Photography Monthly

Issue 166
November 2014
Take, make, share and be social...
Comment Gallery Black & White DIY

Play Nicely, Please! How To Shoot Red Aston Martin Vanquish Homemade Filters
ARCHITECTURE
NIKON D750
SPECIAL NEGATIVELESS:
Daguerreotype &
*Britain’s Best Buildings
BRUTALIST 50MM
Camera Obscura
*Daylight 10-stop NDs
*The Art of Structures
*Perspective Control
*Fine Art Forms Lush
*Top Tips Landscapes
KODAK PIXPRO
by Paul
Wakefield
BUYER’S
GUIDES:
*Tripod
Heads
*Tilt &
Shift
Lenses
com
ly.
th
on
.99
Nikon - from ym
£3
h
ap
gr
birth to D810 w
w.
ph ot
o
w
NOVEMBER 2014 – ISSUE 166 |
Welcome FROM THE TEAM

Contributors
This
month
Karl Shaw
Portrait Photographer
www.karlshaw.co.uk
@karlshaw66
Connie Zhou
Architectural Photographer
www.conniezhou.com
Paul Sanders
Landscape Photographer
www.paulsanders.biz
@Wiggys
Noel Hibbert
Jessica Bracey
Freelance Journalist
@jessbracey
Paul Wakefield
I
Landscape Photographer
and Author
f you love to shoot the built environment, or would like to but don’t know how, we have the www.paulwakefield.co.uk
perfect issue for you this month. Inspiration aplenty, how tos, technique guides, stunning fine
art creations and two guides to using lenses – a Nikon tilt-sift and a 50mm prime. So our core
of the magazine will give you plenty to be taking a look at this month.
Add to this a comment from Paul Sanders about us all being a little friendlier to each other, a gallery
Tim Wallace
of stunning reader’s images with the theme of red – most appropriate with autumn fast approaching, Automotive Photographer
and Trainer
a fascinating read on shooting negativeless images and gear reviews on Kodak’s latest PIXPRO 360 www.ambientlife.co.uk
@ambient_life
Action Cam.
If you fancy being a little creative with acetate, paper, Sharpies and scissors, we have two great DIY
projects for you to have a go at; one is shooting heart-shaped bokeh and the other, homemade filters
Joas Souza
for fun. It would be great to see you own interpretations on our DIY ideas on the PM gallery. Architectural Photographer
And if you enjoy your history, check our pages 25 onwards for a potted chronology of mega brand, www.joasphotographer.com
Nikon – you’ll learn something interesting, I promise.

Have a great month, see you next!
Adam Scorey
Group Editor, Imaging Edmond Terakopian
adam.scorey@archant.co.uk Photojournalist & Writer
Instagram: scoreyeditor www.pix.org.uk
Editorial Team
NETWORKS
n
il y P en d le to
Acting Deputy Editor

emma-lily.pendleton
@archant.co.uk
photographymonthly.com
upload | download | news | views
Sales Team
& Advertising
a -L
m
Em Art Editor
noel.hibbert
b b er t
@archant.co.uk
photographymonthly
Hi
vi d L e n n o x
el
o
Features Writer N
upload | competitions | read | share Advertising Manager
C o r gr ay
daisy.mccorgray david.lennox
@archant.co.uk @archant.co.uk
01242 216054
Da
Mc
y
@photomonthly
is
a
D
Editorial Apprentice
charley.yates follow | read | share
at es
R h ys- Jo n e s
@archant.co.uk
Account Manager
yY
carwyn.rhys-jones
le
ar
Features Writer Ch @archant.co.uk

O
photographymonthly.com/phototv
Dovey
OT
yn
victoria.dovey 01242 264778

PH
rw
@archant.co.uk watch | learn | enjoy Ca

ri a
to
V ic photographymonthly.com | 3
NOVEMBER REGULARS
3 WELCOME | THE CONTRIBUTORS
Contents
8-13 WOW! PICTURES
14-15 10 THINGS... TO MAKE YOU HAPPY!
16 PAUL SANDER’S COMMENT
18-23 READERS’ GALLERY: RED
38-39 SUBSCRIBE TO PM
14 25 30
10 THINGS... HISTORY OF... MONO

WE ROUND UP TEN THINGS TO JESSICA BRACEY LOOKS BACK PEEK UNDER THE HOOD OF A TIM
MAKE YOU HAPPY THIS AUTUMN ALONG THE TIMELINE OF NIKON WALLACE’S ASTON MARTIN SHOT
41 47 55
NEGATIVELESS ALTERED IMAGE CONNIE ZHOU

DAISY MCCORGRAY CHECKS OUT WE SPEAK TO GAME-CHANGING VICTORIA DOVEY CHATS TO THE
THE NEW MICHAEL HOPPEN EXHIBIT ARCHITECTURAL PHOTOGRAPHERS UPCOMING ARCHITECTURAL STAR
69 73 84
SHOOT AN ERA TECHNIQUE DIY

CHARLEY YATES UNCOVERS WHERE NOEL HIBBERT TRIES LONG WE MAKE OUR OWN CREATIVE
TO CAPTURE SEVEN KEY GENRES EXPOSURES IN BRISTOL HOT-SPOTS CAMERA FILTERS!
4 |
NOVEMBER
Capture
Contents 89
the moment
WIN!!
WIN!!
WIN!! Enjoy Photography Monthly every
month in the format of
GEAR your choosing:
KARL SHAW SHOOTS SUBSCRIBE to the print edition, digital
ARCHITECTURE WITH A 50MM LENS edition or take the full package and enjoy
COVER IMAGE
Connie Zhou finds the perfect print & digital together. Visit
angle to shoot an interior of www.subscriptionsave.co.uk
the Milwaukee Art Museum 94
in Wisconsin, USA. To read our BUY a single copy and have it delivered
interview with Connie, visit direct to your door. Use this code SX95
page 55.
and SAVE £1 off the cover price.
Visit www.buyamag.co.uk/pm
DOWNLOAD Photography Monthly

to your device, available on Apple
WIN!!
WIN!!
WIN!!
Newsstand, Google Play, Kindle Fire
One month - £2.49 Three month - £6.99

Six month - £13.49 Annual - £19.99
GEAR
KODAK PIXPRO SP360 ACTION CAM
AND YOUR CHANCE TO WIN!
HISTORY ARCHITECTURAL SPECIAL 73-75 TRANSFORM RECOGNISABLE

25-29 UNCOVER THE HISTORY OF 47-51 THE PEOPLE CHANGING THE SPOTS WITH LONG EXPOSURE
NIKON FACE OF ARCHITECTURAL 77-81 WHY ARE TILT-SHIFT LENSES SO
BLACK AND WHITE PHOTOGRAPHY IMPORTANT?
30-31 TIM WALLACE’S MONO ASTON 53 BUYER’S GUIDE: TRIPODS & HEADS 82 BUYER’S GUIDE: TILT-SHIFT LENSES
MARTIN VANQUISH 55-61 ARCHITECTURE PHOTOGRAPHY’S DIY PHOTOGRAPHER
INTEREST HOTTEST STAR: CONNIE ZHOU 84-85 MAKE YOUR OWN FILTERS
33-37 WE SPEAK WITH LANDSCAPE 62-65 JOAS SOUZA GIVES US 86-87 ONE VISION FRAME
PHOTOGRAPHER, PAUL WAKEFIELD TECHNIQUE TIPS FOR SHOOTING GEAR
41-43 MICHAEL HOPPEN GALLERY BUILDINGS 89-91 SHOOTING ARCHITECTURE WITH
DISPLAYS ‘NEGATIVELESS’ IMAGES 67 STEVE MAYES ENCOURAGES YOU A 50MM LENS
45 JOIN THE CAMPAIGN – GET TO LOOK FROM NEW ANGLES 93 NEW NIKON LAUNCHES
PRINTING! 69-71 WE UNCOVER THE BEST SPOTS 94-95 KODAK ACTION CAM WITH
FOR EACH ERA OF ARCHITECTURE CHANCE TO WIN!
6 |
w
w
8
N w W
ik
|
o
LI
n
.fa G I O
D ce
80
0
w
bo w O N G
H BA MA W
T
|1
4- ok w F AN E B !
24
m .c .ba TH TA Y
m om n E R
f/2
.8 /B ant EA R
|1 an r RTa
4m
m an r.c H
| Ta om IV
f/2
2 rr
|I Ph
SO
10
ot
0 og
|S ra
ev
en ph
xpE y
.H
D
R
Tu
rn
a
Al ga
as in
ka A
at . T rm
te h is
m ep aw
fin ptin lac i
al g e nd
ly to wa ing
ph be fi sn ,d
ot co nd t am yna
o m he ed m
on is i n i
e an g f ins by c st
ru id C re
w
ill exa str e p ap tch
w m at as tai
itn pl e d s n of
es e o , h age Jam gla
s ft e ,a ci
w ca n e al
h i he
l e d y
lle d a s Co tid
d f o ew
sa
m ex n t te k
e pl am his r tu , th ate
pl o i pl r e rn
ac rin c w ac nin f ot
e g e e g am
tw th ath Tu ag ed far f
ic e e a r
e. re. r a rna in exp om
It’ nd ga and lor An
s l i n e
photographymonthly.com
ne and A ag r, w cho
s r m ai h r
|
ve
r t cap . T n, a o w age
he
9
es his nd as ,
An image that makes you go... WOW! |
| An image that makes you go... WOW!
K AU B !
UR
EN A OW
ST TC Y
Y OE
H GE
W
IM
RI
LI
JU
|
O c | 2 D 800 mm
70
IS .8
1/ m – N 8 | f/2
m 0
O
20 f/ 9m 70
2. m
-7 cap | f/ m
24 ds ec -70
IS 5se .8 on
4
i k
La 400 0 | 2
0 8
1/ 70
2
0m e
s
|
12 f/
D
on
ik
n
N
I was the second shooter for the wedding of a nice couple Kristy and Jason in Ottawa. I took a picture of the bride looking at me in her hotel room
after the ceremony. We were preparing things to go outside for a photo shoot. In this picture of Kristy there is a very bright window behind her, so
the background is all white and we almost just see her silhouette which is good to overlay with another picture. At home I tried different overlays in
Photoshop with pictures of cities or landscapes. After converting the pictures into black and white, I finally kept this one.
www.bustitawayphotography.com
10 |
se
!
W
o
i th m
k. tsw NR N Y
rp
A
oo rin U RZO B
w co
O
pu
C
0
E
ts s e .
10
W
M AG
O
ri n o
m thp SE
S
rp rp
TO IM
|I
I
/8
u
|f
c
se
co i
S
50
/
/2
|1
.8
e b .p
f/1
w
m
.fa w
8m
w w
|2
c
0
80
D
w
on
w
ik
N
W
e created The Dark Room with a desire to offer UK
photographers, from beginners to pros, a place to
learn, grow and inspire each other. We’d found only
US based communities and though we’d learned a lot and been
welcomed, we wanted to support like-minded UK photographers
and vendors! We’ve discovered incredible talent, both
homegrown and from around the globe, been touched by
people’s willingness to help others grow and learned a lot about
our own skills. Presently, we offer our Facebook community,
inspirational blog, support forum and monthly technical
challenges. TDR has grown pretty fast in a short space of time
because of the fabulous levels of participation. So come join us,
we’d love to see you there, we have exciting plans for the future!
Charlotte
www.thedarkroombloguk.wordpress.com
www.facebook.com/thedarkroom.community
12 |
An image that makes you go... WOW! |
W
e created The Dark Room (TDR) with a desire
to offer UK photographers, from beginners
to pros, a place to learn, grow and inspire
each other. We’d found only US based communities
and though we’d learned a lot and been welcomed, we
wanted to support like-minded UK photographers and
vendors! We’ve discovered incredible talent, both
homegrown and from around the globe, been touched
by people’s willingness to help others grow and learned
a lot about our own skills. Presently, we offer our
Facebook community, inspirational blog, support
forum and monthly technical challenges. TDR has
grown pretty fast in a short space of time because of
the fabulous levels of participation. So come join us,
we’d love to see you there, we have exciting plans for
the future!
Charlotte
al
w hig nat t (t , th he tion
a
ak mo h N
at ric
so , an pa ly v e in d il ied as t at oa
sp
d
ta njo ry a ar ca t), a he ot g th nan
in he
n
e
ut ud rpr e e ove this ow o S
e
h- ed he
t
ng ite ive
n
w
o
dr
m
n
m ot the
k
sh
i
P
m
n e
qu
c
u
an sin
l
rt
,
e
le
ey ent es ls t cov rni
n
d
th
s! out the ith

th de ll d mb
o
th er
ga
as
O k,
sh get t to le
e
ar
m
h
d ren isib
a
t
by mo of he ile ten
n
D ked iluc igg hi ud
i
to r. E ve s, b ise
st
o
of
o
s.
th unt f, w r al it’s
e
cl
t w is
l
w
th sen e, b clo su
sm le p the ou his
u
lo
tit
g
h
t
t
p
he ollin
nd e
tin ke
ot
ga tion set t li
n ith
r
b
ig
o
y
sh
e
h
tit unr s a
m
th e n e. T
ol ise
ai
nr
d
at
na ct
s
ke
ud is
nd ve
so
ai
su
o
s
a
s
v
ng
in
e
b
i
e
0
l
al
m
rk
ki
80
er
e
Ta
Pa
co
al
photographymonthly.com | 13
10 Things to
make you happy
“Life starts all over again when
it gets crisp in the fall.” So said
F. Scott Fitzgerald in his iconic
novel The Great Gatsby – with
this in mind, we’ve rounded up
10 things to feel content about
as it turns autumnal
Clockwise from top: Audrey Hepburn,

courtesy of Cecil Beaton archive at Sotheby’s;
The Miracle of Dolphin Surfing, 2002, Joan
Fontcuberta; Centaurus Neandertalensis
from the Fauna Series, 1987, Joan
Fontcuberta; Cecil Beaton: Portraits and
Profiles published by Francis Lincoln.
14 |
10 Things... |
1 2 3
Celebrate the Do you believe what Embrace your inner
change in you see? Challenge child: run through a
seasons with a reality exploring Joan pile of fallen leaves
new prime lens. Fontcuberta’s and watch as they fly
Get experimental innovative exhibition up around you.
with shallow Stranger than Fiction at
depth-of-field and the Science Museum,
creative London – open until 9
with bokeh. November 2014.
4 5 6
Go buy the Take advantage of the Wrap up warm and try
latest coffee vibrant autumn colours your hand at some
table tome, and get the whole mud-splattered sports
Cecil Beaton: family outdoors for photography – Mud
Portraits and some rich-hued, fun Runner at Eastnor
Profiles , and be portraits. Castle, Herefordshire,
wowed by the happens 19 October.
vintage fashion That’s if you don’t
portraiture within. fancy running it,
£30, published by of course!
Francis Lincoln.
7 8 9
Find the Get inspired by the As the nights draw in,
forager within entries in this year’s make the most of the
you and gather British Wildlife earlier evenings with a
some wild food Photography Awards; spot of astro
while out on a the fifth accompanying photography. The
photography walk – photo book is available Draconid and Orionid
blackberries, now. meteor showers both
hazelnuts and sloes £25, AA Publishing. happen in October, so
are all starting to you may even catch a
ripen this month. shooting star!
10
Take a
tactile
turn
and go
a step further to
actually printing your
images – turn to What makes you happy?
page 45 to find out Have your say at
why. www.photographymonthly.com
| Columnist Paul Sanders
NOT SO SOCIAL MEDIA

