news.co.uk

Clubs

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

How to submit

Deadline for the next issue: 18August 2016

We need words and pictures by 18 August for the next issue of Photography News , which will be available from 29 August. Write your story in a Word document (400 words maximum). 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 clubnews@photography-news.co.uk.

Flying the flag at Farnborough Celebrating its 75th season, Farnborough CC has a busy season lined up

News in brief

Gosforth’s exhibition Visit Gosforth Camera

Originally Farnborough and RAE (Royal Aerocraft Establishment) Camera Club, Farnboroughwas formed during the SecondWorldWar –with its first meeting interrupted by an air raid! In 1983, RAE withdrew as none of its staff were members any more, and the club has since continued to flourish, even linking with PhotoCirkel, in Germany’s Oberursel. The club also holds annual competitions with clubs in Australia and New Zealand. Farnborough Camera Club’s 75th season will be no less busy than previous ones. Already planned is a visit by David Noton on 25 October and

the 75th Anniversary Exhibition in January 2017. Non-members are very welcome to attend both events; see the website for details. Before then, the club will be holding a display at Princes Mead Shopping Centre in Farnborough on 13 August, which will also be a great opportunity to find out more about the club. Visitors can vote for their favourite image, and the photo with the most votes wins the Exhibition Cup.

Club’s annual exhibition at Newcastle’s Central Library between 26 August and 6 September. The club aims to display at least one image by each member. The Library is open seven days a week. gosforthcameraclub.org Day display Bungay Camera Club’s annual exhibition and fair is on 3 September, at Bourne Village Hall, and entry is free. As well as offering the chance to view the members’ photos and to ask them questions, the day also includes practical demonstrations and craft stalls. Refreshments available. bungaycameraclub.co.uk Season starts Beeston Camera Club starts its new season on 1 September. The club meets every Thursday at the British Legion Club in Beeston, September to April. Friendly and welcoming, the club offers a varied programme with competitions and guest speakers. beestoncameraclub.co.uk

farnboroughcameraclub.org

Opportunities at the exhibition

Enjoy island life with a visit to the Guernsey Photography Festival, running 8-30 September. The fifth outing for the festival, this year’s theme is FICTION/NON-FICTION. The festival features exhibitions by international and local photographers, both indoors in venues such as the Guernsey Museum and outdoors; talks and workshops; an extensive education programme and the launch of the International Student Competition. Making a return is the popular Photomarathon. This family event encourages everyone to get involved, to shoot 12 images on 12 themes in just six hours, using any digital camera or device. Island life

Not content to hold a conventional exhibition, PICO (Photographic Imaging Co-operative) is combining its exhibition at Thorpe Hall, in Longthorpe near Peterborough, with lots of photo opportunities. On 14 August, for a £2 entry fee, you can photograph four models, as well as dancers from Tu Danse studios, and 1940s style Lindy Hoppers picnic; take part in Q&A sessions; and enjoy product demonstrations and workshops. There will also be trade and craft stands, plus refreshments. Find out more on their Facebook page.

Above Local photographer Aaron Yeandle is exhibiting as part of the Guernsey Festival, alongside the likes of Bruce Gilden.

2016.guernseyphotography festival.com

facebook.com/THEPICOGROUP/

Photography News | Issue 35 | absolutephoto.com

Photography News | Issue 35 | absolutephoto.com

12

Profile

Before the Judge

Biography

Each month, a respected judge or exhibition selector shares their thoughts and experiences. This month we speak to Richard Speirs who has over 25 years experience Richard Speirs

Words by Richard Speirs

I hadn’t been at Morton Photographic Society for too long when I received an invitation to judge at a local club. I recall the initial fear of standing up in front of photographers who may have been taking pictures for longer than I, but something must have gone down well as I soon began to receive further invitations. Eventually I found myself on the Northern Counties Photographic Federation (NCPF) judges list and over time reached its A-list of judges who could be expected to handle anything. Subsequently, having gained a lot of experience in judging local and regional competitions, I found myself selected for the PAGB list of judges. It is this position that I value most as it allows me to sit on some the best competitions in the UK. I have no unique qualification to judge other than an appreciation of what makes a good picture and how to offer helpful critique without hopefully upsetting the author. I always try to inject some humour into my judging or talks, but never at the expense of any of the competitors; life is too short to run the risk of a lynch mob in a club car park. Through years of experience I hope I have refined whatever skills I might have to encourage andmotivate photographers in their hobby. Again blamingmyfather,IsuspectthatImay have inherited some of his qualities such as having the gift of the gab whichcertainlyhelps to communicate effectivelywith an audience. In the NCPF we run annual events to recruit judges and for many years I’ve been the principal speaker aiming to give basic communication skills to prospective judges. Body language is crucial as is the ability to avoid relying solely on criticism, which is the easy option for many beginner judges and, sadly, somewell-established ones too. My communication rule of thumb is 55% body language – facial

