Photography News issue 22








Your FREE newspaper packed with the latest news, views and stories from the world of photography news Photography Produced by Issue 22 20 July – 16 Aug


Look inside this cover wrap for the latest issue of Photography News

Photography News Issue 22

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Part one

Profoto B1 & B2 In the spotlight Finding out how photographers use the Profoto B1 and B2 off-camera flash kit in earnest, we spotlight two pros. First up is Tom Barnes


Self-taught Tom Barnes has found his home in portrait photography, snapping everyone from ballet dancers to rock stars, always with his Profoto B1 in tow. Tell us how you got into photography in the first place? I was first given a camera by my dad at around five years old and I’ve been shooting since then – when you’re that age you’ll take anything your parents say as concrete fact and when they said I had a talent for it I believed them. I was taking pictures of anything and everything I could but even at an early age Iwanted to photograph people, it’s all I’ve ever wanted to do. Who has been the most memorable person you’ve shot? I’ve shot some incredible people and met such a variety that it’s almost impossible to nail it down to one person, I had a shoot recently with Suzi Quatro and that was great; we really clicked but other shoot highlights have been British boxing legend Joe Calzaghe; Huey Morgan fromFun Lovin’ Criminals was great; and the funniest person I’ve ever shot was Rhys Darby from Flight of The Conchords . I had to ask him to stop talking as I could not hold the camera steady I was laughing so hard. What in your eyes makes a great portrait? Very simply getting someone’s character across in the image; it obviously helps to have great lighting and a technically strong shot, but if you’vemissed capturing someone’s character then you’ve entirely missed the point of taking a portrait. photographer

When Profoto announced the B1, it was as if they’d heard my prayers

Lighting is key when it comes to portraits, what’s your style? I thinkmy style is dark and slightly moody, some people have said cinematic but I don’t know if I’d go that far. I use a little ambient but rely heavily on flash in almost every situation, I also tend to only use one or two heads on a set-up. Why did you choose the B1 when the market is saturated with portable lighting systems? I’ve been a Profoto user for years and years so bought into the system a long time ago. I’ve always enjoyed the quality and consistency of the light and the reliability of the kit. When they announced the B1, it was as if they’d heard my

prayers for a smaller and easier to transport and use flash head, it was the perfect light for me; smaller, lighter, compact with no cables and remotely controlled via the Air system. It’s meant that I carry less kit and have a much easier time on set; I no longer need to run over to packs or lights to adjust power or modelling, it can all be done from the camera. All I need to do is make sure the angles are right and then I can control everything else over the Air system. Which accessories in the Profoto Light Shaping system do you use with your B1? I use a whole mix of stuff but my go-to accessories are the 3x4 RFI softboxes with the soft grids; these give a lovely light and are easy to control. I’ll tend to use one or two of these on a set-up. Often I might also use some of the new silver deep umbrellas as they have a great crisp focused output to them due to the slightly more parabolic shape. Tell us about themost challenging assignment you’ve tackled with the B1. Every assignment is challenging for different reasons, it’s one of the things that makes the job so interesting. I think the challenges I’ve faced on shoots are mainly things like light placement. The B1 is the perfect solution for me with that sort of situation.

Because it has no cables, you can suspend it in tight places or have the light up really high and not have to worry about packs getting caught etc. Cables might sound like a funny thing to have a problem with but they cause problems, people trip or they can get caught, it also takes two hands to move a pack and light. With the B1 you can just grab the stand and go.

Turn to the inside back cover to read the second spotlight.

Profoto B1 & B2

One of the keys to great photos is lighting. A well-lit photo stands head and shoulders above the rest, giving your work a professional edge. Lighting doesn’t need to be complicated though and with the Profoto B1 and B2 off-camera flash systems, achieving slick expert-level shots is easy. The B1 has completely cordless TTL operation and is ten times as powerful as your average speedlight, making it your go-to flash for on-location shoots. On the other hand, the B2 is TTL ready too, can be used both on and off camera and is versatile enough to use as a gentle fill light or even as your main source.








Your FREE newspaper packed with the latest news, views and stories from the world of photography news Photography Produced by Issue 22 20 July – 16 Aug


In association with


Lighting academy sponsored by Lencarta See page 30 for summer portrait techniques

The story behind a photo marathon How250 intrepid shooters got on, page 20

Canon’s megapixel monster on test Read the verdict on the EOS 5DS on page 32

Samsung memory duo! Turn to page 54 to find out more

Nikon lands new lenses Trio of top Nikkor lenses includes DX format standard zoom and two super-telephoto primes

There’s a trio of new lenses fresh from Nikon, amongst which is the AF-S DX 16-80mm f/2.8-4E ED VR lens (£869.99). It’s a big zoomer but it weighs in at just 480g; it’d make a welcome travel buddy for a Nikon DX-format camera. Nikon has introduced four-stop vibration reduction and combined with its large focal range, crisp photos are on the horizon. It’s the first DX lens to include anti-reflective Nano Crystal Coating and it also boasts a protective fluorine coating. Breaking it down, it comprises 17 elements in 13 groups and includes three aspherical as well as four extra-low dispersion elements. Nikon’s also put out two brand- new super-telephoto lenses: the AF-S Nikkor 600mm f/4E and the AF-S Nikkor 500mm f/4E. The company has managed to cram all that super-telephoto technology into the lightest lenses in their class, all whilst improving performance too.

