Amateur Photographer - 17 January 2015 PDF

Mortified by
Saturday 17 January 2015
Mortensen
Ansel Adams called him ‘the Antichrist’. Roger Hicks be
gs to differ
Passionate about photography since 1884
Have
Nikon,
will travel
One reader’s verdict on
the D7000 that he took
around the world
How to emulate
the look of the great
fashion legends
Classic
lighting
PLUS How to photograph barn owls • DxO OpticsPro 10 tested and rated
7days
A week in photography
ONE OF the loudest debates representation of the truth (although that’s
within photography over the another debate entirely) but should creative
past decade has been about the photography have such barriers?
use of Photoshop. There are This week’s feature on William Mortensen
those who view anything more reminds us that this debate has been raging
In this issue
COVER PICTURE © JAMIE HARRISON, WILLIAM MORTENSEN
than basic image correction and enhancement since long before the digital era. His montages
10 Light work to be cheating, while a sizeable contingent depicting often dark and lurid themes show
Jamie Harrison on how to question whether any substantial manipulation just how far reality could be stretched using
achieve a classic fashion is even photography. Much depends on the traditional methods, and outraged purists like
look with a simple and genre. There’s a reasonable expectation that Ansel Adams at the time. Judge for yourself on
adaptable set-up
documentary photography is an honest page 20. Nigel Atherton, Editor
15 Competition
Win a Billingham 550
bag worth £600 JOIN US Like us on
Facebook.com/Amateur.
Join our Flickr group
at flickr.com/groups/
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20 American ONLINE amateurphotographer.co.uk photographer.magazine amateurphotographer @AP_Magazine
grotesque
Why has American
photographer William ONLINE PICTURE OF THE WEEK
Mortensen been largely
erased from photographic
history? Roger Hicks
investigates
26 Wildlife watch
David Tipling with tips
and tricks on how to
photograph barn owls
28 The only way is up
Romain Jacquet-Lagrèze
explains how he takes his
dizzying views of Hong
Kong’s high-rise towers
40 Evening class
Martin Evening sorts out
your photo-editing and
post-processing problems
44 On the road again
Globetrotting photographer
Jacob James on how the
© CLIVE MAIDMENT
Nikon D7000 took him

around the world
53 DxO OpticsPro 10
We test the latest version Brathay by Clive Maidment
of DxO’s image-editing
software, with improved
Canon EOS 5D Mark III, 16-35mm, 4secs at f/16, ISO 50
This unusual take on landscape ‘The outline of the trees on the opposite
Win!
Each week
noise-reduction processing photography was uploaded to our AP bank, their reflection in the River Brathay, we will choose
and new Clear View Flickr page by Clive Maidment. as well as the symmetry caught my eye. A our favourite
features that can detect ‘I took this shot with a Canon EOS 5D trial shot confirmed there was potential, picture posted
and edit hazy images Mark III plus Canon 16-35mm f/4L lens despite the position of the sun being less on the AP Facebook and Flickr
one Sunday afternoon in November,’ says than ideal. Simply setting the picture style
Regulars Clive. ‘I wanted a long exposure to flatten to monochrome and then rotating the
communities and the AP forum.
The winner will receive a year’s
3 7 days the running water, so I set the ISO low and camera by 180° to view the in-camera digital subscription to AP
16 Inbox stopped down to f/16. A Lee 0.6 ND filter image upside down gave me the worth £79.99.
34 Reader Portfolio and 0.3 soft ND grad helped to achieve alternative view I was after. Thanks for Joe
42 Accessories balance, along with the 4sec exposure. Cornish and Mark Banks for these tips.’
57 Technical
Support Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
82 Final Analysis Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@timeinc.com.
CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 17.
Via our online communities Post your pictures into our Flickr group, Facebook page or the gallery on our website. See details above.
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 17.
NEWS ROUND-UP
The week in brief, edited by Chris Cheesman
Hetherington award
French photographer
© WILLIAM DANIELS
William Daniels has
been awarded the Tim
Hetherington Grant, a
€20,000 prize created
in memory of the
British photojournalist
killed in Libya in 2011.
The photographer
was chosen for his
work on the Central
African Republic.
Film scanner
If you have a collection of slides
and negatives languishing in
the loft, then a new 35mm
desktop film scanner from
Reflecta may come in
handy. The RPS 10M film
scanner costs £696 and
is available now.
Call 01793 615 836.
© ETIENNE FRANCEY/WILDLIFE PHOTOGRAPHER OF THE YEAR
Wildlife battle starts

The Wildlife Photographer of
the Year Awards has opened
for entries. It features 21
categories for adults and young
photographers. The contest is
co-owned by the Natural History
© KYLE BRECKENRIDGE/2015 SONY WORLD PHOTOGRAPHY AWARDS
Museum and BBC Worldwide.

Visit www.nhm.ac.uk.
Winning formula
© JENSEN BUTTON
Racing driver Jensen Button

is among Formula 1 stars who
have taken photos to raise
money for Great Ormond Street
Hospital Children’s Charity.
The drivers were asked to
take a photo that represented
a ‘snapshot of their world’. WEEKEND PROJECT
Their signed images will
Shoot from ground level Many recent cameras
be up for grabs at the Zoom
charity auction in London on
16 January, backed by Nikon. Frequently, we photographers put the camera to our
eye, compose and shoot without paying too much
1 have an articulated LCD
screen, which can tilt and
rotate. If you have a camera
attention to the foreground. The foreground can with this feature, use it to your
Drone sales soar often be rather drab and, if we’re not careful, it can advantage to get down to a low
Sales of drones at the electronics chain Maplin soared 450% in dominate the image more than we intend it to. For vantage point.
the weeks before Christmas. However, Maplin Direct managing example, when taking pictures of a car, the road is
director Oliver Meakin voiced concerns about users being unaware not very exciting and often detracts from the image.
of the rules. He told AP: ‘Maplin has By switching the perspective of the shot and
If your camera has
asked its main suppliers to
include a leaflet covering
the appropriate
regulations, as well
shooting from a low angle, little of the road surface
will appear in the image and far more emphasis will
be placed on the subject.
This technique can bring a freshness to a whole
2 the type of Wi-Fi
connectivity that
allows you to control the
as training all store host of subjects, providing there is a strong focal camera using a smartphone
colleagues to advise point to the shot. This weekend, why not try using or tablet, then connect the
customers of their this ultra-simple trick to add some more impact to camera to the device and
responsibilities.’ your images. trigger the camera remotely.
4 17 January 2015 I www.amateurphotographer.co.uk I subscribe 0844 848 0848

BIG
picture
‘Dinner Time’ entry for
the 2015 Sony World
Photography Awards
This shot is just one of
the entries that has been
submitted for the 2015 Sony
World Photography Awards,
Nature & Wildlife category,
Open Competition.
Titled ‘Dinner Time’, Kyle
Breckenridge took this shot of a
mother and cub in the Great Bear
Rainforest of British Columbia,
Canada, near a small village called
Klemtu. What makes this shot a
bit more special is the fact that
these bears are spirit bears, or
Kermode bears, a subspecies of
the North American black bear.
Living in the Central and North
Coast regions of British Colombia,
these bears are rarer than the
giant panda in the wild and it is
understood that it is only the
second time a white mother and
cub have been documented. Most
mothers and cubs are a black
and white combination.
www.worldphoto.org
Words & numbers
The painter
constructs, the
Some tripods boast Get down low
3 the ability to remove

the centre column or
move it out of the way, allowing
for a more dynamic
composition
photographer
discloses
you to shoot at ground level. Susan Sontag
This will be useful if shooting Writer and filmmaker
at shutter speeds too slow to (1933-2004)
be handheld.
SOURCE: GFK
Subjects do not react to
4 a photographer shooting
at ground level in the
same way as they do when the £6 milion
© CALLUM MCINERNEY-RILEY
camera is at eye level. This The amount compact system

makes it an excellent technique camera sales were estimated to
to use when you want to capture have risen in the UK last year,
compared to 2013
people candidly.
subscribe 0844 848 0848 I www.amateurphotographer.co.uk I 17 January 2015 5

COLLECTION/GETTY IMAGES
© RALPH MORSE/THE LIFE PICTURE
Nikon reveals D5500
with touchscreen Ralph Morse
US astronaut John Young
testing a space suit in 1964
dies aged 97
FORMER Life magazine
photographer Ralph
Morse has died at the
age of 97.
Morse, who worked
as a staff photographer
for Life for 30 years, will
be most remembered for
his work documenting
the space race.
The photographer
became the magazine’s
youngest war
Available from 5 February, Nikon’s D5500 DSLR will be out in red or black versions
correspondent when in
1942, aged 24, he was
NIKON used the CES trade show ‘The D5500 is a chance for people assigned to cover the
in Las Vegas, USA, to unveil the to expand on their photography skills Pacific region during the
Nikon D5500, a new DSLR with a while providing outstanding results,’ Second World War.
vari-angle touchscreen ‘housed in he claims. ‘Known for his technical
a ‘compact, lightweight body’. The 24.2-million-pixel model innovations, as well as his
Billed as significantly lighter and features an ISO of 100-25,600 and great versatility, he shot
much slimmer than its predecessor, a 39-point AF system, with nine everything from sports to
the new DX-format DSLR is claimed cross-type sensors at the centre. the Space Race,’ states a
to be easier to handle, partially Also on board is a 5fps burst rate Getty Images profile.
thanks to its ‘deep grip’. and Expeed 4 image processor. In a biography, NASA
Nikon also claims that the The D5500’s Touch Fn function allows
The 3.2in vari-angle screen has a says on its website: ‘Morse
D5500’s contrast-detect AF is key settings to be adjusted ‘quickly’ resolution of 1.04 million dots. The covered the John Glenn
20% faster than the D5300 touchscreen can be used to focus flight in 1962 and was
when shooting in live view. ‘Since the explosion of smartphone and shoot, or to adjust aperture, recalled from retirement to
Priced £639.99, body only, and technology, there has been a huge shutter speed and ISO, for instance. cover John Glenn’s second
due in shops on 5 February, the wave of innovative and creative A Touch Fn function is designed to flight in 1998.’
Nikon D5500 measures 124 x 97 x photography worldwide,’ said Simon allow the user to ‘quickly adjust key
70mm and weighs 420g (without Iddon, a group product manager at settings with a finger wipe’ while
battery and memory card). Nikon UK. using the viewfinder. Up to eight
settings can be assigned to the
The D5500 has a Touch Fn mode.
1.04-million-dot
vari-angle Other features include a new
touchscreen Flat setting to help maximise
dynamic range, ten special effects,
full HD video and a built-in stereo
microphone.
Images can be shared using the
built-in Wi-Fi mode, which also
allows the photographer to control
Subscribe to
the camera remotely from a
smartphone.
SAVE *
35%
Visit amateurphotographer
subs.co.uk/15E
* when you pay by UK Direct Debit

Get up & go
The most interesting things to see, to do
and to shoot this week. By Jon Stapley
YORK
© JANE BOWN/GUARDIAN NEWS & MEDIA LTD
© PAUL HILL
Jane Bown CBE, photographed looking in a mirror, joined The Observer in 1949 Paul Hill at York
Long-standing photojournalist and photographer Paul Hill will be
Tributes paid to
hosting a day in conjunction with the RPS to talk about his life
and work. As the first art photographer to receive an MBE and
author of Approaching Photography, Paul should be a treat to
listen to. Book at the RPS site.
‘reluctant star’
25 January. www.rps.org/events/2015/january/25/
paul-hill-at-york or www.hillonphotography.co.uk
© STEVE JONES
Jane Bown
TRIBUTES have been her subject with just a few interview, yet her portraits
paid to renowned frames of film and there are distinctive and full of EVERYWHERE BRISTOL
Observer photographer, are few photographers character and charm.’
and former AP award
winner, Jane Bown, who
with that skill. She will be
missed, but she leaves an
She worked without
extra lights, aiming to
Upgrade in the RPS International
has died aged 89. important archive that will complete her shoots in January sales Biennial Members’
Bown began her
Observer career in
stand the test of time.’ ten minutes.
Following Bown’s
The one good thing you can say
about this month is that the
Print Exhibition 2015
The RPS presents its exclusive
1949, with her first Power of the portrait death last month, former sales make it a great time to members-only exhibition, which
assignment being a Awarding Jane Bown the Guardian picture editor upgrade your kit. Why not look happens only once every two
portrait of philosopher Power of Photography Eamonn McCabe told into picking up a bargain? years. One hundred prints,
Bertrand Russell. award in 2001, AP The Observer: ‘Nobody whittled down from 3,300
She went on to honoured her substantial has taken so many entries, represent the society’s
photograph politicians,
film stars, artists and
comedians, with her
body of work, saying she
‘demonstrates the power
of the portrait’, and ‘her
wonderful photographs
of so many great faces,
with such little fuss, as
S AL E members in 16 countries.
Until 31 January. www.
grantbradleygallery.co.uk
subjects as varied as the genuine affection for Jane Bown. She was a
© THORSTEN BRINKMANN & VG BILDKUNST 2014 BONN
Queen, Mick Jagger,

Desmond Tutu and Björk.
people shows in her work’. reluctant star, hating the
AP added: ‘Her style is attention of being well Events at
unobtrusive, simple and known herself.’ London Art Fair
Great photographer unpretentious and she has McCabe added: ‘When London Art Fair hosts a selection of
Royal Photographic a knack of revealing her other photographers of photography related events. Photo50 is
Society director general sitters’ personalities in her her generation were an exhibition of 50 contemporary works,
Dr Michael Pritchard told gently perceptive images. selling their archives for while Photography Focus Day (21
AP: ‘Jane Bown HonFRPS ‘She almost always uses small fortunes, she January) includes a discussion on the
was one of Britain’s great available light, simple donated hers to The future of photo books.
photographers, producing equipment (an Olympus Guardian, parent company 21-25 January. www.londonartfair.co.uk LONDON
portraits that always told OM-1 with 50mm and of her beloved Observer.’
© KASIA WOSNIAK
the viewer far more about

her subject beyond the
80mm lenses) and
minimum fuss. She
Bown’s motto was,
‘Photographers should
He Wasn’t an Easy
straight image. frequently has little time, neither be seen nor heard.’ Gentleman to Describe
‘Jane had the ability to often taking her shot Jane Bown died at her The Museum of London uses photography
capture the essence of during a newspaper home in Hampshire. and fashion to imagine the most famous
detective to never exist – Sherlock Holmes.
For the latest news visit www.amateurphotographer.co.uk A bold and enjoyable idea.
LONDON Until 1 March. www.museumoflondon.org.uk

Viewpoint New Books
Tony Kemplen The latest and best books from the
world of photography. By Oliver Atwell
When Tony Kemplen resolved to use a
© PAUL SEAWRIGHT
different film camera each week, he found
a treasure trove of lost gems. Here he looks
at the Kodak Brownie Flash 20
I
© TONY KEMPLEN
love the 1950s design of the Kodak
Brownie Flash 20, which is
dominated by an enormous built-in
flash reflector. With its retro look,
this camera appeals to both collectors and
those in search of fashionable 1950s
memorabilia, so the prices tend to be a
little higher than for similar, less glamorous
models. I found mine in an antiques centre Volunteer
(AKA junk shop) in Norwich, Norfolk, and by Paul Seawright, Artist Photo Books, £25,
paid £12 for it, complete with a cream- hardback, 64 pages, ISBN 9-780-99274-851-7
coloured faux-leather case. THE THOUGHT of joining the
As post-war austerity faded army has never once occurred
away and colour photography to me. Yet for many individuals
became more affordable, it’s a decision that occupies
the market for simple Professor Jon’s Flea their mind from a very early
but reasonable-quality Circus – the ideal subject age. Why is this? What is the
for such a camera
cameras took off. difference between me and a person who decided
Manufacturers were gives this camera its to enter into a career in the military? In this powerful
keen to introduce striking appearance. collection of images, Paul Seawright has gone some
‘idiot-proof’ features I was tempted to have way to answering that question. Seawright has shot
to reduce the chances a go anyway, but the at around 500 temporary recruitment locations in
of disappointing cost of the esoteric 15 American states, and judging by the impoverished
results, which might 22.5V battery required landscapes he captures, the answer perhaps lies in
result in lucrative to fire the flashbulb put the empty streets and vacant shops. When faced with
film sales stalling. me off, so I stuck with limited options, people will turn to any opportunity
natural light, although, that provides escape from drudgery. In these locations,
Film facts having decided to the American Dream has turned stale. The
So while, in essence, cross-process my film, expectation of a fulfilling life seems to have abandoned
this is an eye-level box I knew there would the individuals who once occupied these streets. An
camera, there are a few be nothing particularly air of tragedy pervades these images. We know full
minor sophistications. It natural about the colour well that many of the individuals who once traversed
has three apertures and rendition of the results. these walkways and visited these stores will never
three focus zones, together with a Where possible, I try to match the return. Volunteer is a haunting project and is also
wind-on system that doesn’t require you subject to the camera, so Professor Jon’s utterly engaging. +++++
to use the red window, other than to Flea Circus, a faithful rendering of a 1950s
advance the film to the first frame. fairground sideshow, was a lucky find. Billed
An immediate obstacle is the fact that it as the smallest circus in the world, it’s
uses 620 film. This is identical to 120 film, guaranteed to leave you itching for more. Goodwood Revival
which is still widely available today, but it But don’t worry about his unhealthy by Uli Weber, Skira, £39.95, hardback,
uses a slimmer spool. The vast majority of looking skin tone, as this results from ISBN 9-788-85722-293-6
620 cameras will not accept 120 spools, using slide film cross-processed in EVERY year, Goodwood stages
so some way has to be found to get negative chemistry – it’s not due to a race meeting for the kind
around this. The cheapest solution is an unpleasant flea-borne disease! of cars and motorcycles that
to re-roll a film yourself, or failing that, would have competed at this
re-spooled film can be found online. Any historic circuit between 1948
original 620 film you might come across
Tony Kemplen’s love of photography began as a teenager and 1966. This series of images
is likely to be very much past its best, as and ever since he has been collecting cameras with by Uli Weber is a thrilling step
it was last made in 1995. I opted for the a view to testing as many as he can. You can follow back in time, and one that will
DIY route, using some recently expired his progress on his 52 Cameras blog at 52cameras. set any nostalgic petrolhead
and cheap Fujifilm slide film. blogspot.co.uk. You can also see more photos from drooling. There is undeniably
I’m not a fan of flash photography, which the Kodak Brownie Flash 20 at www.flickr.com/ something spine-tingling about seeing these majestic
is a shame, as the flash reflector is what tony_kemplen/sets/72157633518635984 and beautifully designed machines in action. It’s also
a great history lesson in the development of the
motor vehicle and racing culture. For just a few
Do you have something you’d like to get off your chest? Send us your thoughts in around pounds, you can leave the modern world behind
500 words to the address on page 17 and win a year’s digital subscription to AP, worth £79.99 and dream. +++++

Here, I used just the
150cm octa and a black
bounce. I warmed the
image by adjusting the
colour temperature, then
added a vignette with
Lightroom and used the
Imagenomic Portraiture
Photoshop plug-in to
soften the skin to an
almost painterly effect
STUDIO LIGHTING Technique
JAMIE’S KIT LIST
Light
2x Bowens Gemini
▲
500R flash and stands
Bowens produces reliable flash
models of varying outputs
and at a range of prices.
Invest in decent stands
that can take the
weight and allow you to
reach the necessary height.
work Lencarta
▲
softboxes
I’m very impressed with
Lencarta’s range of affordable
softboxes. Unfortunately,
the 150cm model is now
discontinued, but the company
offers 120cm and 85cm
Jamie Harrison demonstrates how versions. Other models from
to achieve a classic fashion look with Profoto, Westcott, Elinchrom
and Bowens are available in
this simple and adaptable set-up a variety of shapes and sizes.
L
Manfrotto
▲
ighting is the before the diffuser panel is placed
fundamental starting on the front. It’s called an octa Expan
point of photography, because it is an octagonal shape, background
and for those who are and it is available in a variety of
venturing from the outdoors sizes and depths.
system
into the studio, the vast array The key light is placed to the
The Expan system is
of lighting equipment available right or left of the camera and at
designed for permanent
and complicated lighting set- a 45° angle to the model. This is
fixing to a wall in the studio,
ups this seems to open up can essentially Rembrandt lighting,
but free-standing systems
be overwhelming. When you’re and is named after the artist who
are available if permanence
shooting people, the simplest often used the same flattering
is not an option.
way is to start with one light, and form of window lighting in his
then build up the light around paintings. I like to work in this Colorama Storm Grey
▲ 11ft
it. Although I work mainly with way because it creates a huge soft paper background
young female models in the beauty, pool of flattering light, allowing the
hair and fashion fields, the same model to move position without The Storm Grey background
techniques can be used with worrying too much about affecting is a midtone grey that is
a variety of subjects – I’ve used the way in which the light falls on a standard in most fashion
them for corporate portraits, him or her. studios. Colorama also
actors’ head shots and even kids. A large light source can also produces lighter and darker
This set-up is something you illuminate the clothes and body for tones, and myriad other
can use again and again, and it full-length shots. The concentrated colours. Alternatively, you
can be adapted to your personal light produced by smaller octas could just use a wall.
needs, the subject and even to requires the model to be more
Adobe
▲
the equipment you own. static and remain within the

beam, as the light falls away to Lightroom 5
Key light shadow more quickly with this I can’t work without Lightroom
The key light provides the majority smaller light pool. A smaller light and it’s my standard tool for
of your picture’s illumination and source can also increase contrast, organising and editing my
is always the starting point before if that is the effect you wish to shoots. I also use the Develop
you begin to build the lighting achieve. Placing the light high and tools to add effects and tweak
around the subject. One of my most pointing down towards the subject colour before exporting to
used light modifiers is a 150cm ensures that the model’s shadow Photoshop CC for retouching.
Lencarta folding octa softbox, will fall on the floor and not
which opens like an umbrella on the background.
Olympus M.Zuiko Digital
▲
45mm f/1.8 lens

Jamie Harrison With a 35mm equivalent
Jamie Harrison is a professional photographer and journalist, of 90mm, this lens
specialising in beauty, commercial portfolios and portraiture. With is perfect for three-
almost 30 years’ experience, he has had photographs published quarter-length and
extensively in magazines and websites worldwide. Jamie regularly head shots, and has
works with model agencies, testing new models and building impressive sharpness
portfolios for more established models. www.jamieharrison.net for its price and size.

