Photography Monthly 2013 02

O
OT
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for people who love making pictures Brought to you by PHOTOGRAPHY MONTHLY
FEBRUARY 2013
LANDSCAPES PORTRAITS GEAR NATURE

RECIPE BOOK - DETAILS TRIBUTE TO NIKON J2 | LUMIX TZ30 WILD BRITAIN:
MICHAEL PALIN & TESTINO FUJI FINEPIX F800 EXR CAPTURING THREE
BASIL PAOS WORLD ZERO GRAVITY ABSTRACTS STATES OF WATER
OF TRAVEL SURREAL PORTRAITS DIY SOUND SHAPES
DIVINE B&W COASTS ONE SUBJECT 50 SNAPS
3.99 ISSUE 144
PROJECT 52: GEOCACHING:
WIN A NIKON D600 I WIN A TRIPOD WORTH 360
BACK TO SCHOOL WITH SANDERS | THE THREE PEAKS CHALLENGE | WOW! IMAGE | DSLR MOVIES
FEBRUARY 2013 | ISSUE 144
WELCOME FROM THE TEAM
Adam Scorey
Ada
Editor
Edit and Group Editor, Imaging
adam.scorey@archant.co.uk
ada
L
Lorna Dockerill
D k ill Jessica
i Bracey Noell Hibbert
ibb t Jade Price
Features Editor Features Writer Art Editor Multimedia Writer
lorna.dockerill@archant.co.uk jessica.bracey@archant.co.uk noel.hibbert@archant.co.uk jade.price@archant.co.uk
NEVER STOP LEARNING...

I bought my youngest daughter, Kate whos 12, a camera for Christmas, a Nikon V1 with the 10-30mm kit lens. Needless to say she was ecstatic.
In fact, she spent practically the whole day taking pictures, but not quite as I expected. I thought shed wander about snapping still life shots,
from Christmas tree decorations to sleeping grandparents. Instead she spent her time making mini stop-frame animation stills movies. Not a
clue where she got the idea from. No help from me. I must admit that I didnt even know she knew what one of these types of movies was, let
alone know how to make one. I was impressed with the creativity of the idea and it spoke volumes to me about how you can learn from even
the youngest, most inexperienced of photographers. Of course I did mention the time-lapse feature would have made it easier and using a mini
tripod so all the images were shot from the exact same spot would improve image quality; a pregnant pause ensued as my suggestion floated
off into the ether; mentally I had a vision of tumble weeds bumping through dusty streets... Kates look said it all and I turned and left the
stairway studio she was filming her next Oscar-winning movie on.
What I learned from this experience was that its fine not to be technically perfect; give people the tools
to create and invariably they will.
THIS MONTHS Ravshaniya

Rav
Azoulay
Azo
Sim Booth
Simon
Wildlife
Wil
Craig Fleming
Portrait
Katie Green
Staff writer
CONTRIBUTORS
Portrait
Por photographer
pho photographer English Home
pho
photographer Magazine
Fran Halsall Ste Landeros

Steve Tom Mackie Tom Martin
T Basil Pao Paul Sanders Karl Shaw
Landscape Landscape
Lan Landscape Film maker Travel Landscape Portrait
photographer photographer
pho photographer photographer photographer photographer
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www.photographymonthly.com - February 2013 [3]

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63-67 ELINCHROM TESTINO TEST
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8
P3 Inspired by a Brad Pitt shoot by Testino,
C
C A Craig Fleming endeavours to recreate his
S
own shots using Elinchrom BXRis
N D 68-71 SANDERS SCHOOL PROJECT
ry
LA Its back to school with Paul Sanders in his
plight to get photography in the curriculum
rua
Feb 24-28 GEOCACHING 74-79 WOW! BACK STORY
Karl Shaw braves the wet weather of We catch up with last months Wow! Image
R S Derbyshire for this issues treasure hunt photographer, Ravshaniya Azoulay, to find
A
out the secrets behind her illusions
U L 30-37 LANDSCAPE RECIPE BOOK
G Fran Halsall looks at time saving options

E L
RE V
for detail shots when on the go
38-41 REMEMBERING VELVIA

R A
3 MEET THE PM CONTRIBUTORS
Tom Mackie mourns an old lover in the
form of Fuji Velvia film
T
6-7 WOW! PICTURE
8 PLUGGED IN FREE PHOTO TV
42-47 BLACK & WHITE LANDSCAPES
10 THREE PEAK CHALLENGE 49-55 BASIL PAO
Steve Landeros explains why negative
12 PROJECT 52 We peek into the world of Paos beautifully
space has a positive effect on his images
14-18 READERS GALLERY captured travel images
20-21 CHARITY SHOP CHALLENGE
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[4]
06
P1
8
P8
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81-86 WILD BRITAIN
Simon Booth explains why H2O is the water
08
of life for photography as well as ourselves P4
2 P1
A R
CT
88-93 TRAVEL WITH THE TZ30
G E Katy Green puts the TZ30 through its
R A paces in a six week stint across the USA
S T
A B 56-59 DSLR MOVIES
106-107 NIKON J2
Keith Wilson tests out Nikons sexy
This months guide is all about keeping looking J2 with a trip down to the
focus when filming waters edge
96-103 DIY PHOTOGRAPHER
We explore different viewpoints by taking 87 CAMRANGER TEST 108 FUJI FINEPIX F800 EXR
50 shots of one subject and experiment Simon Booth tests out the small but Boo Marshall explains why good things
with using sound to create sight mighty CamRanger come in small packages with the F800
IN
W
RIBE
SUBSSUCES FOR
P12
13 IS 20
UNDER 104 NIKON D600
ON PAG E
PHOTOSHOP
PROJECT 52 ELEMENTS 11
P24
COVER IMAGE
A heartwarming image that encapsulates the love
between mans best friend and their owner, this THREE LEGGED THING TRIPOD
stunning lifestyle shot by Belu Gheorghe with LENSBABY COMPOSER PRO
GEOCACHING
golden hues and dreamy finishing touches was a MINI HD2 ACTION CAMERA
sure front cover. The pose is so endearing and the
beautiful dogs proud pose is just perfect.
AQUAPAC 25L WET & DRY BACKPACK

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MO D
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IN
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WO EX
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WOW! IMAGE BY ADRIAN SOMMELING
My son often shows me something

about my own youth by being himself.
With this photo I wanted to express what
I felt a long time ago and what many
people remember from their childhood.
www.adriansommeling.com
[6]
WOW!
ADRIAN SOMMELING Category
Picture
Story

Online
Digital
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WEVE LAUNCHED OUR FIRST The Times, Paul Sanders, to the studio for
PHOTO TV PROGRAMME an exclusive insight into his work and life at
Taking you beyond the still image one of the UKs biggest national newspapers.
Photography Monthly has aired its first TV Glean his top photo tips - which include
programme and is ready and waiting for you taking your shoes and socks off -
to enjoy. From an interview with landscape and listen to our question time
photographer Jonathan Chritchley to a look with Paul by visiting our website
at the latest trend, boudoir, Photo TV also and clicking the podcast tab.
teaches you how to create your very own Happy listening.
long-exposure wire wool shots and
showcases one of our readers videos too,
its jam packed with all things photography. JOIN US ONLINE
Photo TV also updates the channel every day We have some exciting times ahead here at Photography Monthly and we want you to share
with new and exciting movies shot all over in them by staying plugged in to the action online. Some members of the team have bravely, or
the world, and also features home-grown foolishly, agreed to partake in The Three Peak Challenge in order to bring you some breath
talent that deserves some exposure. taking photography from the three tallest mountain peaks in the UK. You can keep up to date
This month has been awash with new camera with their training tears and tantrums via the website blog.
releases, so Photo TV presents you with all You can catch up with all the latest press coverage of the main events on 2013, including
the latest videos straight from the CES, to find out what the manufacturers are treating us to this year. You can also dip in and
manufacturers showcasing their new gear out of our fun top tip lists on the blog to see
following CES, the biggest technology show whats hot in the industry and pick up some O
OT
PH
in the world. From Olympus to Fujifilm, Nikon, essential need-to-know knowledge while you
Canon and Pentax, get up close and personal sip your brew. Join the Photo
with the newest stars of 2013 and see what Tune in every day to see which gallery TV crowd here
theyre really made of. image we vote as our Photo of the Day. www.photographymonthly.com/PhotoTV
Our latest podcast welcomes landscape www.photographymonthly.com/Blog or scan the QR code with your phone.
photographer and former Picture Editor of
[8] www.photographymonthly.com - February 2013

Three Peak Challenge
Charity
Nearing the peak

of Snowdon.
THINKSTOCK.CO.UK
Scafell Pike, a view towards
the highest reaches.
THREE PEAK Climbing towards the

peak of Ben Nevis.
PHOTOGRAPHY
CHALLENGE - HELP US!
What is it about the beginning of a new year that makes us feel invincible,
willing to do anything, and make all sorts of promises that circulate fitness?
ere not just talking about a blind THE THREE BEASTS National Park and is
W promise to take out a gym
membership and swear that we will
Travelling from Ben Nevis in Scotland to
Scafell Pike in England and over the border
the second largest
of the three beasts
answer the call of the treadmill at least five to Snowdon in Wales, the three mountains the team will face.
times a week, oh no. We here at Photography must be climbed in 24 hours including travel. Wales is renowned for its tumultuous
Monthly have set our heights high, giddily weather, so it will be a challenge to take
high, by signing up to the UK Three Peak BEN NEVIS: SCOTLAND some interesting shots through heavy
Challenge for Cancer Research. Ben Nevis stands strong at an impressive downpours and vicious winds. Yes, even in
The team will aim to conquer the three 1,344m, and not only is it the tallest of the May! But we can be hopeful.
beefiest mountains in the UK in the name of three, it is also the highest point in the UK.
photography and charity, all in 24 hours! It will be a hotspot for photographic SUPPORT FOR CHARITY
The challenge will not only give us the opportunities, being the collapsed dome of To support the team in their pledge to raise
opportunity to test ourselves physically, gulp, an ancient volcano, perfect for a panoramic funds for Cancer Research, you can donate
but will also test our photography skills at eagle eye view of the highlands. by visiting our online JustGiving page below
high altitudes on scary terrain and against or scanning the QR code (above).
the ever-unpredictable British weather. SCAFELL PIKE: LAKE DISTRICT bit.ly/WDB1gs
We want to show you the sort of shots that The summit stands at 978m and is fringed by We would also be extremely thankful for
can be achieved by conquering Ben Nevis, crags and narrow ridges. Steady hands and any support given in the form of promotional
Scafell Pike and Snowdon. feet will be needed to take a decent shot T-shirts, van hire or willing drivers to help us
against the whipping winds and dizzying embark on our charity mission.
THE CLIMBING POSSE heights of the precarious ledges here.
Joining the team is PM subscriber and Keep up to date with the teams training via the
amateur photographer Alan Jepson and his SNOWDON blog section of our website, and bask in their
team from Nottinghamshire, who hope to Snowdon looms tall at 1,085m, standing blood, sweat and tears from the comfort of your
test their photography skills with us in May. amongst the wet wilderness of Snowdonia armchair. www.photographymonthly.com/blog

Focus On
Imaging Exhibition
F CUS
on Imaging
JOIN US AT FOCUS ON IMAGING 2013 STAND E18
3-6 MARCH
Forget the drab boundaries of Focus On Imaging stands youve seen time and time again, this year
Photography Monthly has a treat in store. Aside from new launches, photo opportunities and gear
demos, the show will also house our stall where we will be joined by many top names in the industry.
Experts on board include acclaimed portrait photographer Kate Hopewell-Smith, who will be on
hand to share tips and advice in person, funny man Craig Fleming, a photographer sure to bring a
smile to your face and the G-Technology brand will have some of their latest RAID kit too. DSLR
movie making pro Tom Martin will make an appearance and offer one on ones to aspiring
videographers, and Stewart Randall from quirky album company Folio Albums will no doubt restore
your faith in print. Well also have an ORBITVU Mini to experiment shooting 360 product
photography, courtesy of AJs Studio & Camera Supplies!
As ever, we like to keep things exciting, so have been hard at work planning a special theme which
will remain under wraps until we see your faces at the show, but we can guarantee that your
photographic senses will feel thoroughly indulged!
The brilliant team from our sister title, Professional Photographer, will also be joining our show
hotspot and like us, would love to meet you, so why not drop by and say hi to the team behind the
magazines. See you there.
www.focus-on-imaging.co.uk
National Exhibition Centre, Birmingham, B40 1NT