Canon goes long with G3 X Canon’s pulled another first out of the bag, this time in the formof thePowerShotG3X, which is the first in Canon’s superzoom compact range… Continue reading on page 5

The 500mm is 20% lighter than its predecessor and the 600mm 25%, all made possible thanks to the use of fluorite elements and a partially magnesium alloy build. In terms of performance, these lenses are precise, with an electromagnetic

diaphragm that delivers consistency evenat highspeed.Youmightwant to avert your eyes for the prices though; the 600mm comes in at £9649.99 and the 500mm at £8149.99.

Photography News Issue 22


Photography News Issue 22


Canon goes longwithG3 X

Canon’s pulled another first out of the bag, this time in the form of the PowerShot G3 X, which is the first in Canon’s superzoom compact range to feature a 1.0-type back-illuminated CMOS sensor. The G3 X’s 20.2-megapixel sensor is the same as found in the G7 X and works in tandem with a DIGIC 6 processor, it is nifty too, reaching speeds of up to 5.9fps. The lens is a showstopping 25x optical zoom that promises clarity throughout. Despite being a compact, it has the touch of a DSLR with a large tilting touchscreen, control ring, full

manual control and Raw settings. It’s stacking up to be a strong second shooter or travel companion and with Full HD movie capabilities improved with 5-axis image stabilisation it ticks a lot of boxes. It’s available later in July and has a suggested retail price of £799.99. Canon also launched the Speedlite 430EX III-RT for its EOS system. Priced at £249.99 this flash has a GN of 43 (ISO 100/metres), but its key selling point is integrated radio control for great off-camera versatility.

Get closewith Samyang

Samyang is making its first foray into macro photography with the release of not one, but two new macro lenses. The 100mm f/2.8 ED UMC macro lens is a manual focus lens that’s been designed for full- frame as well as smaller sensors. It’s a flexible lens, ideal for up- close 1:1 magnification shots as well as flattering telephoto portraits. In a Nikon AW fit it’ll cost £419.99 and for the Canon, Sony A, Pentax, Sony E, Fujifilm

X and Micro Four Thirds, it’s priced at £389.99. Next up is the 100mm T2.1 VDSLR ED UMC macro lens. Aimed at filmmakers it’s a manual focus lens for full-frame and smaller sensors. It comes with focus and de-coupled aperture gear rings for use with rigs and follow focus. The Nikon, Canon, Sony E and Micro Four Thirds fit costs £429.99.


Photography News Issue 22


Boldmoves fromSony Sony launches it latest full-frame CSC which boasts 42.2 megapixels, plus two more premium compacts featuring one-inch CMOS sensors

News in brief

NuancedCokin The latest in-filter innovation comes from Cokin, which has designed a range of ND filters that offer second-to- none neutrality and produce images free of infrared pollution. Nuance filters come in six different sizes with the strongest offering a 10EV reduction; multiple filters can be stacked without colour cast too. Prices to be confirmed. Quick off themark Free firmware updates have been released for the Sony A7, A7R, A7S and A6000 to improve start-up speed as well as to facilitate movie recording at a high bit rate.

Big news from Sony as the firm releases its new flagship mirrorless full-frame camera, theA7RII,whose 42.2-megapixel back-illuminated CMOS sensor takes centre stage. Improvements on its predecessor include an updated AF system, which in this latest model delivers a response time up to 40% faster thanks to 399 focal plane phase- detection AF points. ISO ranges from 100 to 25,600 and five-axis image stabilisation has been fine- tuned to support high-res shooting. As if that wasn’t impressive enough, it also brings 4K video recording with a choice of shooting in full- frame or super 35mm crop. Pricing and availability to be announced.

Elsewhere, in the Sony compacts department there are an additional two cameras added to the range: the compact RX100 IV and high-zoom RX10 II. Both models are the first to feature a stacked 1.0-type CMOS sensor with a DRAM memory chip, which provides faster read-out of image detail. Other features include up to 40x super slow motion shooting and 4K video recording. The RX100  IV has Zeiss 24-70mm lens whilst the RX10 II has the same lens as its predecessor, the 24-200mm f/2.8. The RX100 IV retails at £644 and the RX10 II at £840.

Pack your bags

Developed for the pro and enthusiast shooter, Tamrac has announced its new Anvil series of backpacks. Built to be both durable and lightweight, the Anvil series comes in six sizes and prices start at £199.99 for the Anvil Slim 11 backpack. The new range incorporates weather- resistant fabrics and comes with seam-sealed rain covers, and on the inside individual dividers are lightweight and fullycustomisable. Accessories can be stored in the front butterfly pockets and there’s room for a 15in laptop in a protective inner compartment. Comfort hasn’t been overlooked; an airflow harness system takes care of that. And your tripod can attach to the back, with a quick release system for easy access.

