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Issue 165

October 2014

Take, make, share and be social...

Comment

Gallery

Black & White

DIY

Love Going Local

To The Trees

Behold a Mono Master

Vintage Light Frame

BUYERS GUIDES:
Underwater cameras*
Super telephotos *
Travel zooms*
Binoculars*

LG SUPER WIDE PANEL

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h
ap

gr

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ot

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Iceland, Aegean Sea,


Underwater Malta,
Swiss Mountain
Train, Colourful
Dartmoor,
Dordogne
& Mull

THE HISTORY
OF CANON

PANASONIC FZ1000

Locations

NIKON D810

Photo

CANON EOS 1200D

Stunning

Autumn
Travel
Special

Available in EE stores

OCTOBER 2014 ISSUE 165 |

Welcome

Contributors
This
month

FROM THE TEAM

All images: Iurie Belegurschi

Karl Shaw
Portrait Photographer
www.karlshaw.co.uk
@karlshaw66

Erin Beck
Portrait Photographer
www.erinbeckphotography.
com
@erinbeckphoto

Paul Sanders
Landscape Photographer
www.paulsanders.biz
@Wiggys

Jessica Bracey
Freelance Journalist
@jessbracey

Billy Currie
Landscape Photographer
and Trainer
www.billycurriephotography.
co.uk
@BCurriePhoto

or many of you without children, or who have older children, the idea of being able to travel
when its less busy must be very appealing. To wander at will and take your time without
jostling crowds, point and shooters and the satisfaction that youve paid that little bit less.
It was with this in mind that we came up with the idea of this content for this issue... a list
of beautiful locations that are not just fascinating destinations to head off to relax and enjoy the culture,
but are well worth taking your camera and a few lenses to bring a little of each back.
My personal favourite from this list is Iceland a place I visited once and instantly fell in love with for
its raw beauty, quality of light, wide vistas, geology, and the people themselves. I recently saw it again
in the Ben Stiller film The Secret Life of Walter Mitty and it renewed my desire to visit again. But so did
Karl Shaws images of his Aegean Sea adventure. He has painted such a gorgeous picture; I could feel
the sun on my face when reading it. We talk to an expert diver about a Maltese diving experience; the
clear, warm waters, wrecks and lagoons sound incredible. Having learned to ski this winter, the idea of
seeing the mountains in autumn bereft of the white stuff fascinates me, even via The Red Train. The
light at 2300m in winter was breathtaking... We also enjoy a wander around the pastoral French
countryside of the Dordogne. Closer to home is Dartmoor, famed for the
changing colours and golden light and, finally, the visceral light and
Adam Scorey
majestic vistas of the Scottish island of Mull. Its all so beautiful and offers Group Editor, Imaging
adam.scorey@archant.co.uk
such photographic opportunity. Can you tell Ive not holidayed yet...?!
Instagram: scoreyeditor

a -L

il y P en d le to

NETWORKS

Em

Acting Deputy Editor


emma-lily.pendleton
@archant.co.uk

photographymonthly.com
upload | download | news | views
b b er t

Art Editor
noel.hibbert
@archant.co.uk

Drew Buckley
Landscape & Nature
Photographer
www.drewbuckley
photography.com
@drewbphoto

Monica Goslin
Travel Photographer
www.monicagoslin.
photoshelter.com

Sales Team
& Advertising

Hi

photographymonthly
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o

Da

C o r gr ay

Gareth Kirkland
Landscape Photographer
www.garethkirkland
photography.com

Mc

Features Writer
daisy.mccorgray
@archant.co.uk

Adrian Oakes
Landscape Photographer
www.adrianoakes.com

vi d L e n n o x

Editorial Team

Iurie Belegurschi
Landscape Photographer
www.iuriebelegurschi.com

to

ri a
V

ic

photographymonthly.com/phototv
watch | learn | enjoy

rw

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yn

ar

Features Writer
victoria.dovey
@archant.co.uk

Ch

PH

Dovey

le

yY
at es

Editorial Apprentice
charley.yates
@archant.co.uk

R h ys- Jo n e s

@photomonthly
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is
D

Ca

Advertising Manager
david.lennox
@archant.co.uk
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01242 264778

photographymonthly.com

OCTOBER
14

Contents

10 THINGS...

WE GET NOSTALGIC, THINKING


BACK TO CHILDHOOD MEMORIES

42

ICELAND

VISIT PHOTOGRAPHY MECCA, IN


THE LAND OF FIRE AND ICE

69

DORDOGNE

ARRIVE THE BEAUTY OF THE


FRENCH DORDOGNE

25

HISTORY OF...

JESSICA BRACEY LOOKS BACK


ALONG THE TIMELINE OF CANON

49

RED TRAIN

TAKE A TRAIN RIDE THROUGH THE


IDYLLIC SWISS MOUNTAINS

75

MULL

DREW BUCKLEY ENJOYS THE


LANDSCAPE OF BONNY SCOTLAND

REGULARS
3 WELCOME | THE CONTRIBUTORS
8-13 WOW! PICTURES
14-15 10 THINGS... CHILDHOOD MEMORIES
16 PAUL SANDERS COMMENT
18-23 READERS GALLERY: TREES
38 SUBSCRIBE TO PM

33

TECHNIQUE

BILLY CURRIE SHARES THE SECRET


TO HIS MONO TECHNIQUE

63

DARTMOOR

ADRIAN OAKES PEERS THROUGH


THE MORNING MIST AT DARTMOOR

82

DIY

ILLUMINATE OLD MEMORIES AND


LIGHT UP OLD PHOTOS

OCTOBER

Contents

Capture
the moment

WIN!!
WIN!!
WIN!!

86

GEAR
COVER IMAGE

TESTING THE CANON EOS 1200D


AT A BIRDS OF PREY CENTRE

A beautiful view of the Aegean Sea by


portrait photographer Karl Shaw on
his holidays. To see more of these

89

SUBSCRIBE to the print edition, digital


edition or take the full package and enjoy
print & digital together. Visit
www.subscriptionsave.co.uk
BUY a single copy and have it delivered
direct to your door. Use this code XD30
and SAVE 1 off the cover price.
Visit www.buyamag.co.uk/pm

WIN!!
WIN!!
WIN!!

Greek vistas, visit page 49.

Enjoy Photography Monthly every


month in the format of
your choosing:

DOWNLOAD Photography Monthly


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Newsstand, Google Play, Kindle Fire
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GEAR

ERIN BECK TRIES OUT THE LONG


ANTICIPATED NIKON D810

SU

BS

CRIB

SAVE U
P TO

DIY PHOTOGRAPHER
82-83 LIT UP VINTAGE PHOTOS
GEAR
85 LG MONITOR REVIEW
86-87 CANON EOS 1200D AT THE BIRDS OF PREY CENTRE
89-93 REVIEW: NIKON D810
94-95 REVIEW: PANASONIC FZ1000

65%

PA

HISTORY
25-31 DISCOVER CANONS HISTORY
BLACK AND WHITE
33-37 BILLY CURRIES MONO TECHNIQUE
TRAVEL SPECIAL
42-47 LAND OF FIRE AND ICE! IURIE BELEGURSCHI EXPLORES ICELAND
49-53 KARL SHAW SAILS THE AEGEAN SEAS
54-55 BEST DIVING PHOTO OPPS IN MALTA
56 BUYERS GUIDE: WE PICK THE BEST UNDERWATER CAMERAS
59-61 A TRAIN RIDE THROUGH THE SWISS MOUNTAINS WITH MONICA GOSLIN
62 COMPETITION: TWO CHANCES TO WIN LENSES FROM SAMSUNG
63-67 ADRIAN OAKES PHOTOGRAPHS THE COLOURS OF DARTMOOR
68 BUYERS GUIDE: TRAVEL LENSES
69-71 GARETH KIRKLAND IN THE DORDOGNE
73 BUYERS GUIDE: LONG LENSES
75-79 DREW BUCKLEY ON THE ISLE OF MULL
81 BUYERS GUIDE: BINOCULARS

GE 38

PRE ORDER
THE NEXT ISSUE

AND SAVE 1
Use discount code XD30
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I was scouting Prague for two weeks to find a perfect location for this shot. Its close to the Prague Castle and the light, at 6am in August, was perfect
there. There is a silhouette of my girlfriend in the picture walking barefoot, tram in the background and its not easy to say which direction she
is going. I wanted to make a picture where audience has to think what happened there?. My focus was to create a composition, where leading
lines drive the viewers eye through it and the story is told simultaneously.

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e created The Dark Room (TDR) with a desire


to offer UK photographers, from beginners
to pros, a place to learn, grow and inspire
each other. Wed found only US based communities
and though wed learned a lot and been welcomed, we
wanted to support like-minded UK photographers and
vendors! Weve discovered incredible talent, both
homegrown and from around the globe, been touched
by peoples willingness to help others grow and learned
a lot about our own skills. Presently, we offer our
Facebook community, inspirational blog, support
forum and monthly technical challenges. TDR has
grown pretty fast in a short space of time because of
the fabulous levels of participation. So come join us,
wed love to see you there, we have exciting plans for
the future!
Charlotte

e created The Dark Room with a desire to offer UK


photographers, from beginners to pros, a place to
learn, grow and inspire each other. Wed found only
US based communities and though wed learned a lot and been
welcomed, we wanted to support like-minded UK photographers
and vendors! Weve discovered incredible talent, both
homegrown and from around the globe, been touched by
peoples willingness to help others grow and learned a lot about
our own skills. Presently, we offer our Facebook community,
inspirational blog, support forum and monthly technical
challenges. TDR has grown pretty fast in a short space of time
because of the fabulous levels of participation. So come join us,
wed love to see you there, we have exciting plans for the future!
Charlotte

www.thedarkroombloguk.wordpress.com
www.facebook.com/thedarkroom.community

12

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photographymonthly.com

13

Whe I was
When
your age
you
Dr Andy Gotts MBE

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e all need to esc
escape from the eat,
at,
eep, work, repeat of adult life now and
nd
sleep,
gain, so here at PM,
PM we took a nostalgic
c
again,
ok back to the endless summers off
look
hildhood, with some
som help from the pros
childhood,

Saskia Lawson

Tim Wallace

14

10 things... |

1
2
3
4

Dr Andy Gotts MBE Celebrity Portrait Photographer


Let me take you back to 1977 and The Queens Silver Jubilee. Dressed in my finest red, white and blue, I proudly sat down to enjoy my
schools finger buffet of cheese sandwiches, pork pie, crisps and cheese and pineapple on sticks. The headmaster announced, due to
the schools budget there were only one-hundred ice creams for pudding and, apparently, the fairest way was via a raffle ticket system.
All us children excitedly reached for a little pink ticket. As you see in the picture, I was not one of the hundred included in the delights
of an icy cold treat. Not only has this mentally scarred me, but also, I now have a hatred of the number 126.

Adam Scorey Group Editor


My parents used to take me to a holiday cottage it was this huge flint-fronted building with a back garden that was more like a
meadow. Of course, back then it was always sunny and hot. My brother, Simon, and I used to go and lay in the long grass, stare up
and the blue sky and decipher images from the clouds as they gently passed. Mrs Quatermain, the lovely old lady who lived next door,
used to tell us about the frogs under her periwinkle, which we dutifully caught and showed her. Our reward was a glass of squash and,
often, a cake or choccy biscuit. I can still hear the skylarks now

Michael Muller Celebrity Portrait and Commercial Photographer


My dad got me a yellow Minolta camera when I was in fourth grade. I took a photo of a photo of a shark in a magazine. But my friends
didnt know that, and I got to see the impression on their faces and how impressed they were. Till this day I can remember that moment.
I confessed that I didnt really shoot the shark but their reactions left an imprint on me, of how powerful photography can be.

Saskia Lawson Fashion Photographer


Growing up, I always had a strong bond with animals. My father was a keen wildlife illustrator and my mother worked with pets so it
was inevitable! My grandparents took us to Devons Pennywell Farm so many times that we had an annual pass I was obsessed. My
parents had promised when we had a bigger garden we could have a pig so when I fell in love with a tiny chocolate coloured piglet
at the farm, I was lucky enough to have it come true. Growing up with our two Kune Kune Xs Coco & Dotty, was the best gift I was
ever given and the highlight of my childhood by far.

5
6
7
8
9
10

Daisy McCorgray Features Writer


Thinking back to recesses of my 90s childhood where I would lie in my poster-plastered bedroom daydreaming of one day having
blonde hair like Baby Spice I distinctly remember being so in love with the Spice Girls, that I cried when my dad bought their latest
single, 2 become 1 (a classic), for my brother and not for me. Thats girl power!

Emma-Lily Pendleton Acting Deputy Editor


I had a pet chicken as a child whod come running, flapping her wings to propel her faster, when I hollered her name: Clucky! Original,
I know. I would spend many afternoons with her, jumping up and down on the grass to entice the worms up to their beaky end. Shed
ride on the handlebars of my bicycle, and peck on the kitchen window when she wanted to come inside. If only Id discovered
photography sooner, Im sure Id have a selection of captivating chicken portraits to show

Noel Hibbert Art Editor and Wedding


g Photographer
Photograph

I remember using a old Kodak


Ko
Instamatic camera that housed 110 film.. It was my mothers, and at any given moment I would click
cl away.
My other passion were ca
cars and I particularly remember a bright orange BMW 2002 and a white Jaguar Mk II. As I grew up, my father
passed me my first proper
prop
E-1 that I took on a trip with my dad to Le Mans. It was the year the
cameras: a Zenith and a Canon AE-1
mighty British Silkcut Jaguar
Jag
finally won in 1988 after a long spell of Porsche domination. The sport-cars then were just beautiful an
and I
t see the Jags, Porsches, and Mercedes
cedes race again.
wish I could travel back to

Benedict Re
Redgrove Commercial
rcial Photographer
Photographe
The summer of 1976 w
was the hottest we had seen. The summer days were spent catching grasshoppers and running through sprinklers
to cool down. My arm was in a cast, after breaking it tripping over a tree root. Mum had a Honda C90 scooter which I used to love
going on the back wi
with her. I would put on my white cork helmet and hit her on the back with my cast, telling her to go faster. I now
have a four year old daughter who isnt content untill she has told her daddy, veloce Papa, veloce, veloce.

Tim Walla
Wallace Prestige Car
r and Commercial Photographer
One of my early m
memories is at my grandparents house
ouse when I used to stay with them over the summer holidays. They had a big farm
house table and if I was a good lad my gran used to
o buy me a new toy car I used to collect them you see. Later, after tea, I liked to
take the lamps ou
m; and use these to light the toy car and try to take a picture of it for my collection.
out of mine and my sisters bedroom;
I never realised tthen that one day I would be shooting
ng cars for real adverts.

