Beruflich Dokumente
Kultur Dokumente
X-T
Fuds-ojinfiprevlm
iew of one of the
FIRST LOOK
Han
eras
years most exciting new cam
Master
Meter
YOUR
10
EXCLUSIVE INTERVIEW
TESTED
DxO OpticsPro 11
Why its the worlds best
image correction software
How lenses
are made
We tour Sigmas
factory
Wildlife
Watch
How to photograph
kingshers
7days
COVER PICTURE ROSS HODDINOTT
A week in photography
My rst SLR was a Zenith EM,
which had a crude selenium
light meter xed to the front of
the prism. Looking back
through my early negatives I
dont think I ever achieved a correct exposure
with that thing. Perhaps it was because I never
really learned what I was supposed to point it
at. Metering technology has improved
immeasurably since then, but can still be
fooled if it isnt used properly. Of course theres
In this issue
8 Fujifilm X-T2
Andy Westlake takes a
rst look at this updated
compact system camera
12 Metering
masterclass
Four photographers share
their tips and techniques
for perfect exposure
30 Wildlife watch
The kingsher is a
photographic challenge
but well worth it, says
Andrew Mason
34 Fever pitch
Gerry Cranham reminisces
with Richard Sibley about
photographing the 1966
World Cup nal.
amateurphotographer.
co.uk
@AP_Magazine
amateurphotographer
magazine
46 Appraisal
Expert advice and top tips
on improving your pictures
from Damien Demolder
50 Lens craft
Michael Topham reports
on his visit to the Sigma
lens factory in Japan
Win!
SARAH BORQUE
55 DxO OpticsPro 11
The updated software that
aims to get the best out
of your raw les
3 7 days
20 Inbox
48 Accessories
59 Technical
Support
82 Final Analysis
ickr.com/groups/
amateurphotographer
The Jump
by Sarah Borque
Regulars
Facebook.com/Amateur.
photographer.magazine
23 One in a million
Oliver Atwell talks to
Martin Kimchi, the
founder of an innovative
photography competition
JOIN US
ONLINE
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Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 21.
NEWS ROUND-UP
The week in brief, edited by Chris Cheesman
MICHAEL DUKE
Amateur shines at
Royal Academy
WEEKEND PROJECT
C CHEESMAN
World in motion
BIG
picture
Russian wins Dog
Photographer of the
Year competition
Great
photography
is about
depth of
feeling, not
depth of eld
Be patient, as people
will often try to avoid
walking in front of your
camera. It helps to use the
cameras flip-up screen to
compose discreetly. Think
about composition and try to
delineate your blurred figure.
GEOFF HARRIS
700
SOURCE HASSELBLAD
Peter Adams
UK-based travel photographer
Amateurs victorious in
global photo contests
LEICA IS celebrating
the 10th anniversary
of its digital M rangender
system and has marked
the occasion with special
promotions for customers.
The rst in the series
was Leicas rst digital
rangender, the Leica M8,
launched in 2006. Next
came the rst rangender
with a full-frame imaging
sensor the Leica M9. The
series also includes the M
Monochrom (Typ 246),
launched last year with its
full-frame b&w sensor.
The compact size,
discreet design and quiet
operation of the digital M
rangender cameras make
them ideal for reportage
photography, allowing the
photographer to shoot at
the centre of the action,
says Leica.
As part of a special
promotion, customers can
part-exchange any camera
of any brand for a new
Leica M (Typ 240), Leica
M-P (Typ 240) or Leica M
Monochrom (Typ 246) and
receive a 500 bonus, in
addition to the value of the
camera system traded in.
Subscribe to
SAVE
35%
Visit amateurphotographer
subs.co.uk/15W (or see p32)
* when you pay by UK Direct Debit
Get up & go
The most interesting things to see, to do
and to shoot this week. By Oliver Atwell.
SARA LINDSTRM
The winning image forms part of an exhibition at the Royal Geographical Society
DAN WOOD
What is Welsh?
The What is Welsh? project by Dan Wood is a broad
documentation of Wales and the Welsh. It studies diversity,
subculture, individualism, generations and patriotism, while
debunking the typical and tiresome Welsh stereotypes.
