Nikon’s NEW

Saturday 9 January 2016

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Why this

Passionate about photography since 1884

About
face
3 top portrait
pros reveal
their secrets

On a
plate
Meet the photographer
who gave up digital for
Victorian wet plates

Handsome
prints
Where’s the best place to
get your images printed?
We compare 4 top labs
MAKE AN EXHIBITION OF YOURSELF Roger Hicks on how to stage your own show
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 7days
A week in photography
COVER PICTURE © ANNA FOWLER

I’ve always enjoyed portraiture side has become second nature so they don’t
as a genre, but I don’t find it think about it. They all seem to agree that
easy to do. There are just so social skills are more important – you need to
many things to think about like people and be able to engage with them.
– the background, lighting, If, like me, you want to improve your
In this issue camera settings, getting the eyes in focus –
that it’s easy to forget about the most
portraiture , you’ll enjoy this issue. On pages
10-15, three top professionals offer their best
10 Perfect your
portraits important thing: the subject. I’ve met some tips, and on pages 34-35 Harry Borden
great portrait photographers and often been recounts the day he photographed paralympic
Three professional portrait
photographers share their struck by how non-technical many of them athlete Oscar Pistorius.
tips and techniques are. Or at least, the technical and aesthetic Nigel Atherton, Editor
20 Creativity on
a plate JOIN US Like us on
Facebook.com/Amateur.
Join our Flickr group
at flickr.com/groups/
Follow us
on Twitter
Alex Timmermans has ONLINE amateurphotographer.co.uk photographer.magazine amateurphotographer @AP_Magazine
created some superb
images using the wet-
plate collodion process ONLINE PICTURE OF THE WEEK
26 Location guide
Tips for shooting the
Neist Point lighthouse
on the Isle of Skye
30 Putting on
a show
Roger Hicks provides
useful advice on
setting up your own
photography exhibition
34 When Harry Met...
Harry Borden recalls
when he photographed

IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA
paralympic athlete
Oscar Pistorius
36 Reader portfolio
Some exceptional images
from David Zdanowicz’s
body of work
39 Appraisal
Expert advice and top tips
© PAUL HENNI

on improving your pictures

from Damien Demolder
45 Printing services
Amy Davies assesses four Spateful 2 by Paul Henni
popular printing services. Fujifilm X-E2, 200mm, 1sec at f/22, ISO 200
It’s time to free your best In AP 24 October we looked at the order to add to the atmosphere. We
shots from the hard drive
53 AF-S Nikkor
work of Ray Collins, an Australian
photographer who photographed
waves in such a way that they
featured Paul in AP 4 October
2014, when he was a relative
newcomer to more serious
Win! Each week we choose our favourite
picture on Facebook, Flickr or
the reader gallery using #appicoftheweek.
24-70mm f/2.8E appeared to be mountainous. Ray photography. He has now had two PermaJet proudly supports the online picture
ED VR achieved this through his use of a successful exhibitions, worked with of the week winner, who will receive a
Phil Hall tests Nikon’s fast shutter speed. fellow photographers, upgraded top-quality print of their image on the finest
highly anticipated Here we find the opposite from an intro Nikon DSLR to Fujifilm PermaJet paper. It is important to bring
pro-spec standard zoom approach. Paul Henni has created a kit and learned a lot more about images to life outside the digital sphere, so we
ghostly image of a wave and then creating black & white images. encourage everyone to get printing today! Visit
Regulars converted it to black & white in Visit www.henni.photo. www.permajet.com to learn more.
3 7 days
17 Inbox
42 Accessories
Send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
Email Email a selection of low-res images (up to 5MB of attachments in total) to appicturedesk@timeinc.com.
57 Technical CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSD images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 18.
support Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
82 Final analysis Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 18.
NEWS ROUND-UP
The week in brief, edited by Chris Cheesman

New Jessops store

Jessops has opened a new
store in Exeter, Devon – the
48th to open under Dragons’
Den entrepreneur Peter Jones,
who took over the ailing
business in 2013. The new shop
offers ‘try-before-you-buy’
displays, training courses,
a trade-in service, sensor
cleaning and an on-site lab.

Lightroom reaches out to Android users

Adobe has released Lightroom
for Android 1.4, extending the
subscription-free mobile service
to Android users. Adobe
Lightroom for Android 1.4
supports raw DNG files and
follows the Apple iPad and
iPhone versions. For full details,
visit play.google.com.

Commons plays host to EEF awards night

The work of 26 amateur and
© IAN GILMOUR

professional photographers
shortlisted for the EEF/Lombard
prize was exhibited at the
House of Commons last month.
The competition, designed
to raise the profile of UK
manufacturing, is now entering
its seventh edition. For more,
visit eef.mediafiler.net.
COURTESY, BONHAMS

I spy a watch camera

© GARETH CATTERMOLE/GETTY IMAGES

An 1894 watch camera took pride of place at

an auction of spy gadgets at Bonhams in
Hong Kong, where it fetched £11,757.
Designed to be carried in the vest
pocket, the Hagelein
watch camera, which is
an American copy of
the earlier British WEEKEND PROJECT
Lancaster watch
camera, features a
Back up your images Avoid storing images on
collapsible seven-
section lens tube.
As photographers, we put a lot of faith in the
reliability of our computer’s hard drive. While the
1 your computer’s hard
drive. Instead, store them
on a dedicated external drive
and invest in a second drive to
Croatian photographer bags top prize price of solid-state drives (SSD) has fallen and they mirror the first. It may seem
Goran Jovic, a professional have become more commonplace, most of us still
© GORAN JOVIC

like a bit of an outlay, but what

photographer from Croatia, won use drives that feature rapidly rotating disks (known price do you put on your work?
the Gold Award in the inaugural as platters), with data accessed from them. They can
World in Photo competition, and do fail, however (as can SSDs), and when they
which was also open to amateurs. Make archiving images

2
do, it can be an emotional experience, to put it
His entry, ‘Observer’ (left), won mildly. That is, unless you’ve backed up all your part of your workflow.
the portrait category and top prize images (and other important data) on an additional Once you’ve copied the
of $1,000. Paul Richards, whose drive. If your hard drive does fail and you’ve backed images across to one drive,
‘Champagne Pool’ was awarded up your data, the only major loss is the original drive perhaps repeat the same step
a prize, was one of three and the fact that you’ve got to buy a new one – not onto the other, or schedule in
photographers from Edinburgh to the drama and pain of realising you’ve lost every weekly updates to mirror your
earn an honourable mention. single image you’ve taken. main drive.

4 9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

 BIG
picture
London’s Westminster
Abbey and its 1,000
years of history
Architectural photography is
a tricky genre to get to grips
with. It isn’t enough to just set up in
front of a building and snap away. A
photographer has to try various
techniques to get to the heart of a
building, much in the same way
they would a sitter for a portrait.
Here we find a wonderful
example of how to get it right. This
image of Westminster Abbey’s
lantern roof in all its spectacular
glory was taken by Gareth
Cattermole. The astonishing
geometry is brought to life
through the photographer’s lens,
particularly as he has removed the
colour in order to highlight the
strong shapes and lines. London’s
most famous abbey houses more
than 1,000 years of history within
its walls. As well as being the site
of coronations since 1066, it is the
final resting place of 17 monarchs
and remains a house of worship,
with 28 services every week.

Words & numbers

The best thing

about a picture
is that it never
Take this time to
Store images on
changes, even
3 categorise your images
properly. Sorting images
can be a thankless task, but
an external hard
drive that mirrors
your computer’s
internal drive
when the people
in it do
while the nights are long, now
is the time to do it. Establish Andy Warhol
your own filing system – and American artist
make sure you follow it. 1928-1987

Programs such as

4
SOURCE: FUTURESOURCE CONSULTING

£149.9m
Lightroom will also
allow you to add
keywords to images and create
collections, making finding and
© G TECHNOLOGY

retrieving images much easier,

Sales of DSLRs in the UK in
especially if you’re dealing with the first 47 weeks of 2015
a large back catalogue.

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 5


© RANKIN
© NADAV KANDER
London on course to be
‘world capital of photography’
LONDON has the potential to
become the world capital of
photography, say organisers of Photo
London 2016, which promises to be
‘bigger and better’ than last year.
Photo London takes place at
Somerset House from 19-22 May
and will showcase the work of 80
galleries – ten more than at the
inaugural event in 2015.
The 2016 event has won the
backing of Michael G Wilson, a
celebrated photography collector
and co-producer of the James
Bond films.
Wilson has pledged to lend 12
large-scale photographs by Craigie
Horsfield, drawn from his archive
of more than 11,000 images.
‘London has, it seems, fallen in
love with photography,’ said Photo
London co-founder Michael Benson.
Photo London 2016 will feature
a new temporary structure in the
6 9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555
© OWEN HUMPHREYS/PRESS ASSOCIATION
© DON MCCULLIN, COURTESY HAMILTONS GALLERY
Calling all budding
photojournalists
AN EXPENSES-PAID
photo assignment for
a budding photojournalist
is up for grabs in a
competition run by
humanitarian charity
Muntada Aid.
The winner will
accompany award-winning
press photographer Owen
Humphreys to a location
in Africa or Asia to
photograph the Little
Hearts Project for
the charity.
Entrants must submit
images on the subject,
‘An Act of Kindness’.
The Little Hearts Project
provides free lifesaving
cardiac surgery to children
with congenital heart
defects, from
underprivileged families in
© RANKIN
developing countries.
Photographs must have
been taken in 2015.
The deadline for entries is
22 January 2016. To enter
the competition, email
pressmuntadaaid.org.
Find out more at
http://muntadaaid.org/
news/1071.
courtyard of Somerset House, plus the potential to become the world
a new dedicated area for talks. capital of photography.’
Benson added: ‘London is the only Photo London organisers have
city in the world where you dare to named legendary war photographer
imagine that you would get this kind Don McCullin as the event’s Master
of dynamic response to a new of Photography 2016.
cultural venture like Photo London. McCullin will be the subject of
‘We have been overwhelmed by a special exhibition of his work
the support we have received from at the event.
the city’s cultural organisations. The public will also have the
From national art institutions like the
Tate, the National Portrait Gallery
chance to meet the photographer at
Somerset House on 19 May, when
Subscribe to
and the V&A, to emerging artists, he will be in conversation with Tate
young collectors and galleries, photography curator Simon Baker.
especially in the creative hubs of An extensive talks programme is
the East End and south London. also scheduled to include renowned
‘From the best dealers to all
of London’s auction houses
photographers Martin Parr, Nadav
Kander and Rankin.
SAVE *
and, above all, London’s brilliant
photographers, we have been
delighted to find that so many
people of all ages share our
Photo London 2016 will be
backed by the Pictet Group, an
asset management organisation.
Last year’s high-profile visitors to
43%
Visit amateurphotographer
passion for photography and Photo London included James Bond subs.co.uk (or see page 50)
believe, like us, that London has actor Daniel Craig. * when you pay by UK Direct Debit
 Get up & go
Interesting things to see, to do and to
shoot this week. By Tom Smallwood
WORLDWIDE

AP wins Consumer
Magazine of the Year
© AMI VITALE
AP HAS won AP editor Nigel World Press Photo
Consumer Magazine Atherton said: ‘On behalf The World Press Photo Foundation is accepting entries for its 59th
of the Year at the 2015 of the entire AP team annual photo contest. All professional photojournalists and visual
Pixel Trade Awards. I’d like to express how storytellers worldwide can take part, but you can only enter
Amateur Photographer delighted we are to win online. The closing date is 13 January 2016 at noon. Note that the
was declared top this award, and how rules have been tightened to prevent excessive manipulation.
magazine after honoured we are to submit.worldpressphoto.org
photographic trade be held in such high
magazine Pixel spoke esteem by the

© BARN OWL CENTRE

NATIONWIDE GLOUCESTERSHIRE
to 30 leading figures in photographic industry.
the UK photo industry. ‘The team works very
Simon Skinner, title hard to produce an
manager at Pixel, said: ‘I
© RAY KENNEDY

engaging and relevant

think it’s a testament to
AP’s respect in the market
that it has won the award
more than any other title
in the sector over the 11
years that the awards
have been running.
‘It’s such a competitive
marketplace, with
significant challenges
facing the traditional
magazine model, and so
many opportunities for
photo enthusiasts to
consume information
DSLR price wars make dent in CSC sales
consumer photography
magazine week after
week, and it’s great that
this achievement, which is RSPB Birdwatch Barn Owl Centre
unique in the world, has The Big Garden Birdwatch takes This owl sanctuary in
via blogs and other digital been recognised in this place at the end of January, Gloucestershire is giving
platforms.’ way once again. with the RSPB inviting you to photographers the chance to
He added: ‘AP, and the ‘Thanks to Pixel, and count all the birds that visit get great shots of a range of
excellent team within, to everyone who voted your back garden. Last year, species. The venue is closed
manages to produce an for us.’ over half a million people took to the pubic on photography
issue every week… to The award, sponsored part in this major survey of the days to ensure privacy.
ensure that it is relevant, by Nikon, was presented UK bird population. Call 01452 383 999 to book.
interesting and informative at a ceremony held at 30-31 January, www.rspb.org.uk 15 and 29 January
every time. That’s hard The Grange City Hotel
to beat.’ in central London.
Irving Penn, ‘Flowers’
An exhibition of the complete series of
Irving Penn’s ‘Flowers’, a project which the
celebrated US photographer worked on for
© IRVING PENN FOUNDATION

DEMAND for CSCs has fallen 9%,
as better-than-expected sales of
DSLRs make a dent in the UK’s
mirrorless market.
Unit sales of CSCs dropped 9% in the
first 47 weeks of 2015, compared with
the year before, while unit sales of
Futuresource predicted a 10% fall in American Vogue from 1969-1974 (he
imports of CSCs for sale in the UK by the revisited the subject up until his death),
end of 2015 compared with the previous will be held at Hamiltons Gallery,
year, with DSLR imports sliding 5%. LONDON 13 Carlos Place, London W1K 2EU.
Actual figures were not available as Until 16 January, www.hamiltonsgallery.com
we went to press.
By the close of 2015, DSLR imports
© BEN HOPPER

DSLRs fell 2.5% over the same period,
according to Futuresource Consulting.
Tempting price deals on entry-level
Nikon and Canon DSLRs – combined
with fewer big promotions on CSCs
than a year earlier – bit into mirrorless
sales during 2015.
For the latest news visit www.amateurphotographer.co.uk
were forecast to reach 354,000 units Ben Hopper
– more than three times that of CSCs, London-based photographer Ben
which were expected to have clocked Hopper is looking for Kickstarter
up 100,000 for the 12 months. funding to support his
UK CSC demand declined by around ‘Transfiguration’ photo exhibition on
15% in the first half of 2015, but international contemporary circus KICKSTARTER
improved to around 10% year-on-year. artists and dancers. Ben plans to exhibit at the Festival Mondial
du Cirque de Demain in Paris and the Roundhouse in London (as
part of the CircusFest festival).
www.kickstarter.com (search for ‘Ben Hopper’)

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 7

 Viewpoint New Books
Tony Kemplen The latest and best books from the
world of photography. By Oliver Atwell
When he unearthed a Canon Pellix in a

© MARTINE FRANCK/MAGNUM PHOTOS

charity shop, Tony Kemplen had no idea
about the technology it used

I
try to keep an eye open for

© TONY KEMPLEN
cameras with unusual or quirky
features, but when I spotted a
Canon Pellix in a charity shop, I
didn’t realise that it was anything other than
a common or garden SLR from the 1970s.
It was in a box with a couple of extra
lenses, priced at £10. Generally, I don’t
bother with 35mm SLRs, but it was a
model I hadn’t heard of, from a major A Year in Photography:
manufacturer, so after winding on and Magnum Archive
firing the shutter at a couple of different
Experimenting with the Canon Pellix using Prestel, £16.99, hardback,
speeds, I decided to take a punt. the ‘Christmas flashing-red-nose test’ 752 pages, ISBN 978-3-7913-8185-5
When I got it home I was disappointed
to find that although the shutter worked MAGNUM collections are like a
OK, the mirror didn’t move, and I assumed
‘It turns out the Pellix comfy chair. It’s the kind of thing
the mechanism was broken. I even uses a fixed, semi-silvered you can relax into and know
gingerly tried to ‘assist’ it in moving, but exactly what you’re getting.
mirror, the pellicle’ Every year, Magnum releases
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME INC. (UK)

then sensibly decided to do a bit of

research. It turns out that the Pellix uses a
fixed, semi-silvered mirror, the ‘pellicle’,
that sends 30% of the light to the
viewfinder and 70% to the film. The
advantage of this is that there is no ‘mirror
slap’ to contribute to camera shake.
However, for me, the big disadvantage is
that your lenses effectively lose the best
part of a stop in speed, and what you see
through the pentaprism is rather dim.
Canon boasted that the Pellix was the first
SLR to use this technology, although it
wasn’t the last, as Canon tried it again
with the EOS RT in 1989.
Canon launched the Pellix in 1965, and
my example is one of the early ones, as it
lacks the quick load feature introduced a
year later. The camera is simple enough to
use, and has a TTL exposure meter which
Do you have something you’d like to get off your chest? Send us your thoughts in around
500 words to the address on page 18 and win a year’s digital subscription to AP, worth £79.99
8 9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555
uses a movable sensor behind the mirror.
I struggled to think of any practical
advantages to the fixed mirror. Maybe the
camera was quieter than a standard SLR,
but then again this is not the kit you would
use for taking sneaky candid shots. The
possible reduction in vibration by having a
fixed mirror would only really apply to slow
shutter speeds, and ironically you’d be
more likely to need a slow shutter speed to
compensate for the light lost by the mirror.
The only situation I could think of where
the Pellix could come into its own would
be using long exposures for light painting
or fireworks, when it could be a real
advantage to see the scene while the
shutter was open. It was Christmas time
when I got around to using the Canon, and
I persuaded my daughter to don a flashing
red nose and move her head around, so I
could experiment with an exposure of
several seconds, during which I could
ensure the subject remained in frame,
before finishing off with a coloured flash.
Tony Kemplen’s love of photography began as a teenager
and ever since he has been collecting cameras with
a view to testing as many as he can. You can follow
his progress on his 52 Cameras blog at 52cameras.
blogspot.co.uk. You can see more photos taken with
the Canon Pellix at www.flickr.com/tony_kemplen/
sets/72157649441284360
its look back at the previous
365 days, and as such is able
to produce a fairly interesting overview of the state
of documentary photography and reportage. It’s
interesting to compare the variety of styles on display
– a disparate collection that emphasises just how
fluid and flexible the parameters of documentary
photography can be. We see now how the nature of
the genre can be altered by the technology at hand,
and also see how people can in turn react to that
and turn back to old-fashioned approaches. While
Magnum is not quite the force it was (it is, after all,
being trumped by newer agencies such as Panos and
VII), there’s still a great deal of substance to be mined
in its archives and from its newest photographers.
+++++
Umbra
By Viviane Sassen, Prestel, £40, paperback,
196 pages, ISBN 978-3-7913-8160-2
DUTCH artist Viviane Sassen is a
talent who has been endlessly fêted
across the photography world for
her unique and sometimes
controversial approach to
photography, often under the loose
umbrella of fashion imagery.
Sassen’s work is notable for its use
of geometric shapes and the ways in which she is able
to utilise the human form in a number of abstract
ways. In this collection of work, Sassen employs the
use of shadows, sometimes literally, sometimes
metaphorically, to explore the parameter between
realism and abstraction. While shadows are the
primary visual motif, there’s still room for Sassen’s
characteristic use of bright vivid colour. One for fans.
+++++



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 Technique PORTRAITS

Perfect your
portraits Before you start
shooting, make
sure you get to
know your model

Commercial portrait photography is a tough, competitive

Take control
business. Three successful portrait professionals share 3 of your sitters
if necessary
their knowledge and pass on tips to help you stand out Every photographer is different,
but for me, 80% of the people
Anna Fowler
Anna is a London-based portrait, lingerie and wedding
2 Be prepared to
hunt for the light
I really believe that natural light is
I shoot aren’t models and they
are not doing shoots three or
four times a week. With the
photographer whose business has grown exponentially great for shooting women. With women I shoot, even if they
in only a few years. She has spent ten years in front of men, you can shoot them in any are models on Instagram or
the camera and is an experienced television presenter. light, even in a lift, and still get wherever, they often don’t
Visit www.annafowler.com definition – you get shadows on have a lot of experience. I have
their faces, and it looks interesting. found that a lot of women

1 It’s not about

the gear
When I started out, I learned that
you don’t need lots of gear to
succeed. About a month after
buying lots of lighting equipment,
I ended up shooting with natural
light and that’s what I have been
using for most of my career. I have
lighting gear for when I have to But most female models want to
shoot inside, but for me it’s natural look flawless, and that is where
light all the way. If I have to, I will good natural light comes in. I will
come in thinking they know
what’s going on, especially
now that people take lots of
use a beauty dish, an Elinchrom hunt hard for good light, and selfies. I have to strip them
strobe and normally one light. make full use of light surfaces, back, so they are comfortable
Sometimes I use direct on- white walls, light floors, concrete not knowing anything and can
camera flash. The less complicated painted white, and so on. I can end listen to me. I will try to take
your lighting set-up, the more you up in some pretty unglamorous 100% control of everything if
can focus on the subject. places in London! a sitter has no experience.