Victoria Dovey Features


Victo
res Writer
My mother
mo
is always telling me what a great memory
emory I have, that I can remember details of my first home, the one we moved
out of when I was just four years old. The green handles
andles I would turn on my sisters and my shared dresser, the field of ssheep we
would sometimes have to manoeuvre through on our way to school, the green frog bins which dotted the playgrou
playgrounds and my
childh
childhood friend, Michael Gilbert, who wore oxford green wellington boots, and I invited over one evening for lime jelly and
insiste
insisted on candlelight, much to my mums amusement and big sisters ho
horror.
photographymonthly.com
photog

15

| Columnist Paul Sanders

Free
your
mind
Routine can blinker the beauty of the world around you, so step out of your comfort
zone, says Paul Sanders, and enliven your inspiration

imagine you are very similar to me in some respects; you make the
same journey to work from home and back again, maybe go to the
supermarket and back, to school or walk a dog Life is quite routine
for the great majority of us, which is why we dont notice what is
around us or on our doorsteps. Yet I always marvel at the change that
takes place within me when I go somewhere new. I get off the plane and,
instantly, I want to take pictures, even of the most mundane of subjects.
The whole point of travelling, I think, is to break the routine and
monotony of our daily lives. For photographers, this is a real treat because
suddenly you are inspired. You will have a visual and spiritual awakening
free of your routine, you feel able to explore, experiment and to push
yourself a little. To leave your comfort zone in Departures and
truly grow creatively. But beware. There is travel, and then there is
organised travel.
As a photographer there is nothing more exciting than visiting places
new to you, being awed by the majesty of mountains or having moments
of total breathlessness as you round a bend in a road. These are the
moments that all the investment in gear and reading How to shoot
articles come together. You are as free as a bird, shooting things that
express the way you feel about the location. You come away feeling elated
and inspired and this feeling then translates back in to your normal life.
It literally opens your eyes to the plethora of image-making opportunities
at home, not to mention making you more productive at home and work,
allowing you to inspire your friends and colleagues with your tales of high
adventure and images of stunning beauty.
On the flip side of this is the kind of travel where you are met at the
airport, get on a bus to be driven from location to location without noticing
what is around you; lined up and told what to shoot, what lens to use and
almost what exposure to set. This will not help you as a photographer, or
you as a person. You are still stuck in your comfort zone. GET OUT OF IT,
stretch yourself and watch the magic happen! Please.
Im not knocking workshops or photography holidays; there are a great
many that are excellent and will push you to a new level. All of us need
help to learn new techniques or to get some guidance on our work. What
I am saying is that when you go to these places on workshops, you must

16

shoot for yourself, not just what youre told


will make a good picture.
You may only get the one chance to visit
a certain country, so make the most of it;
always shoot, shoot and then shoot some
more. Take the pictures you wouldnt
normally; try street photography or
portraits, look at the details, get your
macro lens out and, of course, capture
landscapes, wildlife and anything else that
grabs you. Learn a few words of the
language, talk to locals, smile a lot; youll
find your confidence and awareness will
take a huge leap forward. Try not to follow
the group and shoot what they do; dont
fall in to the group mentality of Oh the
lights not right or we should have come
in the summer/winter/autumn/spring (delete as applicable).
Have confidence in your own decision making on where you stand,
dont huddle together unless its a matter of life and death. You chose the
trip make the most of it. Work with what you have; the light is there, the
weather is there be inspired by it.
Please dont burden yourself with tonnes of equipment; take the
minimum you need. Not only will it be easier to carry and get on the plane,
but limiting what you take also forces you to shoot images that maximise
the lenses you have with you, making you think differently about the
locations and viewpoints.
Finally, and most importantly, remember its a holiday. Dont spend
every second looking through the viewfinder, the world outside the
camera is huge and worth exploring unhindered by that little black box.
Sometimes its nice to just have the memories of a stunning view, rather
than battling to take a photograph of it. [PM]

Share your
experiences
with Paul on
Twitter
@wiggys

www.paulsanders.biz

Craig Richards Last Light


Nikon D800E | 14-24mm f/2.8 | 14mm | 78 secs | f/8 | ISO 100 | 10-stop filter and Lee 0.6 Hard Grad
petite.d.amour.photography

LIKE AN IMAGE AND WANT TO


KNOW HOW THEY TOOK IT? MAYBE
YOUD LIKE TO COMPLIMENT THE
PHOTOGRAPHER? TWEET THEM AND
TAG US IN @PHOTOMONTHLY >>>

18

Carys Jones Bluebell Blur


Nikon D4 | 105mm f/4 | 0.5 secs | f/11 | ISO 200 | ND Grads 0.9 & 0.6
@carysjonesphoto

| Readers Images

Pawel Zygmunt Sky Lines


Nikon D200 | 10-20mm f/3.5 | 15mm | 1/6sec | f/11 | ISO 100
@PawelZygmunt

20

Lucie Averill Catch


Canon EOS 7D | 17-55mm f/2.8 | 28mm | 1/200sec | f/7.1 | ISO 100
www.flickr.com/photos/lucie-averill

Spiros Gioldasis Lone Tree


Nikon D7100 | 11-16mm f/2.8 | 11mm | 39 secs | f/11 | ISO 200 | Cokin ND8 filter
Spiros.Gioldasis @sgiolda

Wayne Brittle Dartmoor Tor Sunburst


Canon EOS 5D Mk III | 16-35mm f/2.8 | 19mm | 0.6 secs | f/11 | ISO 100
waynebrittlephotography

Hayley Hay The Enchanted Pathway


Canon EOS 5D Mk III | 24-70mm f/2.8 | 70mm | 1/200sec | f/2.8 | ISO 100
HayleyHayPhotography

22

Readers Pictures |

PRE ORDER
THE NEXT ISSUE

AND SAVE 1

Use discount code XD30


at www.buyamag.co.uk/PM

Zoritza Williams Harvesting


Canon EOS 20D | 28-135mm f/2.8 | 28mm | 1/100sec | f/13 | ISO 200
@ZoritzaWilliams www.zoritzawilliamsphotography.co.uk

Charlie Birch Palm Tree on a Roof


Canon EOS 400D | 18-200mm f/3.5-5.6 | 200mm | 1/320sec | f/8 | ISO 100

Erin Beck Tree 3


Nikon D600 | 50mm f/1.4 | 1/2000sec | f/6.3 | ISO 500
erinbeckphotography @erinbeckphoto

photographymonthly.com

23

History of Canon |

The
revolution has
been photographed
Jessica Bracey traces the history of Canon; from divine origins to its modern saintly
reputation as an inspirational, innovating force in the camera industry

ounded during the 1930s, a time of uneasy peace


between two world wars, Canon rapidly became an
iconic brand in the market. A photographic force that
has constantly invested research into quality cameras,
Canon has achieved an effortless transformation from film to
digital in an imaging revolution that has inspired many loyal
followers and innovations, and garnered high acclaim. Along
the way it has set the standard, not only for stills cameras, but
for printers, and of course lenses and bodies for the moving
image (not to mention a stint producing business materials
anyone remember the floppy disk?).

The history
The original name was taken from Kwanon, the Buddhist
Goddess of Mercy, and had evolved by 1935 into the Canon
trademark we know today. The Kwanon was a prototype for
Japans first 35mm focal-plane-shutter camera produced in
1934, which then matured into the Hansa Canon two years
later. Once Canons cameras had been developed, the brand
then invested in lenses in 1939, at the start of the Second World
War, with the Serenar collection, complete with the mission
statement to produce world-class cameras. Although not
immensely popular until after the war, Canon devised >>

photographymonthly.com

25

the Serenar 135mm f/4, with its first


interchangeable lens launched in 1947. The
company also veered towards cameras and
lenses for television broadcasting in 1954.
Constantly innovating, in 1975 Canon
developed the laser printer a concept still
used today and 12 years later launched a
landmark autofocus SLR camera, the EOS
short for Electro Optical System. There was also
a line of EF lenses, which formed part of a new
generation for 35mm cameras celebrating
Canons 50th anniversary. The stakes were high
and the latest autofocus cameras across the
board dominated over 50 per cent share of the
standard SLR camera market, enticing a new
wave of photographers to come on board.
Tamara Lynn Kwan was one such
photographer who turned to Canon when going
pro. My dad let me use his cameras at an early
age. Then I got serious about photography and
wanted more control than a point and shoot
could give me in the mid-80s, she recalls. I
bought my first SLR at that time, a Canon AE-1.
Back then, I could often be seen with two
cameras around my neck; with different film
speeds or one colour and one black and white.
To this day, I associate the Canon brand with
quality and professionalism.
As Canon had photographers gripped by its
innovative camera technology, it brought its
users into the digital revolution with the launch
of its first DSLR, the 1.3MP EOS DCS 3. This was
in 1995, the same year that Nikon released its E
series in collaboration with Fujifilm. I went
digital around 1999-2000 with point and shoots,
says Tamara. As soon as DSLRs became
affordable I was after one. This was around 2006,
not long after the 5D Mark II came out, which I
still shoot with today.

Advertising campaigns
David Bailey shot weddings on an Olympus and
Jamie Oliver filmed family and food for Nikon,
but Canon is no stranger to memorable
advertising campaigns either. Anyone
remember the slogan You can on a Canon
from the 1990s? Its the brands international
campaigns on the big screen that have really
made an impact most notably its 2012 Emmy
Award-winning
commercial,
Project
Imaginat10n, produced by advertising agency
Grey, which took the small camera to the big
screen. This project sought to prove that
imagination is limitless and anything is possible
with Canon DSLR cameras, even inspiring a
Hollywood film, says Michelle Fernandez,
director of marketing at Canon. We created a
forum for photographers of all skill levels to
showcase their photographic and interpretive
abilities. The opportunity to have their
photograph inspire a Ron Howard production
was meaningful and rewarding. As far as
marketing, Canon focused on building an
emotional connection with consumers which
resulted in enormous loyalty and brand love,
continues Rick Cusato, a partner at Grey.

26

Timeline
1933
1934
1935
1936
1937
1946
1954
1961
1967
1971
1973
1975
1987

Canon predecessor Precision Optical


Instruments Laboratory, which
conducted research into quality
cameras, is founded in Tokyo
Japans first 35mm focal-planeshutter camera, the Kwanon, is
produced as a prototype
The trademark name Canon
is registered
The first focal-plane-shutter Hansa
Canon is introduced
In-house production of Serenar
lenses begin
Canon S II is launched and receives
great acclaim from ranking officers
in the Occupation Forces
In collaboration with NHK Science
and Technical Research Laboratories,
Canon develops a camera to film
for television
Completes Japans first rotary
microfilm system
The ratio of exports to net sales
surpasses 50 per cent
The high-end SLR camera, the
Canon F-1, is launched and FD
lenses are introduced
Canon wins an Academy Award in the
science and technology category for
its cinematography macro zoom lens
in the Academy of Motion Picture Arts
and Sciences
Canon succeeds in developing a
laser printer
The EOS autofocus SLR camera is
introduced, combined with a line of
EF lenses, in the same year that Canon
launched a broadcasting lens with the
highest zoom ratio in the
world; 50x zoom

Canon employs
around 194,000
people
worldwide

Advertising
agency Grey
has
been
working
on
campaigns with
Canon for more
than 30 years

History of Canon |
Winning the Emmy helped prove how universal
the will to give it your all and push through anything
to get the perfect shot is.
Among the Hollywood blockbusters and pops of
trademark red in magazines, Canons campaign
strategies dont just lie in traditional advertising.
Utilising a captive audience of hundreds of
photographers snapping and sharing photographs
instantly across the world with some of the biggest
publications, including Vogue, Canon has been the
principle imaging sponsor for Fashion Week since
2005. Not only that, but its heart also lies in other
projects, such as its relationship with the World
Wildlife Fund, the Red Cross and UEFA, and its
championing of photojournalists in the World Press
Photo competition for 22 years.

The Modern Canon


With a questing commitment to quality and
innovation, including the launch of the 5D trilogy in
2005, Canon has been named Readers Digest
Most Trusted Camera Brand in Europe for 13
consecutive years. Of course its reputation is also
noted in the iF Design Awards, which crowned nine
of its products as category winners in 2014;
including its printers, projectors and the 5D Mark
III. With the success of its EOS and PowerShot
series under Canons belt, the 5D series was so
groundbreaking that professionals were jumping
ship to get their hands on its capabilities, including
Full HD recording.
My first professional digital camera was the
original 5D. Prior to that I used other brands for
film, but when the 5D came out that camera nailed
it for me, says Canon Explorer, portrait and
fashion photographer Clive Booth, who has shot
for the likes of MAC Cosmetics, LOral and
George Michael. It has full-frame sensor, low-light
capabilities, and the quality is superb. The big
thing for me with Canon is that Im sort of a
renaissance man. For 25 years I was a graphic
designer, Im a photographer, Im a filmmaker and
I write. For every aspect of my creative workflow,
Canon has a product for me. Whether thats still
image, lenses, Cinema EOS or, indeed, largeformat printers, they tick every box and there is no
other brand that does that. I dont think Canon
knew what they had with the 5D Mark II. It had a
ground-breaking camera with great EF optics and
realised that the processor was capable of
delivering moving images. Before the 5D Mark II,
to get the equivalent in a film camera or video
camera youre looking at tens of thousand of
pounds, so, in one word, it was revolutionary.
While the past decade has seen manufacturers
tapping into the smartphone and vintage-inspired
market, Canon has stayed true to its contemporary
look while offering high image quality and speed.
But despite the challenges Canon has faced with
competitors, ever-growing technology, a new wave
of amateur photographers and factors out of its
hands, such as the Japan earthquake of 2011 which
slowed production, the manufacturer has
continued to deliver against its rivals. >>

Image by fashion,
portrait and beauty
photographer Clive
Booth, who is a
Canon Explorer.

The 5D Mark II was used


while shooting Marvels
Avengers Assemble

photographymonthly.com

27

| History of Canon

1992
1995
2000
2006
2008
2011

Photographer Tamara Lynn Kwan, aged 22, with her first


Canon camera, the AE-1, in 1987.

Which leading photographers use Canon?


Annie Leibovitz * Andy Rouse
Art Wolfe * Jim Brandenburg
28

2012
2014

Canons first full colour inkjet printer,


the BJC-820, is launched in the same
year that the EOS 5, the worlds first
eye controlled AF SLR camera, goes
to market
Canons first DSLR, the EOS DCS 3, is
launched in the same year that the
worlds first camera lens with image
stabiliser, the EF 75-300mm f/4-5.6,
is launched
Canons digital compact camera, the
PowerShot S100 Digital ELPH goes
to market
The Selphy ES1 compact photo printer
is introduced
Canons 5D Mark II is the first ever
camera to incorporate Full HD Video
Canons Cinema EOS System of cinema
cameras
and
lenses
is launched
The EOS-1D X DSLR is introduced and
the award winning EOS 5D Mark III
goes on sale
Canon named most trusted camera
brand in Europe for the 13th year in a row

Illustration drawn exclusively for Photography Monthly magazine by Guy Larsen

What would Photography Monthly


readers like to see next from Canon?
Clive Booth: If Canon made a rangefinder camera
they would beat all the brands, including Leica. To
produce that with a set of lenses would be magnificent.
They would have a world-beating line-up then.