Paul Sanders is dismayed at fellow photographer’s behaviour on
social media and asks us all to play nice, please!
L
et’s look at a word – social - and one of its many on any level. There should be no room for this type of
meanings. Social. Adjective: pertaining to, devoted to or behaviour in any part of our lives. In my mind, his comments
characterised by friendly companionship or relations. “a should have been removed by the moderator as soon as
social club”. Okay. Good. they appeared and he should have been blocked from
I can’t tell you how many photography groups I belong to posting again – or at least told why his comments had been
on Facebook but it’s more than I can possibly monitor removed. The group then rallied to support the victim,
properly, and I certainly don’t add images to all of them. I although honourable in their intentions, should also be
just enjoy looking at great photography from a myriad aware that they were no better than the original perpetrator.
or sources. It’s so easy to hide behind a profile picture and spout off
The internet is a wonderful thing; its content is inspiring about anything on the web, but lets remember a few things.
and brings likeminded people together, to mutually inspire We have all taken terrible images but we all have to
and praise each other to create and grow in their chosen start somewhere.
field. As photographers we can get our work reviewed for Not all of us are visual geniuses and can produce
free and seek help with tricky problems that others technically and creatively perfect works or art every time. If
have conquered. someone posts an image that is less than perfect, just
It’s a whole world of love, or so you’d think. I’m almost remember back to when you first started and your images
ashamed of the behaviour that goes on in these groups. were poorly composed or lacking in the technical expertise
Anyone would think that they were life and death, that the that you have now.
members were solving massive world issues such are the To make the internet a better place, we need to encourage
power struggles and bullying that are visible to everyone. those new to our craft. Give them advice and the benefit of
Recently I spoke with a friend who had been verbally the doubt, be supportive and, yes, offer constructive criticism
attacked in a group just for getting an award. It wasn’t so but don’t rip people to pieces because they post in the
much sour grapes as out and out bitterness, jealously and wrong group! All, please stop yourselves from jumping on
vitriol that was completely undeserved. The level of the bandwagon of ‘revenge’.
bitchiness and bullying is simply horrendous. It’s not all bad, thankfully there is a positive side of social
Only last week one poor lady fell victim to asking a very media some groups like Fujiholics who are actively
simple question in a group that I thought until now was a encouraging members to meet, share ideas and giving
positive one. She asked why her images were blurry. Fair positive feedback. This hopefully is the future of
question? You’d have thought so. But one member told her social media.
that she had posted it in the wrong group and to get some I’ve always believed that helping other people achieve
photography lessons. This was said in the open and read happiness in their photography is more fulfilling than taking Share your
really harshly. Other members then leapt to the her defence;
some were supportive and offered advice to put the issue
great images. I’ve tried all the way through my career to be
supportive of those who want to enjoy photography, at
experiences
right. Sadly, the lady in question then posted that she was so whatever level. Now that photography is currently the fastest with Paul on
upset that she wouldn’t be posting again. At this point a growing hobby, I would suggest that we all take one new
whole other faction unleashed its collective venom on the person under our wing and pass the good feelings along. Twitter
chap who had started it all by posting his images and ripping
them to pieces. Play nicely please!
@wiggys
In fairness to both parties their images suffered from a lack
of experience. Neither deserved the criticism that received www.paulsanders.biz
16 |
Readers’
Gallery
Red
Abdurrahman Aksoy – Bee time
Nikon D7100 | 90mm f/2.8 | 1/400sec | f/5 | ISO 200
Abdurrahman-Aksoy-Photography
Anna Zmuda – Red sunglasses

Nikon D7000 | 18-105mm f/3.5-5.6 | 75mm | 1/80sec | f/5.3 | ISO 100
LIKE AN IMAGE AND WANT TO KNOW HOW

THEY TOOK IT? MAYBE YOU’D LIKE TO
COMPLIMENT THE PHOTOGRAPHER? TWEET
THEM AND TAG US IN @PHOTOMONTHLY
Lori Kreutzer – Red
TWITTER FACEBOOK
Canon Rebel T1i | 85mm f/1.8 | 1/500sec | f/2 | ISO 160
lorikimages
@PHOTOMONTHLY PHOTOGRAPHYMONTHLY
18 |
Readers’ Pictures |
Jamie Valladao – Golden Reflection Mollie Clothier – Focus ‘Colour Psychology’

Nikon D7100 | 17-55mm f/2.8 | 18mm | 1/5000sec | f/13 | ISO 3200 Canon 550D | 18-55mm f/3.5-5.6 | 36mm | 1/200sec | f/10 | ISO 100
Jamie Valladao mollieclothierphotography
| Readers’ Images
Amy Lancaster – Red

Canon 6D | 35mm f/2.0 | 1/320sec | f/2.5 | ISO 1000
amybutterfieldphotography
Dariusz Zielinski – Red Bull Air Race

Nikon D300S | 70-300mm f/4.5-5.6 | 270mm | 1/1250sec | f/5.6 | ISO 100
DZphotography2013
20 |
PRE ORDER
THE NEXT ISSUE
AND SAVE £1
Use discount code JH74
Elise Meader – Red
Nikon D7100 | 35mm f/1.8 | 1/160sec | f/1.8 | ISO 500 at www.buyamag.co.uk/PM
Elise-Meader-Photography
Pat Collingwood – Red Poppies

Canon IXUS 510 | 4mm | 1/500sec | f/3.4 | ISO 100
www.flickr.com/photos/patcollingwood
22 |
History of Nikon |
I Am History
Established just three years after Leica, Jessica Bracey explores
the history of another icon in the photography industry, Nikon
Nikon F launched in 1959.
D
uring a recent trip to Disney World York Times introduced its
where cameras were brandished at cameras and lenses to an
every opportunity, one thing that international audience.
caught my eye was who the With the launch of NASA and
principle photography sponsor was; Nikon. Princess Elizabeth becoming Queen,
When a company as colossal as Disney has its not to mention Nikon’s very first Nikon cameras
photographers taking up to 200,000 interchangeable SLR, the Nikon F, coming to were used in the film
photographs of guests each day, exclusively market, the 50s were a decade of change. In
using Nikon, that manufacturer must be doing 1959 Nikon produced the world’s first Ghostbusters, and one
something right. Over the decades, Nikon has telephoto zoom, the Auto Nikkor 85-250mm supposedly had a special
proven itself as quite the contender through f/4.45, a few months after releasing the Nikon
innovative campaigns, products and an iconic F. The 35mm F was so legendary with its world
filter that allowed the
back catalogue. first features, such as an exposure metre, that characters to photograph
its robust design saved the life of renowned
Once Upon a Time war photographer Don McCullin in Cambodia
paranormal apparitions.
Originally named Nippon Kogaku K.K. when when the camera caught a bullet out in conflict.
launched on July 25 1917, Nikon began “The very first Nikon I picked up was a Nikon
business as a manufacturer of optical F fitted with an F-36 motor drive in black. I
instruments, such as binoculars and couldn’t afford it at the time as I was a poor
microscopes, a few decades before Canon’s student, but I knew I had to have one,” says
introduction into the camera market. Its Gray Levett whose fondness for Nikon led him
expertise was so grand, that the Nikkor lenses, to establish Grays of Westminster, an exclusive
launched in 1932, were used with Canon’s Nikon shop. “We have found some exceptional
Hansa cameras up until 1947. It wasn’t until 30 pieces such as a rare 220 degree fisheye Nikkor
years after its birth that Nikon invested in 6mm f/2.8, which at the time was the world’s
cameras – starting with the Nikon I in 1948. As most extreme wide-angle lens to cover the
the Second World War ended and optic 35mm format area. Lens production began in
production was given the big push, Nikon’s March 1972 and was special order only – we
shining moment came in 1950, when The New sold it for £100,000.” >>
Nikkor 6mm f/2.8 fisheye lens.
After the success of the Nikon F, came its
successors the F2 in 1965 and the F3 in 1980
attracting professionals including royal
photographer Arthur Edwards MBE. Nikon has
been his go-to brand for the majority of his
eventful 40-year career shooting for The Sun. “I
first started out on Leica but they took so long
Timeline
1917
to repair, sometimes up to three months, and at Optical company Nippon
the time Nikon could repair your camera while Kogaku K.K. is founded by
you waited; so I had no choice,” Arthur says. “I three of Japan’s leading
found the change from film to digital difficult optical manufacturers
because I knew film inside out. My last job with
film was Princess Diana’s funeral in 1997 using
the F5. The funeral was on a Saturday which 1918 Research begins into
manufacturing optical glass
meant that we didn’t have a paper the next day,
so I could spend all day shooting and all of the
next day processing, picking out the best 1932 The manufacturer’s camera
lenses are branded Nikkor
pictures and knowing that the quality would
be superb.”
1945 Attention is shifted to the
production of cameras,
The Modern Nikon microscopes, binoculars
Nikon went digital the same year as competitor and ophthalmic lenses
Canon with the E2 and E2s DSLRs, featuring 1.3 following World War Two
megapixels and 3fps in collaboration with
1946
Fujifilm in 1995, and its COOLPIX compact The Nikon name is
range followed in 1997. “For me, changing was announced for its small-
difficult because I really did love film,” says sized range of cameras
Arthur. “But I wouldn’t go back now because
digital cameras are superb, you can push the
limits and achieve incredible results. I’m
1948 The Nikon I goes to market
reluctant to say this, but for me, digital has been

the biggest breakthrough in photography since 1950 Nikon cameras
and Nikkor lenses are ^^ Gray Levett of Grays of Westminster
and his first Nikon camera the Nikon F.
the Box Brownie.” Increasing its game at the introduced to the world
turn of the millennium, the newest models by a piece in The New >> Royal photographer for The Sun
marked Nikon’s territory and made Kodak York Times newspaper Arthur Edwards and his
quake in its boots. “For Nikon, the move to Nikon collection.
digital was highlighted by the D1X, which was
the first digital camera that came close to 1953 The Nikkor Club is
founded to promote
Princess Diana in Melbourne, taken by
royal photographer for The Sun, Arthur
Edwards in 1986.
Kodachrome in terms of quality. It was not photography culture
difficult to see then that speed of delivery,
facility of handling and storage was going to
take over,” says Gray Levett. 1959 Nikon F SLR camera
is launched
With Nikon’s technology increasing, its digital
1963
offerings caught the eye of not just professionals Nikon’s first weather
but novices too. “My husband brought me a resistant the NIKONOS
D80 for Christmas 2007. I knew nothing about all-weather camera goes
photography, but there began the love affair to market
and I learnt about metering and exposure,” says
Nikon ambassador and lifestyle photographer
Kate Hopewell-Smith. “My first significant lens 1969 The Nikon Photo Contest
is launched
purchase was the very reasonable 50mm f/1.8 –
that really made me see the difference that
glass made. I only upgraded to a D3 in 2009 1971 The Nikon Photomic FTn is
mounted on APOLLO 15
when I began to think more seriously about
turning a hobby into a business. My cameras
triumph at every single wedding I shoot because
1980 The Nikon F3 is released
the conditions are intense – with extremes from

too much light to almost none, and at the same
time, I’m also asking my camera to shoot at
speed. At a wedding, it gets knocked about but
it just keeps on shooting throughout the day.
My clients trust me with unrepeatable moments,
and this is why investing in professional kit is
absolutely essential!” >>
26 |
History of Nikon |
Kate Hopewell-Smith
shooting with her Nikon D3s.
Boudoir shot taken by Kate Hopewell-Smith.
What would you like to see from Nikon next?

Arthur Edwards, Press Photographer: A way of speaking the
caption for an image into the camera instead of calling the newspaper directly. It
could become essential for press photographers who need to work quickly.
Kate Hopewell-Smith, Nikon Ambassador: If Nikon keep

making products like the D810 with its superb ISO performance and the COOLPIX
cameras with the incredible super zoom optical lenses, while continuing to listen to
what photographers need, then they will continue to be one of the leaders in the
imaging market.
Dr Michael Pritchard, Photographic Historian: For most

amateurs a period of stability might be good. Improvements to sensor resolution
and low-light sensitivity would be better than an ever-greater pixel count. While
wider aperture and light-weight lenses would be welcomed by many.
Nikon S4 launched in 1958 was only in

production for two years, making it
quite a rare camera.
I AM Advertising
While Nikon’s adverts in the past have not been
as iconic as its competitors, the brand’s recent ‘I
Timeline
1983
AM Nikon’ campaign has certainly made up for Nikon’s first compact
it. Featuring familiar faces such as Robbie camera, the L35AF, features
Williams and Jamie Oliver, the campaign’s aim autofocus and nicknamed
was to speak to a new generation of the ‘One Touch’ in the USA
photographers. “Nikon has a long history as a
1986
premium manufacturer and is strongly related to Nikon’s first autofocus
professional photography and high- camera the F-501
performance SLRs. However, being perceived is launched
Nikon D4 launched 2012.

as ‘pro’ puts off broader target groups rather
than attracting them. So we needed to open up
the brand and make it more accessible,” says a 1988 The manufacturer’s
name is changed to
spokesperson from ad agency, Jung von Matt. Nikon Corporation
“We switched from a brand talking about itself,
1995
to a brand talking from its customers’ Nikon’s first digital stills SLR
perspective. The fundament of our camera the E2 and E2s
communication platform was born: I AM Nikon. is released
Who are you with Nikon?” Its success since
1997
conception in 2010 saw Nikon take the largest Nikon’s first digital compact
share of the digital still camera and compact cameras the COOLPIX 100
camera market shares in Europe, according to and 300 are launched
GFK figures.
Other than Nikon’s traditional form of
advertising, its sponsorship with photographic 2004 The F6 film camera
is launched
competitions, such as the NME Music
Photography awards, champions new talent
across the board. This interest in popular culture
2007 Nikon D3 goes to market
also spread to sponsoring TV programme

Hollyoaks; showing how Nikon are delving into 2010 I AM Nikon campaign
is launched
the consumer markets reflected by the I AM
Nikon campaign.
2012 The Nikon D800 goes
on sale The NME Music Photography Awards
are held in association with Nikon.
Nikon and the
New Generation
Today, nearing 100 years old, Nikon’s products 2014 Nikon produces its 85
millionth lens
are continuing to be noted for innovation – with
four wins at this year’s TIPA awards for the D4S,
Df, D330 and Nikon 1 AW1. Going back to its
roots in 2013, with the F inspired Nikon Df,
whilst also answering to the smartphone
photographers who want to up their game with
the Coolpix range, Nikon’s intuition with today’s
professional and enthusiast photographers Nikon 1 AW1, launched in 2013 and
shows its ability to transform and keep calm in winner of this year’s TIPA award for
AF-S VR-Nikkor 70-300mm. best rugged camera.
turbulent times, as Gray Levett confirms: “They
are responding very well in a very tough market
place. I do think that the future looks good for
them as Nikon continues to push the boundaries
of optical technology. Nikon’s history is one of
challenges and exploration in the world
of optics. The key factor is the image quality that
its cameras produce and that is down to
three vital factors: the lens, the sensor and
the processor.” [PM]
The Nikon Df launched in 2013 was

inspired by the exterior of the iconic F.
Inside Grays of Westminster, London, an exclusive Nikon retailer.

28 |
History of Nikon |
Did you know?