Until 20 August, www.orielcolwyn.org/what-is-welsh
OXFORD
LONDON
Microsculptures
Woodstock
28 July-11 September,
proudonline.co.uk/exhibitions
GLASGOW
WOLFGANG TILLMAN
Building Sights
EDINBURGH
BARON WOLMAN
LEVON BISS
Flaming hell:
blaze bags top
environmental
photo prize
Fujifilm X-T2
Andy Westlake investigates Fujifilms
updated high-end compact system camera
At a glance
Toggle
dial locks
24-million-pixel X-Trans
CMOS III sensor
3in dual-hinged screen
325-point or
91-point hybrid AF
0.77x2.36
million-dot EVF
Dual SD card slots
Up to 11fps
continuous shooting
4K video recording
1399 (body only)
Dual SD
Files can be duplicated
to both cards, or recorded
to the second when the first
is full. Both slots support
the high-speed UHS-II
standard
Customisation
The functions of many
of the controls can be
configured to suit the user.
The on-screen Q menu is
also customisable
4K video
As has started to become de rigueur,
the X-T2 can record video in 4K format
(3840x2160px at 30, 25 or 24fps) with
a 1.17x crop. Full HD recording at up to
60fps is also on offer, and the bitrate is
100Mbps for both. The maximum
recording time is 10min for 4K and
15min for Full HD, both extendable to
29min 59sec using the vertical grip.
The X-T1s movie button has
disappeared, and video is instead
selected using the drive mode lever; the
main advantage of this is it allows the
camera to display a correct 16:9
preview. A standard 3.5mm stereo
microphone input is built in, and footage
can be recorded on an external recorder
over HDMI. Theres also a at F-log
prole for grading in post-production.
First impressions
While the X-T1 was hugely admired, it wasnt without its faults. With the X-T2,
Fujilm appears to have listened carefully to its users and xed almost all their major
gripes. As a result it looks like the new model should offer even better handling,
without losing any of the fundamental design philosophy that made the X-T1 such a
success. Meanwhile the updated sensor and processor should bring the improved
image quality and autofocus speed that impressed us on the X-Pro2. Together this
means that the X-T2 is certainly one of the most exciting new models of the year so
far. Look out for our upcoming full review to see how it performs.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 16 July 2016
The EF-X500 is a
weather-resistant
flash for use with
the X-T1, X-T2 and
X-Pro2 bodies
9
Viewpoint
Tony Kemplen
New Books
The latest and best books from the
world of photography. By Oliver Atwell
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME INC. (UK)
TONY KEMPLEN
Do you have something youd like to get off your chest? Send us your thoughts in around
500 words to the address on page 21 and win a years digital subscription to AP, worth 79.99
10
Pop Pills
By Baptiste Lignel, Dewi Lewis, 30, hardback,
228 pages, ISBN 978-1-90789-389-6
PICTURE the scenario: your child is 11
or 12 years old, acting out, nding it
difcult to concentrate at school and
talking back to you. Is this normal for
their age? Or are they experiencing
serious mental health conditions? The
hydra of the US pharmaceutical
industry would have you believe the latter. In the USA,
one in ve under-18s is diagnosed with mental health
issues such as ADHD, OCD and hyperkinetic disorder.
In Pop Pills, photographer Baptiste Lignel charts the
progress of nine American teenagers, all of whom are
diagnosed with psychological disorders. As well as
photographs of the teens, we nd images of the
medication; massively enlightening (and depressing)
essays; and perhaps most fascinating, a reproduction
of an ofcial medical checklist for parents to see if
their child suffers from a psychological disorder.