Liam Southall: I want 4K internal video, high


frame rate for slow motion 250fps, good in low light,
full-frame sensor and a pop out screen all for under two
grand please.
Guy Larsen:

What every filmmaker and


photographer wants is affordable quality. Theres a
huge step-up between DSLR cameras like the 5D and
the higher models that features are shot on. Higher
resolution will always be on my list though. YouTube
allows 4k uploads, and Id love to be able to shoot video
at that size without having to rent out a camera.

Canon
Incs
consolidated net
sales for the
2013 financial
year totalled
$35.5 billion
Canon vs Nikon
Its the fighting talk of every serious photographer Canon and Nikon have been dominant contenders
in the market for some time. While the days of Kodak and Polaroids reign have well and truly diminished,
the modern photographer has a tough decision to make.
Anyone expecting that Ill come out in favour of one or the other will be disappointed, says Colin
Harding, curator of photographic technology at the National Media Museum. They both produce
excellent products; if one of them was markedly better they would probably have put the other out of
business long ago. From a historical perspective, what is more interesting is the fact that Canon and
Nikon havent always been commercial rivals. In their early days they were, for a short time, partners rather
than competitors. In 1933, Goro Yoshida and Saburo Uchida founded the Precision Instruments Laboratory
in Tokyo. Their first prototype 35mm camera, based on the Leica II, appeared the following year. Yoshida
decided to name the camera Kwanon but Uchida disagreed with the name choice, feeling that it was
unsuitable for a high-tech product designed for an international market. Yoshida resigned and in 1935
Uchida applied for the new Canon trademark. To supply the lenses for its new camera, Canon turned to
an established Japanese optical and scientific instrument company, Nippon Kogaku K.K. Its camera
lenses were called Nikkor and produced all of Canons lenses up until 1947. However, by 1946 Canon had
also started producing its own lenses and at around the same time Kogaku decided to manufacture
cameras; and when its first 35mm model left the production line in 1948, they gave it the name Nikon.
Historical collaborations aside, the reality of who comes out on top lies in the sales figures. According
to the BNC Ranking market shares for cameras in Japan, Canon has been the undisputed leader above
Nikon for a number of years. In 2014, Canon boasts a 49.2 per cent sales hold of the DSLR market. But
with Olympus holding the top spot for the mirrorless market, itll be interesting to see how Canons DSLR
line will fare with reports from Panasonic predicting that compact system camera sales will overtake DSLR
sales by 2015. However, a report released in March states that Canon is basking in its 11th consecutive
year with the number one share of interchangeable lens cameras both for DSLRs and CSCs. [PM]

30

History of Canon |

Twinkle twinkle little star


In 2006, Canon donated 10 diamond-encrusted cameras for a Red Cross charity
auction. The Super Diamond IXUS model cost 40,000 and featured 380
diamonds, while the other nine with fewer diamonds each had a street value of
3,500. Then, in 2009 Canon built a 5300mm lens yes you heard that right
which weighed 100kg, went for auction on eBay for $45,000 and could shoot
photographs of a range between 30 and 52km.

In Fortune magazines Worlds Most


Admired Companies list in 2012,
Canon
came
fifth
in
the
computers category

Football Canons sponsorship deals range from fashion to wildlife, and they
also have a relationship with the world of football, including the UEFA Cup.

Canon serves
photographers
in more than
110 countries
across Europe,
the Middle East
and Africa

Camera launches
Canon 1D Mark II 2001
Canon 1D Mark IV 2010
Canon 1D X 2012
Canon EOS 1 1989
Canon EOS 650 1987
* 2003
*1976
Canon EOS*
1N 1994
Canon EOS 300D
Canon AE-1
Canon EOS 1D C 50mm*f/1.2 2013
*
* Canon F-1 1981 Canon
* EOS 500 1993 *
Canonet early 1980s
Canon A1 1978
Canon FTB 1971
*
*
*
*
*
Canon EOS RT 1989
* Canon EOS 3 1998 * Canon EOS 5 1992 * Canon EOS 5D Mark III 2012
photographymonthly.com

31

Canon EOS-1D X | Canon 24-105mm f/4 | 35mm | 180 secs | f/13 | ISO 50

<< How can playing


with angles add
interest
to
an
ordinary subject?
Angles can certainly make
incredible differences in
images, they can even
transform the very ordinary into
something very unusual or even
abstract in appearance. This
image is of an old, empty,
bland building in the middle of
Glasgow. It is blue in colour
and covered in dirt, something
everyone simply walks past
without a second glance. With
your camera at just the right
angle, I think a face appears
which isnt normally apparent.
Once converted to mono the
dirt and old blue paint no
longer become distracting.

>> How do you use


shadow to your
advantage to create
an impactful image?
Shadow is so important in a
mono image, as are highlights.
Without contrast (shadows and
highlights) it is difficult to give a
mono image any impact or
interest. This is why dodging
and burning were used so
extensively in the dark room, it
allowed photographers to
increase contrast in an image
when there was very little
naturally. This image, taken in
Death Valley, is a perfect
example of how shadow and
contrast bring an image to life.
If I had shot it when the sun was
high, all of the sand would have
been the same tone and the
image would not have worked.
By waiting until the sun was
very low, nature did all the work
for me by providing me with
shadow and highlights.

Canon EOS-1D X | Canon 24-105mm f/4 | 60mm | 1/400sec | f/11 | ISO 400
34

Mono Interview |

Canon EOS-1D X, Canon 24-105mm f/4 | 24mm | 476 secs | f/16 | ISO 50

^^ The British weather


is
notoriously
unpredictable how can
we turn the spells of dull,
cloudy skies or foggy
mornings
to
our
advantage
when
composing
a
mono image?
Dull, cloudy, flat or misty weather is
probably amongst my favourite.
When there is no exciting light or
moody drama in the skies I always try
to simplify images as I think this often
works better in these conditions. A
great way for achieving this is making
use of an ND filter and capturing long
exposures. This technique softens
the sky and flattens out water,
removing these distractions from the
shot. By doing this we can work with
a much simpler composition; no
need for big foregrounds as you do
in some other shots, just a few simple
elements can be enough. As you can
see in this particular image, there is
no strong foreground, it simply
consists of three elements: Neist
Point, the sea and the sky. The
conditions when this was shot were
very average; bland grey skies with
no drama or light coming through,
choppy, messy water and a very flat
lifeless landscape. I think this also
works in fog/mist; simplify the
composition, dont use too many
elements and you get a much
stronger image less is sometimes
more, as they say.

Canon EOS 5D Mk II | Canon 24-105mm f/4 | 60mm | 0.5 secs | f/13 | ISO 200

^^ Are there a few key elements in a scene you need before


youll consider shooting it?
Not really. In mono more importantly than key elements, is to ensure any elements within
the image have separation in some way. The separation can be anything from contrasting
tones to contrasting hardness/softness, or even focus levels. With this example, taken
near Oban on the West Coast of Scotland, there is no real separation within the tones of
the image or even the focus. The separation is between the hard edges of the boat
contrasting with the rest of the image, which has no hard edges at all. This ensures the
boat stands out from the background creating the desired effect and guiding your viewer
towards the subject. Im not sure it is an individual key element that makes this shot, I
think it is more the separation of both elements. >>

photographymonthly.com

35

>> How many times do you shoot a


scene before you get the shot you
are after?
Usually not too many as I have my processes pretty much
nailed down these days. There are various techniques I
use to ensure I dont have to take many images or keep
returning to the same location over and over. These
range from ensuring my technical knowledge is sufficient,
to not make practical mistakes walking around with my
eye at the viewfinder until I find a shot worth shooting
and then maximising what works in the image, therefore,
reducing the weakest element. This image was shot in
Sutherland on a day where the sky was just rubbish and
uninteresting. I walked around with the viewfinder against
my eye until I found a possible shot. I then composed it
using a very big foreground therefore reducing the
amount of sky required and was lucky enough that it was
enough to make a decent image. By using these
techniques the quantity of images I now take has reduced
substantially, but hopefully the quality has increased by a
similar amount.

Canon EOS-1D X | Canon 24-105mm f/4 | 35mm | 1/3 sec | f/13 | ISO 50

<< What is the longest


exposure time you have used to
create an image?
Some of the longest exposure times will
certainly be with my architecture work. If clouds
have not moved far enough across the exposure
I think it can sometimes be quite distracting
and takes the attention away from the subject.
On a calm day when clouds are not moving too
fast, these exposures can be in the realms of six,
eight, 10 or even 12 minutes; just what is
required really. I felt it was important in this
image of The Armadillo in Glasgow that the
cloud passed through the whole frame to try
and allow the sky to compliment the building
rather than detract from it.

Canon EOS-1D X | Canon 17-40mm f/4 | 35mm | 724 secs | f/13 | ISO 100

>> What software do you use and why?


I use a combination of both Adobes Lightroom and Photoshop. Lightroom covers all my library, storage and Raw editing needs, whilst Photoshop
does the serious editing. I like to try and stay with the mainstream commercial packages as these always usually have more available resources, tutorials
and often a better support network. I passionately believe post processing is the key to all photography as it gives astronomically more options to the
photographer than basic settings on a camera ever could. I see this all the time whilst teaching workshops; when people understand the reasons for
post processing and witness its power, they are very eager and enthused to learn more. By understanding and using software packages such as these
I have no limitations as a photographer. It allows me to recreate reality and keep my image true to the original scene, or to go in the opposite direction
and make images much more artistic such as this image of the New York skyline; I love having the choice.
www.billycurriephotography.co.uk

Mono Interview |

^^ Can you show us a before and after colour to mono image?


This example of The Empire State Building is quite typical of how much an image may be
transformed between the original colour and processed mono version. It also highlights how
important good post processing skills are. There are no magic buttons in any piece of software
that will give you perfect black and white conversions. What it gives you is a starting point for you
to create your own interpretation of the scene; not that of an automated piece of software. I felt
with this image it was important to emphasise the dramatic weather to highlight the Empire
State Building and to ensure separation of tones between all the other buildings. Basically, it
was a simple mono conversion enhanced with much more local dodging and burning done by
hand. As Ansel Adams once said Dodging and burning are steps to take care of mistakes God
made in establishing tonal relationships. [PM]
Canon EOS 1D-X | Canon 24-105mm f/4 | 55mm | 1/160sec | f/8 | ISO 400

Canon EOS-1D X | Canon 24-105mm f/4 | 50mm | 436 secs | f/11 | ISO 100

photographymonthly.com

37

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WITH THE SUMMER SUN FADING FAST, THIS MONTH WE TAKE A LOOK AT SOME TRAVEL
SPOTS A LITTLE CLOSER TO HOME PERFECT FOR A WEEKEND GETAWAY, AVOIDING
CROWDS AND GUARANTEED TO PROVIDE A WEALTH OF PHOTOGRAPHIC OPPORTUNITY.
BE BLOWN AWAY BY ENGLISH MOORS, DIVE INTO YOUR DREAM SHOT IN MALTA OR SET
YOUR SIGHTS ON SAILING THE AEGEAN SEAS WHATEVER YOUR DREAM DESTINATION,
WEVE GOT IT COVERED.

P54
P59
P63
P69
P75

photographymonthly.com

Iurie Belegurschi/Canon EOS 5D Mk III | 16-35mm f/2.8 | 16mm | 42 secs | f/11 | ISO 100

P49

DORDOGNE, FRANCE
MULL, SCOTLAND

T R A V E L

P42

ICELAND
AEGEAN SEAS
MALTA
SWITZERLAND
DARTMOOR, ENGLAND

41

Moldovan landscape
photographer,
Iurie
Belegurschi, explores
the unique land and
light of Iceland and
shares with us his
captured wonders

andscape photography is all


about capturing light as it
plays over the land. It is one
aspect of photography that
can create a timeless and enduring
image. Iconic photographers such as
Ansel Adams and Galen Rowell have
made their photography a bridge
for people to appreciate the land
and wilderness.
It is the variation of topography in the
world that makes a location unique.
From rocky mountains to tropical
coastlines, from flowing sand dunes to
raging rivers; a landscape photographer
will never cease to have subjects.
But there will always be one exceptional
place that impress any photographer
or visitor.
Iceland is one of those distinct
destinations that leave a mark on the
soul. It is a melting pot of varied
geological wonders. From epic
waterfalls, surreal mountain ranges, ice
lagoons and coastal scenes, to ice caves,
volcanic scenes and geysers. Iceland
provides
photographers
with
a wide range of land and water, and to
top it, one of the most beautiful
plays of atmospheric wonder, the
Aurora Borealis. It has been voted
as one of the must see places, not
only for photographers, but for the
wandering traveller.