10
4 Spend time
with your model
I spend the first hour or so
just chatting to everyone who
comes in for a shoot. After
finding out about their lives
and what they want from the
shoot, they start to relax.
However, you need to be
aware that some people will
still be tense, which will often
show in their shoulders, jaw
or eyebrows, so I encourage
them to be aware of this.
I don’t stop talking, either!
There is no time for the sitter
to think. If you go quiet and
start checking every photo you
have taken, the sitter can
think, ‘Oh no! She’s looking at
the size of my thighs!’ So I
keep talking, keep shooting,
get them to change their outfit
and direct them all the time.
You need to tell the person
when they look amazing and
encourage them. If they are
having trouble expressing
something, be prepared to
demonstrate it yourself.
Don’t be afraid to
direct your model
to get the shot
you want
subscribe 0330 3334555 I www.amateurphotographer.co.uk I 00 Month 2015
Make your model
feel confident – it’s
best to have your
settings dialled in
before shooting
5 Prepare
settings
your
Don’t make models wait around,
never in Photoshop. This tight
compositional approach has since
become part of my style. I got
particularly inexperienced ones, used to blurring the backgrounds
while you are fiddling with kit and as much as possible in order to get
settings. Try to work out what you rid of distractions, which again
need to do before the shoot starts. were often in my flat. I don’t
You need to make the models feel normally shoot wide, and this has
confident that you know what you been one of the challenges when
are doing. If they lose trust in you, shooting weddings as I try to
it will show in their faces. squeeze everyone in!
Turn negatives
6 into positives
When I started taking portraits
7 Be disciplined about
the business side 8 Be very clear
about who you are
When I first picked up a camera I
I was working from a tiny flat, used to take just holiday photos,
so I developed a tight shooting and becoming a professional
style and cropped in-camera, portrait photographer was not my
intention. I was playing catch-up in
many ways for the first few years.
I have taught myself a lot about
the business side and it’s really
important you take this on board.
Read books, search the internet or
Commercial
photography can be
very competitive, so
make sure you’re
disciplined
take a course – whatever it takes.
Commercial portrait photography
is very competitive, and there are
lots of other people wanting to do
the same thing. I have been lucky,
but I have also worked very hard. I
am now booked up six months in
advance, all from word-of-mouth
recommendations and Facebook,
but now Instagram seems to work
best for me.
If you want to succeed, you have to
really want to be a portrait
photographer. I am only interested
in people’s faces – I am not
interested in shooting fashion or in
commercial jobs. I am only
interested in having that person in
front of me so I can make a
connection. I just want to take
a beautiful picture of them.
ALL PHOTOS THESE PAGES © ANNA FOWLER
A tight shooting style and
blurred background will
eliminate any distractions
11
 Technique PORTRAITS

ALL PHOTOS THESE PAGES © BRIAN ROLFE

Brian Rolfe
Brian is a fashion, beauty and portrait photographer
based just outside London. His big influences are Peter
Lindbergh, Patrick Demarchelier and Herb Ritts, and his
classic, timeless portraits are in steady demand. Visit
www.brianrolfe.com

Don’t just shoot

9 anyone who is
willing to work
with you
I did a lot of work with the Model
Mayhem website for professional
models and photographers when
I was starting out. It was a good
learning curve, but I was finding I
was getting people who weren’t
comfortable in front of the camera
because they were just starting
out as well. I was also bringing in
people who looked liked models in
their portfolio, but weren’t really in
the flesh, as their pictures were
often heavily Photoshopped. I also
allowed myself to become overrun
by gear at the beginning. Thanks
to the power of marketing and
advertising, you feel you need to
buy everything when you really
don’t. I threw a lot of money at
lighting equipment, thinking it
would make me a better
photographer, but it doesn’t.
and what they are up to, just
passing the time of day. When it
comes to the shoot, I try not to
direct the model too much unless
there is a client involved. If the
shoot is just a model test, or for
a book, or actor headshots, it
becomes very stale if you try to
direct them. Put somebody in
a position where they are not
comfortable and it shows in the
photograph. Even if you direct
them later, for first half an hour
or so let them do their own thing.
Don’t
11 overcomplicate
your lighting
I have definitely developed the
habit of keeping things simple. I’ve
gone from Fresnel lights to beauty
dishes to light modifiers used by
top photographers, and I have Try not to direct
spent stupid money. I’ve now the sitter too
stripped things back and mainly much at the
work with one light. I really do start of a shoot
believe that less is more, and would

10 Connect with
your models
One of my best habits now is to
spend half an hour with the model
before I even pick up the camera,
so you need to make time for this
before the make-up and hair are
taken care of. This time relaxes the
sitter, as they get to know you
better. As I do a lot of fashion
work, we talk about the industry
rather use one light and reflector,
and focus on the subject, rather
than show off my lighting skills. My
main set-up now is one Octobox
and a reflector, which seems to
work for just about everything.
Feather the light
12 I did a one-to-one with a
student in the summer, and tried to
explain that one light and an
umbrella can have the same results
as spending thousands of pounds
on equipment. She had watched a
lot of YouTube videos, where the
photographer just pointed the light
straight at the subject. When I
explained about feathering the light
– basically, taking advantage of the
transition between full ‘straight-on’
light and turning the light away
from the model – she thought I
had accidentally knocked the light
away and tried to turn it back! So
think about just using the ‘edge’ of
lighting to get nice feathering
effects. Look at the simple stuff
before getting complicated, and
how to place the light so it captures
the model correctly and brings out
their best features. There isn’t one
generic lighting set-up that suits
everyone.

GOOD EDITING HABITS

Black & white preview Color Balance tool

For the initial raw capture, I generally tend to
shoot tethered, with black & white set as the
Less is most
definitely more
preview as I find it’s easier to see the how the
when it comes light and shadows are working without the
to lighting distractions of colour. The raw images come
straight into Capture One Pro.
Once I’ve made my selection of the images I
want to work on, I’ll go back to colour versions
and then start to make any adjustments to the
white balance and tweak the colours using the
Color Balance tool in Capture One Pro.

12 9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

13 Build
boards
mood
It’s important to keep looking
for ideas for your shoots. Buying
fashion magazines can be
expensive, so a good source for
me is www.fashiongonerogue.
com, which features a lot
of editorial from the top
magazines. I use the site to look
at different lighting effects, pull
poses from various features and
set up a mood board. It really is
a great starting point.

Connect
14 regularly with
your community
Most of my work is with
portraits and model testing,
and much of it comes through
word of mouth. It’s a tough
environment, but if you put out
decent work and then promote
it on social media, your
momentum will build. The
models speak to other models,
so show them your work. I don’t
have to advertise or approach
agencies any more. It’s essential
to build a strong portfolio and
get it out there on social media.

Take the shots

15 you love to
develop your style
There is no point trying to copy
another photographer, as the
client will just try to book them
instead or somebody else who
copies them more cheaply. I
have stopped trying to shoot in
a style that I think clients might
Shoot what you
like. Now I shoot what I love and love, to develop a
that is my style. This is what personal style
will get you bookings.

Focus check Minor adjustments Even out skin tones

I’ll also use the Focus check tool in Capture
One Pro, as it allows me just to double-check
that the image is pin-sharp where it needs to
be before I continue working on the image.
Next, I make any adjustments to exposure
and contrast, and recover shadow detail if
necessary. Most of the time these adjustments
are minor, as I try to get as close as possible
to what I want in-camera.
Finally, I’ll process the image out to Photoshop
as a full-resolution TIFF file where I’ll work on
removing any blemishes in a healing layer, and
dodge and burn on a soft light layer to even
out the skin tones. For an image like this, the
entire process should take under an hour.

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 13

 Technique
Be inspired by the
masters of the art
of photography
Woland
Woland is a beauty and haute couture photographer
who has been based in London since 2012. His
high-profile roster of clients include Elle, V Magazine,
Cosmopolitan, Wonderland and Playboy.
Visit www.woland.co.uk
16 Learn from
the masters
The best and only lessons I
learned were when I was in Italy,
in the local bookstore in Rome
where I used to spend my
weekends flicking through
expensive photography books I
couldn’t afford to buy. I’m still
convinced that no school can ever
give such thorough and detailed
lessons as a curious mind can get
by studying directly from the
14
PORTRAITS
masters. With my first occasional
jobs I started buying these books
to be inspired, rather than a new
camera or lens, and I still believe
you don’t need to keep buying
more gear to take the next best
picture – indeed, over the past
few years I’ve been producing
more and more material using
smartphones. The personal
photographic library I have built
up after 15 years is more valuable
than all my studio equipment.
instinctively – it’s not a matter of a
pretty face or a model being a size
4, as most of what I find is in the
eyes. The posing process depends
on the shoot. Some require a
more ‘plastic’ pose, others require
a more natural attitude. In the end,
what these different approaches
have in common is my signature.
18 Study light
with a passion
Light is what photography is all
about and it is the main subject of
my pictures. When photography
was still just a hobby for me and
resources were limited, I used to
train my eyes to seize the available
light, from midday sun, sunsets,
cloudy skies, shadows, darkness,
street lamps, neon signs, lights
from a fridge, and so on.
Everything emitting or shaping
light can be tamed and used to
make a good picture. I’ve learned
most of what I know about light
from the work of the masters,
such as Jeanloup Sieff, Josef
Koudelka, Leo Matiz, Arthur Tress,
Irving Penn, Helmut Newton,
Sebastião Salgado, Steven Meisel,
Steven Klein and Vincent Peters.
Be flexible
19 with your
lighting set-ups
My current studio set-ups vary
a lot, from just one light to six
or seven lights for the more
complicated sets, but there’s
no specific rule. I place a light
only where I need it to be. In
learning to tame light in the
studio, it’s useful to follow
George Hurrell’s approach of
mixing several narrow beams
in order to create a dark
atmosphere. It’s not the
easiest thing to preserve
17 Work hard
but have fun
My models are part of a team that
darkness using several lights,
so it’s a great lesson.
includes my assistants, make-up
and hair artists, stylists and set
designers, so they get no special
treatment. I’m kind to everyone,
but very demanding, and even
more demanding with myself.
Models are no exception. The
mood on my sets is usually
cheerful and easy. I like to joke
and I don’t like to be rude, so all
the relaxation comes from working
hard while having fun. My models
are usually chosen carefully. I
often organise castings at my Study light with a
passion, knowing
studio after shortlisting the models how it can be
from material the agencies send tamed and how you
me. I usually make the final choice can make a good
of a model for a specific project photo from it
20 Get inspiration
everywhere
I mainly work with creative
directors whose job is to invent
and produce ideas. Sometimes
I come up with an image and
expand it to a whole theme. Other
times it’s the frame of a movie, a
specific atmosphere, or the visual
idea in a book or an article.
Sometimes it’s the music inspiring
specific moods, or the scenes of
an opera or ballet, or maybe a
beautiful landscape.
21 Don’t get in
the way of
the subjects
When I met Anton Corbijn, he told
me: ‘I started shooting my family
and my friends, then my
neighbours, then the guys in my
neighbourhood. That was my
world and my training. You get
to know them, you know their
environment, their attitudes, and
you want to know them closer and
disclose their world.’ What shone
bright in Anton’s aura was his
humbleness and simplicity. He
is a curious soul and I think this
curiosity about the ‘other-than-
subscribe 0330 3334555 I www.amateurphotographer.co.uk I 00 Month 2015
self’ is fundamental when
approaching portraits. Your ego
should not interfere; it should
certainly listen, watch, detail,
absorb, imagine, invent, but if you
have a prejudice, all you get is a
self-portrait with the face of
someone else. The best portraits,
in my opinion, are those where the
subjects are free to reveal their
own sentiments and emotions,
within the creative boundaries and
lighting set by the photographer.
22 Slow down
The world around us
presents a huge quantity of
information and inspiration that
overloads our sensibilities, and we
miss its beauty because we are
always running from A to B. Taking
long walks with no destination
leaves the senses free to perceive
what’s in between the lines of
reality: you give yourself time to
take valuable bits of reality and
create around them. It’s like a Make sure you
form of meditation for me. Usually, have fun on a
shoot, and
when my brain goes back down to remember,
a normal state of perception, I you’re working
have some great concepts and as part of a team
visuals for portraits.
ALL PHOTOS THESE PAGES © WOLAND
15
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Inbox
Email amateurphotographer@timeinc.com and include your full postal address
Write to Inbox, Amateur Photographer, Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London SE1 0SU
E

In AP 12 December we asked
D
C

What is the largest-capacity memory

LETTER OF THE WEEK
Rare species
I need a new A3/A3+ printer and have just
realised the very narrow selection generally
available. If you are in the market for a
dedicated photo printer, most shops now
only stock Epson and Canon. If, like me,
you require good monochrome printing
capability with multiple black/grey pigment
inks, it narrows the choice even further. I
find myself looking at probably a choice
of two printers from each manufacturer.
Factor in any brand preference and there
is nothing to choose from.
For many of us, making a hard-copy print
is still the end product of our endeavours.
Online printing is excellent, but it’s no
substitute for the fine-tuning of home
printing, despite the debatable cost issue.
With such a bewildering choice of digital
cameras and equipment, the printer – a
vital part of the chain for many – is
becoming an increasingly
card you own?
You answered
rare species. If either Canon or Epson pulls
A Less than 8GB
B 8GB
3%
7%
out of the market, the other will have the C 16GB 20%
monopoly. I just wanted to highlight this D 32GB 31%
fact, as it seems a little worrying to me. E 64GB 30%
Martin Erhard, West Sussex
F 128GB 8%
Sadly, from past experience, other G More than 128GB 1%
printer manufacturers have never really
catered for photographers, particularly
What you said
where A3 printers are concerned. While ‘I have a 16GB card and fill it in a matter of hours
there have been other A3 printers, none shooting weddings and sporting events. Sometimes I
has ever been able to match the quality fill one or two 8GB cards as well – I carry two 8GB
that Canon and Epson printers are spares. However, I empty the card every day that I use
capable of producing. And, yes, if one of it so it never gets anywhere near full’
them ever did pull out of the A3 printer ‘Unless you have a 36MP-plus camera, anything larger
market, the other would have a huge than 16GB is pointless as it will result in all your images
monopoly. However, as the cost of the being on one card. And if it dies, you lose the whole
printers is quite high, as is the cost of the day’s shoot. I have learned that it is better to spend
inks, I’d suggest that both will be in the more on a reputable brand, irrespective of the capacity.
market for some time yet – Richard I bought a cheap one once, and while it recorded the
Sibley, deputy editor pictures, it was useless because of partial corruption’
Join the debate on the AP forum

Win!
With ultra-fast performance, the new Samsung 16GB EVO SD card,
Class 10, Grade 1, offers up to 48MB/sec transfer speed and has a This week we ask
ten-year warranty.
www.samsung.com
How many camera bags do you own?
Vote online www.amateurphotographer.co.uk

Denim is a no-go Age-old problem

Your article on winter clothing
(AP 12 December 2015) was
a timely reminder that when
setting out in cold conditions,
thought is required not only
on what camera equipment
you are going to take with
you, but also on the suitability
of your apparel. However,
there was one glaring
omission – your model was
togged out in jeans! Any
walker worth his or her boots
would tell you that denim is a
no-go when out on the hills
and, equally, on a winter
photo shoot, for that matter.
Modern outdoor walking
trousers provide protection
against wind and rain, but they
are also quick drying. Denim,
once wet, retains water,
leaving the wearer feeling
cold, miserable and not in the
best frame of mind to capture
that fantastic winter’s scene.
Nigel Toohey, Sheffield
Denim retains water when wet,
so the wearer will feel cold
Hands up to that one, Nigel
– point well made. We had
hoped to get some trousers
in for the feature, but they
missed the deadline for the
shoot so they were omitted
in this instance – Phil Hall,
features and technique
editor
Following Ivan Strahan’s letter
(AP 5 December 2015), may
Guess the date
I point out further problems
affecting older photographers
suffering from fading eyesight
and arthritis?
Due to arthritis in my hands,
I was finding it difficult to hold
my old Canon DSLR and my
trusted 17-85mm lens, so I
decided to buy a compact
system camera, as it is smaller
and lighter. However, it had
to have the ability to shoot in
raw. Being a Canon man, I
decided on an EOS M with
the 18-55mm lens. It’s a Every other week we post an old AP cover on our
good camera, but the wrong Facebook page and all you have to do is guess the
one for me. issue date (day/month/year). To guess the date of this
I need glasses for reading, cover (above), head over to www.facebook.com/
so without a viewfinder I found Amateur.photographer.magazine. Forum members
the EOS M a pain to use. I can also enter via the Forum.
could not see the screen in
focus without my glasses, so I The camera in AP 12 December is a
had to keep putting them on Vivitar ViviCam 6200W. The winner
and taking them off – if I is Dennis Low, whose correct guess
could find them, that is was the first drawn at random.