According to this, we all have problems. +++++
Technique
Ross Hoddinott
Ross is one of the UKs leading outdoor photographers and has regularly
been placed in the Wildlife Photographer of the Year competition. He is well
known as a workshop leader and contributor to photography and wildlife
magazines. Ross is contracted to NaturePL and the RSPCA Photolibrary, and
his clients include the National Trust. Visit www.rosshoddinott.co.uk
1 Do rely on multi-metering
When youre
shooting an animal
against a very dark
backdrop, switch
to spot metering
Metering
masterclass
Four technically skilled photographers speak to Geoff Harris and share their
tips for achieving perfect exposures in different lighting conditions
12
Centre-weighted
metering takes a
reading from the
centre of the frame
dismiss
3 Dont
centre-weighted metering
Technique
METERING MASTERCLASS
Jeremy Walker
If you want to
darken the sky for
creative effect, try
using an ND grad
5 Snowy conditions
Shooting in the winter in snowy conditions can cause all sorts of problems. At one
time or another, weve all ended up with snowy landscapes that are rather grey and
grubby instead of crisp and white. So, dont meter for the snow, but try to meter for a
midtone if one is available a grey rock, the bark of a tree, a building or even an item
of clothing. This will give you a starting point for your exposure that is far more accurate
than metering for a pure white. If you have no option but to meter for the snow, bear in
mind you will have to override the indicated exposure by about 112 stops to get an
exposure that can be considered correct.
15
METERING MASTERCLASS
Technique
17
Technique
METERING MASTERCLASS
Adrian Dennis
You cant rely on your camera to get the metering right automatically. Over the
years, Ive spent many hours opposite the door of 10 Downing Street, waiting for the
prime minister to appear. Its renowned among press photographers for being one of
the coldest places to work in the UK. If the sun does make an appearance for a few
minutes, it plays havoc with your metering. The street is 50 shades of grey with a bit of
black mixed in, so your brain needs to override what the camera is metering for. I revert
to nding something near 18% grey. In this instance, Ill ll the frame with the slightly
lighter tarmac of the road, set the exposure and re-compose. On occasion, usually
when someone important is visiting, a shaft of sunlight streaks across the doorstep.
You just have to be aware and manually close down your aperture a stop or two.
8 Metering headaches
18
JIM MORTRAM
ADRIAN DENNIS
JIM MORTRAM
ADRIAN DENNIS
Jim Mortram
19
Inbox
B
In AP 25 June we asked
Email amateurphotographer@timeinc.com and include your full postal address. Write to Inbox, Amateur Photographer,
Time Inc. (UK), Pinehurst 2, Pinehurst Road, Farnborough Business Park, Farnborough, Hants GU14 7BF
14%
53%
33%
Tweet of
the week
George Harrison @GeorgeHarrison
LETTER OF THE WEEK WINS A 16GB SAMSUNG SD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
Youre absolutely right David. Some excellent instructional videos for Google Nik
software can be found on YouTube, and Id recommend the Introduction to the Nik
Complete Collection video (www.youtube.com/watch?v=gikVjBnpTRQ). Watch the
Black and White Landscape Photography video using Silver Efex Pro 2 with Jennifer
Wu (www.youtube.com/watch?v=ASZI5WNPQAo), as well. Because Nik software is
now free suggests there will be no more development, so grab hold of the offer
while its there Michael Topham, deputy technical editor
Win!
Calling the shots
Aside from the fact that the
I-1 Polaroid-format camera
(below) is one of the coolest
cameras coming into the
market, it also has an added
nostalgia value in that it looks
like an old-fashioned dial-up
rotary telephone with the
receiving handle off the hook!
Johnny, Birmingham
Repair ratio
Follow @AP_Magazine on Twitter to keep up
to date with all the news, reviews and more
20
INBOX
ANTHONY KIM
Creative wideangle?
I (almost) always enjoy AP and
am constantly amazed at how
you and your team manage to
put so much interesting
content into a weekly
publication. The 28 May
issue is no exception.
However, the APOY feature
[pages 32-37] left me
puzzled. It is very clear that
not all the images were taken
with a wideangle lens (if it
matters, 5, 10, 13, 15, 20,
24 and 25 may not really
constitute wideangle images).
Id be interested to know
your policy on manipulated
images. Do you have the
technical facility to know
whether images 2 and 3 were
actually taken exactly as
reproduced in the submission?
Can you conrm that neither
was digitally manipulated?
The light on the gure in
2 (see top right), for example,
seems inconsistent with the
main light source in the image.
The ying gure in 3 seems
much sharper than other
gures at about the same
distance from the lens. Id be
very happy to read that my
doubts are unjustied.
Chris Poole, via email
While round two of APOY
was all about seeing what
our readers can do with
wideangle, that didnt
Contact
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LEVON BISS
Sharpness
ISSUE
We help you find
the sharpest lenses
for your camera
Tips on keeping
your camera steady
before you shoot
THE
8 for the
s rpest results: is
this still a good rule?