Land of
Possibilities

During winter, not all parts of the large waterfalls are frozen. The mix of ice and moving
water at Gullfoss provides a surreal backdrop to fantastic sunsets and sunrise.
Canon EOS 5D Mk III | 16-35mm f/2.8 | 29mm | 20 secs | f/13 | ISO 50

Right: Waterfalls abound the island with


an almost manicured form. I used an ND
filter in this image of Seljalandsfoss for a
longer shutter speed to capture the
bridal veil effect.
Canon EOS 5D Mk III | 16-35mm f/2.8 |
16mm | 4 secs | f/16 | ISO 50
Centre: The black beach in Jkulsrln is
a haven for ice debris washed ashore by
the current. Like diamonds they sparkle
against the volcanic black sand. A firm
and formidable tripod is a must
when shooting landscape specifically
coastal scenes.
Canon EOS 5D Mk III | 16-35mm f/2.8 |
21mm | 1.3 secs | f/8 | ISO 200

42

Iceland |

Canon EOS 5D Mk III | 16-35mm f/2.8 | 16mm | 70 secs | f/13 | ISO 100
photographymonthly.com

43

Iceland |
Canon EOS 5D Mk III | 16-35mm f/2.8 | 16mm | 25 secs | f/16 | ISO 50

Canon EOS 5D Mk III | 16-35mm f/2.8 | 27mm | 15 secs | f/11 | ISO 200

photographymonthly.com

45

Right, top: Iceland horses are unique, with their medium


sized build and beautiful colours, they are constant
contrast to the greenery. I used a small aperture to
capture the sunburst as it hovered above the horizon.
Canon EOS 5D Mk III | 16-35mm f/2.8 | 19mm | 1/13sec |
f/16 | ISO 100
Right, middle: During winter, when the nights are longer,
the sky dances in green over the southern part of Iceland.
Aurora Borealis, or the Northern Lights, provide the most
beautiful backdrop for night photography.
Canon EOS 5D Mk III | 16-35mm f/2.8 | 16mm | 2.5 secs |
f/2.8 | ISO 1600
Far right, top: Jkulsrln, Icelands deepest lagoon, is
the perfect place where fire and ice meet with glacier
land melting. Debris floats in this lagoon and exits
through an outlet to the sea. It is constantly changing. I
used a long exposure here to flatten the water and make
a perfect mirror, reflecting the fiery sunset.
Canon EOS 5D Mk III | 16-35mm f/2.8 | 16mm | 42 secs |
f/11 | ISO 100

Iurie Belegurschi runs Light Hunters Photo Tours and is a


landscape photographer based in Iceland who has been
published extensively around the world. To see more of
his beautiful work, or join him on a workshop, go to
www.iuriebelegurschi.com
Canon EOS 5D Mk III | 16-35mm f/2.8 | 17mm | 30 secs | f/14 | ISO 50

46

Iceland |
Canon EOS 5D Mk III | 16-35mm f/2.8 | 16mm | 42 secs | f/11 | ISO 100

Canon EOS 5D Mk III | 16-35mm f/2.8 | 16mm | 30 secs | f/11 | ISO 100 | +2.3 Exp.

photographymonthly.com

47

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17,00

A1

20 x 30

21,00

22,00

A0

30 x 40

30,00

31,00

40 x 60

50,00

55,00

Tel: 01656 856020 | canvasbay@gmail.com

Other sizes also available

FRAME DEPTH SIZES


Size

Aegean Sea |

Cruise Views
Offering a vast array of cultures and
experiences, sailing the Aegean
presents a wealth of fabulous photo
opportunities. Karl Shaw takes to its
azure blue waters

Fuji X-E1 | 50-230mm | 50mm | 1/730sec | f/11 | ISO 200

photographymonthly.com

49

m not a fan of holidaying in one


spot I get twitchy. The thought
of hanging around an all-inclusive,
gated community with bars and a
swimming pool sends shivers up and down
my spine. And, anyway, it doesnt provide
me with many, or any, photo opportunities.
You could call it a busmans holiday, but I
do love to capture more than the odd
holiday snap when abroad. Actually, I set
myself the challenge of nailing that one
shot that Id be proud to print out large,
frame and hang on my wall. This year Im
taking in the sights, sounds and smells of
Kusadasi, Lesbos, Athens, Istanbul and
Santorini on a cruise around the Aegean
Sea; so if I cant get something worthy of
wall space from those monumental places,
then maybe I should stick to a fridge
magnet as a reminder.
The great thing about a cruise is that you
go to bed in one country and wake up in
another and, depending on who you cruise
with, theres always a great variety with
sandy beaches one day and sprawling cities
the next; so youre guaranteed a wide
range of looks and feels within your shots.

Fuji X-Pro1 | 18-55mm | 50.5mm | 1/350sec | f/11 | ISO 200

Fuji X-Pro1| 18-55mm | 18mm | 1/320sec | f/11 | ISO 200

Companions
As far as travelling companions go, firstly
theres the wife she will insist on tagging
along! I also have two others that should be
mentioned; Fujis X-Pro1 and X-E1 with 1855mm and 50-230mm attached
respectively. Why the two Fujis? Well, the
thought of trailing around in temperatures
approaching 40 degrees carrying a DSLR
with pro lens attached just seemed a bit
like torture. Anyway, the not-so-little Fujis
are more than capable of running rings
around most DSLRs. I could use a compact
but I want the clean, crisp images that only
a camera with a larger sensor provides
larger in size, as opposed to larger
in megapixels
Why two? Well, swapping lenses in the
hustle and bustle of a packed, dry and
dusty city is a recipe for disaster and can
you imaging arriving in Santorini and your
one and only camera develops a fault
thoughts like that keep me awake at night.

Camera settings
I prefer to shoot in full manual mode.
However, the proper exposure
compensation dial on both Fujis makes
shooting in Aperture Priority a real breeze.
And the great thing about both cameras is
that you get in a JPEG exactly what you saw
through the viewfinder. So, throughout my
trip and given that light levels were pretty
intense, the order of the day was to set the
aperture to f/8 or f/11 and usually add a bit
of exposure compensation. The Fujis never
missed a beat, with the 18-55mm being a
particularly strong lens. >>
Fuji X-Pro1 | 18-55mm | 55mm | 1/110sec | f/11 | ISO 200

50

Aegean Sea |
Fuji X-Pro1 | 18-55mm | 18mm | 1/300sec | f/11 | ISO 200

Fuji X-Pro1 | 18-55mm | 55mm | 1/460sec | f/11 | ISO 200


Fuji X-Pro1 | 18-55mm | 40.7mm | 1/250sec | f/11 | ISO 200

Fuji X-Pro1 | 18-55mm | 55mm | 1/270sec | f/11 | ISO 200

Fuji X-Pro1 | 18-55mm | 55mm | 1/1050sec | f/6.4 | ISO 200


Fuji X-E1 | 50-230mm | 67.1mm | 1/280sec | f/6.4 | ISO 200

photographymonthly.com

51

Aegean Seas |

Fuji X-E1 | 50-230mm | 63.2mm | 1/500sec | f/8 | ISO 200

Shooting
There are a few downsides for photographers thinking of cruising
that are worth mentioning. Firstly, youre not going to have the
luxury of rising early and capturing that wonderful sunrise, youre
going to have to wait for the ship to dock before you can either
visit the location on your own or opt to pay for an excursion. Youre
not going to get any epic sunsets either the captain will want you
back on the ship way before sundown. No, youre stuck, usually,
with harsh sunlight, so thinking outside the box is the secret when
it comes to creating something that is a bit more than a snapshot.
Look for light and shade remember mono shots work really well
with lots of contrast. Go off the beaten track check out the back
streets for colourful characters. Obviously, the places are going to
be heaving with tourists so use that to your advantage shoot
them show how chaotic the location is. Trust me, visiting the
Parthenon in mid August is not for the faint-hearted its like a
camera convention with thousands of tourists battling for the best
selfie. A good idea is to Google any place youre planning on
visiting beforehand and have an idea of where the best vantage
points are to be found in Santorini there are two spots that give
you that iconic blue domed landscape that just has to be seen to
be believed.
Cruising isnt for everyone its not relaxing unless you stay on
the ship all week sunbathing, but to do that would be missing the
point you need to get out and about at each port, immerse
yourself in the different cultures and shoot anything and
everything. But set yourself a goal creating a photobook or travel
journal is always a nice reminder of your photographic time
spent abroad.
www.karlshaw.co.uk

Fuji X-E1 | 50-230mm | 230mm | 1/600sec | f/8 | ISO 200

Fuji X-E1 | 50-230mm | 120.6mm | 1/710sec | f/8 | ISO 200

PRE ORDER
THE NEXT ISSUE

AND SAVE 1

Use discount code XD30


at www.buyamag.co.uk/PM

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53

Underwater

Odyssey

With stunning Icelandic landscapes and pretty


French regions in our guide, it would be remiss not
to include one of the best places in Europe to learn
to dive and shoot underwater, Malta, as
recommended by Jussi Hokkanen from Ocean
Leisure Cameras

f you love the idea of a warm breeze on your face, the soft lapping of
the ocean gently caressing your ears and the promise of mysterious
temples and ancient ruins to excite your imagination, then look no
further than the Maltese archipelago. Being a set of three islands, the
sea plays a huge part in the lives and landscape, and its to the sea we turn.
Within the diving community, Malta, Gozo and Comino are famed for
their warm waters, clear oceans and diverse diving opportunities. From the
plentiful wildlife such as groupers, flying fish, stingrays, tuna and jellyfish, to
ancient rock arches, steep cliff walls, underwater caves and plentiful wrecks;
combined with safe waters and its renown for learners, its the ideal location
to explore a new creative and physical adventure
underwater photography.
We spoke with Jussi Hokkanen at Ocean Leisure Cameras to get a taste
for a Maltese photographic adventure. Well, for a start, the waters are

Malcolme Browne/Flickr Creative Commons

54

Malta |

Jussi Hokkanen

Turn the page to


see Jussis guide
to
the
best
cameras
for
beginner
to
intermediate level
underwater
photographers

Jussis Top Tips

Jussi Hokkanen

Its great value for money


Remember to register at a dive centre
Take your PADI or BSAC ID card
With clear, warm waters, dont get over confident
stick to your ability level
Even though the waters are warm, take a 5mm wetsuit
Enjoy the local fish and pastizzi!

super warm at this time of year, around 22-23 degrees, so learning to dive is very comfortable. Then there is the huge variety of things
to explore with your camera, in particular the war time wrecks and beautiful underwater scenery some of it is truly ancient. The water is
generally very clear, especially in the south; visibility can be up to 30m down at 30m deep. But there are all sorts of cliffs, arches, little
coves and reefs to enjoy. Loads of flora and fauna, and some of the wrecks, for example the Rosi tug boat and the Um el Faroud a 110m
long, 10,000 tonne ship that is one of Europes top wreck dives.
To dive you need to register with a centre and show you are qualified, you no longer need a medical. Wrecks, on the whole, do tend
to require a more advanced level of diving but certainly not all. Plus, with sites like Blue Hole on Gozo, a short ferry ride away, or the close
by Dwejra Inland Sea, a lagoon of seawater that links to the sea via a arch, there are plenty of shallow places to learn, and many dive
centres to teach you whether you want to boat or shore dive. Its in the EU, so use the Euro, and English is widely spoken. All in all a
perfect dive destination to start an underwater odyssey.
Much like aprs ski, aprs dive is just as important and the islands themselves wont disappoint. With their thousands of years of history,
reflected in Neolithic temples, and influences of the Carthaginians, Romans, Norman and French occupation and until gaining
independence in 1968, the islands also came under British rule. There is so much culture oozing from every pore of the archipelago, as
can be seen in the food, art, architecture and customs. But one of Jussis favourite things is rather more simple: There is a shop/cafe on
the island that has been there for about 100 years, it seems. Crystal Palace, in Rabat, is arguably one of the best places in Malta for pastizzi,
a savoury pastry filled with peas or ricotta cheese. Get one of these I prefer the ricotta and take it outside with a glass of tea and feel
like a local. Of course, you could Instagram a great image while there if you like that sort of thing. Oh, if you dont like tea, have a cold
Kinnie, a local soft drink of orange and herbs. Apparently its delicious.
www.oceanleisurecameras.com

photographymonthly.com

55

| Underwater Cameras

DOWN WHERE ITS WETTER


Fancy a go at shooting underwater? Working with Ocean Leisure
Cameras, we put together a list, from the beginner to the mid-range
waterproof cameras

CANON POWERSHOT D30

All-in-one compact camera for divers and other watersports enthusiast. This camera is
shock, dust, crush and waterproof. You can take it down to 25m without problems. It
captures superbly colourful pictures underwater and doubles as a high-definition video
camera. In a nutshell, it is a quality Canon compact camera, baked into a sturdy crust.
300 www.canon.co.uk

FUJI FINEPIX XQ1 BUNDLE

Fuji cameras have always been popular with divers, and their latest camera and housing
bundle is called the XQ1. This 12MP, advanced compact camera has full manual settings
(P,A,S,M) and also shoots Raw. The Fuji system is supported by Inons range of underwater
lenses and strobes, so you can start with a basic kit and get more parts as your skills
improve. With the housing you can take this baby to the depth of 40m. 530
www.fujifilm.eu/uk/ www.inonuk.com

CANON POWERSHOT S120 + WP-DC51 HOUSING KIT

Undoubtedly the most capable underwater camera kit under 1000. Canons advanced
S120 manages to squeeze everything an underwater photo enthusiast would ever need
into a tiny package. Its sizable sensor offers better image quality than the average
compact camera and its programmable colour balance functions are renowned among
divers. Full manual features, including Raw, Full HD movies, great underwater modes and
full support of Inon lens system makes this the package to have. Depth rated to 40m.
550 www.canon.co.uk www.inonuk.com

OLYMPUS E-PL6 + PT-EP10 HOUSING KIT

E-PL6 is the latest of Olympus popular Pen Lite compact system camera range. Olympus
boffins have always been keen on diving and their housing range covers both compacts
and system camera range. The PT-EP10 housing is pretty much the cheapest decent way
of getting this sort of a camera underwater. The E-PL6 camera offers outstanding image
quality comparable to many full size DSLR cameras, and the four-thirds system means
that there are over 50 different lenses to choose from. Depth rated to 60m. About 1100
www.olympus.co.uk

SONY RX100 MK III + NAUTICAM HOUSING KIT

Ultimate image quality from a compact package. Today, you dont need to drag that
cumbersome DSLR housing with you around the world. Just take the spanking new Sony
RX100 Mk III and pop it in to a housing of your choice (At the time of writing, only
Nauticam have their housing out but many other manufactures are to follow) and you are
ready for everything. This camera offers stupendous quality stills and video from a
diminutive frame. The Nauticam aluminium housing is great to handle and extremely
sturdy. You can rig this kit with lenses, strobes and lights to become the definitive
compact underwater photography machine! 100m depth rated. About 1400
www.sony.co.uk www.nauticam.com

56

Switzerland |

Nikon D300 | 18-200mm f/3.5-5.6 | 18mm | 1/800sec | f/14 | ISO 500

All aboard
the red train
Travel photographer, Monica Goslin, captures the spectacular panorama of Swiss towns, glaciers,
and lakes, as she rides the famous Bernina Express from St. Moritz to Tirano, Italy

Riding the Bernina Express provides a wealth of


opportunities to experiment with motion, time and
composition. For the two-and-a-half hour train ride,
you will experience how the train is not only part of the
landscape but also part of the road on departure
from Tirano, the Bernina Express begins on the road,
with cars stopping at the sound of the bell to wait as
the train passes inches away. If you take a trip onboard
the express, be sure to pick a carriage at either end of
the train, so you can capture the remaining carriages in
your photographs it wouldnt be a picture perfect
journey without the main character, the red train! >>

photographymonthly.com

59

The next stop


The UNESCO World Heritage viaduct of
Brusio stand statuesque, but its difficult to
shoot while on the train. Whilst the curve of
the viaduct provides views of the entire train
from the comfort of your seat, it is best to
alight at Brusio to get this shot from
underneath the viaduct. The train stops in
small towns, providing a break in the motion
and a chance to capture the stations and
passengers. The stations along the train
route are pristine buildings, colourful and
often feature the traditional Swiss wooden
beams with cut-out patterns.
Its worth remembering whether youre
photographing on a train or on the streets of
a city to always turn around. You never
know, the view behind you may be better,
even if you just came from that direction.
This photograph (top right) was taken when
looking back on the train instead of forward,
capturing the view as it passed through the
alpine forest.