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INBOX

Take care in Cumbria

© CJ SPENCER
– another problem with Contact
us oldies! As a Lake District resident, Amateur Photographer, Time Inc. (UK), Blue Fin Building,
110 Southwark Street, London SE1 0SU
So the EOS M had to go. I may I please underline the Telephone 0203 148 4138
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that was lightweight and had a article in AP 12 December Picture returns: Telephone 0203 148 4121
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use live mode. Also, it’s still a CJ Spencer’s shot taken with a
article and make sure you are Email felix.barlow@timeinc.com
heavy unit, so I do not think I Canon FD 500mm f/8 mirror lens suitably equipped, not too Inserts
am finished with changing ambitious (particularly in Call Innovator on 0203 148 3710
cameras. I have looked at the on a Fujifilm X-T1 via an winter), and bear in mind that Editorial team
Sony Alpha 6000 and was adapter and don’t have any if you get into trouble the Group Editor Nigel Atherton
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impressed with the viewfinder. problem focusing using the emergency services – for Deputy Editor Richard Sibley
Do you have any other ‘highlight-enhancing focus’ example, the all-volunteer Technical Editor Andy Westlake
suggestions? setting from the menu. unpaid mountain rescue Deputy Technical Editor Michael Topham
Stuart Humphries, When you get used to the teams – put themselves Technical Writer Callum McInerney-Riley
via email lens, it is also possible to at risk for you. Features & Technique Editor Phil Hall
Senior Features Writer Oliver Atwell
estimate where the depth Having said that, enjoy your News Editor Chris Cheesman
The Sony Alpha 6000 is of field is in the shot as the visit to the Lake District and Production Editor Lesley Upton
excellent. I would also highlights move back and exploit the photographic Art Editor Mark Jacobs
suggest having a look at forth during focusing. I work potential of a wonderful Deputy Art Editor Sarah Foster
Designer Antony Green
the Fujifilm X-T1, which in manual mode most of the part of the country. Studio Manager Andrew Sydenham
has a very large viewfinder time and use several old Roland Harries, via email Picture Researcher Rosie Barratt
that is almost comparable FD lenses (all primes) from Online Manager Karen Sheard
to looking through the 20mm upwards. Good advice, and something Digital Art Editor Simon Warren
Digital Production Editor Jacky Porter
viewfinder of a full-frame CJ Spencer, via email that we recommend all our Video Production John Layton
DSLR – Richard Sibley, readers heed. If you are Photo-Science Consultant Professor Robert Newman
deputy editor I agree – I don’t really planning to go out walking Senior contributor Roger Hicks
have a problem with this winter, make sure you Special thanks to The moderators of the AP website Andrew
Oldies but goodies focusing, either. The are prepared for sudden Robertson, lisadb, Nick Roberts, The Fat Controller
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In next week’s issue On sale Tuesday 12 January Managing Director
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Oswin Grady
Alex Robb
Group Magazines Editor Garry Coward-Williams

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Driving force Many standard lenses are

Nick Dungan finds out whether the Sony
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of Bahrain endurance championship
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WET-PLATE PROCESS
Creativity
on a
Dutch photographer Alex Timmermans
decided to ditch digital and challenge
himself with the wet-plate collodion
process. He talks to Steve Fairclough
I
n the current digital imaging
age when the ‘techno-babble’
is increasingly about larger
sensors, wider dynamic
ranges and ISO values creeping into
the millions, Alex Timmermans has
eschewed modern technology and
decided to pursue a 19th century
invention – wet-plate collodion
photography. Now in his early 50s,
the self-taught photographer works
out of his base in Eindhoven in the
Netherlands, and sets himself the
challenge of producing one new
wet-plate project every month. Alex
dreams up his wet-plate projects
and executes most of them with
just one assistant.
‘There are just the two of us,’ says
Alex from his Netherlands home.
‘I make everything myself – all the
props – and a good friend of mine
is often the model in the pictures,
so that’s quite easy to do.’ His
narrative, so-called ‘Storytelling’
images are shot on location, but
he does shoot wet-plate studio
portraits as well. The resulting
images hint at a forgotten time and
have an almost cinematic quality
to them, although Alex denies any
influence from films. ‘I love to go
20 9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555
to the theatre and watch movies,
but I don’t have any relationship
with making movies,’ he says. ‘I have
no film or photo background – it’s
all self-taught. It’s going well – it’s
a case of doing what I want to do.’
Alex’s interest in photography
stems back to his early teens when
his father had an antique shop.
Whenever his father sold things he
made pictures of them on a
Nikkormat camera, and crucially
always allowed his son to
experiment with his equipment.
‘I would use his machines in his
workshop and also his camera,
so that was my first start with
photography,’ says Alex. ‘I began
with a Nikkormat, then I had a
Nikon F-801S and from there I
made the switch to digital. At that
time you had the Nikon D100 or the
Fujifilm FinePix S2 Pro and I chose
the S2 Pro. I’ve had several digital
cameras and now I have a Nikon
D700, but that has lain in the closet
ALL PICTURES © ALEX TIMMERMANS
for two years. I don’t take any
digital photos, except on my iPhone.’
‘Digital was quite easy to
work with, but it became all too
predictable for me – during a
shoot you take 200, 300, maybe ‘Spring Time’, 2015
 WET PLATE PROCESS

subscribe 0330 3334555 I www.amateurphotographer.co.uk I 9 January 2016 21

WET PLATE PROCESS

The wet-plate process

‘THE ONLY thing I can
do [beforehand] is cut
the glass at my home,’
says Alex. ‘I have to
sensitise the plate on the
spot, I have to develop
the plate on the spot, I
have to fix it on the spot,
so setting up everything
takes me an hour before
I can even make a
picture. To be honest,
you must be a bit mad to do this. Someone asked me
recently, “Why are you putting in so much work for just one
picture?” But it slows me down and that’s a good thing.’ 400 pictures and they were after two weeks it would have a
Once Alex is on location, he pours the collodion onto the never 100%. You knew that, wooden floor and it [the picture]
plain glass and, just before it’s dry, places it in a bath with when you shoot in raw, you could could never happen again. It’s not
silver nitrate. Depending on the temperature, after about adjust a lot of things in Photoshop. Itlogical, but I started making clouds
three minutes he takes it out under a red light, because at didn’t challenge me any more. The that made a whole watering system,
that time the plate is sensitive to light. most logical step would have been to which made it able to run down
‘I then place it in a special plate holder, which is lightproof, go back to film, but in 2009 I saw a from the clouds – that was the basis
and I can go outside and look at the ground glass and show of Sally Mann’s [wet-plate] of “The Rain Maker”.’
make sure everything is OK,’ he says. ‘Then I take off the work in The Hague; I just liked it Alex keeps a sketchbook close to
ground glass, put the plate behind the camera, expose by and started to research about that hand to draw his ideas and gets
taking off the cap, go back to the darkroom, take out the type of photography. I started in creativity from other sources. ‘One
plate and pour developer on the plate by hand. In about 15 2009 and from that moment on it of the last pictures I made – “The
seconds you can see the picture coming up as a negative.’ grabbed me. It gave me back the Kite Runner” – was a tree with 15
feeling of making a picture from kites in it,’ he adds. ‘I had a kite
scratch, from nothing.’ when I was young and it was always
‘That is the most beautiful part so frustrating when the kite ran into
of the process – when you slide Inspirations and ideas a tree. That was the initial idea
For his current style of portraits behind that picture. There’s always
the plate into the fixer’ Alex cites his inspirations as being a little bit of humour in my pictures,
Dutch photographer Erwin Olaf so I said, “Why one kite? Why not 15
Alex adds: ‘When it’s a little overexposed I stop the and Belgian photographer Stephan kites?” It always starts by seeing
development earlier, and when it’s a little underexposed I Vanfleteren, but adds, ‘A s far as my something or a location. It could be
develop it a bit slower. But you can work within a time limit “Storytelling” series goes, which I’ve a stuffed animal, something that
of 10-30 seconds. If the exposure is longer you will have a been working on for a few years you see somewhere, or just a title.
very flat picture.’ now, it’s Robert ParkeHarrison If somebody mentions a title I
The plate is placed in a tray filled with water (the from the United States. think, “OK, what can I do with
application of water halts the process), meaning that Alex ‘Inspiration can come to me that title?” But I try not to copy
can leave the darkroom and fix the plate in daylight. from all kinds of work. For instance, somebody else’s work.’
‘That is the most beautiful part of the process – when I have a picture of a greenhouse The contrast between the time
you slide the plate into the fixer it will turn from a negative with clouds, where the water is taken to create a wet-plate picture
into a positive,’ says Alex. ‘Then you see the picture popping running out of the clouds. The compared to a digital image is
up and if it’s a yes or no. If it’s a yes, then you can stop, but picture was made at a place owned immense. ‘“The Kite Runner” took
most of the time it isn’t that way. When you’re outside it’s by a friend of mine who was me two days,’ says Alex. ‘We had to
more about the details and when it’s not good you go rebuilding an antique greenhouse, think how to put the kites into the
through the whole process again. and during the rebuild there was a tree at the exact positions – it took
‘You have to have the light. Between when the morning lot of water running into the us a few hours to place everything.
starts and the light is dull and when the evening starts you greenhouse. I went there and the When everything was ready I had to
have about five to six hours where you can work. Then you floor looked like a mirror. I started set up my tent, all my chemicals, my
have to set up everything and take down everything. Ten thinking, “What can I do with it?” darkroom… I started with a cloudy
plates would be the maximum.’ because I only had two weeks – day, then in the afternoon the sun

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Left: ‘The Rain
Maker’, 2015
Right: ‘The Kite
Runner’, 2015
Below: ‘Poetry in
Motion’, 2014
‘When it’s too bright I can’t work because my exposure
is taking off the cap and putting it on again. So we took
everything down and the next day we tried again’
broke through. At that time I had to
stop because I don’t have any
control over the process – when it’s
too bright I can’t work because my
exposure is taking off the cap and
putting it on again. So we took
everything down and the next day
we tried again. It was much easier
because we knew how to put the
kites in the tree, but that picture
took us two days.’
Equipment and exposure
The choice to pursue wet-plate
photography meant Alex needed
to acquire specialist cameras and
lenses. The camera he mainly uses
is a 12x12in wet-plate camera,
which was specially made for him
by a gentleman living in Hungary.
‘It’s a Donchev camera,’ says Alex.
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016
WET-PLATE PROCESS
‘I was already collecting old
cameras and lenses but, to be
honest, I didn’t know what to do
with them. So when I started with
wet plate I would grab some lenses I
had and then I collected some more.
It’s very difficult to find them
because wet-plate analogue
photography is rather hot at the
moment and everybody is looking
for the same lenses.
‘I have two or three lenses that I
mainly use. For outside work I have
two or three antique Dallmeyer
lenses and in my studio I have a few
Hermagis lenses, which are made in
Paris. For the bigger plates I have a
very large 24in Voigtländer lens.’
Alex explains that the ISO value of
collodion photography is something
between 1/2 and 1, so it’s a rather
slow process. If you take a picture
outside at f/4 it would perhaps be
1/1000sec, but with collodion it will
be 1/2sec or 1sec on a bright
day. On a dull day it may be
23
WET-PLATE PROCESS
2-4secs. Alex controls things
by taking off the cap.
‘I just count 21, 22 and that’s two
seconds – it’s simple,’ explains Alex.
‘If it’s 1/2sec when taking off the
cap, you don’t have any control, so I
prefer to work on a dull day when I
can fully control the manual
exposures. I don’t use any shutters
in the camera, so I have to work like
that. A lot of my pictures are
taken in the forest so there’s also
filtered light. Normally I use my
lens wide open because I love a
very shallow depth of field in my
pictures – that normally takes
2-4secs.’
Reactions to the work
Alex freely admits he has been
surprised by the reaction to his
work. ‘It’s up to the viewer as to
what he or she sees in a picture, and
I love to hear their stories about
To see more of Alex Timmermans’ work, visit www.alextimmermans.com
24
Left: ‘Tea Time’,
2013
Below: ‘Laundry
Day’, 2015
what they see in my pictures,’ he
says. ‘The nice thing is my work was
discovered about two years ago and
from that point it went very fast. I’ve
met so many interesting people all
over the world – in China a few
months ago, in Los Angeles at the
beginning of 2015 and at the
galleries I work with. The world
has become much bigger for me.’
As for the future, Alex says, ‘There
will be a 2016 exhibition in Los
Angeles and in San Francisco.
Hopefully, I can go to Paris Photo
Los Angeles again as it was very
successful last year. Currently, I’m
looking for some new galleries – one
in Belgium, London and New York.
I would love to go to Photo London
with my work – I think the English
people would like the humour in my
pictures. That’s my main goal for
2016. If 2016 is the same as
2015, I will be very happy.’
9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555
LOCATION GUIDE
Neist Point
lighthouse
This striking lighthouse on
the Isle of Skye sits on a
dramatic cliff-top location,
as Jeremy Walker reveals

© CROWN COPYRIGHT 2015 ORDNANCE SURVEY. MEDIA 009/15

KIT LIST

▲ Lenses
If you are contemplating
shooting the lighthouse, both a
24-70mm zoom and the longer
70-200mm zoom will be ideal.
▲
Clothing
As with many locations, this is a
landscape that is exposed to the
elements and you will
need windproof,
waterproof
clothing, a hat and
gloves. Do not be
lulled into a
false sense
of security
as Atlantic
storms can
catch you
unawares.
▲
Butane cooker refreshments
A small single-ring butane cooker landscape photographers is, of course, the
is a really useful non-photographic lighthouse. Although it is not the biggest or
piece of kit, which I have found to most dramatic lighthouse in the UK, the
be really useful for this type of
location over the years. It means There are many photographic options – from
you can at least cook a bacon
butty or boil a kettle if the
nearest café is a long way away.
NEIST Point lighthouse is dramatically
perched on the sea cliffs at the most westerly
point of the Isle of Skye and is about five miles
from the small hamlet of Glendale, or about
an hour from the island’s capital of Portree.
Access is relatively easy and the lighthouse is
well signposted, although the roads become
more and more narrow and twisty the nearer
to the lighthouse you get.
There is a very small car park about
half a mile away from the lighthouse, but
parking is possible by the side of the road on
the grass verges, although the area gets very
busy during the summer months. Be warned
that there are no facilities at Neist Point, so
be prepared and take your own food and
with you.
The main attraction at Neist Point for
Don’t limit yourself
to a wide lens - a
70-200mm can be
really useful
location and its setting are absolutely stunning.
walking just a few hundred yards from the car
park along the cliff tops and looking down and
Jeremy Walker
Jeremy is an award-winning professional
along to the lighthouse, to taking a short hike
photographer with many years’ experience
down to the lower level and getting nearer to
specialising in high-quality landscape and location
the lighthouse.
photography from around the world for use by
A word of warning, though – the cliffs are
advertising, design and corporate clients. Jeremy
steep, the ground uneven underfoot and there
is also a Nikon Ambassador.
are no fences to stop you going over the edge.
www.jeremywalker.co.uk
Take extreme care.

26 9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

 LOCATION GUIDE Technique
Shooting
advice
Time to visit
Neist Point is a good
all-year-round location. If
you shoot the lighthouse in
the middle of summer, the
sunset is in the northwest
and the cliffs are nicely
side-lit. Summer shooting
will also give you near
24-hour daylight and
long periods of dawn and
dusk with a great quality
to the light. Visiting in the
winter will probably see
you shooting into the
sunset with the lighthouse
back-lit for a completely
different look.
A circular polarising filter
and a few neutral density
graduated filters will also
be invaluable for controlling
the exposure of the sky –
this is a ‘big-sky’ location.
Although the lighthouse
is in a remote and rugged
setting, with the Outer
Hebrides in the far
distance, it is a huge draw
for photographers. Neist
Point is also a great place
for watching and potentially
photographing wildlife. As
well as the usual mixture of
sea birds such as gannets,
Make sure you stay
razorbills and shags,
until after sunset
to capture the whales, dolphins, porpoises
lighthouse at dusk and basking sharks can all
be seen from the cliffs
from late April through to
the end of the summer,
with June and July being
the best months.

Food and
lodging
There were no facilities at
Neist Point at the time of
writing, although there are
plans to open a shop next
to the car park. The
nearest settlement is
Glendale, where there is
the fantastic Red Roof
Café and Gallery. The
food is excellent, the
service friendly and
there are some great
artworks on the walls.
There are a few B&Bs
dotted around, but for
ALL PICTURES © JEREMY WALKER

accommodation and
The quality of food of the highest
light can be calibre try The Three
captivating
Chimneys restaurant
at sunset
at Colbost.

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 27

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 Technique EXHIBITING YOUR WORK

Roger Hicks
Roger has been writing about photography
since 1981 and has published more than three dozen
books on the subject (visit his website at www.
rogerandfrances.com). He is a regular contributor
to Amateur Photographer, where he deconstructs
a classic or contemporary image.

Putting on
a show
Is one of your New Year’s resolutions to exhibit
your work? Roger Hicks explains how to set up
your first show, using his experiences of the Arles
photography festival in France as an example
Temporary panels at a

Y
ou’ve made it. As you stand,
surrounded by your pictures,
with a glass of wine in your
hand, people come up and
compliment you on the exhibition. It’s
a wonderful feeling. But a lot of things
have to happen before that happy day.
You need a theme. You need to print
and frame your pictures. You need a
venue. You need to decide on the number
of pictures, the print size, whether or not
to glaze. You need to work out prices. You
need to think about publicity. You need to
hang the pictures, and perhaps organise
the opening night. You need to accept
ALL PICTURES © ROGER HICKS
that the chances of making any money,
at least at first, are negligible.
Holding an exhibition of your work is a
great way to improve your photography.
You are forced to think about what you
want to say and how you want to say it.
If you are looking for a voice or a style,
it is invaluable. If you want to build a
reputation there is really no alternative. As
I’ve already said, it’s a wonderful feeling.
It’s also probably easier than you think,
and it need not be ruinously expensive.
The theme is the hardest part. A couple
of nice landscapes, some portraits, a few
flower studies, a nude, some street shots
community centre in
Martaizé. Scouting out the
venue can be extremely
difficult when you are
dealing with short-lived
temporary exhibitions: this
was a two-day Christmas
fair, with half a day for
hanging beforehand and
décrochage on the evening
of the second day
and a really good macro shot of a
dragonfly almost certainly isn’t an
exhibition. People are surrounded by
first-class but disparate pictures every day,
in books and magazines, on advertising
hoardings and television. An exhibition
must engage your audience. It doesn’t
matter how, so long as they’re not bored,
and to be honest, almost any reaction is
better than none at all. Look for themes
in your own work. What are your best
pictures? What is their subject matter?
Have you a distinctive style, or at least
the beginnings of one?
My first-ever exhibition, at Plymouth
Arts Centre in Devon in the 1970s,
was one of about 20 pictures taken
on the beach at Weston-super-Mare in
Somerset. They were somewhat in the
style of Martin Parr, except that I was
shooting them at around the time he

graduated. Since then, my exhibitions

have ranged from as few as a dozen or so
pictures (at Bristol, in around 1980) to
three dozen (at Arles in 2015), and they’ve
been exhibited in bars, restaurants, a
Utilising a simple Land Rover as a gallery – an open-air photo festival in France community centre and a tourist office.