WIN*
Blog togs
N*
W
WI
Competition Win a Nikon D600 NIKON
IN
D600
* PHOTO
11 *
PLUS...
PROJECT
TS
52
H
EN
S
OP
ELE M
Are you a young, innovative and

creative photographer looking for a
project to further your photographic
experience, and wanting to have fun
doing it? We have just the thing...
ith the beginning of the new year its a fresh start all round All we suggest that you do with your blog page is put your name,
W for the photography market companies are planning their
new launches, photographers are organising shoots and
age, region and what camera you are using so we can keep up to date
with your projects. You can also visit other peoples blogs this way
consumers are looking for fresh photographic talent, and so are we. and see how everyones projects differ. Once youve posted your blog
We want to see what the younger generation has up their sleeves and all you have to do is go on Twitter, hashtag #project52 with our name
we are ready to be wowed by images produced by the bright-eyed and @photomonthly and we can keep track of all your entries.
bushy-tailed crowd of youngsters.
So we have devised Project 52. Its aimed at 10 to 16 year olds with GET IN THE MAG
flair and passion for photography. But remember, if youre over 16 Another exciting aspect of Project 52 is the opportunity it will give
then you dont need an excuse to start your own photography project, you to see your work printed in the magazine! Once your project is
just get out there, get creative and get sharing! Oh and the overall underway you can upload any shots you are particularly pleased with
winner at the end of the year will get their hands on a Nikon D600 to our Project 52 gallery on our website and we will pick the best
and a lens, courtesy of our friends at Nikon (Thank you, guys)! ones to be printed in the magazine.
Project 52 is all about being innovative and getting you to think; to All you have to do is upload your images to our gallery by signing
find a brilliant shot in your daily routines. All you have to do is take up to www.photographymonthly.com/register for free. You can upload as
one image every week starting April this year until April 2014 and many images as you like, and you can even upload your work into any
upload it to a free blog (which we will explain later). Your images may of the other categories in the gallery if you feel adventurous.
even feature in the magazine itself! The project is similar to the hefty We would love to watch your projects grow over the weeks, so why
365 idea of taking a photo every single day for a whole year; see our not email a link to your blog, once its set up, to jade.price@archant.co.uk
Art Editor Noels 365 project by clicking here, to get some and we will follow it and make comments along the way.
inspiration. www.cotswoldpictures.co.uk/index.php/category/project-365/
GET OUT THERE, GET CREATIVE AND WIN PRIZES
IDEAS We will be judging your blog entries each month, starting in April, and
Your project could be about anything; landscapes, portraits, wildlife, giving a fantastic prize away to the best post for engaging words and
or even abstract ideas like photographing things which represent a images. The first few months of the year are to get you into the swing
certain emotion, such as happiness where you might photograph of things and April is the month when it all gets competitive!
balloons one week and friends laughing another. As long as you Perhaps the biggest highlight for prizes will be the overall winners
are thinking about what you shoot and enjoying doing so then its prize at the end of the year, where they will be awarded with a Nikon
mission complete! D600 and a 24-85mm f/3.5 lens! It doesnt get much better than
that! Oh wait, it does, because you will also get Photoshop Elements
BLOGGING 11 so you can snap, edit and share your images!
When you have taken your photo for the week and have tweaked and We will be able to email you with tips on tagging your posts, driving
edited it to your complete satisfaction then we want you to upload it content to get more people viewing your photographs and how to
to a Wordpress account and write a little blog post about it. You can make your great shots even greater once you have set up your blog.
say why you took the photo, where the idea came from, how you did it Full terms and conditions are available online at
and how you feel about the finished result. Do this every week for the www.photographymonthly.com/Competitions/Photography-Competitions/Project-
52 weeks until April 2014 and by the end of it all you should have a 52. If you join the project at a later date you must only post the
fantastic project to show for it! photos you have taken since youve joined. Practise photos can be
Setting up a free Wordpress account is simple. All you have to do is taken up to April and then competitive judging will commence in
sign up by visiting the link below and customise your page. You can order to win the prizes up for grabs.
choose different themes for your page and layouts so that it really So what are you waiting for? Get out there, get creative and
reflects you and your project. www.signup.wordpress.com/signup/ get blogging!

READERS
GALLERY
Erin Beck
Dream
Chris King Daiva Ziliute

One Day I Love Christmas
Upload your images to www.photographymonthly.com then

well choose our favourites and feature them in a future issue
[14]
Readers
Gallery Upload
Andrew Dutton
Fishing Huts
Anna Theodora Ahmed Wahdan

Motherly Love Love is in the Air
Join us on Facebook: Photographymonthly to see photo of the day

Readers
Upload Gallery
Rob Buttle
Reflection
Barney Gibbons Amy Butterfield

Nottingham Contemporary Waiting...
pher * Y
o g ra ou
ot
Ph
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ge
See pa
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Pho
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12 to g
to g ra p
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invo e
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Tracey Clifford
Smarties

Readers
Upload Gallery Are you a young
photographer aged
between 11-16? Then
visit p12 for an exciting
new project!
Dont forget to follow us on Facebook.
We constantly send out requests for Kevin Knapp
Through to the Blue
your images here and post our photo
of the day, so dont miss your chance
to be seen!
Abdullah Al-Zaidan
Late Night Coffee
Ian Pettigrew
Park Snow 4
Phil Carpenter
Swanage Pier

PHOTO TOURS & WORKSHOPS
Led by professional travel photographer TIM MANNAKEE
Small groups, well-researched locations & great value! WORLDWIDE:
WO
Burma
FRANCE: China
Alsace in autumn - Spring in the Dordogne - Provence Iceland
lavender - Languedoc - Camargue White Horses Norway
Ven
Venice Carnival
h k so muchh ffor ma
Thanks making the
www.euretphotoholidays.com
workshopp extremelyy rewarding,
rew
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memorable and beyond fabulous
PHOTOGRAPHY MONTHLY
NEEDS
YOU!
[20]
Charity Shop
Challenge Category
Reader
After talking with a reader ADAM SCOREY felt

inspired to set up a fun chain-photography event
with readers. Heres how you can take part
his whole idea is Barrys fault, Barry Fryer that is. Originally does the rest. It went out of date in 2005 so the results could be
T I met Barry via an email he sent me, shall we say, giving me
some constructive criticism on the content of PM. We got
interesting to say the least.
chatting and he happened to mention an idea he had concerning film SO, HOW CAN YOU GET INVOLVED?
(remember that?) and old cameras which went down a storm. A We need readers willing to take one of the cameras and shoot a few
project that he entitled The Pentax Challenge whereby he went images but then post their camera on to the next person in the chain.
off and bought an old Pentax point-and-shoot for a few pounds plus Well supply the address and cover postage.
a roll of film, and asked a group of random people to take the camera
and shoot up to four images and then hand it over to the next person IS THERE A THEME?
in the chain to do the same. In total nine people took part, with a Yes; we want a small set of images of the things that are important to
mixture of ages, but many more asked to get involved. you, from friends and family to your job or pet. Your photographs can
You could take pictures of anything you liked, whether a landscape, even be of a scene that is particularly important to you or an
portrait or stream of consciousness style, it was completely up to the inanimate object. The essential part is that it is important in some
photographer involved. The concentration was on the composition way or another.
and narrative rather than the technical. The end result was that you
got to see very different slices of life taken on a very simple camera. WHO CAN TAKE PART?
It was also fun of course. Anyone, from novice to hobbyist, child to pensioner; it doesnt matter
I really liked this idea; simplifying things, going back to basics and as its meant to be fun.
having a play around with film, but, more interesting was getting that
insight into readers lives or interests. So, Lorna and I bobbied off to WHAT WILL WE DO WITH THE IMAGES?
some local charity shops and managed to find a couple of point-and- When we have the cameras back in the office we will develop the
shoot compacts for the grand sum of 7.99. films, have prints made and scan all of the images and publish them
with their stories in a later issue. We will have a profile of each
THE GEAR reader taking part and caption as to why the images are important.
The first camera cost the princely sum of 99p; its unbranded and Please remember, this is not about ultimate image quality, we wont
is essentially a polycarbonate light-tight box with a lens and manual be critiquing the images just sharing them.
winder. I dont think you could find an easier or simpler 35mm film
camera to use. There is no zoom or meter to speak of. You really do WHAT HAPPENS NEXT?
just point-and-shoot. Perhaps well load this with black and white film. Anyone interested in taking part, please send your name and address
By contrast, the second camera is a veritable technological marvel, to the following email address, including Charity Shop Challenge
the Canon Ixus Z50. Apart from sounding like a sports motorbike, in the subject field of your email: lorna.dockerill@archant.co.uk.
this Advanced Photo System (APS) film compact comes with a 26- Alternatively, send your full contact details to: Charity Shop
52mm zoom with an aperture range of f/4.2-6.7, active AF, an optical Challenge, Photography Monthly Magazine, Archant House, Oriel
viewfinder, five flash modes and Programmed AE. Its also quite small Road, Cheltenham, GL50 1BB. If you have a preference for the APS
and light so easily pocketable. camera or black and white, please let us know. As soon as we have
We have a roll of the now defunct 25-exp Fuji Nexia film to go with roughly 15 names across the two cameras, well contact those taking
it, in the form of a cartridge that you just drop into the camera and it part directly to have a chat.

Little People
Gallery Competition
BLOWING
BUBBLES WITH
LITTLE PEOPLE
e wanted to show you a fantastic This month we have been Jane simply used an Olympus E-5 with its
W image by Jane Hewitt who has been
photographing tiny model subjects
looking at all of your fantastic macro lens for the image. She explained that
the most difficult element of working with
ever since she came across the book Little
Little People images that we little people is actually getting them to stand
People in the City: The Street Art of asked you to upload and there where you want them. A tiny dab of glue (or
Slinkachu, and even has her GCSE students were some real corkers Blu-Tack that you can remove in Photoshop)
photographing them. usually helps. The bubble shot was difficult
Janes eye-popping picture of a little After taming the bubbles Jane wanted to as you need the lightest of touches or the
person hugging a bubble came to her when add a particular model of little person to bubble will burst!
she discovered the wonder of Magic Bubbles, complete the composition, The figure for We will be sending Jane and a couple of
These bubbles float for ages and harden this image should actually be laying on the other photographers due to feature in
when they land, staying solid for a few floor - hes titled Lost Something but I loved upcoming issues a brand new pack of little
minutes which means photographing them is the expression on his face and it worked well people to add to their families. We want to
easier. If you are careful you can catch them when it looked as if he was squashed against see how the individual photographers
and take photos of reflections in them (just the bubble. Jane then completed the choose to photograph the same set of little
be aware that they do tend to form a sticky composition by using an old crate she found people, so keep an eye out for our second
patch when they burst but thats easily at an antiques shop, a great place for finding photographers amazing little person photo
picked up by rubbing the solution between unusual objects to give your Little People and stay tuned for the final result in a future
your fingers). images that extra bit of flair and originality. edition of PM.

This month KARL SHAW gets
down and dirty in deepest
Derbyshire, secreting treasure
and attempting to whet your
appetite for a day of adventure
aybe, just maybe, one day Ill be

M asked to head to a cosy studio or
stunning location brandishing the
latest Hasselblad for a rendezvous with
Sienna Miller to shoot the cover of Vogue.
Or, instead of traipsing across some desolate
English moor in the middle of winter, Ill be
jetted off to Fiji or Mauritius. I can see the
clues now, Youll find the treasure buried
beneath the third coconut tree from the
right, just where the turtles cross the white
sandy beach, as they make their way towards
the clear, warm ocean. Well, I can dream.
For the time being Im more than happy to
soldier on, braving the elements in the hope
that you, the reader, will be tempted to not
only get out and take some great pictures
but to also grab one of the excellent prizes
on offer. At the time of writing, I have no idea
what goodies await the winners, but after
seeing the last couple of months articles in
print I was sorely tempted to don a false
beard and dig the treasure up myself.
Let me set the scene. January 3 2013
the one and only day I have available to head
south to Derbyshire, explore the area, bury
the treasure and capture the surroundings in
all their glory. Given the time of year and the
distance I have to cover to reach my
destination, I figure I have a few hours of
light at the most. Now, if you can cast your
mind back to that particular date and you
were anywhere near the Peak District youll
know only too well that the weather Gods
were not very kind. That is somewhat of an
understatement. The temperature was low,
the cloud was low, the rain was wet very
wet and my hopes werent exactly high. Id
come to one of the most beautiful parts of
the country in the vain hope of not only
providing the magazine with print-worthy
photographs, but possibly creating some new Great looking beaver pointing towards the
wall art for my office. Okay, maybe coming treasure. If you look closely youll see
Derwent Dam in the background.
back in July or August may have been a
better bet but with print deadlines, failure
wasnt an option. Ever the optimist and being is our first stop. Roughly translated from a car park on your left. This is our second
the consummate professional, Im supposed heather-edge, Hathersage is a typical stop Surprise View. The surprise view on
to turn adversity into triumph create a silk country town with gift shops, cafs and this particular day was that there wasnt one!
purse from a sows ear. But can you imagine country pubs. Its a good starting point to re- The cloud was so low and the rain so fine
that youre all geared up to shoot Sienna and fuel your body as well as your car luckily that any thought of a breathtaking vista was
in walks Olive from On The Buses? This was a right next door to the petrol station is a quickly quashed. Hopefully on the day you
big ask. climbing and mountaineering shop called visit things will be a little better. I have been
Our final destination will be Ladybower Outside with a fabulous caf located on the here in hotter months and the scenery is
Reservoir, close to Derwent Dam but there first floor. outstanding, with gigantic rocks forming
are a couple of areas close by that are of If you head east out of the village along interesting shapes and patterns along the
particular interest. The village of Hathersage the A6187 in a couple of minutes youll reach horizon. But, even in trying conditions its
[24]
LANDSCAPE
Competition
TREASURE
COMPETITION
Hathersage perfect for fuel and food. Above Hathersage

Surprise View
important to visualise a final image have an idea of what you can of three reservoirs strung together. The first being Howden Reservoir,
create when conditions are less than ideal. I do like to challenge then Derwent Reservoir and lastly Ladybower. Its Derwent Dam
myself from time to time this was a challenge and a half! Shots which separates Derwent from Ladybower where the treasure is to
bagged, its time to move on and bury the treasure. be sited. More of that later. As you head out of Hathersage, take the
Ladybower Reservoir is situated on the other side of Hathersage A57. Youll drive over Ladybower Reservoir and theres a right turn
and if you get the right weather and light you cant help but be just as you cross the bridge with a brown sign for Derwent Valley
inspired by the colours and textures. Ladybower is the last in the line Dams. This is the start of an amazing journey with miles of twisty
The calm before the storm at the top of the dam
I HAVE BEEN HERE