Nikon D300 | 18-200mm f/3.5-5.6 | 18mm | 1/250sec | f/8 | ISO 500

Going down
When the train descends from the Alps into
the valley below, the view becomes
dramatically different because of the
distance. So being adaptable to changing
perspectives is key while riding the train,
there are times when your view will be filled
with trees blocking your composition, but
suddenly you see the whole view and have
the perfect photo opportunity so be
prepared with that fast shutter speed!
One of the challenges of taking
photographs on a train is the movement.
Keeping a fast shutter speed and multiple
shots combats this. The fast shutter speed
was particularly helpful when the train
travelled along the Lago Bianco, with its
meandering tracks curving in and out to
provide metamorphosing views of the train
with the mountains and lake.
This image (centre), of two men getting off
the train with their dogs, is one of my
favourites. I captured the image while the
train was idle at the Ospizio Bernina Station;
the highest station on the route at 2253
metres. But you have to be fast the train
doesnt stop for very long!
I knew the train would cross the road
(bottom right) and I wanted to show the
waiting cars, while getting the view and
including the train the star of the show. I
also noticed throughout the ride that many
hikers would stop and take photos of the
train as it passed. So I was lucky to have a
handful of tourists doing just that getting
everything I wanted in one photo because
I had observed these details along the way
and made a note to try and incorporate
them into one image.

60

Nikon D300 | 18-200mm f/3.5-5.6 | 18mm | 1/500sec | f/11 | ISO 500

Nikon D300 | 18-200mm f/3.5-5.6 | 18mm | 1/500sec | f/11 | ISO 500

Switzerland |

Nikon D300 | 18-200mm f/3.5-5.6 | 18mm | 1/640sec | f/13 | ISO 500

In this location, I took multiple shots along the entire curve (above), getting the small stone structure and the wildflowers at varying angles. Sometimes
it is best to keep taking photos and edit later for the best composition.
The train was ascending from the valley (below) and I wanted to show the length of the valley while at the same time, the height of train tracks. By
keeping my eye further in the distance of the approaching views, I spotted the small house on the bright green field and took about 10 photos as
the train whizzed by. Only later, when going through the photos, did I settle on this photo as best capturing what I wanted to convey. [PM]
www.monicagoslin.photoshelter.com

Nikon D300 | 18-200mm f/3.5-5.6 | 24mm | 1/400sec | f/10 | ISO 500

photographymonthly.com

61

WIN
WIN
WIN
WIN
WIN
WIN
WIN

WIN WIN WIN WIN


WIN W
I
N
W
I
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W
I
N
n
t
o
h
ec
s
u
W I Nc W I N W I N W I N
WIN WIN WIN WIN
WIN WIN WIN WIN
WIN WIN WIN WIN
WIN WIN WIN WIN
om

e
t
o fo
m
i
T

| Competition

p e titi o n

Weve teamed up with Samsung to give you,


not one, but two chances to win some
fantastic prizes!

e have two Samsung lenses up for grabs. For an


opportunity to win a 20mm f/2.8 Wide Pancake
lens, upload an environmental portrait to the
gallery at the link below:

www.photographymonthly.com/gallery/
Samsung-Environmental-Portrait
For your chance to win a 50-200mm f/4-5.6 ED OIS III lens,
send us an example of that age old photographic decree;
the rule of thirds. Upload your images at:

About the lenses


20mm f/2.8 Pancake lens
This ultra-slim design is perfect for a huge range
of shooting; from street photography to interiors.
The super sharp f/2.8 aperture is guaranteed to
produce great contrasted images, as well as video.

50-200mm f/4-5.6 ED OIS III lens

www.photographymonthly.com/gallery/
Samsung-Rule-of-Thirds
You can enter to win both lenses, but remember to only
upload ONE image per category to be considered. Entry
closes October 3 2014 at 23.59 and the winners will be
announced on the PM website, and the images displayed
through social media channels.

A real high quality build and beast of an accessory,


this intuitive lens is the perfect companion for any
aspiring kit bag. Features like i-Function and
Samsungs Optical Image Stabilizer make entering
this competition a no-brainer!
www.samsung.com

For full terms and conditions, visit the PM website at


www.photographymonthly.com

62

WIN
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WIN
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WIN

Exploring Dartmoor |

The colours
of Dartmoor

Shooting landscapes in autumn


can be immensely rewarding
Devon
based
landscape
photographer, Adrian Oakes,
explores
the
transforming
countryside, offering a rich
palette of warm colour tones,
early morning mists and superb
light conditions

D
Sony NEX-5N | 19mm f/2.8 | 19mm |
1/25sec | f/11 | ISO 100

artmoor National Park covers


388 square miles of the Devon
countryside and is considered
unique by many, offering tree
lined winding rivers, moss coated woods,
stone rows, circles, medieval settlements and
far reaching vistas from the tops of the tors.
As a landscape photographer I have been
leading workshops on the moor for many
years, sharing and appreciating the wonderful
photographic locations that Dartmoor offers.
I have walked the moor in all weathers and
developed a true emotional connection
through its intoxicating mix of history,
geology and atmosphere enabling me to
capture the true feel of Dartmoor.

The best of the seasons


* Location tip *
Great Staple Tor near
Princetown (below) is best
visited late in the day for
fantastic light. Early Autumn
will place the sun directly
between the main rocks.

Canon 5D | 24mm | f/5 | ISO 200

There is however a season which is by far my


favourite, where a magical transformation
takes place. As we travel out of September
and into October, Dartmoor completely
changes its character; the bright green
swathes of bracken that coat the sides of the
tors and the open moor die back and change
to a reddish brown. The mossy rocks along
the rivers are coated in yellow and red leaves
as they begin to drop. The trees surrounding
the many reservoirs turn into golden yellows
and vivid reds offering fantastic reflections on
calm mornings and, best of all, the valleys
lining the rivers completely transform from
summer greens to a riot of autumnal colours.

Preparation

Sony NEX-6 | 16-50mm f/3.5-5.6 | 17mm | 1/30sec | f/11 | ISO 100


Top to bottom: Rippon Tor; Gateway at Buckland in the Moor; Great Staple Tor.

Dartmoor is classed as wilderness for good


reason, so if heading out alone I always let
someone know where I am going and carry a
mobile phone, water, snacks and an
ordinance survey map the OL28 is the one
you need. A group shoot is preferable as you
can share ideas and enjoy a well-earned rest
at one of my favourite watering holes. A good
tripod will steady your long exposures of the
rivers and waterfalls and a remote release will
insulate the camera from any shake induced
from camera contact. Dartmoor is very damp
from October onwards and spongy in places,
so
a
good
>>

photographymonthly.com

63

Heading out
When planning a shoot I always check the weather
forecast first. Keep an eye on the temperatures and
the wind speed, as the wind chill on the open moor
can be biting on a cold day. Sunny days with great
skies are best for open landscapes with far-reaching
views over the valleys from the tors.Bright overcast
conditions are best for shooting the rivers and
waterfalls. This will offer even lighting, no harsh
contrast and longer shutter speeds for blurring
water. Foggy conditions are fantastic for woods and
forests. The fog adds layers to the shot as the trees
fade away into the distance. Many of the Dartmoor
forests are full of moss-coated rocks. The red and
yellow leaves contrast well with natures green
velvet, as I like to call it. The moss is two inches thick
in places.

Sony NEX 5N | 19mm f/2.8 | 1/640sec | f/8 | ISO 100

Nikon D700 | 24-70mm f/2.8 | 35mm | 1 sec | f/13 | ISO 200

pair of waterproof boots is essential for your


expeditions along the rivers. Warm gloves and a
good outdoor jacket are also necessary. I always
take an additional warm under layer too, as you
tend to be standing for long periods and will soon
feel the cold.

Making the most of colours

www.adrianoakes.com

Top to bottom: Wistmans Mist; Manaton


Valley; An example of natures patterns
near Princetown; A country cottage,
pictured with an Acer.

64

Sony NEX 5N | 19mm f/2.8 | 1/125sec | f/6.3 | ISO 200

Visit at different times in autumn. Early in the


season will offer a spattering of fallen leaves and
a good canopy cover as the trees turn. Later in the
season will offer a carpet of leaves mixed with the
mossy rocks along the rivers and in the woods.
Look for shots with different types of trees for
variation in colours.
I also look for side-lit locations. This increases the
effectiveness of the polariser and will saturate the
colours. The sun is lower in the sky in autumn,
offering long shadows and flattering light
throughout most of the day.
Look for close ups of detailed and colourful
objects, for example moss covered logs coated in
wet leaves.
Head out after rain when everything is wet. The
images will be more vivid when combined with
the polariser. Look for paths as lead in lines strewn
with wet colourful leaves.
Dont forget to look up.
Reflections in rivers and reservoirs add impact to
the shots.

Sony NEX 5N | 18-55mm f/3.5-5.6 | 1/80sec | f/5.6 | ISO 100

I always try to capture as much of the shot in camera


as possible. Taking your time at this stage will allow
you to make the most of the location. The light and
mood of the image will often change and improve
the end result. Shoot in Raw, if possible. This will
allow improvements in post processing to white
balance, highlights and shadows where the camera
might have missed them slightly.

Exploring Dartmoor |
* Location tip *
Combestone Tor near Dartmeet offers great views over the Dart Valley and the open moor for the forest
colours. There is a car park next to the tor so it is very accessible. The tor is a steady platform to obtain
the views across the valley below. Look below the Tor for the leaning tree.

1/160sec | f/8 | ISO 200

Combestone Tor.

Burrator in autumn.

Fingle Bridge.

Nikon D90 | 16-85mm f/3.5-5.6 | 25mm |


3 secs | f/16 | ISO 200

Nikon D90 | 16-85mm f/3.5-5.6 | 35mm |


5 secs | f/16 | ISO 100

Adrian Oakes top locations


1. Fingle Bridge, Drewsteignton. Walk west along the river
in late October for captivating colours.
OS grid ref: SX74310 89955.
2. The River Dart at Holne Bridge near Ashburton.
Fantastic and varied colours along the river and around
the road bridge. OS grid ref: SX73014 70598.
3. Wistmans Wood. Mossy forest with ancient twisted oak
trees. Great in the fog. OS grid ref: SX 61242 77018.
4. Burrator Reservoir near Princetown. The forests around
the edge change to many varied colours. Early in the
day is best for calm water and great reflections.
OS grid ref: SX55059 68034.
5. Bellever Forest. OS grid ref: SX64684 78149.
6. Lustleigh Cleave near Manaton. Park at SX78325 79400.
7. Combestone Tor and Dart Valley. Ref: SX67046 71773.
8. The Fox Tor Caf in Princetown for a well earned cuppa
and a cake. OS grid ref: SX59093 73482.

Combestone Tor.

* Location tip *
The River Teign at Fingle Bridge near
Drewsteignton offers the most
spectacular display of river colours. Go
over the narrow bridge by the pub and
walk upstream along the left side of the
river for the best shots. >>

Sony NEX 5N | 18-55mm f/3.5-5.6 |


18mm | 1/40sec | f/11 | ISO 100
photographymonthly.com

65

Burrator.

Top tips
There is only one caf that I head for.
The Fox Tor Caf in Princetown is
central on the moor and offers a warm
welcome, log fires on cold days,
excellent food and home made cakes,
and great coffee. The caf also has
big tables and Wi-Fi.
Lenses a wide-angle lens in
portrait is ideal for shooting along
rivers to make the most of the canopy
and reflections. A long lens will work
well from the tops of the tors when
shooting into valleys to compress the
perspective and increase the impact
of the autumnal colours. This also
works well with the valley mists that
occur regularly this time of year.
Dartmoor is festooned with some of
the best open vistas in Devon. Dont
forget to take some panoramic shots
from the tops of the tors to make the
most of the autumnal landscape.

River Teign at Fingle Bridge.


.

66

Sony NEX-5N | 19mm f/2.8 | 19mm | 4 secs | f/16 | ISO 100


.

Exploring Dartmoor |

1/160sec | f/8 | ISO 200

Venford Brook.

Without polariser

With polariser

Autumn is the most colourful season so one essential piece of kit has to be the circular polariser. This amazing filter will
transform your shots, removing silver reflections from the surface of water and saturating the colours in the trees and foliage.
The polariser will also add impact to cirrus skies and rainbows. It also acts a 1.5-stop ND filter to aid the soft water effects.
Rotating the polariser will increase to decrease the effect. Look through your viewfinder as you adjust the filter. They work
best on water in flat light and with landscapes in strong side light. [PM]

photographymonthly.com

67

| Travel Lenses

DESTINATION IN SIGHT

Weight, versatility and speed that will ensure your quality doesnt go
down with the sun: we take a look at the travel lens market

CANON 24-105MM F/4L IS USM

Its a highly versatile lens that can provide focal lengths from a wide-angle group shot to intimate
portraits. But the versatility doesnt cost you in quality it is renowned as being one of the best for zoom
lenses. The three-stop image stabiliser means you can continue to shoot without having to resort to
flash in low-light situations. While you can get faster than f/4, this will perform in many lighting situations,
and is faster than the 18-55mm at full extension. It makes an excellent lightweight travel lens capable
of capturing the vibrancy of a Thai market to the shapely architectural details of Europes cities.
Street Price: 810 | LensPimp Seven-Day Hire Cost: 65

CANON 24-70MM F/2.8L

A go-to L-series lens, that covers a focal range from wide-angle to short telephoto and is centred on
the standard focal length of 50mm, which gives a perspective very similar to that of the human eye. You
can shoot everything from landscapes to portraits without having to change lens. The fast maximum
aperture allows you to continue shooting in low light situations, and with a focusing distance of 38mm,
you can get near to your subject, or take a step back to take in its surrounding. You need to move your
feet with this lens, but if youre shooting in low light a lot and you dont mind losing the top end focal
length, its the ideal option.
Street Price: 1550 | LensPimp Seven-Day Hire Cost: 68

NIKON 24-120MM F/4 G AF-S ED VR

This lens is a brand new 5x zoom lens for FX format DSLR photographers and features a fixed f/4
aperture throughout the zoom range. A Nano Crystal Coat reduces ghosting and flare and Nikons
second generation VR II system compensates for camera shake the equivalent to a shutter speed four
stops faster. With the combination of high optical performance, constant f/4 aperture and versatile focal
range, the Nikon 24-120mm f/4 G AF-S ED VR lens offers excellent value and performance in a compact
package for adventurous photographers.
Steet Price: 800 | LensPimp Seven-Day Hire Cost: 62