30 9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

Venues
In the past five years or so I’ve had maybe
half a dozen local exhibitions, plus a couple
at Arles, and I’ve helped my wife Frances
with six or seven more. Most have been
exhibitions with both of us exhibiting on
the same premises, usually with no other
photographers. Frances is more serious
about exhibitions than I am, and more
willing to put in the effort and the hours,
including the times when there’s nobody
in the gallery and you just sit and read.
Once you are reasonably convinced
that you have enough pictures for an
exhibition, and have made ‘a few prints’
to illustrate the theme, you need to start
scouting out potential venues. Do not
neglect anywhere that has wall space: I
have heard of exhibitions in bank foyers,
and seen them in a hairdressing salon.
Keep your enquiries light and vague at
first, such as, ‘Would you be interested
in…?’ or ‘Do you ever…?’ Of course, if the
venue is already a known gallery, or,
for example, a bar known for hosting
exhibitions, it will be a question of when
or whether they can fit you in.
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016
There are two important points here.
One is ‘a few prints’ mentioned earlier.
You need real prints, not images on the
screen of your laptop or, worse still, your
mobile phone. A good print has many
times the impact of yet another array of
pixels on a screen. It’s an earnest record
of your sincerity: it shows you’re a ‘real
photographer’, not just someone who has
taken a few good snaps by chance. Your
prints might be postcard size, little jewels
that people have to examine closely, or
monster enlargements – it’s your artistic
choice. Beware, though, of thinking if
you can’t make it good, make it big.
The other important point about
scouting out venues is to help you decide
how many prints you can fit in, and how
they should be printed. There’s no point
planning to exhibit ten giant prints if
there’s no room, and in a big venue with
small prints you may be letting yourself
in for a massive amount of work.
Last year a friend of ours was offered
an enormous exhibition space – a former
church – and she normally prints quite
small, at 13x18cm and 18x24cm, or near
enough 5x7in and 8x10in. She printed
150-200 pictures, in six or eight different
series, and the printing and framing
cost her a fortune.
You need one kind (and perhaps size) of
print for a small, intimate and perhaps
poorly lit venue, and another for big,
bright, high-ceilinged galleries. In any
given series you want consistency of colour
balance (including ‘warm’ and ‘cool’ black
& whites); of surface texture (use the same
paper throughout the exhibition); of
saturation and/or contrast; of technique
(such as Frances’s hand colouring); and
usually of size.
Small variations don’t matter, but an
exhibition where some prints are 8x10in
and others are 20x16in normally just
makes the smaller prints look miserly
and the big ones normal, or the small
ones normal and the big ones overblown.
Frances typically prints silver halide
at 8x12-10x15in (20x30-25x38cm) on
12x16in (30x40cm) paper. I print
inkjet colour at anything from postcard
to A3+, but only one size per series
for exhibitions.
31
 Technique EXHIBITING YOUR WORK
Framing
You normally want consistency in
framing too. If you make the prints
yourself, frames are one of the greatest
expenses in mounting an exhibition. We
mostly use a French chain called GiFi,
where we buy black plastic 50x60cm
frames (20x24in) for €11 (around £8).
When we see them on sale at half price, we
buy all they have. We also recycle frames.
If you buy cheap frames, buy them
somewhere that you are reasonably sure
will continue to stock them. We normally
prefer glassless mounting (even though
the frames come with glass) because
we believe that surface texture is an
important part of a print: behind glass,
everything looks dull and sterile. The
argument for glass is that it protects the
pictures, but what good is a picture you
can’t fully appreciate?
The more can you do yourself – printing,
mounting, framing – the more control you
have and the easier it is to get good quality,
affordably. Frances makes her exhibition
prints exclusively on Ilford Multigrade Art
300 paper, and the darkroom was the first
room we refurbished in our current house.
For colour I use an Epson Stylus Photo
R3000 printer with Harman paper and
Fotospeed inks.
Bevelled mounts allow us to
accommodate prints of varying sizes.
I can cut two 30x40cm mounts from a
single sheet of A3 board, bought in bulk
(25-sheet graduate packs from the London
Graphic Centre). If I buy 100 sheets, an A3
board costs about £1.50. I cut the mounts
with an Olfa mat cutter on a Rotatrim
cutting mat. The cutter and the mat each
cost a bit over £50, but they last for
decades and make it astonishingly quick
and easy to mount prints, taking maybe
32
Competition for
space is fierce at
Arles, and there are
usually at least 20
exhibitions in cellars
20 minutes a print. The only other tools I
use are a scalpel and a straight edge. I
change blades reasonably often, because
overworked blades mean poor cuts and
wasted mounts.
The prints are stuck to the mounts with
archival tape, but the backs of the cheap
GiFi frames are hardboard. This is about
as far from archival as you can get, so I put
a sheet of polyester drafting film between
the back and the print. A roll costs about
£60 but lasts for years. When the frames
are recycled, the prints are stored in their
mounts in clear sleeves so they can be
stacked in a portfolio rack or on a table at
an exhibition, so people can leaf through
them and (with any luck) buy them.
Roger’s
exhibition at
Arles in 2015,
‘The Secret
Life of Chairs’. He
was out of the
cellar this time!
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Selling
There’s a fine line between underpricing
(to sell) and overpricing (to show that
you’re serious). Older sleeved work is
usually cheaper than new stuff on the
walls, and pricing varies according to
where you are. Frances normally prices
hand-coloured silver-halide prints at
€150-300 (£120-£250) and I price
pigment inkjets at €60-180 (£50-£150),
depending on size. We’ve found it easier
to sell at small local venues than at
Arles, even at the same price. Our theory
is that at Arles, people are spoiled for
choice, whereas in La France profonde
(‘deep’ France), they see a lot less good
work. Make sure you agree in advance
with the owner of the venue what
percentage (if any) is to go to them in
the event of a sale. This is normally
30-50%, although many small, local
venues take nothing, or as little as 10%.
Ask if they’re insured, too. If they’re not,
you may want to insure for yourself.
Get the pictures up on your website so
people can look at them before or after
the exhibition, and send out as many
emails or paper press releases and
invitations as possible. Print cards that
visitors can take away with them. If the
exhibition is part of a festival, make sure
it is in the festival’s literature.
Pictures are heavy and fragile. The
frames can scratch. Frances makes bags
out of cheap, heavy cotton to hold two
prints face to face with another sheet of
cotton in between. For hanging, chains
are by far the easiest. Simple S-shaped
hooks allow you to hang the pictures
with very fine gradations of height.
The first night is rarely held on the
actual first night. Normally, it’s at least
the day after the hanging, and it can be
as much as a week after. Invite the press
and anyone else who can do you some
good. First nights are not obligatory,
though – you can perfectly well have an
exhibition without one. Frances and I
have paid for four ourselves, at between
£80 and £150 a throw.
Finally, there’s the décrochage.
Chains make this much quicker and
more painless. Do it when you say you
will, work quickly and clean up behind
you. This makes it much easier to get
another exhibition. Then, at home, you
have to find somewhere to store all the
unsold pictures.
Yes, it’s hard work. Yes, it’s time-
consuming. Yes, it’s expensive. You will
be lucky to get away with spending less
than a couple of hundred pounds just for
prints, mattes and frames. But compare
this with attending even a modest
course or workshop, or with entering a
few competitions, especially the sort
that charge entry fees. Depending where
you are in your exciting photographic
journey, you may well find
exhibiting a lot more use.
 MOUNTING YOUR PRINTS

1 What you need 2 Measuring the print

You will need an Olfa mat cutter, a straight edge,
a pencil, a scalpel and a Rotatrim cutting board or
other cutting surface. Exhibitions are normally ‘panic
stations’, as there’s never enough time or money. We
cut the mounts while Frances was still working on
the hand-coloured print from her latest series.
The image is printed 160x250mm, or about 6½x10in,
on 12x16in paper as Frances wanted a wide black
border. Double-check the dimensions before cutting
the mounts, and make sure the pictures are ‘true’
(not tapering or trapezoidal). Measure top and bottom,
left and right.

3 Mark the board for cutting 4 Cutting the board
You can just about see how the clear lines on the
Rotatrim cutting mat make it much easier to measure
and to cut. One side is metric, the other is imperial.
Cutting mats can be bought in a range of sizes
depending on your needs. They really are one of the
most useful tools you can have.
Some scrap card under the mount saves cutting into
the Rotatrim mat and prolongs its valuable life. Our
cutting mat is about 15 years old. Most of the damage
was incurred in the first five years before we started
using the card like this. Obviously you want to do
everything you can to preserve your tools.
5 Marking up the mount
for cutting
Again, the grid on the board makes life much
easier. While things like this may seem unimportant
to mention, little elements such as this can save
you a great deal of bother and time when arranging
your exhibition.

6 Cut from inside the frame 7 Carrying bags 8 Hanging

If you don’t cut from inside the frame, the 45° bevel will
be the wrong way round. Press a bit harder on both the
straight edge and the cutter than is evident here – this
is just to give you an idea. Again, put a bit of scrap card
under the mount to protect the mat. Make two to three
cuts at increasing depth rather than a single cut.
These bags protect the framed prints. Three sheets
of cotton make a bag with an inner separator to carry
two prints face-to-face. It should go without saying
how important this is. It can be so easy to scratch or
damage your work, so do everything you can to make
sure it’s secure and protected.
You need a chain for hanging, wire for making
hooks and reliable wire cutters. This wire is rather
heavier than anything you would likely need for
your own work, but it’s what I had handy and I didn’t
want to buy any more. Better to overcompensate
than undercompensate.

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 33

 When Harry Met...
Oscar
Pistorius
Harry Borden recalls his 2011 photo
shoot with the now controversial
Paralympic athlete Oscar Pistorius
T
his is one of those
pictures where our
perception of it has
changed due to the
widely reported tragic events
that occurred some time after.
When I shot this image, Oscar
Pistorius was one of the world’s
most famous disabled athletes
and featuring across a variety
of newspapers and magazines.
Today, Oscar Pistorius is
usually photographed while
making appearances in
South African courtrooms.
Since shooting and killing his
girlfriend, Reeva Steenkamp,
in February 2013, he has
become a tragic figure and
convicted murderer.
When I photographed him
in August 2011, he was an
international athletics
superstar, nicknamed the
‘Blade Runner’. He had
overcome the childhood
amputation of both his legs
below the knee to win gold
medals at the Paralympics in
2004 and 2008. He was also
about to compete against
able-bodied athletes in the
400m and 4x400m relay races
in the 2011 Athletics World
Championships.
I had been commissioned to
photograph him by American
magazine Outside. I took an
overnight flight to
Johannesburg and on arrival
I was met by an assistant,
whose services I’d arranged
beforehand. The magazine
expected the pictures to be lit
and to have high production
values, so the assistant had
brought all the lighting we
needed in a van. He also had a
big bag of biltong [dried meat],
which was welcome and kept
me going during the shoot as
I hadn’t slept all night.
The portrait session was due
34
to take place at the University
of Pretoria athletics track.
Before it began, the assistant
and I spent some time
arranging locations and setting
up lighting. It was quite a
windy day and we weighted
down the lights with sandbags.
Then Oscar arrived, together
with his coach and a friend.
For the rest of the day we
set up pictures in different
locations around the stadium.
I photographed him running,
sitting in the changing room,
in the discus net and walking
on his hands on the track.
I also photographed him on
all fours, as if about to start a
sprint. For that shot I used two
lights behind him and a big
softbox at the front. This image
was subsequently used on the
front cover of Outside (right).
From the time I spent with
Oscar, I was very impressed
with him. He was charismatic,
but in a very modest way. He
told me about his life and
family background. He was
an incredibly tough guy and
seemed completely fearless.
The picture I like most
from that day was taken
next to the wall of the police
station at the stadium (far
right). It was really hot, and
although I’d never normally
ask someone to take their
top off for a picture it seemed
appropriate at that point. He
had a very toned, chiselled
body and I felt it would make
a simpler picture if he were
wearing just shorts.
He was lit by direct sunlight,
which was also hitting a wall
you can’t see and filling in the
shadows thrown by the sun.
The wall wasn’t white, it was
more of a taupe colour, so it’s
not completely bleaching out
and losing all detail, even
This image was shot in sunlight, with two lights behind Oscar and a softbox
though it’s got direct light on simplify the image.
it. This meant I didn’t need This picture wasn’t used in
to use any fill-in flash. the magazine. They used the
I shot the image using my more obvious ones – the
Canon EOS 5D Mark II and a colourful images lit with flash,
50mm lens, handholding the which fitted their style.
camera. I used ISO 200, which I was really pleased to get it
I often prefer as there’s just a because it’s so simple. However,
bit of noise and it looks more the ambiguity and hint
like film. Later, at the editing of darkness means it still
stage, I retouched the image to resonates and has a power and
remove some ugly light fittings, a truth to it.
to leave a plain wall and to As told to David Clark
USING DIRECT SUNLIGHT
WHEN I first started shooting for magazines, I always used to shepherd people
into direct sunlight. Of course, it doesn’t always make for a great portrait
because it’s quite harsh on the subject’s eyes. Later in my career, I would get
subjects to go into the shade if it was very sunny, because then they were only
lit by soft indirect light bouncing into the shadows. However, I think as long as
you use the correct exposure, it’s perfectly possible to shoot in direct sunlight.
I like using it if I’m making a study of a subject rather than trying to get a more
subtle and intimate portrait. The faster shutter speeds it gives means you can
handhold the camera, which allows you more freedom and is much more
intuitive than shooting with the camera on a tripod.
Harry Borden
Harry is one of the UK’s finest portrait photographers and his
ALL PICTURES © HARRY BORDEN
work has been widely published. He has won prizes at the
World Press Photo awards (1997 and 1999), and last year
was awarded an Honorary Fellowship by the RPS. The
National Portrait Gallery collection holds more than 100
of his images. Visit www.harryborden.co.uk
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subscribe 0330 3334555 I www.amateurphotographer.co.uk I 3 October 2015 35
Reader Portfolio
Spotlight on readers’ excellent images and how they captured them
1

David Zdanowicz, Malham Mist

West Yorkshire 1 David took this
David’s unconventional image as a cloud of
beginnings in photography mist swept over the
were formed when his entire village. As the
friend gave him a great sun broke through
price on his old Canon EOS and spotlighted a
60D. Never one to turn his nose up at a single tree, he took
bargain, David snatched it up. Since his chance and got
then, he has spent every free moment the shot
with his father, photographing the Canon EOS 60D,
incredible Yorkshire countryside and 70-200mm, 1/250sec
beyond. As can be seen in this at f/4, ISO 100
selection, David is particularly fond of
shooting landscapes and especially
enjoys the challenge of capturing them
under a variety of weather conditions.
To see more of his images, visit
www.facebook.com/davezphoto. 2

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 YOUR PICTURES IN PRINT

The Reader Portfolio winner chosen Submit your images

every week will receive a copy of Please see the ‘Send us your
pictures’ section on page 3 for details
Helicon Focus Pro innovative software worth $200. Visit www.heliconsoft.com or visit www.amateurphotographer.
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Horse The Road to Edale Harold Park

3 As David notes, while the subject
of the horse is incredibly strong, it’s
actually the sun in the background that
really makes this shot so captivating
Canon EOS 60D, 17-40mm,
1/140sec at f/11, ISO 100
4 David took this picture on top of Mam Tor
in Derbyshire. It’s an undeniably captivating
and mesmerising scene, one especially
notable for the road that guides the eye
Canon EOS 60D, 17-40mm, 1/250sec
at f/13, ISO 100
5 David has got lots right in this scene.
It’s particularly nice that he has framed the
sun between the trees and ensured that the
central subject, the swan, is off-centre
Canon EOS 60D, 24-70mm, 1/15sec
at f/16, ISO 100

This Way, Mum

2 ‘This was another
shot taken at Malham
on a cloudy morning,’
says David. ‘The lamb
and its mother were
heading towards
one another and the
muted sun created
a great mood’
Canon EOS 60D,
24-70mm, 1/750sec
at f/13, ISO 100

4 5

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 37

 Appraisal
Expert advice and tips on improving your photography from Damien Demolder
AFTER

By removing
some of the
birds, their clarity
against the
background is
increased

Mosque and pigeons
Abhilash Surendran
Canon EOS 550D, 11-16mm, f/2.8, ISO 100
I BELIEVE this very impressive building is
the Jama Masjid mosque in Delhi, India. It
looks stunning and the colours are fabulous.
It is one of those places where there is a
definitive picture to be taken – and in this case
it is the pigeons taking off from the plaza in
front of the mosque. I’m all in favour of this
type of shot, and love a silhouetted bird in flight
to add something extra to an urban landscape,
but in this instance they’ve taken over.
For a silhouette to be effective, the object
being silhouetted needs to have a clear and
clean outline. It shouldn’t overlap anything else
and needs to be shown against a background
that allows it to stand out. While many of the
birds do stand out, some are in conflict with
each other and are also fighting against
background elements.
Birds busting out of towers and brickwork
don’t have the same effect as those flapping
away in their own space. When there are as
BEFORE
There is too much going on in the original, making
it a confusing scene for the viewer
many birds in one place as there are here,
it becomes distracting.
This is actually a very difficult shot to get
right. It takes patience to wait until there are
just the right number of flying friends in the
sky and all are in the right place.
I’ve humanely removed about half the birds
from Abhilash’s original image, concentrating
on those protruding from the building and
those conflicting with others. The result is that
we still have the impression of many birds in
flight, but without the chaos of the masses
that appeared before.
I’ve also cropped out some of the sky and
lightened the whole image to direct more
importance to the location,and to show the
grandeur of the building. The picture isn’t just
about the birds – you get them everywhere
– it is about the birds in this specific location.

Win! Send up to six prints, slides or images on CD (include the original files from the camera along Submit your images
with your versions on the CD). Tell us about the pictures and include details of equipment used Please see the ‘Send us your pictures’ section on page 3
and exposure settings. Send your images to Appraisal at the address on page 18. Enclose an SAE if you for details or visit www.amateurphotographer.co.uk
want them returned. The picture of the week will receive a year’s digital subscription to AP worth £79.99

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 39

YOUR PICTURES
BEFORE
The white wall has taken over the exposure, so the scene is too dark
Boy with yoke and baskets
Dylan Smart
Canon EOS 6D, 24-105mm, 1/160sec at f/5.6, ISO 400
DYLAN has a great eye for an
arresting subject, which is always
more than half the battle when
trying to make interesting
pictures. Those of us with the
technical skills but lacking the
vision have a much more
challenging journey, while the
creative and observant have only
to learn how to channel what they
see in a more effective way.
Dylan’s subject is fantastic, but
unfortunately he is too far away,
Sleeping
workers
Aniket Kasture
Nikon D5200, 18-105mm,
1/50sec at f/5.6, ISO 125
THERE IS a lot to like about
Aniket’s shot of men sleeping
under their truck. They make a
great subject, and the idea of
people sleeping under a vehicle
is exciting and fascinating, as
it’s something few of us have
experienced. I like the low angle
he has shot from, too: it would
have been easy for Aniket to
shoot from a standing position,
looking down on the men.
From his low viewpoint, we gain
a much better connection with
the situation and also discover
what it looks like under a truck,
which adds to the interest. The
scene is peaceful and full of
atmosphere too, and it’s all
surprisingly comfortable.
Damien Demolder is a photographer, journalist and photographic equipment expert, speaker, judge and educator. He has worked in the photographic publishing industry for 17 years, including 15 years at
Amateur Photographer. He uses a wide range of equipment, from wooden plate cameras to the latest DSLRs, and is a great fan of all products that make good photography more accessible to more people
40
badly framed and poorly exposed.
I suspect the dark exposure is
due to the camera being allowed
to do its own thing, which never
ends happily when a white wall
takes up a large part of the scene.
Yet the composition fails to refine
the way the view – from the
photographer’s perspective
– is presented to the viewer.
I don’t mind the slightly
downward angle, as most of us
will be a bit taller than the subject,
BEFORE
The tyre is too dominant in the original image
What doesn’t work so well is the
dominance of the truck’s tyre. I’m
assuming that the men are the
subject, not the tyre. However,
with the focus very firmly on the
treads, and the exposure opened
up for the dark rubber, we could
be excused for thinking that
Aniket wants us to look at this first.
As photographers, we must
make it very clear what we want
the viewer to look at first – and
crucially the order in which those
Picture
of the
week
but we need to get closer if we
are to form a human relationship
with the boy. We are rather
distant and he is too small.
I’ve lightened the image to
compensate for the camera’s
misreading of the scene, so the
boy’s smiling face can be revealed
and the wall can be closer to
white. And I’ve cropped away
all the stuff we don’t need, so
it becomes more obvious what
the picture is about.
AFTER
By darkening it, attention is drawn to the sleeping men
things are looked at. Here, the
first thing we see is the tyre, and
when we look away at the man
on the right, the tyre starts
screaming for our attention.
I quite like the fact that the men
are slightly out of focus (although
I would have focused on them) so
I’ll excuse that creativity, but the
tyre needs to be taken down a bit.
Aniket could have done that with
exposure, so I’ve simulated what a
slightly darker picture might have
9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555
AFTER
Cropping closely
and lightening
the image leaves
us with a far
stronger result
The subject is compelling, well
seen and Dylan shows promise by
capturing the raw materials of a
great shot. Some practice in the
technical department is required,
though. If Dylan combines this
with his good eye for a picture,
his results will be excellent.
Even though I’ve done rather
more than my fair share of the
work here, I still admire Dylan’s
eye, so he wins my Picture of
the Week award. Well done.
looked like. The tyre is still in
focus, but with less light it’s
less dominant and doesn’t hold
our attention so much. We
can notice the tyre, enjoy the
perspective that it introduces,
then take our time looking at
the sleeping workers.
It’s a great shot and a fabulous
angle, but more thought needs to
go into what the viewer sees first
and how that influences what we
think the picture is about.
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 Accessories
Useful gadgets to enhance your photography, from phones to filters…