Technique
Exposure
The key light determines your
exposure. I aim for an aperture of
around f/8 to f/11 to ensure that I achieve
sufficient sharpness. However, if I’m
shooting beauty, which tends to require
close-ups of the model’s face, I may decide
to use a wider aperture.
Working with studio lights requires you
to use manual exposure and, because it’s
flash, the shutter speed is fixed to whatever
your camera dictates for flash photography.
My Olympus OM-D E-M5 has a maximum
flash synchronisation speed of 1/250sec.
However, because I use a wireless flash
trigger between the camera and strobe, I
reduce it to 1/125sec. This is because,
occasionally, there may be a slight delay
between the trigger and receiver. Although
this is a fraction of a second, it can cause
the shutter curtain to miss the exposure,
resulting in a partially exposed frame.
Almost inevitably, this happens with the
best image from the session.
Because the shutter speed is fixed,
exposure is therefore determined by the
power and position of the light, and the The key light was an
aperture. Because I know the aperture octa to the model’s
I want to shoot with, all exposure right, with a black
decisions then rest on the strobe. All panel around 1m to
modern studio lights allow you to her left. A fill light
incrementally adjust the power output of with a small square
softbox directly
the flash, usually in 1-stop increments, above her head
with smaller steps in between of 1/10 stop. emphasises the
Just as the relationship between shutter bright-red hair
and aperture is reciprocal, so is the
relationship between the light power
and the aperture. So if, for example, you
are shooting at f/5.6 and want to stop HOW TO GET THE LOOK
down to f/8, you would increase the
light output by 1 stop. If you wanted
to shoot at f/4, you would decrease the
light output by 1 stop.
The second factor to consider when
setting your exposure is the distance
between the light and the subject. Moving
the light closer to the subject will brighten
him or her, while increasing the light-to-
subject distance will darken the subject,
so you need to adjust accordingly. For
example, if you want to shoot at f/8 and
your light is at maximum output but your
subject is still underexposed, move the
light closer, and vice versa.
This is all explained in the inverse
square law, which is the mathematical
formula that explains how the power of
light reduces over distance. The beauty
of photography is that technological
advances mean we don’t need to worry 1 Model position 2 Key light
too much about it these days, as we can For a clean background, don’t position your The main light is a 150cm octa softbox on a
simply measure the light using a handheld model right up against your backdrop. If he Bowens strobe, which is set up in front of and
flash meter, or by simply looking at the or she is too close, they will cast a big shadow. at 45° to the model, and positioned to the left
LCD screen on the camera. If you can This may be fine for some images, but of the camera. It is placed high on the stand,
tether your camera to the computer and I preferred to avoid it with this shot. By at around 2m, and is set to full power. I
review as you shoot, even better. placing my model approximately 2m from positioned the light to the left to catch the
the background, the shadow is lost. As the detail of the pleats of the skirt. This is a fashion
Fill light main light is also now further from the shot, so there has to be detail in the clothes.
If you’re happy with the lighting you background, it appears darker.
can begin shooting, but you may want

Lighting
terms
Key light
A key light is the main light in your set-up
and provides the majority of the image’s
illumination. It is usually placed in front of
the model.
Fill light
The fill light is the secondary light source,
which opens up any underexposed or
darker areas. This could be local fill, such
as clothing or the face, or the complete
subject. Fill lighting can be produced by
a second light or using a reflector.
Kick light
The kick light, or kicker, is typically placed
to the side of the model in order to
provide a strip of illumination down the
side of the body. These lights can be
used on just one side, or you could
double up and have one on each side.
The key light was
a large octa set at
low power, placed to
Rim light
the model’s right, and A rim light is similar to a kick light, but is
placed more directly behind the model
ALL PICTURES © JAMIE HARRISON
a small strip light for

fill to her left. I used a in order to provide a rim of highlight,
Lensbaby Composer especially in the hair, often with a snoot
at f/2.8 for the placed over the strobe. Generally, this is
shallow depth of field currently seen as a little old-fashioned,
and distortion but fashions change.
3 Fill light 4 Kick light 5 Posing and cropping

With only one side lit, I am presented with I could have stopped there, but I wanted to Shooting at three-quarter length with a 90mm
three options. I can leave the natural shadow add a little more modelling to the right-hand equivalent lens and just below the skirt shows
as it is, I can emphasise and deepen it, or I side of the image. Adding a second light fitted off both the clothes and the model to their full
can fill in the right-hand side with more light. with a strip softbox on the model’s right and potential. Some models will throw themselves
None of the three choices is wrong, but in this slightly behind her adds a rim of light into around the set and twist themselves into
instance, I wanted to throw a little bit of light her arm and down her right side, which also dramatic positions, but sometimes simplicity is
back to brighten the model’s face and also to creates a separation from the background. king. I directed the model just to make small
bring out a little more detail in the black skirt, movements – a tilt of the head, shifting her
so I used a white 8x4ft polyboard as a fill light. weight from one leg to the other, a hand on the
You could also use a reflector. hip or dropping a shoulder.

Technique
A black bounce
very close to the
model on her
left-hand side, the
monobloc lower
at around 5ft, a
smaller 80cm octa,
and Lightroom
vignetting all
combine to produce
a stark, high-
contrast black &
white image
The octa was placed just above the model to

her right and a black polyboard to her left to
produce some shadow without losing detail
to introduce a secondary light source,

or fill light, to bring some modelling
– or depth – into the shot. This could be
from a second strobe, or a reflector for a
softer fill. If you’re using a strobe, then
generally the fill light will be set either at a
lower output to the key light, or placed
further from your subject. Set it up on the
opposite side to the key light to fill in areas reflectors can be used to bounce light back placed directly above the model to
of underexposure on the face or in clothes. in your studio set-up, as they provide more illuminate the hair, which is usually
Most photographic studios have reflectance than white panels. Reflectors referred to as a hair light, or directly
large 8x4ft polystyrene panels, called come in a range of finishes, offering a behind the model to provide a highlighted
polyboards or V-flats, which have a black variety of diffusions of light and, in the silhouette effect. This is more commonly
side and a white side. Using the white side case of gold reflectors, adding warmth to known as a rim light. Kick lights are often
bounces the light back on the model to the subject. The desired effect is achieved set either at higher power than the key
‘fill’ in the shadow. The black side absorbs simply by moving the reflectors closer to light, or closer to the model, in order to
light and produces a deep shadow. Again, or further from the subject. achieve the highlighted effect.
this is often used for a moody effect, or to The beauty of this technique is that it
emphasise bone structure or muscle tone. Kick light can be adapted to a variety of spaces and
It’s often used to produce a V-shaped light Once the key and fill lights are in place, requirements. The key light can be placed
on the cheekbone as the shadow from the you can begin shooting. Alternatively, to the left or the right, the fill can be added
nose falls across the face to meet the you can continue to build up the lighting or not, or a black reflector used instead
shadow of the jaw line. with a kick light. Kick lights are generally – and the kick light is entirely optional. In
Polyboards aren’t practical in home placed to the side or behind the model to post-processing, the set-up allows further
studios or on location shoots. In cases such provide highlights along body parts and creative options, from converting to mono,
as these, a collapsible reflector is more hair, and to create a separation from the increasing or decreasing contrast, or
practical. If you prefer, silver or gold background. A kick light can also be adding false tones and colour.
Finding models
THERE are a number of brilliant resources on the internet specifically designed for
photographers, models, make-up artists, hairdressers and stylists to network and begin working
together, such as modelmayhem.com, purpleport.com and purestorm.com.
Facebook is also a great resource, with several local groups where people can seek out
new connections, show off their work and discuss all things photographic. Many also offer local
group shoots, giving you the chance to split any costs, share tips, compare kit and network over
a pint afterwards.
Always remember to be friendly and respectful, and to make the models feel comfortable so
they will recommend you and make it easier to find new subjects. Most of all, make the shoot fun!

COMPETITION
WORTH
£600*
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Billingham 550 bag
Pink Lady® Food Photographer of the Year is delighted to offer
one lucky reader the chance to win an all-singing, all-dancing
Billingham 550 bag worth £600
THE 550 was the first production bag Billingham entries until 8 February 2015. Visit www.
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It is still one of the largest in Billingham’s range, and To be in with a chance of winning a Billingham
probably the first choice of bag if you never want to 550 bag, visit www.amateurphototographer.co.uk/
worry about leaving something behind. Even without billinghamcomp and answer the simple question. The
the two detachable end pockets, the 550 is still large closing date for entries is 30 January 2015. The
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the world’s leading awards recognising the art and conditions can be found on the AP website at
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The closing date for entries is Friday 30 January 2015

A
In AP 20-27 December, we asked…

C
B
Inbox
Email amateurphotographer@timeinc.com and include your full postal address
Write to Inbox, Amateur Photographer, Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London SE1 0SU
Did you fulfil your photographic
New Year’s resolutions in 2014? LETTER OF THE WEEK
You answered…
A Yes
B No
14%
15%
True grit
Two years ago, a friend and I went shooting
C Partially 18% at Keswick in the Lake District in the depths
D I didn’t make any 53% of winter. I’ve never been so cold in my
life. So it caused my admiration for the
What you said Shackleton expedition photographer Frank
‘I set out to “get my work out there”, and I ended up Hurley (AP 6 December) to increase tenfold.
getting my writings about photography “out there”!’ Like Robert Falcon Scott’s equally dedicated
‘I could answer no but I could equally answer yes, photographer Herbert Ponting, Hurley was
because I didn’t make any.’ a breed apart in terms of his dedication in
the most extreme conditions imaginable.
‘Partly – I wanted to make a book, but haven’t yet.
Unlike the awkward and bulky cameras
Just finishing them (two books!) in Lightroom, but
Hurley (and particularly Ponting) used, for
won’t be ready in 2014.’
our visit to Keswick I was armed with just
‘Of course I haven’t, photographic or otherwise. a Nikon D90, an 18-200mm lens and
Resolutions are statements of intent, normally made a tripod. We also had the luxury of my
while recovering from far too much food and alcohol.’ friend’s warm camper van to help alleviate
‘My photographic resolutions in 2014… were between our discomfort. So I’m trying to imagine
7 and 8 megapixels (*waggles eyebrows*).’ the sheer grit of Hurley and Ponting who,
Join the debate on the AP forum despite the appalling conditions they
endured, managed to return with such
This week we ask awesome images – or the tooth-gnashing and back was truly commendable. In his
frustration Hurley surely felt at having to editorial for that issue, Nigel Atherton asked
How much Photoshop manipulation dump 400 precious glass plates in order if we have ever risked our safety for the sake
do you consider to be acceptable? to reduce weight for their journey. of a picture. Those guys certainly did – and
Vote online www.amateurphotographer.co.uk Recalling the biting cold of our shoot just look at the quality of their work!
in Keswick really helps put Hurley and Terry Armstrong, Tyne and Wear
Ponting’s achievements in conditions
Guess the date far worse into perspective. To return with
such iconic images after what was – on both
I wonder what Hurley and Ponting
would have made of your D90? –
expeditions – a journey to hell Nigel Atherton, Editor
Win!
With ultra-fast performance, the new Samsung 16GB EVO SD card,
Class 10, Grade 1, offers up to 48MB/sec transfer speed and has a
ten-year warranty.
www.samsung.com
Georgia on my mind of stamps featuring Herbert A mug’s game?

I loved the feature in AP 6 Ponting’s photos (he was the Am I missing something, or
December on the photos photographer on Robert am I going soft in the head
taken by Frank Hurley in Falcon Scott’s expedition) – now that I have reached the
Antarctica. It brought back a great memento, reasonably grand old age of 65? Why
memories of a trip I took a priced, and very light and easy are cameras and lenses and
few years ago to the Falklands, to bring home. They are now all things photographic so
Win! Every week we post an old AP cover on
our Facebook page and all you have to do
is guess the issue date (day/month/year). The person
South Georgia and the
Antarctic Peninsula. One
framed and on the wall of my
study, alongside some of my
expensive? Are we being
brainwashed by the photo
who is closest to the exact date wins a year’s digital of the many highlights was photos of the trip. industry and press into shelling
subscription to AP, worth £79.99. To guess the date of a trip to the South Georgia Thank you for a very out a king’s ransom for
this cover (above), head over to www.facebook.com/ Museum in Grytviken, where informative magazine. so-called ‘serious’ gear?
Amateur.photographer.magazine. Forum members there is a comprehensive Steve Rawlins, via email I’m beginning to see my
can also enter via the Forum. display about Shackleton’s wife’s point of view since we
voyage, with many artefacts Funnily enough, I have a replaced our cooker last week.
The 20-27 December issue’s cover was and a number of Hurley’s framed print of Ponting’s A double oven suitable for
from 2 February 1972. The winner is Bryan photographs. famous ice cave image a family of four at the price
Metters from Lancashire, who was closest At the post office in South on the wall of my study of £235! I could have added
with his guess of 28 November 1972. Georgia, I bought a number – Nigel Atherton, Editor a medium-range washing

INBOX
Contact
Amateur Photographer, Time Inc. (UK), Blue Fin Building,
110 Southwark Street, London SE1 0SU
machine and a dishwasher, Telephone 0203 148 4138
all for a total of £700. Small Email amateurphotographer@timeinc.com
change compared to camera Picture returns: Telephone 0203 148 4121
Email appicturedesk@timeinc.com
gear. I just would not have got
any serious photographic gear Subscriptions
Email magazinesdirect@quadrantsubs.com
for £700! Why?! Telephone 0844 848 0848 or +44 (0)330 3330 233 (overseas)
I feel as if I have been a One year (51 issues) UK £145.55; Europe e259.99
mug all my life, brainwashed USA $338.99; Rest of World £221.99.
into accepting the rhetoric Test Reports
regarding the price of all things Contact OTC for copies of AP test reports. Tel: 01707 273 773
photographic. Can anyone Advertising
justify what I am now agreeing Email mark.rankine@timeinc.com
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Have I been a mug all my life? Display telephone 0203 148 2516. Fax: 0203 148 8158
Inserts call Innovator on 0203 148 3710
My answer is yes, I have!
John Heywood, via email Editorial team
Group Editor Nigel Atherton
Group Editor’s PA Christine Lay
I can’t say I agree with you, The Samsung NX11 Deputy Editor Richard Sibley
John. Cameras, in real – would your child Technical Editor Andy Westlake
terms, have never been recognise it as a camera? Deputy Technical Editor Michael Topham
cheaper. Looking back Technical Writer Jonathan Devo
Technical Writer Callum McInerney-Riley
through AP’s Christmas there’s very little 73) makes me wonder at the Features & Technique Editor Phil Hall
1984 issue, for example, technology in an oven speed of technology and how Senior Features Writer Oliver Atwell
Dixons was advertising the compared with a camera young children are moving so News Editor Chris Cheesman
fairly basic Canon AE-1 for – Nigel Atherton, Editor quickly with it. Production Editor Lesley Upton
the ‘unbeatable’ price of Martin Harrity, Cumbria Senior Sub Editor Oliver Cotton
£199.99. Today, you can Camera question Art Editor
Deputy Art Editor
Mark Jacobs
Sarah Foster
buy the Canon EOS 1200D We had a visit from a relation Years ago, my non- Designer Antony Green
with 18-55mm lens from and their little girl, who is nearly photographic friends were Studio Manager Andrew Sydenham
the same company (Currys) two. We went to a play area, perplexed by my 5x4in Picture Researcher Rosie Barratt
for £289.99 – just £90 where I wanted to take monorail camera. My Online Manager Karen Sheard
Online Production Editor Paul Nuttall
more. Look at the a picture of her. As I took out own children were always Digital Art Editor Simon Warren
difference in technology my Samsung NX11, the little thrown by the absence of Digital Production Editor Jacky Porter
between them, and then girl looked at me, looked at her an LCD screen when they Staff Writer Jon Stapley
consider how average parents, looked at my camera picked up a 35mm camera. Video Production James Fenn
salaries, house prices and so and said, ‘What’s that?’ Perhaps a camera of any Photo-Science Consultant Professor Robert Newman
Senior contributor Roger Hicks
forth have changed over the I was surprised and description is an object
Special thanks to The moderators of the AP website Andrew
past 30 years. You may be saddened. All she was used of mystery to today’s kids.
Robertson, Fenris Oswin, lisadb, Nick Roberts, The Fat Controller
able to buy a double oven to were camera phones and But people will always take
for £235 but you could also tablets from her mum and dad. pictures, even though the Advertising
Advertising Director Mark Rankine 0203 148 2516
spend over £1,000 on one My learning of photography tools may change – Nigel Advertisement Manager Julia Laurence 0203 148 2508
(just like with cameras) and from the age of 14 (I am now Atherton, Editor Senior Display Sales Exec Simon Gerard 0203 148 2510
Sales Executive Andrew Slizys 0203 148 2637
Sales Executive Ellie Banks 0203 148 2543
Production Coordinator James Wise 0203 148 2694
In next week’s issue On sale 20 January Marketing
Marketing Manager Samantha Blakey 0203 148 4321
Publishing team
Panasonic Chief Executive Officer Marcus Rich
Cometh Lumix
DMC-CM1
Managing Director
Publishing Director
Group Magazines Editor
Paul Williams
Alex Robb
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the hour
Why the first hour of the day is
A smartphone with a
1in sensor? Or a camera
that makes phone calls?
Printed in the UK by Polestar Group
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DIPLOMA IN DIG
ALL PICTURES © STEPHEN DALE