TAMRON 16-300MM F/3.5-6.3 DI II VC PZD MACRO

Why limit yourself to a modest zoom range when therere superzooms like Tamrons 16-300mm to
choose from Tamrons Vibration Compensation (VC) system minimises camera shake at extended
lengths and it will allow more versatility than any other lens on this list. On the other end of its range,
you can get up close with its macro capabilities. The lens itself is surprisingly small for its range, and a
small weight to carry if its flexibility youre after. So if you want to be ready for any situation your travels
throw your way, then this is the lens for you.
Street Price: 530 | Hire Cost: N/A

SIGMA APO 50-500MM F/4.5-6.3 DG OS HSM

This 10x power high-performance zoom lens covers the standard-to-super-telephoto range, has
Sigmas own Optical Stabilization offering the use of shutter speeds around four stops slower than
would ordinarily be possible. Sigma is the only one to offer OS for Sony and Pentax mount. This is the
best option for nature photographers who like the idea of a lens thats suitable for both landscape
photography and capturing wildlife on the horizon. And this is without losing the ability to focus on
small objects in the foreground its the perfect all-rounder.
Street Price: 1000 | LensPimp Seven-Day Hire Cost: 70
www.lenspimp.com
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Dordogne |

he Dordogne is one of the largest departments in France, with


the river cutting through some of the most stunning scenery in
Europe. It boasts over 1000 chateaux, many of them perched on
the cliff faces of the Dordogne valley, over looking the river. The
department is packed with the plus-beaux-villages-de-France, an official
rating for the most beautiful villages in France.
Originally from London, I moved to the Dordogne, France, six years ago.
Although my French isnt perfect, its the perfect location for me
photographically, as so many stunning locations are on my doorstep. I never
get bored of the ever changing scenery throughout the seasons here
in Dordogne.
The area is renowned for its gastronomy and famous for its duck products
such as confit de canard and fois gras. Generally its difficult to get a bad
meal here. My favourite restaurant however, is the Cabanoix-et-Chtaigne in
Domme. You get a three course meal of excellent quality for 30, but you
must book, as its always full. My favourite thing to do? Sit in Sarlat main
square with a cold beer and watch the world go by. >>

Dreamy T
Dordogne
Landscape
photographer
and
workshop leader Gareth Kirkland
explores the beautiful countryside,
monuments and medieval villages of
Frances Dordogne region

www.garethkirklandphotography.com

Canon EOS-1DS Mk II | 17-40mm f/4 | 17mm | 1/8sec | f/16 | ISO 100

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Canon EOS-1DS Mk II | 17-40mm f/4 | 17mm | 1 sec | f/16 | ISO 100 | Lee Hard Grad 9

Pier at Grolejac Lake, Dordogne at dawn The


enclosed nature of the lake means you often get
mist due to the relative warmth of the water
compared to the air temperature. Technically it
was quite straight forward. A number 9 hard grad
was holding back the sky nicely. I had to get the
hyperfocal distance spot on for this one, however.
If Id focused on the nearest part of the rail, as it
was so close to the lens, the background would
have been hopelessly soft. I judged one third along
the pier and then checked for sharpness from front
to back on playback.

>> La Roque-Gageac is
one of the most visited
villages in France shot
at 45 minutes before
sunrise, with the street
lamps illuminating the
water and the famous
rock. With a picture
like this, shot so early
with artificial light, you
have no problem in
achieving a full tonal
range, as theres plenty
of blacks and the lights
will give you youre
whites. As the artificial
light source is constant,
the brighter they will
become, the longer the
shutter speed.

Canon EOS-1DS Mk II | 28-70mm f/2.8 | 42mm | 84 secs | f/11 | ISO 100 | Lee Grad 6
70

Dordogne |

Dordogne Top Tips

1
2

Get out of bed early! I know, its all been said


before: Light, light, light but its true. Get out
there and see it for your self; countless sunrises and
sunsets, and then review the effects on your images.
Develop your own vision as a photographer, but at
the same time dont become preoccupied with
originality its something that will happen
naturally, not if you force it. Look at the scenery in front
of you and shoot it as you feel best. Empty your head of
preconceived notions or ideas, they just get in the way
and slow you down.
Develop a consistent and organised approach to
your work. How many camera bags have I glimpsed
into and wondered how anyone can find anything.
All hells breaking loose in the heavens and youve got

your head in your Lowepro, trying to find a filter ring. But


this approach also includes the questions we ask
ourselves during a shoot: What is the main theme of the
shot? What composition will support this theme the
best? What problems do we need to overcome to get
the shot? Photography is about decision making as much
as anything else; the more we can develop a cohesive
and consistent approach, the more success we will have.
Composition. Remember, composition is all about
how shapes, colours and light and dark, relate to
each other in the frame. It could be a very busy,
chaotic scene, but there will still be strong shapes there.
Often, half closing your eyes helps see these shapes
better. As with anything, the more we practice, the better
we will become at composition.

Canon EOS-1DS Mk III | 17-40mm f/4 | 17mm | 1/8sec | f/11 | ISO 100 | Lee Hard Grad filters 9 and 6

^^ This is an evening shot, taken from the bastide


town of Domme at sunset looking down the
Dordogne valley. Shooting directly into the sun
relied upon just the right amount of cloud cover.
The picture was taken in mid May when I knew the
sun would set at the end of the Dordogne; which is
nice compositionally. I used two filters giving me
five stops of diffusion. The sky would have been
white without them and the ground heavily
underexposed too much for even HDR to recover.

Canon EOS-1DS Mk III | 28-70mm f/2.8 | 68mm | 0.4 sec | f/16 | ISO 100 | Lee Hard Grad 9

<< The hardest thing about this shot of Chateux


Castelnaud was finding the location. Once Id
found the spot, high enough above the trees a
couple of days before and taken my test shots. It
was then just a question of getting a nice sunrise. I
dropped the filter, angled slightly to follow the
slope of the hills, slightly below the horizon, as I
was aware that that was the brightest part of the
image and wanted to hold on to as much
information as possible. [PM]
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Super Telephoto Lenses |


Lenses for Hire has a huge range
of lenses on offer, and many have
next day delivery. You can order
online and even check
availability. And if you are not
sure what to choose, give them a
call as theyre a helpful bunch.
www.lensesforhire.co.uk

BIG AND BEAUTIFUL

With the hectic summer holiday period over, autumn travel is that
much quieter and you can have the choice of destinations. Its also an
opportunity to have a go with some rather special optics. Unless
youve the deep pockets of a Russian oil magnate, then purchasing
one of these beauties is not an option. For us mere mortals, a far
better and cheaper option is to rent. We took a look at Lenses For
Hires site for ultra-exotic optics to take on an autumn travel adventure

TAMRON 150-600MM F/5-6.3 VC USD

With a close focus range of just 2.7m, Vibration Compensation, Ultrasonic Drive and various
coatings on the lenses, this is a serious lens for serious photographers. Ideal for sports and
action close-ups, wildlife photographers and as a great travels lens due to the huge range
of focal lengths available.
Street price: 949 | Three/Seven day hire: 51/72 www.tamron.eu/uk

CANON 300MM F/4L IS USM

Superfast, quiet and with a fixed aperture and two UD lens elements, this is a great
compromise in terms of quality, price and aperture over the f/2.8 model. It close focuses
down to 1.5m and comes with Canons Image Stabilization technology for smooth
handholding and panning.
Street price: 1079 | Three/Seven day hire: 52/75 www.canon.co.uk

CANON 400MM F/5.6L USM

This is another lens from Canon that offers excellent value for the focal length and
performance, all for the sake of one stop. The f/2.8 model is 7700! This lens is smaller,
lighter and has fast USM AF performance. It has one UD and one Super UD element for
optimum light transmission.
Street price: 989 | Three/Seven day hire: 51/72 www.canon.co.uk

NIKON 600MM F/4G ED VR II

Okay, we are starting to get into the big league of lenses here; serious prices but with
serious performance. This is a big, heavy lens but you are getting near-perfect optical
quality. Built in Vibration Reduction for removing camera shake, Nano Crystal Coating and
ED glass elements and, of course, the AF-S silent, fast focusing. Add a 2x teleconverter and
this is a monster of a lens! Perhaps one for UK travel only, but it does come with its own
carry case.
Street price: 7069 | Three/Seven day hire: 214/317 www.nikon.co.uk

SIGMA 300-800MM F/5.6 EX DG APO HSM

Unique in lenses, this bonkers optic nicknamed the Bigma is no gimmick. Yes, a 300mm
f/5.6 is not impressive as a stat, but at 800mm it is. This full frame only lens has two ELD
glass elements to control ghosting and aberrations, built-in HSM for fast, silent focusing, is
optimised for digital and maintains the aperture throughout the zoom range. Used with a
1.4x converter you have a 420-1120mm f/8. In this case, big is beautiful.
Street price: 5498 | Three/Seven day hire: 176/252 www.sigma-imaging-uk.com

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73

PHOTOGRAPHY TOURS,
HOLIDAYS AND WORKSHOPS
An adventure in Cuba with Light and Land
Few places in the world provide the photographer with more opportunities to create exciting images than
Cuba. Cuba is the largest of the Caribbean islands. The tour will be focussed on the western end of the main
island in the capital city of Havana and its surrounding provinces. Cuba is unique. The people, the music, the
architecture and the overall atmosphere of excitement and enthusiasm for life are truly intoxicating.
Before long, this very special country is going to change, with no going back, which will make your
photographs from this tour even more special visual reminders of a photographic experience of a lifetime.
November 17-27 3300.

www.lightandland.co.uk

Tel: + 44 1747 824727

Skomer Pufns Photography Holiday with NaturesLens


If the opportunity for capturing striking images of endearing pufns during July isnt enough to
entice you to the Welsh island of Skomer, perhaps the blooming populations of guillemots and seals
will. Your three day stay on the island will even include evening meals and breakfast, as well as the
entire island to yourselves during the golden hour - with a lovely maximum party number of just 12.
Back on the mainland, NaturesLens also offer not-to-be-missed photographic workshops of British
Owls & Birds of Prey during May & September. Capturing these elusive & beautiful birds on camera
is sure to be a hoot! June 20-23 2015 450.

NATURESLENS

www.naturelens.co.uk

Camargue with Create Away


Create Away is the only photography workshop company actually based in the Camargue, making them the
No.1 specialists for the famous Wild White Horses, Pink Flamingos & Black Bulls. They also offer Landscapes,
Portraits, Provence/Lavender and more. Building strong relationships with genuine locals who highly respect
local traditions, wildlife and their treasured land, has offered them exclusive access to private domain,
unavailable to everyone else. Tuition is provided by Serge Krouglikoff, a successful, professional photographer
whose international career spans over three decades.

www.create-away.com

Tel: + 44 203 642 2448

Galalpagos Photo Tour with Max Waugh


With native species completely unique to the famous Darwinian island, theres truly nowhere else in the
world for a photographer to take these shots on the Galapagos. Max Waugh will offer you 8 nights (with the
option to extend your stay) aboard the spectacular Aida Maria including all meals, snorkelling equipments
and airport transfers as well, of course, as the chance to photograph the majestic giant tortoise, the marine
iguana, the Galapagos penguin and the blue footed booby. January 10-19 2015 $4960 (approx 2900).

maxwaugh.com/workshops/galapagos.php

Max Waugh

Yosemite Firefall with Lakeland Photographic Holidays


John Gravett will guide you in the historic gold rush town of Mariposa, amongst the Sierra Nevada
Mountains, to see the large population of butteries it was named after, or its world renowned giant sequoia
trees. Next, explore Yosemite in the footsteps of Ansel Adams for spectacular landscapes of the Half Dome,
El Capitan and striking waterfalls. For a truly unique spectacle, capture the Yosemite Firefall, as hot embers
are poured down from Glacier Point. Finally, visit San Francisco, stopping in Napa for a glass or two of wine.
The price is inclusive of ights too! February 13-23 2015 3615

www.lakelandphotohols.com

Tel: + 44 17687 78459

Isle of Mull|

Magnificent Mull
Wildlife and landscape photographer, Drew Buckley, heads out on a
day trip to Mull. Stunning sea lochs, rugged landscapes and a wildlife
haven, it is undoubtedly an amazing place to just be

Canon EOS 5D Mk II | 24-105mm f/4 | 32mm |1/40sec | f/11 | ISO 100 | Circular polariser and 2 stop soft ND grad

Lochbuie
On the shores of Lochbuie you can find some lovely rocks and natural features
to photograph along the beach: rock pools, abstracts and sand formations.

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75

Tobermory
Walking round this beautiful little harbour is a great place for images. Here, a
passing squall and strong sunlight provided a great rainbow backdrop to the scene.

Canon EOS 5D Mk II | 24-105mm f/4 | 28mm | 1/15sec | f/13 | ISO 100 | Circular Polariser and 2-stop soft ND grad.

Canon EOS 5D Mk II | 24-105mm f/4 | 70mm | 1/3200sec | f/6.3 | ISO 400 | 3-stop hard ND grad.

Duart Castle
After a mixed day of weather conditions we were greeted by some fabulous light on our return.
Taken from the ferry, Duart Castle looked great silhouetted against the golden landscape.

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Isle of Mull|

ts silly oclock in the morning, theres frost outside and with


bleary eyes were sitting, waiting in the queue to drive onto the
ferry. With roads pretty much going to every corner of the
country these days, trips away dont seem to be as much of an
adventure as they used to. However, theres always a sense of
excitement when driving your car onto a ferry to be whisked off to a
remote island. Its part of the trip, a whole different experience and
something that youll always remember. This was the feeling we had
on a trip to Mull a few years ago. Departing Oban smelling the sea
air with wind blowing in our hair, whilst the sun slowly rose over the
mainland made for a magical start to the day.
Why Mull then? Well theres no denying its a stunning place to
spend some time; not only for photographers. Its a real wilderness
and an emotional escape, something thats in short supply these
days. For photographers, its a great place and youll not know where
to point your lens first. Towering mountains, waterfalls, calm sea
lochs, serene beaches and harbours; not to mention the abundance
of wildlife here. Name any species and youll find it on the island at
some point in the year. Huge white-tailed eagles hunt the lochs,
otters and seals in pretty much every bay, golden eagles, hen harriers
and red deer make up just a small amount of the wildlife this island
holds. Being an island, it certainly receives its fair share of weather
that, given the right conditions, can make for some spectacular
scenes! Its definitely a wrap-up warm kind of place, but thats what
I love about it if youre prepared, then theres no need to worry
about being caught out in a freak rain shower.
Theres only a few roads to get around the island so theres plenty
of scope for location hunting, with lots of walkways and paths leading
to secret little coves and bays. Tobermory is the islands capital and
you may recognise it from the childrens television programme,
Balamory. Its a quaint and pretty little harbour, so even if amazing
landscape views and vistas arent your bag, then youll still find plenty
of content to photograph here; from lobster pots and fishing boats
to colourful buildings and historic monuments.
The main draws to the island for me, though, were otters and the
majestic white-tailed eagle. These massive (with an eight foot
wingspan) birds are back from the brink of extinction by a
reintroduction program to the West Coast Highlands and Islands.
There are boat trips that operate from the island out to see them
where they live along the coast, but chances are youll spot them
soaring through the glens and lochs all over the area. Wherever your
interests lie, chances are you will have an unforgettable experience
on this enigmatic Scottish island. >>

Mull highlights
Make sure not to miss visiting Duart Castle, Calgary
Bay and the village of Pennyghael. Explore Loch Frisa
and the Eas Fors Waterfalls, or take a boat trip out to
the islands of Iona, Staffa or Ulva.