Tamrac has seen massive changes in the past year or so and we will be chatting with the company’s new president, Greg Schern, about his new plans in the next issue of Photography News .

A first fromSigma Photoshop creating a more streamlined process. Test it out by downloading a free trial from the HDRsoft website. Photomatix plug-in HDR software Photomatix is now available as a plug-in for Photoshop Elements, meaning that you can work on photos you’ve already processed in

Innovations fromVelbon Tripod expert Velbon continues to bring out innovative camera supports

The Sigma 24-35mm f/2 DG HSM is the first full-frame wide-angle zoom lens to feature a large maximum aperture. It’s able to cover the work of three of the most commonly used prime lenses, 24mm, 28mm and 35mm, all-in-one lens and the bright aperture of f/2 is constant. Super Multi-Layer coating reduces ghosting and flare for sharp images with high contrast even in backlit conditions. Silence is the name of the game when it comes to using high-speed AF and a nine-blade rounded diaphragm is responsible for good bokeh.

A three-in-one tripod, monopod and hide-lamp set is just one of the new products fromVelbon this month. The SUB-65 (£139.99) is ideal for photographers, videographers and birdwatchers, featuring four- section legs and a quick-lock system for swift set up. There’s a removable centre column which transforms into a five-section monopod that can extend up to 164cm – the tripod itself reaches up to 161cm – and the Hide-Clamp II enables mounting

of the centre column on a table for steady shooting. The other new products are four new tripods join Velbon’s Ultra series: the Ultra 355 with three-way head and quick release (£99.99); the 353 Mini-Q with ball and socket head and quick release (£89.99); the 455 with pan head PH-G40D (£119.99); and the 655 heavy-duty travel tripod (£99.99).


Photography News Issue 22


Sling your hook Five camera straps and slings have been brought out by Optech to give you the ultimate in accessibility and security when you’re on the go. The Utility Camera Sling-Duo (£36.99) gives you quick access to up to two pieces of gear, whilst the Triple Carrier (£52.99) takes it one step further with room for three cameras or a combo of camera and binoculars. There’s a sling designed specifically for mirrorless and small SLRs (£12.99), allowing you to carry your camera discreetly to the side but still enabling easy gliding into shooting position. On top of that, Optech has released a strap for mirrorless cameras too, retailing at £17.99. Lastly there’s a tripod loop costing £15.99 that converts your existing strap into a tripod strap.

Triple release fromTokina A new lens and two new filters make up Tokina’s latest releases. The Cinema 50-135mm T3.0 lens is compact and has a nine-bladed curved iris for spot-on bokeh. Aspherical and Low Dispersion glass minimise distortion. It’s retailing at £4499.99. The first of the filters is the Hydrophillic Coating Protector filter that’s designed to prevent water from beading on the surface when shooting in wet conditions. It’s available in seven sizes, from 77mm to 127mm, with the smallest costing £299. The other filter, the Pro IRND precisely controls the amount of light entering the lenswithout affecting the colour. Available in either round or square sizes, prices start from £129.99 for the 82mm round filter.

Rugged tripods for the hardy Three-legged friends for the keen travel and scenic worker

Doubledup Kenko’s Teleplus HD DGX 2.0 and the 1.4x DGX teleconverters have now been released in a Canon fit. The HD DGX 2.0 (£279.99), as the name suggests, doubles the length of your lens whilst still enabling full AF control when you’re shooting with a lens with an aperture of f/2.8 or brighter. The Teleplus 1.4x HD DGX (£219.99) gives you 1.4x extra focal length and again offers full AF with lenses of f/4 or brighter. Both offer compact, low-cost ways of expanding your lenses.

Conquering the twin enemies of any travel or landscape photographer, Sirui has engineered the Wave & Wilderness series of tripods featuring seals designed to keep the dust and water out. These tripods can be submerged up to their shoulders in water and still deliver exceptional stability. They come with rubber feet for use on hard surfaces and spikes for gaining traction on softer ground. Prices for the W&W series start at £599.99. Two new models join Sirui’s existing travel tripod range, so there’s no need to look any further if what

you are after is lightweight but impressively stable tripods. Reaching up to 147cm and folding down to a minimum length of 40cm, they each feature a retractable centre column and come in aluminium or eight-layer carbon-fibre, costing from £169.99 or £269.99 respectively. A new video monopod with stand spider has also been made available (from £349.99) as well as a new tilt head, L-20S (£199.99).


Photography News Issue 22


DxOsupports newmodels DxO has released updates to DxO OpticsPro v10.4.2, FilmPack v5.1.4 and Viewpoint v2.5.6, ensuring compatibility with Canon’s EOS 5DS and 5DS R models, delivering digital noise removal whilst preserving detail and colour saturation. These updates also enable seamless integration with Adobe Photoshop CC. Other news from DxO includes the introduction of the ONE, a 20.2-megapixel sensor with a f/1.8 lens that attaches directly to iPhones. It doesn’t come cheap though, it’s priced at £499.