Marcus Rich
Oswin Grady
Simon Owen
Garry Coward-Williams
All contributions to Amateur Photographer must be original, not copies or duplicated to other
publications. The editor reserves the right to shorten or modify any letter or material submitted.
Time Inc. (UK) or its associated companies reserves the right to re-use any submission sent to the
letters column of Amateur Photographer magazine, in any format or medium, WHETHER PRINTED,
ELECTRONIC OR OTHERWISE Amateur Photographer is a registered trademark of Time Inc. (UK)
Time Inc. (UK) 2016 Amateur Photographer (incorporating Photo Technique & Camera Weekly)
Email: amateurphotographer@timeinc.com Website: www.amateurphotographer.co.uk Time Inc.
switchboard tel: 0203 148 5000 Amateur Photographer is published weekly (51 issues per year) on
the Tuesday preceding the cover date by Time Inc. (UK), Blue Fin Building, 110 Southwark Street,
London SE1 0SU. Distributed by Marketforce (UK) Ltd, 5 Churchill Place, London E14.
ISSN 0002-6840. No part of this publication may be reproduced, stored in a retrieval or transmitted
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21
$7+.6 61 +/24'55
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COMPETITION
One in a million
If youre keen to not only get your images seen but
also stand a chance to win a hefty cash prize for your
trouble, then One Million Photographers could be the
competition for you. Competition founder Martin
Kimchi tells Oliver Atwell all about it
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 00 Month 2016
S. Dhanushka Keerthirathna
(Sri Lanka)
23
COMPETITION
JAMAL AL-NABULSI
FRANCO FERRO
Above: Jamal
Al-Nabulsi (Jordan)
COMPETITION
KENNETH GREENE
CIARAN MCCUTCHEON
KELLY MCANN
BONNIE MARQUETTE
ARTUR STRUPKA
How it works
COMPETITION
DAVID SARK
LESLEY-JO THOMPSON
ALEXANDRE FELIX
ANNA KIM
ANDRES GALLARDO
FREDDIE ARDLEY
Alexandre Felix
(France)
Open to all
COMPETITION
JOHN MONCRIEFF
Martin Kimchis background is in law, having spent about 13 years as a leveraged nance lawyer in London. However, having left the Square Mile around seven years ago to run a small property
business, he has gradually had more time for his photography and found time to start the competition and gallery website One Million Photographers (www.onemillionphotographers.com)
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 16 July 2016
27
CHESTER BULLOCK
you see how often the lines between the two camps can
appear a little diffused.
I would denitely say that the line between amateur
and professional photographers is becoming
increasingly blurred. Theres often an intuitive
tendency to regard pro as superior and amateur as
lacking, perhaps because of the dictionary denition of
the two words that we all think we know. But with
photography being an expressive art, there is nothing
unattering about the amateur tag, which really only
refers to all of us who dont make a living from taking
pictures, explains Martin.
The competition also sees entries from all ages from
teenagers all the way up to photographers in their 50s
and 60s. Similarly, the reach is global. While the entries
are predominately from the UK, One Million
Photographers is also seeing entries from Europe, USA
and Australia. Regardless of age or location, Martin
feels there are some things that will always stand out
in an image.
Creativity and technical excellence go a long way,
says Martin, but ultimately I think the images that
best convey a storytelling element are the ones that
really stand out. This applies to all genres of
photography after all, images are and always
have been agents of storytelling.
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WILDLIFE WATCH
Kingfishers
With their bright blue-and-orange plumage,
its easy to see why kingfishers make such great
photographic subjects, says Andrew Mason
KINGFISHERS are small, plump,
short-tailed birds with a very long bill that
is used for catching sh. With their bright
blue-and-orange plumage, they are
unmistakable, but can be difcult to spot
when perched motionless near water.
A kingshers ight is fast, and often very
low over water. They search for small
sh from waterside perches and can
occasionally be seen hovering above the
waters surface before diving. They mainly
eat sh, chiey minnows and sticklebacks,
but will also feed on aquatic insects.
Kingshers are fond of clean, slowmoving water, as well as canals and lakes.
They can also be found around the coast,
especially during cold winters.