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77

Isle of Mull|
Canon EOS 5D Mk II | 24-105mm f/4 | 24mm | 1/15sec | ISO 100 | 3-stop soft ND grad

Black and
white boat
I found this interesting
boat
wreck
near
Pennyghael. With the
iconic hills in the
background and moody
sky, converting to black
and white in Lightroom
gave the scene a real
timeless feeling.

White
Tailed Eagle

Canon 7D | 300mm f/2.8 | f/4 | 1/2000sec | ISO 400

Top species

If its the only thing you


do on the island, go and
seek out the white tailed
eagles. Boat trips depart
from Ulva ferry pier to
see this awesome bird
up close.

Watch of for white tailed eagles,


golden eagles, red deer, grey seal,
dolphin, hen harrier, short eared owls
and otters.

Kit
to pack
Camera and lenses wide-angle
*

for landscapes and telephoto for


the wildlife
* Filters a great place to test out
your ND grad and polariser
filters to enhance the mood of
your shots
* Waterproofs
* Tripod
* Cable Release
* Binoculars

www.drewbuckleyphotography.com

Highland Cows
What would a trip to the
Highlands be without
seeing the lovely
Highland cattle? Theyre
a real testament to the
landscape they live in
and
are
equally
beautiful. [PM]
Canon EOS 5D Mk II | 24-105mm | 35mm | 1/200sec | f/5.6 |
ISO 250 | 2-stop soft ND grad
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PMOCT14

| PM

Binoculars |

UP CLOSE WITH BINOCULARS


For outdoor enthusiast photographers, a pair of binoculars can be a
handy tool in getting the shot you need. Victoria Dovey does a spot
of detective work, to track down the best binoculars on the market

NIKON ACULON A211 16 X 50

Nikon recently redesigned its Aculon range and has received great feedback as a result. Porro
prism grants you an enhanced depth-of-field while the 50mm lens and 16x magnification will give
you the image clarity needed for plucking rare species from the foliage and into your sight.
Whats more, the sculpted rubber-armoured housing will provide you with a comfy, non-slip hold,
while the generously-sized focus wheel will be easy to handle, even on cold, gloved autumnal
mornings, which are bound to sneak up on us any day now. 140 www.nikon.com

SWAROVSKI CL POCKET 8 X 25

Swarovski is known for its premium range and excellent optical quality although, ordinarily, youd
have to dig deep. This award-winning 345g pair, however, is a third of your average Swarovski
price, giving you the best of both worlds. It allows you to keep the quality, as well as some spare
cash in your pocket. These binoculars are fog proof, dust proof, water tight to 13 feet and come
in three colours. Whats more, the eyecups are a generous size something too many compact
sizes trade off on. 485 www.swarovskioptik.com

OLYMPUS 12 X 50 EXPS

Fully multi-coated lenses, quick and intuitive focusing and BaK-4 prisms are just a few of the
features designed to woo you with incredibly sharp images in a variety of light conditions. These
binoculars also come with a non-slip rubberised shell, offering a shock absorbent protection for
lenses. 150 www.olympus.co.uk

BUSHNELL NATUREVIEW 10 X 42

Ideal for entry-level or younger photographers, one of Bushnells newest, 100 per cent waterproof
offerings is designed to offer bright, sharp views in a variety of environments. The distinctive
olive-coloured rubber armouring is durable and non-slip for in-hand comfort. The entire product
family is constructed with environmentally friendly, lead-free glass, while selected models,
including this 10x42 pair, feature BaK-4 prisms. 160 www.bushnell.com

PENTAX 8-16 X 21 UCF ZOOM II

The lightest of our picks, at just 280g, the compact multifunctional binoculars allow you to travel
and focus on whats important. Brightness and contrast are enhanced by fully multi-coated lenses
as well as BaK-4 prisms. For a small model, the 16 times magnification zoom really packs a punch
too. 90 www.ricoh-imaging.co.uk

STEINER SKYHAWK PRO 3 8 X 42

The new 3.0 series offers improved optical performance and a cutting edge Distance-ControlSystem, packaged up in a sleek design. While on the pricier side of our picks, verified purchases
before 30 September can enjoy 50 cashback, as well as the robust build quality and highcontrast optics you can expect from the brand Steiner. Compact and reliable, for a variety of skill
levels, we didnt hesitate to include this well-valued model in this guide. 370 www.steiner.de

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81

30-40mins
Easy (but fiddly)
14

Illuminate the past


Display classic images and brighten
up your home. Rebecca Stead takes
on the home-made challenge with a
vintage light cube
If youve been looking for a way to display old photos, but worry
about damaging precious black-and-white portraits of the past,
then this vintage light cube is an interior winner. By scanning in
the images and printing on acetate, theres no need to worry
about light deterioration and coming in at under 14 for the
finished result, it also makes an affordable personalised wedding
or birthday gift. So get crafting and enjoy the nostalgia; as the
pictures of the past flicker from the middle of your table.

What you need

Four picture frames (flat base) 18 x 13cm


Printable acetate sheets
Suitable images
Double sided tape or a glue gun
Small piece of mounting board (13cm square)
Battery powered tea lights
Tracing paper
We printed our images on the Canon IP8750

82

How to make it:


1. Take your chosen photographs into Photoshop and convert them to
black and white. Adjust the levels to make the black areas darker, more than
you would usually; as you are printing onto acetate and not paper. Resize
your images to the size of the glass in the frame.
2. Print your images onto acetate and carefully cut out the images. You may
need to slightly trim the images more to get the acetate flat in the frame.
3. The images need to be placed into the frame before it is stuck together.
You will need to glue the image into the frame so it is flush to the edges
so make sure you have the acetate the correct size before doing this.
4. Once all of the images are secured, the frames can be glued together.
Use whatever glue is suitable for the type of frame you are using.
5. Cut the mounting board to the size of the base of the lamp and glue
it securely.
6. Measure tracing paper to the same size as the images and attach to the
inside of the lamp double sided tape is best for this. This ensures that the
backs of the parallel images are diffused when looking at your light cube.
7. Place the tea lights in the middle, and enjoy! [PM]

All images from Shutterstock.com Image of young girl LiliGraphie / Shutterstock.com

Time
Difficulty
Cost

Vintage light cube |

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Ph
o

ap h
gr
to

y Monthly
s

of 10
T

9 out

LG 34UM95 Review |

VE R DIC

Screen
real estate

We have lost PMs editor oh no, its okay, he is


just behind the latest gadget in to review from LG,
a 34-inch wide, 4K IPS monitor to die for

What is IPS?
IPS, also known as Super TFT, was developed by Hitachi in the
mid 90s (and later sold to Panasonic) to resolve the two main
issues with TN and VA panels: viewing angles and low quality
colour reproduction. IPS panels give more accurate colour,
greater viewing angles than TN and VA panels, and response
times are right up there now. As an imaging professional, I
always go for a IPS panel due to the more accurate colour
reproduction, deeper blacks and better viewing angles. The
ultimate, at the minute, are 10-bit panels but youll need to
invest in specialist video cards to support this colour depth of
over 1 billion colours!

have a phrase at the minute that I cant get out of my head: Work
smarter, not harder. Its an old but a good one, I think but Ill come
back to this in a minute. As the nation seems to be gently rising from
the fog of recession, we are all, hopefully, going to get busier. How
do we ingest our information? By screen: fablet, tablet, laptop, desktop. I
have three screens on my desk a 27in iMac, a 13in Lenovo laptop and,
now, a 34in-wide LG Ultrawide QHD IPS monitor nicknamed tiny.

Now this little beauty is a worlds first, it has a viewing ratio of


21:9. In real terms, thats about 3 and A4 sheets wide (working
area) by just over an A4 sheet tall its slimline, too, at just 83mm
deep. The back is a flat, dome shape, tapering in to about 20mm at
the edges. The pixel grid is QHD (3440 x 1440 dots) which is 4K, to
you and me. It can interface with Mac Pro and PC, having
Thunderbolt, HDMI, USB 3 and DVI-D connectors. It also has two
7W built-in speakers, and can be used as a cinema/gaming screen.
Other notable and clever features include dual Linkup two
sources can be independently displayed. Hardware Calibration is an
in-built colour system (using its own software working in real-time)
that will optimise colour automatically to the source for hyper
accurate, true colours. Four-Screen Split, a multi-tasking mode,
allows you to split the screen into two or four sub screens that can
be customised to eight different screen ratios to suit an individual
programs requirements. Delivery is via IPS and there is an antiflicker mode (Flicker Safe) that protects your eyes in prolonged use.
Putting all that technical loveliness aside, what this panel gives me
is efficiency. Combined with my laptop screen, I effectively have
four/five screens at my disposal; I can have Photoshop open, the
web, email and my content management system, too oh, and be
writing copy at the same time. I can even extend my iMac screen
into this at the same time, for video editing. My screen real estate is
huge and would make the Duke of Westminster jealous. I can
multi-task like a demon!
And boy is it sharp. In fact, a little too sharp in some ways, due to
the quantity of pixels dont edit portraits in front of the model!
Jesting aside, you do need to watch your menu sizes at full
resolution, as they can be quite small in some software.

Quick Spec:

Street price: 900

At the time of writing I have been using the screen for about two
weeks; watching videos, editing in Photoshop, designing a
Wordpress website, watching 4K video from our Panasonic FZ1000
review, writing copy and subbing in InDesign. I literally plugged the
LG in to the HDMI, adjusted the contrast settings down slightly and
off I went. It has not missed a beat. The matte surface helps
massively in my office with about 20 different light sources my eyes
have never tired, even after 12+ hours of continuous use. Text is
pin-sharp, images are clean and clear, and colours spot-on. You can
zoom in and pixel peep until your hearts content. It is stunning.
I have found only two downsides: one, you need the centre of
your monitor to be at eye-level and the supplied stand is quite low
the base is only 10cm from the desk so youll need to raise it up.
And two, youll need to have it positioned at a little more than arms
length from you, or its just too wide!
They say small is beautiful, but in this case, big certainly is
beautiful and efficient, too. If it were a car it would be a Porsche
Cayenne Hybrid: high quality, fast, feature-packed and energy
efficient. You do, however, have to dig deep. Personally, I dont find
the price tag daunting for what you get for your money. I will,
genuinely, miss it when it goes back. [PM]
www.lg.com/uk/monitors/lg-34UM95

34in wide
10-bit colour

21:9 ratio
Mac compatible

3440x1440/QHD/4k
IPS | 5ms response

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Canon EOS 1200D | 300mm f/4 | 1/160sec | f/4 | ISO 200

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Monthl

Adam Scorey heads out to


the International Centre of
Birds of Prey
(ICBP) in
Newent, Gloucestershire with
a Canon EOS 1200D and a
300mm f/4

t was sunny, the day I went to the


ICBP, really sunny. Cracking the slabs.
Great for being on holiday sitting on
a Cornish beach, draining for shooting
some raptors. I will admit that Id not
heard of the centre and made a huge
assumption that it was this tiny little place,
run from someones back garden with a
few battered barn owls and the odd
kestrel. But, no. There are over 200 birds
at the centre and up to 38 flying in the
shows. So its huge, though it has the air of
a family run place. Which it is.
I thought I knew what to expect from

86

these places; loads of mesh and wire,


scratched up glass and dark, dingy stalls
with scruffy-looking birds. I was wrong
again; these guys are used to
photographers, in fact they have a good
few who run courses from there. The care
of the birds is paramount, but from having
a guided tour for three hours by the most
passionate vulture advocate Ive ever met,
Adam, I found myself relaxing into it and
forgetting about deadlines, page plans
and print-ready PDFs.
The first thing I did was attach Canons
300mm f/4 lens. I opted for a long prime

PREY
ITEM

so that I could concentrate on tight


compositions and to help blur marks and
wire. I set one of the 1200Ds nine focusing
points to far right not sure why, but this
is the most comfortable side for portrait
shots for me. I set ISO 200, sometimes
400, mainly as many of the birds were
either in shade or quite dark and I wanted
to avoid blur. Next, the fastest frame rate
the 1200D could muster in this case,
three fps. A tad on the slow side for
shooting fast-moving raptors and owls,
but I like a challenge. Anyway, the glass is
the most important element.

Canon 1200D Review |


I tend to shoot in aperture priority, as I
like the freedom of adjusting just the
exposure compensation. But I am a big
fan of wide apertures too. The 300mm is
an f/4 lens, so this was another reason I
chose it, to help blur distracting
background wires, signs, feed bowls,
fences and walls; when you get the lens
right up to the offending obstacle if the
minimum AF distance will allow. Working
this way also allows me to concentrate on
composition that little bit more
particularly clean backgrounds.
As with any portrait, the eyes are what
you should be focusing on, and
fortunately raptors have large eyes
making it that little bit easier. However, I
had a few misses in AF and opted to
manually focus another reason I chose
a prime; zooming and manually focusing
is tricky at speed. I found it far easier to
be precise; plus, I knew I had a bit more
latitude with the f/4 for focusing accuracy
over a f/2.8.
As it was a bright day, I handheld the
camera Im not one for monopods, if
Im honest, I find them too restrictive for
my style. For the flight shots, at ISO 200,
I was getting 1/4000sec at times. The
camera did slightly underexpose these
images small bird, big sky so its not a
surprise, and it wasnt anything that
couldnt be lifted in post.
Generally, the baby Canon did very
well; it was fast to respond, easy to use
and navigation to some of the in-menu
options was easy enough. Where it did
under perform is in the fast focusing,
particularly with the birds in flight. I got
far more missed and blurred shots than
pin-sharp birds. It was frustrating, but
meant I needed to consider my timing
more carefully and I could switch to
manual, of course. Also, if I am honest,
3fps just wasnt enough. So my strategy
was to just shoot loads and try and
capture the birds at their slowest point,
just before they landed or when I could
predict their flight path more easily and
pan the shot. Not fool-proof, but I had a
bit more success.
As an entry-level camera, or for those
new to photography, its more than
capable. Its small, light and friendly.
Image quality is good and it does
enough to get you to another level. As a
back-up or main camera for someone
who shoots more specialist activity, itll
last about a week buy a 7D or 70D.
www.canon.co.uk

Canon EOS 1200D | 300mm f/4 | 1/800sec | f/4 | ISO 100

Canon EOS 1200D | 300mm f/4 |


1/1600sec | f/4 | ISO 400

Quick Spec:

Street price 319


with kit lens 18-55mm
Yes Full
HD

Thank you to Adam at the www.


icbp.org for taking the time from
his busy vulture-worshiping
schedule to show me around.