Improve Your How the course works
Photography A
S THIS is a home study course, Students are assigned a personal
students are free to work at their tutor who is responsible for providing
own pace and in their free time. written feedback and guidance,
There are no classes to attend, the and who will be able to answer any
course is all-year round and you can UYIWXMSRW8YXSVWEVIJYPP]UYEPM½IH
enrol at any time. photographers and either teach
On joining, you receive the course photography professionally or have
‘There is no better way to learn manual and the module book, which extensive occupational experience
and improve our photography outlines the work you need to submit [MXLMRXLI½IPH
to your tutor as you progress through On successful completion of the
than to enrol on a proper the course. You can work to suit your GSYVWI]SY[MPPVIGIMZIEGIVXM½GEXI
GSYVWIPIHF]UYEPM½IHERH own schedule, but 10 modules should graded and signed by your tutor and
be completed within two years. the SPI senior tutor.
experienced tutors who can
offer one to one coaching and
guidance. Our own SPI courses
have been created by respected
tutors, with the collaboration of
the Amateur Photographer and
What Digital Camera teams, to
ensure they’re tailored to the
needs of our readers, and by
allowing you to work
at your own pace
they’re ideal for
those of us with
Course outline
T
HE course consists of 10 in-depth modules, RETOUCHING
busy lifestyles.’ HIWMKRIHJSVETIVWSR[MXLEGSR½HIRXKVEWT Learn how to use
of photographic technique who wants to learn ½PXIVWERHZEVMSYW
Nigel Atherton, how to capture and process a digital image to a high tools to remove dust
Group Editor standard. The fully illustrated course workbook covers and unwanted objects
everything students need to know to complete the from images.
course successfully.
SHARPENING
Studend tonpanroSPfiIlecourse because I

FINDING OUT IDENTIFYING Sharpen images using
ABOUT YOU TONES unsharp masking in your
Approach a wide variety Learn how to use the image-editing software
‘I enrolle of subjects and give your Levels tool to adjust, and analyse your results.
ed off, and
felt my progress had levell tutor an insight into your contrast and brighten
idance as to
I wanted professional gu
photography. your images. WORKING IN
, MONOCHROME
how I may improve. So far COLOUR USING CURVES Selectively convert
se ,
I have enjoyed the cour CONTROL
IN SOFTWARE
&IGSR½HIRX[LIR
using curves – create
a colour image to
monochrome and tone
the tutor guidance is Correct colour casts in complex curves to a monochrome image.
very helpful, and the your images – creatively adjust contrast.
¾I\MFPIREXYVISJXLI adjust colour in your
images for effect. WHITE BALANCE
A DIGITAL
PORTFOLIO
GSYV WI½XW[IPP[MXL \ SETTINGS Students select a
my busy working life .’ EXPOSURE Identify common types coherent set of images for
Master exposure for of light and decide on a portfolio and produce
Stephen Dale highlight and shadow the best white balance good-quality prints for
detail and predict the setting to suit your presentation.
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next level.
American photographer William Mortensen has been largely
erased from photographic history. However, a new book hopes
to place him within the annals of photographic legend. Roger
Hicks takes a look back at Mortensen’s challenging career
WILLIAM MORTENSEN
ALL PICTURES © WILLIAM MORTENSEN

Main picture: ‘A
Family Xmas in 1914’,
c1927. This (highly
staged) scene dates
from less than
a decade after the
end of the First
World War
Right: Self-portrait,
c1955. This is a
combination-printed,
selectively toned,
hand-coloured
‘Metalchrome’
I
magine a major photographer
being systematically written
out of photographic history.
Not merely neglected;
not accidentally forgotten; but
deliberately excluded, airbrushed
out of existence, like the victim of
a Soviet show trial in the 1930s.
This is what happened to American
photographer William Mortensen
(1897-1965). He and Ansel Adams
were at daggers drawn, and Group
f/64 sided with Adams. Worse,
Beaumont and Nancy Newhall,
authors of the otherwise excellent
The History of Photography (1937),
hated him as much as Adams did,
and refused to mention him.
A new book, American Grotesque
(Feral House, 2014) should redress
the balance considerably. It is an
excellent summary of Mortensen’s
life and work, and it fills in and
enlarges upon many of the points
that are glossed over or indeed
wilfully distorted in Mortensen’s
own account of his life in his
autobiography The Command
to Look. The latter is the summa
summarum of his philosophy,
and is simultaneously reissued
by Feral House with a valuable
introduction and an interesting if
tangential postscript on Satanism.
So what did Mortensen do?
Why was he so unpopular with
f/64 and the self-appointed purists?
And why are there still unabashed
and indeed evangelical devotees of
his work, long after his death?
On the aesthetic side, he was
as far from the sacrosanctity of
the captured image, the unspoiled
(though Zone-processed) negative,
as can readily be imagined. He
used texture screens, combination
printing, retouching of both
negatives and prints,
21
WILLIAM MORTENSEN
composite paper negatives,

selective toning, hand
colouring, bromoil and bromoil
transfer, drawing, distortion, actors,
make-up (including prosthetics)
and all sorts of other things that
were anathema to Adams and his
chums, who claimed to be ‘straight’
or ‘purist’ photographers. In reality,
of course, they were nothing of
the kind. Anyone who has read
Adams’ famous trilogy, The Camera,
The Negative and The Print, can
vouch for that. Adams was all
for manipulation, but only on
his own terms. Mortensen was
at least as good a printer as Adams,
and a better manipulator, but far
less blinkered. His view was that
there are few, if any, rules in art, but
that there are plenty of guidelines, American Grotesque is
useful tricks and even formulae. published by Feral House,
And yet, his pictures remain priced £32.50. The
resolutely photographic, with Command to Look, also
the inherent authenticity of a published by Feral House,
photograph. You can’t believe that costs £14.99
you aren’t looking at a photograph,
but equally, you can’t believe that
you are. This, I suspect, frightened
the f/64 brigade most of all. They
had very fixed ideas of what Above left: pretty: few, if any, could be offended and complex development regimes.
a photograph should be, and ‘Belphagor’, 1935. by looking at them. Puritans and Instead, he believed in keying the
Mortensen’s images weren’t it. Most of the effect is prudes were, however, immediately exposure to the highlights, and ‘the
This was quite apart from his down to extremely receptive to attacks on Mortensen’s fullest possible development’. His
subject matter, which incorporated heavy make-up work from (photographic) ‘purists’. theories are a highly opinionated
and prosthetics
a fair amount of nudity, suggestions On the technical side, he interpretation of Hurter and
of sadism and more than a slight Above right: ‘The propagated his own theory Driffield’s 19th century work in
anti-religious slant. Adams’ ‘trees Tribunal’, c1926 of exposure that was in direct sensitometry (much like Adams’).
and mountainsides’ (to quote Adam – sex, sadism and opposition to Adams’s long-winded On top of all this, thanks to his
Parfrey of Feral House) were combination Zone System, with its insistence friend, collaborator, model and
essentially anodyne and pretty- printing on capturing long tonal ranges ghost writer George Dunham, his

WILLIAM MORTENSEN
a magnificent illustration of how

we bring our own imaginations and
preconceptions to whatever we see,
while simultaneously being led to
see things anew. Of the picture, he
says himself, ‘Sex, of course, is the
subject interest and is given added
morbid pungency by implications of
a sadistic variety.’ He says that, and he
presumably knew what he intended.
But did he? In Monsters and
Madonnas, he gives a panegyric to
the unconscious: ‘The photographer…
will be borne along on a free-flowing
stream of association. He will
depart widely, weirdly, wildly and
outrageously from his first concept…’
This is a part of what makes him
seem so modern. The sex and violence
foreshadow Japanese Manga cartoon
strips, but there is also social
comment: ‘Human Relations 1932’,
for example. Or ‘A Family Group
– Xmas 1914’. It is posed, but
gruesomely convincing: a whole
family dead or dying in the cellar
of a house wrecked by war. In
other pictures, the sex is no longer
anything like as shocking as it
must have been in the 1920s
be either completely ignorant Portrait, 1924.

of his work or deeply repelled
Although the
portrait is widely
‘You can’t believe that
by what little they have seen of it.
The latter is not impossible. As
believed to be of you aren’t looking at a
Fay Wray, this is
he said himself of ‘The Pit and not certain photograph, but equally,
the Pendulum’: ‘I take malicious
pleasure in observing the horrified
you can’t believe that
reaction of the innocent spectator you are. This, I suspect,
as he comes on a picture that strikes
past his guard of polite tolerance.’
‘Caprice Vennois’,
c1930. A superb
frightened the f/64
He called this ‘intellectual sadism’, image of decadence brigade most of all’
and it certainly explains why even
his fans commonly have mixed
feelings about his photography.
Then again, Mortensen’s pictures
make you think as well as feel. They
are not pretty postcards. Some call
to mind Renaissance paintings and
woodcuts; others, Dutch masters;
yet others, high Victoriana such as
the works of Sir Lawrence Alma-
Tadema or Gustave Boulanger.
There are curious nudes such as
‘Youth’ and even more curious nudes
such as ‘Fragment’. The grotesques
owe as much to monster movies as to
anything else: Mortensen worked in
Hollywood in the 1920s and was one
books are vastly more readable than of the favourite stills photographers
Adams’ turgid, pedestrian prose. of Cecil B DeMille. He was also
Consider their description of the responsible for launching Fay Wray,
prudy-nudy nude who ‘disposes of King Kong fame, on her movie
of her hands with such accuracy career at the age of 14. As Ms Wray
and cowers in such an ecstasy of wrote decades later of his portraits
modesty that the blushing observer of her, ‘There was a person in those
feels a kindred embarrassment’. pictures I hadn’t seen before, even if
Anyone who would deny I had suspected she could be there.’
Mortensen his place in the His famous ‘L’Amour’ (seen on
photographic pantheon must the cover of American Grotesque) is

WILLIAM MORTENSEN
Left: ‘Fear’,
also known as
‘Obsession’,
c1927
Right: ‘Human
Relations’, 1932.
Mortensen openly
referred to some
of his pictures as
‘propaganda’ and
some of them are
very hard to forget.
Once again, this
relies on heavy
retouching
but the older ones, especially from

the 1930s, spill over with ‘how-to’
information: ideas, tips, techniques.
Many are as applicable to the digital
age as to film. Surprisingly, many
are even more applicable, simply
because they are easier nowadays.
We all owe a debt to the past.
Sir Isaac Newton famously said
that if he had seen further, it was
because he stood on the shoulders
of giants. Mortensen was a giant,
and it is time to acknowledge his
stature. Buy both of these new
books. But be warned: if you do,
you may well find yourself
haunting used bookshops and
the internet to round out your
collection with everything he
ever wrote.
‘If you love to read and to take pictures, read

Mortensen and follow his advice on art history’ Monsters and Madonnas
THERE are two
and 1930s, and the vision is 1897. He was also let down by significantly different
torn between antiquity and the mediocre standard of editions of William
modernity, but there is still an reproduction in many Camera Mortensen’s most famous
incredible amount to be learned Craft books, even though many book. The 1936 Camera
from almost everything he did. of the pictures are good enough Craft original is all in black
Much has often been made of to rise above it. Slowly the books & white, while the 1967
Adams’ musical background, and went out of print. But even his edition from Jacques de
of his famous comment that the worst ‘How-To’ and ‘How-Not-To’ Langre has eight colour plates. Both are frighteningly
negative is the score and the print shots are often gold mines of expensive in good condition, typically £100-£250.
is the performance. But if Adams information. He was still teaching The ‘monsters’ are not his famous grotesques, as many
is the musician’s photographer, shortly before his death in 1965, imagine, but what he calls ‘the machine’: the camera
then Mortensen is the literary but by then he was regarded as a as the focus of consumerist and technical obsession,
intellectual’s photographer. If you leftover from another age. as master rather than servant. His correspondence
love to read and to take pictures, Allowing for all this, the with Richard Simon of Simon & Schuster throws
read Mortensen and follow his inspirational value of Mortensen this into sharp relief and is summarised in the new
advice on art history. You are is not to be underestimated. You introduction to The Command to Look, which is very
unlikely to regret it. may think, ‘Good grief! That’s nearly worth the price of the book in its own right.
What, then, of his decline? He had awful! I could do better!’ Go on, To understand Mortensen more fully, seek out not
fallen out of fashion by the early then. If you can’t, then res ipsa only the surprisingly slim Monsters & Madonnas,
1950s, but this seems to be because loquitur: the thing speaks for itself. but also technical books such as The Model (1937),
he had to a considerable extent lost If you can, better still. It would be Outdoor Portraiture (1940), Mortensen on the Negative
his way. His highly staged and odd if there were no one today, (1940) and even Pictorial Lighting (1935). Most were
conceptualised grotesques and 118 years after Mortensen’s birth, published by Camera Craft of San Francisco and can
classically themed pictures, whether half a century after his death, sometimes be found for sale, often at surprisingly
nudes or more conventional who could take some of his ideas high prices. Search online for downloads: some are
portraits, increasingly gave way to and remake them, or draw available from www.whmortensen.com and you
nudes in pin-up style: he was always inspiration from them, in the 21st can find The New Projection Control at archive.org/
somewhat sexist by modern century. The new books are an details/newprojectioncon000727mbp.
standards, but then, he was born in excellent source of inspiration,

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WILDLIFE WATCH
Barn owls
To photograph a barn owl fluttering moth-like
over a meadow on a crisp winter’s day is special. Barn owls can
David Tipling reveals how to get the shot be found across
most of the UK
About the barn owl

One of our most distinctive and much-loved countryside birds,
the barn owl is an expert hunter with excellent vision.
● Location: Widespread across the UK and Ireland, with the
exception of some areas of Scotland and Ireland.
● Size: 30-40cm, with the female larger than the male.
● Nest: Unlined nest of floor debris in barns, ruins, haystacks,
hollow trees or holes in a cliff.
● Diet: Rats, mice, voles and occasional fish and frogs.
● Population: There are estimated to be 4,000-5,000 breeding
pairs in the wild.
David Tipling
David Tipling is one of the most widely
published wildlife photographers in the
world. His pictures appear on hundreds of
book and magazine covers, and have been
used in various other ways, from wine
A long focal length of 500mm was used to capture this female barn owl hunting labels to being projected in New York’s
Times Square. www.davidtipling.com
BARN owls are normally nocturnal, but in the UK, and

particularly in eastern England, they can be seen
hunting during the day, especially in late winter and
when feeding young in summer. Getting great images
requires good fieldcraft, while keeping an eye on the
weather forecast will increase your chances (see
opposite page).
Habitat
Barn owls favour hunting over grazing marshes and
meadows and along wide field margins adjoining
hedgerows. These sites will hold good populations
of rodents, particularly voles. Meadows that are heavily
ALL PICTURES © DAVID TIPLING
grazed soon prove unattractive, though, as voles leave

locations where there is insufficient cover. Individual
owls will have favoured hunting sites and repeatedly
return to quarter the same area, so once a regular
hunting haunt is located perseverance should pay off.
This barn owl was photographed on a frosty morning in Norfolk The east coast counties of Suffolk, Norfolk and
Lincolnshire offer the best opportunities for day-flying
owls, with the north Norfolk coast being top of the list.
KIT LIST
▲
Clothing Monopod
▲
Natural-coloured A monopod will offer relief Best time to shoot

clothing is a must, from the weight of a big The peak period for shooting is early January to late
while a ghillie suit is lens and is a good February. A combination of low prey numbers, cold
designed to resemble alternative to weather and a need to get into breeding condition
heavy foliage and handholding as means hungry barn owls will be hunting throughout
offers perfect it offers more the day. However, I find the first couple of hours after
camouflage, so the freedom than dawn and then from around 2-3pm until dusk are
wearer blends in using a most productive. Do not ignore the summer months.
with their natural tripod. Evenings, particularly in July, can be good when the
surroundings. owls often have large hungry broods to feed.

WILDLIFE WATCH Technique
Shooting
advice
Quiet shutter
If your camera has a noisy
shutter, try to dampen the
sound a little. The clicking
will not go unnoticed by a
hunting owl that is using its
sensitive hearing to locate
prey. I normally keep
focused and only fire the
shutter once the owl is
within optimum range. If
the owl you are trying to
photograph does not like
the sound of your shutter,
or you move too much, it
will react by veering away
and may steer clear of
where you are standing.
Camouflage
I normally handhold my
telephoto lens as it frees
me up to track the owl,
which can fly past relatively
quickly, so you need to pan
at a decent pace. I position
myself against a hedgerow
or tree when waiting,
and sometimes wear
camouflage gear that can
prove very effective. At
some sites, owls are used
to people and clicking
cameras, but at most
locations moving slowly
and using good fieldcraft
will increase success.
Positioning
A hunting owl will always
quarter a field flying into
the wind if there is more
than just a light breeze.
This gives the bird greater
control to hover and stoop.
So place yourself ahead of
the owl and you should be
able to shoot it coming
towards you.
Weather
Barn owls find it tough
to hunt in wet and windy
weather, so as soon as
conditions improve they will
be out hunting in numbers.
The best conditions in
winter are still days or a day
with just a light breeze,
which has followed a period
This barn owl shot
was taken in
of wind or rain. Very cold
Norfolk during the weather will see increased
late afternoon numbers of owls hunting
during the day too.

The
only
way
up
Romain Jacquet-
Lagrèze’s images
are a dizzying view
of Hong Kong’s
cluster of high-rise
towers. He talks
Jade Severs ‘VH #43’
Nikon D5000,
through the process 10-20mm, 15secs
at f/4.5, ISO 100
behind his work
ALL PICTURES © ROMAIN JACQUET-LAGRÈZE

W
hen we wander interesting to me. People, nature,
around while animals, street scenes, cityscapes – I
exploring a new was doing all kinds of photos. But in
city, very rarely a city like Hong Kong, it’s not
do we take the opportunity to surprising that my most vibrant
look up beyond eye-level, to ease shots were the cityscapes.’
our necks back and see what lies Recognising the potential in
above. Yet this is exactly what these shots, Romain decided to
French photographer Romain start looking specifically for
Jacquet-Lagrèze has done in his buildings that would represent his
‘Vertical Horizon’ series of images aesthetic vision of Hong Kong,
of Hong Kong. partly driven by the fact that no one
This oft-photographed region is else seemed to be looking up with a
famed for its high-rise towers that camera as he was.
house a densely packed population, ‘What gave me the energy to drive Above: ‘VH #33’, Nikon D5200, 10-20mm, 1/25sec at f/4, ISO 100
but rarely do photographers opt this project to the end was simply Below: ‘VH #17’, Nikon D5000, 10-20mm, 1/10sec at f/4, ISO 100
to document these buildings from the fact that I could not find any
the ground up. Yet when Romain other photographs that illustrated
arrived in the Kowloon district of my vision of Hong Kong,’ says
the city in 2009, he found that he Romain. ‘This place is the perfect
eventually began to do just that. city for taking such photos because
‘At the very beginning, I was of its incredible density. When you
simply exploring and discovering know that 70% of the area is
the city with my camera,’ explains covered by forests and mountains,
Romain. ‘I was just pointing my that doesn’t leave much land for its
camera at anything that looked seven million inhabitants.
28
ARCHITECTURE
urban environment when facing the

physical limitation of a territory and
land. It is a way of optimising space,
by reclaiming the sky instead of
expanding horizontally, as is the case
in most of the cities in the world.’
Location, location
When it came to finding the
buildings to photograph, Romain’s
vision was led very much by
contrasts and opposites,
juxtaposing old and new.
‘Hong Kong is fascinating both for
its messiness and also for its slick
and geometrical architecture,’ he
says. ‘I was looking to include this
extensive variety of buildings in my
series to depict the urban diversity of
this city. I felt I could do this best by
searching for the extremes at either
end of the spectrum. So, I would
shoot an old and messy residential
building, and then more modern
buildings with no trace of life, that
look almost like abstract sculptures.’
Once Romain had narrowed
down his subject matter, there was
then the hurdle of finding the right
light and time of day to shoot. There
were many times when he would
need to revisit a location in order to
get the light just right, particularly
as he was shooting with ambient
light and no artificial lighting.
‘There were many times when
I would find a good spot to shoot
in, but I’d then find the light was
not at its best,’ he says. ‘In such
cases, I had to come back again
very early in the morning or around
dusk to catch the best light.
And for other locations, it was
‘This is why the city has to grow ‘VH #24’

vertically rather than horizontally. Nikon D5200,
And all the tall buildings are packed 10-20mm, 1/13sec
together very tightly, so it gives this at f/8, ISO 100
amazing scenery above our heads
when walking through the streets. I
don’t think it is possible to find such
a dense and tall urban environment
anywhere else in the world.’
Of course, the towers vary in their
appearance as well as their height
and luxury. Romain decided to
focus his project on three very
different areas to show the effect
of extreme vertical growth in
Hong Kong in all its guises.
‘I wanted to portray the most
accurate possible representation of
the city’s architecture, so I decided
to focus on the three main areas
that are found here: the business
districts; the old-style districts; and
the densely populated residential
districts,’ he says. ‘For me, ‘Vertical
Horizon’ is the expression of the
vertical expansion of the human

