ISSUE 92 14 Sept-11 Oct 2021 photographynews.co.uk
Stop press! / Canon EOS R3 unveiled. Page 12
Prize word search / Win a Samsung 256GBmicroSD memory card
THE PHOTOGRAPHY SHOW SPECIAL FLOOR PLAN INSIDE
It’s a gear feast from Fujifilm Latest online summit reveals two new cameras, three lenses and updated lens roadmaps for X Series and GFX System
The aim of Make the Switch Live is to give six readers the chance to use one of Fujifilm’s latest cameras and a selection of lenses for themselves, with the support of a Fujifilm tech expert. It’s free and there is no commitment to buy. All we ask is that you feature in a future issue of PN with a selection of the images you take and your thoughts from the day. The event is on 30 September. It will begin with a briefing at the Fujifilm House of Photography in the heart of London’s Covent Garden, before we head out as a group for a photo tour around some of the city’s most photogenic locations. Lunch, a travelcard and refreshments during the shoot will be provided, but getting to the event is at your own expense. The day ends with a debriefing back at Fujifilm House of Photography. If you are interested in joining us, please email PN ’s editor Will Cheung at email@example.com. Add Fujifilm MTS to the subject box of your email, and include details of what camera(s) you’re currently using. Applications close 19 September. photographynews.co.uk Make the Switch goes live Have a great photo day out with Photography News and Fujifilm. We’re looking for six readers to join us in London on 30 September
Finally, two X Series lenses have been unveiled. The XF23mm f/1.4 and XF33mm f/1.4 join the f/1.4 primes family. The XF33mm f/1.4 is a new focal length and will be on sale by the end of this month at £699, with the XF23mm f/1.4 expected in November at £819. See page 7 for more details on the new X Series arrivals. fujifilm.com/uk
See page 4 for more on this camera, and page 8 for a hands-on report. For its X Series, Fujifilm has added the X-T30 II. The big innovation on this model is an upgraded autofocusing system. It features technology from the X-T4, resulting in impressive AF tracking and face detect skills. Available from October, at a competitive £769, or £1099 with the XF18-55mm f/2.8-4 lens.
FUJIFILM’S MEDIUM-FORMAT GFX System will be five years young in 2022, and it has already built a dedicated following of photographers. The latest arrival is the GFX 50S II, a 51.4-megapixel resolution camera with a headline-grabbing price tag. Body only, it’s £3499, and with the newly launched GF35- 70mm f/4.5-5.6 WR, £3899 – the body and kit will be available to buy this September.
Tamron launches all-in-one zoom for APS-C mirrorless cameras Tamron announces the 18-300mm f/3.5-6.3 Di III-A VC VXD, which it claims will be one of the best APS-C superzooms on the market
Designed with special lens elements that suppress optical aberrations throughout the zoom range, the 18-300mm f/3.5-6.3 Di III-A VC VXD claims to have the best image quality for an APS-C mirrorless lens. It also includes user-friendly features, such as moisture-resistant construction, a fluorine coating and zoom lock switch. The Tamron is priced at £679.99 and will be available for the Sony E-mount APS-C from 24 September. tamron.co.uk
THE 18-300mm f/3.5-6.3 Di III-A VC VXD is the world’s first APS-C mirrorless zoom lens with a 16.6x zoom ratio. The AF drive system uses Tamron’s VXD linear motor focus, which guarantees fast, precise and quiet AF throughout its range. The lens is also compatible with many camera-specific AF functions, including hybrid AF and eye detect AF. Minimum focus is 15cm at the 18mm end, with a maximummagnification ratio of 1:2; making it suitable for close-ups and macro photography.
2 Photography News | Issue 92
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Introducing the Panasonic Lumix S 24mm f/1.8 Panasonic has announced the third addition to its series of f/1.8 large-aperture lenses
trying to get pictures of insects – specifically butterflies, damselflies and dragonflies. I’ve shot thousands of pictures and got just as many failures, with poor focus, inadequate depth- of-field and subject movement the main faults. Despite getting sunburnt, stung several times and kneeling on nettles, I have had a real blast and learnt loads. My skills are very far from being honed, and I still have no real idea how photographers get pin-sharp pictures of dragonflies in flight. That is a subject I need much more practice with. My favourite session was with a couple of damselflies one evening. They stayed put for about 15 minutes, while I experimented with focus, exposure, shooting with and without flash, and even different lenses. In the end, I was trying some front-on portraits with the macro lens literally at minimum focus. It wasn’t easy, since there’s so little depth-of-field, even at f/11. Honestly, it was like working with a couple of models. I even thanked them when I left. I’m already looking forward to next summer. Meanwhile, it’ll soon be time to get the thermals out.