IN HOTTER MONTHS
AND THE SCENERY
IS OUTSTANDING,
WITH GIGANTIC
ROCKS FORMING
INTERESTING
SHAPES AND
PATTERNS ALONG
THE HORIZON.
A D3s with a 24-70mm f/2.8 lens would probably be a bit too obvious in the middle of a busy caf. I do love the
iPhone with the Hipstamatic App. Basically you can buy extra packs which consist of numerous virtual film and
lens combinations this is my favourite combo: the John S lens and Kodot XGrizzled film.
[26]
Geocaching
Competition
The walkers clothed in red are

heading in the right direction
roads, dense woodland and pretty walkways. A good start would be real Dambuster raids on German dams. The dam itself looks
to park in Fairholmes car park, which is the larger car park between stunning in full flow maybe a Lee Filters big ten stopper is in order?
Derwent Reservoir and Ladybower. Here youll find refreshments and Oh! Theres also a museum for the culture vultures amongst you.
a toilet stop. Once parked, take a leisurely walk through some To be honest the whole Peak District is stunning, from locations
woodland towards Derwent Dam. A bit of history Derwent Reservoir like The Roaches to the market towns of Matlock and Bakewell there
was used by pilots of 617 Squadron during the Second World War for are hundreds of photo opportunities to be had. There are also plenty
practising their low-level approaches across the water needed for the of places to keep the non-photographer members of the family happy.
Derwent Dam
THE CLUES 4. Right behind the tree the opposite side from the sign youll find
1. After youve parked at Fairholmes, head toward the base of Derwent the treasure, just below the surface near the roots.
Dam.
2. Shortly youll come to a stone bridge once across, theres the GPS COORDINATES
start of the Nature Trail on the right. 532409N 14430W
3. From the path you cant miss the giant beavers luckily the first
one just happens to be facing a tree with a wooden sign in front GRID REFERENCE
inscribed with the word Alder SK 172 895

Geocaching
Competition
I N
Worth0 W
36
Winnerr
01
20
0 13
13
2013
February X1.1 BRIAN EVOLUTION 2 CARBON FIBER
TRIPOD SYSTEM WITH AIRHED 1 BLUE
This attractive tripod from Three Legged Thing will definitely do
the trick when composing tricky landscape shots. This tripod is
1st prize designed for the traveller in you; it is versatile and can load
mammoth weights of up to 8kg and has super flexible capabilities
of 125mm up to 2.04m. With patented multi-functional use and
Stealth Carbon Fiber Brian is a tough terrain warrior. So
no matter whether youre shooting low sunsets or tall wide-
sweeping panoramas this tripod will ensure that you dont miss
a single shot.
Runners-up
p
Runner-up
2013
01
01
20 13
20133
February
2nd prize
LENSBABY COMPOSER PRO
Worth 300 this ingenious selective focus
lens complete with tilt/swivel ability prides
itself on a sweet focal spot while blurring
the rest of the image for dreamy effects.
www.lensbaby.co.uk
4th prize
3rd prize AQUAPAC 25L WET & DRY BACKPACK
MINI HD2 ACTION CAMERA Dont get caught out in the rain when
This little helmet cam from carrying all your essentials with this Wet
Sport-Cam has a longer battery & Dry Backpack from Aquapac. With a 25
life than its predecessor, now litre capacity and external pockets to
standing at two and a half hours, for extra time hold a drink and a tripod, its a must-have
on the slopes. It records video at 720p and is for the adventurous photographer.
snow and rain proof all you need for a quick www.aquapac.net
little adventure somewhere.
www.sport-cam.co.uk
Winning geocachers should send a portrait of
themselves with their ticket at the cache location to
lorna.dockerill@archant.co.uk to claim their prize.
Go and explore, you know you want to!
Winners
RUNNER-UP: WINNE

FIONA STONE
13
R
SHIRE
GR OS
Leyburn, North Yorkshire

RK
M
O ON
T-Y
WINNE

12
WINNER: WINNER:
R
PING
ROY SAMSON Dave Handson

ROSE
Cleveland, Finghall,
OP
Middlesborough T BE North Yorkshire

RRY

Atmospheric
Moments
This months
front cover Belu Gheorghe - Friends
Nikon D80 | 50mm f/1.8 | 1/80sec | f/3.2 | ISO 100
[29]
Appetisers offer a heady taster of culinary
flavours to whet your appetite and can be
ideal when short on time. Here landscape
photographer FRAN HALSALL adopts a
similar photography philosophy in our
Landscape Recipe Book series
PHOTOGRAPHY ON THE MOVE

BIOGRAPHY Natural light is a fickle thing and many hours are spent waiting for a
Fran specialises in UK landscapes and is specific combination of sunshine and weather to come together and
working on a book about the diversity of illuminate the landscape in a certain way. Happily enough aside from
British landforms. She has written two books open vistas, the natural world provides many smaller subjects that are
and teaches courses in the Peak District. much less time consuming to record, because working in close detail
www.fran-halsall.co.uk means that the skys character, or lack thereof, is no longer a limiting
factor. Successful detailed photographs can be shot in nearly all
lighting conditions, from bright sunshine to the heaviest of shade,
which means that no trip out into the landscape needs to be wasted
given the right inspiration.
[30]
Landscapes
Technique
Appetiser
Turning Bracken
Location
New Forest
Brackens and ferns are a rewarding subject

because of their strong repeating pattern and
slightly off-set symmetry. They are usually at
their best when freshly emerged in spring and
when they begin to die back in autumn.
Method
The key was to find a frond where the ground
behind it was already in shadow as this throws
both the leaf shape and the vibrant colour into
relief. This was not quite as easy as it sounds as
the day was overcast and shadows reduced, and
muddy tones behind the bracken would detract
because edge contrast would be less
pronounced. If consistent shadow is hard to
find then a black camera bag or a dark (and
not shiny) coat may well do providing it is
sufficiently far back from the subject so as to be
completely out of focus. Although the shot itself
was executed quickly, a few minutes were spent
finding a plant that was both most
representative of the species and one that
showed the least leaf damage. By keeping the
aperture wide open the depth-of-field is limited
to a centimetre or so, and by focusing
approximately a third of the way back from the
leafs tip the sharpness is concentrated at the
top and the transition from soft to sharp helps
draw the eye along the subject. In order to keep
the dark tones gloomy, a minus compensation of
2/3 of a stop was dialled in.
ete
ring
Ingredients
ive
M
at Lens: Canon 100mm f/2.8 Macro

alu
Ev Camera: Canon EOS 5D
Exposure: 1/25sec, f/3.2, ISO 200
Taste
The rich autumnal colours are well captured in
this image and the simple composition allows
the plants complexity to come to the fore.

Landscapes
Technique
Appetiser
Basalt and Sand
Location
White Rocks Beach
A photographic image can be thought of in

terms contrast, and here it is as much about
tonal difference: black basalt engulfed in
shadow and bright quartz sand caught in
dazzling afternoon sunlight, as it is about the
variable textures and shapes.
Method
The composition is broken down into four
separate zones: the darkest rock and the
shadow it casts, the pale shadow cast by the
miniature dune and its brighter flank. The
image was arranged so that the crisp edge
highlight snakes in from the bottom right hand
corner and flows towards a vertical crack in
the boulder. Spatial lead through a
composition is as important a detail as it is in
a wider landscape view. As the majority of
close-ups depict shallow spatial depth, it is
even more likely that the image will appear
flat and lifeless on the page. This photograph,
however, takes advantage of the fact that
bright tones come forward in space and dark
ones recede, making this image easy to read
from bottom (close) to top (further away).
In such bright lighting there was a danger of
losing highlight detail so a polarising filter has
helped reduce the sands glare.
ring
ete
e
M
a tiv
alu
Ev
Ingredients
Lens: 17-40mm f/4L USM at 36mm
Taste Camera: Canon EOS 5D Mark II
The monochromatic quality is pleasing, Exposure: 1/5sec, f/22, ISO 100
although the hint of beige in the sun-bleached Filter: Polariser
beach pulls it back from pure grey. The gritty,
mobile sands create strong textural contrast
with the wave-smoothed rock.

Landscapes
Technique
Ingredients
Camera: Canon EOS 10D
Exposure: 1/90sec, f/11, ISO 100
Filter: None
Appetiser
Banana Leaf
Location
Moo Baan Dek, Thailand
Backlighting streaming through a leaf creates a visually delightful experience as the subject glows with intense colouration and the internal
structures are defined with the clarity one might expect to see in a scientific image.
Method
With a leaf as large as this banana it becomes much easier to shoot because it entirely fills the frame and there is no risk of stray sunlight
causing flare. Another bonus is that the depth-of-field beyond the subject can be discounted, however this is offset by the fact that depth-of-
field is reduced a significant amount when working close-up, and this is why a medium aperture of f/11 was chosen. By aligning the cameras
focal plane with the leafs surface, consistent sharpness is achieved across the image. The basics of composition still apply in this semi-
abstracted view and the leafs rib is arranged on the right third, allowing greater space on the left in order to show more of the
recently fallen raindrops.
Mete
Ev
rin
alu
at
g
ive
Taste
The combination of fine translucent detail, rich colour and water droplets as a finishing touch create a simple
and bold composition.

01 02
Ingredients
Camera: Canon 5D
01 1.3secs, f/16, ISO 100
02 - 1.0secs, f/22, ISO 100
03 - 2.0secs, f/22, ISO 100
04 - 1.3secs, f/16, ISO 100
Filter: Polariser
Appetiser
Thwaite Scars
Location
North Yorkshire
On a crisp spring evening the skies

remained completely clear and the light
was relatively hard. All thoughts of
shooting vistas under an interesting sky
were abandoned, however as the sun dipped
towards the horizon the light began to soften
and take on a pink blush.
04 03
Method
Having already envisaged this possibility, an area was mapped out where multiple shots could
be taken during the short interval where the light retained this special quality. The aim was to
create a balance of rocks indirectly lit by the blue sky and peachy highlights from the low-
angled sun, maximising contrast through both colour and tone. Compositionally the rocks
edges are aligned with an imaginary grid on a vertical-horizontal axis or arranged diagonally
across it. Working at similar scales all were taken at 36mm meant that, aperture and
focusing aside, the camera settings changed little between shots, helping to speed up the
process. From start to finish the whole sequence took just 21 minutes.
Taste Ev
Mete
Ingredients
rin
As much as I like these shots individually, combined they say something alu Lens: 17-40mm f/4L USM at 38mm
at
g
altogether more interesting about the place, as the limestones repeating ive Camera: Canon EOS 5D
shapes are exaggerated in this multiple format. Exposure: 1/6sec, f/22, ISO 100
Filters: Polariser
[36]
Landscapes
Technique
Appetiser
Rambutan on Weathered Wood
Location
Kanchanaburi, Thailand
The relationship between the subject and the medium that forms
a backdrop is the essence of still life and there is much common
ground between this painterly way of looking at objects and the
photographic detail.
Method
Only two forms are included here: a particularly attention grabbing
piece of fruit and an aged wooden surface with an interesting grain.
There is no rulebook that says a subject cannot be moved to
another spot or sensitively tidied up, providing no ecological destruction ensues, and this
rambutan was tried on a few different backgrounds before deciding upon this neutral foil. Ingredients
Photographed in the shade of a tropical afternoon the light is diffused and, having selected the Lens: 70-200mm f/2.8 at 140mm
appropriate shady white balance, the rambutans colours are at their most vibrant. By shooting Camera: Canon EOS 10D
from a camera position just a few centimetres above the subject, and using a f/9.5 aperture, the Exposure: 1/4sec, f/9.5, ISO 100
depth-of-field is made to fall off quickly, ensuring that the fruits fleshy spines are sharp against Filters: None
the background.
Mete
Ev
Taste
rin
alu
at
g
The reflected light source is just enough to create a minimal shadow indicating the fruits position in space without the risk ive
of strong sunshine stripping the fruits natural colour by masking it with reflective glare.
Appetiser
Bell Heather
Location
Millstone Edge
When the sun nears its zenith the landscape becomes obscured by a hazy sheen of reflected light and
shadows are at their sharpest. While this can spell disaster for the vista, which appears flattened and
washed out, it poses less of a problem for this landscape in microcosm.
Method
Two ideas governed this composition: first, choosing a compact plant with an attractive, circular
growing habit, and second finding an area where the surface changes from flat sandstone slab to
broken fragments. The heathers soft edge next to the angular pebbles creates strong shape and
texture contrast that adds more layers of interest. However, the attention-grabbing component is the
intensely dark shadows next to the reflective surfaces. This was all the more reason to include the
loose rocks, as by itself the low-relief slab casts little shadow at this time of day. The shadows are at
their most interesting where they reach in from the top right hand corner and flow toward the central
plant. A tight crop was used here to show enough to demonstrate the relationship with what lies
beyond the frame while being careful not to distract attention away from the main focal point.
ring
ete
e
M
alu
a tiv Taste
Ev Hard, short shadows provide a clear graphic edge that brings punch and clarity to this image. The
plants delicate forms cast detailed and significant shadows, so much so that they are as much the
photographs subject as the plants themselves.
www.photographymonthly.com
h thl - February 2013 [37]
GOODBYE
OLD LOVE,
HELLO NEW
Landscape and travel expert TOM MACKIE mourns the loss of an
old friend and creates a virtual Velvia replacement
hh the days of Velvia, when life was simple and you knew I have spent years honing my skills and trying to create a style
A where you stood with film. Yes, I hear many of you newbies
to the photography world ask, what is Velvia? Even more
that conveys the world the way I see it in my own way using vibrant,
graphic elements in a subject. When Velvia came along in the early
astounding is, what is a transparency or an enlarger? It even seems 1990s, I knew this is what I needed to accomplish the look I wanted
strange referring to it in the past tense. My, how time flies and to achieve. The colours were incredibly vibrant and packed a punch
technology evolves. though some photographers slated it saying it was too unrealistic.
Velvia was an incredible transparency film adopted by many But photography is all about creating an impression of reality, an
landscape photographers which produced very punchy, saturated interpretation. How the photographer sees an image, then by
images. Once you mastered how to expose Velvia, you could use it to utilising various tools at hand, creates an image that conveys his or
your creative advantage to capture striking, colourful results it was her impression of the subject. Take, Ansel Adams, for example. His
the ultimate film. I often have the urge to get a box out of the freezer images of Monolith, The Face of Half Dome Yosemite or Moonrise,
to free it from its cryogenic state, but I realise that I must move with Hernandez, New Mexico were not realistic views of those subjects,
the times and expand my knowledge of a technology that is not just but it was how Adams visualised them as a final image. If you study
changing year to year, but almost by the day. his book The Negative, you will see the transition from the original
[38]
Tom Mackie
Virtual Velvia Technique
negative to end result the print is vastly different. transparencies on the light table. Now it is a challenge for me to bring
Adams used the available tools that he had at the time, just as the colours back to a point that I have become accustomed to with
many photographers used Velvia to accomplish a particular look. Velvia add into this calibrating your camera LCD, then your pc
So now that digital is here to stay, I for one am reluctant to discard monitor and then the printer I want to have those incredibly intense
the Velvia look like yesterdays newspaper chip wrappings. blue Velvia skies, vibrant reds and oh those glowing greens, those
luminous greens!
HAVING A REFERENCE
One major difference between using film and digital is that digital THE COMPLETE PACKAGE
removes the intermediary step between the camera and the final There are many software plug-ins that can simulate the qualities of
output, whether it is a print or to be published using an offset or Velvia, such as Velvia Vision, but I have created my own presets in
digital press. We always had a transparency to refer to for colour Lightroom I feel this is the most powerful, sophisticated workflow
and contrast, but now we only have a Raw file that comes out of the software available to photographers at the moment. Photoshop was
camera, flat and devoid of any colour saturation. Film was so easy, developed for designers whereas Lightroom was developed
just press the shutter, process the film and look in amazement at the specifically with photographers in mind. I am able to import, edit,