Navitas Daltrey Faux-fur trim

Using a popper system,

Parka
● £149.99
At a glance
● Removable faux-fur hood
the faux-fur trim can be
attached and detached.
When attached, it helps
block out cold wind.
● Fully waterproof
● navitasoutdoors.com
● Soft polyester lining
● Seven large pockets
Callum ● Fully tapered seams
McInerney-Riley Pockets
There are two pockets at
puts an outdoor the bottom, with a side
jacket to the test pocket, two pockets on the
breast of the jacket and
NAVITAS Outdoors originally produced an inside pocket, too.
products for the angling market, but for the
past few years it has diversified into outdoor
clothing. It designs high-quality garments for Internal
hiking, camping, fishing and extreme sports, storm cuff
with a variety of styles that are always Inside the sleeve is an
on-trend. The new Navitas Daltrey Parka is elasticated storm cuff,
an everyday jacket that is both warm and which helps to keep the
stylish. Inside, there’s a bright yellow quilted rain out when
polyester lining that’s very soft, and offers shooting.
good insulation. The outside is made from a
nylon/taslon material, which is both
waterproof and breathable. The jacket also
boasts fully taped seams, ensuring it won’t
leak. Its waterproofing has a 5,000mm
rating, which is suitable for even heavy
downpours, and its breathability helps to
allow moisture to escape from the fabric, Drawstring
keeping the wearer dry. waist
On the front of the jacket are two large A drawstring around the
pouch-style pockets that are big enough to waist can be tightened when
house a compact system camera or a large it’s cold. This gathers the
compact camera, but they are equally useful jacket closer to the body
for lenses, filters, cables and spare batteries. for increased
The lining on the inside is fleece and to the insulation. GOLD
side of each big pocket are two further
pockets, also fleece lined. This means that
even with items in the big pocket, the wearer IN THE RANGE
has somewhere to keep their hands warm.
Navitas Agent Jacket Navitas Cypress Cagoule PPS Navitas Alpha Quilt
Verdict £89.99 Around £49.99 £49
The Navitas Daltrey Parka is rather stylish, This has a removable heavyweight A perfect addition to your kit bag, This is a well-designed quilted
so it can also be used for day-to-day wear. fleece layer, which this cagoule is jacket with a plenty of pockets for
Although our review sample is blue, a green makes it versatile. It lightweight and carrying kit, including
ALL PRICES ARE APPROXIMATE STREET PRICES

version is also available. is available waterproof. It two hand-warmer

Having worn it every day for the past few in dark green or packs away into pockets and
months over other layers, I found the jacket camouflage, the pocket on three external
very warm, and the drawstring around the so is a good the front and is ones. It’s not
waist helps pull the jacket into the body. It’s choice for available in waterproof,
also light enough to be worn through the wildlife blue, yellow but it is
spring and autumn months. photographers. and wine. showerproof.

42 9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

 Takeway T1
Clampod The latest photography kit and
● £49.99 ● www.takeway.tw

technique at your fingertips

Recommended

SMALL camera supports that latch on to objects in your environment,

such as desks and trees, aren’t particularly new. Companies such as
Joby have been doing this for a number of years. However, the Takeway
T1 Clampod is slightly different. As the name suggests, it’s a tripod and
clamp all in one. Supplied in the box is a stabilising foot allowing the
Clampod to act like a regular tabletop tripod, standing around 16cm tall.
Using an easy-to-manoeuvre plastic handle, the vice mechanism can
clamp down on to a variety of surfaces, opening up by 5cm. The clamp
has cubic tips with flat, small ridges or deep ridges to help create better
grip on different surfaces. On the top is a ball head that can be rotated
360°, while a 90° cut groove allows for portrait-format shooting when
the device is upright, and more positions when clamped to something
that’s not upright.
On the top is a standard camera tripod thread and the plate can be
conveniently removed to let the user easily screw it into the camera.
This means users can change cameras without having to take the
More great pictures
Clampod out of
position. Takeway
rates its Clampod
More technique
to 3kg – enough to
hold a medium-sized More opinion
DSLR with a lens.
The Clampod’s
construction is of
high quality, with a
More inspiration
very solid build. The Clampod ● Download online, enjoy offline
Other nice features are the attaches easily to a
special attachments that make variety of objects ● Buy from the comfort of your own home
it possible to hold tablets and
smartphones, so it’s ideal for ● Available the day the magazine goes on sale
keeping on a desk, in a car, in an
office or mounted on your ● Missed an issue? Simply download a back copy
bicycle. It is good to know it has a
secondary use because I can only assume Try it today
not many photographers are going to need
to clamp their cameras to a tree www.amateurphotographer.co.uk/digital-edition
on a daily basis. Overall, this is
quite a nice product and in
comparison to others available
it’s far more robust and secure
without being too heavy. GoPro
enthusiasts will love it.
Callum McInerney-Riley

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 43

 EN EE
OP R
W TH
!
NO UND
RO

£10,000
IN PRIZES
TO BE WON

Amateur Filmmaker
of the Year competition
Your chance to enter the UK’s newest competition for budding amateur filmmakers
TO COINCIDE with the launch of
The Video Mode website, we’re
pleased to announce our new
Amateur Filmmaker of the Year
(AFOY) competition. AFOY
challenges you to get creative with
your filmmaking, and gives you the
opportunity to win some fantastic
prizes worth £10,000 in total.
The competition is split into
three rounds, each with its unique
theme: Nature, Time and Love. To
enter, submit a video no more
than five minutes in length, of HD
quality. You can shoot on any
camera you’d like, and the content
and editing are up to your
imagination – so long as it fits
the round’s particular theme.
Visit www.thevideomode.com to
view the top videos, as well as the
scores and a leaderboard for the
overall competition. The winner
will be the person with the most
points after three rounds, who will
win the overall prize as well as title
of Amateur Filmmaker of the Year.
Round Three: Love
We want to see how you convey
your love for someone or something
through film in a creative way for
this round. Try using techniques
such as ‘lens whacking’ or ‘light
leaks’ to add that soft feel to your
footage. For examples, go to
www.thevideomode.com/examples.

Rounds and dates Prizes

Below is a list of the competition rounds, their themes and the dates you Enter to win your share of prizes worth over £10 000!
need to know. To view the results, visit www.thevideomode.com. When Here’s what you could receive:
planning your entry, take into consideration the criteria of fulfilling the
Round One Round Three
brief, creativity and technical excellence on which you’ll be judged.
Canon EOS 7D Mark II, worth Canon XC10 (with 128GB CFast card
Theme Opens Closes £1,499.99 and reader), worth £1,999.99
Round One: Nature 1 Aug 30 Sep Canon Legria Mini X, worth £329.99 Canon Legria Mini X, worth £329.99
Round Two: Time 1 Oct 31 Dec Round Two Overall prize
Canon EOS 5D Mark III, worth £2,499.99 Canon Cinema EOS C100 Mark II,
Round Three: Love 1 Jan 28 Feb Canon Legria Mini X, worth £329.99 worth £3,599.99
The overall winner will be announced in April 2016

Visit www.thevideomode.com/afoy3
to send us a link to your short film and to view the full terms and conditions
In association with
 GROUP TEST Testbench

Tested
Jessops
Photobox
Tesco Photo
WhiteWall

WHITEWALL
WhiteWall’s prints
achieved a five-star rating

Printing services
Rescue your best photos from your hard drive, get then some cropping will be
required. If you’re lucky, it will
them printed and share your creativity with family and be you who decides the crop,
otherwise you may find that
friends. Amy Davies puts a few photo labs to the test the lab just cuts indiscriminately.
So it makes sense to do the

H
ow many of your
photos are currently
languishing on your
hard drive, never to
see the light of day? Perhaps if
they’re really lucky, they’ll get a
posting to Facebook or Instagram.
So why not use a printing lab to
liberate your best shots? There’s
a huge range of printing services
to suit all budgets.
You could always take on the
challenge of printing at home,
but this requires the necessary
equipment – namely, a decent
photo printer that is likely to guzzle
up masses of costly ink. If you only
want to print the odd photo for
framing, or perhaps as a gift,
getting a professional to do the
hard work for you is more cost
effective – especially if you want
to print larger than A4.
On the downside, by handing
over the responsibility to someone
else, you’ll have to relinquish
control over every detail of the
printing. And should you want a
test run it will be a costly and,
perhaps more frustratingly, a
time-consuming affair.
Printing sizes vary widely, but
generally start from a standard
6x4in, rising to, well, almost as
big as you would realistically ever
want – poster sizes up to A0 are
commonly available. You’ll find a
wide variety of different finishes,
too, depending on personal
preference. Some may prefer a
glossy finish, while others like the
subtlety of matte. All the labs in
this test offer glossy printing, but
not all offer matte.
Image ratio
There are several points to
consider before you send your
photo to the printing lab. You’ll
need to think about the ratio
of your image compared to the
ratio of the print you order. For
instance, if you order a 4:3 image
to be printed at 6x4in (a 3:2 ratio),
cropping yourself before printing,
saving the file at the exact size
that will be printed.
It’s also worth considering the
colour profile of your image. Most
cameras shoot at sRGB by default,
but many choose to switch to the
Adobe RGB profile for more
accurate colour printing.
Furthermore, some labs will
automatically apply colour
correction, while others will print
exactly what is given to them.
Here we’ve tested four print
labs, finding out how easy it is to
order the product, pricing, delivery
times and, of course, the quality
of the finished product.

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 45

 Testbench
Jessops Photo
● www.jessops.com ● Prices: from 6p per print
This dedicated photographic retailer allows
you to order online or via its desktop software
WHILE Jessops Photo has a good
range of products on offer, this
specialist photographic retailer
doesn’t actually give the end user
a great deal of control. You can
order from within the website or, if
you prefer, you can download the
company’s desktop software.
If you stick with the website
rather than the software, you
should still have a very
straightforward experience. Once
you’ve uploaded an image, you
can choose the printing size from
a small drop-down menu, which
for normal prints goes up to
12x8in. If you want something
larger, you’ll have to head to either
the Photo Enlargement or Wall
Art section, where you can choose
from prints starting at 30x20cm,
or posters starting at 20x30cm
and ranging up to 100x150cm.
After you’ve uploaded your
photo and selected your print size,
you’ll see that, by default, Photo
Optimisation is switched on.
Jessops says this optimises the
sharpness, colour and contrast of
your digital images, but is best
suited to images directly from
a digital camera that you have
not altered yourself. If you have
already edited your photo, you
can disable this option.
As well as standard photo
printing, Jessops also offers
ALL PRICES ARE STREET PRICES
canvas, aluminium, acrylic and
foam-board prints. Prices across
the site vary, but are roughly
in line with both Tesco and
Photobox. Small prints (6x4in),
46
GROUP TEST
start from 6p, but again only if you
order a large number of prints,
otherwise prices start from 15p.
Other print sizes are also
reasonably priced, with a 10x8in
costing £1.25, a 12x8in priced at
£1.99, while an 18x12in print (A3
size) costs £3.99.
Jessops only offers a gloss finish
for prints and enlargements, which
is a somewhat disappointing lack
of choice from a dedicated
photographic retailer. You can’t
change the crop of your image,
either, which isn’t a problem if
you pre-crop your images to the
exact size before you upload.
Nonetheless, it would be a
welcome feature.
You can have your prints
delivered to your nearest Jessops
store or to your home. So if it
makes sense for you to pick up
the prints yourself, you can save
some money (delivery starts at
£2.75). Postage prices can be
combined if you’re ordering one
type of product, but if you’re
ordering different types (as
we did – three prints and one
enlargement), you’ll be charged
twice for postage as they are
delivered in different containers.
Delivery varies depending on the
product, but is estimated at 2-4
business days
for standard
prints, 4-6
days for
enlargements Recommended
and 5-7 days
for posters.
PhotoBox
● www.photobox.co.uk ● Prices: from 5p per print
Simple to use, the PhotoBox site has a huge range
of sizes and represents good value for money
GOOD value and a range of
different printing sizes, formats
and finishes make PhotoBox an
attractive option. It’s simple, too.
To get the most from the
PhotoBox website, create an
account. In that way, you can create
albums, which you can come back
to later and order more prints.
Once you’ve uploaded a photo
into an album, you can either
choose to print individually from
within that album, or order the
entire album. The former option is
better if you want different sizes
and finishes, while the latter is a
simple way to do it if you want to
order a uniform set.
There’s a great range of
different sizes, with ‘standard’
prints ranging from 5x3.75in to
6x4.5in, or ‘large prints’ starting at
8x6in up to 15x10in. For the
smaller ‘standard’ prints, you can
choose between ‘Classic’, which
are printed on Fujifilm Crystal
Archive paper, or upgrade to the
thicker Fujifilm Crystal Archive
Supreme paper. Premium prints
also come with a free protective
case. All large prints are printed
on Fujifilm Crystal Archive paper.
Any size of print can be ordered
with a matte or gloss finish.
There’s also retro printing, which
creates a Polaroid-style image, or
square printing – handy for
Instagram-style shots. Canvas,
acrylic and aluminium printing is
also available from PhotoBox
under the Canvas & Wall Art
section of the website.
9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555
Poster prints can also be
ordered if you’re looking to
print from 14x11in upwards. The
largest print size is 45x30in.
Ordering a print is
straightforward, with various size
and finish options that you can
select from drop-down menus.
The pricing structure is included
while you’re ordering, so you can
make decisions as you go.
A button labelled ‘Get the most
from your photos’ takes you to a
tool that ensures your image is
cropped correctly – especially if it
is a different aspect ratio to the
original image. You can also
‘shrink-to-fit’, which results in a
white border around the image.
Prices start from 5p for a 6x4in
print, but only if you order over
500 prints. Otherwise, for 1-199
prints you’ll pay 12p per print, which
is reasonable. Premium prints rise
to 15p. For large prints, prices start
at 40p for a 8x6in, rising to £3 for
a 15x10in print. Poster prints start
at £5, rising to £14 for the largest
– again, a reasonable price. You
can add £1 to print the poster on
thicker ‘Pro’ paper.
PhotoBox suggests that most
items will be delivered to your
door within a week of placing an
order. Delivery prices start from
£2.99. On
weekdays,
same-day
dispatch is
offered if Best in Test
you order
before 4pm.
Tesco Photo
●www.tescophoto.com ● Prices: from 15p per print
Need to collect your prints within the hour?
Then Tesco is the photo printing service for you
TESCO’S photo-printing service
allows you to collect your photos
in just one hour, which is perfect if
you need your prints in a hurry.
Navigating this supermarket
chain’s website is easy, and you
can start the process of uploading
your prints very quickly. You also
have the option to upload photos
from social networking sites such
as Facebook and Instagram, or, of
course, from your own computer.
Supported files are JPG, BMP
and PNG, but it’s not clear
whether colour spaces other than
sRGB are supported. Once the
photo is uploaded, you can order
prints – ranging in size from 6x4in
up to 12x8in. You’re only given
the option of a glossy finish, so if
you’re after matte prints you’d
better look elsewhere.
Helpfully, you can alter the crop
of your image at this point. Simply
click on the ‘change crop’ button
underneath your image to make
sure it’s how you want it.
If you want to print larger than
12x8in, then head to the Poster
Prints section. Here, image sizes
start at 10x15in, going all the way
up to 60x40in. Again, there’s no
choice of finish – and additionally,
you cannot crop your image
correctly, so it’s best to make
sure you’ve already done that
yourself before you upload.
For poster prints of around A3
size the price is £6.50, which is
great value, while the smaller
prints up to 12x8in max out at
£1.50. This is great if you want to
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016
make up a few prints for framing,
or to use as gifts. Tesco Photo also
offers canvas printing, with prices
starting from £24.50.
Once you’ve chosen your prints,
you can place your order. Delivery
is free if you have the photos sent
to your local Tesco store for
collection. Some stores also offer
one-hour printing (for the smaller
sizes only). You simply enter your
postcode to find your nearest store
offering the service. The one-hour
printing service does cost a little
more, with a £1.50 12x8in print
rising to £3.50 with this service.
Alternatively, you can have the
prints delivered to your home. This
starts at £2.25 for the smaller
prints, rising sharply for the larger,
poster-sized prints. So it’s worth
having them delivered to a store
if you can easily collect.
A delivery time of seven days is
promised, whether you choose to
have them sent to a store or to
your own address (unless you
choose the one-hour service).
This service is very much a basic
upload-and-go model, which is
great if you’re in a hurry, or want
the convenience of being able
to pick up your prints when you
do your weekly shop. However,
with not much in the way of
customisation or different options
to choose
from, it’s
probably
not suited
to serious
photographers.
WhiteWall
● uk.whitewall.com ● Prices: from £2.90 per print
White Wall is a premium service comes with a
premium price, but it’s difficult to fault the quality
FOR THOSE wanting ultimate
control, including a range of
different high-quality photo
papers, WhiteWall gives you a
smorgasbord of choice. At the
premium end of the market it
offers a huge range of different
papers, finishes and formats.
Along with photo prints, WhiteWall
also offers acrylic, aluminium and
metal prints, framed products,
and canvas and wood.
The WhiteWall website is sleek
and well designed, guiding you
from uploading to ordering in a
straightforward manner. Once
you’ve created an account and
uploaded the photo(s) you want to
order, they will be saved to your
account so you can reorder in
the future if you wish.
Click on any of the photos
you’ve uploaded and you’ll be
able to choose your product from
a menu on the left-hand side of
the photo. You’ll be presented
with several options, including the
paper, size and format, protective
lamination and whether the image
is framed or bordered.
This is confirmed by a colour
space disclaimer – you can upload
files in RGB or CMYK, the latter
of which will be converted to RGB
during the production process.
If no colour profile is attached to
the file it will be assumed that it
has an sRGB profile. You can
download an ICC colour profile
for every type of print, which
WhiteWall offers to ensure
colours are how you want them.
Photo prints start from
15x10cm (in the 3:2 format,
with several others available).
WhiteWall is based in Germany, so
all measurements are in metric
– something to be aware of when
you’re resizing images before you
upload them to the website. At
the other end of the scale, you
can order prints as large as
180x120cm or move up to poster
printing, which is available up to
sizes of 180x120cm.
It’s fair to say that WhiteWall is
aimed at serious printers who
know exactly what they want. It
can be a little overwhelming trying
to choose the best paper and print
combination if you are just starting
out. Prints aren’t cheap, but the
promised finish and papers used
are designed to make up for that.
For the smallest print (15x10cm,
which is equivalent to a 6x4in
print), you’ll be looking at a
minimum £2.90 per print. Prices
vary depending on the size and
paper, but as an example, the
30x20cm Lightjet Print on Kodak
Metallic paper we ordered was
priced at £12.95, while a
45x30cm Lightjet Print on Fujifilm
Fujiflex high gloss cost £30.95.
Delivery times are longer than
the other printing services on test
here, with a
suggested
standard
time of eight
working days,
but it costs
GOLD
just £3.95.
47
 Testbench GROUP TEST

Verdict
THE THREE UK-based labs (Tesco, Jessops
and PhotoBox) were the quickest, all
arriving within 3-5 business days, while the
WhiteWall prints took a little longer – around
eight business days. This is a good result,
considering they are shipped from Germany.
WhiteWall was by far the most expensive, at
£114.60 for two A3 prints, and six 12x8in or
10x8in prints. The PhotoBox order, which
comprised the same number of prints, cost
£26.78. Meanwhile, the Jessops order, which
had one A3 print and three smaller prints,
was £13.98, while Tesco’s was similarly priced
at £14.50. Prices include p&p.
PhotoBox, Jessops and Tesco all delivered
JESSOPS their A3 prints in a poster tube, separately
Both the b&w and colour portraits were a little too contrasty compared from the other smaller prints, which were
with the original file, and the A3 landscape displayed some grain delivered in cardboard A4-sized boxes. All
prints arrived safely and were well packaged.
The WhiteWall package was a large
rectangular box with a round tube inside
around which the prints were wrapped (not
placed inside). Each print was also carefully
covered with a protective piece of tissue.