ARCHITECTURE
at night that I found the most

vibrant scenery.’
Getting the shot

My favourite shot
Key to Romain successfully ‘I SHOT this photo with my Nikon
capturing the vertical rise of Hong D5200 and wideangle lens at
Kong is a camera that has a pull-out 11mm in late 2013,’ says Romain.
rotating LCD screen, used with a ‘I was taken aback by the reflections
tripod and a wideangle lens. His that these mirrored glass buildings
choice of camera was a Nikon were creating in one another and
D5000 at the start of the series, wanted to capture them. The glass
followed by a D5200. He mounted on the buildings itself is a golden-
both on a tripod with the lens orange colour, so with the double
pointing upwards. reflection it made the colour even
‘These cameras are especially good deeper, reaching an almost red hue.
thanks to the LCD screen that pulls ‘In this photo I wanted to show
out and flips up, enabling me to work the slick aspect of the buildings
on the composition in live view with with their straight lines and shapes.
great accuracy without suffering too I like to play with the symmetrical
much neck pain,’ he reveals. aspect of buildings, especially when
Positioning the camera on a tripod the symmetry is altered in some
just below shoulder level ensures way, because perfection is actually
that the photos show a view that is never reached. Here the symmetry
realistic to what anyone would see is interrupted with the reflection
when looking up, and Romain says of another building in blue in the
this arrangement ‘gives a more top-right corner of the image.
human aspect to the photos, like a It breaks the symmetry without
journey of someone looking up removing the absorption that
through the city’. comes from looking at this image.
The tripod is also an essential ‘The challenge of this photo
piece of kit for the buildings he came from the fact that the
shoots at night, helping to minimise available ambient light was much
camera shake when the shutter too bright. In order to avoid
speed can be quite slow. backlighting, I had to shoot two
In order to condense as much of photos: one underexposed with
the architecture as possible into a shutter speed of 1/30sec, and
the frame, Romain shoots with a one overexposed with a shutter
wideangle lens set to 10mm. This speed of 1/5sec. I then assembled
ensures that he is able to include an both of them digitally to create
extensive amount of detail in the one HDR image that showed the
frame, as well as keeping the lines desired effect.’
in his images straight without the
‘The photos show a view that is realistic to

what anyone would see when looking up’
distortion you would get using a
‘VH #84’
Nikon D5200, fisheye lens.
10-20mm, 30secs ‘The most important thing with
at f/8, ISO 100 this type of photography is to
avoid using fisheye lenses, which
completely bend and distort lines,’
explains Romain. ‘I love the lines to
be straight in my photos in order
to match with the reality. With a
non-fisheye wideangle lens, there
isn’t any correction needed to get
the lines straight.’
Composition
Romain’s obsession with straight
lines, patterns and angles runs
throughout his ‘Vertical Horizon’
series, and it is a theme that has
roots in his childhood.
‘Throughout my studies, I was
always interested in geometry and
mathematics,’ he says. ‘A nd when I
was a kid I was fond of geometric
subscribe 0844 848 0848

drawings. I would take a ruler and that I have when looking up in these at low altitude, which is ideal for
a pencil and could draw with these places, so I made the perspective as lending a bright purplish look to the
for hours. Whether the subject was deep as possible so the viewer feels sky in my images.’
abstract or figurative, it didn’t surrounded and has no other choice When it comes to shooting photos
matter: I just loved the feeling of but to get sucked inside the photo.’ in the early morning or during the
drawing the world with perfectly day, Romain will use HDR to
straight lines.’ HDR and post-processing combine shots with different
It is this way of thinking that has The strong geometric patterns in exposures in order to ease the backlit
clearly influenced the direction of Romain’s images are made all the Romain Jacquet- effect and adjust the image to be
Romain’s ‘Vertical Horizon’ series, more dominant thanks to his bold Lagrèze was born in closer to what the human eye sees.
where shooting in such a style use of colours and light that help to France in 1987, living in ‘I’ll take two photos at the exact
requires a sharp and precise define the clean lines and shapes. Paris until moving abroad same location, but with one
approach to composition. The time of day that he shoots his in 2008. His interest in underexposed and another one
‘In my photographs, I am looking images dictates the colours that photography began after overexposed,’ he says. ‘I’ll then
for balance,’ he explains. ‘I wanted will be cast, and whether or not a blend these two photos with
his arrival in Kowloon,
my series to look coherent, although little HDR will be required to help software afterwards.’
Hong Kong. His project
the architecture of each building the exposure. Hong Kong is a city that pushes
can be very different. In order to ‘For night photos, the strong lights ‘Vertical Horizon’ was the boundaries of what we consider
achieve that, working on the coming out from the buildings are released in 2012 as possible and in every element of his
composition was key, otherwise the enough to bring a rich density of a photo book. It was photographs, from composition to
whole thing would look too much colour to my photos,’ says Romain. reprinted as a second post-processing, Romain manages
like distracted snapshots. I wanted ‘Hong Kong also has very strong edition in 2014. Visit to effortlessly convey just that
to share the feeling of absorption light pollution when the clouds pass www.rjl-art.com to the viewer.

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Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
1 4
Anselm Gallagher, Hertfordshire Stepladder On the Street

Anselm is committed to discovering the visual 1 Anselm has 2 There’s an
possibilities of people in everyday places – discovered the interesting visual
something he credits to his love of the images graphic possibilities parallel to be found
created by photographers such as Josef of an everyday scene in the patterns of
Koudelka and Tony Ray-Jones. While he was here. The shadow is the woman’s jacket
initially fascinated by the anticipation of waiting to see the a vital compositional and the textures of
results of his work on film negatives, this been replaced by element the pavement
the instant thrill of seeing what he has captured on the back Nikon F3, 35mm, Nikon F3, 35mm,
of his DSLR. Here we see a series of images taken in 1/250sec, Ilford HP4 1/250, Ilford HP4
Manchester between 1994 and 1998.
Registration
3 Anselm has
achieved a depth
to this image by
including the feet
of the pedestrians
and their reflections
in the car bonnet
Nikon F3, 35mm,
1/250sec, Ilford HP4
34
YOUR PICTURES IN PRINT
The Reader Portfolio winners chosen every week Submit your images
will receive a SmugMug Power account, worth £35 Please see the ‘Send us your
pictures’ section on page 3 for details
each, on which to host their images or visit www.amateurphotographer.
SmugMug is the world’s leading independent cloud-based photo website for a new generation of photographers. SmugMug Power account gives you co.uk/portfolio
a fully hosted, customisable website where you will receive unlimited photo uploads and gorgeous full-screen galleries. Visit www.smugmug.com
Snow Backstage
4 The influence of 5 Here we find
Josef Koudelka is a beautiful use of
clear here. The great light and shadow. By
photographer took exposing in just the
many images of the right way, Anselm has
everyday that were managed to highlight
elevated through his the sections of the
careful consideration scene that tell us just
of subject, location enough about the
and framing location and story
Nikon F3, 35mm, Nikon F3, 35mm,
1/250sec, Ilford HP4 1/250sec, Ilford HP4
5
35
C
Michel Hersen, USA 1

Michel’s painterly influences
are clear not just from
the locations in which he
shoots, but also from his
treatment of light and
framing. His many trips to art museums
when he was child have carried through
into how he pursues his subjects and,
with his photography, he aims to draw
out the luminous qualities of the natural
landscapes that interest him. Michel’s
goal for the future is to continue
shooting the stunning vistas found in
the national parks of the United States.
Mesquite Flat Dunes… 1

1 Photographing in such stunning natural
landscapes can tell you much about how light,
shadow and form can work together to create
beautiful images. The lines in the sand are
a gorgeous natural feature here
Nikon D7100, 18-200mm, 1/250sec at f/18,
ISO 200, tripod

Reader Portfolio
Moonset Over
the Cottonwood
Mountains
5 There’s so much
to admire about this
shot. The subject
is beautiful enough,
but the pockets
of shadow add a
degree of depth
and dimension to
the awe-inspiring
landscape
Nikon D7100,
18-200mm, 1/30sec
at f/18, ISO 200,
tripod, polariser 5
Sunset at Mesquite Flat Sunrise at the

Zabriskie Point Dunes… 2 Badlands
2 It takes a 3 The burst of colour 4 Michel has
photographer with against the pale employed a subtle
a keen eye for tones of the sand lead-in line to draw
composition to gives this image an our eye towards the
find order in chaos extra level of interest sunrise in the horizon
Nikon D7100, Nikon D7100, Nikon D7100,
18-200mm, 1sec at 18-200mm, 4secs at 18-200mm, 1sec at
f/18, ISO 200, tripod f/16, ISO 200, tripod f/18, ISO 200, tripod

Reader Portfolio
2 Puffins
2 What makes this
image particularly
effective is one single
element: the centre
puffin, which, unlike
the rest in his group,
is looking directly
at the camera
Nikon D5100,
55-300mm,
1/1250sec at f/9,
ISO 504
Viðareiði Church
1 This church is in the northernmost
settlement in the Faroes and lies on the
island of Viðoy. It’s an incredible foreground
subject to include against such a stunning
and dramatic background
Nikon 7100, 18-105mm, 1/320sec at f/18,
ISO 200
North Headland Faroe Island

Coast Viðoy Waterfall Sheep Pen
3 These evening 4 Sometimes the 5 This may appear
4 rain clouds drifting best thing to do is to to be a snapshot of
over Kunoy Island allow a landscape sheep waiting for
have provided a room to breathe and their annual shear,
wonderfully to communicate its but a closer look will
atmospheric subject, own natural majesty, reveal Duncan has
particularly in the as we can see in carefully considered
pools of light this shot his composition
Nikon D7100, Nikon D7100, Nikon D7100,
18-105mm, 1/320sec 18-105mm, 1/200sec 18-105mm, 1/250sec
at f/13, ISO 200 at f/9, ISO 200 at f/5.6, ISO 317

Duncan Steward, Somerset 6
Duncan’s love of
photography was born
largely from his travels
around the UK and Europe
as a child. It wasn’t long
before he decided to pick up a camera
to make a record of the places he had
visited and it’s something that has
stayed with him throughout his life. In
the future, Duncan intends to capture
the things he encounters when he
makes return trips to both Norway
and Canada.
Faroe Island Puffin

6 Duncan has created a simple but
compositionally excellent shot here. Having
the puffin off-centre has left necessary space
on the right-hand side. This works especially
well with the shallow depth of field
Nikon D5100, 55-300mm, 1/1000sec at
f/6.3, ISO 307

Evening Class
Photoshop guru Martin Evening sorts out your photo-editing and post-processing problems
Correcting geometric distortion Submit your images
WHILE there are problems with lens chromatic then took the image into Photoshop, where I applied a Please see the ‘Send us your
aberration and focus in the original image from Adrian further adjustment using the Lens Correction filter. The pictures’ section on page 3 for
Maltby, the biggest issue is the extreme lens barrel result wasn’t perfect, but you will notice how many of the details or visit www.amateur
distortion. Rather than using a Photoshop lens profile, I lines that were curved are now straighter and the globe photographer.co.uk
used Camera Raw to apply a first-pass correction and in the top-left corner now appears less elliptical in shape.
AFTER
BEFORE
1 Apply Camera 2 Add Basic panel 3 Apply the Lens

Raw lens corrections adjustments Correction filter
To correct the extreme lens barrel distortion, in In the Basic panel, I applied a -100 Highlights The geometric distortion was not fully corrected so I
Camera Raw I went to the Lens Corrections panel and adjustment to reveal detail in the clouds and sky, opened the adjusted image in Photoshop. In the Filter
applied the maximum +100 Distortion, +66 Vertical and a +100 Shadows adjustment to show detail in the menu I selected the Lens Correction filter and applied
and -100 Aspect slider adjustments to compensate shadow areas. I also warmed the image slightly and a maximum Distortion correction along with a +27
for the vertical stretching. added some Clarity to boost the midtone contrast. Vertical Perspective correction.

AFTER PICTURES
YOUR
BEFORE
Adding sparkle
to an image
IT CAN be incredibly difficult to photograph The exposure in the original was a bit dark, Here, I used these two sliders to do the
insects close-up. For a start, they tend to so it needed to be lightened up a bit, but it was opposite and add more contrast instead. I also
move pretty quickly, and getting your subject also important to boost the contrast. Normally, used the HSL Luminance slider controls to
in sharp focus using a macro lens is never that I use the Highlights and Shadows sliders in add more sparkle by enhancing the colour
easy. Andy Kyriacou has done well here to Camera Raw to lower the contrast and open luminance contrast between the green mantis
get this great view of a mantis head-on. up the tones at the highlight and shadow ends. and the blue backdrop.
1 Lighten the image 2 Apply a rotated crop 3 Make some

I began by opening the JPEG master image via Camera In the bottom left-hand corner there was an HSL adjustments
Raw, where I first went to the Basic panel and applied out-of-focus straight edge creeping into the frame, In the HSL/Grayscale panel, I selected Luminance and
a +1.75 Exposure adjustment. The aim was also to which was a little distracting. To get rid of this, I then the Target Adjustment tool. I clicked and dragged
increase the contrast, which I did by lightening the selected the Crop tool and applied a rotated crop (as downwards on the blue background to darken the Blues
Highlights and darkening the Shadows. I also added shown here), adjusting the corner handles to avoid very slightly. I then clicked on the body of the mantis
a lot of Clarity and some extra Vibrance. cropping the image any further than was necessary. and dragged upwards to lighten the Yellows and Greens.
Lens corrections
LENS corrections in Photoshop Exif lens data, and using that
or Camera Raw are possible due information it knows exactly how
to Adobe having a database of to correct known lens anomalies
lens profiles for many different such as geometric distortion and Fisheye Auto corrected
camera lenses. This includes vignetting. It’s not just the lens
most of the popular brands and corrections in Camera Raw and Angle filter and Photomerge example of a photograph shot
models. Basically, the software is Photoshop, but also other tools that benefit from this feature. with a fisheye lens automatically
able to reference the camera’s such as the Adaptive Wide Shown here is a before and after corrected using a lens profile.
Martin Evening is a noted expert in both photography and digital imaging. He is well known in London for his fashion and beauty work, for which he has won several awards. Martin has worked
with the Adobe Photoshop and Adobe Lightroom engineering teams over many years and is one of the founding members of a software design company. Visit www.martinevening.com

Accessories
Useful gadgets to enhance your photography, from phones to filters…
XSories Weye Feye S

● £80 ● www.xsories.co.uk
Callum McInerney-Riley tests a

pared-down version of the Weye Feye,
for transferring images wirelessly
At a glance Micro USB
On the side of the
● Transfers stills and video to a smartphone Weye Feye S is a Micro
or tablet USB port where the
device is charged.
● Hotshoe-mounted device
● Works with Android and iOS
● Creates its own Wi-Fi signal
UNLIKE the original Weye Feye DSLR

controller from XSories, the Weye Feye S
does not have the ability to control a camera
wirelessly while in live view. Instead, this
smaller, more affordable version is designed
only for transferring images and not for
remotely controlling cameras.
The Weye Feye S connects to the camera Hotshoe
via a USB cable and can be mounted on the mount
hotshoe. Once connected and turned on, Weye Included in the box is
the Weye Feye S can be accessed from a Feye app a hotshoe mount with a
smartphone or tablet using the free Android/ The free Android/iOS app tripod thread on the end,
iOS Weye Feye S app. Also, images can be is easy to use and navigate, which screws into the
accessed via a computer by connecting to although annoyingly it Weye Feye S.
the Weye Feye S and typing a URL and port doesn’t refresh itself
number into a web browser. Once set up, when a picture
users can preview and download all JPEG, is taken.
raw and video files that are stored on the card.
These can then be shared out to social media
channels or relevant apps.
Recommended
Verdict
As many recent high-end cameras, such
as the Nikon D810 and the Canon EOS 7D ALSO CONSIDER
Mark II, don’t feature any Wi-Fi connectivity,
it’s extremely helpful that the functionality Weye Feye Kingston MobileLite Wireless Eye-Fi Mobi 8GB SD card
can now be added for less than £80. Equally, £199, www.weyefeye.co.uk £14, www.kingston.com £40, www.eyefi.com
it’s very useful for older cameras. Being able For users looking to share images The MobileLite Wireless card Eye-Fi support is built into many
to email JPEGs wirelessly from my Canon wirelessly and reader enables users to send their cameras, allowing users
EOS 5D Mark II is great. also have the files wirelessly from SD or a flash to transfer
ALL PRICES ARE APPROXIMATE STREET PRICES
There are plenty of cheaper alternatives ability to control drive to a smartphone images
for wireless image transfer, such as wireless their cameras or tablet. wirelessly to a
card readers and Eye-Fi memory cards, remotely via a smartphone or
but the Weye Feye S has the advantage of smartphone, the tablet – it now
allowing the photographer to shoot images original Weye Feye also boasts
while it is connected. If this isn’t a necessity, DSLR controller is cloud storage.
it may be worth looking at the alternatives. the product to get.