EDITOR’S LETTER WILLCHEUNG
THE HOLIDAY SEASON is over, and before you know it we will be trick-or-treating, lighting the sky with fireworks and gearing up for Santa. Well, that’s being optimistic, of course. I am making the huge assumption that the pandemic is under control, but only time will tell. As I write this, I have yet to decide which day I’m heading to Birmingham for The Photography Show. In previous years it was an easy call because the magazine had a stand there and we gave away thousands of copies. This year, there is no PN stand as such, but there will still be free copies as usual. So, I’ll be going to TPS for fun, which will be treat. It means I get to wander around the show properly. I’m looking forward to it, my credit card less so, and (should you be reading this in time) if you see me walking the aisles, please say hello. Summer is not my favourite photo season. The high sun, unsociable times if you want good light and general busyness put me off. This year has been different, though – suddenly my view has totally changed. I have been out many times in local nature reserves with my macro lens,
PANASONIC’S L-MOUNT 24mm f/1.8 complements the existing 50mm and 85mm optics – and a 35mm version is also due soon. Consistency is key to the Lumix S series. All the lenses are a similar size and have identical controls, facilitating easy transition between them. And they have a common centre of gravity, so can be easily interchanged with minimal balance adjustment when operating the camera on a gimbal. Furthermore, the same set of filters fit all lenses in the series, as they have a common diameter of 67mm. Panasonic claims that the Lumix S 24mm f/1.8 offers high-definition results, and can achieve beautiful bokeh, thanks to its nine-blade circular aperture diaphragm. Lens build includes 12 elements – including three aspherical, three ED (Extra-Low Dispersion) and one UED (Ultra Extra-Low Dispersion). The ED and UED lenses play an important role in minimising chromatic
aberration and ensuring excellent optical performance. The Lumix S 24mm f/1.8 is capable of recording extremely high-quality video. It has a smooth, silent AF system, and a mechanism that suppresses focus breathing.
This, combined with its micro-step aperture control feature – which guarantees smooth exposure change – makes it an excellent choice for professional video recording. Weighing in at 310g, it also features a dust/splash-resistant design to protect the lens from harsh conditions and sub-zero temperatures. The Lumix S 24mm f/1.8 will retail at £799.99 and is available from the end of September. panasonic.com/uk
“It offers high-definition results, and can achieve beautiful bokeh”
What’s inside 03 News It has been a busy month for Fujifilm. But, not to be left out, Panasonic and Tamron have also revealed new kit 10 Word search Find the missing word and you could win a Samsung 256GB microSD card – and you could also be welcoming a superb Vanguard VEO 3GO 265HCB carbon-fibre travel tripod 15 Club news
18 Bird POTY 2021 results Birds are popular, challenging subjects, but the winning images show it can be done. Be prepared to be inspired 21 The Photography Show special The imaging world is set to descend on the NEC from 18 to 21 September – and it’s the hottest ticket in the industy. If you fancy a great photo, then Birmingham is the place to be. I will be there, of course 40 Make the Switch: Peter Degnan Keen street photographer Peter Degnan ditched his DSLR in favour of a Fujifilm camera – and he hasn’t looked back
42 Big test: Nikon Z fc On the outside, the Z fc is a throwback to the eighties, but inside it’s thoroughly modern. We check over this retro-looking camera for its picture-making skills 48 First tests
l Rode VideoMic NTG l Elinchrom ONE flash
l Vanguard VEO 3GO 265HCB tripod l Tokina SZX 400mm f/8 Reflex MF l Nikon Z MC 50mm f/2.8 macro lens l Gitzo GH4383LR ball head l Epson EcoTank ET-8550 printer
The new season is upon us, and camera and photography clubs are back in session. Many are meeting in person, but some will start off with virtual gatherings for now
Issue 92 | Photography News 3
News Fujifilm first for medium format Updates for the X-T30
The latest model in the medium format family is the GFX 50S Mark II. It’s a highly featured camera, as you would expect, but its headline feature is the price: £3899, complete with kit zoom
Fujifilm’s latest X Series camera is the X-T30 II. It features the same X-Trans CMOS 4 26-megapixel sensor found in a host of the brand’s cameras, including the flagship X-T4 and X-T30. Where this new model has gained most significantly is the autofocus system – and the X-T30 II gives a performance similar to the X-T4, using phase-detect AF across the frame and the latest algorithm. This delivers a focusing speed as fast as 0.02secs and great tracking skills, with subjects moving towards and away from the camera. The AF system works in light as low as -7EV. Compared with the original X-T30, other key upgrades are a higher-resolution monitor (now with 1.6 million dots), 18 Film Simulation modes, and improved video features including Full HD 10x slow motion and 4K/30p video at 8-bit 4:2:0 onto the camera’s SD card. The X-T30 II is also equipped to keep more ambitious image makers happy and there’s a nine-shot multiple exposure feature, HDR mode and AWB priority. The X-T30 II will be in the shops from this October in black or silver, with the body priced at £769. Two standard lens kits are on offer: the XC15-45mm f/3.5- 5.6 OIS PZ kit is £849, and with the XF18-55mm f/2.8-4 R LM OIS, the price is £1099. The Fujifilm X Series welcomes a powerful compact camera to its fold New take on lens roadmaps Fujifilm has updated its X Series and GFX medium format lens roadmaps with several exciting lenses added. Destined for a 2022 arrival, the X Series will gain an XF150-600mm (35mm equivalent 229-914mm) and an 18-120mm (27-183mm equivalent) superzoom. GFX fans also have two lenses to look forward to next year: a GF 55mm f/1.7 (44mm equivalent) and a GF 20-35mm (16-28mm equivalent). Also expect to see a tilt/shift optic in the future.