Nikon’s most important element is the
Nikon F mount bayonet ring introduced in
1959. Despite the fact that many new
Which big names have shot technologies have appeared since then,
with a Nikon? such as TTL metering, auto-exposure,
autofocus and FX and DX formats, Nikon
Elvis Presley – Nikon SP Rangefinder is the only manufacturer to keep with the
John Lennon and Paul McCartney – Nikon F same lens mount throughout all those
Quentin Tarantino – Nikon D3 changes. What is so extraordinary is that
Mark Pain – sports photographer you can take a lens from 1959 and fit it on
John Wright – fashion photographer a Nikon 1 camera! That is an achievement
The monster 36.3 megapixel Joe McNally – photojournalist to be admired.
Nikon D800, launched 2012 Don McCullin – war photographer
Disney’s on-site photographers use Nikon exclusively – Image by Matt Stroshane.
From the Nikon advertising campaign I AM Nikon in collaboration with Jung von Matt since 2010.
Aston
Monotin
Aston Martin Vanquish by Tim Wallace

“Aston Martin has been building the most beautiful and desirable cars in the world for 100 years and
they knew our centenary demanded something special. Their mission was to produce the greatest
Aston Martin in history; the car to lead us into their second 100 years. A car with power and beauty, a
new flagship model for Aston Martin. With the most advanced engineering, the most beautiful design
and the finest materials, they created the best Aston Martin ever; they created the all-new, carbon fibre
Vanquish.
“I was tasked with the project of shooting this car to capture that beauty, power and to visually afford
it the grace of its design and the craftsmanship that has been poured into this new, exciting model for
its inclusion in the Aston 100 year boom project that I have worked on over 18 months. It’s anticipated
to go to print shortly for sale globally. The book has 680 pages featuring all the models, from the very
first Bamford Martin through to the infamous Zagatos, and the more modern models such as the DBS
and Vanquish.”
Capture was shot using a 7.5 metre carbon fibre car rig (boom arm) coming off the car to fix the
camera static whilst using a 1.6 second exposure with the car moving at approx 1 mph. Some additional
lighting to side and front offside from strobes.
Nikon D3S | 16-35mm f/4 | 16mm | 1.6 secs | f/22 | ISO 100 | ND filter
30 |
Mono Image |
Paul Wakefield |
Kannesteinen Sogn og Fjordane, Norway, October 2010. All images © Paul Wakefield.
The
Landscape
A quarter of a decade after his last and much celebrated landscape
publication, Paul Wakefield is finally back with another book. This one’s
unique, epic, and definitely worth the wait says Matt Henry
A
landscape photographer
is most often just that; a
photographer who
dedicates every possible
waking moment to staking out
Breidamerkursandur, Iceland, June 1995.
some of the most wondrous sites
our humble planet has to offer. Paul
Wakefield is somewhat unusual.
Despite being the author of four
renowned British landscape books
in the 1980s, he has largely been on
hiatus from landscape publishing
ever since, returning only recently
with a stunning collection of
photographs in a new book
entitled The Landscape.
Wakefield’s latest book has just
arrived off the press some 24 years
after his last, and demonstrates an
eye free from the constraints of
what can so often become a rather
formulaic genre; foreground
interest set against background and
an enticing sky. There’s a real fine
art feel to some of the images that
carries the air of experiment and
suggests that his work elsewhere in
the documentary and commercial
fields has brought something
resolutely new to the table.
“I had been shooting
commercially back in the eighties
with landscape forming a large part
of my personal work,’” says Paul.
“I was approached by Aurum Press
to make a landscape book, which
I was happy to do. But they wanted
to continue and I was producing
another book every one to two
years. By the fourth it had begun to
feel like a commercial brief and the
fun had gone out of it. Since then
I’ve largely shot landscapes here
and there for pure pleasure and
enjoyment and as a break from
commercial advertising work.”
Also resolutely novel is Paul’s
approach to the structure of the
landscape book, organised in
topographical sections with titles
like ‘Shorelines’, ‘Rockscapes’
and ‘Drylands’ instead of the
usual country-based chapters.
“When you show someone a
landscape, the first thing they
always say is: ‘Wow! Where was that
shot?’ Landscapes end up as either
being pigeon-holed into travel
or location-based categories
and I didn’t want that. By removing
the location captions and adding
them instead to the thumbnails in
the back I hoped people would look
at them without thinking about
nation states and more as a kind of Birling Gap, Sussex, England, April 2005.
topographical study.”
34 |
Paul Wakefield |
Like most photo books, The

Landscape also contains an essay
and some introductory text. But
instead of using traditional
commentators on photography, Paul
has again gone a little leftfield.
Contributor Robert McFarlane writes
about being in the landscape, rather
than about landscape photography
per se (and is quickly becoming
something of a cult writer on the
subject) and Andrew Wilton who
used to be the Turner expert at the
Tate gallery, brings the history of
landscape painting into the equation.
“The whole book has taken about
two years to produce,” claims Paul.
“A lot of the time was put in to just
editing and sequencing it. I got it
down to about 220 pictures that
I thought were worthy of being
included for one reason or another
and I had a very loose structure. It’s
the same structure as now but
obviously you can’t put in 220
pictures. I decided that five sections
of about 15 pictures each was the
limit. It was a long process of leaving
it and coming back to it again, and
again, and again; trying to hone the
flow of the narrative to the state that
it is now.
“When people look at it they say
things like, ‘you’ve been
everywhere!’, but it’s just not true. It
may seem that way, but there is such
a similarity in topography in many
regions. For example the desert
section which is called Drylands, I
think there are 14 pictures taken in
just two regions. One is the Sahara El
Beyda in Egypt and the other is the
Grand Staircase Escalante National
Monument area on the borders of
Utah and Arizona. Those two places
are thousands of miles apart yet
almost identical things are happening
in both places because they have
similar rock structure and similar
conditions of erosion. So I was linking
things in like that. The main places
represented in the book are the UK
and North America, with a little in
Egypt, Iceland, New Zealand, Norway
and Japan.” >>
Fjallsarlon, Iceland, January 2007. Glen Nevis, Highlands, Scotland, October 2009.
Paul Wakefield |
During his travels Paul sometimes

stayed in hostels or hotels, but was not
averse either to sleeping in or
underneath cars, in tents or out in the
open air when it was necessary. “In the
Sahara, for example, we camped in the
desert for two weeks. There’s just
nowhere to stay. I had a couple of
Bedouin guys with an old Toyota and
they set up camp for me every day.
They cook for you and they know the
place like the back of their hand.”
Paul shoots on an Ebony 5 x 4 film
camera, and mostly using a 120mm
lens, sometimes a 90mm and on the
very rare occasions that he’s in a tight
spot, a 72mm. “Having used film for a
very long time,” he claims, “I’m really in
love with the uncertainty of it. I’m really
comfortable with not seeing the image
as soon as I’ve taken it. I mostly try and
get my shots in post-production as
near as I possibly can to the contact
sheet, or as near to my memory. What
I’m really trying to do is to produce a
photograph that I really remember
seeing, so I don’t want to take away
from that. One of the reasons I’m doing
this is as a form of memory. As soon as
I look at one of my photographs I can
remember exactly what I felt at the
time of taking it, and I can remember
the whole day.”
The book was printed on a run of 850
copies along with 75 limited editions
that come in a box with a print. It was
printed in Italy by a company called
EBS that also handles the likes of
Taschen. “I went across along with the
designer to supervise the printing,”
claims Paul, “and it was a really
fantastic experience. We were on press
for three days making adjustments
while they printed. It was amazing
actually. At the moment we’re selling it
through the publisher’s website and via
a few online book shops like Beyond
Words. It’s funded both by myself and
the publisher but you start to make
your money back quite quickly as 850
can sell fast.” [PM]
The Landscape by Paul Wakefield is

published by Envisage Books. £48.50
www.envisagebooks.co.uk
Top: Mountains of Mourne, County Down,

Ireland, September 1999.
Middle: Cape Foulwind, South Island, New
Zealand January 2000.
Bottom left: Lake Chuzenji, Tochigi

Prefecture, Japan, November 2005.
Bottom right: LLyn Ogwen Gwynedd,

Wales, January 1989.
The right insurance
for YOU?
With a full range of specialist policies
for Photographers, Video-makers, Film
Processing Labs and everyone involved in
Image-making, Imaging makes insurance
simple, effective and hassle free.
Imaging strives to give you excellent cover,
service,security and value for money.
For a quote or more information.

Call Imaging Insurance now on...
01277 243016
Or visit our website...
www.imaginginsurance.co.uk
Imaging Insurance is a trading name licensed to Vantage Insurance Services Limited (VISL) by Niche Insurance Services Limited.
VISL is authorised and regulated by the Financial Conduct Authority. VISL is registered in England, No 3441136.
VISL’s registered address is: 5th Floor, 41 Eastcheap, London, EC3M 1DT
Imaging Insurance can be contracted at: 2nd Floor, Juniper House, Warley Hill Business Park, Brentwood, CM13 3BE
Tel: 01277 243016, Fax: 01277 234100, Email: info@imaginginsurance.co.uk
Art – Negativeless Photography |
WITHOUT
A TRACE A photo without a negative?
Gallerist Michael Hoppen
speaks with Daisy McCorgray
on the modern reimagining of
this classic technique
Michael’s Favourite
Image – Large Flamingo
“Learoyd has redefined the still life, which is a
nineteenth century tradition. Nudes, landscape and
still life are things that all artists confront as a place to
find their soul. Richard is similar in that sense – he’s
looking at shape, form and in this particular case
there’s something very seductive about the colour.”
Richard Learoyd
Large Flamingo, 2014
Unique Ilfochrome photograph
© Richard Learoyd, courtesy Michael Hoppen Contemporary
Throwback
In 1835, a couple of years before Queen
Victoria limbered up to take to the throne of
Great Britain, the negative was invented by
Henry Fox Talbot, allowing the reproduction
of a captured image – a move that was to
change the face of photography forever. But
let’s rewind a decade further, to 1826, and
French scientist Daguerre was developing
the complex and time-consuming system of
creating a photograph on silver plated
copper sheet – the daguerreotype. This
technique, along with another 19th century
T
device, the camera obscura, are some of the
oday, everything is documented by a photograph – weapons arming the Negativeless artists in the assault on mass
from your latest meal on Instagram to a beautiful produced imagery.
landscape captured by smartphone or DSLR – it’s all “One of the most interesting things about photography,
there on-screen. In a bid to take a step back from the whether it’s Instagram, whether it’s an iPhone, is that there are so
fast-paced snapping of the 21st century, we adjusted the focus to many different ways to make a photograph and experiment,”
those who are returning to early techniques to produce an object says Michael Hoppen from his London gallery. “For everyone to
truly unique – a photo without a negative. I caught up with make pictures the same way would be very boring!” The works
Michael Hoppen, curator of the current Negativeless exhibition, featured in Negativeless are created by artists using 19th and
to dive into the art world and discover modern day early 20th century techniques who: “come up with an idea, make
daguerreotypes, two unknown twins and the importance of the equipment, make the picture and short of framing; [are] in
understanding your process. charge of the whole process.” >>
Would you ever attempt a negativeless image?
Have your say @PhotoMonthly
Richard Learoyd Richard Learoyd

Twin 1, 2012 Twin 2, 2012
Unique Ilfochrome photograph Unique Ilfochrome photograph
© Richard Learoyd, courtesy Michael Hoppen Contemporary

Know your tools would then enlarge from, you load a piece of paper that is the best
One such photographer who has taken a turn down this experimental part of four feet into the back of the camera obscura. The paper is
route with his custom built camera obscura is Richard Learoyd. “I’ve only 4ASA, so it’s very slow. There’s a huge amount of light involved
never seen any print produced with a negative that’s got that kind to be able to leave a residual image on the paper,” he explains.
of detail and sharpness,” says Michael. “It’s quite uncanny seeing it “Next door to the camera, a big machine rolls the paper through
life size in front of you – you can see every single hair, every dent in developer bleach, a stop and fix and then a wash, and then about
the skin. There’s not a digital camera in the world that could produce half an hour later, out comes this exquisite sheet of very highly-
that.” Yet Michael is quick to note that in varying shooting conditions, glossy paper where you can see every single detail.”
such as low light, a digital camera will triumph in the suitability The two twin girls featured in the intimate and slightly
stakes. “The point we’re trying to make is that these are all different disconcerting images were also discovered through, perhaps, an
tools,” he says. It’s about looking at a process and deciding how you unconventional method. “I think they work in a service station on the
can adapt it to your own particular vision; “getting artists to utilise A3 actually,” says Michael. “Learoyd’s not going after Kate Moss, or
their abilities and technical knowledge to prove that photography is somebody famous. What he’s doing is looking at the fundamental
not simply about gear. You use these tools to create something issues of portraiture; getting to know somebody through the
beautiful,” Michael continues, “but whether you’re a muralist or camera; so that baggage of celebrity is not part of it.”
sculptor or photographer; it is being in charge of your process that’s The exhibition offers a response to the question often posed in
fundamentally key to success – not simply handing it to a laboratory the photography world – what makes one a ‘photographer’? Yet it
to say ‘I’ve shot the picture, now you go and do it.’ If you look at takes it a step further than the iPhone versus DSLR argument: “What
successful photographers like Tim Walker or Andreas Gursky; Gursky differentiates the artist who is in charge of his process with you or I
is very much in charge of the process at the laboratory, down there wandering down the street taking a picture with an iPhone?” asks
making the prints.” Michael. “One is not really photography at all; it’s just a record. An
artist can genuinely create a beautiful object.”
Unique capture
To create the life-size handmade duo of photographs, Twins, Negativeless at the Michael Hoppen Gallery, London is on until
Richard Learoyd built a camera obscura in his studio. “The print is 58 24 October 14.
inches high so you can imagine how big the camera is,” says Michael.
“Instead of loading a negative into the back of a camera, which you www.michaelhoppengallery.com
42 |
Art – Negativeless Photography |
© Adam Fuss, courtesy Michael Hoppen Contemporary
Ask the Artist: Adam Fuss

Fine art photographer, Adam Fuss’ images are highly crafted
and complex to create. Of epic proportions, his work Home
and the World, is the largest daguerreotype in the world
to date
Why do you use this technique?

Although the daguerreotype is historical, I don’t think of it that
way – it’s a variety of print-making media, one that’s particularly
evocative and magical. The marriage of photograph and
mirror is particularly resonant for me – and that would be just
as true if it was a new medium but it just happens to be an
old one.
Does it produce a more detailed image

than digital?
There’s a school of thought that says its more detailed, I’m not
sure if that’s true – but it’s certainly more optically complex. A
good daguerreotype has a holographic quality – self-
illuminated in a way. When you look at a mirror, you’re looking
into an illusionistic space – if there’s dust upon the surface of
the mirror you don’t see that dust – you see this kind of deep
space where you locate yourself in the back of the mirror. So
with a daguerreotype you’re doing that and looking at the
surface image at the same time.
Why did you make such a

large daguerreotype?
© Adam Fuss, courtesy Michael Hoppen Contemporary
I felt like I wanted a challenge; that was the hardest thing I

could think of.
How long did it take to make?

Years. There was a lot of planning that went into making it, a
lot of mistakes and a lot of learning.
How did you decide of the subject of

Home and the World?
Originally my subject had been a grave and that grave was the
Taj Mahal – there’s a story around the Taj Mahal of a man
honouring a dead woman through an enormous building
project. So it wasn’t a huge leap from the horizontality of a
grave to a mattress; every night when you go to sleep you die
to your world. I saw the mattress as being symbolic of that
world – within our house is our little world, our domestic
© Sean Culver, courtesy Michael Hoppen Contemporary
space. It came to represent the place where life existed –

where you are born, conceive, give birth; it’s an arena of life.
What do see in the future for photography?

I think it’s inevitable that people will be interested in exploring
the poetry and potency of light sensitive reactions. There will
always be an interest in these photographic techniques as a
reaction against digital practice. But there’s an enormous
potential for the combination of the two media – digital and
pre-digital – to inform one another. For example, making a
large scale transparency and contact printing that to a
daguerreotype plate.
Would you advise our readers to try out

Top: Adam Fuss a form of negativeless photography?
Home and the World, 2010 If they have the guts! Negativeless photography, however you
Daguerreotype
choose to define that, involves the exploration of photography
Middle: Adam Fuss without large amounts of equipment. But it certainly involves
Untitled (unique), 2009 thought and investigation; that is the equipment. The physical
Daguerreotype
equipment is completely secondary. It needs attention and
Bottom: Sean Culver focus – an idea can occur in a split second – as the saying goes
Presence Series: Gift, 2006
Gilded Mercurial Daguerreotype ‘it’s the thought that counts’. [PM]
PM |
KEEP
CLICKING
AND
PRINT YOUR
PICTURES
I
spotted a comment the other day on Facebook that really struck a chord with me. I don’t know Editor Scorey gets on his high horse
why but it just did. There is no doubt that we are the most photographed generation in history, in a bid to preserve memories in an
social media has seen to that, enabled by the front facing camera on the smartphone, the humble
old fash… sorry, retro style and
flash, 3G and 4G. But in 50 years what will be giggling over at family get-togethers? Staring at
the multimedia TV screen or holographic tablet projection from our wearable technology. Okay, suggest we all start printing before
that’s actually pretty cool. we lose the ability to do so
Not only that, but never have we been more happy to have our picture taken, though it is so much
easier to post produce it with apps such as Instagram, Snapseed, PicLab and Rookie, to name a few.
Finally, the ‘hoi polloi’ have control of their image.
But what do we do with them? We put them on Facebook, Instagram and maybe a blog. So,
basically, in the Cloud. We store our images on our phones too. Our £500 and £600 smartphones
that we change every 18 months. Perhaps we back them up to another cloud service, or if not an
Apple you can easily drop to a micro SD perhaps.
But then what do we do with them as they gather digital dust on someone else’s servers? The
recent Apple Cloudgate scandal proved that if it’s manmade it can be man (or woman) hacked. There
must be a better way? Perhaps, we could go all retro on this whole cloud storage thing and do
something radical… print our pictures?
I have about 10,000 passwords in my life; my work computer; my work phone; my iPad; my email,
personal and work; about a thousand apps, online banking – even my payslip needs a password.
I don’t remember them all. Inevitably I forget one and need a helpful reminder. Fine. Fine as long as
the company still exists. “Oh, don’t worry, Facebook will never go bust!” I hear you say. May I remind “We are the most
your of Kodak, Woolworths, the banks…
I simply love looking back at old albums… a glass of red in one hand and my family gathered, all
photographed
enjoying the memories. Okay, it doesn’t happen that often, but I guarantee that if you sneakily leave
an open album on a kitchen table, within minutes of people walking in there will be laughs, smiles
generation in
and the words “My god, do you remember when…” will resonate around the room.
We really shouldn’t lose this. Ever. Yes, printing in some instances is a faff, but there are new and
history yet in 50
funky ways to get your pictures onto paper, cloth or all sorts of materials. There is a plethora of apps, years we will have
such as Polagram, the Impossible Project’s new Instant Lab and more print companies than you can
shake a stick at: One Vision Imaging and Loxley Colour are particularly good ones. nothing tangible
But we want to get the UK printing; sharing their images with each other, and not online either. So
over the next few months we are going to be chatting with our friend’s in the industry and sharing to show our
with you some of our favourite ways to display your creative endeavours, from wall art to stickers to
crafty creations. We’ll have a competition or two as well. So watch this space – and get printing! [PM]
grandchildren “
Altered Image |
Ways of
Marc Yankus, Somewhere in The West Thirties.