Tonality app revamped

News in brief

Calumet launches foldable LCDviewfinder Designed for use on all DSLRs with a 3in or 3.2in screens, including the Canon EOS 5D Mark III, this pro quality LCD viewfinder loupe is costs £125.








from provides photographers with the tools to create pro-style black & white photos through layer- based image editing, overlay textures, structure detail and the like. Freshly updated, the app now offers all that and more, including a new Luminosity Mask control for more drama in your shots, compatibility with the latest version of Lightroom CC and provides new Raw camera file formats. Find Tonality in the Mac App Store for an introductory price of £8.50. Macphun

Sturdy& precise Extending its XPRO range of tripod heads, Manfrotto has unveiled the XPRO Ball Head. Featuring a triple- locking system, the XPRO Ball Head is incredibly precise, keeping a sturdy position once locked in; levelling bubbles help you get your tripod set up just right. It’s made from magnesium alloy and is really lightweight so you’re not adding much to your kitbag in the way of weight, but gaining plenty in terms of versatility. Available with either a black 200PL or a top lock system plate, the XPRO Ball Head is priced £114.95 or £159.95 respectively.

Sound it out Azden has added a USB port to its portable mixer range, so you can hook up your FMX-42u mixer (£729.99) to your laptop, smartphone or tablet for a secondary stereo audio output. Also released is the SGM-250 Pro Shotgun mic promising high performance and quality (£299.99).

Phottix change

Phottix flash triggers and studio lighting are now distributed by Mac Group Europe. Joining the Phottix range is the Indra360 TTL. A portable battery flash system compatible with the Odin and Mitros+

triggers, it offers the option of high- speed flash sync at shutter speeds up to 1/8000sec with Canon and Nikon DSLRs.

Photography News Issue 22


Photography News Issue 22


Mystery solved

News in brief

Light fantastic From 18 July until 4 September, the National Media Museum in Bradford will host an Artist in Residence programme supported in part by Ilford Photo which will see artists partake in Double Exposure: A Tale of Two Planets in Darkness and Light. Visitors will be able to see the work as it is unfolding and even better, entrance is free. finalists. Showing at the Royal Geographic Society, it’s free to visit and runs from 24 July until 5 September. A long journey home The ever-popular Travel Photographer of the Year competition is bringing its exhibition back to London to celebrate this year’s Sell yourwares A new market developed especially for photographers has been opened by EyeEm. It enables its 13 million strong members to sell their photos to editors, advertisers and pretty much anyone looking for a particular sort of image. Photographers keep 50% of the profit and there is already a large database of 50 million images, with more added daily. ANest egg Providing full HD live video streaming, the new Nest Cam can be set up anywhere to give you peace of mind when you’re away. It’s magnetic and can be mounted to the wall or screwed to a tripod, it can also be mounted upside down for a better angle. Improved night vision is another new feature of the Nest Cam (£159).

Bleeding London Illustrating exhilarating diversity this exhibition brings a London A to Z to City Hall

Portrait of Christina , 1913, Lieutenant Colonel Mervyn O’Gorman, The Royal Photographic Society Collection.

On show at London’s City Hall are 1200 pictures from the massive Bleeding London project, the aim of which was to follow in the footsteps of Stuart London and record every entry in the London A to Z.

Over 600 photographers have uploaded more than 58,000 images, and 1200 of are show until 14 August. the last year,

The identity of a young woman in a 102-year old portrait has finally been discovered after the national media picked up on the mystery surrounding the RPS’s portrait Christina, taken in 1913 and shown recently at the National Media Museum. The woman is now known to have been Christina Elizabeth Frances Bevan, a relative of Mervyn O’Gorman who took the picture.

Masters at work

Make your vote count in the Hasselblad Masters 2016 competition

Bailey’s Stardust David Bailey’s landmark exhibition makes its way to Edinburgh On show at the Scottish National Gallery, Edinburgh, is a major exhibition of the one of the world’s greatest photographers. David Bailey’s latest showfeaturesmore than 300pictures aswell asmaterial such as books and magazines from his personal archive. Theshowisonuntil18Octoberandadmissionis£11(£9concessions). We’ll be taking a more in-depth look at the exhibition in the next issue of Photography News .

The judges in the Hasselblad Masters 2016 competition have created a shortlist of finalists from more than 10,000 entries. Now it’s your turn to put on your judge’s robes. The competition is being turned over to the public to vote on the winning panel in each of the ten categories. To get voting, just register on the Hasselblad website. The winning photographers will each be asked to create a new theme-based panel of work using the latest Hasselblad equipment, the results of which will be printed in a commemorative book. Winners

will also get to keep a new high-end medium-format Hasselblad camera, so make sure your vote counts. If you want to get even more hands on, Hasselblad is hosting a free two-day ShootLDN event this autumn. International landscape photographer Charlie Waite will be speaking at the event along with architectural and commercial photographer Sean Conboy and wedding photographer David Stanbury, amongst others. Visit to register.