From the beginning, Fujifilm’s stated aim with its GFX System was to make digital, medium format photography as affordable as possible to enthusiasts and pros alike. Nearly five years later, with several models available – including two 100-megapixel cameras and an extensive lens system – it has clearly succeeded. That’s why it’s worth starting this news story with the GFX 50S II’s price. Body only it’s £3499; and £3899 with the GF 35-70mm f/4.5-5.6 WR lens. With the latest full-frame cameras coming in at ever higher prices, people, landscape and studio photographers now have a medium format option at a comparable price. The GFX 50S II is an amalgam of existing GFX models. The 51.4-megapixel sensor is the same as that found in the GFX 50S and GFX 50R, both of which are no longer in production. Sensor size is 44x33mm and offers an ISO range of 100 to 12,800, with expansion to 102,400 possible – and 19 Film Simulation modes, including Nostalgic Neg, are available. Its body is identical to the GFX 100S (100-megapixel), and the only physical difference is on the left end of the body, where you see the camera’s name.
The new GF 35-70mm f/4.5-5.6 WR lens gives an equivalent 28-55mm coverage in the 35mm format, has a 62mm filter thread and weighs just 390g. This compact lens features 11 elements, including one aspherical and two ED, in nine groups, for high resolving skills. It has a retracting body and measures just 73.9mm when fully collapsed. Length increases to 96.4mm when the lens is at its working wide position. Focus is handled by a stepping motor for fast AF and supports the camera’s face/ eye focus detect modes. Operation is near silent, too, so suits video use. The GFX 50S Mark II is on sale from 23 September, while the GF 35-70mm f/4.5-5.6 WR is available from this November at a stand-alone price of £849. fujifilm.com/uk
The new camera uses the X-Processor 4 – the same as other current Fujifilm cameras – and this power has enabled no fewer than 79 upgraded camera features. The magnesium alloy body weighs just 900g and is sealed in 60 locations for dust and moisture resistance. It also features a five-axis, 6.5EV benefit in-body image stabiliser (this compares with 6EV on the GFX 100S), and with it comes the ability to use a pixel shift multi-shot mode that can produce 200-megapixel stills, with files merged in editing. An NP-W235 gives up to 455 shots and there are two SD card slots. Autofocusing is delivered by a Contrast AF system, with an updated algorithm for greater accuracy and a more effective face/eye detect. There’s also a Rapid AF function for even more responsiveness.
Photography News is published 11 times a year by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Photography News is a registered trademark of Bright Publishing Ltd. The advertisements published in Photography News that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at the time of writing is quoted for products.
Editorial team Editorial director Roger Payne Editor Will Cheung FRPS 01223 499469 firstname.lastname@example.org Chief sub editor Alex Bell Sub editors Matthew Winney, Harriet Williams Contributing editor Kingsley Singleton
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4 Photography News | Issue 92
Issue 92 | Photography News 5
The ultimate Coffee Table Book
WhiteWall’s Coffee Table Book service means you can create a professional-level product from high-quality materials – use your own photographs, simply and without fuss
COFFEE TABLE BOOKS of your own photographs are an expression of personal creativity, giving you plenty of space and the perfect finish for your photographic art. They stand for understated design, quiet aesthetics and a passion for photography. Your most memorable images are transformed into a perfect artistic book, as an exclusive presentation of your best work. To create compositions for photographic books in large format and present your pictures in a high-quality photography book, WhiteWall offers unique solutions: a classic format art book and album, a small presentation, an extensive photo project or a coffee table book. Each is inspired by the stunning examples from the world’s most renowned photographers. With WhiteWall Coffee Table Books, special emphasis is placed on exquisite materials and manufacturing quality – production according to the highest standards of craftsmanship. The range is based on simple layouts, styles and backgrounds, which focus on the photos. In addition, there are no logos or barcodes on the books, emphasising the professional character of the product. As the best online photo lab and professional image workshop, WhiteWall offers three ways to order: online, via a new downloadable software, or PDF upload. All of these options lead you step-by-step to an individual, top-quality coffee table book – the design process is easy to implement and user-friendly. Powerful photographs, from perfectly staged architectural or nature photographs to personal portraits, all need space to showcase their full effect. For this reason, the WhiteWall Coffee Table Book can also be designed in an elegant large format up to A3 – freely selectable between portrait and landscape – so that your coffee table book can always be adapted to the type of image. “Our goal is to always offer our customers the absolute best. The books are produced in our own workshop, and reach a whole new level,” says WhiteWall managing director and founder Alexander Nieswandt. A stunning exhibition WhiteWall’s range offers different formats, paper types, covers and endpapers, meaning you get an individual result. Essentially, the larger the images can be presented, the more impressive the coffee table book will be. Exhibition A4 Portrait (20.5x27cm) or, if there are a lot of panorama images to display, Exhibition A4 landscape (27x20.5cm) are both ideal formats for any design project. The Gallery Square (29x29cm) format has a creative effect. Impressive photos could also be displayed in Portfolio A3 format (portrait: 27x35.6cm, landscape: 38.2x29cm). Options start from 28 pages,
expandable by four at a time up to 200 pages, depending on the paper selection. This means a WhiteWall Coffee Table Book is ideal for even the most demanding and expansive projects. The special feel of these books truly brings photos to life. High-quality paper is an important design feature, guaranteeing extraordinary print results, with brilliant colours, precise contrasts and captivating image depth. Customers will be able to choose from six carefully selected, branded papers, including different thicknesses and surfaces – with glossy, high-gloss or silk-matte finishes. For the high-quality inkjet papers, WhiteWall uses modern printing and an elastic glue binding for classic bookbinding – inkjet printing is a speciality in the market. High-resolution printing is particularly suitable for detailed photographs, brilliant colours and detail sharpness. The Fuji photo papers use a traditional photographic printing method. Here, panorama layflat binding reduces the fold to a minimum, ideal for large-format photographs on double-page spreads. No disturbing folds interrupt the viewer’s eye. It doesn’t begin with the designed content; the discerning class should be unmistakable from the very first page. The cover gives the first impression of style and character. With a high thickness of 3mm and a choice of matte or glossy finishes, the sturdy hardcover of the WhiteWall Coffee Table Book immediately conveys the elegance and exquisite feel of a luxury art book. The free design options for the cover allow your creative ideas to run wild, forging a truly unique object. WhiteWall also offers a standard choice of inner cover pages for photo paper, and front cover paper for inkjet printing. Choose to be modern and stylish in white, or classically elegant in black.