The latest photography kit and
technique at your fingertips
Macphun Intensify Pro can help to recover highlight and shadow details
Macphun Intensify Pro

● £35 ● macphun.com/intensify
BEARING more than a passing resemblance to Adobe Lightroom,
Macphun Intensify Pro is a simple-to-use editing program for your
raw or JPEG images. The software concentrates its resources on
contrast and detail adjustments, extracting as much or as little detail
from specific areas as you require. For example, you can choose to
adjust the micro contrast in the highlight, midtone or shadow areas.
Some basic colour adjustments are also on hand to tweak the
saturation or colour balance, and you can also create black & white
images. Adjustments can be localised by using any combination of
the software’s gradient, masking or layer tools.
The final result of the editing depends entirely on your personal taste,
with everything available from subtle increases in local contrast and
sharpness, to very over-the-top adjustments that create extreme
HDR-like images. However, the proprietary algorithms do an excellent
job of bringing out hidden details in even the flattest scene.
If you don’t know where to start, there are more than 70 presets
that can be applied with a single click – and, of course, you can create
your own. Changes are displayed in real time, and the software is
extremely responsive.
More great pictures
Overall, Macphun Intensify Pro is straightforward and easy to use. It
acts as great standalone software for a quick fix, although advanced
users can easily incorporate it into their Lightroom or
More technique
Photoshop workflow as a plug-in. Edits can then be
made to images before they are loaded back into the More opinion
main software for final editing. A standard version is
also available, priced £14, although this lacks a few
of the more advanced features and does not work
as a plug-in. Richard Sibley
Recommended More inspiration
● Download online, enjoy offline
● 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
www.amateurphotographer.co.uk/digital-edition
The split screen view makes it easy to compare before and after shots

The combination
of the D7000 and
50mm f/1.4 lens
makes for a great
portrait combination
Nikon D7000, 50mm,
1/1000sec at f/1.8,
ISO 160
IN THE FIELD Testbench
The D7000 offers
great colour depth
and tonality
Nikon D7000,
35mm, 1/2000sec
at f/2, ISO 200
On the road again

Globetrotting photographer Jacob James explains
how the Nikon D7000 took him around the world
A
t the start of 2010, I limitations, particularly when at the professional end of
was in the position that shooting in low light. Nikon’s DX sensor range.
most hobbyists reach As the weeks went by, I started I began tossing up
at some point in their to consider upgrading my camera. whether to stump up the
photographic life: I had played At the time I was just about cash for the D300S or
around with near enough every finishing sixth form and, like save some money and
style of photography until that most poor, part-time-employed get the D90 along with
point, dabbling in sports, macro, 17 or 18-year-olds, the idea of an extra lens or two.
portraiture and landscapes, but spending a significant lump of I liked the idea of the
had never really clicked with any cash on a decent camera was pro features of the
of them. It wasn’t that I was a tough decision. D300S, such as the At a glance
struggling to produce decent Back in 2010, the camera weather-sealing, magnesium-
images; I was just not enjoying market was a little easier to alloy body and upgraded video ● 16.2-million-pixel,
the process. I was suffering from navigate. Compact system features, but I wasn’t ready to APS-C-sized CMOS sensor
the photography equivalent of cameras were in their infancy spend that kind of money on ● ISO 100-25,600
writer’s block and had absolutely and not really thought of as a camera body just yet. ● Full HD 1080p video
no desire to get out and shoot ‘real’ cameras by most It was in September 2010 that ● Up to 6fps shooting rate
anything meaningful. photographers, so the choice Nikon launched the D7000. ● 100% viewfinder
It was around this time that was either an APS-C cropped When I first saw the spec sheet, ● Around £520 (body only)
I signed up for a six-week sensor or full frame for the with its magnesium-alloy body,
volunteering trip to the rural majority of hobbyists. Straight 16.2-million-pixel sensor,
west of Thailand, close to the away I knew that the cost of weather-sealing, full HD video,
border with Myanmar. My trusty full-frame lenses would prevent class-leading dynamic range and
Nikon D40 was by now getting me from heading in that direction, ISO performance, I knew
old and starting to show its so I started to look more closely that it was my dream

Testbench IN THE FIELD
The D7000 produces

clean images even in
long exposures
Nikon D7000,
12-24mm, 12mm,
2.5secs at f/18,
ISO 100
‘Coming from the 6.1-million-pixel sensor

on the D40, the D7000’s 16.2-million-pixel
resolution was brutal on my technique’
camera. It seemed that covering up my shortcomings.
somehow Nikon had listened After months of frustration
to my needs and made a camera and lots of time working on my
that ticked every single box – and technique, I gradually grew to
at a price that wouldn’t make it love the camera. But it wasn’t
inaccessible to me. until I took the D7000 out of
After a few more weeks of the UK that my passion for both
saving every penny I could, I finally the camera and photography
took the plunge and ordered a really blossomed.
D7000 body. Upon its arrival it After six weeks of shooting
was clear that this camera was images in rural Thailand, I was
a step up from what I was used hooked, not just on the camera
to. For the first time I had a top but on travelling in general.
LCD screen, dual control wheels During my stay the D7000 had
and a built-in AF motor to allow performed flawlessly despite
me to make use of Nikon’s huge it even being temporarily
range of lenses. submerged in a monsoon-
Surprisingly though, despite flooded river while I rode on the
my initial impressions, my back of an elephant.
relationship with the D7000 was After that first trip my interest
rocky for the first two to three in travel photography really took
months. Coming from the simple off. I set up my website and got
6.1-million-pixel sensor on the my portfolio out, and I started to
D40, the D7000’s 16.2-million- make inroads and occasionally
pixel resolution was brutal on my even a bit of cash from my work.
technique. Many of my images It was then that I realised I wanted The high resolution
were coming out slightly blurry, to try to make a living out of of the sensor makes
which meant I started to grow travel photography. for sharp portraits
frustrated. It wasn’t a flaw of the A second D7000 joined my first Nikon D7000, 35mm,
1/60sec at f/2.5,
camera – it was just that the lower just a few months later, in
ISO 1000
resolution of the D40 had been time for my departure back

Testbench IN THE FIELD
The 6fps frame rate makes capturing action easy

Nikon D7000, 80-200mm, 1/1600sec at f/4.5, ISO 1250
to Asia. I was due to spend Rajasthan, India. It has worked

five months on the road, equally well on the streets of
travelling through Thailand, Budapest in Hungary and Prague
Myanmar, Laos, Cambodia, in the Czech Republic as it did
Vietnam and China, and this time on the streets of Delhi in India and
I wanted to really start creating a Hanoi in Vietnam. The D7000 has
solid portfolio of images. dealt comfortably with almost
Only seven days into my trip, everything I have thrown at it.
a power hose unfortunately Whether cityscapes or landscapes,
destroyed my old D7000 during portraits or documentary work, I
the Thingyan Water Festival in discovered very few faults.
Myanmar. Fortunately, my second I believe the D7000 is one of The great dynamic
range helps in tricky
body held up after a few days’ the best all-round DSLRs that has lighting conditions.
drying out and went on to perform ever been made. There are many Nikon D7000,
flawlessly for the next three years features that I love about it: the 11-16mm, 1/100sec
– and is still going today, though 16.2-million-pixel sensor is still, at f/8, ISO 100
minus a bit of paint and the even today, one of the best
addition of a couple of dents. low-light crop sensors on the f/1.4 and 35mm f/1.4. The exposure control during filming
market, and I’ve shot work at ISO sharpness of Nikon’s primes really is pretty much non-existent.
Features 5000-6400 that has been complement the D7000 sensor One feature that is excellent
The D7000 will always be special printed in publications around and offer a huge weight saving is the D7000’s wireless control
to me because it was the camera the world. over the much larger and more over Nikon’s Creative Lighting
that got my career going. It The beauty of the Nikon system expensive pro zooms. System (CLS). I spent almost
travelled with me for 12 months is its wide range of lenses, even The D7000 was also one of three weeks in India shooting
across south-east Asia, during a though they were made decades the first Nikon DSLRs to sport purely off-camera flash portraits.
hitchhike across Europe, on ago. One of the main reasons for full HD video capture. Looking Never once did the system let
camel-back in the Sahara, while my step up to the D7000 was for back now, the process of shooting me down, even in monsoon rains
standing neck deep in the Mekong autofocus with the whole range of video on the D7000 is really not and high humidity.
River and even on the back of a Nikon lenses. The majority of my very intuitive. The codec is very If I had to find a weakness with
motorcycle for three weeks best work has been shot on fairly poor, there is no headphone the D7000, it would definitely
through the rainy season in inexpensive lenses, like the 50mm input or audio control and even be with the focusing system.
Dynamic range Even at extreme ISOs,

the images are still
very usable
THE STANDOUT feature of the I will shoot fairly spontaneous Nikon D7000, 50mm,
D7000 when it was launched was subjects, such as people in 1/200s at f/8,
ISO 5000
the incredible dynamic range of its markets, but even when shooting
sensor. Even four years on, and in the harsh midday sun, so long
with many advances in sensor as I exposed for the highlights
technology in that time, it still there would normally be plenty
has one of the highest dynamic of detail to lift the shadows and
ranges of any camera with an capture a decent exposure.
APS-C-sized sensor. The advantage of the dynamic
With around 13.9EV of range is not just being able to
dynamic range, there were capture highlights and shadows in
very few situations where I the image – with the D7000 you
genuinely wished for something also get great exposure leeway
greater. More often than not, when processing its raw files.

Focal points
It may be more than four years old, but the
Nikon D7000’s features can still hold their own
Metering Intervalometer Autofocus

Making sure that For time-lapse The Nikon D7000 has
images are exposed photography, the Nikon 39 AF points, nine of
correctly is a 2016-pixel D7000 has a built-in which are cross-type.
RGB sensor, which is the intervalometer that The AF sensor is the
same sensor used in the allows users to set Multi-CAM 4800DX,
current Nikon D610. the camera to take which allows for
a number of images 3D tracking.
at set intervals.
Weather-
sealed
With magnesium-
alloy top and
back panels, the
D7000 is strong
and lightweight,
and is fully
weather-sealed.
Autofocus was neither the quickest shot with the D7000, I have slowly
nor the most accurate. In broad come to remember just what an
77mm
daylight it worked fine for most awesome camera it is.

subjects, but as the light started I have seen many photographers
to fade the D7000’s Achilles heel over the years turn their noses up
really started to show. This is a at cameras because they aren’t
weakness I learned to deal with full frame. For the four years I
over the four years of owning the owned the D7000, I never once
D7000, but it’s the only weakness felt the need to upgrade to a
that I felt prevented this camera full-frame system. The image
from being truly legendary. quality really is outstanding and
Viewfinder Video
Images are composed using the The D7000 is capable of
the cropped sensor has never
pentaprism viewfinder, which shooting full HD video
Moving on been a hindrance to getting my
has a 100% field of view. at 1080p resolution.
As with most things, over time my images published.
preferences and needs started to It’s all too easy to get caught up
change. I was beginning to find with wanting the most recent and
two D7000 bodies and a bunch best camera, but even today
of lenses rather cumbersome, cameras such as the D7000 and
especially as my travel started to D300 still produce images that
get a little more extreme. I was will be suitable for 95% of
finding that carrying a rucksack photographers. Unless you need
with 5-6kg of camera gear was no to be able to shoot in darkness or
fun in hot climates or over rough really enlarge your images, then
terrain. In the end, I was starting to often new cameras are more of
105mm
leave gear in my hotel room and a want than a need.

even some at home. As you might have gathered,
Over the past 12 months, I the D7000 is a very sentimental
decided to make a move to a camera to me, and despite my two
smaller system and, earlier this bodies being relegated from my kit
year, finally made the move to a bag I still haven’t sold them. I think
Panasonic Lumix G micro four I’m still secretly holding on to them
thirds set-up to reduce the weight for now, and sometime in the
and size of my gear. As I start to future I will give them one 132mm
look back over the work I have final run out.

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SOFTWARE TEST Testbench
The DxO OpticsPro

10 interface
DxO OpticsPro 10
The latest version of DxO’s image-editing software
features improved noise-reduction processing and new
ClearView features that can detect and edit hazy
images. Vincent Oliver gives his verdict
T
o get the best results This displays a hierarchy of your combinations in its database. By
At a glance from a digital camera, computer’s folders and, once a reading the Exif information for
you really need to shoot
folder is selected, all the images each image, the software can
● DxO OpticsPro 10 Standard Edition in the raw file format. contained within it are displayed in optimise your images based on
is available from shop.dxo.com, However, processing raw files can the Navigation panel at the bottom the camera and lens used. If the
priced £99; the Elite Edition is be time-consuming. For years, of the screen. The Organizer software detects that your camera
priced £159 DxO OpticsPro has made raw-file mode is very similar to the Library and lens combination isn’t
● A fully functional one-month trial editing easier by using correctionsmodes found in other raw-editing available in its database, it will
version of the software can be that can help photographers to software, such as Adobe automatically connect to the DxO
downloaded from www.dxo.com/ apply edits to their images quicklyLightroom. If you don’t like the online database and download the
intl/photography/download. and easily. The latest is version 10,
Navigation panel being at the relevant module. Of course, an
● Mac and Windows compatible and it adds a number of new tools bottom, it can be repositioned internet connection is required to
and optimisations to the existing anywhere on the screen, or do this. Most current cameras and
features. The software should make viewed on a second monitor. lenses are supported and new
it even easier to make optical and Supported file formats include cameras are added regularly.
geometric corrections, optimise JPEG, raw, TIFF and DNG
exposure and contrast, reduce (8-bit and 16-bit), but sadly Editing images
noise reduction and maximise not Photoshop PSD and other In the Editing workspace you will
colour and detail. application native formats. find all the main image-processing
The real key to DxO, and one features, such as Histogram,
Image organisation that has until recently separated it Essential Tools, Light and Colour,
When you first launch DxO from the likes of Adobe Lightroom, Detail, and Geometry and Optical
OpticsPro 10, you are greeted is that DxO has more than Corrections. These are on the
with the Organizer mode interface. 20,000 camera and lens right side of the screen. Each

Testbench SOFTWARE TEST
Original Smart Lighting

Original ClearView applied
Photo with Smart Lighting applied and colour temperature adjusted
DxO ClearView
DXO CLEARVIEW eliminates atmospheric haze in landscape
photographs and smog in urban scenes. Haze is a phenomenon that
is encountered when photographing landscapes in the mountains and
near the sea. It is seen as an opaque veil that alters the contrast,
colours and the textures in an image. Click the ClearView button in
the Essentials tools palette to activate it, and then use the Intensity
slider to bring out distant colours and details in a photo.
ClearView analyses the colours in an image (RGB) to evaluate
the amount of light diffusion affected by haze. ClearView then cuts
through haze by adding micro contrast to the affected areas of a
photograph, particularly in distant mountain shots where the haze
can take on a blue cast. The ClearView filter gives you full control
over how much strength and image intensity you want to achieve. Preset previews on
For urban shots, it adds dynamic contrast to architecture by a selected image
bringing out details that you may have previously thought were
lost. The results are spectacular – a clear winner as a tool for use
by both landscape and architectural photographers. The results of
using ClearView are more pronounced than using a UV or haze
filter on a camera lens.
of the tool palettes can be Presets OpticsPro 10 offers a library of From here you can make further
expanded to reveal the One of the most useful features is 30 presets that include portrait, adjustments and then save the
individual adjustment tools. At the Preset Editor palette. This landscape, black & white, high settings as a new preset, which will
first glance, the number of palettes enables you to apply a built-in dynamic range (HDR), be added to the library for future
and adjustments may be preset, import or export presets, atmospheres and smartphones. use. Any image corrections or
overwhelming, as many of the tools create your own custom preset, Presets can appear in a visual enhancement adjustments that you
appear in more than one palette. or edit a pre-defined preset. This presets window as large thumbnails make can be saved as a custom
However, the workspace is makes batch-processing images displaying the effects applied to the preset – just right-click on the
customisable, so palettes that you quicker and easier, although it is a image being worked on, and you image and select ‘Create preset
don’t use can be hidden. There is little slower than using Lightroom. just click on a preset to apply it. from current settings’. So if you
even the option to create your own regularly use the same camera and
custom palette of the correction lens, and make the same basic
tools you use most often. corrections, these can all be saved
Many of the adjustments can as a preset to save you a lot of time.
be applied with an on or off
switch, with the software using Improved features
its correction profiles to analyse PRIME (Probabilistic Raw IMage
the image and ascertain which Enhancement) noise reduction is
corrections are necessary. These a feature that was introduced in
include lens corrections for optical version 9, but has now been
distortions such as barrel and improved with faster processing
pincushion, vignetting, lens times. PRIME analyses the
softness, and lateral and structure of raw images and
longitudinal chromatic aberrations. differentiates between noise and
Noise reduction and sharpening fine detail, which produces a
can also be automatically applied noticeable gain in image quality.
based on the ISO sensitivity setting. Before and after screens make it easy to see the changes you make This enables you to shoot at a

System No noise reduction
requirements
● Microsoft Windows 8/8.1 or 7 (64
bits). 4GB RAM (8GB recommended),
2GB disk space (6GB recommended).
Intel Core 2 Duo, AMD Athlon 64 X2 or
higher. DirectX 9.0c-compatible
graphics card with 512 MB of video
memory to handle GPU acceleration.
● OS X 10.8, 10,9, 10.10. 4GB RAM
(6GB recommended), 2GB disk space
(6GB recommended). Intel Core i5 or Photo shot at ISO 1600 for noise-reduction samples
higher. Graphics card with 512MB of
video memory to handle GPU Prime
acceleration.
The Prime noise reduction reduces shadow noise
highlights and unblocks shadow your choice. You can export the The last feature is Print. This
details that may have been same file in different file formats allows you to send a file directly to
previously thought of as lost. This or image dimensions to separate an installed printer, with plenty of
filter works best with raw files, but folders or drives with a single options available including ICC
will also work with JPEGs. I wasn’t click, although this is only available profile selection for colour-
overly impressed by this: it worked in the Elite edition. The Export managed printing. One notable
up to a point but lacked fine to Application option sends missing feature is the ability to
control beyond the slider. the processed photo directly centre the image on a page,
However, the user manual to your selected image-editing although by carefully altering the
suggests that the Smart Lighting application as a JPEG, TIFF or margins and image size you can
filter can be fine-tuned when used DNG file. The next two options manually reposition it.
with the Selective Tone palette are Export to Facebook and Export As the Standard edition of DxO
or Light and Colour – Advanced to Flickr, which are self-explanatory OpticsPro 10 does not include
palette. Using the combined filters and allow you to add tags and ClearView or Prime technology,
produced a much better result, privacy options. Finally, there is we would recommend the Elite
higher ISO sensitivity and get so I would have liked the controls the option to export your image edition to get the most out of
similar results that are obtained by to be available within the Smart to Lightroom. the software.
shooting at a lower ISO. PRIME Lighting palette rather than having
noise reduction removed the to go to another tool palette.
visible noise in our test image, The Lens Softness tool adds
although some fine detail such as
hair can look softer than in the
sharpness to photos from the
centre to the edges to produce
Our verdict
original. PRIME is only available a crisp-looking image, with DXO OPTICSPRO 10 is a themselves. Although it may lack
with raw image files; for JPEG files adjustment sliders including feature-rich image-processing some of the image-management
you can still obtain excellent Global, Detail and Bokeh. application that produced and cataloguing features of
results by using the High Quality The Single Shot HDR preset excellent results on every image Adobe Lightroom, OpticsPro 10
setting. Compared to other produces a similar effect to that throughout our test. OpticsPro is excellent at its primary task:
dedicated noise-reduction obtained by shooting multiple 10 offers significantly more getting the very best from your
software, PRIME reduced noise exposures that are then combined control than Adobe Camera raw images as quickly and easily
excellently, managing to preserve to make up an HDR photo. The Raw, and the results speak for as possible.
colour saturation particularly in options include HDR Realistic, HDR
shadow areas and maintaining a Artistic, HDR Backlight and HDR
high level of texture detail. B/W. The effects are perhaps not For and against
Other improved features include as pronounced as those obtained
DxO Smart Lighting and DxO Lens by shooting multiple exposures, but + Very fast processing
Softness optimization. The Smart each one added something extra to + Faster PRIME noise reduction
Lighting palette has five settings: the photo, which can be useful as a + Extensive database of camera
slight, medium, strong, DxO starting point. lens combinations
OpticsPro 7 and Pro 9, plus a When you have finished – Multiple display of palettes GOLD
custom setting. A slider enables processing images you can Export can be overwhelming
you to vary the intensity from 0 to to Disk, which generates JPEG, – Print function does not have an
100 (or 200). This recovers TIFF and DNG files to a folder of option to centre image on page

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Technical Email your questions to: apanswers@
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and #AskAP, or Facebook.
Support
Or write to Technical Support, Amateur
Photographer Magazine, Time Inc.
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Street, London SE1 0SU
● E X PERT A DV ICE ● TIPS ● T RICK S ● HACK S ● KNOW- HOW