seeing
Hidden details, inverted imagery and the structural
surreal – Daisy McCorgray speaks to three
photographers achieving visual power through their
unconventional approach to architecture photography
Chang Kyun Kim, Getty Museum.
W
ith a camera in hand, a command of composition
and a magpie’s eye for unsung architectural
jewels, a photographer can create a different
vision of the world. Whether it’s honing the
focus on architectural planning and design, the personal angle
of a building’s inhabitants or the feeling conjured as you wander
past that high-rise on the way to work; a fresh approach to
planning a shoot can result in unexpected and intriguing
imagery. We took a deeper look at three photography projects
to get down to the foundations of their inspiration.>>
Nick Frank.
Recalling Modernity
in Reverse
Chang Kyun Kim – Architectural Photographer
© Chang Kyun Kim

What are the themes behind your project?
When I see modernist architecture and art, I always become
a little sentimental about the radical ideas that tried to change
the world with so much commitment and belief. As an
architectural photographer, I became interested in the old
modern buildings in the West Coast when I moved from New
York City to Los Angeles. It was sad to see them being
decayed and replaced with new buildings and I decided to
document the remnants of the trend that bridge us to the
contemporary built environment, before they are all gone.
Why did you apply the inversion process to the images?
I wanted to bring up the design elements into a different
perspective to exaggerate the very character of the style. I
also wanted to express the self-confinement that led the
architects at the time to obsessive formality which generated
a lot of criticism. To express these ideas and recall the
architectural trend, I thought photographic inversion could
work the best for me.
How do you plan your projects?
I am a type of photographer who can’t shoot without enough
planning. For this series, I researched almost every piece of
modern architecture in Southern California and the locations
first, and selected the pieces that I thought could best
describe my ideas. Since I needed the white or grey surfaces
of the buildings to be blown out to make it dark black after
the inversion process, they had to face south to get the
strongest sunlight in the afternoon and the sky had to be clear
blue to prevent any distractions from the clouds.
How important is composition in the equation when
shooting architecture?
I can’t stress enough how important it is in any field of
photography. But I try not to see the subject through a From top: Car Wash at Redondo Beach;
photographer’s eye too much by obsessing about all the Inglewood City Hall; Braille Institute;
Los Angeles County Building;
‘photo rules’ as, often, it can make one miss the whole context Salt Institute.
of the subject. Photographers, including myself, need to
break the boundary that pre-defines what a good photograph
is. In shooting architecture, I believe that trying to envision
the subject through an architect’s eye can help make a
creative and meaningful image.
What attracts you to the buildings that you feature in
your work?
The featured buildings were the ones that raised the
questions “why was it designed that way?” and “what
functionality does it have for the occupants?” Through
these questions, I found many interesting aspects of the
buildings that were in the middle of a radical transition in
architectural history.
What gear do you use and why?
For commercial assignments I use a Canon EOS 5D Mk III with
17mm, 24mm tilt-shift, 24-70mm zoom, 70-200mm telephoto
lenses. Geared heads on sturdy tripods are also very
important for the way I work. For my personal work, I also use
a Sinar 4 x 5 view camera with several Schneider lenses. But
the lens I use most frequently is a Canon 17mm tilt-shift lens.
What one piece of advice would you give for
shooting architecture?
Try to think as if you designed the piece, why you designed it
that way and how it works with its surroundings.
www.changkimphotography.com
48 |
Altered Image |
Concrete Living
Nick Frank – Architectural Photographer
© Nick Frank
Tell us more about the inspiration behind
your project.
A linear wall of concrete that blurs in front of your eyes
into a massive impersonal multitude. It is only on
closer inspection one discovers variable details that
tell individual stories and suddenly it becomes clear
that this is where life takes place – joy, sorrow,
happiness, illness. All those little details and stories are
what inspired me.
What draws you to architectural photography over
other genres?
Silence, formality, lines, curves, patterns, symmetry
and being able to work outdoors.
How do you make these buildings
appear beautiful?
I guess it all depends from where you take the image
and how close you are to the subject. As a
photographer you have to be in love with the subject
you are taking an image of, at least for a short time.
How did you approach planning and shooting
the project?
I am always fascinated by areas like Hong Kong. The
mass of people, the sounds, the smell, the intensity – I
knew I wanted to shoot patterns over there, but once
I saw those buildings I knew what I wanted to take
pictures of and what they should look like. A lot of
walking was involved in getting the entire set
of pictures. I didn’t want to shoot upwards or
downwards, so I really had to find the right place.
Luckily Hong Kong and Kowloon have quite a few
peaks around the cities, so I walked up the hills or shot
directly from bridges.
What post-production did you do to the images?
Aside from a little bit of grading the image in
Photoshop, there was no post-production at all.
What gear do you use?
A Leica S2 if I don’t need to use a tilt and shift lens and
a Sony A7R with Canon lenses if I do.
Do you have a favourite lens?
The Canon TS-E 24 II. I recently bought an old Contax
Zeiss PC-Distagon 35mm f/2.8 that is an awesome shift
lens as well – it cost around 5000 EUR when it was
released back in the 70s.
You were a finalist in the World Photo Awards –
what do you think it was that made your images
stand out to the judges?
Of course I could start telling you something about the
story behind the subject; but my guess is that it was
the sheer visual power of my images. Having 20
images of different locations shot at the same angle,
retouched in the same artificial way really is something.
Give us one piece of architecture advice…
Personally, I am someone who thinks in sets of images
rather than a single image. Having an entire series on
a specific subject can be a much stronger presentation
then just having that one single shot. Aside from that,
playing around with the placement height of your
camera on the tripod can have a huge impact on the
final image, so good luck and be brave! >>
www.iso72.de
The Space Between
Marc Yankus – Fine Artist and Photographer
Was there a particular feeling or emotion you were trying

to conjure with the images?
As I walk around New York City, buildings pop out to me, as
if they are a projection and everything else disappears. I have
this synaesthetic experience where I feel the buildings – the
corners, the bricks, the height. Different buildings have
different personalities and some repel me while others draw
me in.
You’ve said that you don’t consider yourself an
architectural photographer – what draws you to featuring
architecture as a subject in your work?
I’ve always been drawn to the majestic details and materials
of classical historical buildings, many of which are hidden from
view, tucked behind new architecture. In these instances, I feel
compelled to photograph the slivers of the old, of history, so
I can recreate the rest of the building to make it whole again
and restructure history. In my re-imagined vision of the city,
the historical buildings are fully present, imbued with a hyper-
real quality of precise, sharpened edges and meticulous
details preserved in a soft, subdued palette. By digitally
painting and layering textures, I silhouette the “figure” from
“ground” so the building stands in calm, airy isolation for the
viewer’s gaze.
Do you have a personal connection to the buildings in
your work or do you choose them on aesthetics alone?
I have no premeditated connection to the buildings. The
building might even be ugly and crumbling. It has to speak to
me on some unconscious and conscious level.
What process do you go through to create the images in
‘The Space Between’? Building under construction.
I knock on doors and ask to photograph outside peoples’
windows from high up and take many shots with different
lenses. My favourite lenses of late are the Canon 24-70mm or
a 70-300mm, used with a Canon EOS 5D Mark II.
Are they partially hand-drawn?
No, but they are digitally altered with a Wacom pen and
tablet. In Photoshop I use a brush to paint masks with.
Do you pre-plan your images/projects, or do they
evolve organically?
I walk around the city with my iPhone and take photos for
reference for later.
Who or what inspires you?
My home New York City, photographers Robert Frank, Paul
Strand and Dorothea Lange and the artists Joseph Cornell,
Francesco Clemente and George Bellows.
Why do you court surrealism in your imagery?
I feel comfort in the unreal. Growing up in NYC, in a volatile
and unstable household, I would escape by going to the
Metropolitian Museum of Art and walk though the American
Wing and pretend to time travel back in time to a
quieter place.
If you had to give our readers one piece of advice when
shooting architecture; what would it be?
Different lenses give you different results, so rent or borrow
lens to get the effect you might be looking for.
Describe your style in three words.
Hyper-real, otherworldly and surreal. [PM]
www.marcyankus.com
Many Windows In Chelsea.
50 |
Altered Image |
© Marc Yankus, archival pigment prints, courtesy of the artist and Clamp Art NYC.
Flatiron Area. Slanted.
Loft Space. Holland Tunnel Tower.
UKphotodistro Limited are an authorized Wondlan Wireless
retail outlet and have all SIRUI products Follow Focus
available to them for immediate delivery Remotely adjust camcorders,
SLR cameras and other devices
SIRUI T-005 tripods SIRUI P-S Series from up to 300m. Switch between
have a compact Photo/Video Monopods 4 memory settings and choose
FROM
size - only 30cm
when folded, making
them 20-30% smaller
have a patented 360°
panning hand grip that
produces smooth, pro-
£499.99 the speed at which you switch.
Infrared shutter key, replaces the
shutter butter on your camera.
ONLY
£93.00 than other similar level panning effects.
£44.99
style tripods. There’s
always room for one FROM
of these wonders £170.00
in your bag.
SIRUI Carbon Fibre
£490.00 Gimbal Head is ideal
for using large, heavy
camera and lens
combinations. Picture Bag £49.99
● High quality canvas camera bag
fashionable design,waterproof.
SIRUI lens rails are
● Front & inner pockets for all of your gear
specifically designed
to stabilize the camera £85.00 ● Durable,waterproof canvas
● Special design camera bag

with long lenses.
● Picture may vary from that shown
XTreme Tether Combines Multiple Products and Features IT IS NOT POSSIBLE

Remote wireless camera triggering HERE TO SHOW THE
£189.99
●
● Wireless monitoring of your cameras view finder (live wireless video stream of your cameras video finder)
● Wireless upload of pictures from camera automatically to your device (MAC,iPad etc), while you shoot
COMPLETE RANGE OF
● Wireless viewing of files/folders on the card in camera PRODUCTS WE HAVE
● Wireless upload of any file (images or movie) from card in camera to your device (iPad, MAC etc) AVAILABLE  PLEASE
● Wireless delete files from card in camera
● Wireless motorized panning and tilting of your DSLR camera

CONTACT US ON THE
● Wireless intervalometer for timelapse, HDR, image stacking NUMBER BELOW OR
● Wireless changing of camera setting (ISO, white balance, flash settings, drive mode, shutter speed, aperture etc) SEE OUR WEBSITE
And much, much more....
GOING
Tripods and Heads |
So you’ve got your camera,

lenses, and lighting – the next
STEADY
crucial piece of kit for capturing
that perfect angle or dramatic
sky is a tripod and
head. Charley Yates rounds up
a sturdy selection to aid you
on your quest to brilliant
architectural imagery
VANGUARD ALTA PRO 263AT TRIPOD

If you’re looking for a tripod not just a ball head, the Vanguard Alto Pro may answer all your
photographic woes. It includes an innovative multi-angle central column allowing users to move the
central column from 0 to 180 degrees angles in vertical or horizontal positions. Advanced camera
vibration and shock control legs are also included and the central column is hexagon shaped for
further stability. £120 www.vanguardworld.com
3 LEGGED THING – X5A TONY TRIPOD

Named Tony, this carbon fibre tripod has a lot to offer the photographer. He boasts stability and
claims to be built to take the heaviest of equipment. He features a double-break fiction lock system
ensuring your gear’s safety and the Airhed 2 Ball Head that we mentioned earlier. There is a built-in
detachable Monopod and a rapid reversible/removable single section centre column.
£310 www.3leggedthing.com
SIRUI T-005X ALUMINIUM 5-SECTION TRIPOD

Designed for today’s compact point and shoot digital cameras, The Sirui T-005X tripod comes in
basic colours and layered carbon fibre legs for added load capacity and stability and the legs are
handily compact. The tripod is able to extend to over 51.4 inches, which is ideal for most shooting
situations, and can hold up to 4kg. Also included is the C-10 ball head that complements the tripod.
Approx £100 www.sirui.co.uk www.ukphotodistro.co.uk
GIOTTO’S MH5001 3-WAY HEAD

When precise positioning is crucial, Giotto’s 3-Way Head saves the day. Each axis movement is
controlled by its own locking handle, meaning each can be adjusted independently, for greater
angle and rotation control. Featuring easy to use handles, bubble levels, a quick release plate and
a secondary safety catch your gear is in safe hands. £55 www.giottos-tripods.co.uk
NOVOFLEX MAGICBALL 50 – THE UNIVERSAL ONE

Featuring a positioning range of near 120 degrees in virtually any plane the Novoflex magic ball
lives up to its title. It features a large grip point-and-fix handle that places the MagicBall exactly
where you want it and a simple twist grips it in place. Designed for heavier equipment, adjustment
is made even better by an integrated friction setting which lets you match the camera weight to the
adjusting force. £195 www.novoflex.com
HÄHNEL BH-40 BALL HEAD WITH DOVETAIL SLIDING PLATE

Promising to be a great addition to your kit, The BH-40 from Hähnel offers a typically more compact
tilt head, with a two stage lock system giving the access to even more angles. It has a fluid motion
which allows you to pan the camera smoothly and lock into position quickly. On top of this, the head
has a 3/8 inch thread attachment allowing it to fit onto a large number of tripod legs from different
brands on the market. Approx £26 www.hahnel.ie
MANFROTTO MH057M0 MAGNESIUM BALL HEAD

Dedicated to carbon fibre tripods, this ball head from Manfrotto offers smooth movement, unique
features and lightweight portability. It features an exclusive 90°-105° portrait angle selector, allowing
for better camera control for advanced, precise settings, a quick release system that is compatible
with RC5 standard plates and 3 bubble levels that increase speed and improve accuracy. The Q5
sliding plate provides a perfect weight to balance heavy equipment and long lenses.
£160 www.manfrotto.co.uk
3 LEGGED THING AIRHED 2 EVOLUTION 2

Bringing ultra-smooth panning and an enlarged locking function to the table, the Airhed 2 could
be the essential ball-head you need. The oversized plate is designed to give you greater control of
your camera balance and 10mm lateral movement is acquired. The Airhed maintains its weightless
feel whilst being built to withstand loads of up to 40kg. £140 www.3leggedthing.com
in safe hands
TECHNOLOGY EQUIPPED FOR GRIP
MACWET GLOVES PROVIDE: ▲ INCREDILBLE TOUCH AND FEEL  YOU WON’T REALISE YOU’RE WEARING THEM!
▲ UNRIVALLED GRIP IN DRY, WET OR HUMID CONDITIONS
▲ THE PERFECT FIT  AVAILABLE IN 14 SIZES
MacWets are touch sensitive to use with iPhones, iPads and ▲ A CHOICE OF 6 COLOURS, TWO STYLES AND TWO CUFF LENGTHS
cameras. A great point as glove manufactures are making
gloves specially for this purpose - and we have it already! ▲ DURABLILITY  MACHINE WASHABLE AND LONGLASTING
TO ORDER CALL: 0845 6039075 | Email: info@macwet.com | www.macwet.com

Architecture – Connie Zhou |
LARGER
If success is measured by the floor
you live on, architecture
photographer CONNIE
ZHOU, has arrived at the
penthouse aged just 27.
THAN LIFE
Victoria Dovey speaks
with her on buildings
and big breaks
Milwaukee Art Museum, Milwaukee, WI