Three pathways to perfection At WhiteWall, there are three routes you can take when designing your coffee table book:
1 Use the browser on whitewall.com. This practical, brand- new solution means your book project can be viewed and edited from anywhere – with a storage time of 90 days. In addition, this cloud-based option lets you share the book with friends or clients during the drafting process.
2 WhiteWall’s new downloadable software for Windows, Mac and Linux is specially developed for creating extensive book projects. With myriad features, as well as a wizard function, this software brings together a user- friendly application with the full range of design options.
3 Design books personally with your own software. Then, order your individually created coffee table books via a print-ready PDF upload at WhiteWall. This feature offers full flexibility, as it is designed for programs including Adobe InDesign – with many templates to download.
6 Photography News | Issue 92
MPB unveils Kit Hall of Fame winners Voted for by image makers around the world, MPB’s Photo and Video Kit Hall of Fame 2021 has been announced
PermaJet champs Earlier in 2021, PermaJet and Canon teamed up to launch a major print contest. The judging is done and the results are in “During the height of the pandemic in 2020, we felt that photographers needed something to inspire and motivate them, which is why we came up with the Light in the Dark competition,” explains PermaJet managing director Robin Whetton. “We had some wonderful entries, many of which proved how photography was a lifesaver for so many people, giving them something to focus on during the dark times.” The judging panel comprised Louise Hill, PermaJet representative and head of The Photographic Academy; Mike McNamee, editor of Professional Imagemaker ; and Sanjay Jogia, pro photographer. “Being able to judge prints again after the long period of Covid-19 was enriching for us all. The standard and interpretation of the theme from the entrants was well executed, which made the task of choosing the awards even harder. Many congratulations to all the winners,” says Hill. “It was a pleasure to judge,” adds McNamee, while Jogia was also impressed: “The images were diverse in skill set and genre, but all enjoyable, and I admire and congratulate everyone for making the effort to enter.” Chris Frazer Smith won first prize and receives a Canon Pro-300 printer and PermaJet Art pack – a package worth over £750. Second place went to Tony Cook, who gets a £250 PermaJet voucher, while third went to Mark Banks, who pockets a Print to Perfection course at The Photographic Academy. There were also judge’s choice awards. Hill and McNamee went for two Henry Szwinto entries; Jogia selected Mark Hume’s. Each wins a pack of PermaJet A3 paper. permajet.com
The MPB Hall of Fame aims to celebrate innovation in photography and filmmaking equipment, putting the spotlight on growing trends in visual storytelling. Showcasing the cameras and devices that have transformed the creative industry, the Class of 2021 features five awe-inspiring pieces of equipment. The winners were voted for by kit lovers from over 71 countries, picking their favourites from a list of nominees in five categories produced by a global team of photographers and journalists. Here are the five inductees for this year’s Fame Class, together with their citations. Classic inductee: Canon EOS 5D Mk III Since its release in 2012, the Canon EOS 5D Mark III has become a staple in any photography/videography kit bag. Its impressive specification is perfect for those wanting to make the jump from hobbyist to professional. A Classic inductee stands as a benchmark for quality in an ever-changing world of gear. Game Changer inductee: DJI Mavic 2 Pro As one of the most powerful drones on the market, the Mavic 2 Pro took visual storytelling to new heights, capturing images from all angles, packed into a compact and
portable design. Game Changers disrupted the field by ushering in new technology, expanding product capabilities. Iconic inductee: Hasselblad 501C The 500 series forms some of the most quintessential cameras in photographic history. A legacy of true craftmanship, the Hasselblad 501C is still one of the most lusted-after medium formats, nearly three decades after its release. Symbols of quality, and inspiration, an Iconic inductee is the crème de la crème of photo kit. Road Tested inductee: Nikon D850 This high-resolution DSLR rises to the challenge every single time. The Nikon D850 is a fantastic all-rounder that offers quality and reliability in the most demanding of
environments. Road Tested inductees represent the workhorses of kit – this gear is tried-and-true, from rainforests to runways. Trendsetter inductee: Sony A7 III The Sony A7 series continues to pave the way for mirrorless technology. With outstanding image quality and 4K video packed into a sleek, travel-friendly body, it’s no surprise the Sony A7 III is a popular model amongst content creators, as well as professional photographers. A Trendsetter shapes conversation about how it looks, as well as the images it captures. For more details on the Photo and Video Kit Hall of Fame, and on the nominating committee, visit the website. kithalloffame.com
Fujifilm’s prime time
Two fast-aperture f/1.4 primes give X Series owners the creative potential of three first-class primes
FAMILY GROUP Chris Frazer Smith took first prize with his great shot, which showed excellent interpretation of the theme
The XF23mm f/1.4 R LM WR and XF33mm f/1.4 R LM WR are new-generation fast primes, designed to make the most of the latest high-resolution sensors and give edge-to-edge sharpness at all apertures. Both are weather-resistant, too. While the XF23mm f/1.4 replaces a lens of the same focal length and aperture in the range, the
XF33mm f/1.4 is a new focal length in the X Series. It gives the view of 50mm in the 35mm format, so an ideal standard lens for all-round photography. The XF23mm f/1.4 R LM WR is due to arrive this November at a cost of £819, while the XF33mm f/1.4 R LM WR will be on sale this month, at £699.