Lightroom Raw and Lightroom Cooked
develop, caption, keyword and output all saturation and contrast is living in a deluded Recovery and Shadow Fill (Version 3) and
in one place. During the develop procedure, and misguided world. revised to just Highlight and Shadow in
if I want to make changes using another The one thing I have noticed with many Version 4. Lightroom also has a Vibrancy
program, such as Photoshop, or any other digital images is that the skies tend to be a slider that I find much better than the
program I can. I am able to make a User dusky blue instead of the strong saturated Saturation slider, which does an overall
Preset that emulates the look of Velvia blue that we were used to with Velvia. How adjustment. The vibrancy only adjusts the
without the loss of shadow detail, when and far you push the saturation is down to least saturated pixels of an image so wont
if I choose to keep it. It gives the photographer personal preference, but in this example push already boosted colours over the top.
immense control over their images, something I have tried to replicate the intense blue I tend to mostly use Vibrancy with only a
that we didnt have with film. colour as much as possible. In the presets in slight adjustment of the Saturation slider.
In this series of pictures, you can see how Lightroom, there is the Direct Positive preset So using all of the powerful features of
the Raw file looks straight out of the camera. that comes close to the characteristics of a Lightroom, I can save it as a preset, or as
The contrast is flat and the colours are transparency. Unfortunately, it also has too many presets as I like, according to the
unsaturated. Any photographer that claims much contrast and blocked up shadows, but I characteristics of the scene and look I want
their images are perfect out of the camera am able to recover any burnt out highlights to achieve which in this case comes as close
and doesnt need any adjustments in curves, and blocked up shadows using Highlight to Velvia as possible.
[40]
Tom Mackie
Virtual Velvia Technique
THE REALITY DEBATE amount back into the scene giving it a

There is no doubt that you need to have a more natural look.
certain amount of post-processing knowledge With all of the wonderful technological
to get the most from digital photography in tools that we have at our disposal with digital
order to make your images the best they can photography, it is unfortunate that its very
be. How far do you push the boundaries? It existence has brought into question the
is a personal preference, of course, but validity of photography. How often have you
sometimes the image goes beyond reality. seen a great image only to hear It must have
HDR is a perfect example. Ive seen some been Photoshopped. It shouldnt matter
HDR images that look very surreal, with so which tools or techniques are used to create
much shadow and highlight detail that the an image, rather it should be the image itself
shot verges on the disturbing. A poorly that stands on its own merits, just as Ansel
executed HDR will stand out a mile. I feel the Adams used his skilled mastery of darkroom
whole point about using HDR is to achieve an techniques to manipulate the image to
image that has a greater exposure latitude accomplish his vision. Whether it is the look
that can be achieved with one exposure, but of Velvia or some other look created using a
keep it within the threshold of how our eyes computer program, darkroom or any other
perceive a scene. The human eye is capable means for that matter its a style that
of a dynamic range of nearly 24 f-stops when defines us as photographers. Embrace it,
it is continually moving and adjusting to the dont criticise it.
light like a video camera. When fixed on one
area like a still camera, the eye can see
anywhere between 10-14 stops of dynamic BIOGRAPHY
range. That said, I often dial the density Tom Mackie is a landscape photographer whose
back into an HDR image because I feel it work includes calendar, book, magazine,
looks too unreal. The image above of the architectural and travel commissions. His work
Cholla Cacti Garden in Joshua Tree National appears in the book The Worlds Top Photographers:
Park, California had far too much detail in Landscape, published by Rotovision. His latest book
the shadows when it was put through Digital SLR Experts: Landscape is a collaboration
PhotoMatics Pro HDR software so I used with four other photographers.
the black point slider to put just a small

Silk and Steel 2011 I Canon 5D Mark II I 70-200mm f/4L USM I 118mm I 115 seconds I f/11 I ISO 50

Landscapes
Interview
Steve Landeros Category
BREATHING
SPACE
Negative space means room to breathe
according to landscape photographer
STEVE LANDEROS. Lorna Dockerill reports
on his mesmerising minimalistic style
haunting emptiness cries out from Steve
A Landeros photography. Whiter shades of pale,

ebony shadows and lone subjects could suggest
a troubled mindset. But the silver skies smudged into
marbled serenity and seascapes slowed down to pacify
everyday life in these monochrome views are ashen
beauties dreamed up by a content 38-year-old San
Francisco Bay native with only five years of practice.
[43]
Landscapes
Steve Landeros Interview
Eleven 20 Four I Hasselblad 500 CM I Zeiss 150mm CF

I 120 seconds I f/16 I Kodak T-Max 100
Calculating Infinity 2011 I Canon 5D Mark II I 70-200mm f/4L USM I 70mm I 1/160sec I f/4 I ISO 50
THE KEY TO ANY COMPOSITION IS BALANCE OF LIGHT,

EXPOSURE, DETAIL AND ELEMENTS.
Sequestered II 2012 I Hasselblad 501 CM I Zeiss 150mm CF I 1/125sec I f/11 I ISO 125 I Ilford FP4

TURNING NEGATIVE INTO POSITIVE stop ND has been a freeing tool for me. I do me. Besides, a Hasselblad is a work of art all
Steve was bitten by the photography bug my best to make as even of an exposure as on its own, so how can I not be inspired with
at the age of five after peering across the possible in camera, that way I have more such a well crafted tool? Steve says. When
glowing night lights of San Fran through his room in processing later. This time intensive I first started shooting film, I was using a
bedroom window as a youngster. Seeing genre of photography is not for the impatient Hasselblad 500CM, but have now moved
those city lights flicker in the distance just he says. Most of the time it takes me a solid on to a 501CM. There is not much difference
inspired me and I wanted to somehow 30 to 60 minutes just to find my first between the two, just a few updates, and
capture that moment for eternity. And since composition and its not uncommon to a brighter viewfinder, but I picked the
then the Hasselblad 501CM shooter, who take one to two images in a four hour Hasselblad system because I knew it
works as a supply chain manager in the stretch of time. would give me room to grow.
Sonoma County of California, has been In terms of landscape lenses, Steve
transfixed by long exposure landscapes TOOLS FOR THE JOB chooses the 80mm f/2.8 as his favourite but
which use space to isolate elements for Five years ago, at the beginning of 2008, also likes the 24-70mm f/2.8 as it is a solid,
exquisite minimal compositions. a Canon 400D made the grade for Steve versatile lens with the perfect zoom range
Negative space is freedom, he says. during his voyage into photography, only and sharpness. A 50mm remains his ideal
It leaves the viewer free to explore the to be followed by a 5D Mark II to upgrade glass companion for his dreamy art, but this
unknown, while subconsciously guiding the to at the end of the same year. After much is still on his wishlist. Considering during
eye to the main focal point. The key to any deliberation and a Mamiya C33 purchase, 2012 he sold 25 prints and licensed more
composition is balance of light, exposure, he decided only a Hasselblad would do. than 50 digital files, we figure Steve might
detail and elements. To use negative space When I was looking at film cameras, manage without the 50mm. His advice to
effectively, the photographer needs to pay I knew it had to be medium format, and I aspiring photographers? Take time to
extra attention to this balance, he adds. Yet really wanted a 6x6 system. I was looking realise your vision and see all that
with so few details in such photographs, it at either a Rolleiflex or Hasselblad, but the surrounds you. With time, an element will
can be a challenge to achieve. He explains: interchangeable lenses are what did it for demand your attention.
Often I use an off centre approach with my
compositions. Placing a tree, pier or rocks to
one side of the image will help create that
negative space. I like to take the direction of
the sky and use it to offset the composition.
Though Steve began taking colour images
of night time cities, he realised evenings lent
themselves to long exposures and quickly
brushed up on his technique. The ocean
became my focus. With long exposures and
slow shutter speeds I just wanted to capture
the beauty around me and after a little time,
I noticed that I was fully involved in long
exposures, Steve recalls. I loved how the
elements would become minimal and dream
like. Capturing an extended amount of time
in one frame is simply unreal and to me,
minimal landscapes and black and white just
fit together. The lack of distractive colours
help delineate the minimal scenes. Like
reading a novel, your imagination takes the
authors words and create its own picture.
OFF-KILTER FILTER
With such an individual style, it was
experimentation with a 10 stop ND filter
which calmed Steves work to placid
extremes. Whenever assessing a possible
composition, I look to see how bright the
highlights will be and if its at all possible to
retain detail in shadow areas. If an even
portion of the composition is a bit too bright
for the shadows, I will use a combination of
Tesselated 2012 I Canon 5D Mark II I 17-40mm f/4L USM I 32mm I 15 seconds I f/16 I ISO 50
graduated ND filters, Steve tells PM. The 10

Landscapes
Steve Landeros Interview
Apparition 2011 I Canon 5D Mark II I 70-200mm f/4L USM I 149mm I 105 seconds I f/13 I ISO 50
Fetch 2010 I Canon 5D Mark II I 17-40mm f/4L USM I 20mm I 25 seconds I f/13 I ISO 50
BIOGRAPHY
HY
Landeros grew up on the eastern
side of San Francisco Bay and
invested in photography as a
serious hobby in 2008. Though
a supply chain manager by day,
the photographer sold and
licensed 75 pieces of work in
various forms in 2012.
www.stevelanderosphotography.com
[47]
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Travel
Basil Pao Interview
BASILS WORLD
After globe trotting with Michael
Palin for almost 25 years, art
director turned photographer
BASIL PAO celebrates the
milestone with a new book. He
speaks to Lorna Dockerill about
his incredible journey
steady hand smoothes grey streaks

A through the ebony tresses which
blow into the doorway of Londons
Royal Geographical Society. Its Basil Pao.
Ive been perched here, sweaty palmed,
waiting for him to appear for a while, and
now like a Bond character rustling into a
scene decked in a grey mandarin collar and
trademark hat, he sinks into the seat next
to me, adjusting his John Lennon-esque
spectacles as he arrives to open his
exhibition Travels with Michael Palin.
Within the space of a few minutes the
photographer, who accompanied the
television presenter across the globe Top: The great fresh water lakes of Lencois Maranhenses, formed inside dunes creates by rain, wind and wave from the
capturing thousands of images for his Atlantic Ocean. Above: Fishing in the waters of Cojimar, spiritual home of Hemingways Old Man Sea, Cuba.

WIN
Above: Basil: As we climbed toward
Annapurna every day got worse. I was
really sick, then Mike picked it up as we
were climbing higher and higher. It was
hell. It was a combination of altitude and A SIGNED BOOK
the flu. This is when we finally got there.
That picture has always meant a lot to me Wander the world with Basils book
as I knew when I was taking this picture, Travels with Michael Palin which marks
I felt like I was dying. But then the good
thing was we knew a helicopter was going nearly 25 years of work for the BBC TV
to pick us up in a couple of days from there series. Fancy a signed copy for your
because there was no going back! bookshelf? Post your best travel
pictures onto our travel gallery online
Opposite page, top: Michael Palin with crew for your chance to win this prized
on the Rio Negro at sunset in the Pantanal,
Brazil. Opposite page, bottom: Michael possession. Whoop!
Palin at the lost city of Machu Picchu under www.photographymonthly.com/gallery
the peak of Huayna Picchu, Peru.
[50]
Travel
Basil Pao Interview
THE CAMERA
ALMOST ALWAYS
FALLS IN THE SAME
PLACE AND THATS
THE ONLY THING
THATS IN MY
HEAD; THE ONLY
COMPOSITION I
KNOW. MY BRAIN
IS SET TO THAT.
acclaimed BBC travel series, jolts to his Yet charismatic Basil, who adopted the STYLE
feet, informing staff that his showcase which English name for Ho-Yun and was born in I started out as a painter before becoming
celebrates almost 25 years of work with Hong Kong, first met Michael when working a designer, he says, so my training is
Palin is too dark in one corner of the room. as a designer between New York and L.A. art classical painting really renaissance and all
Can we get another light over here please? directing for Atlantic Records and Warner that. Its classical composition, and I try to
Basils polite tone requests. It is a big day for Brothers. He was enlisted to lend his artistic go for a more painterly feeling in
him after all. This evening Basil fans, flair to Monty Pythons Life of Brian book in photographs. Observing the linear shapes
including Michael himself, will gather to the late 1970s. Time spent cropping the work and lines in his work, and after revealing
enjoy this colourful insight into a of prolific photographers in the music Turner is one of his heroes in the business, it
photographic travel journal that has trekked industry alongside traditional art training, doesnt take detective work to suss his art
over the Poles and across the Himalayas meant that Pao was prepared for his first background. He continues: I mean, Ive shot
since a working relationship was grown photographic steps before even picking up a lot of studio stuff as well because I used to
between the two in 1988. a paid job as a photographer. do album covers and things, so I can light.