Kingfishers inhabit
slow-moving,
shallow, clean
rivers or streams
that support
ample supplies
of small fish
KIT LIST
C30.1 Portable
Dome Hide
C14 Camera
Double Bean Bag
Photographs of
kingfishers diving
for fish arent
easy to capture,
but are very
rewarding when
you do
Technique
WILDLIFE WATCH
Andrew Mason
Shooting advice
Nature reserves
Perches
Private land
I have been fortunate enough to
photograph kingshers on a quiet stretch
of river near my house, which the
landowner kindly gave me access to. I was
able to set up a canvas hide and perches
on an area of the river where I had already
seen the birds shing. By using a canvas
hide (a bag hide will also work for short
sessions), I have photographed resident
kingshers at very close distances and with
a relatively short focal length.
Kingfishers are
found around
most of the UK
ORDER FORM
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SPORTS PHOTOGRAPHY
Fever
Pitch
34
COMPETITION
England fans
before the 1966
final against
West Germany
35
SPORTS PHOTOGRAPHY
COMPETITION
Above: Portugese
superstar Eusbio
sheds tears after
being knocked out
by England in the
semi-final of the
tournament
SPORTS PHOTOGRAPHY
Legacy
The victorious
champions
celebrate
!-")4)/.
-!$% "9 :%)33
5NLEASH THE FULL POTENTIAL OF YOUR CREATIVITY AND YOUR CAMERA WITH NEW -ILVUS LENSES
FROM :%)33 4HE -ILVUS FAMILY OF LENSES SEES :%)33 ACHIEVING NEW LEVELS OF PERFORMANCE AND
IMAGE QUALITY IN LENS SYSTEMS AVAILABLE FOR #ANON :% AND .IKON :& MOUNTS &ROM PORTRAITS
AND LANDSCAPES TO ARCHITECTURAL AND STREET PHOTOGRAPHY -ILVUS LENSES DELIVER SMOOTH PRECISE
FOCUSING IN A COMPACT ERGONOMIC PACKAGE THATjS SUITABLE FOR EVERY SHOOTING SITUATION AND LIGHT
CONDITION 7ITH OPTIMUM IMAGE QUALITY INTUITIVE FULL
FOCUS CONTROL AND A SLEEK MODERN DESIGN YOUR
CREATIVITY IS NOW ONLY LIMITED BY YOUR IMAGINATION
TERENCE DONOVAN
Say
you
want
a
revolution
Through his photography, Terence Donovan
captured the 1960s spirit like nobody else,
photo historian Robin Muir tells David Clark
This shot (right) was taken for About Town magazine and published as part of a fashion
feature in January 1961. The model, Peter Anthony, one of the few male models of the
period, was wearing a Jaeger suit. It was taken at Grove Road Power Station in St Johns
Wood, London.
This kind of image, where Donovan has photographed his model against the
backdrop of industrial London, was typical of his work in the early 60s, says Robin Muir.
It was very dramatic to show the model against the plume of steam. Other
photographers have done similar things since, but this was the rst time it had been
done in a mainstream magazine. There was no regard for health and safety! You
couldnt get away with it now.
40
Thermodynamic, 1961
41
TERENCE DONOVAN
Above: Dressed
Overall, Fashion
Feature for Nova,
March 1974
TERENCE DONOVAN
TERENCE DONOVAN
Terence Donovan,
1936-1996
Above: Terence
Stamp, Vogue,
July 1967.
Photographed on
the set of John
Schlesingers Far
From the Madding
Crowd
ARCHIVES ELLE/HFA
TERENCE DONOVAN
Terence Donovan:
Portraits, by Philippe
Garner, is published by
Damiani and priced 35.
It includes portraits
made throughout
Donovans career.
Subjects include Diana,
Princess of Wales;
Laurence Olivier;
Margaret Thatcher and
Sean Connery. See www.
damianieditore.com.
Terence Donovan: Speed
of Light in association
with Ricoh is on display
at The Photographers
Gallery from 15 July,
www.tpg.org.uk.