18 MP

ISO 100-12,800

Weight:
480g with battery and card

Memory: SD
SDHC
SDXC

9 AF-points

FPS:
Up to 3

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Nikon D810 | 50mm f/1.4 | 1/1000sec | f/2.2 | ISO 100

If youve got it,


flaunt it!
The Nikon D810 is new, attractive
and packs some punch its got a
hefty price tag too but is it all its
cracked up to be? Erin Beck heads
out on a shoot

he Nikon D810 certainly sounds like its


the best thing since sliced bread. On
paper, itll get you the sharpest images
that any Nikon camera will achieve and
the detail that youll capture with the D810 is
almost unimaginable until now, to quote Nikon.
The D810 replaces the D800 and D800E released in
2012, with some big adjustments the main being
the removal of the AA filter. The AA filter slightly
softens images to reduce the effect of moir
patterning that can be seen when photographing
details, such as close lines on clothing that have a
repeating pattern. And without all that softening,
the D810 really IS the sharpest camera in town
akin to its predecessors with 36 megapixels, its
definitely something to write home about. >>

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Nikon D810 | 50mm f/1.4 | 1/1000sec | f/2.2 | ISO 100

Getting to grips
with the D810
As I first handled the D810, my
initial impression was that its a
solid, sturdy camera. I have a D600
and before that owned a D7000;
my very first being the D90. Nikon
cameras fit my hands and this is
perhaps the most comfortable of
them all. In comparison to my
D600, theres flash sync and
remote terminals located on the
front right hand side of the camera,
covered with rubber and indented
to provide placement for your left
hand fingertips. It really makes this
beauty of a camera mould to my
hands I like to feel like Im holding
something that has a little weight
to it. I always think Nikon cameras
dont change dramatically in looks,
which is possibly why Ive always
stayed with Nikon because I can
grab any model and instantly know
where all the functions are. Though
with the D810, the layout of the
monitor on the top of the camera is
slightly different to what Im used
to with my D600 and the battery
life isnt top left, which confused
me for a second. Top left is your
chosen shooting mode and the
battery life is in the middle the
dial on the left of the camera now
has buttons on the top which I
found super handy, instantly being
able to change quality type, ISO,
white balance and metering.
If youve owned a Nikon DSLR
before, the menus are pretty much
the same throughout all models
with the exception of the new
items that have been added (AF
Group Focus, for example). If not,
then youll easily navigate your way
around them. The menu is easily
accessible from the Menu button
on the back of the camera.
Navigate your way around using
the dial to the left of the screen
the central button is the selection
button, plus each section of the
menu is colour coded! Theres a
custom setting menu with a drop
down list to alter focus points,
metering, shooting and timers;
along with a setup menu, shooting
menu, playback menu and
My Menu, where youre able to
create your own go-to menu, for
easy access.

90

Quick Spec:

Street price
2700 (body only)

Yes Full
HD

36.3 MP

ISO 32-51,200

Weight:
980g Without battery and card

3.2

FPS:
Up to 7

51 AF-points

Memory: SD & CF

Nikon D810 Review |

So whats new?
* Brand new sensor, without the AA filter
* Group Autofocus (similar to the D4s)
* EXPEED 4 processor includes better moir suppression, the sRaw
facility creates smaller images for faster workflow
* 3.2 inch LCD with 1.3m dots (previously 921K)
* Frame rate improved to 5fps (6fps in 1.2x and DX crop, 7fps
with MB-D12)
* Split screen Live View Zoom
* Video now supports 1080P/50/60
* New buttons on the main dial top left for metering, ISO, Quality &
white balance, lighter camera body

Nikon D810 | 50mm f/1.4 | 1/1600sec | f/1.4 | ISO 100


I use my 24MP Nikon D600 to
shoot professionally at weekends.
The D800 was a contender for me
when purchasing a new camera.
However, hearing rumours about
the file size being an issue for
professionals who, like me,
potentially take more photographs
than they could ever need (just to
be on the safe side). It made me
worry that my memory cards would
fill up faster than my trolley in the
Next sale and theres only one
SD memory card slot on the D810.
Never fear, Nikon has listened.
Theyve made it possible to
accelerate your workflow with
Nikons Raw Size S file format and
to deliver richly graded 12-bit
uncompressed Nikon NEF files
that enable faster image transfer
and smoother post-production.
There are further changes from
the D800 one being the higher
resolution LCD screen with four
dots per pixel, red, green, blue
and now white. Its the same size
screen as the D800, at 3.2 inches,
but extra benefits such as being
able to adjust the brightness and
colour balance make it a worthy
alteration, especially for someone
who, like me, checks the LCD
screen regularly. I appreciate
being able to see that my images
are sharp and in focus the D600
screen is now very soft in
comparison to the D810.

Low light loveliness


I have always preferred to photograph outdoors, during golden hour I would avoid bright sunlight like a
vampire, and when theres little light, Im worried that there will be too much noise. Yet the ISO capabilities
of the D810 are 6412,800, which can also be expanded to 32-51,200 meaning that low light and super bright
days will be a worry of the past!

Putting it to the test!


I took the D810 with me for a commissioned photo shoot recently. It was in a woodland location, with bright
sunlight in some areas and dark, shaded, deep woodland in others. I shot mainly in the shade and slightly
underexposed and the photographs? I swear they could be printed on a billboard and Id not be worried at
all about lack of detail. Auto ISO is available in manual mode which suits me just perfectly. ISO capability and
faster, more accurate, autofocusing are perhaps the main benefits of the new EXPEED 4 processor, an upgrade
from the EXPEED 3 processor of the D800 making it 30 per cent faster. >>

photographymonthly.com

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Pros
* The highest quality images with more detail
* Increased ISO sensitivity range
* Larger LCD screen
* New i button for faster navigation
* Improved video recording (full HD 60p)
* Increased ability to crop images because of the sheer amount of detail

Nikon D810 | 50mm f/1.4 | 1/1600sec | f/2.2 | ISO 100

Cons
* Price
* Large file size
* Fewer SD
card slots
* Could be
heavy for some
photographers

Nikon D810 | 50mm f/1.4 | 1/640sec | f/2.2 | ISO 100


92

Nikon D810 Review |


Nikon D810 | 50mm f/1.4 | 1/800sec | f/3.2 | ISO 100
If youre a fan of using video mode, the
treats keep on coming. It is possible to
now record video to the cameras own
memory card; and the most noticeable
update
is
the
ability
to record at 60 frames per second
at full 1080p HD. Plus, theres an
auto ISO that alters the ISO
by itself, dependent upon your
lighting hallelujah!
A first for Nikon is the new Live View
split-screen zoom mode. Im not too
sure this would work well for portrait
photography, as I dont like to view the
LCD screen when taking photographs.
Ill always use the viewfinder, but I can
imagine it would be very beneficial if
shooting macro photography or
sports/fast action photography. You
can select the point of focus in the
zoomed-in side of the screen to really
make sure everything is tack sharp.
Other adjustments, such as aperture,
are viewable as theyre altered which
is very useful. In Live View theres also
an electronic first-curtain shutter, to
minimise shutter shock.

Out of focus shots


are a thing of
the past!
Focus is fast and accurate with the
D810 and following on from the DS4
is the new AF system, or Multi-CAM
3500FX 51-point autofocus system.
Group-area AF mode is added to the
other options and means that once
youve selected your point of focus,
the camera selects points around it to
make sure its kept sharp particularly
useful if youre photographing with a
lot of distracting backgrounds or if
your subject is relatively close to the
background. This ensures your subject
is kept super sharp, even when
tracking and photographing fast
moving objects; or, for me, its
generally the toddlers who just dont
keep still I know Im already in love
with this feature.
Ph
o

Nikon D810 | 50mm f/1.4 | 1/125sec | f/2.2 | ISO 100

The D810 is the bees knees, and Id


love to own one myself! As a
professional camera for professionals,
its really a no brainer if youre
making money from photography then
invest in a camera that will achieve the
best possible images. If youre an
amateur or hobbyist, then Im not sure
the price tag is worth it youd be
better off buying the D600; it
has smaller file sizes and is less
expensive. Of course, if you can afford
it, then dont hesitate to get hold of
the D810 its certainly the top of my
wish list! [PM]

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93

Water
under
the bridge?
Art editor, and bridge camera sceptic, Noel
Hibbert tries the new Panasonic Lumix
DMC-FZ1000 on a break in the Brecons
with his family

eing a DSLR lover for many years and with cameraphones


more popular than a shotgun at an The X Factor contest, I
never saw the point to bridge cameras never liked them,
never will. Okay, so never will is a little strong. You see, my
theory is, if I want to take a decent picture, then Ill drag out the big
guns and if Im out and about without my second wife (Nikon D800)
Ill snap it on my iPhone. As keen clickers, we are always wanting to
get the best picture with the ability to cover all bases. But travelling
light? Ha, ha, ha not a chance. Its a mule laden with lenses, and
accessories, or an air ambulance waiting ready to air lift you to the
hospital, as your heart gets strangled by your camera strap thats
weighed-down with gear.
Your pocket photographer can handle those spontaneous family
shots, selfies and wide vista, yes. But put in tricky light, or needing
some legs, and it will fail, as will the battery. Save that for calling the
air ambulance!
So maybe its time to think differently and face the fact that I
actually might like a bridge camera. My preconceptions were that
they were a poor mans DSLR, and that they always looked cheap and
plasticy. As I open the box of pano-dora, the camera looks like a
small, well-built and solid looking DSLR. Its a good weight and far
from the cheap plasticy look Id expected. It has simple dials on it, so
its easy to find what you really need at a glance. But this doesnt
mean it doesnt have all the extras; it does, and you can delve into the
camera menu for that. So whats so great about it then? Switch the
beast on and its apparent immediately that zoom lens wow!
It has a Leica lens with a 16x zoom, which compares favourably with
its nearest competitor, the Sony RX10 and its 24-200mm zoom. Like
the RX10, its lens isnt interchangeable, and although its a camera
that sits somewhere between your everyday compact and a DSLR, its
superzoom 25-400mm f/2.8-4 dictates that this is closer to a DSLR in
performance. Your back will also be happy to hear, its considerably
lighter, at just 800g.

94

In theory, a flip screen can be used for many things but, lets be
honest, its the selfies where this function really comes into its own.
The FZ1000 features a flip-out three-inch, 921k-dot LCD screen that
can be tilted at 270 degrees and rotated 180 degrees to face forward.
Selfie heaven. The selling point is that, despite its added features, the
FZ1000 will hit the shelves at 750. This competes with the Sony RX10,
which retails at 880 but its still CSC territory. Or you could buy a
Canon 1200D with a travel lens and achieve the same flexibility.
There are a few winning advantages to this camera, however. Its
smaller, for one thing, but its features still include a 20.1MP sensor
that can capture JPEG and Raw images. It has the extra zoom
capabilities, and is the first consumer camera to feature 4K video
recording. This is a function it shares with its CSC big brother, the
DMC-GH4, along with zebra patterning, focus peaking and a 49-area
customisable autofocus system. Despite this, or perhaps due to it, it
didnt always focus where I wanted it to, and Id have to switch it to
manual but to be fair, you cant expect a camera to read your mind!
It also features a five click-step aperture ring, and five-axis hybrid
optical image stabilisation (Power OIS) to prevent unwanted motion
whilst capturing footage useful when using the zoom at longer focal
lengths. For instance, boats that werent visible to the naked eye
could be brought into focus with this camera. No app can help your
iPhone there
The travelling light I joked about? This camera could be the one to
make me eat my words Im in the Brecons with my family, and
suddenly I can see where bridge cameras fit in lifes good and
simple. It gives me the ability to exercise my creative instincts, and is
easy to use, but gives great results the colour reproduction, in
particular, is impressive. You arent getting this for the price of a
cameraphone, but its a good trade off; picture quality and flexibility
for a price that has no hidden costs no array of lenses to continually
tempt you, or stables to build for the pack mules.
www.panasonic.co.uk

Panasonic Lumix DMC-FZ1000 Review |


Shot taken wide open at 25mm.

The incredible zoom at 400mm.

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QUICK SPEC:

Street price
750

Video & 4k photo


In addition to the extra zoom capabilities over the Sony RX10, Panasonic is
keen to stress the 4K offering of this camera the consumer friendly name for
ultra HD 3840 x 2160 resolution. The FZ1000 offers 4K capture at 25fps in PAL
or 30fps in NTSC and its a new feature in the consumer market. But it isnt the
watching of a 4K video that Panasonic is presenting; its the opportunity to
grab 8MP stills from footage during playback mode at the touch of a button
just nudge through the clip frame by frame and separate your chosen image
to save as a still. Rather than thinking of this in terms of a 4K video to playback,
think of it in terms of a 30fps continuous shooting mode. Panasonic is calling
it a 4K photo and if youre ever concerned about missing the crucial moment,
you could have a get-out clause with this camera. [PM]

Wi-Fi

ER

DICT

20.1 MP

4K Video

3
ISO 80-25,600

49 AF-points
customisable
16x optical - 25-400mm

Weight:
831g

FPS:
Up to 12

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On Sale October 1
Novembers Issue:

Architecture
Special
Readers Gallery

We take a look at the theme of transformation


and change for this months gallery

History

Nikon tracing the origins from its 1917 birth


to the modern technological advances of an
iconic brand

Architecture

The PM guide to tilt and shift lenses

NEXT

Inspiration

Surrealist photographer Jee Young Lee


confides her creative process

MONTH
www.photographymonthly.com
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Photography Monthly is published every four weeks by Archant Specialist, Archant House, Oriel Road,
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GROUP EDITOR Adam Scorey
adam.scorey@archant.co.uk
ACTING DEPUTY EDITOR Emma-Lily Pendleton
emma-lily.pendleton@archant.co.uk
ART EDITOR Noel Hibbert
noel.hibbert@archant.co.uk
FEATURES WRITER Daisy McCorgray
daisy.mccorgray@archant.co.uk
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the work of Archant Specialist remain the copyright of Archant Specialist.
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Employees of Archant Specialist, and those professionally connected with
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Jee Young Lee

Architectural photographer, Connie Zhou,


talks futuristic buildings and getting inside
the Google mothership

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