Colour matching
A black & white portrait, a colour portrait,
a colour landscape for a small print and
another colour landscape for the A3 print
were ordered from all labs. The black &
white prints displayed the most differences.
The Tesco image had a blue tint, which was
completely unrepresentative of the supplied
file. The Jessops image had a nice tone, but
displayed a little too much contrast. The
PhotoBox one was a little washed out,
although the matte print was better.
WhiteWall was undoubtedly the best
and most accurate.
PHOTOBOX For the colour portrait, WhiteWall had the
PhotoBox’s matte black & white print was better than the gloss, best overall finish, but PhotoBox came a very
but the colour landscape was the most accurate of all services on test close second. Colours in the Tesco prints were
a little flat, while the Jessops image was too
contrasty. Conversely, the colour landscape
from Tesco displayed more warmth than
the Jessops print, but also had more detail.
PhotoBox’s was the most accurate image;
the WhiteWall version was also excellent.
Finally, for the A3 landscape, the Tesco
print was slightly dull. The Jessops print
displayed a graininess that isn’t present in
the original. Again, PhotoBox and WhiteWall
both produced excellent prints – it would be
a challenge to spot too much of a difference
between them once framed and hung.

Final verdict
Overall, PhotoBox puts in a performance
that’s both consistent and good value,
with a wide range of sizes and a choice of
finishes. However, the WhiteWall prints are
also undeniably beautiful and well suited
to those who have very specific needs.
TESCO PHOTO It’s disappointing not to see a better
The b&w print from Tesco came with a distinct blue tone, which performance from Jessops, while Tesco is
didn’t represent the original file, while the landscape was rather dull let down mostly by its black & white tones.

48 9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

   
        


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The lens is well suited
to a wide variety of
genres and disciplines,
including portraiture
AF-S Nikkor
24-70mm f/2.8E ED VR
Nikon’s latest pro-spec standard zoom promises
to be its best yet – on paper, at least. Phil Hall
finds out whether it lives up to expectations
O
ne of the most popular lenses for
photographers, both professional
and enthusiast, is the 24-70mm
f/2.8. It’s easy to see why. Its fast
constant maximum aperture and useful focal
range make it incredibly versatile, and it comes
as no surprise to learn that most photographers
would struggle to live without it.
Nikon’s AF-S Nikkor 24-70mm f/2.8G ED
first made an appearance back in 2007, at the
same time as Nikon’s first full-frame DSLR, the
12.1-million-pixel D3. It became an instant
hit with photographers, but with the arrival in
recent years of ever higher-resolving sensors,
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016
LENS TEST
greater demands were placed on the optics.
So will the AF-S Nikkor 24-70mm f/2.8E
ED VR do enough to warrant the update?
Features
Whereas the outgoing G version of the lens
had an optical construction of 15 elements in
11 groups, the new lens sports a completely
new design, with 20 elements in 16 groups.
More telling, though, is the appearance for the
first time on a Nikkor lens of a new Aspherical
Extra-Low Dispersion (ASP/ED) element. This
has been paired with Nikon’s aspherical, ED
and High-Refractive Index (HRI) elements, not
Testbench
forgetting the Nano Crystal Coat to reduce
ghosting and flare. It all promises to deliver
new levels of optical precision. In addition, on
the front and rear elements there is a fluorine
coating that’s designed to repel water, dust
and dirt, as well as making it easier to clean.
As we’ve seen on Nikon’s most recent lenses,
the new 24-70mm uses an electromagnetic
diaphragm (denoted by the ‘E’ designation)
that’s designed to provide highly accurate
control of the lens’s rounded diaphragm
blades. This ensures more consistent
exposures during continuous shooting. As
you’d expect for a lens of this calibre, the
design incorporates nine aperture blades.
One of the standout updates is the arrival
of the company’s Vibration Reduction (VR)
anti-shake system. With the likes of the
fabulous 36.3-million-pixel D810 putting
more demands on the photographer to
53
 Testbench LENS TEST
The lens performed well
in backlit scenes where
flare and ghosting can
often be problematic
ensure pin-sharp shots, it’s something
a lot of existing users had been hoping
to see. Promising up to 4 stops of
compensation, there’s the option of Normal or
Active modes, with the latter suited to shooting
from a moving vehicle or an unstable position.
If you have a number of pro-spec Nikon
lenses, you’ll be accustomed to a 77mm filter
thread and no doubt have some compatible
filters or adapter rings in your bag. However,
rather inconveniently, this new lens sports an
82mm thread. Internal focusing, though,
means filters will remain in position and not
spin round as the lens focuses. When you
consider the additional internal elements over
the older model, it’s hardly surprising that the
size of the filter thread had to be increased.
Autofocus
While the new lens carries the same AF-S
designation as other Nikkor lenses, the silent
wave motor (SWM) has been completely
redesigned, with Nikon claiming it to be some
50 per cent faster than the older model. I’ve
used the Nikkor 24-70mm f/2.8G for the past
eight years and have never had any concerns
with the performance of the AF, but the
lightning-quick acquirement of the new lens is
incredible. Focus noise is almost impossible to
pick out in day-to-day use, only really being
faintly audible if conditions are near silent.
Build and handling
Whichever way you cut it, this is a big lens.
As we’ve touched upon, the redesign means
there’s more to squeeze in. This has resulted
54
Stopping the lens down to f/4 sees minimal
vignetting at the corners of the frame
in a beefy lens that tips the scales at 1,070g
and is 154.5x88mm, compared to the
24-70mm f/2.8G that now looks quite
compact by comparison at 133x83mm
and weighing 900g.
So, yes, it’s big. However, when I paired
it with a D810, I have to say I found the
combination balanced extremely well and
was comfortable to use. The larger size has
9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555
allowed Nikon to include a bigger rubberised
zoom ring at the rear of the lens that falls to the
hand nicely, providing a silky transition through
the zoom range. Moving forward, there’s a
modest focus-distance-scale window, marked
in both feet and metres, before we reach the
finely ribbed contour of the manual-focus ring.
Identical in size to that used on the outgoing
24-70mm, it rotates anticlockwise from infinity
to closest focus (0.38m) with a smooth if
slightly light-to-the-touch transition.
On the side of the lens are two switches
grouped together. The top switch allows
manual override of autofocus to manual
operation with virtually no time lag, regardless
of the AF mode you’re shooting with. Below
that is the VR switch, with settings for Off,
Normal or Active VR modes. They’re identical
to the touch, so it’s not immediately clear which
switch you’re selecting if you have the camera
raised to your eye, but I did find the VR
performed very well indeed, allowing me to
shoot quite happily at 1/8sec and still achieve
sharp results that would be possible otherwise.
As you’d expect from one of Nikon’s
top-flight lenses, the build quality is first rate.
Nikon claims the lens has undergone a series
of shock tests and inspections that have been
repeatedly applied to movable parts of the lens
barrel to ensure it is capable of meeting the
demands of daily professional use. That’s not
forgetting the previously mentioned fluorine
coating and the presence of an O-ring seal
around the mount to limit dust and water
entering the camera. The exterior construction
is a mix of metal and high-quality plastic, with
 Nikon AF-S Nikkor
24-70m f/2.8E ED VR
Resolution
At 24mm and f/2.8 centre sharpness is very good,
but edge sharpness does suffer. Optimum results
can be had at around f/8, and while diffraction
softens the finest details at f/11 and f/16, results
are still very good. Sharpness isn’t as impressive
at 70mm at f/2.8, but improves considerably in the
centre when stopped down at f/5.6. Edge sharpness
at 70mm peaks between f/8 and f/11.

Centre sharpness improves considerably at 70mm when the lens is stopped down beyond f/2.8

the now familiar dappled-texture finish

providing a quality touch. You are left with an
overall impression of a quality piece of kit that
can will stand up to professionals’ demands
and the various challenging environments in
Our verdict
AS THE outgoing G-series of this lens is
24mm centre 24mm corner
35mm centre 35mm corner
which it will undoubtedly see regular use. such a strong performer, Nikon set itself a 70mm centre 70mm corner
tough job in attempting to better it. However,
Image quality the bigger and heavier (not to mention more Shading
With a just under 3x focal range running from expensive) AF-S Nikkor 24-70mm f/2.8E
wideangle to telephoto, there’s not quite the ED VR manages to do just that.
same demands placed on the optics as other The inclusion of VR makes it a more
The lens displays obvious vignetting wide open
lenses, but nonetheless, to deliver the sorts appealing option, and while the pay-off is a
at 24mm, with the corners approximately -1.4EV
of images that will meet the demands of slightly bulky design, this hasn’t hampered
darker than the centre. This improves to -0.8EV
professionals, results have to be spot on. the handling. The build quality doesn’t
at f/4 and beyond that it shouldn’t be an issue. It’s
Looking at the real-world shots I took with disappoint, either. Then there’s the autofocus
a similar story at 35mm and 70mm, although at
this lens, centre sharpness in images taken – the speed of AF acquirement is truly
70mm at f/2.8 the fall-off from the centre is a bit
at 24mm wide open at f/2.8 are very good, impressive and a big jump in performance
more dramatic, but not quite as strong at -1/2EV.
although it does tend to render the edges of compared with the earlier lens.
the frame a little soft. Stop the lens down While vignetting is an issue wide open, the
and the sweet spot for those wanting to shoot resolving power of the lens, especially at
at the wide end of the lens seems to be around the centre of the frame, is excellent through
f/8, when sharpness across the image is very the zoom range. The optical overhaul this
impressive indeed. lens has gone through has certainly paid off.
At 35mm and wide open results are a tad If you’re going to get regular use out of
sharper still, and while edge sharpness does this lens and can justify
gradually drop off a touch it’s still a very strong the steep asking price, Data file 24mm f/2.8 70mm f/2.8
performance, with best results overall you’ll be rewarded with
appearing to come at f/5.6. It still performs a superb fast standard Price £1849
very well at f/8, and while sharpness does tail zoom that’ll be perfect Lens mount Nikon F Curvilinear distortion
off after that, it’s still strong at f/11 but a little for a range of shooting Filter thread 82mm
less so at f/16 due to diffraction. It doesn’t environments. Lens elements 20 At 24mm, there’s some noticeable barrel distortion
quite deliver the same levels of sharpness Groups 16 present, with the straight lines of our test chart
at 70mm, with the centre at f/2.8 only just Aperture blades 9 bowing outwards. This disappears as you progress
matching those of the edges at 35mm. That Max aperture f/2.8 through the zoom range, with moderate pincushion
said, there’s a big improvement when the lens Minimum aperture distortion visible at 35mm that becomes more
is stopped down to f/5.6, with the centre f/22 pronounced as you extend the range to 70mm.
matching results at 24mm and 35mm. Minimum focus
As you’d expect with a zoom of this nature, distance 0.38-0.41m
vignetting is most pronounced at f/2.8. There’s Size 88x154.5mm
more than a stop of exposure difference Weight 1070g
between the centre and edge of the frame at
24mm: SMIA TV = -3.3% 70mm: SMIA TV = 1.8%
the extremes of the focal range, so you need
to be prepared to correct for this in post. You’ll
also have to make corrections for slight barrel
distortion at 24mm and pincushion
GOLD
distortion from 35mm onwards. 24mm 70mm
subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 55
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E X PERT A DV ICE ● TIPS ● T RICK S ● HACK S ● KNOW- HOW

lenses, it’s worth noting that
Wider and better? there are no direct alternatives to

Q When I bought my Canon EOS 750D,

I purchased it in kit form with the
18-55mm lens. I’m now looking for a
wider lens and am tempted by the Canon
those you’re currently using. The
closest are the Olympus M.Zuiko
Digital ED 12-40mm f/2.8 Pro, a
superb lens that costs £650, and
EF-S 10-18mm f/4.5-5.6 IS STM, the £350 M.Zuiko Digital ED
which falls within my budget. As I’ve 60mm f/2.8 Macro, which is a
read mixed reviews, how would you stop slower than your 50mm,
rate it for what seems like a very but does offer 1:1 macro.
affordable lens? Adrian Jenkins In your position, I think the best
option is likely be to buying the

A
The EF-S 10-18mm E-M1 and using your existing
f/4.5-5.6 IS STM is an lenses initially, then gradually
inexpensive, lightweight replacing them with Micro Four
and ultra-wide optic that’s designed Thirds ones if necessary.
to be a cheaper alternative to the Andy Westlake
manufacturer’s EF-S 10-22mm
f/3.5-4.5 USM. The STM abbreviation in Canon’s 10-18mm Inexpensive bags
its name reveals that it employs Canon’s
Stepping Motor technology for super-quiet
focusing, and during testing we found it
achieved almost instantaneous autofocus. The
lens is a very good
optic for the money

lateral chromatic aberrations were noted

4-stop image stabilisation and 0.22m close-
focusing capability are other attractive features.
As for its performance, our scientific testing
revealed the lens produces its sharpest results
from the centre to the edge from f/5-f/11 and,
as you might expect for such a wide lens, barrel
distortion is evident at 10mm. The good news is
there’s barely any distortion at 18mm.
Vignetting is pronounced in the corners at
the wide end when it’s used at f/4.5, and some
Q Is it me, or is there a lack
of reasonably priced
shoulder bags capable of
holding my Canon EOS 6D with
towards the edge of the frame in our test battery grip, 24-105mm lens and
images. That said, when you take its price and 100-400mm lens? There are a
overall performance into account, it remains a number of bags that cost well over
great lens for the money and one we wouldn’t £150. I would rather not advertise
hesitate to purchase if we were in your position. the fact that I am carrying
Canon is currently listing the lens within its expensive camera gear, but with
Winter Cashback offer (ends 13 January 2016), the dearer bags it is obvious what
meaning you can pick it up for its cheapest is in them. Any suggestions?
ever price of just £160! Gerald Rayner
Michael Topham

A
We recommend you take
a look at a couple of
Upgrades and lenses Aside from the obvious increase While this is unlikely to be a Lowepro bags that are

Q I currently use an
Olympus E-620 with
14-54mm and 50mm
macro lenses. If I upgrade to an
E-M5 or E-M5 Mark II and use
the Olympus lens converter, will
I see a benefit or a deterioration
in quality, or should I look at
compact system lenses?
John Farebrother
in resolution, it also gives
noticeably better results at
high ISOs. The in-body image
stabilisation is significantly
improved, too, so you can use
slower shutter speeds and lower
ISOs in low light, as long as the
subject isn’t moving.
The penalty, however, is
autofocus speed, which is likely
to be noticeably slower on both
problem for macro work (where
chances are you’ll use manual
focus anyway), it’ll be an irritation
if you also use it for more
general-purpose photography.
Because of this, I’d advise you
to look at the Olympus OM-D
E-M1 instead, as it has a different
sensor with on-chip phase-
detection elements that’s
specifically designed to provide
currently end-of-line items and
are therefore relatively
inexpensive. Both the Nova Sport
35L AW and the Urban Reporter
350 should comfortably hold your
kit, and at the time of writing they
are available on Amazon for £65
and £45 respectively.
In general, though, most bags
that are designed to hold and
adequately protect your costly kit

A
In terms of image
quality you’d see an
improvement compared
to what you’re currently getting,
as the 16MP sensor used in
recent Olympus Micro Four
Thirds cameras such as the E-M5
and E-M5 II is rather better than
the 12MP sensor in your E-620.
E-M5 models. If you have the
later Zuiko Digital 14-54mm
f/2.8-3.5 II version it might
not be too bad, as this was
specifically redesigned to work
better with contrast-detection
AF. Unfortunately, though, your
Zuiko Digital ED 50mm f/2 Macro
is likely to be especially slow.
faster autofocus with Four-
Thirds-mount DSLR lenses. It
also has a larger handgrip that
provides better balance with
adapted lenses. However, it
costs £850 body only, compared
with £770 for the E-M5 II.
When it comes to purpose-
designed Micro Four Thirds
do tend to look like camera bags.
A way around this might be to
buy a separate camera bag insert
on Amazon or eBay, then use it in
an alternative bag of your choice.
The problem is finding one that
is of high enough quality and
strongly made at a price you’re
willing to pay. Andy Westlake

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 57

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 © HEATHER ANGEL
Technical Support

My life in
cameras
Wildlife photographer Heather Angel
on the cameras that shaped her career.
Visit www.heatherangel.co.uk BLAST FROM THE PAST

Heather Angel
Heather Angel is
a freelance wildlife
1966 Hasselblad 500C
A 5x4in photographer advised
me to switch to medium format if
I wanted to be taken seriously. By selling some
Pentax K-x
Ian Burley on
photographer. Her shares my father gave me, I bought the 500C this compact and
great passions are with a 80mm lens. It was superb for landscapes
photographing and gardens. Later I used
affordable DSLR
mammals, plants a Polaroid back to reveal
1962

LAUNCHED September 2009

and macro subjects. ‘hidden’ UV patterns in
In recent years, she flowers, before exposing PRICE £599.99
1965

has invested a lot film. My father was

of time in working
GUIDE PRICE TODAY £180
furious I sold the
at Kew Gardens shares ‘just to
in Surrey, PENTAX came very late to the
buy a camera’,
1966

documenting the DSLR market with the oddly

but years later
wildlife there. She has published various books named *ist D at the end of 2003.
he admitted it
and had her work featured in numerous The company distinguished itself
was a wise
exhibitions and articles throughout the world. by making relatively compact and
decision!
affordable DSLRs, and it had a
large user base to sell to, thanks

1962 Exakta Varex IIa

This, my first camera, was a 21st
birthday present from my father.
As a family, we rarely took photos, so I hadn’t
a clue how to load a film, but I soon learned. I
1999 Hasselblad XPan
Before stitched panoramas were
possible from digital images,
I had my eye on this dual-format camera. It
allowed the photographer to switch from 35mm
to the popularity of the K-mount
film SLR system. The K-x was a
prime example of the values
buyers expected of Pentax.

also learned how to use a Weston lightmeter, to a panoramic 24x65mm format, with 21 pano What’s good Image quality.
before departing on a three-month underwater frames from a 36-exposure film. By this time I While it has only a 12.4MP
expedition to Norway. The camera had a very had written articles and booklets for Hasselblad sensor, it’s a Sony-made CMOS
useful device for UK on macro. When Hasselblad Germany type and probably the best in
a penniless asked what my fee would class of its era. You also get
postgrad be to write a feature 720p HD video-recording
student – overnight, capability and continuous-
a built-in I opted for shooting frame rates of almost
film-cutting an XPan 5fps. Last, but not least,
knife, allowing camera sensor-shift image stabilisation
development and the works with any lens, even older
of short strips of deal was ones, so long as you can
exposed b&w film. done! program the focal length.
1999

What’s bad You can’t see the

1965 Nikkormat FS
From 1962-65, while doing
research on marine life, the
Exakta was exposed to a salty atmosphere. This
caused corrosion of the outer ring of the
2014 Nikon D4
My first digital camera was the
Nikon D100 – hopeless for
action shots as, after four exposures, you had to
wait for the buffer to catch up. I bought the D4
positions of any of the 11 AF
points. This is due to cost-cutting
and differentiation from the
more expensive K-7 model, from
which the otherwise pretty good
shutter-speed mechanism, making it difficult to the day before going to China to photograph autofocus system was borrowed.
use. I then invested in a Nikkormat FS, which pandas – something I advise people never to do!
lacked any metering, but by then I was familiar But having used both the
with my D2X and D3 it was
Weston. This not a problem.
was the first Normally I stick
of many with a low ISO,
Nikons, but the D4
a make I allows the ISO
2014

have used to be safely

ever since pushed for
over five action shots in
decades. dark forests.