The extra touch The BenQ RP interactive series of flat panels (RP652, RP702 and RP790) let you project in 4K resolution and act as a touchscreen, giving you the opportunity to give interactive learning experiences.

Photography News Issue 22


Photography News Issue 22

Tell us your club’s latest news, email:

Club news

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: 3 August 2015

We need words and pictures by 3 August for the next issue of Photography News , which will be available from 17 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 and any colour space. 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

Renowned travel and landscape photographer takes his talk to Chesterfield David Noton chases the light

Chesterfield Photographic Society welcomes internationally renowned travel and landscape photographer, David Noton on Thursday 10 September. He will give his talk, Chasing the Light, showcasing images from places right across the globe, such as Chile, Iceland, Vietnam and Italy. As well as showing his breathtaking images, David will also describe his trips around the globe, with his usual passion for

the peoples and places of the world. He will also share some of the secrets behind his shots, including technical aspects and planning. Chesterfield PS is promoting the event, along with Dents Photographic, and raising funds for Ashgate Hospice and the Air Ambulance. Tickets priced at £10 are available from Chesterfield Theatres box office.

If you are heading to Edinburgh for the Festival this August, take time out and enjoy the 153rd Edinburgh International Exhibition of Photography. This free show of around 200 inspirational prints is at the premises of Edinburgh Photographic Society at 68 Great King Street. Edinburgh on show

Above Earl of Shilton CC members practise their skills ahead of their exhibition next month.

Aweek of photo fun Join Earl Shilton CC as it celebrates its first week-long exhibition

The Viewfinders of Romsey Camera Club’s annual exhibition is at King John’s House, Romsey, from Saturday 25 July until Sunday 2 August. It is open daily 10am to 4pm; opening an hour later on Sundays. Admission is free. Viewfinders of Romsey CC meets on Tuesdays from September to July at Michelmersh and Timsbury Jubilee Hall, Timsbury. Viewfinders exhibition

Instead of its usual one-day display of members’ work, Earl Shilton Camera Club’s annual exhibition this year is on for eight days, fromMonday 24August to Tuesday 1 September. The exhibition, which brings the club’s 40th anniversary celebrations to a close, will include members’ images as well as items related to

photography. It is at the Atkins Gallery in Hinckley and admission is free. Earl Shilton Camera Club meets on Wednesdays from September to May at the George Ward Centre in Barwell.

Interview 13

Photography News Issue 22


Profile Daniel Benjamin Daniel Benjamin, head of consumer product marketing for Canon UK & Ireland, talks megapixels, lenses and Custom Quick Control menus

Years in the photo industry? 15 years this summer – where does the time go? Current location Reigate, Surrey Last picture taken My two boys playing on the beach in Naples, Florida, taken on an EOS 70D with EF 70-200mm f/2.8L IS II USM When youwere younger, what did youwant to bewhen you grewup? Goose from Top Gun Dogs or cats? Cats – less maintenance Toast or cereal? Neither, tends to be a Diet Coke Email or phone call? Both, can’t survive without my phone!

Canon offering 22-24-megapixel level DSLRs in recent years, so what made the company suddenly decide to make such a big leap in terms of resolution? Was this driven from customer feedback? We continually listen to customer feedback and we were hearing the need for a high-resolution camera for specialist types of photography. We introduced the EOS 5DS and EOS 5DS R to market at a time when expectations around high- resolution sensor cameras are at their highest and we’re confident that we’ve created a product that will far exceed these expectations. We wanted to make sure that we were using the right sensor that would, along with our optical heritage, create the perfect balance of image quality and camera performance. Whatwerethekeydesignobstacles when it came to designing the 53-megapixel sensor? The size of each pixel and its light gathering capabilities are the main obstacles when it comes to developing high-megapixel sensors. The more pixels you add the smaller they then become and the less able they are to absorb light. As we designed and built the sensor we had complete control over every aspect, allowing us to make every pixel as efficient as possible by looking at the depth of the pixel, the size of the microlens and the size of the photodiode to counter the issue. As we understand it, the higher the resolution, ie. the greater the number of pixels packed into a sensor, the greater the issue with digital noise. What technologies has Canon brought into play on the EOS 5DS/R to ensure digital noise is not an issue? We developed the sensor from has been

Do you think we will see DSLRs of greater resolution than 50 megapixels? Or is there no need for any more? If people start asking for greater resolutions we will look into creating them for consumer products. We have developed a 120-megapixel UCMOS sensor, which we showcased at our expo in 2010 but this is designed for very specialist applications. There are other great developments recently like higher ISOs, which I feel are just as interesting as more megapixels. Was there an opportunity to endow the EOS 5DS/R with 4K video capability? The development of 4K is incredibly exciting, but the adoption of 4K among consumers is still in the early stages. We’re always studying the market and assessing consumer appetite before we make a product available. We offer 4K cameras in our professional Cinema EOS range so we already have the technological capabilities for when the customer demand arises. Are there are any new features or technologies on the EOS 5DS/R that you want to highlight like, for example, the Custom Quick Control menu setting? We understand photographers so have built the cameras for the way they work, letting them take control of how they want to use the camera with the customisable controls. The new Custom Quick Control screen is a favourite feature of mine on the new EOS 5DS and 5DS R. The type, size and position of icons are easily customisable to suit the photographer or shooting scenario. It means I can use the camera in the way that works for me.