White balance woes of a given type from any one
Sharper JPEGs
Q The default white balance
settings on my Nikon
D5200 never seem to
capture colours as I see them.
manufacturer also tend to
behave similarly in terms of
colour rendition. Cameras like
your Nikon D5200 are mass- Q I have noticed that the
image on the LCD of
my Olympus OM-D
In cloudy conditions the greens produced, so it’s simply not E-M1 is sharper when I shoot
are too yellow, in sunlight they are practical for manufacturers in JPEG mode than when I
too blue; in tungsten the whites to calibrate them individually. shoot raw. I realise that both
are yellow and the auto is hardly However, image sensors are Raw are JPEG images on the
ever accurate. made under carefully controlled screen, but why is one sharper
Taking the pictures in raw and conditions, so every sample of a than the other? I have also
adjusting them later means I can’t camera model is expected to noticed this effect on the
compare them with the colours behave in almost the same way. Panasonic Lumix DMC-GX7.
at the time of shooting. I have This means your DSLR will Alan Thompson
rectified the problem to a large probably have a generic set of
A
degree by making my own white balance presets shared As you know, Alan,
adjustments in the white balance with every other sample of the when a camera
settings on the colour matrix, and same type, and if you were to shows a raw file
this gives me a fairly accurate replace it with another one, on-screen, it’s actually
colour reproduction most of the chances are you would see JPEG displaying a JPEG version
time. All these adjustments work, near-identical behaviour. You’re that’s embedded within the
but it is disappointing for a camera therefore unlikely to solve your file. However, to help keep the
costing more than £500. problems by buying another file size down, this is often a
I understand that white balance DSLR from the same maker. much lower resolution version
defaults can never suit every Also, manufacturers can of the image. Therefore, it
situation perfectly, but I would like deliberately choose not to fully often looks rather less sharp
to know if my camera has a fault neutralise the white balance than a full-resolution JPEG.
and, if so, if it can be reset in some under low-colour-temperature One way round this is to
way. I mainly use an 18-55mm kit light – for example, tungsten shoot a full-resolution JPEG
lens with a Hoya HMC UV filter bulbs, firelight or candlelight. The alongside your raw file, which
and HB-45 hood. rationale behind this tends to be JPEG images often appear will give you a more detailed
Sherwin Chase about maintaining an ‘attractive sharper and more detailed than review image.
warmth’ to the images, although raw files on the camera’s screen Andy Westlake
A
White balance presets I’m not sure many photographers
are as much an aesthetic would recognise this phrase
choice by the camera when looking at strongly matters is that your pictures professional-level Nikon DSLR
maker as they are about any orange-tinted interior shots. But look pleasing, which normally is the AF-S Nikkor 24-70mm
notion of colour accuracy. Also, then they might also complain if means some degree of colour f/2.8G ED. It has a classic focal
white balance presets for various candlelit shots came out looking enhancement. length and is ideal for portrait
types of artificial light are, by too cool in tone. Andy Westlake and wideangle shots. However,
necessity, an approximation. Not Another consideration with you may find it quite pricey (at
all tungsten lights are the same this kind of light is noise. Fully Zoom recommendation around £1,235), especially
colour, and fluorescent tubes
vary widely in the spectra of light
they emit. So a camera maker
has to pick the preset it thinks is
neutralising the white balance
requires strongly amplifying
underexposed green and blue
channels, and this results in an
Q I have just bought a Nikon
D810 that I plan to use
mostly for studio/portrait
photography. I like prime lenses,
when you have just paid a few
thousand pounds for a new
camera. You may instead want
to look at the AF-S Nikkor
best overall. With this in mind, it undesirable increase in noise. but I’m also quite keen to buy a 24-120mm f/4G ED VR, which
may be worth recalibrating your So again, there’s a balance to good-quality zoom. Can you is a highly versatile lens that
presets to accommodate lighting be struck between correcting recommend a lens that performs well. It costs around
conditions you encounter the white balance and overall represents a good balance £800. If you’re after more reach,
frequently, but you could end image quality. between price and quality? the AF-S Nikkor 28-300mm
up being further off neutral in Colour rendition and white Paul Lewis f/3.5-5.6G ED VR is cheaper
different lighting. balance vary significantly than the other two mentioned at
A
I’d expect all samples of a given between brands, with some The obvious choice of around £660, and is also known
camera model to behave the known for the quality of their lens for many people for being sharp and reliable.
same, and in practice all models JPEG colour rendition. What when buying a Jon Devo

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Technical Support
In the
bag
AP’s deputy editor BLAST FROM THE PAST
shows us what he
uses when he is Nikon FTN Photomic
travelling light Ivor Matanle looks at
the last and best of the
metering Nikon F
cameras
LAUNCHED 1968
Sony Cyber-shot DSC-RX100 II Manfrotto Small Hydro Arm Kit MagFilter adapter ring PRICE £259 17s 6d (£259.87) in 1968
I like to carry a camera with me at
1 all times, so the Sony Cyber-shot 2 The Manfrotto hydrostatic arm
and clamp kit is very useful. 3 I often go away for a few days and
take only the RX100 II, but by
with 50mm f/1.4 Nikkor lens
DSC-RX100 II spends most of its time in Obviously it isn’t as flexible as a tripod, using the MagFilter adapter ring I can GUIDE PRICE TODAY £180-£250
my bag. It produces excellent images for but it is a lot smaller and lighter. attach circular filters and filter holders with f/1.4 lens, £130-£200 with
such a small camera. I carry it screwed to the bottom of the to the camera. I’ll try to have an ND, f/2 lens and slightly more for the
camera, and when I need a bit more ND grad and polariser filter with me Apollo version illustrated
stability I can usually find something so I can always get good travel and
to clamp it to. landscape pictures. The Nikon FTN improved
on earlier FT metering by
introducing an automatic
‘wap-wap’ setting of the
maximum aperture of the lens
in use. You insert the lens (at
f/5.6), engage the prong with
the meter pin, then quickly
twist the aperture ring to the
2 smallest aperture then the
maximum aperture. This sets
the meter for full-aperture
exposure measurement.
The Nikon F was the leading
professional 35mm SLR from
1968-1973, when the Nikon
F2 appeared.
What’s good With its magnificent

engineering and lenses, the
1 3 Nikon FTN was almost
indestructible – which made it
the photojournalists’ favourite.
What’s bad A carbon resistor

in the Photomic head wears
with age, so the meter wavers
or does not work at all. Check
the shutter operation and light
4 5 seals before buying.
PNY PowerPack T10400 Cokin A-series filter holder List of kit Sony Cyber-shot DSC-RX100 II, Sony LCJ-RXC
jacket case, PNY PowerPack CL51, Micro USB to USB lead,
I love USB batteries and always I have a couple of these filter Sony NP-BX1 battery, MagFilter adapter ring 58mm,
4 have one with me. I can charge 5 holders left from the 1990s. The 58-67mm filter holder, Cokin A-series filter holder,
Manfrotto Small Hydro Arm Kit, various filters
my camera, phone and tablet all from smaller graduated filters are quite a
one device. A Micro USB lead is all I good match for the front lens element
need, although I do keep a fully charged of the RX100 II
camera battery in reserve too.

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Technical Support
Professor Newman on…

The latest
photography kit
Lens size
Why are lenses on fixed-lens cameras often more
and technique at
your fingertips
compact than those on interchangeable-lens models?
I
was recently asked why the
lens built into a fixed-lens
‘In a built-in lens, the control motors
camera can often be much and mechanisms can be placed outside
more compact than a
similar interchangeable lens the lens, in the camera body’
designed for the same sensor size.
It is this factor that can make a at its most effective. In turn, this a smaller package when not
fixed-lens camera an attractive frees the design of the rest of used. Whereas in an
alternative to a system camera, the lens from some of its former interchangeable lens everything
because not only is the lens more constraints, and the additional must be contained in the lens
compact, since it is permanently freedom can be used to make barrel, in a fixed lens parts of
attached, but it can also be better the optical cell more compact. the lens (such as the aperture
sealed and more robust. Second, in a built-in lens, the mechanism or whole groups of
To see the kind of difference I motors and mechanisms that elements) may be moved out
am talking about, compare the control focus, aperture and of the way into the camera body,
profiles of a Sony Cyber-shot zooming can be placed outside allowing the remainder of the
DSC-RX100 III to a Nikon 1 V3
fitted with its standard zoom lens
the lens, in the camera body.
This allows the apparent body
lens to collapse further.
Taken as a whole, these three
More great
(see below). You can see that
the Sony’s lens is much more
compact, even though both
of the lens to be smaller.
The space available in the
camera body can also be used
additional freedoms allow fixed
lenses to be designed to be smaller
than interchangeable lenses,
pictures
cameras are fitted with a 1in-size
sensor. While not exactly the
to allow the lens to collapse into without sacrificing lens quality.
More technique
same, the lenses are quite similar.
The Sony has a slightly smaller
zoom range (25.7mm compared
More opinion
to the Nikon’s 30mm at the
long end), but it is also 2 stops
faster (f/2.8 as opposed to the
More inspiration
Nikon’s f/5.6 at the long end). ● Download online,
The reason the Sony lens is so
much smaller is that the fixed-lens enjoy offline
format frees up a number of
design choices for the optical ● Buy from the comfort
designer, which can result in a of your own home
much smaller package.
First, the ability to use all the ● Available the day
space, right to the focal plane,
provides the designer with
the magazine goes
additional degrees of freedom. on sale
For instance, one of the most
difficult-to-achieve attributes of a
● Missed an issue?
high-quality lens is flatness of field. Simply download a
An additional element called a
‘field flattener’ can help, but it is
back copy
more effective the closer it is to
the image plane. If the camera
and lens are designed as a unit,
Try it today
the field flattener can be placed
www.amateurphotographer.
very close to the sensor (in some The Sony Cyber-shot DSC-RX100 III’s fixed 8.8-25.7mm f/1.8-2.8 lens is
co.uk/digital-edition
cameras it actually forms the glass smaller and faster than the 1 Nikkor VR 10-30mm f/3.5-5.6 PD-Zoom (top),
cover to the sensor) and thus be despite both being designed to work with a 1in-type sensor
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

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& Ϯϰ%ϳϬŵŵ Ĩϰ > /^ h^D άϲϲဓ ϭϰ%Ϯϰŵŵ ĨϮဒ ' &%^ άϭϭϰϬ ဒϱŵŵ Ĩϭϰ y ' ,^D άϲϰဓ ϭϳ%ϱϬŵŵ ĨϮဒ yZ ŝ // s άϯϰဓ
/ŶĐůƵĚŝŶŐ άϭϲϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άဒϮဓ /ŶĐůƵĚŝŶŐ άϭϳϱ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇάϭϯϭϱ ϭϬϱŵŵ ĨϮဒ WK y ' K^ ,^D DĂĐƌŽ άϯϳဓ ϭဒ%ϮϬϬŵŵ Ĩϯϱ%ϲϯ & yZ / // άϭϯϮ
& Ϯϰ%ϭϬϱŵŵ ĨϰϬ > /^ h^D άϳဒဓ ϭϲ%ဒϱŵŵ Ĩϯϱ%ϱϲ ' &%^ y sZ άϰϯဒ ϭϱϬŵŵ ĨϮဒ y ' K^ ,^D DĂĐƌŽ άϲϲဒ ϭဒ%ϮϳϬŵŵ Ĩϯϱ%ϲϯ ŝ // s W άϯϮဓ
Et & Ϯϰ%ϭϬϱŵŵ Ĩϯϱ%ϱϲ /^ ^dD άϰϱဓ ϭϳ%ϱϱŵŵ ĨϮဒ ' y &%^ /& άϭϬϰဓ ဒ%ϭϲŵŵ Ĩϰϱ%ϱϲ ,^D άϱϰဓ Ϯϰ%ϳϬŵŵ ĨϮဒ ŝ s h^ ^W άϳϰဓ
& Ϯဒ%ϭϯϱŵŵ Ĩϯϱ%ϱϲ /^ h^D άϯϱဓ ϭဒ%ϯϱŵŵ Ĩϯϱ%ϰϱ' &%^ EŝŬŬŽƌ άϱϭဓ ϭϬ%ϮϬŵŵ ĨϰϬ%ϱϲ y ,^D άϯϰϱ Ϯဒ%ϳϱŵŵ ĨϮဒ yZ ŝ άϯϱဓ
& ϳϬ%ϮϬϬŵŵ ĨϰϬ > h^D άϰဓϱ Et ϭဒ%ϱϱŵŵ Ĩϯϱ%ϱϲ ' &%^ y E/<<KZ sZ // άϮϮဓ ϭϬ%ϮϬŵŵ Ĩϯϱ y ,^D άϯဒဓ Ϯဒ%ϯϬϬŵŵ Ĩϯϱ%ϲϯ ŝ s W ;ĂŶŽŶ Ĩŝƚ4 άϱϰဓ
& ϳϬ%ϮϬϬŵŵ Ĩϰ > /^ h^D άဒϳဓ ϭဒ%ϭϬϱŵŵ &%^ y EŝŬŬŽƌ Ĩϯϱ%ϱϲ ' sZ άϮϬϰ ϭϮ%Ϯϰŵŵ Ĩϰϱ%ϱϲ y ' ,^D // άϱϳϱ ϳϬ%ϮϬϬŵŵ ĨϮဒ ŝ s h^ άဓဓဓ
/ŶĐůƵĚŝŶŐ άဒϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άဓϱဓ ϭဒ%ϭϰϬŵŵ Ĩϯϱ%ϱϲ ' &%^ y sZ άϰϱဓ ϭϳ%ϳϬŵŵ ĨϮဒ%ϰϬ K^ ,^D άϯϮဓ ϳϬ%ϯϬϬŵŵ Ĩϰ%ϱϲ ^W ŝ s h^ άϮဒဓ
& ϳϬ%ϯϬϬŵŵ ĨϰϬ%ϱϲ /^ h^D άϯϮϰ ϭဒ%ϮϬϬŵŵ Ĩϯϱ%ϱϲ ' &%^ y sZ // άϱϯϰ ϭဒ%ϮϬϬŵŵ Ĩϯϱ%ϲϯ K^ ,^D // άϮϯဓ ϭϱϬ%ϲϬϬŵŵ Ĩϱ%ϲϯ ^W ŝ s h^ άဒဓဓ
/ŶĐůƵĚŝŶŐ άϰϱ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϯϳဓ /ŶĐůƵĚŝŶŐ άϱϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϱဒϰ ϭဒ%ϮϱϬŵŵ Ĩϯϱ%ϲϯ K^ ,^D άϯϬϲ
ϭဒ%ϯϬϬŵŵ Ĩϯϱ%ϱϲ &%^ sZ άϲϳဓ ϭဒ%ϮϱϬŵŵ Ĩϯϱ%ϲϯ DĂĐƌŽ K^ ,^D άϮϳဓ ,ƵƌƌǇ6 ĂŶŽŶ ĂƐŚďĂĐŬΎ ĞŶĚƐ ϮϭϬϭϭϱ
Ϯϰ%ϳϬŵŵ ĨϮဒ ' &%^ άϭϬϲϬ Et ϭဒ%ϯϬϬŵŵ Ĩϯϲ%ϲϯ DĂĐƌŽ K^ ,^D άϯဓဓ
/ŶĐůƵĚŝŶŐ άϭϳϱ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϭϮϯϱ Ϯϰ%ϳϬŵŵ ĨϮဒ /& y ' ,^D άϱϳဓ EŝŬŽŶ ĂƐŚďĂĐŬΎ ĞŶĚƐ ϮϱϬϭϭϱ
WŚŽƚŽ ĂŐƐ Θ ZƵĐŬƐĂĐŬƐ ŽŵƉƵƟŶŐ

3UR 7UHNNHU
$: 1(:
7RSORDGHU 3UR %ODFN ,ĂĚůĞǇ WƌŽ
DĂŶĨƌŽƩŽ
$: ,, %ODFN 3HUIHFW IRU KƌŝŐŝŶĂů
WƌŽĨĞƐƐŝŽŶĂů
FDUU\LQJ <ŚĂŬŝ W/yD WƌŽ ϭϬϬ άϯϲϰ
ĂĐŬƉĂĐŬƐ
3HUIHFW IRU 3UR '6/5V W/yD WƌŽ ϭϬάϰဓဓ
'HVLJQHG
FDUU\LQJ D 3UR OHQVHV ÀDVK D W/yD WƌŽ ϭάϲϰϱ
1(: WR KROG
'6/5 SOXV D WULSRG SOXV D ´
D '6/5 ĂŶǀĂƐ>ĞĂƚŚĞƌ <ŚĂŬŝ ůĂĐŬ
ODSWRS ǆƉĞĚŝƟŽŶ
VWDQGDUG OHQV OHQVHV DQG &ŝďƌĞEǇƚĞ>ĞĂƚŚĞƌ <ŚĂŬŝ
ϱǆ ůĂĐŬ
SOXV VHYHUDO DFFHVVRULHV ^ĂŐĞ ůĂĐŬ
DFFHVVRULHV Et WƌŽ dƌĞŬŬĞƌ# /ŶƚƵŽƐϱ WƌŽ WƌŽĨĞƐƐŝŽŶĂů
ϰϱϬ t άϯϮϱ ǆƉĞĚŝƟŽŶ# ŝŐŝƚĂůάϭϬဓ ^ƉǇĚĞƌϰ WƌŽάϭϭϰ WĞŶ ĂŶĚ dŽƵĐŚ dĂďůĞƚ
Et dŽƉůŽĂĚĞƌ# ϲϱϬ t άϯϲϱ ϮϬ άϭϮϰ ϱǆάϭϮϰဓဓ ဒǆάϭဓဓ ^ŵĂůů άϭϯဓ ŝϭ ŝƐƉůĂǇ WƌŽ άϭϲϬ ^ŵĂůů άϭϲဓ
WƌŽ ϳϬ t // άϲϲ >ĞŶƐ dƌĞŬŬĞƌ# ϯϬ άϭဒဓ ϲǆάϭϰϰ ဓǆάϭဓဓ >ĂƌŐĞάϭϱϰ ŽůŽƌDƵŶŬŝ DĞĚŝƵŵ άϮϰဓ
WƌŽ ϳϱ t // άϳϭ ϲϬϬ t // άϮϱϱ ϱϬ άϮϭဓ ϳǆάϭϳဓ WƌŽ KƌŝŐŝŶĂůάϭϲဓ ^ŵŝůĞάϲϳ >ĂƌŐĞ άϯϱϰ
ŝŐŝƚĂů ŽŵƉĂĐƚ ĂŵĞƌĂƐ ŝŐŝƚĂů ĐŽŵƉĂĐƚ ĐĂŵĞƌĂ ďĂƩĞƌŝĞƐ. ĐĂƐĞƐ ĂŶĚ ĂĐĐĞƐƐŽƌŝĞƐ ĂƌĞ ĂǀĂŝůĂďůĞ ŽŶ ŽƵƌ ǁĞďƐŝƚĞ
/8 /8 /8 /yh^ Ϯϲϱ ,^ άϭϭϰ

WŽǁĞƌ^ŚŽƚ ^yϲϬϬ ,^άϭϭဓ
ϭϲϭ
ϮϬϮ
ϭϮဒ
WŽǁĞƌ^ŚŽƚ ^yϳϬϬ ,^ άϭϳဓ
ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ /ŶĐůƵĚŝŶŐ άϯϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϮϬဓ
ϲϱǆ ϰϮǆ ϱϬǆ WŽǁĞƌ^ŚŽƚ ϯϬ άϮϬဓ
ŽƉƟĐĂů ǌŽŽŵ 1(: ŽƉƟĐĂů ǌŽŽŵ 1(: ŽƉƟĐĂů ǌŽŽŵ /ŶĐůƵĚŝŶŐ άϯϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϮϯဓ
ϭϬဒϬƉ ϭϬဒϬƉ ϭϬဒϬƉ Et WŽǁĞƌ^ŚŽƚ ^yϱϮϬ ,^ άϮϯဓ
ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ WŽǁĞƌ^ŚŽƚ ^ϭϮϬ άϮϳဓ
Et WŽǁĞƌ^ŚŽƚ ^yϲϬ ,^ Et WŽǁĞƌ^ŚŽƚ 'ϳ y WŽǁĞƌ^ŚŽƚ 'ϭ y DĂƌŬ // WŽǁĞƌ^ŚŽƚ 'ϭϲ άϮဓϰ
/ŶĐůƵĚŝŶŐ άϰϬ ĂƐŚďĂĐŬΎWƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϯϯϰ
άϯϱဒ /ŶĐůƵĚŝŶŐ άϰϬ ĂƐŚďĂĐŬΎ άϰϰဓ /ŶĐůƵĚŝŶŐ άϱϬ ĂƐŚďĂĐŬΎ άϱϮϯ /ŶĐůƵĚŝŶŐ άϱϬ ĂƐŚďĂĐŬΎ
WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϯဓဒ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϰဓဓ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϱϳϯ ,ƵƌƌǇ6 ĂŶŽŶ ĂƐŚďĂĐŬΎ ĞŶĚƐ ϮϭϬϭϭϱ
>Ƶŵŝǆ dϱϱ άϭϳϰ

>Ƶŵŝǆ &dϱ KƌĂŶŐĞάϮϱϱ
ůĂĐŬ Žƌ 1(:
t'ϯϬ >Ƶŵŝǆ >&ϭ άϮϰဓ
^ŝůǀĞƌ >Ƶŵŝǆ &ϳϮ άϮϭϱ
ZĞĚ Žƌ ůĂĐŬ άϭϳဓ >Ƶŵŝǆ &ϮϬϬ άϯϮဓ
ϭဒϭ
ZŝĐŽŚ 'Z Ϯϰǆ ŵĞŐĂƉŝǆĞůƐ ϮϬϭ
ŽƉƟĐĂů ǌŽŽŵ ŵĞŐĂƉŝǆĞůƐ
ϭϲ DĞŐĂƉŝǆĞů ǁŝƚŚ
ĮǆĞĚ ĨϮဒ 'Z ůĞŶƐ άϰϯဓ Et >Ƶŵŝǆ >yϭϬϬ άϲϰဓ >Ƶŵŝǆ dϲϬ άϮϳဓ >Ƶŵŝǆ D&ϭϬϬϬ άϲϰဓ
^ƚǇůƵƐ ^,ϭάϮϭဓ ŽŽůƉŝǆ WϲϬϬ ůĂĐŬ Žƌ ZĞĚάϮϳဓ