MONTHLY EXTRAS,
EXCLUSIVE TO SUBSCRIBERS
Save up to 40 on
Gousto Recipe Boxes+
Plus
This month, be sure to log in to Rewards to access the above offers and youll
nd even more online all EXCLUSIVE and FREE to magazine subscribers.
amateurphotographer.co.uk/rewards
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/LQHVDUHRSHQ0RQGD\WR)ULGD\*07DPSPH[FOXGLQJ%DQN+ROLGD\V
Appraisal
Expert advice and tips on improving your photography from Damien Demolder
BEFORE
Picture
of the
week
Ship on the horizon Callan Stroud Pentax K-S2, 50mm, 1/6,000sec at f/5.6, ISO 100
WOW! What great luck to see this opportunity,
Callan. It is so good one almost wonders if it is real
or something set up in your bedroom! I love the
shape of the ship and those glorious stairways to
heaven sunbeams streaming down. Its all very
meaningful, and reminds me of the Christmas
song I Saw Three Ships. We feel as if the sailors
aboard have their gods with them and that, for
now at least, all is well.
All that bothers me are the proportions of the
composition. The sea segment is
Win!
Send up to six prints, slides or images on CD (include the original files from the camera along Submit your images
with your versions on the CD). Tell us about the pictures and include details of equipment used Please see the Send us your pictures section on page 3
and exposure settings. Send your images to Appraisal at the address on page 21. Enclose an SAE if you
for details or visit www.amateurphotographer.co.uk
want them returned. The picture of the week will receive a years digital subscription to AP worth 79.99
46
YOUR PICTURES
BEFORE
BEFORE
AFTER
Ayons image has too many distractions that lead us away from the main subject
AFTER
Increased midtone contrast has brightened the grey highlights and closed-off some shadows
Storm clouds
Alexy Samoylenko
Nikon D3, 24-85mm, 1/80sec at f/11, ISO 250
THE BRIGHTNESS between
land and sky is a source of
constant concern for the
landscape photographer. On
one hand we feel we have to
even the brightness out, so
that detail in both areas can
be maximised, while on the
other we feel we should
represent the two elements
as we see them. Getting the
balance right is a delicate
matter. Neutral density
graduated lters are usually
the tools that we reach for,
and rightly so. But with the
ever-increasing dynamic
range of modern cameras it
is often as well to rely on
what can be achieved with a
raw le and a decent image
processing application.
Here Alexy was faced with
a relatively unusual problem,
as the stormy sky in his
scene is actually darker than
the sunlit land area. In cases
like this we have the option
to turn the ND lter upside
down, so the darker
graduations cover the land
rather than the sky, but I
dont think we needed to
Damien Demolder is a photographer, journalist and photographic equipment expert, speaker, judge and educator. He has worked in the photographic publishing industry for 17 years, including 15 years at
Amateur Photographer. He uses a wide range of equipment, from wooden plate cameras to the latest DSLRs, and is a great fan of all products that make good photography more accessible to more people
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 16 July 2016
47
Accessories
Multi-touch
GOLD
At a glance
Pen holder
Installation
ALSO CONSIDER
Verdict
32
20
168
16 July 2016 I
48
Recommended
Try it today
www.amateurphotographer.co.uk/digital-edition
The Besiter Mercury
power bank is available
in two colours
and two capacities
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 16 July 2016
49
Testbench
IN THE FIELD
Lens
craft
Its not every day you get a chance
to tour a Japanese lens factory.
Michael Topham reports on his
experience of watching Sigma
lenses roll off the production line
pproximately 300km
north of Tokyo, in the
Aizu region of
Fukushima lies a small
town named Bandai. To get there,
you have to take the bullet train
from Tokyo to Koriyama and
transfer onto the BanEtsusai line
towards Bandaimachi station
a long-winded journey and a
destination that has taken me
three and a half hours to get to.
Upon arrival, a select group of
press and I are ushered towards a
Sigma-branded taxi bound for the
companys Aizu factory where the
manufacturing of cameras, lenses,
ashes and other photographic
accessories all takes place.
Ten minutes later we arrive at
Sigmas headquarters and at the
request of our host, remove our
shoes and slip on a pair of white
Crocs before entering what
feels like a very clinical
working environment.
As we head to a conference
room to meet Mr Kazuto Yamaki,
CEO of Sigma Corporation, more
than 50 employees rise to their
feet and greet us with a traditional
Japanese bow. Its a reception Ive
never experienced before and I
return the Japanese code of
etiquette by bowing in return.