Travel
Interview Basil Pao
Above: Kailash girls from the village of Rumbur in the

Chitral Valley, north-west Pakistan.
Right: The livestock market in the ancient Omdurman
district of Khartoum, Sudan.
Ive art directed plenty of really good

photographers and thats where I learnt my
photography really, by cropping people like
Avedon, so I just picked it up from them.
Despite having helped shape visual
components for international brands and
individuals, Basil insists his skills lacked to
begin with. I was a terrible photographer
when I started, but like anything else you
practice, gradually you get better at it, he
says in a sincerely modest deep voice with a
slight trace of American pronunciation. His
down-played persona resounds through his
pictures, I think, as I walk the aisles of his
dazzling display of global perception. He says
on his design and photography experience:
Its all the same really. I shoot the same
picture over and over again basically if you it becomes a signature or a kind of style. But His work demands an emotional
look at the compositions. The camera almost in fact what it is, is that Im just lazy. I dont connection, some of which probably cant be
always falls in the same place and thats the experiment or try to find new ways of reiterated from a classic composition. He
only thing thats in my head; the only showing images, I just keep repeating the adds: All Im doing is providing a frame. Im
composition I know. My brain is set to that. same shit all the time, he laughs softly. I there and this is what I see and thats it, he
However this predictable outlook has laugh with him, slightly perplexed, because says bluntly but with finesse. Its not
worked in his favour and has become his the last coarse statement doesnt completely necessarily the most important thing about
hallmark. He continues: I think after a while ring true. the place which I choose to photograph.

He walks me to a picture of three Kailash
girls resting on a stone wall in the Chitral
Valley in north-west Pakistan which serves
as a reminder of this. I keep going back to
this image whenever I have something to do
with the Kailash people, because I have other
pictures of the whole village which are much
more descriptive and give a lot more
information about the place and all that stuff,
but that for me has the emotional impact and
gives you the feel of the place. I go more for
the emotional feeling of the location than
this is what the place looks like. To me its
more personal.
THE TRAVELLING LIFE

When looking into this window of Basils
photographic life its an effort to fight a faint
twinge of envy. Some of the sights are simply
incredible, but he assures me that when
demanding TV schedules are involved a
photographer is kept on a tight leash and has
to learn to subdue intrinsic instincts. In the
24 years of travelling with Michael, Ive never
been able to stop the car once when I see
something amazing on the side of the road,
he remembers. I tried it once but was
shouted down so fast (laughs). Its sometimes
quite depressing when the director says
thats a wrap when the light is starting to
get good!
Basil adds: Your time, movement and
everything you need to do as a stills
photographer is limited because you have
absolutely no control over where youre
going, when you get up or when you go to do
things. But humbly, he says it has been a
worthwhile compromise. If I wasnt with a
film crew I would never have gotten to these
places, so it has been a trade off. You do the uses a Canon 5D Mark II (he tells me hell photograph out there either. It makes me
best that you can, like in any situation, and have to get another job a well paid one wonder how he whittled his vast image
you get lucky and get a few good shots. first before he upgrades to the Mark III) his collection down to 25 for the exhibition.
Thats why I always characterise my work as recollection of processing films is a fond one. It wasnt that hard actually, I havent taken
being snaps because thats mostly what they Its much more fun when you get the box that many good shots, so you know the good
are. I shoot really fast because I have to, and back and say I got it! Holy shit I got it. And shots are pretty obvious! he laughs.
most are taken on the run. I still have boxes of stuff that I havent edited It is difficult to comprehend how this
Surely such pressures must have taken back in Hong Kong, Ive just sent them off for photographer can be such an unforgiving self
their toll, perhaps causing some heated processing. Im very curious to find out what critic with this astounding portfolio, and I
moments between he and Michael? But I left behind all those years ago and thats a feel the question of what he hopes people
according to Bas there have never really project that I think I need to get on with will take away from his work may be wasted,
been any disagreements because theyre pretty soon. but I ask it anyway. As predicted, hes baffled.
both pretty civilised people and the biggest A poignant statement is returned however.
challenge has been packing. THEYRE JUST SNAPS Just the beauty of life. He goes on: I get
You can only take so much when you go Basils snaps are admired by audiences asked why dont you do wars and things like
on a three month trip and that anticipation worldwide, but still after all this time one that? And I say, well there are a lot of people
and thinking ahead is the trickiest part. ultimate favourite location escapes him. He doing that already and just not enough
Three months worth of film is rather a lot ponders: The Tibetans and the Himalayas in people who are prepared to say, okay, we
used to have to hand carry that. I always general were pretty interesting, because of know life is suffering. There is so much
carried two cameras and three lenses the combination of the landscape and the beauty our there. Even in the most desolate
covering the range between 16mm and people. But then the Sahara was really places in an Algerian refugee camp, for
200mm and then I would have something interesting because Ive never been to any example, there is just incredible beauty. So I
that goes up to 400mm. Now, although he place like that, but theres not much to suppose I hope people see the humanity and

Travel
Basil Pao Interview
H THE V
TC I
D
A
Meet Basil and

EO
W
Michael in our online

short film which shows
the photographer and
his images in motion.
Visit www.
photographymonthly.
com/PhotoTV/
mostly, how were all the same in my work. Above: Evening prayer in the middle of the Tenere
Desert, Niger.
My pictures, I think, are mainly about what
we all share, but also the difference as well.
There is a connection there and hopefully
through the way I photograph, it brings out
that connection.
As visitors pour into the exhibition, I watch BIOGRAPHY
Basil greet Michael Palin and its clear the Basil worked for the
likes of Atlantic
two share an intense bond, particularly as
Records and Warner
Basils daughter, Sonia, was born on the day
Brothers in America as
Michael left for his first journey Around the Art Director before he
World in 80 Days, almost to the hour. Shes returned to Hong Kong to
like the mascot, Basil says. We know pursue his photography career in 1980. After
exactly how long weve been doing it, we just working on a book with Michael Palin for the
have to check how old Sonia is, says Bas as Monty Python film Life of Brian, the pair formed
Michael calls him. It turns out Palin is just as a bond and Basil continued to work with Michael
nostalgic. Michael says: If youre not very on 11 illustrated books documenting BBC travel
careful its terribly easy to forget what series Pole to Pole, Full Circle, Sahara and more
recently Brazil With Michael Palin, Basils latest Above, top to bottom: A sadhu at the Arya Ghat, the
youve seen and done. So in this case Basil most famous cremation ground in Nepal; Mother and
exhibition. Basil has completed editorial,
has just sort of captured moments that I child in the Touareg village of Tabelot in the Tenere
commercial and corporate photography, and Desert, Niger; A boatman docks at a Bozo village along
think are unforgettable images I will never also worked on Bernardo Bertoluccis The Last the river Niger, Mali.
forget and remind me and bring to mind the Emperor. www.basilpao.com
extraordinary things we did.

COVERED
THIS
MONTH
1
Focusing
DSLR MOVIES:
HANDLING
FOCUS
[56]
M
ov
DSLR
ie-makin
Movies Technique
g
TOM MARTIN, Creative Director

at Fast Forward Media, explains
the difference between focusing
for stills and movies and how to
master it
side from shutter speed, one of particularly problematic for dialogue scenes. small focus throw of stills lenses (i.e. the
A the biggest differences between
shooting stills and video with DSLRs
This is why focusing is almost universally
achieved manually on all professional video
physical distance you have to move the
focus ring between focus distances)
is focusing. Much like the aforementioned and film shoots. With so much movement conspire to make fine and accurate
shutter speed, many of the same basic going on in the frame, and the focus often adjustments very hard.
tenants of focusing still apply when needing to be shifted multiple times in the Thankfully, there are a few things you can
shooting video, with one major twist; the course of one shot, to follow a character do to help. Using the built-in digital zoom
lack of autofocus. moving through frame or to draw the allows you to zoom the image into an area of
audiences attention to something important, high contrast (eyes are a good area to judge
WHY SHOULD YOU MANUALLY FOCUS? for example, autofocus just wont be able to focus) allowing you to set focus easily before
DSLRs have long had incredibly capable keep up. Ultimately, the camera cant read shooting. Another good tip is to use the
autofocus features built in, allowing the your mind! cameras autofocus system before the start
camera to do a very good job of quickly Newer model Canon DSLRs (the 650D in of shooting to initially get the subject in
finding sharp focus. Video, however, is a little particular) actually have a new continuous focus, and then adjust the focus from there.
different. Autofocus has also existed in the autofocus system based around a new This is where the aforementioned new
video world for a long time, but is exclusively sensor technology and motors in lenses like technology in the Canon 650D could really
the sole preserve of low-end consumer the 18-135mm kit lens. These STM motors come into its own, allowing you to quickly get
cameras. The reason? Simply put, autofocus will allow much quieter and quicker your subject in focus. Another good option is
systems are not good enough to judge what autofocus to be achieved throughout the to invest in a Zacuto Z-Finder, which is a
should and shouldnt be in focus reliably filming of the video. In practice, while this is precision focus viewfinder. Not only will this
throughout the course of a shot. If, for a huge improvement over older autofocus improve the stability of your camera work,
example, you are filming a group scene with systems, it is still quite slow to change focus but it will give you a much clearer and
one person talking, and one person gets up points. Its certainly a viable option for enlarged view of your subject, making
and walks in front of your shot, the cameras certain kinds of video making, but on the focusing while recording that much easier.
autofocus will readjust to capture the closer whole youre still going to be better off One final tip; generally speaking zooming
passing figure, assuming as it is closer it focusing manually. in to make setting focus easier, then zooming
needs to be in focus, thus throwing the out is a great way of easily setting focus
speaker out of focus, when in fact you PUTTING KNOWLEDGE INTO PRACTICE manually. However, be careful when using
wanted him to remain the focal point of the So, youre going to have to learn how to set, photography zoom lenses, as unlike their
scene. Worse, once the subject in the and most importantly judge and adjust focus, video equivalents, they arent par focal (i.e.
foreground has walked out of frame, the manually throughout the course of a shot. they often do not maintain their focus when
camera will attempt to refocus on the This can be quite a hard task at first, the zoom position is adjusted). If youre using
original group. This constant hunting will especially if youre used to the camera the kit lens which came with your DSLR
make your video unwatchable, and will likely doing it for you. Unfortunately, this task is these often have variable apertures, which
infuriate your audience! made even harder when shooting on DSLRs change as you zoom in. This can also make
This is compounded when shooting video for a number of reasons. Firstly, if youre focusing using this method more difficult, as
on DSLRs, as their large sensor allows a using the kit lens which came with your the image will often get darker as you zoom
desirable, shallow depth-of-field aesthetic to camera, or indeed most modern photography in. For these reasons, its much better to use
be achieved, which makes accurate auto (and lenses, the lens will lack hard stops (i.e. the the digital zoom function instead.
manual) focusing even harder. The focus ring stops moving when it reaches Ultimately, while these tips will help,
autofocus functions on DSLRs will work the point of minimum or maximum focus). learning to manually focus and pull focus
during video recording, but they will be This, when combined with the lack of focus accurately all comes down to practice, so
slow, inaccurate and very noisy marks on the lens barrel, and the very get out there and shoot some video!