Issue 92 | Photography News 7
Hands on PN editor Will Cheung gets to grips with the Fujifilm GFX 50S Mark II
I picked up the GFX 50S II and immediately had that déjà vu feeling. Not a surprise, because the GFX 50S II body is identical to the GFX 100S, a camera I got to test earlier this year. In fact, the only physical clue that the GFX 50S II is a different camera is on the left end of the body, where there’s a logo. Normally, pre-launch briefings mean we can’t take the new product into public areas. In this case, the new camera looks the same as one already on sale, so we were allowed out, and we were using final production samples. The briefing took place at Fujifilm’s House of Photography in London’s Covent Garden; I headed for Chinatown with the camera fitted with the GF 35-70mm f/4.5-5.6 WR. You can’t learn that much in 30 minutes, which was the time
Charging in the bag Vanguard’s latest backpacks are stylish, spacious and very practical Vanguard’s Adapt o r backpacks have good capacity and provide high levels of protection, and there is innovation, too, in the form of an internal USB interface that means you can safely charge your camera/phone/tablet on the go. Other key features include improved w aterproofing, reflective patches and thicker padded straps and handles. Four Adapt o r bags are available – the R44, R48, S41 and S46 – with prices starting from £99.99, and are available in black or grey. The R in the bag names tells you it opens from the rear, while the S designation means both s ides open to suit right- and left-handed photographers.
CANDID CAMERA The GFX 50S II is not exactly discreet, but it’s still more than usable as a street camera, especially with its tilting monitor. Shot at 70mm, exposure of 1/110sec at f/5.6 and ISO 400. Raw processed in Lightroom
low-vibration shutter release. It is impressively soft, bearing in mind the larger sensor area. The GFX 50S II does have an in-body image stabiliser with a 6.5EV benefit. I did shots down to 1sec to see how it performed, and I consistently got sharp shots at 0.5sec. The images here are a mix of Raws processed in Lightroom to my taste, and out-of-camera JPEGs, shot with a selection of Film Simulation modes. See the captions for details. After a short time with the camera, I have to say I’m impressed. Not just with the product and how it works, but also the kit lens that made a great companion. Looking at the images on my 32in screen at home showed how sharp and clean the test shots were, even those exposed at ISO 3200 and above. This was hardly a revelation, because I know the sensor very well, but it is still good to see actual results large. I appreciate that medium format is not for everyone, but if working with larger files appeals, then the GFX 50S II holds a huge amount of promise – and I’m looking forward to testing it fully in a future PN .
frame DSLR. The GF 35-70mm lens retracts when not in use, and grows little when extended ready. Its focal length range in 35mm format terms is 28-55mm, perfect as a walkaround lens, although its maximum aperture is modest. There’s no aperture ring, so the f/stop is controlled from the body. Good-sized controls, including the exposure mode dial, input wheels, plus the sizable top-plate LCD info panel and tilting touch monitor meant handling was lovely. Touch the shutter release and the viewing image snapped into focus quickly, accurately and silently. The GFX 50S II has a new contrast detect AF system but no phase detect. Nevertheless, and without doing a side-by-side comparison, my gut was telling me that the new camera’s AF was significantly quicker and more responsive than the original camera. AF speed is helped by selecting the Rapid Focus menu item. This does make a difference to speed, but by how much and whether this mode impacts on battery life, I don’t know. A full push of the shutter release and you are rewarded with a quiet,
I had with the GFX 50S II, but it was certainly enough to get a good impression. I kept it simple: aperture- priority AE, single point autofocus, multi-zone metering and ISO 400. First thing to say is how light and portable the combination is. Yes, it is medium format, but it’s not at all unwieldy and similar to a full-
ATRIPTO CHINATOWN Out-of-camera JPEG in Nostalgia Negative Film Simulation mode shot at 70mm, with an exposure of 1/140sec at f/5.6 with +1EV exposure compensation and ISO 400
SHARPERTHAN A PORCUPINE’S SPINES To test the camera’s IBIS, I shot this scene with the 35-70mm zoom at 43mm using an exposure of 0.4sec at f/11 and ISO 100
Photo pod With schools back in term, the PN team cast their expert eye over the photo opps at the coast – and what kit you need to take pictures you can be proud of. Personal and camera safety are also discussed.
The PN podcasters plan a photo trip to the coast in episode 29
If you have ideas you want to share, or have a tricky dilemma that needs the team to help you sort, please get in touch by email on podcast@ photographynews.co.uk photographynews.co.uk/podcast-library
Will Cheung, Editor
Roger Payne, Editorial Director
Kingsley Singleton, Contributing Editor
8 Photography News | Issue 92
Issue 92 | Photography News 9
Have tripod, will travel The Vanguard VEO 3GO 265HCB is a high-class, five-section carbon tripod designed for travel – and its maximum height is greater than you might expect
A Samsung memory card! WIN!