scratch to make sure that it is as efficient as possible at absorbing light. We also use new algorithms in the sensor, which can limit the effect of noise. The increase of noise is the reason why the EOS 5DS and EOS 5DS R don’t have the same ISO capabilities as the EOS 5DMark III. What was the thinking behind the two models, the S and the S R? We created the twodifferent cameras as we feel that they are aimed at two different types of photography. The EOS 5DS would really be better suited to architectural or fashion photography, the 5DS R meanwhile, with is maximum sharpness, is actually far better suited to landscape photography. Can you explain in detail how the low-pass filter cancelling system works on the EOS 5DS R? Is it an actual physical feature or is it done in software? The EOS 5DS contains a standard low-pass filter as found in all our EOS cameras. The low-pass filter very slightly blurs the image to stop the effects of moiré patterns when shooting subjects with regimented patterns like fabrics. The downside to this is that there can be loss of detail. For this reason, we have introduced the 5DS R, which has the low-pass filter cancelling system. The system works by having two low-pass filters, one behind the other. The second filter is rotated though 90° and cancels out the first one. The upside is that you get sharper images, but there is a potential for moiré patterns. Who do you think will be buying the EOS 5DS/R? And which model is the most popular going into store right now? Interestingly we have seen an even 50/50 split between the two cameras

in terms of pre-orders. Many of our pre-orders came from professional or advanced photographers who are specialists or are passionate about a specific field of photography such as landscape or architecture, for example. Also, professional photographers who work in commercial markets who need the best resolution and a camera that gives them greater flexibility than medium-format cameras. With such high resolution, does the photographer have to be wary which lenses to use? Canon’s lens system is huge so do you suggest only certain lenses be used? We would recommend using lenses launched within the last two years as these will give you the optimum performance from the sensor. Many other lenses in our range are also suitable for these cameras but this can depend on the application in which they are being used, eg. focal length, aperture. We are in the process of testing all lenses in our EF range and will provide a full update. On a similar theme, is Canon offering any technique advice regarding getting the most from the cameras? The teams in-store are great and well versed in helping people get the most of both the EOS 5DS and EOS 5DS R. We run regular open days and workshops with selected retailers and where relevant, offer advice and hands-on opportunities with these cameras. For our CPS (Canon Professional Services) members, we are running a series of events throughout the rest of the year giving them a chance to take a look at the camera, plus we have a range of resources online and on our social media channels for people to take a look at.

We would recommend using lenses launched within the last two years as these will give you the optimum performance from the sensor

Photography News Issue 22


Photography News Issue 22


Before the Judge David Penprase Each issue, a respected judge or exhibition selector shares their thoughts and experiences. This month, we hear from photo veteran David Penprase


Words by David Penprase FRPS

DavidPenprase David’s work has appeared in every major photography magazine and he is decorated with awards for his photography. He has recently completed three books to raise money for charity, but his latest foray in the e-book world is Developing a Photographic Style in the Photowise series for RHE Media Photography Ltd. Home club The London Salon; to be fair, it’s not my home club I have none. Favourite camera Fujifilm GX680 Favourite lens 210mm Favourite photographers Jan Saudek, Albert Watson, Joel- Peter Witkin, Nick Knight and dozens more! Favourite subjects Portraiture, figurative, landscape, still life, abstract, manipulated,

I bought my first 35mm camera at the age of 40 – that’s 33 years ago – and joined my local club at Redruth. At the time it was renowned for monochrome workers; I learnt a great deal. I soon moved to medium- format in an effort to slow down to a more considered approach; initially using a trusty Mamiya RB67, then my Fujifilm GX680 with its 210mm lens. I also use a Wista 5x4 and Type 55 posi/neg film which I love. It’s now sadly unavailable but I still have a fair stock. Monochrome has always beenmy thing, I started entering my work in photographic salons, and was fortunate to win a number of awards including Best Mono in the Austrian Super Circuit in 1997 and again in 1999; the Kodak B&W awards for fashion in Fashion and Advertising in 1998. Five gold medals in The London Salon resulted in being invited to join in 1998. The same year I became a panel member for the RPS Distinctions in Photographic Printing and I am currently chair of the Applied Panel. My interest in becoming a judge grew from a frustration of many photographers being obsessed with technique. Let me make it clear there has to be good practice as with any medium, but photography has moved on. Years ago, I recall giving first place to a 5x7 print mounted on thin card against mainly large prints including some 20x16 Cibachromes,