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 59

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0330 333 0233 between 8.30am to 17.30pm (GMT) Monday to Friday.
 Technical Support

Professor Newman on…

The latest
photography kit
Stills from video
Bob Newman looks at the resolution that’s possible
and technique at
your fingertips
from a still image taken with 4K video

M
y first digital camera The Canon EOS-1D C can
was a Canon EOS directly record 4K video to
350D. At 8MP, it its internal memory card
was capable of
image quality that matched the
film cameras I previously used. Now,
in the next generation of cameras,
that resolution will be available for
video shooting.
The term ‘4K’ video refers to one
of two formats. The first, known as
Ultra High Definition (UHD) TV
format, gives 3,840 pixels
across the width of the image
and 21,60 pixels of height for
a total of 8,294,400 pixels.
The second format is Cinema
4K, which has the same
More great
2,160 pixel height, but is
4,096 pixels across, giving a
1.9:1 aspect ratio rather than the
pictures
1.8:1 of the TV standard. Cinema
4K gives a total of 8,847,360
More technique
pixels, or nearly 9MP.
Cameras capable of 4K stills are
already appearing. If we count
More opinion
only those that can directly record
a 4K video to their internal
memory card (there are some
‘In the forthcoming generation of
More inspiration
that can output a 4K signal to an cameras, 4K video will be ubiquitous’ ● Download online,
external recorder), they comprise
the Panasonic Lumix DMC-GH4, broadly the equal of film in its day. enjoy offline
G7, GX8, LX100, FZ330 and Today’s 4K cameras are limited Still from 4K video
FZ1000, the Canon XC10 and to 24 or 30 frames per second, ● Buy from the comfort
EOS-1D C, the Samsung NX1 and which is slow in video terms, but of your own home
NX500, and the Sony Alpha 7R II, fast as far as still frame rate goes.
Alpha 7S II, Cyber-shot DSC- It’s beaten only by the Nikon 1 ● Available the day
RX100 IV and RX10 II. These
cameras cover just about every
series cameras, which can capture
very short bursts at up to 60fps.
the magazine goes
niche of the still camera market, The top-end Canon EOS-1D X on sale
from zoom compact (RX100 IV) can maintain 14fps in JPEG for a
all the way to top-end professional burst of around four seconds, while
● Missed an issue?
(EOS-1D C). Thus, even today, these new 4K cameras can Simply download
every photographer can choose
a camera that produces 4K video.
maintain a ‘burst’ of 20 or 30
minutes, so in a sense they can
a back copy
In the forthcoming generation of outperform the top action stills
cameras, it will be ubiquitous.
The theme for this article is the
camera. In truth, this ability is Try it today
limited: the cameras record in a
stills potential of 4K video. This is video format, so to extract stills
www.amateurphotographer.
spurred by the observation that in requires software that can co.uk/digital-edition
video mode, these cameras deliver reconstruct a still image from a A still image from a 4K video delivers
the same resolution as did my EOS video stream, and there is no the same resolution as an image
350D, and that camera was chance of capturing images in raw. from a Canon EOS 350D

Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of
high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer

subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 9 January 2016 61

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ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ
ϰ< sŝĚĞŽ ϰ< sŝĚĞŽ
ϳZ // άϮϱ ϲϬϬϬ &ƌŽŵ άϰϯ ϳϳ // &ƌŽŵ άϳϲϰ
&ƌŽŵ ά
ϳZ // ŽĚLJ άϮϱ ϲϬϬϬ ŽĚLJ άϰϯ ϳϳ // ŽĚLJ άϳϲϰ
',ϰ 'y &ƌŽŵ άϳ
ϳ^ // ŽĚLJ άϮϰ άϯ /ŶĐ άϱϬ ĂƐŚďĂĐŬΎ ϳϳ // н ϭϲϱϬŵŵ άϭϭ ',ϰ ŽĚLJ ά 'y ŽĚLJ άϳ
ϳZ ŽĚLJ ά ϲϬϬϬ н ϭϲϱϬŵŵ W άϰ ϱ н ϭϱϱŵŵ άϳ /ŶĐ άϭϬϬ ĂƐŚďĂĐŬΎ άϳϯ /ŶĐ άϱϬ ĂƐŚďĂĐŬΎ
άϰϯ /ŶĐ άϱϬ ĂƐŚďĂĐŬΎ н ϱϱϮϬϬŵŵ άϯ ',ϰZ ŽĚLJ άϭϬϰ 'y н ϭϰϭϰϬŵŵ άϭϭϯ
ϳ // ŽĚLJ άϭϭ ά ϰ /ŶĐ άϭϬϬ ĂƐŚďĂĐŬΎ άϭϬϭ /ŶĐ άϭϮϬ ĂƐŚďĂĐŬΎ
άϭϭϰϰ /ŶĐ άϭϬϬ ĂƐŚďĂĐŬΎ 'ϳ ŽĚLJ άϰϲϳ 'y н ϭϮϯϱŵŵ άϭϰϰ
άϯϲϳ /ŶĐ άϭϬϬ ĂƐŚďĂĐŬΎ άϭϯϰ /ŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ
ZKDDE >E^^! ZKDDE >E^^! 'ϳ н ϭϰϭϰϬŵŵ άϲϰ 'yϳ н ϭϰϰϮŵŵ άϰϯϯ
^ŽŶLJ & ϱϱŵŵ &ϭ  Ăƌů ĞŝƐƐ ^ŽŶŶĂƌ dΎ άϲϭ ^ŽŶLJ ϳϬϰϬϬŵŵ Ĩϰϱϲ ' ^^D //  άϭϱϬ 'yϳ н ϮϬŵŵ άϰ
^ŽŶLJ & ϭϲϯϱŵŵ ĨϰϬ  K^^  sĂƌŝŽ ^ŽŶŶĂƌ dΎ άϭϬϳ άϱ ϰ /ŶĐ άϭϬϬ ĂƐŚďĂĐŬΎ
^ŽŶLJ ϳϬϯϬϬŵŵ Ĩϰϱϱϲ ' ^^D  άϲ
^ŽŶLJ & ϮϰϳϬŵŵ ĨϰϬ  K^^  sĂƌŝŽdĞƐƐĂƌ Ăƌů ĞŝƐƐ dΎάϬϱ ^ŽŶLJ Ϯϳϱŵŵ ĨϮ ^D  άϱϲ
^ŽŶLJ & ϳϬϮϬϬŵŵ ĨϰϬ ' K^^  άϭϬϬϱ ^ŽŶLJ ϯϱŵŵ Ĩϭ d ^D  άϭϰ
4POZ $BTICBDL PGGFS FOET  1BOBTPOJD $BTICBDL PGGFS FOET 

DϭϬ // ydϭϬ
ůĂĐŬ Žƌ ^ŝůǀĞƌ ůĂĐŬ Žƌ ^ŝůǀĞƌ
KD Dϭ <ϯ // yϮ ůĂĐŬ Žƌ ^ŝůǀĞƌ
ůĂĐŬ Žƌ ƐŝůǀĞƌ
Ϯϰϯ ϭϲϯ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϲϯ
ŵĞŐĂƉŝdžĞůƐ
1(:: ϭϲϯ
ŵĞŐĂƉŝdžĞůƐ
ϯ ĨƉƐ
  ϭϲϯ
ŵĞŐĂƉŝdžĞůƐ    ĨƉƐ 1:
ϭϬϬ ĨƉƐ 

  ϭϬϬƉ :%% $&. $&. ϭϬϬƉ 

 
ϱ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ ϳϬ ĨƉƐ ŽǀŝĞ ŵŽĚĞ
ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ +   -")
DϭϬ // &ƌŽŵ άϱϰ <ϯ // &ƌŽŵ άϳϰ yϮ &ƌŽŵ άϰ ydϭϬ &ƌŽŵ άϰϱϬ
KD Dϭ &ƌŽŵ άϰ KD DϭϬ // ŽĚLJ άϱϰ <ϯ // ŽĚLJ άϳϰ yϮ ŽĚLJ ydϭϬ ŽĚLJ άϰϱϬ
KD DϭϬ // <ϯ // н ϭϱϱŵŵ άϮ н &ƌĞĞ ůĞŶƐ άϰ άϰϭϬ /ŶĐ άϰϬ ĂƐŚďĂĐŬΎ
KD Dϭ ŽĚLJ άϰ н ϭϰϰϮŵŵ άϲϰ <ϯ // н ϭϭϯϱŵŵ ά yϮ н ϭϱϱŵŵ ydϭϬ н ϭϱϱŵŵ
άϳϰ /ŶĐ άϭϬϬ ĂƐŚďĂĐŬΎ <ϯ // н ϭϲϱŵŵ ά н &ƌĞĞ ůĞŶƐ άϲ н ϱϱϮϬϬŵŵ y& ά
KD Dϭ н ϭϮϱϬŵŵ ά <ϯ ŽĚLJ άϲϱ yWƌŽϭ άϰϱϮ ά ϱ /ŶĐ άϰϬ ĂƐŚďĂĐŬΎ
ά /ŶĐ άϭϬϬ ĂƐŚďĂĐŬΎ <ϯ н ϭϭϯϱŵŵ ά ϯ ydϭ ŽĚLJ άϬϱ
KD Dϭ н ϭϮϰϬŵŵ άϭϯϲϰ <ϱϬ άϯϯ άϳϯϬ /ŶĐ άϳϱ ĂƐŚďĂĐŬΎ &h:/EKE yDKhEd >E^^!
KD Dϱ // ŽĚLJ άϳϲ ZKDDE >E^^! <^ϭ ĨƌŽŵ άϯ ydϭ н ϭϭϯϱŵŵ άϭϭϬϬ Ϭŵŵ ĨϮ Z >D tZ y& άϲϯϳϱϬ
KD Dϱ // н ϭϮϰϬŵŵ άϭϰϰ KůLJŵƉƵƐ ϳϱŵŵ Ĩϭ άϲϮϬ
<^Ϯ ĨƌŽŵ άϱϮ άϭϬϮϱ /ŶĐ άϳϱ ĂƐŚďĂĐŬ άϱϲϮϱϬ /ŶĐ άϳϱ ĂƐŚďĂĐŬΎ
KD Dϱ // н ϭϮϱϬŵŵ άϭϬϳϬ άϱϮϬ /ŶĐ άϭϬϬ ĂƐŚďĂĐŬΎ н &ƌĞĞ 'ƌŝƉΎ ϱϲŵŵ ĨϭϮ W y& ά
KD DϭϬ н ϭϰϭϱϬŵŵ // KůLJŵƉƵƐ ϲϬŵŵ ĨϮ DĂĐƌŽ άϯϰ άϮϰ /ŶĐ άϳϱ ĂƐŚďĂĐŬΎ
ty y>h^/s άϳ άϮϳϰ /ŶĐ άϳϱ ĂƐŚďĂĐŬΎ
0MZNQVT $BTICBDL PGGFS FOET  1FOUBY PGGFS FOET  'VKJ 'SFF MFOT  $BTICBDL PGGFS FOET 
 &$// &(175( 12: 23(1 681'$<6
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0RQ)UL DPSP 6DW DPSP 6XQ DPSP
YLVLW ZZZZH[FRXN
7JTJU PVS 1RUZLFK 6KRZURRP ² RSHQ IURP DP 'DLO\
%SBZUPO )JHI 3PBE PQQPTJUF "4%"
/PSXJDI /3 %1
7+( :(; 3520,6( 3DUW([FKDQJH $YDLODEOH _ 8VHG LWHPV FRPH ZLWK D PRQWK ZDUUDQW\

K^ ϳϲϬ ϳϬ

  &7    Ϯϰϳ ϮϬϮ

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ŵĞŐĂƉŝdžĞůƐ
1: ŵĞŐĂƉŝdžĞůƐ
1/:
ϱϬ ĨƉƐ 

  ϳϬ ĨƉƐ 

 
dŚĞ ĮƌƐƚ ŽĨ ŝƚƐ ŬŝŶĚ ŝŶ ƚŚĞ K^ ůŝŶĞƵƉ3 ƚŚĞ ϭϬϬƉ ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ
ĂŶŽŶ ϱ^ ŝƐ Ă ĨƵůůĨƌĂŵĞ ^>Z ďŽĂƐƟŶŐ Ă
ŐƌŽƵŶĚďƌĞĂŬŝŶŐ ϱϬϲŵĞŐĂƉŝdžĞů DK^
ϳϲϬ ŽĚLJ άϱϲ ϳϬ &ƌŽŵ άϲ
ƐĞŶƐŽƌ ĨŽƌ ƉƌŽĨĞƐƐŝŽŶĂů ƉŚŽƚŽŐƌĂƉŚĞƌƐ
ǁŚŽ ǁĂŶƚ ŚŝŐŚƌĞƐŽůƵƟŽŶ ŝŵĂŐĞƐ ĂŶĚ ϳϲϬ ŽĚLJ άϱϲ ϳϬ ŽĚLJ άϲ
ĞdžƚƌĂŽƌĚŝŶĂƌLJ ĚĞƚĂŝů άϱϭ /ŶĐ άϱϬ ĂƐŚďĂĐŬΎ άϲϯ /ŶĐ άϲϬ ĂƐŚďĂĐŬΎ
ŝŵĞĚ Ăƚ ƚŚĞ ŵŽƐƚ ĚĞŵĂŶĚŝŶŐ ƉƌŽĨĞƐƐŝŽŶĂůƐ3 ϳϱϬ ŽĚLJ άϰϳ ϳϬ н ϭϱϱŵŵ Ĩϯϱϱϲ /^ ^dD άϳϯϰ
ƚŚĞ ϱ^ Z ƐƉŽƌƚƐ Ă ůŽǁƉĂƐƐ ĐĂŶĐĞůůĂƟŽŶ ĮůƚĞƌ άϰϮ /ŶĐ άϱϬ ĂƐŚďĂĐŬΎ άϲϳϰ /ŶĐ άϲϬ ĂƐŚďĂĐŬΎ
ƚŽ ĚĞůŝǀĞƌ ƐŚĂƌƉŶĞƐƐ ĂŶĚ ĞdžƚƌĂŽƌĚŝŶĂƌLJ ĐůĂƌŝƚLJ ϳϱϬ нϭϱϱŵŵ άϱϰϬ ϳϬ н ϭϭϯϱŵŵ Ĩϯϱϱϲ /^ ^dD άϯ
άϰ Ϭ /ŶĐ άϱϬ ĂƐŚďĂĐŬΎ άϳ /ŶĐ άϲϬ ĂƐŚďĂĐŬΎ
Et ϱ^ ŽĚLJ άϮ ϱϬϲ ϱϬ ϭϬϬƉ ϳϱϬ н ϭϭϯϱŵŵ άϳϯ
Et ϱ^ Z ŽĚLJ άϯϭ ŵĞŐĂƉŝdžĞůƐ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ
άϲ /ŶĐ άϱϬ ĂƐŚďĂĐŬΎ

ϱ^ ŽĚLJ άϮϰϬ ϱ^ Z ŽĚLJ άϯϬϰϬ ϳϬϬ ŽĚLJ  άϯ
άϯϯ /ŶĐ άϱϬ ĂƐŚďĂĐŬΎ  h^dKDZ Zs/t! K^ ϳϬ н ϭϭϯϱŵŵ /^ ^dD
hƉ ƚŽ άϮϱϬ ĐĂƐŚďĂĐŬΎ ǁŚĞŶ ďŽƵŐŚƚ ǁŝƚŚ ƐĞůĞĐƚĞĚ ůĞŶƐĞƐ KīĞƌ ĞŶĚƐ ϯϭϭϭϲ ϳϬϬ н ϭϱϱŵŵ /^ ^dD  άϰϱ
^ĞĞ ǁǁǁǁĞdžĐŽƵŬAĐĂŶŽŶϱĚƐ ĨŽƌ ĚĞƚĂŝůƐ )Ŷ ĞdžĐĞůůĞŶƚ ƐƚĞƉ ƵƉ+
άϰϬ /ŶĐ άϱϬ ĂƐŚďĂĐŬΎ  ĚĂŵ ʹ WŽƌƚƐŵŽƵƚŚ

K^ ϳ DŬ// K^ ϲ ϱ DĂƌŬ /// K^ ϭdž

ϮϬϮ ϮϮϯ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ

ϮϬϮ ϰϱ ĨƉƐ ϲϬ ĨƉƐ ϭϭ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
XS WR
 XS WR

1(::
ϭϬϬƉ ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ ϭϮϬ ĨƉƐ
ϭϬϬ ĨƉƐ &$6+%$&. &$6+%$&.
ϭϬϬƉ ZKHQ ERXJKW ZLWK &Ƶůů &ƌĂŵĞ
DK^ ƐĞŶƐŽƌ


  &Ƶůů &ƌĂŵĞ
DK^ ƐĞŶƐŽƌ
ZKHQ ERXJKW ZLWK &Ƶůů &ƌĂŵĞ
ŵŽǀŝĞ ŵŽĚĞ VHOHFWHG OHQVHV VHOHFWHG OHQVHV DK^ ƐĞŶƐŽƌ

ϳ DŬ // ŽĚLJ άϭϮ ϲ ŽĚLJ άϭϭϭ ϱ DĂƌŬ /// ŽĚLJ άϮϮϰ ϭdž ŽĚLJ άϰϯ
ϳ DĂƌŬ // ŽĚLJ άϭϮ ϲ ŽĚLJ άϭϭϭ ϱ DĂƌŬ /// ŽĚLJ άϮϮϰ ϭdž ŽĚLJ άϰϯ
άϭϬϭ /ŶĐ άϭϬϬ ĂƐŚďĂĐŬΎ h^dKDZ Zs/t! K^ ϱ DŬ /// ŝŐŝƚĂů ^>Z ĂŵĞƌĂ h^dKDZ Zs/t! K^ ϭ y ŝŐŝƚĂů ^>Z ĂŵĞƌĂ ŽĚLJ
zŽƵ ŚĂǀĞŶ+ƚ ŐŽƚ ŽŶĞC 'Ğƚ ŽŶĞ.+ )BďŽƵŐŚƚ ƚŚŝƐ ĂƐ ĂŶ ƵƉŐƌĂĚĞ ƚŽ
$BOPO XJOUFS $BTICBDL PGGFS FOET  ƚŚĞ ϱ DŬ Ϯ ĂŶĚ ŚĂǀĞ ŶĞǀĞƌ
$BOPO MFOT CVOEMF $BTICBDLp PGGFS FOET PO  ZŽůĂŶĚ ʹ EŽƌƚŚĂŵƉƚŽŶ ůŽŽŬĞĚ ďĂĐŬ+ ĂǀĞ ʹ ŽƌŶǁĂůů

-!
'6
dƌŝƉŽĚƐ



 'dϯϱϰϮ>
F ϭϳĐŵ DĂdž ,ĞŝŐŚƚ
F ϭϲĐŵ DŝŶ ,ĞŝŐŚƚ
Ddϭ ϬyWZKϯ
= ϭϲϬĐŵ DĂdž ,ĞŝŐŚƚ
ĞĨƌĞĞ
dƌĂǀĞů dƌŝƉŽĚ ,LJďƌŝĚ 'WϮ
4XDOLW\ XVHG FDPHUDV = Đŵ DŝŶ ,ĞŝŐŚƚ = ϭϰϰĐŵ DĂdž ,ĞŝŐŚƚ = ϭϬϬϬŐ DĂdž >ŽĂĚ
DŽƵŶƚĂŝŶĞĞƌ Ddϭ ϬyWZKϯ άϭϮ = ϯϰĐŵ DŝŶ ,ĞŝŐŚƚ = ϮϱϳĐŵ ,ĞŝŐŚƚ
OHQVHV DQG DFFHVVRULHV ĂƌďŽŶ ĞyĂĐƚ dƌŝƉŽĚ! Ddϭ ϬyWZKϰ άϭϱ :ŽďLJ dƌŝƉŽĚƐ
ZLWK  PRQWKV ZDUUDQW\ 'dϬϱϯϮ άϯϬ Ddϭ ϬyWZKϯ ĂƌďŽŶ &ŝďƌĞ  άϮϮ ůƵŵŝŶŝƵŵ KƌŝŐŝŶĂů άϭϳ
'dϭϱϯϮ άϯϱ Ddϭ ϬyWZKϰ ĂƌďŽŶ &ŝďƌĞ  άϮϰ ǀĂŝůĂďůĞ ŝŶ ůĂĐŬ ZĞĚ ,LJďƌŝĚ  άϮ
ZZZZH[FRXNSUHORYHG 'dϮϱϰϮ άϱ Ddϭ ϬyWZKϯ н ϰϲZϮ Ăůů ,ĞĂĚ  άϭϯ 'ƌĞĞŶ ĂŶĚ ůƵĞ  άϭϯ ^>Z ŽŽŵ ĨƌŽŵ άϯ
&YDMVEFT JUFNT NBSLFE BT JODPNQMFUF PS GPS TQBSFT 'dϯϱϰϮ>  άϳϬ ĂƌďŽŶ &ŝďƌĞ  άϮϳ &ŽĐƵƐ 'W  ĨƌŽŵ άϳ

&ůĂƐŚŐƵŶƐ Θ >ŝŐŚƟŶŐ ĐĐĞƐƐŽƌŝĞƐ

DĂĐƌŽůŝƚĞƐ! ^ƉĞĞĚůŝŐŚƚƐ! <ŝƚƐ! &ůĂƐŚŐƵŶƐ! &ůĂƐŚŐƵŶƐ! &ůĂƐŚŐƵŶƐ!
^ƉĞĞĚůŝƚĞƐ!