^ƚǇůƵƐ dŽƵŐŚ d'ϯάϮϰϰ ŽŽůƉŝǆ tϭϮϬ ůĂĐŬ KƌĂŶŐĞ Žƌ ĂŵŽŇĂŐĞάϮϬϰ
^ƚǇůƵƐ ϭ ^ƚǇůƵƐ ^WϭϬϬάϮϮϱ ŽŽůƉŝǆ ^ဓϳϬϬ ůĂĐŬ ZĞĚ Žƌ tŚŝƚĞ άϭϳဓ
άϯϳဓ ^ƚǇůƵƐ dŽƵŐŚ d'ဒϱϬ ůĂĐŬ ^ŝůǀĞƌ Θ tŚŝƚĞ άϭဓဓ ůĂĐŬ ϭϲϭ
ŵĞŐĂƉŝǆĞůƐ ŽŽůƉŝǆ ^ϯϲϬϬ άϳϮ
ŽŽůƉŝǆ ^ϱϯϬϬ άဓဓ
ǇďĞƌƐŚŽƚ ,yϰϬϬ ǇďĞƌ^ŚŽƚ ZyϭϬ ϭϮϮ ϲϬǆ
ŵĞŐĂƉŝǆĞůƐ ŽƉƟĐĂů ǌŽŽŵ ŽŽůƉŝǆ ^ϲဒϬϬ άϭϯဓ
άϮဓဓ /ŶĐ άϰϬ 5ĂĐŬΎ άϲϰဓ /ŶĐ άϱϬ 5ĂĐŬΎ
WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϯϭဓ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϲϳဓ
ǇďĞƌƐŚŽƚ ,yϲϬ ǇďĞƌ^ŚŽƚ Zyϭ
ŽŽůƉŝǆ WϳဒϬϬ άϯϰဓ ŽŽůƉŝǆ WϲϬϬ άϮϳဓ
н &Z ĐĂƐĞ άϮϬϰဓ /ŶĐ άϮϬϬ 5ĂĐŬΎ
άϮϮဓ /ŶĐ άϯϬ 5ĂĐŬΎ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϮϮϰဓ &ŝŶĞWŝǆ yWϳϬ άϭϯϲဓϱ
WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϮϱဓ ǇďĞƌ^ŚŽƚ Zyϭ Z ůĂĐŬ Žƌ 1(: &ŝŶĞWŝǆ ^ဓϮϬϬ άϭဒဓ
ǇďĞƌƐŚŽƚ tyϯϱϬ άϮϬဓဓ /ŶĐ άϮϬϬ 5ĂĐŬΎ ^ŝůǀĞƌ &ŝŶĞWŝǆ ,^ϱϬ άϮϳဓ
άϭϲဓ /ŶĐ άϮϬ 5ĂĐŬΎ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϮϮϰဓ ϭϮϬ &ŝŶĞWŝǆ ^ϭ άϮဒϰ
ϮϬϭ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϭဒဓ ϭϲϯ
ZyϭϬϬ ŵĞŐĂƉŝǆĞůƐ ŵĞŐĂƉŝǆĞůƐ &ŝŶĞWŝǆ yϭϬϬƐ ^ŝůǀĞƌ Žƌ ůĂĐŬ άϲဓဓ
ŵĞŐĂƉŝǆĞůƐ ůĂĐŬ ǇďĞƌ^ŚŽƚ ZyϭϬϬ // άϯϭဓ /ŶĐ άϯϬ 5ĂĐŬΎ
н &Z ĐĂƐĞ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϯϯဓ W^ ϰǆ
ǇďĞƌ^ŚŽƚ ZyϭϬϬ /// ƐŝǌĞ ƐĞŶƐŽƌ ŽƉƟĐĂů ǌŽŽŵ
άϯဓဓ /ŶĐ άϱϬ 5ĂĐŬΎ ^ŽŶǇ ĂƐŚďĂĐŬΎ ĞŶĚƐ
άϲϯဓ WƌŝĐĞ ǇŽƵ ƉĂǇ ƚŽĚĂǇ άϰϰဓ ϮϱƚŚ :ĂŶƵĂƌǇ ϮϬϭϱ Et &ŝŶĞWŝǆ yϭϬϬd άဓဓဓ Et &ŝŶĞWŝǆ yϯϬ άϰϮဓ
&Z ĚĞůŝǀĞƌǇ ŽŶ ŽƌĚĞƌƐ ŽǀĞƌ άϱϬΎΎ ΎΎĂƐĞĚ ŽŶ Ă ϰĚĂǇ ĚĞůŝǀĞƌǇ ƐĞƌǀŝĐĞ. h< ŽŶůǇ
;D ) ADD,, %'5&=&5< 5555555555555555555 ) ?B.&5DD $ C 'B 5555555555555555555555555555555555 ) ?;.&5DD 1& ) AD,, %A5&='5& 55555 ?B;&5DD

$ $!( ;& ) ADD,, %'5&=&5< 6 5555555555555555555555555555555555555555555555555 ?$.5DD
;& ) ADD,, %'5&=&5< 55555555555555555555555555555555555555555555555555555 ) ?..5DD
1D C 'D 55555555555 ) ?'.&5DD
< C BD 555555555555555555555555555555 ?1B&5DD
1; ) A&,, %B5$=' 555555555555555555555555555566 ?1&.5DD
1$ ) A&,, %A5&='5& 55555555555555555555555555555555 ?;.5DD
1 5555 ) ?1!$.&5DD ;& ) ADD,, %'=&5< 3 455555 ?1B.5DD $ C &< 555555555555555555555555 ) ?;..5DD &D ) &DD,, %'5&=<5A ) ?;;&5DD
;D ) BDD,, %B5$ 785555555555555555555 ?<B&5DD
% ! !$
1 555555555555 ) ?1!'.&5DD B& 55555555555555555555555555555555555555555555 ?;.5DD
1 5555555555555555555555555555555555566 ?B.&5DD 1B 55555555555555555555555555555555555555555555 ?'&5DD 1BD ) ADD,, %B5$ 555555566 ?$<&5DD
& 555555555 ?$..5DD 1B!BD!A<,, 55555555555555555555555 ?..5DD 1A& ) 'DD,, %'5&=&5< 78 55555555555555555555555555555555555555555566 ?B;&5DD
& 5555555555555555555555555555666 ?AB&5DD 15'C 55555555555555555555555555555555555555555555555555555555 ?1;.5DD <;! ';,, = 5 555555555666 ?1!&.&5DD 1&D ) &DD,, %&=<5A ) ?'..5DD
AD 55555555 ) ?1&&5DD 15'C 5555555555555555555555555555555555555555555 ?1..5DD &DD $D,, 6 1BD 555555555555555555 ) ?<.&5DD 1; ) A&,, %B5$=' = 55555555555555555 ?BB&5DD
AD 555555555 ?1<&5DD B5DC 55555555555555555555555555555555555555555555 ?1;&5DD '&,, %' <'& 55555555 ?AB&5DD 1; ) &D,, %B5$ * 5555555555555 ?B<&5DD
A&D 55555555 ) ?.&5DD B5DC 5555555555555555555555555555555555555555555 ?B1&5DD *! $D,, !!1BD 5555555555555 ?BB&5DD 1$ ) BDD,, A5&=<5A 555555555555 ?$.5DD
'DD 6 *) 6 5555555555555555566 ?1<&5DD ADD B5D 555555555 ?1<&5DD * !1BD ! ;&,, 555555555555555 ) ?1..5DD B$ ) ADD,, %A5&=<5A = * 55555555 6 ?A..5DD
6 ! ;&,, 6 1BD 6 5555555555566 ?1<.5DD && ) BDD,, %'=&5< * 55555555555555555555555555 ?..5DD
1DDD 1$)&& 555555555555555555555555 ?1;&5DD ; ; BC 555555555555555555555555555555 ) ?$.5DD 'D,, % ' 5555555555555555555 ?1.&5DD
1 5555555555 ?B'.5DD B =55555555555555555555555555555555555555555555555 ) ?'&5DD A&,, B5$ ) 1 1 345555555 ?B.&5DD
'D,, %' =*55555555555555555555555555555 ) ?1&.5DD 1B ) B',, %' ) 55555555555 6 ?B..5DD
'AD 55555555555555555555555555555555 ?1'.5DD BC =5555555555555555555555555555 ) ?&.5DD &D,, %B5$ 5555555555555555555555555555555555555555555555666 ?..5DD
&&D 55555555555555555555555555555555555555555555555555566 ?1'&5DD )B 555555555555555555555555555555 ?1B&5DD 1< ) &D,, %B5$ ) 555555555555 ?B;&5DD
1&D,, %A5& 555555555555555 ?1'.5DD ADD,, %B5$ ) = 555 ) ?$.&5DD
&&D 5555555555555555555555555555555555555555555555555555 ) ?1;.5DD &'D 6 55555555555555555555555555555555555555555555555555 ?<.5DD 1&D,, %A5& 555555555555555555555555555555555 ?..5DD
&&D 55555555555555555555555555555555555555555555555555555555555555555556 ?$D5DD
&$D 55555555555555555555555555555555555555555555555555555 ?1..5DD
&'D 6 555555555555555555555555555555555555555555555555 ) ?&.5DD
'BD 55555555555555555555555555555555555555555555555555555555555555 ?A.5DD
1&D,, %A5& 555555555555555555555555555555555555555555555 ?$.5DD
1&D,, ' 555555555555555555555555555555555555555555555555555555555555555555555555 ) ?$.5DD
%
&$D 55555555555555555555555555555555555555555555 ?B;&5DD 555555555555555555555555555555555555555555555555555555555 ?;.5DD * 1BD 5555555555555555555555555555555555555555555555555555555 ?<.5DD A 5555555555555555555555555555555555555555555555555555555555555566 ?B..5DD
)1' 55555555555555555555555555555555555555555555555 ?B..5DD 5555555555555555555555555555555555555555555555555555555 ?1B&5DD *! #@ 5555555555555555555 ?&.5DD A 555555555555555555555555555555555555555555555 ) ?B..5DD
)' 1'=&$D=&$D #@ 55555 ?..5DD A 555555555555555555555555555555555555555 ?11&5DD 5555555 ) ?1..5DD A 555555555555555555555555555555555555555555555555555555555555555555555555555555566 ?B;&5DD
)1 555555555555555555555555555555555555 ?..5DD '5&,, %B5$ 5555555555555 ?';&5DD 55555555555555555555555555555555555555555555555555555555556 ?;&5DD B 55555555555555555555555555555555555555555 ) ?;.&5DD
) ' ?B..5DD 1D,, %B5$ 5555555555555555555555555555555 ?A'&5DD =*55555555555555555555555555555555555555555555 ?;&5DD B &D,, %15'5555555555555555555555 ) ?A.&5DD
)1'D ) 555555555555555 ?1..5DD 1',, %B5$ 5555555555555555555555555 ?A'&5DD =*5555555555555555555555555555555555555555566 ?&.5DD B 3 4 555555555555666 ?A'&5DD
)1 ADD 55555555555555555555555555555555 ) ?A&5DD AD,, %15' 555555555555 ?1..5DD ! * #@5555555555555555555 ) ?;&5DD B 55555555555555555555555555555555555555555555555 ) ?A'&5DD
)B BD=AD='D 55555555555555555555555555555555555555555555 ?'.5DD 1D&,, %B5$ 555 ?B<&5DD =*5555555555555555555555555555555555555555555555 ) ?'&5DD B 55555555555555555555555555555555555555555555555555555555555666 ?1'&5DD
)A A&D='DD 55555555555555555555 ) ?A.5DD 'DD,, %&5< 55555555555555555555555555555555555555555 )) ?B.&5DD 55555555555555555555555555555555555555555555555555555555555666 ?$.5DD B 5555555555555555555555555555555555555555555555555555555555555555566 ?1'&5DD

)1 555555555555555555555555 ) ?A..5DD 1D ) BD,, %A5& 5555555555555555555555555555555 ?AB&5DD 1&D,, %A5& 5555555555555555555555555555555555555555555555555 ) ?1<&5DD B 555555555555555555555555555555555555555555555555555555555555 ) ?B<&5DD

BA,, %15'
5555555555555555555555 ?&.&5DD ;D ) ADD,, %'=&5< 6 555555555555555555555555555555 ) ?&.5DD * $D,, !!1BD 555555555555555555555 ?';&5DD B 555555555555555555555555555555555555555555555555555555555566 ?1'&5DD

A&,, %15'
37845555555555555 ?AB&5DD ;D ) ADD,, %'=&5< 6 55555555555555 ?.&5DD &D,, %A5& 55555555555555555555555555555555555555555555555 ?1.&5DD
<&,, %' 55555555555555555555555555 ) ?1'&5DD B 555555555555555555555555555555555555555555555555555555555555555555 ) ?1..5DD

1$ ) &&,, %B5$=' 785555555 ?A..5DD 1BD ) 'DD,, %'5&=&5< 555555555555555555555555555555555 ?'.&5DD 11D,, %' 55555555555 ) ?A<&5DD - 55555555555555555555555555555555555555555555555555555555 ) ?;&5DD
A A&!BBA ) ?1!<.&5DD 1&D ) &DD,, %&=<5A 55555555 ?&B&5DD 1&D,, %' 555555555555555555555555 ) ?1'&5DD A 1DD A ' 345555555555666 ?1..5DD
B 6 ..D 55555555555555 ) ?A..5DD 1;D ) &DD,, %&=<5A 55555555555 ) ?B..5DD BDD,, %'5& 5555555555555555555555555 ?1;.5DD A BD A55555555555555555555555555555555555555555 ) ?<.5DD
<DD 5555555555555555555555555555555555555 ?;'&5DD .D,, %B5$ * 555555555555555555555555555555 ?BB&5DD =*5555555555555555555555555555555555 ) ?$.5DD B$,, %B5$ 555555555555555555555555555555555555555555555555555555555555555555555555566 ?..5DD
;1DD 3''11 4555555555555555 ?&;&5DD B$ ) ADD,, %A5&=<5A = * ?A;&5DD =*555555555555555555555555555555555555555555555555 ) ?&.5DD B$,, %A5& 55555555555555555555555555555555555555555555555555555555555555555555555 ) ?1B&5DD
ADD 55555555555 ?';&5DD 1D )1;,, %A5&='5& 34 5555555555555555555 ?B..5DD
<'& <D 555555555555555555555555 ) ?A.&5DD B$,, %B 55555555555555555555555555555555555555 ) ?B.&5DD
ADD 5555555555555555555555566 ?B..5DD
<.D 55555555555555555555555555555555555 ) ?&..5DD A&,, %B 55555555555555555555555555555555555555555555555555555555555555555555555555 ) ?1$&5DD
.D <.D 555555555 ?B.&5DD
$D 5555555555555555555555555555 ) ?1<&5DD
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<;D = .D,, %A5& 5555555555555555555555555555 ?<;&5DD

<1; 5555555555555555555555555555 ) ?1!1.&5DD
'&,, %B5$ 5555555555555555555555555555555555555555555555555555555555 ) ?1..5DD
&D,, 15$ 555555555555555555555555555555555555555555555555555555555555555555555555 ) ?;.5DD
$D 55555555555555555555555555555555555556 ?1'&5DD B 5555555555555555555555555 ) ?'<&5DD < &D,, %' 1&D,, %'5& 6 6 555555555 ) ?1!'..5DD &D,, 15' 5555555555555555555555555555555555555555555555555555555555555 ?1;&5DD
;D 1$ ) ;D 55555555 ?BB&5DD * 6 555555555555 ?A'&5DD < &D,, %' 78 < 6 ! 55555555555 ) ?1!1.&5DD &&,, %B5$ 555555555555555555555555555555555555555555555 ) ?1&.5DD
;D 55555555555555555555555555555 ) ?.&5DD .D,, %B5$ 78 6 55555555555555555555555555555555555555 ) ?1$&5DD <;6&D,,!.D,,!B&D,, 5555555555555555555555 ?A<&5DD $&,, %B 3 45555555555555555555555555 ?B'&5DD
)1D ADD=ADD=;DD 5555555555566 ?;.5DD 1'D 1=B555555555555555555555555555555555555555 ?<&5DD 1&D,, %'5& 78 555555555555555555555555555555555555555555555 ?A<&5DD 1D&,, %' 5555555555555555555555555555555555555555555555 ) ?B;&5DD
)$D $D=.D5555555555555555555555555555566 ?'.5DD BDD 1=B555555555555555555555555555555555555555 ?$.5DD 'A,, %'5& ;=; 5555555555 ?;..5DD 1A&,, %B5$ = 5555555 ?1.&5DD
&D 5555555555555555555555555555555 ) ?&.5DD 1 A55555555555555555555555555555 ) ?<.5DD 1&D,, %'5& ;=; 555555555555555555555555 ?A.&5DD BDD,, %' 555555555555555555555555555555555555555555555555555 ) ?.&5DD
<DD 555555555555555555555555555555555555555555555555555555555555555 ) ?1<.5DD )B 5555555555555555555555555555555555555555555555555555555555 ?&&5DD 1&D,, %'5& 6 ;=; 555555555555555555555555555 ?'B&5DD ADD,, %B5$ 15' 55555555555566 ?'.&5DD
$DD 555555555555555555555555555555566 ?1;&5DD 3 455555555555555555555555555555555555 ) ?A<&5DD 1$D,, '5& 5555555555555555555555555555555555555555 ?1..5DD &DD,, %$ 55555555555555 ?B..5DD
.DD 555555555555555555555555555555555 ?B'&5DD 5555555555555555555555555555555555555555555555555555 ) ?1..5DD B&D,, %'5& 5555555555555555555555555555555555555555555555555 ) ?1.&5DD A& ) ;D,, %A5A='5& 5555555555555555555 ) ?1<.5DD
'& ' 5555555555555555555555555555555555555555 ) ?1.&5DD B$,, %B5$ 5555555555555555555555 ?<&5DD 1&D,, %A5& = <'& =555555555555555555555555555555555555555555555 ?B..5DD A& ) 1D&,, %A5&='5& 5555555555555555555 ?1.&5DD
1 55555555555555555555 ?B..5DD '&,, %B5$ 6 5555555555555555 ?1.&5DD B1D,, %' <'&5555555555555555555555555555555555 ?1.&5DD A& ) 1D&,, %A5&='5& 555555555555555555555555555566 ?1A.5DD
1. ) ;DD #@55555555555 ) ?..5DD &D,, %15; 5555555555555555555555555555555555555555555555555555555 ?1B&5DD 1$D,, '5& 55555555555555555555555555555555555555555555555 ?1<.5DD A& ) 1A& %A5&='5& 555555555555555555555555555555555555555555555555555555555555556 ?1<&5DD
)&AD *@@+ 555555 ?;&5DD $&,, %15' 555555555555555555555555555555555555555 ?'<&5DD BBD <;55555555555555555555555555555555555555555555555555555555555 ) ?.&5DD 'A ) $<,, %A5& 55555555555555555555555555555555555555555555555555555566 ?<.5DD
<C; &&,, %' 3 4555555555566 ?<'&5DD ;D ) B1D,, %'5&=&5< 55555555555555555555555555555555555555 ) ?<&5DD
B. 55555555555555555555555555555555555555555555 ?A.5DD 1A&,, B5$ 5555555555555555555555555555555566 ?1.&5DD &&,, %A5& <C;5555555555555555555555555555555555 ) ?1.&5DD ;& ) 1&D,, %A5& 55555555555555555555555 ) ?;&5DD
A< 55555555555555555555555555555555555555555555555555555555 ?$.5DD B$D 555555555555555555555555555555555555555555555555555555555555555555555 ) ?.&5DD &&,, %B5$ <'&55555555555555555555555555555555555 ?1..5DD < 555555555555555555555 ?1..5DD
)1 1B 2 6 1')'B 555 ?1'.5DD BDD,, ' <; 6 5555555555555 ) ?1..5DD
!& %!"
)B' B&D '=' 55555555555555555 ) ?B..5DD
)& 1')'B 55555555555555555555 ?1..5DD &&,, %B5$ 555555555555555 ) ?1!A.&5DD 1B A= B=B= = 55555555555555666 ?;.5DD
1D)BD,, %'=&5< '=A9": 55555555 6 ?B'&5DD 1&D,, %'5< <DD$5555555555555555 ) ?&;&5DD 1A 55555555555555555555555555555555555555 ) ?&&5DD
&D,, %B '=A9":55555555 ?A<&5DD $ <'( 5555555555555 ) ?1!D.&5DD 'C& <C;55555 ) ?..5DD 1B 55555555555555555555555555555555555555555555555566 ?'.5DD
1B ) <D,, %B5$=' '=A5555 ?''&5DD BD 5555555555555555555555 ?1.&5DD 1B' 5555555555555555555555555 ) ?1..5DD 11 555555555555555555555555555555555555555555555555555 ?'.5DD
1' ) '&,, %A5&=&5< '=A9": 55 6 ?..5DD ) 1 55555555555 ) ?B'&5DD 1< =555555555555555555555555555555555555555555555555555 ?;.5DD
;D ) ADD,, %'=&5< '=A9": 555555555555555555 ?BB&5DD
)BD '=A9": 55555555555555555555 ?B'&5DD
; 55 ) ?1!B.&5DD
' 555555555555555555555555555555555555555555555555555 =666 ?<.&5DD
%$%" $ "" ""!" BDD 555555555555555555555555555555555555555555555555555555555555555555 ?<.5DD
BD1 55555555555555555555555555555555555555555555555555555555555555566 ?$.5DD
) B& B&,,5555555555555555555555555555 ?.&5DD ' 555555555555555555555555555555555555555555555555555555555555555566 ?&.&5DD < 555555555555555555555555555555555555555555555555555 ?$.&5DD AD1 555555555555555555555555555555555555555555555555555555555555555 ) ?1'&5DD
)' A 5555555555555555555555555555555555 ?..5DD B 555555555555555555555 ) ?$.&5DD )'D <555555555555555555555555555555555555555555 ?1<.5DD 1< A= B= A==B55555555555555555555 ) ?11.5DD
)& <BD 555555555555555555555555555555 ?A.5DD " 0 1B<&. 1.;D 55555555555555555555555555555 ) ?'B&5DD 1D5&,, %B5$ 78 ) = 555555555 ?A.&5DD 1< A555555555555555555555555555555555555555555555555555 ) ?;&5DD
)1' 5555555555555555555555555555555555555555555555566 ?<.5DD " 0 1'111 1.;&);<5555555555555555555555566 ?A..5DD 1<,, %B5$ = 78 55555555555555555555555555555555555555 ?';&5DD
) 'D 5555555555555555555555555555555 ?&.5DD
1 1')&D 5555 ) ?B'&5DD
&D,, %B 37 84 55555555566 ?A<&5DD
1 37 8455555555555555555555555 ) ?B<&5DD
A&,, %15$ 78 ) 55555555555555555555555555555555555555555555 ?11.5DD
&D,, %15$ =55555555555555555555555555555555555555555555555555555555555555555555555555 ?$&5DD