[GLOSSARY]
Here are some common terms
you may hear with explanations
of why they are important
TOP 10 TIPS FOR

FOCUSING
1 Use the digital zoom in function to
focus before the start of the shot
2 When zoomed in, use areas of high

contrast, like eyes, to make judging
accurate focus easier
3 A deeper depth-of-field makes pulling

focus easier, f/4 is a good compromise
4 Unless using Nikon fit lenses (which focus

backwards) remember to turn the focus ring
clockwise for closer focus, and anti-clockwise
for more distant focus
5 If you can, measure the distance between the

camera and the position youll be pulling focus
to before the start of a shot
6 Practice the focus pull a couple of times before

rolling cameras to get used to the movement
and ensure a more accurate focus pull
7 If you have the time, use the autofocus

function to initially get your subject in focus
before commencing filming
8 Using a magnified eyepiece like the Zacuto

Z-Finder will increase the clarity of the DSLRs
screen and make setting and pulling focus that
much easier
9 Dont forget to be careful when using zoom

lenses they wont maintain focus if the zoom
position is shifted
10 Practice makes perfect!
[58]
DSLR
Movies Technique
FOCUSING JARGON BUSTER
FRAME RATE
The number of still frames that the camera captures per second,
SHARP | SOFT
giving the impression of a moving image when played back
concurrently. The UK standard is 25 frames per second (fps), which
In focus | Out of focus. gives a filmic sense of movement in the resulting video. Higher frame
RACK FOCUS/FOCUS PULL

rates e.g. 50 and 60 frames per second give a smoother, more soap
opera video look, or can be slowed down when editing to give a nice
Adjust the focus from one point to another during the course of slow motion effect.
ISO
a shot, often to follow an object or characters movement through
the frame.
DEPTH-OF-FIELD
This setting changes how sensitive the camera is to light. The higher
the ISO the more sensitive the camera is, allowing you to shoot in low
The distance between the nearest and farthest objects in the shot light conditions. DSLRs are generally very light sensitive, and allow
that appear acceptably sharp in focus. the use of higher ISOs than traditional video cameras. However, you
must be careful not to use too high an ISO, and shoot in multiples of
160 to avoid unpleasant noise in the image.
PICTURE PROFILE
CODEC A very important setting which alters how the camera produces
A codec, short for compress/decompress, (AVCHD or H.264 are the final image. As DSLRs are not meant for shooting video, some
common in DSLRs/CSCs) is the means by which the images captured important tweaks need to be made to set the camera up to shoot
by the camera are compressed and stored. As the name suggests, good quality video.
RESOLUTION
the images are compressed during this process and therefore lose
quality much like a JPEG file. Its important to understand the
strengths and weaknesses of the codecs your camera uses in order A measure of the size and number of pixels the video contains. Most
to maximise the quality of the final image recorded. DSLRs will shoot in 1080p HD, which is 1920 pixels horizontally and
APERTURE
1080 pixels vertically. Similarly, 720p is 1280 pixels horizontally and
720 pixels vertically.
SHUTTER SPEED
Controls the amount of light entering the lens, and is measured
in f-stops. It also controls the depth-of-field in an image. A larger
aperture (smaller number) lets more light into the lens, creating a The rate at which the shutter opens and closes per second. Unlike
shallower depth-of-field and blurring the background out of focus. stills photography, to maintain a constant sense of movement the
This is a key element in creating the film look. (Also see ND filter). shutter needs to be kept constant throughout filming, and cannot
ND FILTER
be used to control exposure. For a filmic look, its best to use a 180
degree shutter, which for 25fps is 1/50sec.
WHITE BALANCE
A neutral density filter is best described as being like sunglasses
for your camera. It is a filter which fits over the end of the lens and
reduces the amount of light entering the camera. This is the best way Is a setting which tells the camera to capture the colours it sees
to control exposure, as it allows you to use the aperture to control correctly, even under different light sources. Unlike when shooting
depth-of-field, and allows the use of wider apertures even in Raw stills, white balance cannot be altered after filming when
bright sunlight. shooting video on DSLRs, so its important to get it right when
AUDIO
filming. You can still use auto white balance, or balance manually.
As a general guide, around 3200K is correct for tungsten (red
More than half the picture, recording good audio is a vital part of shifted) light, and between 5600 and 6000K is correct for daylight
creating a good video. It can be diegetic (recorded live at the time of (blue shifted) light.
180 DEGREE SHUTTER RULE

filming, e.g. speech) or non-diegetic (added afterwards during editing,
e.g. music or sound effects). Learning how to record quality audio
and combining it with music and other sound effects is vital to the The 180 degree shutter rule refers to the optimum shutter angle to
success of your video project. use when filming video to ensure a normal amount of motion blur
FOCUS
between frames, and to ensure your video has a desirable, filmic
sense of movement.
Focusing when shooting video needs to be achieved manually, as The name comes from the fact that film cameras have mechanical
auto-focus technologies cannot accurately keep up with a moving shutters which are semi-circular in shape, (i.e. 180 degrees of a
object, meaning the operator has to manually pull focus to keep circle). DSLRs express their shutter angle in terms of shutter speed.
a moving object in sharp focus. This can take some practice! Therefore, to easily calculate the correct shutter angle, you must
EDITING
simply double the frame rate, and keep your shutter speed set to the
resulting value. For example, at 25fps, correct 180 shutter angle =
A necessity when shooting video, it refers to the construction of 1/50sec, at 24fps, correct 180 shutter angle = 1/48sec. If you follow
a programme, usually with a cohesive story, from the elements this rule, your footage will have the correct amount of motion blur,
captured during the shoot. It is necessary to shoot for the edit when and a correct sense of movement. Higher shutter speeds give a more
creating a video, meaning to think about how the different shots you staccato sense of movement with less motion blur, as used in movies
are gathering will fit together, and ensuring you capture enough like Saving Private Ryan, while lower shutter speeds add a lot of
footage to guarantee this can occur. undesirable motion blur.

Atmospheric
Moments
[60]
Yaman Ibrahim - Sunset Fisherman
Nikon D3 | 14-24mm f/2.8 | 1/125sec | f/8 at 14mm | ISO 200

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Using Reflectors
TESTINO TRIBUTE Technique
TESTINO-STYLE
PORTRAIT
Inspired by a Mario Testino shot from his
latest book Private View featuring Brad Pitt,
pro CRAIG FLEMING puts his own twist on
the portrait explaining his approach and why
ets get one thing straight from the off, Im not a fan two catchlights in the eyes suggesting two lights were used one
L of imitating other photographers work, especially
photographers of the calibre of Mario Testino talk about
high and left of camera, the other to the right of camera and at
eye level to the subject. The shadows behind Mr Pitt seem to back
setting yourself up for failure. Ive always preferred to innovate rather up my theory and Im thinking the one to camera left is the main
than imitate, so when Adam suggested this feature I must admit light with the one on the right slightly softer giving a bit of fill,
I did have my reservations. But the more I thought about it the more maybe. However, if that shadow on the left of him hadnt been
attractive the proposition became; emulate one of the great present I would have sworn it was lit with only one light given the
photographers, shooting one of the greatest actors of modern times. lack of detail in the neck area. Technical post-production jiggery-
I thrive under pressure, so how did I get on? pokery maybe? Who knows. Although I doubt it; maybe Adam will fly
The first thing I noticed about Testinos shot of Brad Pitt is the high me out to L.A. to ask the great man himself? Until then Ill just have
contrast look of the image. On closer inspection you can see there are to wing it.

44CM BEAUTY DISH 21CM REFLECTOR & DIFFUSER
First off I just want to get the right lighting effect. Im starting Switching to a 21cm reflector on my main light seems to have
with my trusty old 44cm beauty dish. With a white diffusing given us the effect I am looking for. The shadow is instantly
disc inserted this is a lighting option I often use specifically deeper and the contrast significantly increased, not enough to
when shooting beauty in the studio. I do prefer to use it closer mimic the final shot but well get that in Photoshop. More on
to the models but in this instance, given the size of the that later. Ive added a scarf in this image for two reasons: one,
catchlight in his eye, you can see that the light source is quite to close up the neck area and give more emphasis to the actual
small so its either quite a face, and two, we didnt
distance from the subject have a polo neck, and
or it actually is a very small even if we did our
reflector that is being used. make-up artist, Laura,
With my beauty dish about informed us that the
seven feet away from my only advice her Dad
models face I dont feel Im ever gave her was,
getting a harsh enough look. Never trust a man in a
If you look at the shadow polo neck. I know thats
falling on the background three reasons but the
youll see it is a little soft last one wasnt really
and washed out. that relevant I just
wanted to include it.
[64]
Using Reflectors
TESTINO TRIBUTE Technique
THE TEST KIT

ELINCHROM 21CM
REFLECTOR
The star of the show as far as todays
shoot was concerned. I used it with the
white Elinchrom diffuser disc in place
which is used to tone down the
contrast slightly to ensure
the highlights on
the models
forehead and nose
didnt blow out
easy with more
contrasty lighting.
ELINCHROM 18CM
REFLECTOR
This fairly basic reflector is an often
overlooked piece of kit. I regularly use
mine really close to camera with
diffusing disc in place. It gives a really
nice high key, shadowless light but not
as harsh as ringflash. For this feature I
employed it as my
secondary fill
light, although
ditched it in the
end in favour of
a one light set-up.
ELINCHROM 44CM
BEAUTY DISH
Ive spoken of this before; it is a staple
in my lighting kit and something I
never seem to be without. For beauty
work, as its name suggests, it really
is a work horse and
when you start
MAIN LIGHT: 21CM & DIFFUSER to combine it with the
SECOND LIGHT: 18CM REFLECTOR various diffusers,
Conscious of the fact that Testino had used two lights, I decided to set up my second honeycomb grids and
Elinchrom BXRi 500 head and place it to my right on its lowest power setting. The shower caps you really
results were disappointing to say the least. In hindsight it should have been nearer do get a lot of value
the camera and maybe with a honeycomb grid in place, as well as being a little higher. for money.
Even then I dont think I would have been happy with the result. I am a fan of the one
light look I like
shadows and
without them
you cant truly GEAR USED:
appreciate light. Canon EOS 5D Mk II with 24-105mm
I dont feel the 2x Elinchrom BXRi 500 heads
washed out look Elinchrom 18cm reflector
that this set-up has Elinchrom 21cm reflector
given me is working. Elinchrom diffuser
Its back to the Lastolite gold reflector
drawing board.

MAIN LIGHT: 21CM & DIFFUSER 21CM REFLECTOR & DIFFUSER
SECOND LIGHT: 18CM REFLECTOR Okay, so weve played around enough its now time to go for
Turning the secondary head 90 degrees to the right Im able to the money shot. Showing Andrew the image of Brad Pitt on
bounce it off a white wall. This does a couple of things: first, it my phone he lights his cigarette and we revert back to the
further softens and diffuses the light that is spilling out of the one light set-up. My make-up artist stands to the models left
small 18cm reflector at the business end. Second, it also fills holding a gold reflector which just pushes a bit of detail into
in the shadows on the subject and the background a little more the shadows and also a little warmth into the image. Another
subtly than it did before when used directly. Do I like it? Well, reason Ive eliminated the secondary light is because of the
its not unacceptable but its just not as good as it could be. distracting reflections in the models spectacles. In the Testino
image it looks like theyve used frames with no glass. However,
ours were actual glasses
and they wouldnt let
me pop the lenses out.
Its a shame because
in our version the
refraction in the
glasses has messed up
the line of the temple;
picky I know but given a
choice Id rather get things
100 per cent right first time.
Thanks to: Model: Andrew Wademan www.mentormodelagency.co.uk

Make-up artist: Laura Gingell laura.gingell@hotmail.co.uk
[66]
Using Reflectors
TESTIN0 TRIBUTE Technique
VERDICT
All in all Im happy with my recreation
of the Testino image. If I could
improve it slightly Id have used a
honeycombed snoot just to backlight
the smoke from the cigarette slightly.
Styling wise a black polo neck would
have enhanced the shot a little as I
think there is too much red in the
image but overall Im pleased with
the results.
21CM REFLECTOR &

DIFFUSER
I just want to give the image a
final tweak, the Fleming touch
if you like. If Im honest, on the
Testino shot I dont like the
shadow on the left of Mr Pitt, I
find it distracting, so Ill do my
own version. Here Ive moved the
light so it is more central, which
pushes that shadow behind the
subject and hides it. It is only a
minor thing but thats how I tend
to light anyway. These two final
images have had the contrast
boosted slightly in Photoshop
using the Curves tool. I have
also cleaned up the skin a tad
using the heal tool, but nothing
too drastic.

Sophie Judson.
YOUNG AT HEART
Professional photographer PAUL SANDERS has begun pioneering workshops within schools with
the hope of establishing photography in the national curriculum. Lorna Dockerill finds out more
ech savvy youngsters are evolving

T into whizz kids as photography
embeds itself into our daily lives
through enhanced mobile phones, apps and
advanced compact cameras. Pick up the
intelligent Samsung Galaxy which boasts
Wi-Fi and 3G connectivity, for example, and
youll find you can even retrieve email via your
camera a function which will no doubt leave
the next generation with big expectations and
a different vision for their photography thanks
to the ability to instantly share captures. We
want more from a camera than ever before and d
our adults of tomorrow are hungry, not for
sensor size details and megapixels, but for ways ys
to express creativity, whether thats via a light
re
leak filter or inventive cropping, restrictions are
being tossed into the wind. And now professional nal
photographer Paul Sanders is paving the way by
helping to introduce photography into the
curriculum with an innovative school project
designed to involve children with the craft but
also echo the art of an excellent picture.
The camera kids project, which has been
running for the past 12 months in a Hampshire
school, has attracted sponsorship from Fujifilm m and
a recent exhibition, which saw more than 400
student photographs, was a roaring success. He e
recently taught a whole school of 250 7-11 year
olds. Rather him than us. He gives PM the lowdown.
[68]
Camera Kids
Paul Sanders Interview
Toby Dillingham.
Results from Family

Georgia De-Gallerie. Light Painting evening
HOW DID YOUR SCHOOL PROJECT START? The children literally jumped at the chance to take pictures and this
It all started after a childrens party when my son, who was five at the has added to my own excitement in finding new challenges for them.
time, and his friends borrowed a compact camera from me to take We have made books, calendars, Christmas cards and held a hugely
pictures of each other. As I watched I realised that they had a very successful exhibition where the photos were available to purchase
natural uncomplicated eye for composition and were not held back by and hundreds of people came along. After seeing their photos printed
the rules of photography. All they wanted to know was why their and credited, it had a huge impact on the children. We have expanded
images were dark or light and how could they make them sharper. So ideas to include family workshops too and amazingly the parents
I approached a school in Sevenoaks, Kent seemed even more excited by the
with my idea, who got very excited, and the assignments than the children!
WE HAVE EXPANDED
after school club started.
IT SOUNDS LIKE THE STUDENTS
WHATS THE AIM OF THE CAMERA IDEAS TO INCLUDE HAVE A WHALE OF A TIME
KIDS CLUB?
The aim of camera kids is to teach children
FAMILY WORKSHOPS LEARNING FROM A PRO. WHAT
EXACTLY DOES THE PROJECT COVER
to take a good photo without the need for TOO AND AMAZINGLY WITH THEM AND HOW?
software or extensive editing in a world of THE PARENTS SEEMED In most primary schools photography is used
Instagram and Snapseed. I had fairly low
expectations of the ability of the children to
EVEN MORE EXCITED to record the childrens work, such as art
projects, or to take snapshots of school
start with but after just one session I was BY THE ASSIGNMENTS events, despite there being great scope for
amazed by the way they went at the subjects THAN THE CHILDREN! photography as a skill and an art form being
we explained. Teacher and photographer part of the Art and ICT curriculum. We take
Rachel Riley and I have been running the pupils through the basics of photography
workshops in Kent and Hampshire with the big project in Greenfields with less talking more doing as the attention span of children can be
Junior School in Hartley Wintney. It really took off when I met Rachel limited. There are basic rules like no running with the cameras or
though as her input in to the educational needs and objectives made throwing them but creatively there are no barriers. We look at topics
the project more than just a photo club. such as texture, colour, movement, light, filters (they make their own
gels) lines, forced perspective and portraits. Once the children have
IT SOUNDS LIKE YOUVE BEEN OVERWHELMED BY THE mastered the art of focusing the camera and arent afraid to get right
CHILDRENS ABILITY. HOW HAVE THEY RESPONDED TO in to their subject the results are often astounding, and children love
LEARNING ABOUT PHOTOGRAPHY? that feeling of achievement.