B Q E S P A R T S Q I B O S E H C U O P D T T E E F N T Z I D Q N D S R E N E T S A F S E D E S I R A L O P S K S P I L C G A R L E I J D A N P R M F J S P X F Y D Y A O O T N S O C F O R D L E S E C G D X K W U L X I L E O R C V Y A E S W J M N L I A R T R A T S D H Z U P S E T E F U Q A G E M S T H R H N D Z U K L N V O T P S G F K F K X M O N J E A P T H X N N K E U T D G N I B B E W C F N Capture life’s magical moments across all devices with the Samsung Evo Plus 256GB microSDXC memory card with SD adapter, offering read speeds of up to 100MB/s and write speeds of up to 90MB/s. Samsung’s latest cards are ultra-reliable and water, temperature, X-ray and magnet proof, so shooting in the most challenging conditions isn’t an issue. We have one 256GB Samsung Evo Plus microSDXC card with SD adapter, worth £51.99, for the eagle-eyed winner. Complete the word search below, and you’ll find one word in the list that’s not in the grid. Email us on email@example.com with that word in the subject box by 10 October. The correct answer to PN 90’s word search was ‘wired’, and the Samsung 256GB Evo Plus card was won by S Hinchan, Newcastle. samsung.com/uk/memory-cards
WITH THE WORLD gradually opening its doors again, photographers everywhere will be thinking of travel and the kit they need. After camera and lenses, next on the packing list will probably be a tripod. Win this free-to-enter contest and you could be the proud owner of a tripod that’s perfect for toting around: the Vanguard VEO 3GO 265HCB. With a guide price of £229.99, the five- section VEO 3GO 265HCB has legs beautifully fashioned from high-quality carbon fibre for lightness without compromising stability, and it comes with a ball head. With its legs reverse folded, this tripod measures just 41cm, but fully extended with the two-section centre column, you get a 166.5cm maximum height. In the box comes a set of spiked feet and short centre column, so you can get really low, too. To be in with a chance of winning the Vanguard VEO 3GO 265HCB, all you have to do is answer this question: How high does the 3GO 265HCB extend with the centre column fully up?
FREE TO ENTER
To enter, go to photographynews.co.uk and follow the link. The closing date for entries is 11 October 2021 – the first correct answer drawn at random after that date, wins. The winner of the VEO HD 60A Spotting Scope and PA-65 Digiscope Adapter featured in PN issue 90 was Paul Williams, Caerphilly. Thank you to everyone who supported the contest and good luck next time. vanguardworld.co.uk
A) 156.5cm B) 166.5cm C) 176.5cm
Weather with you Over 8900 images were entered into Weather POTY 2021, and now it’s time for you to choose a winner Storms, rainbows and lightning strikes are just some of the phemonena featured on the shortlist for this year’s Royal Meteorological Society Weather and Young Weather Photographer of the Year contests. A panel of experts choose their three top images in the main categories of the contest, with a shortlist of 21 – check them out online and vote for your favourite. With prizes including £500 for the overall winner, £250 for the runner-up and £500 for the winner of the mobile photography category, there’s much at stake. Your vote is important! The public voting ends 23 September, with the winners announced 16 October. photocrowd.com/wpotyvote #WpotYVote
CENTRE CLIPS COLUMN FASTENERS FEET
GRADUATE GRIPS HOOK
PALS PODCAST POLARISED POUCHES SPIKED
STARTRAIL STRAPS SUNSET TWIST WEBBING
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10 Photography News | Issue 92
Issue 92 | Photography News 11
News Canon EOS R3 finally revealed After several months of development notices, the Canon EOS R3 has been officially
announced, just as we go to press on this issue – and it looks awesome
gathering pixels, so getting the information off the sensor is super- quick. Speed is a key aspect of the EOS R3 and it uses the Canon DIGIC X processor. Top shutter speed with the electronic mechanism is 1/64,000sec – the world’s fastest – and f lash can be synced at 1/180sec, too. Mechanical shutter f lash sync is 1/200sec and 1/250sec with the electronic first curtain. Rolling shutter effect has been minimised, and it’s a lot less than the EOS R5. For capturing action, the EOS R3 can shoot 14-bit Raws at 15fps or 30fps with the electronic shutter and AE/AF tracking. Using the mechanical shutter, top shooting rate is 12fps with AE/AF tracking. Files are written to dual memory card slots: CFexpress B and SD. Shutter lag is 20ms. This is adjustable, again to help those transitioning from DSLRs, so the EOS R3 can match their existing kit. Autofocusing is handled by the Dual Pixel CMOS AF II sensor and has human and animal eye detect, like the EOS R5. There is also vehicle tracking, using an algorithm designed to deal with racing cars and motorbikes. The system will detect a rider’s crash helmet and can be set to prioritise the vehicle or the helmet. Speed, as you would expect, is impressive. The EOS R3 has the fastest AF in an R series camera, measuring 0.03ms. With all the
THE CANON EOS R3 is a camera aimed at news and sports professionals. It’s the result of extensive research among current EOS-1 users. Thus, the EOS R3 is an amalgamation of the best of the R and EOS-1 series. The new camera’s handling, control layout, and even the battery, comes from the EOS- 1. Canon was keen to stress that for existing EOS-1 users, an EOS R3 would be a similar, instinctive experience – so no need to learn their way around the control layout. Even the 5.76m dot EVF is blackout- free, with a 120fps refresh rate. It’s the first Canon mirrorless with an optical viewfinder simulation mode, to help photographers easily make the transition from DSLR. The body has dust and weatherproofing like the EOS-1 series, but durability is not to that standard – tough, but not super- tough. The implication of this means there’s room for a top-end EOS R, with the physical robustness of an EOS-1. The EOS R3 is home to an in-body image stabilisation system, with up to 8EV of benefit. It is powered by the LP-E19 battery, with USB-C charging possible. The EOS R3’s sensor is a brand- new Canon 24.1-megapixel unit. It’s a back-side illuminated, stacked CMOS sensor – to give the best balance of resolution, speed, ISO capability and file size. Native ISO extends up to 25,600 with expansion to 102,400. The stacked design has lots of circuitry behind the light-