Canon 5D Mark II | 16-35mm f/2.8 | 16mm | 1/30sec | f/11 | ISO 100
C
lean, polished, modern, and grand. Anti-clockwise starting from below:
These are the words Connie Zhou Hong Kong Opera House
uses to describe her work. They took Canon 40D | 16-35mm f/2.8 | 19mm | 5 secs | f/8 | ISO 100
an amount of whittling to get out of Bull Ring Mall, Birmingham, London
her. Hesitant, and modest, Connie Canon 40D | 18-55mm f/3.5-5.6 | 18mm | 1/1000sec | f/16 | ISO 100
strains to explain how it is she
Australia War Memorial, Museum of Canberra, Australia
produces such stylised images, as if, Nikon 35mm film camera
much like the vast buildings and
architecture she photographs, one can Google Data Center, The Dalles, Oregon
Canon 5D Mark II | 16-35mm f/2.8 | 19mm | 1.3 secs | f/16 | ISO 400
hardly communicate such a vast concept.
“I’m not sure how [my look] is achieved,” Google Data Center, Douglas County, Georgia
Canon 5D Mark II | 16-35mm f/2.8 | 23mm | 30 secs | f/16 | ISO 100
she confesses. “I’m just very aware of what
is in my frame. I like photographing things Google Data Center, Hamina, Finland
that are larger than life, that I can strangely Canon 5D Mark II | 24-105mm f/4 | 2.5 sec | f/16 | ISO 400
fit into the sight of my camera. The graphics
and lines of a building are what draw me in,
but I’ve always had a hard time articulating
why I am interested in
photographing architecture.”
Connie is perhaps most well known for
her extraordinary work photographing
Google’s data centres; those huge prison-
like structures which are the price of our
wireless ‘cloud’ technology. Aged 24, with
an impressive, but small-time client
portfolio, Connie’s bid for the project paid
off. “I’m so grateful to have Google as a
client and to have worked with them.
Personally for me, it was a big moment in
my career.” The resulting images, the
hybrid love child of Willy Wonka’s
chocolate factory and Stanley Kubrick’s
Space Odyssey – inheriting whimsy,
enormity and a hint of space-age terror –
were immediately hailed a success in the
photographic world, as well as the internet
at large. It was the first time Google had
opened its doors and Connie had the
golden ticket.
Photographing the electric glow from
rows of servers and the constant presence
of the rainbow assortment of lines in the
form of pipes and wires, composed in large
and stark buildings, must be akin to a child
in a toy shop. What to play with first?
“Going into it without knowing what the
data centres looked like was both exciting
and intriguing. I did a bit of research while
writing my proposal and had a good idea
of what a server floor would look like; I
knew I could do a good job photographing
it.” To capture the glow of the server
rooms, Connie asked staff to turn the
lighting down entirely.
Another thing shines out from the
images – what a fun company Google
looks to work for. But did they give Connie
the creative freedom to roam as she
pleased? “We did have escorts on the
premises, but they were extremely
helpful,” she explains. “It was just me and
my assistant. It’s always nice to have
someone who knows the premises better
than you.” The centres themselves are
situated the world over – in Finland,
Belgium, and several American states –
56 |
but exploring new places is not something to daunt Connie,

who, in addition to being born in Shanghai, has been lucky
enough to visit countries the world over, including a recent
visit to Iceland. “My favourite place to visit,” she tells me, “is
Hong Kong. It’s just such a modern city; everything is so easy
there. I can’t pick a favourite when it comes to shooting.
There are too many great locations in the world.”
Connie doesn’t remember much of her Shanghai days,
moving at the age of five to a city on the other side of the
world. A city, that with its iconic buildings and monuments,
may well have constructed the foundation for her enduring
love of architecture. “New York is a great place to live and
grow up. I was always interested in shooting cityscapes,
exploring abandoned buildings and locations while I was in
high school. It wasn’t until much later that I realised what I
was mainly interested in was capturing the structures of
buildings and architecture.”
It wasn’t just buildings which impressed upon budding
photographer Connie. “Growing up, there was always art
around the house. My father can literally create something
beautiful out of anything, it’s insane!” Connie’s father, a
Fashion Institute of Technology (FIT) graduate and graphic
designer, spurred her creativity from a young age. When I
ask if he continues to be an influence today, her response is
a heart-warming, “of course, everyday. So does my mom!”
Naturally there were professional role models in the
making of Connie too. Idols from the likes of Andreas Gursky
Google Data Center, Douglas County, Georgia

to Robert Polidori continue to inspire her to this day. At the

Parsons The New School for Design, Connie met her first
mentor, Arlene Collins – world traveller, academic, educator,
curator, and of course, professional photographer. “She was
one of my first professors,” Connie explains. “I was actually
concerned about failing her class. It’s funny how that worked
out, because now I think of her as a good friend and
mentor.” And after university, Connie gained a professional
understanding of her love of architecture, as an apprentice
for Michael Weber, who’s work has helped establish and
define some the of the world’s most recognisable >>
hotels. “Getting the real world experience
through working with Michael was definitely
valuable to starting my career,” says Connie. “It
exposed me to the industry first-hand, and
taught me a lot about lighting interiors, as well
as the ins and outs of the business.”
But people are perhaps not where Connie’s
strengths lay. “Shooting the [employee]
portraits for Google was very rewarding because
I loved working with the staff there. But in almost
all of my images I work very hard to avoid
people. In fact, I spend hours taking them out of
my shots!” To achieve the clean, crisp look of
some extremely famous buildings, Connie
works her magic in post. “I always make sure I
get what I need in order to retouch them out
afterwards. I do my own retouching, so I know
what I need.” Working on iconic buildings the
world over, Connie manages to maintain her
distinct look through a strict and consistent
technique. “I always shoot with my style in
mind,” she says. “I predetermine what my
images will look like… very rarely do I end up
with a surprise. With interiors I always light with
strobes unless it has more of a lifestyle look. It is
a lot more work in post-production but it’s
totally worth it. With the right lighting, it can
change the look or the vibe of a room or space.
Shooting exteriors is more challenging, because
the weather is unpredictable. But I love looking
at a structure or a building and waiting for the
right light to catch to get the perfect shot.”
Connie’s use of light is particularly impressive.
Does she have any advice for us? “The best time
to shoot exteriors would be around sunrise or
sunset. For every city I go to or every shoot that
I do, I always make sure I know the times for
both sunset and sunrise. As for interiors, it really
depends on the layout of the space and how the
light enters. Each space is unique and presents
different changes and beauty.” And is there
certain equipment she couldn’t live without, I
wonder, with an expensive tilt-shift lens in mind.
“I don’t change my gear drastically,” she
answers, “however, I do update it every couple
years. The biggest investment for me has been
my Profoto lighting system, and I would
recommend to anyone who is interested in
shooting architecture to invest in a tripod. My
favourite lens, though, is the 16-35mm!”
It’s not a usual pick for an architecture lens,
but Connie is not a usual architecture
photographer. Her appreciation of beauty
above the old traditional versus conservative
battle is clear. “There will always be a conflict
between the old and the new,” she tells me. “I
enjoy the clash. But to be honest, my dream is
to photograph a structure in complete isolation
with nothing around it.” And when I ask what
her dream construction would be, she replies:
“Something unique. I guess something that is
larger than life – probably something that looks
like it’s made for space. “
It seems that her taste, if forced to pick a side,
sways undeniably toward the modern. >>
58 |
KIT
Canon 5D Mk II, 16-35mm, 24-70mm and 50mm
FAVOURITE BIT OF KIT?
16-35mm lens – it’s so wide! It captures everything
lenses. Light wise I like to use my Acute Profoto I need.
1200 pack with a regular head or a ring flash when
I’m shooting interiors.
Anti-clockwise starting top left:

Atomium, Brussel, Belgium.
City of Arts and Sciences, Valenica, Spain.
Atocha Train Station, Madrid, Spain
Marina City, Chicago, IL

World Trade Centre

Milwaukee Art Museum, Milwaukee, WI

Los Angeles Department of water and power
Beijing Opera House, Beijing, China

Canon 40D | 16-35mm f/2.8 | 16mm | 8 secs | f/5.6 | ISO 100
UK Pavilion, Shanghai, China Aqua Skyscraper, Chicago, IL

Canon 5D Mark II | 16-35mm f/2.8 | 16mm | 1/125sec | f/11 | ISO 100 Canon 5D Mark II | 16-35mm f/2.8 | 35mm | 1/80sec | f/16 | ISO 400
CaixaForum, Madrid, Spain Harpa, Iceland

Canon 5D Mark II | 16-35mm f/2.8 | 21mm | 1/13sec | f/5 | ISO 400 Canon 5D Mark II | 16-35mm f/2.8 | 18mm | 1/250sec | f/11 | ISO 400
DC Metro, USA China Pavilion, Shanghai, China

Canon 40D | 16-35mm f/2.8 | 16mm | 1/15sec | f/4 | ISO 400 Canon 5D Mark II | 16-35mm f/2.8 | 35mm | 3.2 secs | f/8 | ISO 100
60 |
Misc Tower, Finland. Architecture – Connie Zhou |
“I definitely appreciate conservative and classic architecture, Perhaps it’s this feeling which gives Connie her forward-
but there is something about futuristic buildings that I love; thinking attitude, not just for herself, but in typical big-
just the oddity of them is interesting to me.” Her favourite of thinking mindset, for the industry as a whole. “I can only
them all is the Beijing National Centre for the Performing hope that through my work, I am consistently pushing myself
Arts. “I love that building because it’s so surreal! Especially and the boundaries of industry convention,” she says, in a
at night; the surrounding water creates another dimension manner which makes me suspect she does not realise the
for the existing building. It’s just incredible.” The award- effect she has already had. In a world full of skyscrapers
winning surrealist structures of Frank Gehry are also muses competing for the tallest title, the next big thing may not be
for Connie, making her, “feel like [she’s] photographing a building at all – it may well just be Connie herself. [PM]
architecture for the first time,” and the structures of Spanish
architect Santiago Calatrava leave her awe-struck, feeling like
she has stepped into the future. www.conniezhou.com
Building
London.
Canon EOS-1Ds Mark II | EF 70-200mm f/2.8L IS | 98mm | 1/500sec | f/7.1 | ISO 400
Blocks
Joas Souza shares with Victoria Dovey his
top tips for shooting architecture, and what
to do when problems come your way
Challenges
The biggest challenge I frequently come across whilst shooting architecture
arises when I have to shoot a property facing north. I’ll never have the sun
lighting the main facade of the property. During the winter this challenge
gets even tougher, because the sun runs really low across the sky just for a
few hours. In cases like this, you really have to rack your brains thinking
about how to solve this problem and get something good. Depending on
the position of the property, it might not be possible to get good lighting
at certain times of the year, and you have to wait. Sometimes, with weeks of
bad weather a job for an exterior can be delayed. With interior photography
you’re not so much of a slave to the weather. But it needs a lot attention to
detail – you might need a second pair of eyes to help you to make sure that
everything is okay! When photographing a room with windows, be patient.
Wait for the right light to get a good balance between inside and outside,
to avoid bleached windows and to capture an even light.
The Lloyd’s Building and The Willis Building, London.

Canon EOS-1Ds Mark II | EF 70-200mm f/2.8L IS | 165mm | 1/800sec | f/8 | ISO 400
88 Wood Street, London.

Canon EOS-1Ds Mark II | EF 100mm Macro f/2.8 | 1/8000sec | f/2.8 | ISO 400
62 |
Technique – Joas Souza |
Using the light

Do some homework; check which direction the property is facing and
once you find out, you can work out the sun route during that period
of the year and calculate when the ideal time of the day to get the best
light is. For each job this can change drastically. Some places have a
good light at sunrise while others get good light at sunset. A good app
is for this is Sun Seeker: it tells you the route and angle of the sun on
any day of the year. I use filters quite often, usually a polariser to get
rid of reflections and intensify colours and contrasts. I have a set of
Formatt-Hitech ND filters with 10, 6 and 3 stops, they help me to get
really long exposures during the day, creating interesting effects for
people, traffic, shadows and clouds. I also use a set of Cokin gradual
ND filters to equalize the sky/ground exposure, and to give an overcast
sky a bit of life.
The Shard, London.

Canon 5D Mark III | EF 24-105mm f/4L IS | 24mm | 1/8sec | f/22 | ISO 50
401, King Street, London.

Canon EOS-1Ds Mark II | EF 17-40mm f/4L | 17mm | 1/100sec | f/11 |
ISO 400
Gear
In architectural photography, your primary lenses are the super-wide,
wide and tilt-shift lenses; to make the most of the space and keep the
vertical lines straight. Tripods are vital; due to the use of low ISO and
middle apertures almost 90 per cent of the time. I recently bought a
Manfrotto 055 Carbon new series, which seems to be very good. For
architectural photography, the Manfrotto 405 or 410 geared heads are
indispensable for precise adjustments needed for perfect framing.
Dream Buildings
The Gherkin, 30 St Mary Axe, is already a remarkable piece of modern
architecture from outside (thank Foster for that) but inside, it’s even
more breathtaking. The staircase, the materials used to do the finishing
La Défense, Paris.
of the building, the way the building is designed internally all give an Canon EOS-1Ds Mark II | EF 24-105mm f/4L | 32mm | 1/160sec | f/11 | ISO 200
architectural photographer infinite possibilities to explore technique
and talent at a high level. I would also shoot the Lloyd’s Building
internally for free if I had the chance, I’d be delighted to capture inside,
because from outside, I’ve already explored it a lot! >>
Getting Permission The Lloyd’s Building and The Willis Building, London.
Keep handy the Guidance for Photographers issued Canon EOD-1Ds Mark II | EF 17mm TS-E f/4L | 17mm | 13 secs | f/22 | ISO 400
by the Association of Chief Police Officers of
England, Wales and Northern Ireland. Anytime you
are in a public space and a security guard comes to
bother you, show them this document and they’ll
leave you in peace. If you’re trying to get permission
to photograph inside a private property, be very
honest about your intentions, show them your
website to make them understand you are not
playing around, you are a serious photographer
looking after your work.

Canon 5D Mark III | EF 17mm TS-E f/4L | 17mm | 6 secs
| f/22 | ISO 200
Post Production
I craft my images as much as I can in camera. My
post production consists of 80 per cent developing Canon EOS-1Ds Mark II | EF 24mm TS-E f/3.5L | 24mm | 1/13sec | f/13 | ISO 400
the Raw file and giving my images the right
temperature, contrast and saturation. The other 20
per cent is spent changing some aspects of the
111 Buckingham Palace Road, London.
image when necessary, like retouching elements Canon EOS-1Ds Mark II | EF 24mm TS-E f/3.5 | 24mm | 1/40
which are out of my control, such as removing a
crane in the background, an antenna, retouching
the painting of a peeling wall or graffiti. I’ve
discovered some Lightroom presets which give you
amazing effects, reproducing the same results that
I used to have when using different films or
developing processes. Of course, when we talk
about fine art images, then I can dive into a vast
world of post-production and manipulation, to give
my image a surreal, even more artistic look.
Right: The Gherkin, London.