IT SOUNDS LIKE A LOT OF FUN. WHAT CAMERAS
DO YOU USE WITH STUDENTS?
The children are loaned a Fujifilm compact camera and Fuji are the
key sponsor of the project. We worked closely with a contact at Fuji in
securing the loan of the cameras for Greenfields Junior School, who Steven Spiers.
has now helped us out with a class set of cameras which we have
successfully used across other schools. We use the Fuji XP range as
Ben Ormrod.
theyre easy to use and navigate, produce good results and are very
robust, as well as coming in very child-friendly bright colours. Fuji
also arranged with one of their local photo shops, Fun Foto Factory, to
have all the photos printed for the exhibition without charge, which
was amazing and helped the school raise over 700. We are looking
forward to working with them to push this initiative out across many
more schools.
WHAT ARE THE MOST POPULAR TASKS AND WHY?

These tend to be the ones with the biggest wow factor, like
experimenting or light painting. This was a huge hit with the children
and very simple to do we used small spaces where a good level of
darkness could be achieved and let them take turns in painting and
taking the photos themselves. It gives a very instant result. Once
children grasp an idea behind a technique or subject, they really fly!
IS IT DIFFICULT TO TEACH YOUNGSTERS WHO ARE

SO YOUNG TECHNIQUES? OR IS IT MORE ABOUT
EXPRESSING THEMSELVES?
Getting the balance right between teaching children techniques and
not squashing their creativity can be quite hard. Once you have
shown the children how to try something new and to take on board
advice, they are very open to learning more and more and then to
going home and teaching their parents and families too!
ARE THERE ANY PARTICULAR AGE GROUPS WHICH

RESPOND MORE TO SOME ACTIVITIES THAN OTHERS?
We tried some forced perspective photography which required the
children to plan in advance and they had to work in groups of three or
four to achieve the right effect. Older children found this a little
easier, although they all had great fun and the results were often
hilarious. The younger children preferred experimenting with colours
and lights.
WHERE DO YOU EXPECT THE SCHOOL PROJECT

TO BE THIS TIME NEXT YEAR?
It would be amazing if the school project had started to spread across
the country although at the minute, there are a few stately homes
looking at the idea and we have had enquires from Holland and the
USA about starting the workshops there the world is literally
our oyster.
WHY IS INVOLVING YOUNGSTERS IN

PHOTOGRAPHY KEY NOW?
They are born into a world where visual communication is as
important as the written or spoken word and I think all children
should be given the chance to explore photography now that it is
accessible and cheap. The thing that holds most children back is the
lack of confidence of the adults that surround them when it comes to
taking photographs. If you give a child a camera they wont smash it
or drop it, they respond to the trust you place in them and with a
little patience and encouragement they will out shoot most adults.
Jack Turner.
www.paulsanders.biz
[70]
Camera Kids
Paul Sanders Interview
ARE YOU A YOUNG

PHOTOGRAPHER?
If you are an avid photography
enthusiast between the ages of 10
and 16 take part in our Project 52
blogging competition which
involves taking a personal snap
every week for a year. You could
bag yourself a Nikon D600
complete with lens! Turn to page
12 for details.
Grace Webber.
GETTING THE BALANCE RIGHT BETWEEN TEACHING CHILDREN TECHNIQUES

AND NOT SQUASHING THEIR CREATIVITY CAN BE QUITE HARD. ONCE YOU HAVE
SHOWN THE CHILDREN HOW TO TRY SOMETHING NEW AND TO TAKE ON
BOARD ADVICE, THEY ARE VERY OPEN TO LEARNING MORE AND MORE...

when quality
counts
Exhibition / portfolio standard photographic
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Gallery style canvas printing
Acrylic prints
Block mounted prints
Simple contemporary frames
Box frames
Classic framing
Mounting and window mounting
Film processing
Imacon film scanning
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info@photech.co.uk
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Atmospheric
Moments
Amy Butterfield - Sleeping

Canon 500D | Canon 35mm f/2 | 1/125sec | f/2 | ISO 400
[73]
LIFT
OFF
[74]
Ravshaniya Azoulay
WOW! Interview
E * LAST
SU
S
M
NUARY I
ONTHS W
JA
OW
! IN THE
Levitation before your very eyes captured within a still image, Jessica Bracey talks to RAVSHANIYA
AZOULAY about her uplifting and somewhat bizarre work
ike a storm in a teacup Uzbekistan photographer Ravshaniya WALKING IN THE AIR

L Azoulay is making waves with her experimental styled
shoots that play with movement and mysticism to the eyes.
For me, initially, each photo is an image for visual perception, I tend
not to place any meaning into my photos and disclose a particular
Captivating us with her Wow! Image from last month that gave us a point. The purpose is to let people use their imagination and
hint to the secrets behind her technique, Ravshaniyas body of work interpret it in their own way. Subconsciously preventing an
is a contrast to what weve previously featured on these pages, but overstated narrative her approach to bringing together a shoot
like all the photographers before her she answers inquisitive minds varies between subjects, but one opponent is for certain and thats
that want to find out about the production of her photographs. natural light. The photo of the male and female models mid air was
The first thing you notice with her portfolio is movement, and we taken in a basement of a constructing building without the use of
dont just mean a skirt caught in the wind, this is full-on levitation any lighting equipment. I almost never use artificial lights because
that would be recommended in the classrooms of Hogwarts. natural light is the best way to add volume to a photo. This goes for
Prominent throughout a majority of her work the surreal nature is her choice of location as well, favouring indoor environments to
influenced by the mundane things in life that spark a creative spiral bounce light off of anything around her including walls, floors and
of consciousness. My inspiration comes to me spontaneously. everyday objects, she stays true to capturing the natural
Usually it is a random odour, sound or colour that awakes something environment in her camera without the use of reflectors or other
in me that may explode my emotions and desire to create, said aids. Natural light is constantly around us. Photos with natural light
Ravshaniya. With the aim of forming a whole new division in the look more realistic and I believe that people look more attractive
world of photography her forward thinking, contemporary style is with this kind of illumination.
the makings of dreams. Using an alternative to models, Ravshaniya decided strongly

upon featuring dancers in her photographs revealing the technique behind her Wow! about creativity and less about the technical
because they show more expression and Image. Through the magic of the still image skill of photography her keep adjusting until
body alignment in their pose. As I was trying anything is possible with the help of its perfect approach to camera settings is
to show movement it was easier to use support of course. Using blocks to give the her desired method of capturing such
dancers as they are best at displaying illusion of levitation is a trade secret that is inspiring images that gives each project a
emotions through the means of their body. I simple to mimic. little magic. I never know what shutter
chose this guy because he suited the speed I will need to use for a particular
character of being big and bright, she said. TECHNIQUE image. I simply use the click method. In
One of the ideas was to show downward and To the naked eye you wouldnt notice the other words, I set an approximate shutter
upward movement. I think these poses fishing line or the transparent breeze speed and adjust it until I get the desired
emphasise this kind of motion pretty well. blocks, but thanks to clever digital result. Picking up the pin-sharp details of a
Both dancers were leaning on semi- manipulation the magicians tricks are hidden dancers hair or the flutter of birds is shot on
transparent blocks and trained pigeons were before the big reveal. Thats after days of her Nikon D700 complete with 70-200mm, a
bound with a fishing line, none were hurt. The gruelling post-production to achieve her best minimal amount of kit considering the scale
fog effect was a natural harmless smoke potential, thats what drives Ravshaniya in of the shoots. Its the accessories and props
from a special herb, continued Ravshaniya moving forward. A photographer who is more that are key in her bag of tricks. Despite
[76]
Ravshaniya Azoulay
WOW! Interview
Ravshaniyas tips on shooting

this style of photography
Use natural light as much as you can
Ravshaniyas resilience toward artificial lighting, Dont be scared by thousands of
the sharp contrasts in colour spur once again little details that you must take
from her senses. Usually the photo is the into account while shooting
colour that inspired me to create it. When you and post-processing
combine highly contrasting tones with natural Dont shut yourself in the Whats in
lighting it brings the image alive. Vibrant reds box of knowledge. When
you look in a viewfinder, Ravshaniyas
Kit Bag
and oranges, stark whites and even metallics,
Ravshaniyas mature take on photography with look in it with your own
an enchanting twist must come with its view and not with the view
difficulties, especially when the dancers are of your acquired technical Nikon D700
performing such acrobatic poses while restoring education
elegance. The main challenge is to find a AF-S Nikkor
perfect place for shooting. Im not one to take
different photos in the same place over and over 70-200mm
again. In my opinion each photo must have its
own world.

[78]
Ravshaniya Azoulay
WOW! Interview
THE LOOK
Inspired only by her senses, the Uzbekistan photographer goes by her creative
instinct when it comes to setting up a shoot. Suited and booted or clad in candle
wax and paint, her styling ranges from the mainstream and sophisticated to the BIOGRAPHY: Ravshaniya is a 29-year-old
bizarre and painful, showing her versatility. Previously I didnt even think about photographer born in Uzbekistan. She has
the styling. I imagine the end result and know exactly what I want, thats why I been practising photography for eight years
rarely use the help of stylists. I come up with almost all of the characters myself. after studying movie directing at the
A one man band in the photography industry who has crafted her skill in her Institute of Fine Arts, Tachkent for five years,
twenties, its Ravshaniyas training in the moving image that has pushed her where she also learnt the craft of the still
talent for capturing action within stills. Combining agonising expressions with image. With a very minimal kit bag of just a
models dressed down to their bare necessities or taking the norm beyond natural Nikon D700 and 70-200mm Nikkor lens she
realms, Ravshaniyas niche portfolio is admirable with such little kit and just goes creates surreal styled shoots inspired by her
to show that pure talent can rise above the glamorous materials photographers senses. www.ravshaniya.com
can become accustom to and pushes her imagination to the front.

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Nature
Wild Britain
Water Technique
3
THE THREE
STATES
OF WATER
In this months issue of Wild Britain SIMON BOOTH takes a look at good old H2O in its many forms,
solid, liquid and gas, to see how it can be applied to our nature pictures to give them a cool watery lift
ater covers around 70 per cent of the Earths surface, so it by our imagination. Lets have a look at some examples of what we
W comes as no surprise that it appears in practically every
picture we take. As photographers this is one of our most
can do with it.
important tools and we should be mindful of how it can help us at all DEW
times when taking pictures. The inclusion of water can alter how we Dew forms either early in the morning or late in the evening when the
feel and respond to an image, be it excited by its inclusion in an air temperature is cooler than the ground beneath. This is a good
action shot or calmed by its smooth silky flow in a river. Water also time get down on your knees and go in close with a macro lens.
helps us to compose our pictures, such as when leading our eye Subjects include plants, spiders cobwebs, roosting butterflies and
through the scene in a dramatic watery landscape. It can also make dragonflies, all of which will be decorated with beautiful little pearls
the same location appear very different on two consecutive days, of water. A few points to keep in mind are as follows. Moving your
such as the transformation afforded by a covering of soft fresh snow subject to a less cluttered location is just not an option when
or the change from a chocolate box, fluffy white cloudscape to heavy shooting dew so you need to be aware of your background to subject
rain storms with rainbows. distance when selecting the aperture for the job. Also, choose a high
The impact of water and its many forms is not to be understated as enough ISO setting to ensure that subject movement is arrested if
our pictures would be very dull without it. Imagine a bird preening on the wind is blowing. Light will probably be at a premium when you are
a lake, with its wings beating rapidly but with no water flying working at the start and end of the day so make sure your shutter
everywhere? Or a beautiful bluebell woodland in spring with beech speed is high enough too. If like me, getting up early is never easy,
trees adorned with fresh green leaves lining a meandering, but dry you can improvise and use an atomiser spray such as those found at
watercourse? Be it ice, rain, snow, mist, rivers, oceans, lakes or garden centres and make your own dew. Finally, look for refracted
clouds, water is free and is there for us to use, so we are only limited images that appear in every droplet; they make interesting close ups.