ϲϬϬyZd άϰϮ
άϯϳ /ŶĐ άϱϬ ϰϯϬy // DZϭϰy // DdϮϰy ^ϳϬϬ ^ϭϬ Zϭ ůŽƐĞhƉ Zϭϭ ,s>&ϰϯD ,s>&ϲϬD &>ϯϬϬZ &>ϲϬϬZ & ϱϰϬ&' & ϯϲϬ&'
ĂƐŚďĂĐŬΎ άϭ άϰ άϳϰ άϮϮ άϯϯ άϰϭϱ άϱϱϱ άϮϳϱ άϰϮ άϭϯϰ άϮϳ άϯϰ άϮϮϱ

&ůĂƐŚŐƵŶƐ! DĂĐƌŽ ŇĂƐŚ! &ůĂƐŚŐƵŶƐ! &ůĂƐŚŐƵŶƐ! &ůĂƐŚŐƵŶƐ!

D'ϬϬϬ
άϯϰ WϰϮy
ά
DϭϰϬ '
Ϯϰ &ϭ ϰϰ &ϭ ϱϮ &ϭ ϱ &Ϯ ϭϱ D^ϭ & ϲϭϬ ' ^d & ϲϭϬ ' ^ƵƉĞƌ DĂĐƌŽ &ůĂƐŚ ŝϳϬϬάϭϱ W&ϯϬyάϳϰ ^ĞŬŽŶŝĐ >ϯϬƐ WƌŽ ϰϳZ ŝŐŝWƌŽ &
άϰ  άϭϭϱ άϭϳ άϮϰ άϮϰ ά άϭϰ  &ƌŽŵ άϯϭϰ ŝϲϲ DĂƌŬ //άϭ άϭϯ άϮ  άϭϱ 
dĞƌŵƐ ĂŶĚ ŽŶĚŝƟŽŶƐ ůů ƉƌŝĐĞƐ ŝŶĐů sd Ăƚ ϮϬй WƌŝĐĞƐ
ZŽŐƵĞ ĐŽƌƌĞĐƚ Ăƚ ƟŵĞ ŽĨ ŐŽŝŶŐ ƚŽ ƉƌĞƐƐ &Z ĞůŝǀĞƌLJΎΎ ĂǀĂŝůĂďůĞ
ŽŶ ŽƌĚĞƌƐ ŽǀĞƌ άϱϬ ;ďĂƐĞĚ ŽŶ Ă ϰĚĂLJ ĚĞůŝǀĞƌLJ ƐĞƌǀŝĐĞ.
^ŽŌůŝƚĞ &Žƌ ŽƌĚĞƌƐ ƵŶĚĞƌ άϱϬ ƚŚĞ ĐŚĂƌŐĞ ŝƐ άϮΎΎ ;ďĂƐĞĚ ŽŶ Ă
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άϭϱ /ŶĐ άϮϬ ĂƐŚďĂĐŬΎ ϭϯϱŵŵ Ĩϯϱϰϱ' &^  άϱϭ ϭϯϬϬŵŵ Ĩϯϲϲϯ  
&^ ϱϱϮϱϬŵŵ Ĩϰϱϱϲ /^ ^dD  άϮϬϬ ϭϭϬϱŵŵ &^ y Ĩϯϱϱϲ '  sZ  άϭ ϱ DĂĐƌŽ K^ ,^D άϯϲ
& ϭϲϯϱŵŵ ĨϮ > DŬ // h^D  άϭϬϲϰ ϭϭϰϬŵŵ Ĩϯϱϱϲ '  &^ y sZ  άϰϮ ϮϰϳϬŵŵ ĨϮ /& y ' ,^D  άϱ
& ϮϰϳϬŵŵ Ĩϰ > /^ h^D άϲϳϱ ϭϮϬϬŵŵ Ĩϯϱϱϲ '  &^ y sZ //  άϱϰ ϱϬϭϱϬŵŵ ĨϮ y  WK K^ ,^D άϳϯ
EKE >E^^ άϱϮϱ /ŶĐ άϭϱϬ ĂƐŚďĂĐŬΎ ϭϯϬϬŵŵ Ĩϯϱϱϲ  &^ sZ  άϲϲ ϳϬϮϬϬŵŵ ĨϮ y ' K^ ,^D  άϳ
& ϮϬŵŵ ĨϮ h^D  άϯϱ & ϱϬŵŵ Ĩϭ ^dD ά ϳ ϮϰϳϬŵŵ ĨϮ '  &^ άϭϭ ϭϮϬϯϬϬŵŵ ĨϮ K^ άϮϲϬ
&^ Ϯϰŵŵ ĨϮ WĂŶĐĂŬĞ άϭϮϳ & ϮϯϬϬŵŵ Ĩϯϱϱϲ > /^ h^D  άϭϳ ϱ Ϯϰϱŵŵ Ĩϯϱϰϱ &^ '  sZ άϯϳϱ ϭϮϬϰϬϬŵŵ Ĩϰϱϱϲ ' K^ ,^D &ƌŽŵ άϲϯ
άϭϬϳ /ŶĐ άϮϬ ĂƐŚďĂĐŬΎ & ϯϱŵŵ Ĩϭϰ> // h^D άϭϳ ϮϰϭϮϬŵŵ Ĩϰ ' &^  sZ  άϳϮ ϭϱϬϱϬϬŵŵ ĨϱϬϲϯ ' K^ ,^D άϲ
& Ϯŵŵ Ĩϭ h^D  άϯϰϱ ϮϯϬϬŵŵ Ĩϯϱϱϲ '  &^ sZ άϲϱϱ ϭϱϬϲϬϬŵŵ ĨϱϬϲϯ ^ ' K^ ,^D  άϭϮ
& ϭϲϯϱŵŵ Ĩϰ > /^ h^D  άϲϮ ϱϱϮϬϬŵŵ ĨϰϬϱϲ ' &^  y sZ //  άϮϱϰ Ϯϰŵŵ Ĩϭϰ ' ,^D  άϲϲ
άϲϬϳ /ŶĐ άϳϱ ĂƐŚďĂĐŬΎ ϱϱϯϬϬŵŵ Ĩϰϱϱϲ ' &^ y sZ άϮϲ ϭϱϬϲϬϬŵŵ Ĩϱϲϯ  ' K^ ,^D άϰ
& ϰϬŵŵ ĨϮ ^dD άϭϭϳ ϳϬϮϬϬŵŵ ĨϮ'  &^ sZ //  άϭϱϳ άϳ /ŶĐ άϱϬ ĂƐŚďĂĐŬΎ
ά  ϳ /ŶĐ άϮϬ ĂƐŚďĂĐŬΎ ϳϬϯϬϬŵŵ Ĩϰϱϱϲ '  &^ /& sZ άϰϮ Ϯϰϯϱŵŵ ĨϮ ' ,^D  άϳ
& ϳϬϮϬϬŵŵ Ĩϰ > /^ h^D άϳϱ E/<KE >E^^ ϬϰϬϬŵŵ Ĩϰϱϱϲ '  &^ sZ άϭϳ
άϳϮϬ /ŶĐ άϳϱ ĂƐŚďĂĐŬΎ ϭϬϱŵŵ ĨϮ ' /& & y &ŝƐŚĞLJĞ  άϱϰ Et ϮϰϳϬŵŵ ĨϮ &^  sZ  άϭϰ
& ϱϬŵŵ ĨϮϱ DĂĐƌŽ >ĞŶƐ  άϮϬϭ ϭϰŵŵ ĨϮ  &  >ĞŶƐ άϭϭ Et ϮϬϬϱϬϬŵŵ Ĩϱϲ &^  sZ  άϭϭϳ
&^ ϱϱϮϱϬŵŵ Ĩϰϱϲ /^ ^dD  άϮϬϬ ϮϬŵŵ Ĩϭ ' &^  άϱϳ Et Ϯϰŵŵ Ĩϭ' &^   άϲϮ
άϭϬ /ŶĐ άϮϬ ĂƐŚďĂĐŬΎ Ϯϰŵŵ Ĩϭϰ ' &^  άϭϯϳ dDZKE >E^^  ǁŝƚŚ ϱ zĞĂƌ tĂƌƌĂŶƚLJ
&^ ϲϬŵŵ ĨϮ h^D DĂĐƌŽ άϯϬϱ Ϯŵŵ Ĩϭ ' &^  άϰ ϱ ϭϬŵŵ Ĩϯϱ ŝ ^W & DĂĐƌŽ άϱϳ
άϮϲϬ /ŶĐ άϰϱ ĂƐŚďĂĐŬΎ ϯϱŵŵ Ĩϭ '  &^ άϰϮ ϭϬϮϰŵŵ Ĩϯϱϰϱ ŝ // > ^W & ^W /& άϯϰ
& ϯϬϬŵŵ ĨϰϬ > /^ h^D  ά ϱ ϰϬŵŵ ĨϮ ' &^ y DŝĐƌŽ  άϭϱ ϭϱϯϬŵŵ ĨϮ ^W ŝ s h^  άϰ
&^ ϭϬϮϮŵŵ Ĩϯϱϰϱ h^D  άϯϳϳ ϰϱŵŵ ĨϮ  W DŝĐƌŽ άϭϯ ϯ ϭϲϯϬϬŵŵ Ĩϯϱϲϯ ŝ // s W DĂĐƌŽ άϯ
άϯϯϮ /ŶĐ άϰϱ ĂƐŚďĂĐŬΎ ϱϬŵŵ ĨϮ ' &^  DŝĐƌŽ  άϯϳ ^/'D >E^^  ǁŝƚŚ ϯ zĞĂƌ tĂƌƌĂŶƚLJ ϭϮϳϬŵŵ Ĩϯϱϲϯ ŝ // s W  άϮϲ
& ϭϭϮϰŵŵ Ĩϰ> h^D  άϮϳ ϲϬŵŵ ĨϮ  & DŝĐƌŽ άϯϲ ϯϬŵŵ Ĩϭϰ  ,^D  άϯϱ ϮϰϳϬŵŵ ĨϮ ŝ s h^ ^W  άϲϳ
&^ ϭϱϱŵŵ Ĩϯϱϱϲ /^ h^D άϱϬ ϱŵŵ Ĩϭϰ ' &^  άϭϯϰ άϮϰ /ŶĐ άϳϱ ĂƐŚďĂĐŬΎ ϮϯϬϬŵŵ Ĩϯϱϲϯ ŝ s W  άϱϮ
&^ ϭϳϱϱŵŵ ĨϮ /^ h^D  άϱϭ ϱŵŵ Ĩϭ ' &^  άϯϯ ϯϱŵŵ Ĩϭϰ ' ,^D  άϲϯϲ ϳϬϮϬϬŵŵ ĨϮ ŝ s h^ ά Ϯ
άϰϳϰ /ŶĐ άϰϱ ĂƐŚďĂĐŬΎ ϭϬϱŵŵ ĨϮ ' &^ sZ /&  DŝĐƌŽ  άϲϱ ϱϬŵŵ Ĩϭϰ y ' ,^D  άϯϭ ϭϱϬϲϬϬŵŵ Ĩϱϲϯ ^W ŝ s h^ άϳ
&^ ϭϱϱŵŵ Ĩϯϱϱϲ /^ ^dD >ĞŶƐ  άϭϲ ϭϯϱŵŵ ĨϮϬ  &  άϭϬϮ ϳϬŵŵ ĨϮ y ' DĂĐƌŽ  άϯϱϭ
&^ ϭϭϯϱŵŵ Ĩϯϱϱϲ /^ ^dD  άϮϱ ϭϬŵŵ ĨϮ  & /& άϲ ϱ ϱŵŵ Ĩϭϰ y ' ,^D  άϲϰ $BOPO XJOUFS $BTICBDL PGGFS FOET 
άϮϳϱ /ŶĐ άϮϬ ĂƐŚďĂĐŬΎ ϮϬϬŵŵ ĨϰϬ & DŝĐƌŽ  άϭϭϳ ϭϬϱŵŵ ĨϮ WK y ' K^ ,^D DĂĐƌŽ  άϯϳ 4JHNB $BTICBDL PGGFS FOET 
&^ ϭϮϬϬŵŵ Ĩϯϱϱϲ /^ άϯϱϲ ϯϬϬŵŵ ĨϰϬ &^ W&  sZ άϭϲϯ ϭϱϬŵŵ ĨϮ y ' K^ ,^D DĂĐƌŽ  άϲϲ
& ϮϰϳϬŵŵ ĨϮ > /^ h^D // άϭϰϬϬ Et ϱϬϬŵŵ ĨϰϬ &> &^  sZ  άϭϰ ϭϲŵŵ Ĩϰϱϱϲ  ,^D άϱϮ
& Ϯϭϯϱŵŵ Ĩϯϱϱϲ /^ h^D άϯϱ Et ϲϬϬŵŵ ĨϰϬ &> &^  sZ  ά ϲϰ ϭϬϮϬŵŵ Ĩϯϱ y  ,^D  άϯϳ &Žƌ ĂŶŽŶĮƚ dĂŵƌŽŶ6
& ϳϬϮϬϬŵŵ ĨϮ> /^ h^D // άϭϰ ϭϬϮϰŵŵ Ĩϯϱϰϱ ' &^ y  άϲϯ ϭϮϮϰŵŵ Ĩϰϱϱϲ y ' ,^D // άϱϲϳ
& ϳϬϯϬϬŵŵ ĨϰϬϱϲ > /^ h^D  άϰ ϭϰϮϰŵŵ ĨϮ '  &^  άϭϯϭϱ άϱϭ  ϳ /ŶĐ άϱϬ ĂƐŚďĂĐŬΎ ^ŝŐŵĂ Žƌ ^ĂŵLJĂŶŐ ůĞŶƐĞƐ6
άϳϰ /ŶĐ άϭϭϬ ĂƐŚďĂĐŬΎ Et ϭϲϬŵŵ ĨϮϰ'  &^ y sZ  άϲ ϭϳϳϬŵŵ ĨϮϰϬ  K^ ,^D  άϯϮ ǀŝƐŝƚ ŽƵƌ ǁĞďƐŝƚĞ
& ϭϬϬϰϬϬŵŵ Ĩϰϱϱϲ> /^ h^D //  άϭϰϰ ϭϲϱŵŵ Ĩϯϱϱϲ '  &^ y sZ  άϰϮ ϭϮϬϬŵŵ Ĩϯϱϲϯ  K^ ,^D //  άϮϯ

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subscribe 0330 333 4555 I www.amateurphotographer.co.uk I9 January 2016 81

 Photo Critique

Final Analysis
Roger Hicks considers…
‘Bombay’, 1985, by Carl de Keyzer

© CARL DE KEYZER/MAGNUM PHOTOS

hat do you
see when you
look at this
picture? For
some, it will be surreal: the
smiling, waving passengers
in a seemingly apocalyptic
landscape. Others may wonder
at the ‘funny old car’. And
some will smile in recognition.
Most people can imagine being
in that car, but not all will
imagine the same thing.
For a start, there is the car
itself. It is a Hindustan
Ambassador, essentially a
mid-1950s Morris Oxford.
It remained in continuous
production in India from about
1957-2014, and more than two
million were made. A few are
still available new. They were
used as taxis, ministerial
limousines and, of course, as
private cars. Slow, thirsty and
expensive, they were (and are)
all but unbreakable and
surprisingly comfortable.
Of course, this is during the
monsoon, so to anyone who
has spent much time in India,
this is a curiously comforting ‘Technically, it’s unobtrusively clever. The by luck, which is why Magnum
picture: a reminder of how the traditionally wanted to see
world was, and should be. It idea of surging forwards is seen in literal contact sheets (de Keyzer is a
is an image of safety and Magnum member). They want
comfort. This is the nature
surging too, in the bow wave bottom right’ to see the picture in context:
of common culture, a mélange to see that it isn’t pure chance,
of experience, history and Panning and the blurred doctrine of swadeshi or although of course chance is
education. Often my lights in the background self-sufficiency. Successive involved, as is in most kinds
(American) wife and I feel reinforce the idea of surging Indian governments had failed of reportage.
that we share more common forwards. There’s literal surging to recognise that if misapplied The ‘f/8’ part of the injunction
culture with our Indian and too, in the bow wave, a textbook (as it often was), swadeshi was a is easily mastered. The ‘be there’
Tibetan friends than we do example of how to drive blueprint for stagnation, even if part – or rather, ‘be there, ready
with most Americans. through (fairly) deep water: the it was sometimes and for some to take the picture’ – is what
Purely technically, it’s bow wave occupies much of the people agreeable stagnation. typically distinguishes the
unobtrusively clever. The bottom of the picture. It well illustrates the old professional from the amateur.
Ambassador is driving into Even in 1985, black & white adage of ‘f/8 and be there’. Or more exactly, the Magnum
the frame, with more space was beginning to look old Technical considerations are photographer from the sort of
in front than behind. The fashioned, but then again ‘old normally of minor import in person who can’t distinguish
‘haunches’ of the car disappear fashioned’ is a lot of what this reportage. Compositional skills the occasional photographic
out of shot: a powerful animal, picture is about. At that time, are another matter, but of holiday from full-time picture
springing forward. Yes, I know India herself was distinctly course they are honed through taking, or who dreams of
it’s an Ambassador, but that’s old-fashioned, to a considerable practice. Almost any of us glory without realising
the compositional impression. extent as a legacy of Gandhi’s could have taken this picture what glory costs.

Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his website
at www.rogerandfrances.com). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by Nicolas Tikhomiroff

82 9 January 2016 I www.amateurphotographer.co.uk I subscribe 0330 333 4555

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