Canon EOS-1Ds Mark II | EF 16-35mm f/2.8L | 31mm |
1/40sec | f/8 | ISO 320
64 |
Technique – Joas Souza |
Right: The
Lighthouse,
Salford.
Canon EOS-1Ds
Mark II | EF
17-40mm f/4L |
17mm | 1/30sec |
f/4 | ISO 400
JOAS SOUZA’S TOP ARCHITECTURAL TIPS
1
Below: The
Learn how to use natural light and the
Lloyd’s Building,
variations in the different seasons of London.
the year, as well as the temperatures Canon EOS-1Ds
Mark II | EF
2
and angles throughout the day. 70-200mm f/2.8L |
Educate your eyes, learn to observe 170mm |
symmetry. The human eye loves 1/2000sec | f/8 |
ISO 400
symmetrical things. Put this in your
3
composition when possible.
Invest in tilt-shift lenses – they are the
most important tools for an
architectural photographer. In the
high level market, images with
converging vertical lines are totally
unacceptable, unless you creating a
4
distortion on purpose.
Balance – make sure that every single
aspect of your composition is in
proper balance. Use your common
sense to get objects aligned and
5
in harmony.
Architectural photography requires a
good measure of perfectionism, so,
remove distracting elements. Don’t be
afraid to drag away objects that are
not supposed to be there, just
remember to put them back when
6
you finish!
Try to get access to the roof. The taller
it is, the greater the view, so go and
get it! People will be puzzled about
where you got that shot from and it
will be your secret.
c | f/6.3 | ISO 400
Art of Architecture |
ne
How do you make
A w
structural imagery stand
out? Newcastle-based
ang
photographer Steve
Mayes reveals his
techniques for turning
the defining features
of architecture into
artistic expression
le
he art of architecture photography is about finding details, angles Make sure your monitor is calibrated so that the colours are represented
T and viewpoints, combined with the right lighting conditions and

exposure settings to produce images that are artistically strong in
their own right. When it comes to art, there really aren’t any rules
– so try not to be too constrained by the ‘rules’ of photography and
unleash that inner artist!
accurately, and watch out for that when printing too. If you are tweaking
contrast and saturation significantly, try to do it at the Raw stage if you’re
shooting Raw, or as TIFF files rather than JPEG, where the image can
quickly become degraded.
1. Shapes and patterns 4. Long exposure

Much of this work is exploratory – the great angles are out Long exposures are another great way of
there, waiting, and just need to be discovered.
o cati ons creating an image that is a step removed from
Think of yourself as a detective! If you
fi v e l y s id e reality. For shots with cloudy skies or water, a
find an arrangement that has potential,
’s top Q u a
head ley Park
really long exposure can simplify those
Steve
take your time with the shots. The devil a t e s parts of the scene and make them less of a
is in the detail, so watch for things like w c a stle Gfrom Stan distraction from the true focus of the shot.
which part of the scene you are focusing 1. Ne ncouver In busy urban areas, long exposure can
on and your aperture settings. If different 2. Va ague y s e d r a l introduce colour and dynamics.
parts of the scene are different distances 3. Pr lford Quay and Cath Streaking trail lights, whilst adding
a
4. S rham ci t
and you want to keep much of the scene something in their own right, can be used to
sharp, you’ll need a small aperture, which 5. Du cover clutter in a shot. Watch out for camera shake from the
means a longer exposure and risks camera air movement and vibrations generated by passing vehicles; particularly
shake if you’re not using a tripod. if on a bridge which may not be as solid as you expect.
2. Monochrome 5. The familiar

Stripping out distracting colour in black and white imagery means the shot They may have been photographed to death, but remember, no two
must work on the basis of its composition. It removes it from reality and pictures of iconic buildings are ever the same. Whether you know it or not,
‘true’ representative photography. Take these shots with monochrome in you will have your own style and an approach that will be unique to you.
mind, but remember to convert in a non-destructive way – merely Think about going the extra mile – can you get access to a balcony or
converting to grayscale is not recommended. Keep an eye on the rooftop of a nearby building to get a slightly different angle?
histogram for a full spread from pure white to pure black.
3. Colour www.stevemayesphotography.co.uk
On the other hand, striking colours alone can be enough to make a shot. www.northeastexposure.co.uk
PMNOV14
| PM
68 |
Capturing and Era |
Rievaulx Abbey
Capturing an era
Ever in pursuit of an image with the ‘wow’ factor, we sometimes disregard what’s waiting on our doorstep.
Bringing the focus back to Britain, Charley Yates maps out some of the UK’s architectural gems
L
iving in little old Britain, the tendency to look further afield
to broaden our photographic horizons is common; the lure
of the photogenic White House in Washington, the sky
scrapers in Tokyo or gorgeous chalets hidden within the
snowy midst of the Alps is strong. Yet the UK, although small, is
packed with history. Architecture found here reflects the deep rooted Rievaulx Abbey
eras that have created the backbone of the country today and Gothic Architecture
influenced the structures of modernity. We’ve gone back in time and Situated in the peaceful valleys of the North York Moors National Park,
selected a few buildings that we think are worthy of your camera’s Yorkshire, the Rievaulx Abbey carries an abundance of history in one of the
shutter, from the ancient to the modern. most picturesque locations of the north. A former Cistercian abbey, the
Rievaulx was founded in 1132 and became one of England’s wealthiest
abbeys until its dissolution in 1538 by Henry VII. This gothic architectural
style flourished during the high and late medieval period – the old stone
and dramatic shapes built into the architecture of the ruins, create sublime
sharp shapes and shadows to really stand out on camera.
Longleat
Elizabethan architecture
Regarded as one of the best examples of Elizabethan architecture in Britain,
Longleat, found in Wiltshire, south-west England, was completed by 1580
and is immersed in the landscape, from sculptured gardens to impressive
views. The house was the first stately home in England to be opened to the
public and holds claim to the first safari park outside of Africa. Designed by
Robert Smythson, the house took 12 years to complete and is highly
commended for its style and evolution from medieval fortified architecture
with its asymmetrical towers, making it one of the many reasons we’d head
down, accompanied by our trusty camera, to photograph this magnificent
building. >>
Longleat
St. Paul’s Cathedral
St. Paul’s Cathedral
English Baroque / Neoclassical architecture
Sitting at the top of Ludgate Hill in London, St. Paul’s Cathedral is
one of the most recognisable sights in London and has dominated
the skyline for 300 years. Designed by Sir Christopher Wren, the
building represents the English Baroque / Neoclassical
architectural design of the 17th Century and was the tallest
building in London from 1710 to 1962. Its dome is amongst the
highest in the world, making it a popular tourist attraction and a
dramatic architectural capture for photographers.
Chiswick House
Neo-Palladian architecture
Located in Norwich and designed by Lord Burlington, ‘the
architect Earl’, Chiswick House was completed in 1729. Many
families passed through the house over the ages and in 1892 it was
used as a hospital and eventually converted to a fire station in
1929. Now, the house is a Grade 1 listed building, maintained by
English Heritage. The Neo-Palladian architectural style of the Chiswick House
house was never truly to the English taste, created to stand out
and reflect the brief style change of the late 17th century before it
was suppressed by the popularity of classical architecture in the
18th century. With all its history and blatant grand design, Chiswick
House could inspire some magnificent images, so take a trip to
Norwich and travel back in time
Clavell Tower
Italianate Architecture
Originally built on Hen Cliff in Dorset by Reverend John Richards
in 1830, the Clavell Tower, otherwise known as Kimmeridge Tower,
is an archetype of Italianate architecture. The tower is thought to
have been built as a home, but eventually coastguards used it as
a look-out point. Over the years the tower became a pin-point in
various novelists’ worlds and is how it gained some of its fame.
Sadly, Clavell Tower was threatened by shoreline erosion and was
forced to be moved 25 metres inland in 2006 and was completed
in 2008. The tower is now a famous landmark on the coast of
Dorset and the ideal architectural focal point in a striking
landscape photograph.
The Gherkin
Modernist architecture
Having acquired an endearing nickname for its famous shape on
London’s skyline, the Gherkin is one of the most widely known
examples of contemporary architecture in the UK and one of the
most popular amongst the British public. Designed by Norman
Foster after a tragic bomb explosion left the previous building in
ruins, the Gherkin has a dramatic sculptural form with triangular
glazing panels arranged to give a striped spiral effect that set it
apart from more typical office blocks. The shape of the building,
although architecturally brilliant is also useful as it reduces wind
disturbance and lessens the impact of height, all amounting to it
being one of the most interesting modern designs to capture.
With its reflected surfaces and interesting shape, the Gherkin is
popular amongst tourists and photographers alike.
Gateshead Millennium Bridge

Modernist architecture
The Gateshead Millennium Bridge, found in Newcastle upon
Tyne, is a spectacular tilt bridge showing off some of the best
contemporary architecture in the UK. Conceived and designed by
Wilkinson Eyre, the bridge is award-winning and an essential part
to the scene of the Tyne River. Known locally as the ‘Blinking Eye
Bridge’ because of its design, it is illuminated at night to create
The Gherkin
further photographic opportunities, such as serene reflections in
the water for low-light images that you won’t want to miss. [PM]
70 |
Capturing and Era |
Gateshead Millennium Bridge
Clavell Tower
“Architecture is a visual art, and

the buildings speak for themselves.”
Julia Morgan, Architect
Daytime Long Exposure |
In the light of day

Noel Hibbert tells Daisy McCorgray his tips and technique for
capturing long exposure to create abandoned daytime scenes
Nikon D800 | 24-70mm f/2.8 | 27mm | 61 secs | f/20 | ISO 100 | Lee Big Stopper | 0.3 Soft ND Grad
R
emember the opening scene from post-apocalyptic horror film 28 Days Later? The protagonist, Jim, wanders alone
through an eerily empty London; Westminster Bridge and Big Ben appear, free from tourists and commuters, in
a state of deserted calm. It’s an unlikely sight, but one that pro photographer and designer Noel Hibbert has
travelled down to nearby city, Bristol, to recreate. Inspired by the film, he uses long exposure techniques to
capture abandoned bridges, serene shopping centres and calm landscapes with sharp detailing appearing from the seemingly
uninhabited plains of a city that is bustling, in reality.
“There are different effects you can get with long exposure used during the day, as opposed to the light trails that are a
popular focus for this technique at night time,” says Noel. “The technique can transform elements of your composition in day
light – make moving water completely smooth or create a ghost town from a busy shopping centre with a long exposure of
between two and four minutes.”
When you’re planning this kind of project moving objects should be top of list. “Look for anything that has a fairly constant
movement,” says Noel, “escalators, lifts or revolving doors in a shopping centre are key examples of this, they will create smooth
space and lines in your composition. In daylight, the long exposure will draw a lot of detail from the non-moving objects in the
scene, adding sharpness to your image. Things that are still for some time, like people sitting outside coffee shops will stay in
the image.” Noel’s advice can equally be taken on the road – busy commuter routes, like the Severn Bridge featured here, will
appear free from cars and lorries, while the moving river underneath will turn into a serene expanse of water.
Key things to remember

“Weigh your tripod down with your bag to minimise movement, especially with longer lenses and large filters attached,” advises
Noel. “Beware of winds; if it’s too windy you may want to choose a calmer day as sharp images will be hard to achieve with a
two to four minute exposure. Otherwise, take cover behind natural wind blocks or drop down below windy currents. Remove
your strap to further reduce any potential movement around the camera.”
“Cover the eyepiece to stop light leak through the back of the camera on bright days,” recommends Noel. “Some cameras,
like my Nikon D800, have an eyepiece shutter as standard, but if yours doesn’t, then use an eyepiece cup – sometimes found
on the camera strap – or wing it with a piece of card with a strip of tape to make a lift-up flap covering the back of the camera.”
Once the images are captured, a little post processing in Lightroom, using dodge and burn to bring back any sharpness or
clarity that has been lost, will add the final touches to these dreamy day time long exposures. >>
Nikon D800 | 24-70mm f/2.8 | 24mm | 121 secs | f/16 | ISO 100 | Lee Big Stopper
Light Leak
Ghosting
74 |
Nikon D800 | 24-70mm f/2.8 | 27mm | 61 secs | f/14 | ISO 100 | Lee Big Stopper Daytime Long Exposure |
Noel’s Top Tips

• Ask permission in areas such as shopping centres from the You will need:
centre management. • ND filters and a ‘big stopper’ type filter:
• Be aware of passing vehicles causing camera shake when Noel used a Lee Filters Big Stopper 10,
by motorways or in busy cities. plus a few Lee hard and soft grads
• If shooting on a foot bridge, the vibration of people’s • Tripod – weigh this down by attaching
footfall can cause shake. To combat this, try and position your camera bag to it to prevent shake
yourself on solid ground – just off the bridge at either end. • Remote release
• Avoid picking a focal point in the image where lots of
people are constantly walking, as it will create a ghosting
trail within the photograph (see image).
• A high view point generally means you will capture more Thanks to Cabot Circus
areas of interest in your shot, particularly in somewhere like shopping centre, Bristol
a shopping centre. [PM]
Why use a tilt-shift
lens for shooting 1
architectural photography?
It’s the go-to tool for architectural
photographers, simply because it
can make the lines of buildings
and interiors parallel, rather than with
verticals converging.
Standing at the foot of Gloucester
Cathedral, we tilted the camera up to
move the tower into frame, as normal.
Without ‘tilting’ or ‘shifting’ this lens –
with everything in neutral – behaves as a
normal prime lens would. And as such,
you can see the introduction of distortion
– the ‘keystone effect’ – that sees the
convergence of the verticals. It gives you
another, better, option for bringing the
tower into frame.
It does so while maintaining the
other attributes of a prime lens:
exceptional clarity, sharpness and lack of
chromatic aberration.
The ‘Tilt’ and the ‘Shift’

For architectural photographers, the
2
main use for this lens is to correct the
distortion displayed in picture one – to
control perspective by making
adjustments in relation to the sensor
plane (an ability where this lens differs
from your average prime, where zoom
and focus are your limitations).
You can tilt the lens plane in relation to
the sensor in a swinging movement, or
shift it, which allows you to make the lens
plane rise above or below (or to each side
of) the sensor. The tilt movement is the
function that allows the toy-scene effects
that are enjoying a resurgence in
popularity, as it can be used to control
where the image is in focus. Shifting,
however, is the movement that allows
you to prevent lines converging, when it
is done upwards or downwards. The
24mm Nikkor lens we’re using can shift
up to 12mm on either side, and it can tilt
up to eight degrees on either side –
common values. Focusing
The mechanics of the lens mean it’s manual focus only, and the tilt function allows front-to-back depth
How to shoot a -of-field (DoF), giving you the ability to keep everything in focus, regardless of your aperture.
straight building Much like composing with the ‘tilt’ function, front-to-back depth-of-field requires trial and error. With
A critical part, and your starting position, your camera mounted on its tripod, set your aperture, and open Live View. In the scene displayed,
is to place your camera perfectly vertical choose two points of focus: one in the foreground and one in the background. Start by focusing on the
on its tripod. If you don’t start from this foreground point of focus, before tilting the lens, bringing the background point into focus. You can
point, you won’t have success. repeat this, fine tuning (zooming in, to check everything’s sharp), as you go.
Compose your shot straight on, at this
point you’ll most-likely be excluding the Metering light & exposure
upper half of the building, and slowly shift When tilting or shifting the lens, the exposure the camera meters changes due to the light that leaks
the lens upwards until the entire building into the camera when the lens parts move relative to each other. This is due to the optics of a tilt-shift
is in the frame. Click, and you’ll have a lens are not sealed between them and the fact that they are moving relative to one another creates
shot with no distortion. small openings that allow the light to enter the lens and confuse the light meter that indicates to us the
Knowing where your starting point is, right exposure.
before your start to shift the lens, is a bit How to deal with this? It is not difficult, just meter your scene before tilting or shifting the lens, while
of black art, requiring some practise. it still works like a normal lens from the point of view of the movements it makes.
78 |
Tilt Shift Lens |
3
1. Image taken tilted up to fit
Cathedral in, set as standard.
2. Image taken with camera set
level, so pointing straight and then
tilt shift adjusted. Be careful not to
over do as we did in this image, so
position is important. The main
tower of the Cathedral is correct
but the side angles are still very
distorted. So double check by
viewing close up on screen before
leaving – something we didn’t do at
this location!
3. Another example of the
distortion, taken as standard with
the camera angled upwards to fill
the frame.
4. Image taken with camera set
level, tilt shift adjusted, you can see
the straight angle to the spires that
are more pleasing than the
converging slanted upright lines.
Long exposure with a tilt-shift

Shooting architecture often comes hand in hand with long exposures, but there are two things to keep in
mind when using a tilt-shift lens: metering, and light leakage.
If you’re going to be tilting or shifting the lens, meter before you make the movement, as the engineering
isn’t light-tight and may confuse the issue if done at a later stage.
Of course, light leakage is equally fashionable at the moment, but for those that view it as an issue, light
leakage during long exposures may become an issue – again, due to its engineering preventing it being
sealed properly. How to prevent it? Simply cover it with a black cloth.
ND filters
If you’re shooting long exposures, you may also want to use an ND filter, which isn’t a problem unless you’re
using an ultra-wide angle lenses tilt-shift, like a 17mm.
The bulging lens means you can’t fit the filter directly onto it. Holders are available, in these instances.>>
Tilt Shift Lens |
Fine Art Blur ^^

Photography is a creative endeavour, and
although unconventional in this genre, blurring is
a technique available to you in your pursuit to
express yourself, with the tilt-shift.
This lens gives you the ability to pinpoint
points of focus, and add depth-of-field – it allows
another tool for you to create your images with.
Ones that are usually only achievable in
post production.
The blur achievable with this lens is different
from the bokeh created with regular lenses: in its
texture, density, intensity and the ability to
choose its place in your shot. A normal lens
creates circular blur, but the tilt shift (due to how
the field of focus is created) creates a rectilinear
shape across the image. It required a different
approach to composition, but is better suited to
cityscape scenes.
Toy Scene >>

If you’re fortunate enough to have one of these
lenses, then it’s difficult to resist its ability to
create the ‘toy scenes’ Instagrammers favour.
Climbing Gloucester Cathedral’s tower, we fixed
the camera on its tripod, tipped the whole thing
forward on its axis and fixed it in place, before
using the tilting function to bring our desired
scene into shot… and miniaturised. [PM]
| Tilt-Shift Lenses
WHERE TO LOOK?
So you’ve read all about tilt and shifting, but you’re not sure which
lens to focus on? We’ve compiled the best tilt-shift lenses for
architecture photography
NIKON PC-E NIKKOR 24MM F/3.5D ED

With the wide-angle focal length, this is the preferred Nikon tilt-shift lens for architectural
photography, combating perspective distortion at every corner. To see more of this lens, go to
page 77. £1465 www.nikon.co.uk
NIKON PC-E NIKKOR 45MM F/2.8D ED