A warm welcome from
Mr Kazuto Yamaki follows, and a
brief presentation about the
company and its history reveals
50
An engineer studies
a drawing for a
lens component in
CAD software
51
Testbench
their silver colour and
prevent rusting and
corrosion. Interestingly, up to 40%
of the water used in the anodising
area is recycled and reused.
The next stage on the tour
passes through the glass moulding
area, where large and small glass
aspherical lens elements are
precision made. After the glass
elements are ground and receive
a rst polish, technicians examine
each element individually for
imperfections and scratches,
before approving them. The glass
elements receive a ner polish
before they are coated and the
edge is nished. Elements are
stacked up everywhere by the tray
load, each one sitting in its
custom-made holder as it works
its way to the next team.
When asked which is the most
expensive machine in the factory,
Mr Yamaki replies, The lenscoating machine costs over
$1 million.
As a machine to look at, its
nothing special, but it plays the
important role of applying special
multilayer coatings to reduce are
and ghosting. As the glass
elements progress slowly towards
the sub-assembly line, theyre
sealed into plastic parts. Mr
Yamaki explains that by warming
plastic and squeezing the glass
into it, its easier to ensure the
optical axis of each element is
perfectly aligned.
Once a lens is constructed, it
enters the focus accuracy area.
Anodised air is used to remove all
the static and any dust before it
enters the facility and every lens
receives critical lab testing to
ensure it meets the high standard
engineers are happy with. There
are lens test charts aplenty and
engineers studying MTF data on
screens with a critical eye for detail
and sharpness. The dedicated area
for testing and approving Sigmas
150-600mm f/5-6.3 lens is
absolutely huge, and although it
seems like crates of lenses are
piling up in the testing centre,
theres a Zen-like sense of calm as
the engineers go about their work.
IN THE FIELD
Crafted to perfection
After my extensive factory tour
and talk with Mr Yamaki on our
way back to the conference room,
I try to comprehend all the steps
Ive witnessed that go into creating
a Sigma lens. Watching the lengthy
process involved in engineering a
lens from bare metal and plastic to
the nished product is something I
feel very privileged to have
experienced. Having purchased a
Sigma 50mm f/1.4 DG HSM A just
over a year ago, I now have a
clearer understanding of what
painstaking work and precise
engineering went in to making it.
A Sigma employee
applies white paint
to AF/MF switches
with incredible
precision
In association with
www.thevideomode.com
www.facebook.com/thevideomode
@thevideomode
SOFTWARE TEST
Testbench
DxO OpticsPro11 supports
over 300 cameras, more than
950 lenses and over 30,000
camera and lens combinations
DxO OpticsPro 11
79 Essential Edition 119 Elite Edition Mac and PC www.dxo.com
DxO OpticsPro 11 aims to correct the optical flaws of your lenses and
squeeze the best out of your cameras raw files. Alex Krube tries it out
At a glance
PC Intel Core 2 Duo, AMD Athlon
SOFTWARE TEST
This example shows the effect of the ClearView tool it adds depth and contrast to the sky and sea in the distance
You can make manual adjustments to your images, or you can select one of OpticsPros many preset image effects
Manual control
When you start applying manual
adjustments, OpticsPro becomes
more complicated. There are six
panels: Histogram, Essential Tools,
Light, Color, Detail and Geometry.
SOFTWARE TEST
Testbench
OpticsPro 11 offers users a new full-screen display mode. Its useful for
viewing and inspecting your images with minimum on-screen distractions
Whats new?
The PRIME noise reduction
process is claimed to be smarter
and more powerful according to
DxO, and although youre still
restricted to a small preview
window, it doesnt take as long to
process large batches of images.
Our verdict
DXO OPTICSPRO 11 has some
signicant drawbacks when you
compare it with Lightroom or
even Capture One Pro - its two
main rival, professional-level
raw converters.
One is that it doesnt allow
you to perform localised
adjustments. You have to work
with the image you shot, and any
kind of local adjustments will have
to wait until you convert it to a
TIFF or a JPEG and open it up
in some other image editor.
Another is that it doesnt
support Fuji X-Trans sensors,
though admittedly this is only an
issue if you own a Fujilm camera.