(%" %
; 1')'B 55555555555 ?''&5DD 37 845555555555555555 666 ?B'&5DD &D,, %15$ = 78 555555555555555555555555555555555555555555555555555555555555555555 ?$.5DD '* 5555555555555555555555555555555555555555555566 ?A..5DD
B 55555555555 ?$.5DD 5555555555555555555555555555555555555555555555555555555 ?B'&5DD 1B ) B',, %' 78 ) ) 555555555555555555555555555555 ?&'&5DD ' 555555 ) ?B.&5DD
1 5555555555555555 ?..5DD = &, %B 5555555555555555666 ?A<&5DD 1< ) $&,, %A5&=&5< 78 ) 5555555555555555555 ?AB&5DD B 55555555555555555556 ?..5DD
B 555555555 ?1'&5DD 555555555555555555555555555555555555555555555555555666 ?B'&5DD 1< ) $&,, %A5&=&5< 78 ) 5555555555555555555 ?AA.5DD B 55555555555555555555555555555555555555555555 ) ?1B&5DD
AD,, %B5$ '=A9":555555555555555555555555555555555555 ?11&5DD &, % A5& 55555555555555 ) ?A.&5DD 1; ) &&,, %B5$ %B5$ 78 ) ) 6 555555555 ) ?&'&5DD B 5555555555555555555555555555555555555555555556 ?11D5DD
'&,, %B5$ '=A9": 55 ?A..5DD 555555555555555555 ) ?B.&5DD 1$ ) &&,, %A5&=&5< 78 ) 55555 ?..5DD B 55555555555555555555555555555555555555555555555555555555555555555555555556 ?..5DD
1$ ) ;D,, %A5&='5& 78 ) 5555555 6 ?1B&5DD B 55555555555555555555555555555555555555555555 ) ?11D5DD
'&)1&D,, %'=&5< '=A9": 55 ?1B&5DD 'D,, %B 55555555555555555555555 ) ?;.&5DD 1$ ) 1D&,, %A5&=&5< 78 ) 6 555 ?1<&5DD
1DD ) ADD,, %'=&5< '=A9":55555 ?AB&5DD B1,, %'5& 55555555555555555555555555555555 ?<..5DD 1<,, %A5& 5555555555555555555 ) ?B'&5DD
B' ) ;D,, %B5$ 78 ) )555555555555555555555555555555 ?$..5DD B1,, %A5& 555555555555555555555 ) ?BB&5DD
)B 555555555555555555555555555 ?1B.5DD B1,, 5555555555555555555555555555555555555555555555555 ?1..5DD B' ) ;D,, %B5$ 78 ) )555555555555555555555555555555 ?.'&5DD
AD,, %B5$ 5555555555555555555555555555555 ?11&5DD B1,, %' 6 6 555555 ?1!B.&5DD B',, %B5$ 5555555555555555 6 ?1.&5DD
B' ) 1BD,, %A5&=&5< = 555555 ?B;&5DD B$,, %B 55555555555555555555555555555555555555555555555555 ) ?BB&5DD
1D&,, %B5$ 555555555 ?B'&5DD A&,, %15' 6 555555555 ?1!..&5DD A& ) ;D,, %A5A='5& =55555555555555555555555555555555555555555555555555555555555 ) ?;&5DD
ADD,, %B5$ 555555555555555555555555 ?1!&.&5DD A&,, %B 55555555555 ?1!&.&5DD A& ) $D,, %'5&=&5< = 78 5555555555555555555555555555555555555555 ?&&5DD B$,, %B5$ 5555555555555555555555555555555555555555555555555566 ?&&5DD
1$ ) BDD,, %A5&=<5A 5555555 ?1B&5DD A&,, %A5& 55555555555555555555 ) ?A.&5DD A& ) 1D&,, %A5&='5& = 555555555555555555555555555555555 ?1B.5DD B$,, A5& 55555555555555555555555555555555555555555555555555 ) ?A.5DD
B$ ) ;&,, %B5$ 555555555555555555555555555555 ?B'.5DD A&,, %A5& 55555555555555555555555555555555 ) ?A.&5DD A& ) 1A&,, %A5&='5& = 6 55555555555555555555555555555555555555555 ) ?1B.5DD A&,, %B 55555555555555555555555555555555555555555555 ) ?1&&5DD
;D ) BDD,, %B5$ * 55 ?A.&5DD &D,, %B < 5555555555555555555555555 ?..&5DD && ) BDD,, %'=&5< ) ) 55555555555555555555555555555555555 ?1<&5DD A&,, %B5$ 5555555555555555555555555555555 ?A'&5DD
1&D ) &DD,, &5<=<5A 55555555555 ?&B&5DD &D,, %B 0 A<AD1//55555 6 ?..&5DD ;D ) BDD,, %B5$ 78 ) 555555555 ) ?1!1.&5DD A&,, %B5$ 555555555555555555555555555555555555555555555555555555555555555 ) ?<.5DD
15' 5555555555555 ?1B&5DD &D,, %B 5555 ) ?;;&5DD ;D ) ADD,, %'5&=&5< 78 =555555555555555555555555555555555555555555 ) ?1B&5DD &D,, %15$ 5555555555555555555555555555555555555555555555555555 ?&&5DD
)A< 5555555555555555555555555555555555 ?1B.5DD &D,, %B 55555 ?$&D5DD $D ) BDD,, %B5$ ) = 78 B 5555555555555555 ) ?&.&5DD &D,, %15$ 5555555555555555555555555555555555555555555555555555555555555555 ?'&5DD
$D ) 'DD,, %'5&=&5< 555555555 ) ?<;&5DD &D,, %A5& 5555555555555555555555555555555555555555555555555555555555 ) ?1B.5DD
&D,, %B 5555555555555555555555555555555555555555555666 ?'.&5DD
%$%" $ "" 1' 15'C 5555555555555555555555555555 ?B;&5DD 1A&,, %B5$ 55555555555555555555555555555555555555555555555555 ?.&5DD
&D,, %B 555555555555555555555555555555555555 ) ?A..5DD 1A&,, %A5& 5555555555555555555555555555555555555555555555555 ) ?'.5DD
&D,, %B 555555555555555555555555 ) ?<'&5DD 1; 15;C 5555555555555555555555555555 ?B;&5DD
BD )1 B5D 555555555555555555555555555 ) ?1B.5DD B$ ) '$,, %' 55555555555555555555555555555555555555555555566 ?<.5DD
1 5555555555555555555555555555555555555555555555555555555555555555555555555556 ?11&5DD &D,, %B 555555555555555555555555555555666 ?&.&5DD A& ) ;D,, %A5&='5& 55555555555555555555555555555555555555555555555555 ?$.5DD
1 55555555555555555555555555555555555555555555555555555555555555555555555556 ?1'&5DD &D,, %B 555555555555555555555555555555555555 ) ?&.&5DD BD ) 55555555555555555555555555555555555555555555 ) ?1.&5DD
B$ 555555555555555555555555555555555555555555555555555555 ) ?<&5DD A& ) ;D,, %' 5555555555555555555555555555555555555555555555555555555555 ) ?;&5DD
A 5555555555555555555555555555555555555555555555555555555555555555555555555566 ?..5DD &, %A5& 55555555555555555555555555555555 ) ?B'&5DD A& ) 1D&,, %A5&='5& 555555555555555555555555555555555555555555555555 ?;&5DD
1< ) A&,, %B5$ 78 6 555555 ?$;&5DD .D,, %B5& < 6 5555555 ?$;&5DD 15'C = 78 555555555555555 ?<.5DD
BD '==555555555555555555555555555555 ?1.&5DD ;& ) 1&D,, %' 555555555555555555555555555555555555555555555 ?&.5DD
1; ) 'D,, %' 78 55555555555555555555555 ?';&5DD .D,, %B5$ 55555555555555555555555 ) ?B.&5DD BD,, %15$ 345555555555555555 ?B;&5DD 555555555555555555555555555555555555555555555555555555555555555 ) ?'&5DD
BD ) A&,, %B5$ 7855555555555555555555555555555555555555555555555555555 ) ?'..5DD .D,, %' 555555555555555555555555555555555555555555555555555555555555555555 ?B;&5DD B',, B5$ = 6 5555555555555555555555555555555555555555555555555555555555 ?'.5DD 555555555555555555555555555555555555555555555555555555555555555555555555555 ) ?A.5DD
B$ ) ADD,, A5&=&5< 78 555555555 ) ?1!'.&5DD 1A&,, %B5$ 555555555555555555555555555555555555566 ?B.&5DD AD,, %15' 55555555555555 ?1..5DD AB 55555555555555555555555555555555555555555555555555555555555555 ) ?B.5DD
;D ) BDD,, %B5$ 78 1 55555 ?$..5DD 1A&,, %'5& 555555555555555555555555555555555555555555555555555555555555555556 ?;&5DD &D,, %B5$ = 78555555555555555555555555555555555 ?1'&5DD BD 555555555555555555555555555555555555555555555555555555555555555 ?BD5DD
;D ) BDD,, %B5$ 78 5 ?1!A;&5DD 1B,, %&5< = 6 6 555555555555 ?A.&5DD ;D,, %B5$ 3 45555555555 ?B;&5DD B$D 555555555555555555555555555555555555555555555555555 ) ?'.5DD
;D ) BDD,, %' 785555555555555555555555555555555555555555555 ?''&5DD 1&,, %'5& = 6 55555555555555 ?B$&5DD 1D ) BD,, %'=&5< 5555555555555555 ?BB&5DD 1',,! B&,,5555555555555555555555555555555555555555555555555555 ) ?&&5DD
;D ) ADD,, %'=&5< 555555 ?'..5DD B&,, %' 555555555555555555555555555 ) ?B;&5DD
1',, %B5$ 785555555555555555555555555555555555555555555555555 ) ?;.&5DD B&,, %' 6 555555 ?B.&5DD
1A&,, %B 78 $B,, 55555555555555555 ?&..5DD B$,, %B 55555555555555555555555555555555555555555555555555 ?A'&5DD
BDD,, %B5$ 78 555555555555555555555555555555 ?';&5DD 1&,, 5555555555555555555555555555555555555555555555555555555555555 ) ?;.5DD
'DD,, %&5< 78 5555555555 ?$'&5DD .D,, %' 555555555555555555555555555555555555555555555 ?'.5DD
'DD,, %' 555555 ) ?A!'.&5DD .D,, %' 6 555555555555555555555555555555555555555 ) ?1B&5DD
&DD,, %'5& 78 55555555555555666 ?1!&..5DD ;= <= < #@555555555555555555555555555555555555555555555 ) ?1B&5DD
1&,, %B5$ 5555555555555555555555555555555555555555 ) ?''&5DD B$,, %A5& 55555555555555555555555555555555555555555555555 ) ?BB&5DD
BD,, %B5$ 55555555555555555555555555555555555555 ?B..5DD A&,, %B5$ 5555555555555555 ) ?B..5DD
B',, %B5$ 555555555555555555555555555 ?1.&5DD A&,, %A5& 55555555555555555555555555555555555555555555 ) ?B..5DD
'D,, %B5$ 55555555555555555555555555555555555555555555555 ?1B.5DD &, %B5$ 55555555555555555555555555555555 ) ?BB&5DD
&D,, %15$ 1 3 455555555555555555555555555555555 ?1&&5DD
&D,, %B5& 555555555555555555555555555555555555555555566 ?1B&5DD
&, %B 555555555555555555555555555555555555555 ) ?B..5DD
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<D,, %B5$ 555555555555555555555555555555 ?B;.5DD
$&,, %15$ 55555555 ?B'&5DD
1A&,, %'5& 6 555555555555555555555555555555566 ?..5DD
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1DD,, %B5$ 55555555555555555555555555555555555555555 ?B..5DD
1& ) $&,, %A5&=&5< ) 6 5555555 6 ?';&5DD
1A5&, %'5& 5555555555555555555555555555555666 ?<.&5DD
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1; ) &&,, %B5$ 6 555 ?';&5DD
1A&,, %'5& 6 5555555555555555555555555555555555566 ?..5DD
1 &D,, 6 5555555555555 ) ?1B&5DD ELQRFXODUV DQG FROOHFWDEOHV
1; ) $&,, %'=&5< 5555555555555555555555 ?1;&5DD B' 555555555555555555555555555555555555555555555555555555555555555 ?1$.5DD
1$ ) &&,, %A5&=&5< 5555555555555555555555555555555555555555555555555555555 ?&.5DD ')B ' #@55555555555555555555555555555555555555555 ) ?1'&5DD
1$ ) 1A&,, %A5&=&5< 555555555555555555555 ?B;&5DD
1$ ) BDD,, %A5&=&5< ) 55555555 6 ?AB&5DD
$ 6 555555566 ?A;&5DD
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B$ ) $D,, %A5&=&5< 55555555555555555555555555555555555555555555555 ?'.5DD
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6 &D,, %B 55555 ) ?A..5DD
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Photo Critique
Final Analysis
Roger Hicks considers…
‘Le Sarto bar’ (2012), by JA
© JULIE ALBAREL
S
ometimes you see a picture not alone: we know no one who survived ‘The genius lies in both the
that makes your blood run it for more than half an hour.
cold: something so staggeringly We had walked past Le Sarto a thousand scale of the collage itself and
brilliant that it makes you times. On the 1,001st occasion, we walked
despair of ever being anything more in. This picture dominated one wall. It
the inspired combination of
than a merely competent photographer. looked far better at 2-3m wide (7-10ft) scales in the smaller images’
You think: nobody should be allowed than it ever could reproduced here,
to be this good. but imagine the full size and you begin but not as big and therefore not as good.
JA’s collages of the café-bar Le Sarto to get some idea of what it might be: If she can keep this up, she is one of the
were an example. This was the biggest, kaleidoscopic, immersive. Le Sarto bar greatest photographic collage artists of
and for my money, the best. is superb. The picture of it is arguably all time: up there with the Russians and
even better. Germans of the ’20s and ’30s, up there
Descent into hell The genius lies in both the scale of the with Vik Muniz, although of course her
We saw it during the annual photography collage itself and the inspired combination style is completely different.
festival Les Rencontres d’Arles, in 2014. of scales in the smaller images that make The vast majority of collages leave me
We had taken refuge in the Le Sarto it up. It’s slightly reminiscent of formal cold, because there is always a temptation
after a descent into hell at one of the Thai painting, where perspective is to judge anything by our own aspirations
official exhibition venues, the Bureau subordinated to the importance of each and potential, and I am not much good at
des Lices. If you think ‘descent into hell’ element of the picture: more important the technique. Then again, very few are.
sounds like something of an exaggeration, elements are rendered bigger, but never But this: this did not leave me cold. Go to
then you have never suffered from in a way we can’t relate to. www.ja-fotografie.com to see if you agree.
claustrophobia, never suffered from the JA (Julie Albarel) is young: mid-20s, If you are in Arles in 2015, don’t walk past
kind of nightmare where every turning, at a guess. This picture may of course be Le Sarto. Go in. I don’t know if there will
every action, makes things worse: the ‘Hot a one-off, a happy accident. But I don’t be an exhibition there, but if you have
Hells’ of Buddhist theology. We had to ask think so. There were others at the same looked at this picture, you should feel
a security guard to lead us out. We were exhibition that were close enough to it, immediately at home.
Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his website
at www.rogerandfrances.com). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Elliott Landy
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Mortified by

Saturday 17 January 2015

Passionate about photography since 1884

Nikon D7000 took him

Wildlife battle starts

Museum and BBC Worldwide.

Racing driver Jensen Button

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Words & numbers

3 the ability to remove

Subjects do not react to

camera is at eye level. This The amount compact system

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6 17 January 2015 I www.amateurphotographer.co.uk I subscribe 0844 848 0848

Queen, Mick Jagger,

the viewer far more about

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the equipment you own. static and remain within the

45mm f/1.8 lens

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a small strip light for

3 Fill light 4 Kick light 5 Posing and cropping

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The octa was placed just above the model to

to introduce a secondary light source,

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To enter, visit www.amateurphotographer.co.uk/billinghamcomp

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In AP 20-27 December, we asked…

Georgia on my mind of stamps featuring Herbert A mug’s game?

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ALL PICTURES © STEPHEN DALE

Studend tonpanroSPﬁIlecourse because I

www.spi-photography-courses.com photography to the

ALL PICTURES © WILLIAM MORTENSEN

composite paper negatives,

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a magniﬁcent illustration of how

be either completely ignorant Portrait, 1924.

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but the older ones, especially from

‘If you love to read and to take pictures, read

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About the barn owl

BARN owls are normally nocturnal, but in the UK, and

grazed soon prove unattractive, though, as voles leave

Natural-coloured A monopod will offer relief Best time to shoot

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ALL PICTURES © ROMAIN JACQUET-LAGRÈZE

urban environment when facing the

‘This is why the city has to grow ‘VH #24’

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at night that I found the most

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