Whilst you can still use this lens for capturing buildings and street photography, this is more of
an all-rounder tilt-shift. Nano-crystal coating helps to eliminate internal reflections and increase
image quality. £1393 www.nikon.co.uk
CANON TS-E 17MM F/4L

This ultra-wide angle lens is perfect for landscape and architectural photography. Though the
convex front element means that you can’t add screw-in filters, but third party adapters are
available. £1659 www.canon.co.uk
CANON TS-E 24MM F/3.5L II

The sharp and practical 24mm from Canon comes with high praise and the focal length gives you
more options for your exterior and interior shots. You can easily add filters for a further touch of
creativity too. £1480 www.canon.co.uk
SAMYANG T-S 24MM F/3.5 ED AS UMC

Not as pricey as some, the Samyang (also known as Rokinon) still comes with a number of
recommendations, particularly for its versatility. Both the lens mount as well as the tilt-shift
section can be rotated for flexibility of use. Available for Nikon and Canon.
£899 www.samyang.co.uk
HARTBLEI 40MM F/4 IF TS SUPERROTATOR

In partnership with Carl Zeiss for their glass, the elusive Ukrainian Hartblei are the unicorns of the
tilt-shift world. With its independent functions and high-spec optics, if you can track one down
and can afford the plush price tag, its well worth a try. What’s more, Hartblei support almost all
DSLRs. Prices vary according to production www.hartblei.de
ARAX 35MM F/2.8 TILT AND SHIFT LENS

Another Ukrainian manufacturer, but one much more within reach for those without bottomless
pockets! The Arax 35mm can grant you a large array of creative options, for a fraction of the price
of its competitors, and is available for a number of brands. £441 www.araxfoto.com
LENSBABY COMPOSER PRO EDGE 80MM

Lensbaby are a fantastic, cheaper alternative to an expensive tilt-shift lenses, especially if you’re
just starting out. Easy to use, these lenses offer you a huge variety of creative options and fit a
number of DSLRs and CSCs. Approx. £307 www.lensbaby.co.uk
Time 10-15 mins
Difficulty Easy
Cost £2
Beyond
Retro
Daisy McCorgray raids the

stationary cupboard to
make some homemade
camera filters for a 50mm
prime lens
What you need
Bokeh stencil Black card • Scalpel • Cutting mat or

chopping board • Compass • Ruler • Pencil
I
f someone had suggested that a piece of
black card, some coloured pens and a
sheet of acetate could keep me amused
all day and night, I would probably have Bokeh – the blur in shallow depth-of-field that
thought they were indicating my accentuates out of focus points in an image – will
childishness… but it’s true, they can. This be transformed when shooting in autofocus with
month’s DIY takes minutes to make, but gives this stencil. Look for settings with lots of individual
potentially hours of creative shooting. Yes, lights, such as street lamps or fairy lights. For a
you can apply filters in Photoshop or in an more abstract image, flick to manual focus and
iPhone app, but this method, whilst defocus the lens until you achieve the desired look
unpredictable, gives some great organic of abstract shapes. A tripod is a must here to
results and a retro look to photographs. ensure a defined edge to the bokeh shapes.
1. Measure your lens and use the compass to draw a lens sized circle – it’s
worth adding a few extra mm here to accommodate the thickness of
the rim. Draw a larger circle around this to create the tabs that you will
hold the stencil onto your lens with.
2. At the centre of the stencil draw your shape. We went for a heart. This
shape needs to fit within the aperture of your lens – to work this out,
divide the focal length (e.g. 50mm) by the f-stop (e.g. f/2), which means
the diameter of a 50mm lens at f/2 is 25mm wide.
3. Carefully cut out your stencil and inner bokeh shape, making a series
of cuts from the outer circle to the rim of the stencil to create the tabs.
4. Fold the tabs inwards.
5. Hold the bokeh stencil over the lens by the tabs and start shooting!
84 |
Take, Make & Share |
Time 5 mins
Difficulty Easy
Cost £2.49
Colour filters What you need

Acetate sheets • Coloured pens • Scissors
These can be as simple or as over-the-top as you like and are a fun project to try out with the kids.
Aim for fairly dense colours and bold shapes as anything too sparse or detailed will be lost when 1. Cut pieces of acetate to approx. 1 inch
the lens focuses. This takes a bit of trial and error – but if you imagine the size of the aperture of larger than your lens.
your lens that we worked out for the bokeh stencil, then this gives an idea of the kind of area that 2. Draw on your desired shapes and
will be picked up. Holding the filter nearer or further from the lens will also change the way the patterns. Permanent or white board
filter works – so even from one filter there is a huge range of variation to be had. pens work best.
3. Set your lens to autofocus and move the
filter around in front of your lens to find
the colour combo you’re after and click
Feeling inspired? Show us your the shutter button. Easy!
homemade filter skills @PhotoMonthly
Big Is Beautiful
To celebrate images shot on the new Pentax 645Z, editor Scorey
has a 30x30 multi-aperture frame created by One Vision Imaging
86 |
Wall Art |
T
here comes a time when you need to
stop beating around the bush and
just go for it. Have the best. In the
last issue of our sister magazine,
Professional Photographer, (October, pages
133 onwards), Craig Fleming tested the new
Pentax 645Z and shot some beautiful editorial
fashion portraits. He loved the camera (and we
gave it an award) and we loved the images.
With 51-megapixel images of that quality, how
best to show them? After all, we want to
encourage all of you to do more than just lock
them away in some digital vault (see page 45 of
this issue).
When looking through the One Vision
website, I had to find something that did these
images justice, but that was also simple enough
to let the images be the star of the show. My
eye fell on a stylish black frame but with
multiple apertures. I wanted one large image
and then a few others, in this case three, in a
supporting role. I wanted it big too, after all,
these are decent sized images.
Okay, OVI can frame and mount up to 48x36
inches, but I didn’t need anything quite that
size. I opted for a 30x30in frame, a little over
1¼ inches wide, in Confetti Black – a satin-like
frame with a very contemporary feel. I then
went for a bright white top mount with a black
under mount to set the images off. The main
image was 18.7x25 inches – so, huge – with the
rest being 7x8 inches, running down the right
of the main. About a week later the frame
turned up wrapped in thick card and about a
kilometre of bubble wrap!
Stupidly, I am always surprised at just how
big the frames are when they arrive. It seemed
massive, confirming that I didn’t need the
larger size. It was also literally millimetre
perfect. No gaps in the frame joins, equidistant
mounting edges and razor-sharp bevel cuts.
Printing quality was OVI’s usual professional
faultless quality – it really is an amazing show
piece for the images and I can’t wait to get it
on the wall so I can start enjoying the images
Craig has shot, which really is the whole point
– to celebrate beautiful pictures. And the cost?
All in, including delivery, £143.46. [PM]
www.onevisionimaging.com
www.craigfleming.4ormat.com
| PM
Get the best views
Don’t fancy a
subscription but just
want the Special issue?
Photography
Monthly explores Get £1 OFF the
the joy of great
photography and
cover price
inspires you to get
out photographing.
RRP £3.99 Go to
www.buyamag.co.uk/PM
USE
DISCOUNT
CODE >>>> SX95 How to
use your
Professional
voucher:
Photographer is the
UK’s best-selling
magazine solely for
the professional
photographer and is 1 Type in the link on the voucher
the only magazine

out there that is written for pros
by pros. RRP £4.20. Go to
2 Enter your voucher code in
the ‘Discount code’ box [just
above the ‘Add to basket’ button]
www.buyamag.co.uk/PP
USE 3 Click on the ‘Check
code’ button
DISCOUNT
CODE >>>> SX97 4 Select the issue you would
like to purchase and click on
the ‘Add to basket’ button
5 Continue to checkout and

enter all required information
6 Complete checkout process

and await delivery
88 | photographymonthly.com | 88
Shooting @ 50mm |
IN
SEARCH
OF
BEAUTY
You don’t always need
perfect light. You don’t
always need the finest
equipment. You don’t
even need famous
landmarks – if you have a
passion for architecture
you can find beauty in
the strangest of places,
says Karl Shaw
I
’m going to throw a curve ball
here and fly in the face of
photographic convention. I’m
going to disagree with what
we’ve always been told about
photographing buildings – you
know the kind of thing; make sure
Above: Apollo Pavilion, Peterlee. Nikon D3S | 50mm | 1/160sec | f/8 | ISO 200 the light is falling just so in order to
fully capture the three dimensions,
go wide, real wide, maybe 10mm
and take in the whole scene.
Choose an epically small aperture
to preserve detail from the tip of
your toes to the furthest point in
the scene.
Pah! For starters, if the light isn’t
playing ball what are you going to
do? Not shoot? You may have
spent hours in the car to reach your
destination only to find the light is
as flat as Norfolk. Anyway, flat light
is high contrast black and white
light in my eyes. Going wide isn’t
an option either; I find that
sometimes ultra wide-angle lenses
leave a vacuous foreground. No,
give me the perspective crushing
Above: Apollo Pavilion, Peterlee. longer focal lengths every time.
Nikon D3S | 24-70mm | 24mm | 1/80sec | f/8 | ISO 200 And, it’s not always necessary to
choose f/16 or f/22. >>
Right: The Sage building,
Gateshead.
Nikon D3S | 50mm | 1/3sec | f/4
| ISO 200
Below: The Sage building, Gateshead. Nikon D3S | 50mm | 1/40sec | f/2 | ISO 800
As far as equipment goes, I’m shooting with a

Nikon D3S with my trusted nifty fifty f/1.8 attached
– I’m also taking my 24-70 f/2.8 along for the ride -
well, I may need that extra 20mm of ‘reach’. I’m
shooting in full manual mode as opposed to
Aperture Priority – the only cameras I can get away
with shooting in Aperture Priority mode are the
ones that have a proper exposure compensation
dial, such as Fuji’s X-Pro 1.
Now, they do say that beauty is in the eye of the
beholder and while most people would agree that
the likes of Saint Paul’s Cathedral and the Houses
of Parliament are certainly easy on the eye, the
Barbican or the Alexandra Road Estate (worth a
Google) are not everybody’s idea of architectural
nirvana. But to me Brutalist architecture has a raw
beauty – a 1960’s idea of what the future would
look like. The fact that so many films depicting a
dystopian future feature said architecture says a lot
about how the likes of Trellick Tower or Robin Hood
Gardens were received back in the day. So looking
at these perceived monstrosities you’d think that
they’d need all the lighting help they can get. But
let’s be honest, bathing a 1960s concrete building
in golden sunlight is not going to soften the impact.
Actually harsh, contrasty light or flat, lifeless light
can be used to your advantage – flat light adds to
the building’s drab, gloomy character and harsh,
direct sunlight gives an edge, a sharpness that adds
to the starkness of the design.
First stop is my own little piece of concrete
heaven – Peterlee Apollo Pavilion. The light is flat,
very flat. Black and white it is then. Mono also helps
to place the building in 1969, the year of the
Pavilion’s opening. However, I’d also like to revisit
in the winter when the shadows are long and the
sun is weak and watery. But for now, it’s time to set
the camera to black and white. I’m shooting in Raw
which will give me a coloured file anyway, but on
the back of the camera I get an indication of what
90 |
Shooting @ 50mm |
Left: At 24mm there’s a lot of my mono conversion will look like.