I could feel the surprise in the room, but as I said then look at the content! With the advent of autofocus and multi-metered digital cameras, anyone can produce a sharp, well- exposed image. So, if you asked me what the most common failings are, I’d say there’s a mindset that looks no farther than print quality. This was fine 20 years ago but with digital capture it’s a given and images should be more about content. I do my best to instil that in my opinion, images should affect the viewer emotionally. The other area that often offends is when a good image is overworked to the extent that the techniques override the visual impact. It’s about knowing when to stop. I enjoy critiquing work but I’m aware that we’re all close to our work and criticism can appear harsh when it’s not intended. I’m sure most judges look for the good points first. There’s the odd occasion when one’s lost for words, but there are giveaway signs in the work that convey it’s someone just starting or sadly a long-time practitioner that may never get up to standard. Remember that it’s their image and one they felt worthy to enter. With that in mind, advise quietly. The other joy about seeing work, especially a body of work in the form of a RPS Fellowship Distinction application, is that once in a while I see some outstanding work that

surreal, impressionistic etc. anything that’s done well!

blows me away. Opinions differ, which is why there are five panel judges and myself with the RPS. I would say we always reach the correct decision in the end. If I gave advice for competition work, it’d be to learn your craft, only photograph subjects that excite you, produce quality work, and try like mad to surprise the viewer! Many judges are pleased to share their knowledge with clubs, but remember they have to put food on the table. If I may take this opportunity to use a dirty word: money. How many judges or lecturers have heard ‘do we owe you any expenses?’ Lecturers work for years at enormous expense to produce a body of work to entertain and educate an audience. In my case giving a talk in London means coming up from Cornwall, using

two working days I could have been earning on. Why will club members pay a plumber/electrician the going rate but it stops there? With most clubs there’s a feeling that lecturers can afford to show theirwork for expenses. Yes, there’s a sense of achievement and fulfilment in doing so but club members will pay a great deal for their kit, go to the cinema and the pub, but ask them to put in £5-10 to help pay the speaker, and learn about their passion, and there’s a problem! This doesn’t apply to all, and for some people clubs are more social than photographic, but one would hope the nucleus would understand the huge benefits if they saw a greater cross section of speakers and judges.

If you asked me what the most common failings are, I’d say there’s a mindset that looks no farther than print quality

To find out more, go to David Penprase's website

What do you think?

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


Photography News Issue 22


Interview Going for green The Environmental Photographer of the Year competition was established by water management firm CIWEM, and CEO Nigel Hendley tells us more of how it has evolved over the years

Above UttamKamati’s Watering Melon was awarded the top prize at 2015’s Atkins EPOTY competition.

Take us back to the roots of the competition, why and what did you set about to create? WelaunchedtheEnvironmentalPhotographer of the Year (EPOTY) competition in 2007. Our aim is to raise awareness and understanding of global environmental issues through the promotion of stunning photographic images. Our ambition is to encourage amateur and professional photographers of all ages to share photos that demonstrate the causes, consequences and solutions to some of our biggest water and environmental challenges – an integral part of our Royal Charter. Atkins, our sponsors, strongly share that ambition. What do you hope to achieve with it and what have you achieved so far? We have already attracted entrants, as we had hoped, from all over the world. This year over 10,000 images were submitted. Some of the environmental concerns we are

highlighting, in particular climate change, can be quite abstract and difficult to explain to people. A picture can paint a thousand words and the entrants have done awonderful job in interpreting these issues. As well as exhibiting the best entries in London and at Forestry Commission sites all over the UK, we are exploring howwe can promote the best entries in international centres as well. How did you come to get involved with the EPOTY competition? The competition was launched in the same year as CIWEM’s Arts and Environment network. The network aims to promote more creativity at the heart of environmental policy, as well as action to overcome today’s environmental challenges. Nick Reeves, our executive director at that time, was a trained artist and recognised the potential in using art to help us achieve our Royal Charter public

benefits to “advance the science and practice of water and environmental management”.

What do you most enjoy about working on this competition in particular? As a keen amateur photographer myself, I truly admire those who produce the amazingly creative artwork entered. It is inspiring to see the quality and numbers of entries submitted. We have many of the previous years’ images around our office in Saffron Hill, Farringdon, as a visual reminder of what we and our almost 10,000 members are working to achieve. Whatkindsof sightsdoyouhopepeoplewill share with you through the competition? We like to see a broad spectrum of images that reflect the issues we face both in developing countries and in more industrialised nations. Often the problems experienced in

The environmental concerns we are highlighting, in particular climate change, can be quite abstract and difficult to explain to people