Richard Speirs Richard’s been a member of Morton Photographic Society for nearly 40 years and has been judging and lecturing for over 25. Years in photography I blame my father for giving me a Kodak Autographic 120 roll film camera when I was around 11. I still treasure the memory of the first successful prints emerging in the dim red glow of the darkroom. I studied environmental science and my then camera, an Exa 1A, was used to record many natural history subjects on slide film. Home club Morton Photographic Society in Carlisle. I have twice been chairman and held most of the committee positions at Morton. I’m on the executive of the Northern Counties Photographic Federation and the executive of the Photographic Alliance of Great Britain as well as sitting on its Awards sub-committee. Favourite camera I’ve been with Sony since the demise of Minolta and currently use the Sony Alpha 6300, which is wonderfully portable, accurate and a delight to use. Favourite lens Sony Zeiss 16-70mm f/4, which is incredibly sharp. Favourite photo accessories I must admit to not using a large number of accessories. That said, I find my set of Lee Filters ND grads invaluable for landscape work and I use polarising filters. Favourite photographers I enjoy the perfection of Joe Cornish, the artistic subtly of Irene Froy, the creativity of Christine Widdall, Adrian and Jane Lines and Dianne Owen. If I had to pick one it would be Tony Ray-Jones whose street photography is astounding. Favourite subject I started out with natural history, which is still a mainstay but I am equally at home with most subjects. There are so many wonderful things out there to inspire photographers. Awards I gained my DPAGB many years ago achieved a BPE2* rating, and was awarded the APAGB. Although I regularly enter contests and achieve a fair number of acceptances, striving for awards doesn’t feature greatly in my life. My greatest reward is knowing a judging session or lecture has gone down well in a camera club and that I get return invitations.

expression, gestures and posture; 35% vocal – tone of voice, monotones are an insomniac’s best friend, pacing, using sentences and pauses; and ten per cent verbal – choose your words carefully, avoid jargon and be accessible not clever. A good judge should... Good communication skills can be learned and are essential if a judge is to be a hit with an audience. I encourage prospective judges to avoid being hidebound by the so- called 'rules of photography' which are there for guidance. That said there is often a benefit for taking advantage of the human preference for images which are based around thirds and, certainly in the UK, read from left to right. I believe that judges should concentrate more on why someone took a particular shot and if their knowledge and use of appropriate technique added to the initial concept. It is up to a good judge to identify the initial element that inspired the photographer and if need be suggest

ways in which it could be improved. Likewise I think it is important for judges to avoidwriting off a picture of apopularlocationjustbecausethey’ve seen the view or subject dozens of times before. Every shot is different and subtle nuances of interpretation should be looked for and recognised. I also believe that it is important for judges to participate in competitions themselves, preferably not just at club level, but in the wider arena. Fashions do change and nothing turns off an audience more than listening to someone who hasn’t kept up to date with what is happening. I think it is essential that judges are aware of modern processing techniques rather than second-guessing what has been done to a picture and making a fool of themselves in the process. The work in many camera clubs is of a far higher standard than it was just a decade ago and the better judges should be aware of that moving standardandbecapableofassessingit accordingly. Reassuringly many club photographers are realising that their work looks better by use of subtlety in whatever technique they happen to hit on, whether it beHDRor one of the many available plug-in filters. Sadly that doesn’t apply to all clubs and I must admit to being bothered by the current fashion for oversaturation. If I was to advise on what simple things to do to improve an image I would say delicacy in technique and treatment, avoid over sharpening and

ensure that the final histogram has adequately brought out the best in the highlights and shadows. I suppose my biggest bugbear with club competitions is with those clubs who insist that all their internal contests have to be marked out of 20 or 30 or whatever top score they choose. Frequently when asked why they have marks the response is that the members like to know if they are getting better or not. A weird reason considering each competition is largely a matter of ranking the best to the worst picture that night and gives no idea of howan individual improves contest by contest. My advice to any photographer interested in developing their work is to join a camera club, visit as many exhibitions as you can, go to see the judging at one or more of the various PAGB competitions held each year andhave a go at entering competitions outside the security of your own club. That way you’ll be aware of what works and what doesn’t and how attention to detail in photographic quality certainly pays dividends. Photography is a wonderful art formandwe areprivileged tobe living in an age where the camera quality, even inmobile phones, is phenomenal and post-processing software, used with sympathy and skill, can produce arresting pictures.

richardspeirs.photos mortoncarlisle.photography

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.co.uk with the judge’s name and, if possible, their contact details.

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