dead space with the main With a bland, white sky I have to
subject, seemingly a long way
from the camera – without make sure that I don’t clip the
some foreground interest you highlights as I attempt to get
get that emptiness I detail in the shadows. I could
previously mentioned.
bracket and merge but life’s too
Middle: At 50mm there’s short. I decide that a certain
no doubting the hero of the amount of highlight ‘blinking’ is
shot – the Apollo Pavillion,
Peterlee. acceptable and easily brought
back in Camera Raw. Anyway, this
Bottom: Baltic Art Gallery,
Gateshead. is black and white and artistic
licence states that blacks can be
blocked and whites can be
clipped. Post processing is kept
to a minimum. I use gradient
maps for my mono conversions
with a little bit of dodging and
burning to bring out some of the
detail in the concrete, add a dash
of contrast and a smidgen of
sharpening and that’s pretty
much it. As you can see, the
conversions lend themselves
to the character of
the structure.
Next stop is Newcastle’s
Quayside, in particular the bang
up to date Sage. Erected in
2004,this all steel and glass
organic-shaped music venue is
situated on the Gateshead side of
the River Tyne. I could go wide
and head for the Newcastle side
of the river but I’ve done that to
death. Again, a longer focal
length gets me close and makes
me work harder on composition.
I’m waiting for light levels to drop
as I want the tungsten warmth of
the internal lights to contrast with
the cool night sky – it’s a
balancing act as it’s not long
before the cool blues and purples
of the sky turn into inky blacks.
And speaking of contrasts, it’s
hard to think that only 35 years
separates the Sage from the
Apollo Pavilion.
The Quayside is also home to
the Baltic art gallery and
numerous iconic bridges which
you can easily spend a weekend
photographing. But there’s
architectural gems hidden in most
cities if you know where to look.
Do your research – check out
Google maps and plan your visit;
as I said at the beginning, you
may get there after a long journey
and light levels are not ideal – not
shooting is not an option – just
adjust accordingly; at the end of
the day no two visits to the same
location or two shots of the same
location are the same. [PM]
Nikon Launches |
TRIPLE LAUNCH
Edmond Terakopian tries out four new
Nikon products: the D750, an ultra-wide
AF-S Nikkor 20mm f/1.8G ED lens, a
Coolpix S6900 and a SB-500 Speedlight
I AM D750 does not constitute a full test and I didn’t get I AM 20MM
The D750 fits in between the company’s a chance to try the continuous focusing, but Having been a user of Nikon’s original 20mm
professional level D810 and the enthusiast it did leave me impressed. Image processing f/2.8D lens (introduced 20 years ago), it was
level D610. Billed as the ultimate enthusiast is dealt with by Nikon’s flagship EXPEED 4 refreshing to see this new 20mm. Not only is
camera by Nikon UK’s Simon Iddon, the which handles the rendering of both stills it AF-S, meaning no more coffee grinder
camera’s specifications certainly impress. It’s and video. The camera is equipped with twin impersonations, but it’s a faster f/1.8
built around a newly designed full-frame (FX- SD slots (compatible with high-capacity aperture, meaning much better low light
format) 24.3MP imaging sensor. The ISO SDXC and UHS-I cards), allowing a multitude performance as well as softer out-of-focus
ranges from 100 to 12,800, extending to 50- of configurations when using a second card. areas; yes, bokeh! There, I said it! The AF-S
51,200. It also comes with the professional This can be a copy, an overrun, used to split Nikkor 20mm f/1.8G ED is now on sale for
level Multi-CAM 3500IIFX 51-point AF Raws and JPEGs, or stills and video files. £680. It produced very good results; pin
system and a fast 6.5fps burst rate – all this As segments of the photographic industry sharp, fast AF, good contrast and colour and
for £1800. It will also be available in kit form are taking up video more and more, it was an overall nice aesthetic. I can see this being
with the 24-85mm VR lens for £2250. There good to see Nikon has incorporated a solid added to many photographers’
will also be another combination, this time and well thought out video functionality. The camera bags.
with the 24-120mm lens, for £2350. short movie shown during the event, shot
We got a chance to shoot with the D750 at entirely on the D750, certainly impressed; no I AM A SELFIE
the press launch and first impressions are jelly motion, moiré or noise artefacts, The 16MP Nikon Coolpix S6900 states it’ll
excellent. It’s solid, agile, focuses with speed married to accurate looking colour and a help you take the “best ever” selfies. A vari-
and accuracy – I can see this making an ideal sharp picture. Usability wise, the camera has angle LCD screen and a built-in camera
main camera for the high-end enthusiast. a dedicated video menu, which means all the stand make life easy, and Glamour mode
The lightweight body is a weather-sealed controls are in one place – top marks here. effects that can be added during shooting.
and the Kevlar and carbon fiber–composite The D750 shoots at full 1080p with multiple Sharing your selfie is made simple with built-
shutter unit is tested to 150,000 releases, frame rates up to 60p. As well as recording in Wi-Fi (for iOS and Android devices) and
which can fire up to 1230 activations (SIPA onto SD media, the HDMI out gives a clean NFC (Android) technology that can transfer
standards) on a single charge of the Li-ion signal, meaning external recorders can be images by simply tapping the camera to a
rechargeable EN-EL15 battery. There will used. There is also a Zebra mode which compatible smart device, allowing photos to
also be a grip for the camera, providing shows when highlights are blown. Audio has be posted on social media as soon as they
room for an extra battery. been dealt with well; there is a stereo mic are taken.
The AF system is configurable to 9-point, input with a headphone out, allowing proper The camera did feel very well made and
21-point, and 51-point coverage settings monitoring of audio, alongside built in stereo the design has been thought through with
and sensitive down to -3 EV (ISO 100, 20 microphones. Lastly, the EN-EL15 battery the addition of a stand and the swivelling
°C/68 °F). In a dimmed room, the camera gives up to 55 minutes of video shooting rear LCD. During normal photo taking, I
was very impressive with its focusing, using (using CIPA standards). found the little camera to be responsive and
an f/1.8 prime lens and also an f/4 zoom lens. The camera also has built-in Wi-Fi, allowing easy to use. It’s certainly not a high-end
During my testing, it didn’t miss a beat and you to send images directly to your product, but for the fun market that it’s
every shot was in focus. Alas as the camera smartphone and then onto social media. For intended for, it has all the features. The date
didn’t have final firmware, the images cannot control over wireless shooting, the WR-R10 of release and price have yet to be confirmed.
be shared here, but looking through the rear Wireless Transceiver and the WR-T10
3.2in LCD (which swings open and rotates up Wireless Transmitter can be used. Also announced was the small SB-500
to 90º, or down to 75º and has 1229k-dot Without a full and thorough test, naturally Speedlight. [PM]
colour-tune monitor) every shot was bang it’s impossible to give a proper verdict.
on. The image clarity was also very impressive However, initial impressions were excellent
at the ISO 6400 I was shooting at. and I feel this camera is going to go a www.nikon.co.uk
Naturally, 10 minutes with the camera long way. www.terakopian.com
Bikes,
Camera,
Acti n Taking to Bristol’s off-road trails, Chris
Morter and Aiden Barnard review the
Kodak PIXPRO SP360 action camera
94 |
Gear: Kodak PIXPRO SP360 |
H
urling down hills, bombing past trees,
there’s no time for composing shots
and thoughts of ‘capturing the
moment’ when you’re mountain
biking. But an innovative piece of kit which is fun
and easy to use, the PIXPRO SP360 shows great
promise for creative videographers, without
being over complex. As two relatively tech-savvy
RD
mountain bikers, we couldn’t wait to try it out. ICT
The SP360 differentiates itself from competitors
by having the unique ability to shoot full angle,
360 degree video – shooting a square video that
otography Mo
is then converted into the various different Ph nt
hl
modes by the camera’s software. We took to the
y’s
man-made rock trails at Ashton Court, Bristol, to 8 out
put it to the test. of 10
Build Quality
E
V
First impressions are good; the PIXPRO feels RD
ICT
solid and appears simple to use – just insert a
micro-SD card, and you’re ready to roll. The
Competition
camera is a compact, cube-shaped unit with a
dome-shaped lens on top. There are three
buttons on the side of the body and a small
monochrome screen to the rear. Being bright For the chance to win a Kodak PIXPRO
Kodak-yellow, it’s easy to spot if you need to SP360 action camera, email your best action
place it in undergrowth or other similar terrain shot to editorial@photographymonthly.com.
to get the shot you want. Officially it’s only Include your name, address, contact details
splash proof, but a full waterproof housing is and write ‘Action Comp’ in the subject line.
available – readying it for water-based extreme Visit www.photographymonthly.com
sports. It takes 10 megapixel stills, and features
five white balance settings for different scenarios
(auto, sun, cloudy, florescent, and underwater).
Video has five modes; normal shooting (square
fish eye mode) and four 360 degree modes full screen – meaning you have to exit to change rough sections of the trail the mount did slip a
(panoramic, split, ring, and dome). Normal between modes. The software could be a little little; but fixing the mount upside down to the
shooting has a maximum of FHD 1080 at 30 fps more user friendly, but given the early version, handlebars greatly reduced this.
but there are six other variations available this may well be corrected in
should you want a higher frame rate and/or subsequent releases. Verdict
lower resolution. The 360 degree video mode The PIXPRO SP360 has massive potential. In the
shoots 1440 or 1072 square videos at 30 fps. Accessories right hands we will see some truly amazing
Our test model came bundled with the extreme videos. The camera really is ahead of the game
In use accessories box, containing lots of different and with virtual reality displays such as Oculus
We tested the camera using the Android app mounts for attaching the PIXPRO including a Rift becoming more mainstream, 360 cameras
which works well and is ideal for setting up shots handlebar mount, adhesive pads for attaching are going to come into their own. It performs in
using your smartphone or tablet screen as a to surfboards, helmet mounts and head straps. extreme environments but the technology
viewfinder. The NFC connectivity makes setup Two cases where included: a rugged housing for would work equally well for more sedate
simple, with minimal lag, although it does extra protection and a waterproof housing. pastimes – holiday videos will never be the
occasionally take several attempts to find the Simple to use, the accessories didn’t require same again!
camera. You can use the app to switch between gloves to be removed in order to fit them – a
the different filming modes before and after real plus when out mountain biking. Kodak also www.kodak.co.uk
shooting and control camera functions. This include a case with a small car attached,
doesn’t mean to say the camera can’t be used enabling the camera to be hooked on to a belt
without a phone or tablet, but you’d be shooting
blind, as there’s no viewfinder!
or bag when not in use.
Searching for the best perspective of the trails
Quick Spec:
Its 360 degree filming does take some getting
used to, but as long as you film in one of the 360
degree modes, you can change the mode with
we were riding, we identified the handlebar
mount as our favourite accessory. It fastened
using two plastic thumb screws – it was quick to
£ Street price
£TBC
16 MP
the app or the PC software afterwards. The fit to the bike. Once placed in the standard
Up to ISO 100-800
dome shooting mode is an interesting one – housing, the camera is attached to the bar
120fps
potentially allowing a viewer equipped with a mount using a ball and socket joint. When in
virtual reality headset to completely immerse split video mode, the mount gave a good view
themselves in the video. The accompanying PC of both trail and the rider simultaneously: it Lens: fixed focus,
Weight: 214 degree
software allows you to switch between the makes for less disorientating viewing. Over
103g optical zoom
various modes during video playback, but rocky, red-graded off-road trails we managed to
unfortunately this isn’t available whilst viewing in get steady, shudder-free footage. On very
[ Classified ]
To place an advertisement call Cav Rhys-Jones on 01242 264778
STUDIO HIRE
WORKSHOP & TOURS

Studio Hire, Model Studio
Days. One to One Courses,
Studio Lighting, Portrait,
Glamour, Nude, Art Nude OWLS & ABBEY PHOTOGRAPHY WORKSHOP
Courses. Glamour & Nude VALLE CRUCIS ABBEY LLANGOLLEN
Location Shoots This workshop is a MUST for
info@pauls-studio.co.uk anyone interested in owls and
photographing them in an
www.pauls-studio.co.uk
outstanding, beautiful
07930 462906 heritage site.
Reading - M4 West of london
Take a look at: www.4seasonsphotographyworkshops.co.uk

Photographers: KIM PRICE & PETER DODGSON
CANVAS PRINTERS Tel: Kim – 01978 869119 | E: fineangle2photo@aol.com
Quote Training and development for professional and

PHOTO
to receiv 20 aspiring photographers in stunning locations
e
exclusivean including Salisbury's Cathedral Close and the
20%
CLASSIFIED
historic Italianate Church in Wilton, Wiltshire.

discount 1, 2 and 3 day practical courses with no more
than 6 delegates allow for plenty of hands-on
activity and 1 to 1 support. Professional models
YOUR PHOTO ON CANVAS used for all photo-shoots.
100% Cotton Canvas, Solid Pine Wood Frame, Completely Refreshments and meals are included with
accommodation available.
Hand Made, High Quality Print, 200 year UV Guarantee.
Training by qualified working professional
Visit www.canvasbay.co.uk to upload your photo. photographers.
You can then customise your order and we will
have your canvas ready to collect within 24 hours, Courses include:
or we can have it posted to you for only £4.
● The Complete Wedding
FRAME DEPTH SIZES
● Wedding Portfolio Building
Size Dimensions ” 20mm 45mm
● DSLR Video Workshop
A4 12 x 8 £9,00 £10,00
● Pregnancy, Baby & New-Born
A3 10 x 15 £13,00 £14,00
Other sizes also available
● Adobe Lightroom & Photoshop

A2 20 x 16 £16,00 £17,00
● Build & Maintain Your Own Website
A1 20 x 30 £21,00 £22,00
A0 30 x 40 £30,00 £31,00
For dates and further details, visit
www.training.ijsphotography.co.uk
40 x 60 £50,00 £55,00
Tel: 01656 856020 | canvasbay@gmail.com Quote PMOFFER15 for 15% discount on all courses until end of November
[ Classified ]
To place an advertisement call Cav Rhys-Jones on 01242 264778

HOLIDAYS AND TRAVEL
FRAMING
LEARN HOW TO FRAME

WITH UK SCHOOL OF FRAMING
CLASSIFIED
WE ALSO SELL A WIDE RANGE OF TOOLS AND

MATERIALS DIRECT FROM DIY FRAMING
VENUES: High Wycombe, Maidstone, Cardiff, York, Cambridge,
Leicester, Manchester, Ipswich, Bristol, Brighton, Canterbury, Derby,
Hereford, Christchurch, Telford, Newcastle, Salisbury, Chichester,
Tunbridge Wells and many others. TOOLS MATERIALS TRAINING
For further details visit www.diyframing.com or call FREEPHONE 0800 801061

| Contact Us
On Sale November 26
Special Issue:
Readers Special
Top 100
Readers’ Images
In celebration of a wealth of talent
among the Photography Monthly
readers, we will be choosing our
favourite 100 images to feature in next
month’s issue, and it could be yours! For
the chance to be featured, visit
www.photographymonthly.com
and upload your images to the gallery in
one of the 12 categories:
Black & White

Natural World
Family
Low Light
NEXT
Macro / Close-up
Travel
Culture
Food
Selfies
Portraits
MONTH
Long Exposures
© Ken Wilson
Motion
www.photographymonthly.com
feedback@photographymonthly.co.uk
01242 211096
@photomonthly Photography Monthly
Photography Monthly is published every four weeks by Archant Specialist, Archant House, Oriel © Archant Specialist. Archant Specialist is part of Archant
Community Media Ltd.
Road, Cheltenham, Gloucestershire, GL50 1BB.
■ While reasonable care is taken to ensure the accuracy of the information in
Photography Monthly, that information is obtained from a variety of sources
GROUP EDITOR – Adam Scorey MD, ARCHANT SPECIALIST – Peter Timperley and neither the publisher, the printers nor any distributor is responsible for
adam.scorey@archant.co.uk GROUP MD, ARCHANT LIFESTYLE – Will Hattam errors or omissions. All prices and data are accepted by us in good faith as being
ACTING DEPUTY EDITOR – Emma-Lily Pendleton PUBLISHING PRODUCTION MANAGER correct at the time of going to press. Pound conversion rates correct at the time
emma-lily.pendleton@archant.co.uk Kevin Shelcott 01603 772165 of going to press. Advertisements are accepted for publication in Photography
Monthly only upon Archant Specialist’s standard Terms of Acceptance of
ART EDITOR – Noel Hibbert Advertising, copies of which are available from the advertising department. All
noel.hibbert@archant.co.uk SUBSCRIPTIONS/BACK ISSUES advertisements of which the content is in whole or in part the work of Archant
FEATURES WRITER – Daisy McCorgray Customer care 01858 438832 Specialist remain the copyright of Archant Specialist. Reproduction in whole or
daisy.mccorgray@archant.co.uk Order hotline 01858 438840 in part of any matter appearing in Photography Monthly is forbidden except by
Visit: www.subscriptionsave.co.uk express permission of the publisher.
FEATURES WRITER – Victoria Dovey
victoria.dovey@archant.co.uk Email: photographymonthly@subscription.co.uk Competition terms and conditions: ■ The closing date for competitions/
EDITORIAL APPRENTICE – Charley Yates giveaways is displayed alongside the competition/giveaway online. ■
charley.yates@archant.co.uk ACTING SUBSCRIPTIONS MANAGER Employees of Archant Specialist, and those professionally connected with the
competition/giveaway, for example, employees of the sponsor company, are not
Lisa Flint-Elkins 01242 264751
eligible to enter. ■ Unless otherwise stated, competitions/giveaways are only
REPROGRAPHICS MANAGER – Neil Puttnam lisa.flint-elkins@archant.co.uk open to UK residents. ■ Prizes are as described and no alternatives can be
neil.puttnam@archant.co.uk offered. ■ The editor’s decision is final and no correspondence will be entered
ADVERTISING MANAGER – David Lennox WHOLESALE AND RETAIL DISTRIBUTION into. ■ Archant Specialist may wish to contact you in the future, or pass your
If you have difficulty obtaining Photography Monthly, details to selected third parties, to introduce new products and services to you.
01242 216054, david.lennox@archant.co.uk
If you are sending your entry by text and do not wish to be contacted, please add
ACCOUNT MANAGER – Carwyn Rhys-Jones contact Seymour, 86 Newman Street, London W1T the word ‘NO’ to the end of your text message. If you are sending your entry by
01242 264778, carwyn.rhys-jones@archant.co.uk 3EX Telephone 020 7396 8000 post, please tick the appropriate boxes on the entry form.
Photography Monthly and its journalists are committed to abiding by the Society of Editors Code of Practice. If you have a complaint which can’t be resolved by Photography Monthly’s editor Adam Scorey (adam.scorey@archant.
co.uk) please contact the Independent Press Standards Organisation, c/o Halton House, 20-23 Holborn, London, EC1 2JD, or via complaints@ipso.co.uk. More information about IPSO and its regulations can be found at www.ipso.co.uk
98 |

Photography Monthly

Hochgeladen von

Dokumentinformationen

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Photography Monthly

Hochgeladen von

Copyright:

Verfügbare Formate

Issue 166

Take, make, share and be social...

Comment Gallery Black & White DIY

Welcome FROM THE TEAM

Nikon – you’ll learn something interesting, I promise.

Acting Deputy Editor

Features Writer Ch @archant.co.uk

victoria.dovey 01242 264778

@archant.co.uk watch | learn | enjoy Ca

10 THINGS... HISTORY OF... MONO

NEGATIVELESS ALTERED IMAGE CONNIE ZHOU

SHOOT AN ERA TECHNIQUE DIY

DOWNLOAD Photography Monthly

Newsstand, Google Play, Kindle Fire

One month - £2.49 Three month - £6.99

HISTORY ARCHITECTURAL SPECIAL 73-75 TRANSFORM RECOGNISABLE

ey ent es ls t cov rni

s! out the ith

Clockwise from top: Audrey Hepburn,

NOT SO SOCIAL MEDIA

Anna Zmuda – Red sunglasses

LIKE AN IMAGE AND WANT TO KNOW HOW

Lori Kreutzer – Red

Jamie Valladao – Golden Reflection Mollie Clothier – Focus ‘Colour Psychology’

Amy Lancaster – Red

Dariusz Zielinski – Red Bull Air Race

Pat Collingwood – Red Poppies

Nikon F launched in 1959.

reluctant to say this, but for me, digital has been

the conditions are intense – with extremes from

Boudoir shot taken by Kate Hopewell-Smith.

What would you like to see from Nikon next?

Kate Hopewell-Smith, Nikon Ambassador: If Nikon keep

Dr Michael Pritchard, Photographic Historian: For most

Nikon S4 launched in 1958 was only in

Nikon D4 launched 2012.

also spread to sponsoring TV programme

The Nikon Df launched in 2013 was

Inside Grays of Westminster, London, an exclusive Nikon retailer.

Did you know?

Disney’s on-site photographers use Nikon exclusively – Image by Matt Stroshane.

Aston Martin Vanquish by Tim Wallace

Like most photo books, The

During his travels Paul sometimes

The Landscape by Paul Wakefield is

Top: Mountains of Mourne, County Down,

Bottom left: Lake Chuzenji, Tochigi

Bottom right: LLyn Ogwen Gwynedd,

For a quote or more information.

Richard Learoyd Richard Learoyd

© Richard Learoyd, courtesy Michael Hoppen Contemporary

Ask the Artist: Adam Fuss

Why do you use this technique?

Does it produce a more detailed image

Why did you make such a

I felt like I wanted a challenge; that was the hardest thing I

How long did it take to make?

How did you decide of the subject of

space. It came to represent the place where life existed –

What do see in the future for photography?

Would you advise our readers to try out

Marc Yankus, Somewhere in The West Thirties.

Chang Kyun Kim, Getty Museum.

© Chang Kyun Kim