17 Competition

Photography News Issue 22

developing countries are inextricably linked, through climate change for instance, with the challenges faced in tackling pollution on a global scale. The images on display at the Royal Geographical Society and the Forestry Commission tour reflect this emphasis. You’ve now chosen your winning image of 2015, what was it about that photo in particular that earned it the top accolade? When I first saw Uttam Kamati’s winning imageWateringMelon (left) I was bowled over by the beauty and the message it conveyed. We sometimes take water completely for granted in the Western world. This image underlines the crucial importance of clean water, and its value to the two people depicted, whose livelihood depends entirely on the liquid flowing in their fragile pipe. Perhaps a better title would be simply Liquid Gold. Our fantastic judging panel noted the technical ability of the photographer at capturing the stunning light at a moment in everyday life in the Teesta riverbed in West Bengal, India. It highlights issues of water resource management, drought, climate change, sustainability, and water quality. Over-abstraction and damming of the river upstream to generate electricity has reduced flows resulting in the loss of water supply for thousands of farmers. Over- abstraction of water resources is one of the top environmental challenges we face all over the world; this image brings that message home. Are there any issues that persistently and prevalently arise through the competition? The images and films are an amazing visual reminder of the interconnectivity between environmental, social and cultural issues and the importance of a connected approach to tackling global issues of climate change, flooding, environmental pollution, water resource management, waste water and flood risk management. When I first saw Uttam Kamati’s winning image Watering Melon (left) I was bowled over by the beauty and the message it conveyed

Above Kazi Riasat Alve’s image Collecting Crabs taken in Satkhira, 2014. Above right Esme Allen’s series entitled Eden Restored – The Mesopotamian Marshes of Iraq won the Forestry Commission England Exhibition Award.

Above The Atkins CIWEM Young Environmental Photographer of the Year went to Bhar Dipayan’s Families are living under the Bridge.

What are your thoughts when you see the finalists’ images, what kind of picture of our world do they create for you? Images from the competition remind me why organisations such as CIWEM are so important. We are working for the public benefit for a sustainable world. It is truly motivational for us to be reminded of the messages that are behind many of these images. We are often surprised, and delighted, by the interpretation apparent and the beauty that’s portrayed. Is there any location or are there any issues that you’d like to see covered more? We would like to see more European entries depicting the challenges faced by industrialised nations. In particular, anything that links cause and effect and draws attention to what needs to be achieved for sustainability is most welcome. Do you have a category or image that you favour and if so why? I have to say the 2015 winner of the Atkins CIWEM Environmental Photographer of the Year main prize. It represents CIWEM’s treasured assets and what we as an organisation cherish. The judging panel features some of the most distinguished people in their industries, from both the world of art and photography as well as science and the environment. What were their reactions to this year’s entries? The judging process takes some time, as we feel it is important to really discuss the images

and what they mean to each of us. We are all consistently surprised, inspired and enthused by the entries we receive. The judges were delighted with the quality and beauty of this year’s entries. How does the judging process work? Judging takes place face-to-face and is immensely enjoyable but also truly moving. We are working to resolve many of the issues which the images bring to the fore, but seeing a new representation or an issue in a new location can be challenging. The competition is now free to enter thanks to sponsorship from Atkins, how did that affect the kinds of entries you receive? We strongly feel that competition entrants should not be restricted by financial mobility. Free entry allows amateurs and professionals from around the world to submit their work and we hope that this will continue, with the support of Atkins, into the future. What can we expect from the competition in the coming years? Entries for next year’s competition will open at the end of 2015 – keep a look out on our website for more information. We look forward to entrants continuing to tackle hard- hitting environmental issues of the moment, such as shale gas, flood risk management and climate change. And we hope to exhibit the images in more places around the world so more people can see them and be inspired to support proper protection of the environment.

Below The Atkins Cityscape Prize was awarded to Michael Theodoric for Enjoy.

Photography News Issue 22

Advertisement feature 19

Photography News Issue 22

Manfrotto Distribution & Bushnell A clearer view Sports optics firm Bushnell is the latest well-known name to join Manfrotto Distribution’s ever-expanding portfolio of products

One of the most valuable items you’ll be carrying around in your kitbag will inevitably be your camera. There’s only so much you can do and so far you can take your photography with your camera alone though, even if you’ve invested in a model with all the bells and whistles. Sometimes you need that extra bit of support to stretch your creative muscles even further, whether that’s in the form of a tripod for added stability and control or a specialist lens to get you the view you’re seeking. Manfrotto Distribution is a name synonymous with top-end tripods, but it is also the go-to place to source all your photo accessories too. Manfrotto Distribution has expanded its prestigious portfolio, with the latest name added being Bushnell. Bushnell holds serious weight in the sports optics market, with a reputation for bringing innovative and legendary binoculars, spotting scopes and camera traps, to wildlife and sporting enthusiasts amongst others. The company has been in the business for more than 60 years now and they really know their stuff when it comes to optics. Now Bushnell equipment is available through Manfrotto Distribution, you can find evenmore of your favourite accessories in one place. The right pair Talking about the new addition to Manfrotto Distribution’s portfolio, managing director Chris Carr said: “Bushnell is one of themost recognised and reputable optics brands in the UK and is the perfect fit within the portfolio.” Now rubbing shoulders with the likes of National Geographic’s range of bags and Lastolite backgrounds, Bushnell’s optics add even more diversity to the Manfrotto Distribution range and even more convenience for photographers and videographers. “The product road map, the huge growth in Natureview

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