Its also rather complex and
confusing to use when you start
to probe beneath the surface of
its tonal/exposure/lighting
adjustments, but these niggles are
easy to forgive once you see what
OpticsPro can do. Yes, Lightroom
and Capture One can both apply
automatic lens corrections too,
but OpticsPros transformations
are so instant, so complete and so
good that it still feels like the best.
The quality of its raw conversions
are excellent too, delivering a
noticeably better combination of
Avoid a catastrophe,
insure your equipment.
Offer available only to UK residents aged 16 and over. Terms,conditions and exclusions apply. Offer only available until 31/07/2016.
SAVE
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COVER INCLUDES
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Technical
Support
E X PERT A DV ICE
TIPS
T RICK S
HACK S
KNOW- HOW
Tripod dilemma
Sonys HX90V has a tilting screen, a long zoom lens and will fit in the pocket
Compact alternative
Im looking for an
alternative to the
Panasonic Lumix range.
The problem with the Lumix is that
it does not have an articulated
screen. My Canon PowerShot G12
does, but its zoom is too small. Is
there a suitable camera thats not a
lot bigger than the Canon, has a
better zoom and will t in a pocket?
Robin Graham
Rogue camera
59
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KEV PEARSON
Technical Support
My life in
cameras
In association with
Kev Pearson
2014
Nikon Df
Kev is a British
landscape and
commercial
photographer
based in
Glastonbury,
Somerset. He is a
relative newcomer
to photography
since becoming
interested in it
towards the end
of his aerospace
engineering career of more than 20 years. He
has since made rapid progress, being featured
in his local press and selling his work all over the
UK and internationally. His rst solo exhibition
takes place in Glastonbury in July. Visit
www.kevpearson.com.
2011
News Latest
announcements from
the video world
2015
Nikon D800
Nikon D5100
The Nikon D5100 was not my first
camera, but the first one I sold a
print from. I loved how
light it was for
travelling and its
tilting screen for
low-down
shots (I have
dodgy
knees). I
learned
a lot with
this SLR.
2016
2012
Nikon D750
and D810
2014 2011
2016
2015
2012
Nikon D300S
and D700
The Video
Mode features
a range of
video tips and
tutorials to
help you learn
film-making
techniques
Tuition Expert
technique to get the best
out of your kit
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Complete guide to
PHOTOGRAPHY
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Expert capture advice
EDIT
Technical Support
Professor Newman on
Exposure
he topic of exposure
is at the core of
photographic theory,
and exposure
management is possibly the skill
that photographers value most of
all. But when it comes to managing
exposure, I nd myself differing
from a lot of photographers,
many of whom think the word
exposure is synonymous with
the brightness of the output
image. From a point of view of
photographic theory, this is wrong.
Exposure refers to the density of
luminous energy at the focal plane.
Luminous refers to energy that
we can see, rather than absolute
energy. We specify energy rather
than power because we are
interested in the total gathered
over the exposure time rather than
an instantaneous value. Finally, we
specify density, as in the amount
of energy per unit area.
So, what is the relationship
between exposure and
brightness? This was the core of
the science of sensitometry, and
that relationship was summed up
in the characteristic curves for
4.0
Exposure: Daylight
Process: Small tank
KODAK Developer D-76, 68F (20C)
Densitometry: Diffuse visual
Exposure: Daylight
Process: Large tank
KODAK T-MAX RS Developer and
Replenisher, 75F (24C)
Densitometry: Diffuse visual
3.0
min
12 0 min
1
min
10
in
8m
in
6m
2.0
Density
Density
12
mi
n
3.0
The latest
photography kit
and technique at
your ngertips
2.0
8 min
in
6m
1.0
1.0
0.0
0.0
More great
pictures
More technique
More opinion
More inspiration
Download online,
enjoy ofine
Buy from the comfort
of your own home
Available the day
the magazine goes
on sale
Missed an issue?
Simply download
a back copy
Try it today
4.0
3.0
2.0
1.0
0.0
4.0
F002_0509AC
3.0
2.0
1.0
0.0
F002_0512AC
Films such as Kodak T-Max 400 gave different characteristic curves and film speeds depending on the developer
Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of
high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 16 July 2016
www.amateurphotographer.
co.uk/digital-edition
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