technology from Canon’s medical division. It is recommended to do this four times in the shoot environment – not in the living room before you head to the race track. It looks like an amazing feature, but how it will work with a group of people, a f lock of birds or a field of racehorses, only time will tell. Video has 6K/60p, Raw capability, and 4K oversampled from 6K. As you’d expect, there’s a wide choice of formats, including DCI and 4K UHD. Rolling shutter has been reduced on video, too, and 4K/120p image quality has been improved. Video recording times are better, with six hours of regular video and 90 minutes at the high frame rates. The limiting factors are card size and battery power. Video shooting is also possible with the EOS R3’s full range of focusing modes. The EOS R3 has a modified hotshoe – it’ll accept standard accessories, but there is now a 21-pin power connection. This allows you to use camera-powered options. The DM-E1D mic and ST-E10 Speedlite transmitter are compatible. Sales start in November with a body-only cost of £5879.99. Canon has also grown the RF lens system, announcing the RF 16mm f/2.8 STM and the RF 100-400mm f/5.6-8 IS USM. Both are compact and lightweight high performers. The RF 100-400mm f/5.6-8 IS USM has a 5.5EV benefit image stabiliser, which increases to 6EV
focusing algorithms in the EOS R3 improved, its AF is even effective compared with the EOS R5. Eye control AF was a feature highlighted early on in the EOS R3’s development. Inevitably, comparisons were made with Canon’s eye-controlled focusing, seen on the EOS film SLRs – but the new concept is different. Whereas the old tech was used for selecting the AF point you want to use, the EOS R3’s is for initial acquisition of the subject, then it lets the camera track them. This mode is about picking up and deciding what to focus on, not using the eye to track. Canon showed the system working with two motorbikes running side by side. To use eye control tracking AF, you look at the rider you want to focus on, partially depress the shutter button, and the camera will acquire the bike you are looking at. The camera will now take over and focus track on that subject while the release is held. If you want to change tracking to the other bike, momentarily take your finger off the shutter button to cease focusing, look at the desired subject and partially depress the shutter button again – the camera will now focus track that. The system works across the whole image frame. For the best results, the eye control tracking AF needs to be calibrated to your eye. This is done with eight low-powered, infrared LEDs looking back into your eye – a
FEATURES AT AGLANCE › Stacked sensor, 24.1 megapixels › DIGIC X processor › IBIS with 8EV benefit › 1/64,000sec top electronic shutter speed, 1/8000sec mechanical › Flash sync with the electronic shutter is 1/180sec › Shoots up to 30fps with electronic shutter, with AE/AF tracking › 0.4sec start-up time › 12fps AE/AF tracking with mechanical shutter › Auto flicker detect › Autofocuses down to -7EV › Eye control AF › SD and CFexpress type B slots › Wi-Fi, GPS connectivity with an EOS R IBIS-equipped body. Autofocusing is handled by a Nano USM. Minimum focus is just 88cm, so while not macro, it allows you to get in close. This long telezoom weighs in at 635g. Sales start 14 October, with a price of £699.99. The RF 16mm f/2.8 STM is a compact, but solidly built ultra wide-angle, and uses an STM to keep size down. It is not image stabilised and weighs 185g. Sales of this lens also start on 14 October – the price is £319.99. canon.co.uk
“TOP SHUTTER SPEEDWITHTHE ELECTRONICMECHANISM IS 1/64,000SEC –THEWORLD’S FASTEST – AND FLASH CAN BE SYNCEDAT 1/180SEC, TOO”
12 Photography News | Issue 92
Sigma unveils two versatile lenses
A pair of new additions to the I series have been confirmed, designed specifically for L-Mount and Sony E-mount systems – the 24mm f/2 DG DN Contemporary and the 90mm f/2.8 DG DN Contemporary
The 90mm f/2.8 DG DN is also a good choice for close-up macro-style photography, as it has a maximum magnification ratio of 1:5. This allows it to pick up on fine details at close range. It is designed with five SLD glass elements that reduce axial chromatic aberration and eliminate colour bleeding, so high-resolution images are guaranteed every time. Both lenses will be available from 24 September, each at £549.99. sigma-imaging-uk.com
Like the 24mm f/2 DG DN, it has a beautiful all-metal build and manual aperture ring. This is the longest I series lens to be released by Sigma thus far. It has a bright f/2.8 aperture and incredible resolving power. It is highly versatile, with ultra-fast AF, also suitable for video. The lens is perfect for portrait photography, as it can achieve beautiful bokeh effects and has a minimum focusing distance of 50cm, allowing photographers to get closer to their subjects.
chromatic aberration – a common issue with bright lenses. Two high- precision, glass-moulded aspherical elements correct optical aberrations, reducing the total number of lens elements – which is why the lens is so lightweight. It has a high-speed, silent AF system that captures the entire 24mm scene with clarity. The second lens announced by Sigma, the 90mm f/2.8 DG DN, is a mid-telephoto prime for mirrorless systems – great for portraits, close-ups, weddings and events.
ON SIGMA’S 60TH birthday comes the news of its two latest lenses. This takes the number of premium compact primes in its I series up to six, giving mirrorless photographers a generous selection to choose from. The 24mm f/2 DG DN is a premium compact prime lens ideal for day-to-day use, events and interiors. It combines a sleek, lightweight design with exceptional optical performance. This wide-angle lens has edge-to-edge rendering power
and exceptional resolving power, compatible with even the latest ultra high-resolution cameras. It has a bright f/2 aperture and is designed to suppress sagittal coma f lare, making it a great choice for photographing the night sky. Even at its largest aperture of f/2, it is able to operate at its highest level of optical performance, achieving sharp, high-contrast results. The lens incorporates two SLD glass elements and one FLD glass element, minimising axial
Thanks for the new microSD memory cards Samsung has added to its range, with the Pro Plus microSD and newly upgraded Evo Plus microSD
stable performance, offering transfer speeds of up to 130MB/s. Compared to its previous version, it has a 1.3x faster sequential read speed, making it an efficient storage option. It will be available in a wide range of capacities: 64GB, 128GB, 256GB and 512GB. Vice president of the Brand Product Biz Team at Samsung Electronics, KyuYoung Lee, says: “Samsung’s new suite of microSD cards offer the features and capabilities consumers and professionals need: faster speeds, along with increased reliability and durability, to deliver the ultra-high performance every user wants.” The cards will become available in early October, recognisable by a new and distinctive blue wave design. Each card will come with an SD adapter, that will expand its usage across multiple devices. samsung.com/uk/ memory-storage
The latest additions to Samsung’s range of memory cards have lightning-fast read/write speeds and are more durable than ever. They offer guaranteed protection and outstanding storage options for day-to-day or professional use. The cards can withstand even the most challenging of environments, thanks to Samsung’s new six-proof protection, designed to prevent damage from water, extreme temperatures, X-ray, wear, drops and magnetic impact. Both cards come with a limited ten-year warranty and SD adapter. Samsung’s Pro Plus microSD cards are aimed at discerning content creators, with impressive read speeds of up to 160MB/s, and write speeds of up to 120MB/s. It will come in three capacities: 128GB, 256GB and 512GB. The newly improved Evo Plus microSD is a great option for casual users, since it’s a reliable card with
Issue 92 | Photography News 13
14 Photography News | Issue 92
PRICE: £249 SUCCESS + EXHIBITIONS + PERSONAL ACHIEVEMENTS + OUTINGS News Camera club TOKINALENS.CO.UK
HOLD ONTOYOUR BROLLY Windy Day
Salisbury PC Previously known as Salisbury Camera Club, members voted to change its name to Salisbury Photography Club to reflect its interests in all aspects of photography: from taking and creating images, to developing knowledge and skills. “The club has used Zoom extensively to keep members in contact in difficult times, and will continue to do so, inviting more prestigious speakers to talk in wide-ranging genres,” says chairman Richard Ramsey. He continues: “As keen photographers, our competitions keep us up to speed, and this season our aim is to take time to discuss and critique images as a group – in addition to judging. A more holistic approach is key to everyone feeling they have a say, and the judges have embraced this philosophy. “Inclusivity is an essential element in our forward thinking, to share ideas that members have and incorporate valuable experience and technical know-how that will empower progress.” The club has a new website, and visitors can flick through to explore updated information, advice, tips, news and events. salisburyphotographyclub.com
UNDERWATERWORLD Cat Briggs won first place in the Open category and the Dennis Andres Trophy for her image Exploring the Thistlegorm Wreck
Former Royal Photographic Society president, Rosemary Wilman HonFRPS, was invited to judge the individual prints and print panels, and chose the following for top awards. In the Open category, first place and the Dennis Andres Trophy went to Cat Briggs for Exploring the ThistlegormWreck. Richard Sheldrake’s Damsels and Dragons scooped first place and the Best Panel Trophy in Advanced. Club president Rob Bonfield said: “After a year when we were unable to hold our annual print exhibition, we were delighted to be able to deliver this year. The Society has weathered the pandemic well, with enthusiastic new members of all abilities complementing the work of more established members – in what is a welcoming and convivial environment. The quality of work produced across the membership in a range of genres has been immensely encouraging.” During the pandemic, the society convened weekly via Zoom, but it’s now looking forward to resuming meetings, subject to government and venue guidance. The new season will see a varied programme of speakers, members’ evenings and competitions. wokingps.uk
event showcased the finest work by members, enjoying over 1500 visitors. Images on show included powerful portraits, the beauty of landscapes and the wonder of the natural world.
Throughout August, Woking Photographic Society’s annual exhibition was on show at the National Trust’s picturesque Dapdune Wharf in Guildford, Surrey. With over 150 stunning prints on display, this popular
BROODING Stabled Horse in Evening Light
ON AWING Emperor dragonfly from Richard Sheldrake’s winning panel in the Advanced category
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