WATER DROPLETS
For many years I wanted to photograph
rain as it fell on a still pool, but no matter
how hard I tried, I never really captured
the experience properly. I dont consider
myself to be the most proficient
Photoshop user but I was determined to
give something a go. I decided to make a
composite image using individual droplets.
Each droplet was photographed using two
flashguns to freeze the water droplets as
they fell from a pipette into a bowl. The
pictures of the droplets were then
arranged as random layers on a blank
Photoshop canvas, decreasing in size
towards the top of the picture to make
them appear to be progressively more
distant. I then flattened all the layers and
imported a new layer of a cloudy sky to
make a reflection on the water surface.
The final step was found within the layer
command using the overlay tool which
COBWEB the wind is the web photographers arch placed the two images together.
Cobwebs are among the prettiest of natural enemy so keep the sensor plane parallel to
phenomena and when covered with fresh dew the web and work with fast shutter speeds to
they make great pictures. But dont forget, arrest all movement.
MEADOW BROWN BUTTERFLY

A roosting meadow brown butterfly was found warming in the morning sun, immobilised but decorated with a covering of dew. By gently
flattening the grass at the back of the butterfly I was able to get a nice plain background to show the insect against.
[82]
Wild Britain
Water Technique
FROST
Frost, and in particular hoarfrost, is like snow
in many respects in that it can hide a
multitude of sins in our pictures. Plants that,
prior to being coated with frost would not
have made the grade before, are suddenly
transformed overnight into a thing of beauty.
The main points to remember are that you
cannot afford to touch anything when
working with frosty subjects, as the crystals
drop off very easily you even need to hold
your breath when looking through the
viewfinder if working up close. Try to work,
wherever possible, in a spot where the sun
wont reach too quickly in the morning; its
very frustrating when working against the
clock. Once or twice my eye has been
caught by backlit vegetation covered with
frost but no sooner have I arranged the
tripod than the frost has started to melt, so
be patient and consider the suns position
when choosing your subject. Lastly, be
aware of your exposure as the bright
reflected light can cause your camera to
underexpose so check your histogram and
expose to the right.
Umbellifers are a large group of plants
belonging to the carrot family. This is one of
the commonest varieties, known as hogweed,
frequently found on unmanaged grasslands
and forms part of the ground flora along
hedgerows. The dead flower heads are
normally unattractive but the addition of
frost makes all the difference.
ICE
Think ice, think frozen waterfalls, rivers or
icicles but then what else? One of the great
things about ice is not necessarily the ice
itself but the lack of it. Duck ponds covered
with ice usually have a pool of unfrozen
water in the middle where wildlife
congregates. This can be a good time to
photograph wildlife coming in to feed and
preen as you always know exactly where
their flight paths will lead. Frozen lakes and
rivers will provide opportunities for taking
abstract pattern pictures of ice formations,
[83]
Wild Britain
which can make good macro subjects.
Water Technique
Again ice exposures can fool the camera if
the ice isnt translucent so you may need to
dial in some positive compensation to keep
the image from turning grey.
I took this picture along the shores of a
Scottish loch and what appealed to me was
that ice is normally associated with fresh
water, but here you can see the patterns of
bladderwrack beneath, which gives you
some idea of how cold it was.
MIST AND FOG

At times of mist or dense fog the suns light
is scattered by the suspended water
particles in the air, so its like working in a
giant natural softbox, but one which comes
with all sorts of problems. In these conditions
you constantly have to battle with loss of
contrast whereby your subject fades away
over distance, so when working with larger
scenes its worth trying to get some near
subject matter in the frame to ensure some
colour is retained, which will also provide
greater depth to the picture. Also try to work
with longer exposures otherwise the water
particles will appear as noise when you view
the image at 100 per cent. Last, be aware
that fog can cause underexposure so again,
expose to the right with this in mind. On a
positive note, when the fog and mist are
lifting and the suns rays begin to filter
through, the results can often be extremely
eerie, such as when light rays are filtering
through a woodland canopy. A picture I have
yet to achieve!
This picture [top] was taken one misty
morning at a heronry. Herons nest very early
in the year so they are often doing so in very
poor weather conditions, which makes
atmospheric shots of them in all sorts of
weather not that difficult.
This picture [middle] illustrates the
contrast fall off effect that you always get
with mist and fog. Notice how quickly the
trees behind have faded with almost half
of the contrast being lost over a very
short distance.
REFLECTIONS
Colours that appear on ponds such as
cloudless blue skies make ideal canvases to
promote your subject against, as they make
it really stand out. The reflected colours from
trees in autumn are particularly nice as they
envelope the subject with warmth, which is
the opposite to that of a blue sky, which by
comparison makes the image appear much
colder. On very still days, it is possible to
make mirror images using reflections that
can sometimes bamboozle your audience Scotland. The shapely dead pine trees echo are plentiful on local ponds. Get down low on
into not knowing which way the correct the scene above but in a softer version made a level with your subject as this will achieve
orientation of the picture actually is. These possible with the slight ripple on the loch even better results, but it can be harder to
situations are great for making abstract surface, which was recorded as a slight blur show the subject in isolation, as more
pattern pictures. This image [bottom] was due to the 2.5 second exposure time. Species foreground and background are recorded the
taken at Uath Lochan near Aviemore in such as mallards are easy to approach and lower you go.

RIVERS AND WATERFALLS
Rivers are one of the most useful watery
subjects at our disposal. They can add depth
to the scene by providing a strong base to
our image from which the eye is forced to
follow. By using slow shutter speeds rivers
can add a sense of serenity to our pictures
by recording the water as a soft silky blur
not that its to everyones taste of course.
Use aperture priority with shutter speeds
that give you at least 0.5 seconds or longer.
Lowering the ISO to 100 and dialling in an
aperture priority of f/22 will assist this. If the
location is in a well lit place and exposure
times are still too short, a neutral density
filter, which reduces the amount of light
hitting the sensor, can be attached to the
front of the lens to lengthen exposure times.
You need to find a good balance between
river speed and exposure length. If you are
lucky enough to find a bird such as a heron
or a dipper standing motionless in a river,
then this will give your picture an extra lift as
the water moves around a static object.
are two small aquariums full of water. Place

one in front of the other with the rear one
filled with pond water and aquatic plants
such as hornwort or starwort and the one at
the front filled with clean water for your
small group of snowdrops [pictured below] as specimen. You can shoot through the front
they broke through the frozen ground early piece of glass exposing with daylight to
in the spring. The long lens has compressed capture a world brimming with action. Just
the foreground and background, isolating be aware that if you use flash as your light
them from their surroundings. source the light needs to penetrate the glass
at 45 degrees to the glass otherwise it will
UNDERWATER reflect back into your lens.
The world beneath the surface of our ponds The great diving beetle is one of the
is full of life and accessible to everyone with underwater worlds most ferocious predators.
a net and a bit of patience. Species such This larvae [above] was found in a small
dragonfly and damselfly larvae, tadpoles and weedy pond and was photographed in a glass
water beetles are plentiful in ponds in spring tank using a set-up similar to that described
and summer and make great underwater above, using a hand held camera with a
subjects. For a basic set up all that you need Canon 100mm macro lens.
SNOW
Never let it be said that snow makes snow
difference to a shot. Pardon the joke, but
these two images of a veteran Caledonian
pine tree, taken before and after a night of
heavy snowfall are a good example of how an
image can look ordinary in one scene,
compared to one that is much improved in
the other. Just be aware that like frost and
ice, snow can cause underexposure so
remember to check your histogram and
compensate accordingly to keep the snow
white instead of grey.
I used a 500mm lens to photograph this
[86]
Wild Britain
Camranger Test
ROAMING WITH
THE CAMRANGER
PMs resident wildlife and nature expert SIMON BOOTH tests the new
wireless Live View device for Apple iOS smartphones and tablets
When the latest photography gadget from know it was even in your camera bag.
America landed on my doorstep what a treat However, looks can be deceiving and
it promised to be. The CamRanger is a these flash gadgets always need putting
wireless device that provides Live View to the test
connectivity between your camera and Discover whether the CamRanger achieved
iPhone, iPad or iPod Touch. At just under PMs stamp of approval by visiting the link or
300, when you consider the cost of the scanning the QR code below with your mobile
Nikon or Canon equivalent, this little device phone for high res images and Simons
will certainly raise a few eyebrows. thoughts on the tool.
Measuring just 100mm x 65mm x 15mm and
weighing in at an incredible 100g, the www.photographymonthly.com/Magazine/Gear-Tests/
CamRanger is so small that you would never Roaming-with-the-CamRanger
ON A POSITIVE NOTE, THE CAMRANGER DOES

ALLOW YOU TO CHANGE THE CAMERAS SETTINGS,
VIEW HISTOGRAM, FINE TUNE FOCUS AND
DOWNLOAD IMAGES STRAIGHT TO YOUR APPLE
DEVICE WITHOUT ANY INTERNET CONNECTION
WHAT IS IT?
The CamRanger allows wireless control of a DOWNLOAD
Nikon or Canon DSLR via your iPad iPhone or
iPod Touch. So really, a tethering solution,
useful for Live View, remotely changing
camera settings and focus stacking for
effective depth-of-field.
BIOGRAPHY
Photographing the wild world is Simon Booths passion. With almost 30 years
behind the camera, the Lancashire-based photographer specialises in pictures of
Britains varied wildlife, places and environments. Simon also works as an
ecologist and his clients include BBC Wildlife, The Wildlife Trust and The Great
Outdoors.
www.simonboothphotography.com

n a year of planning our American a sunny day. So we had a pizza in St. Marks
I Dream we had numerous requests

from friends and family to take them
Square apparently the only chance I will
ever get according to my real life travel
with us, by stowing them away in our companion, and slept off our jet-lag.
luggage. But just days before we set off The next day we all fared much better.
there was finally a successful applicant. We, because wed had a good sleep and an
One that claimed it would be the perfect enormous maple-syrup drenched breakfast,
travel companion, whom would capture all the TZ30 because it could show off what it is
our magical moments to treasure forever and made of. Using the Intelligent Auto mode it
fit neatly in my handbag. With everything cleverly adapted to all the sights Sin City
from the natural splendour of the Grand could throw at it. Lovely shots of the Eiffel
Canyon and Niagara Falls, to the bright lights Tower that look like a sunny day in Paris,
of Las Vegas and the skyscrapers of action shots of the Bellagio fountains
Manhattan, our trip would certainly challenge dancing to Star Spangled Banner, close ups
the promises of Panasonics Lumix TZ30, of the lions and leopards in Siegfried and
and so we found ourselves with an Roys Magic Garden, and wide angles that
unexpected stowaway. took in the skyline of the crazy New York
With a family wedding, our surprise bon New York hotel.
voyage party and a mad day of last minute The IA mode proved helpful throughout
packing there was little time to read the most of the trip and seemed to adapt quickly
manual and as it was a digital one I couldnt and appropriately to most situations, even
even give it a browse on the long flight over coping for the most part with my wild quick
the Atlantic, so I had a cursory look at all the snaps while we were in transit I wanted to
buttons and dials and decided I could work it show my driver the precarious roads he had
out on the hop. It all looked rather good, and navigated, with cliffs to one side and a plunge
certainly better than my old point and shoot, to the roaring ocean on the other. As I got
with lots of different settings to play with I the hang of the dials and settings I explored
was looking forward to having some fun. some of the other functions. Creative Control
We chose Las Vegas as our first stop, allowed for different filters to be applied; the
thinking that if you were going to feel a bit Expressive filter proved helpful in boosting
confused and jet lagged, this was the city the glorious colours of fall in New England on
that could snap you out of it. Landing in the a gloomy day and captured the beautiful blue
early evening local time, but what felt like the sky in a sunny Yosemite, but was a tad over
early hours to us, we thought we would grab boisterous when shooting 30,000 pumpkins
a quick bite to eat in our hotel the luxurious at a record-breaking attempt in New
Venetian. However, walking alongside the Hampshire. The monochrome filter captured
replica Grand Canal with a fake sky painted some moody shots of rugged pacific
above simulating daylight whatever the time, coastlines and helped me channel some
we felt confused and a little bewildered. The Ansel Adams into my snaps of the
TZ30 was feeling the same, not quite sure breathtaking Tunnel View at Yosemite,
whether to go for an indoor night mode or and the Sunset setting magnified the
[88]
Panasonic
Lumix TZ30 Travel
AMERICAN DREAM
With its promise to be the perfect travel companion, KATY GREEN takes the Panasonic Lumix TZ30
on a six week adventure around the USA and puts its claim to the test
Above clockwise: Capturing the

awe-inspiring vastness of the Grand
Canyon; The imposing Lincoln memorial;
Patriotic flags at the Boston Public
Library; The famous Hollywood Hills.
QUICK SPEC
Price: 225 I 20x Optical zoom I Leica DC 24mm ultra wide-angle lens I 14.1MP
High Sensitivity MOS Sensor I Full HD video I GPS system with world map
information I 10fps burst shooting I Optical Image Stabiliser with Active Mode
to Suppress blur I ISO 100-3200 (ISO 1600-6400 in High Sensitivity Mode)

intense orange and yellow you only seem
to see in California.
The panoramic setting was put to the test
in most cities and on the whole I was pleased
with the results, however found it worked
best when taking long, almost 360 degree
shots rather than shorter ones which appear
jagged. The expanse of the Grand Canyon
was perfect for this, and as I could barely
comprehend the enormity of what was before
me, I was impressed that the TZ30 had a
good stab at it.
San Diego Zoo provided ample opportunity
for taking close ups of animals, however the
Through the Glass feature was hit and miss
and I found it hard to tell how it improved
most of my pictures, and was disappointed to
see my reflection in the thick fur of the
handsome gorilla I was photographing just
inches away from me.
The quality of the pictures, seeming pretty
good and although the quick snaps I took on
my phone to pop on our Facebook updates
were fun, Im glad I have some decent ones
to print out too. I was also pleased to find
that I could take most of the snaps I wanted
with little hassle, getting everything in shot
that I wanted while my partner was kneeling
on the ground trying to get in the top of a
lighthouse. The 20x zoom was also nifty
allowing me to get far closer than my
companion to everything from elephants to
The Statue of Liberty from atop the Empire
State Building. The latter in particular was
useful as it was the closest we got to her,
since the city that never sleeps was taking THE IA MODE PROVED
HELPFUL THROUGHOUT
a nap during our visit, waiting out Super
Storm Sandy and then trying to recover
from its devastation. MOST OF THE TRIP
I even got a beautiful photo of the tail of a
humpback whale, using the burst and sports
AND SEEMED TO
modes together with a lot of perseverance. ADAPT QUICKLY
However, as with all memories, it was only AND APPROPRIATELY
once I put the camera down that I truly
appreciated the wonder that was before me
TO MOST SITUATIONS.
and just how close I was to a mother with her
calf, playing beside our boat.
That to me seemed to be the balance to
strike with this particular travel buddy. Left clockwise: Attempting to use the Through the Glass
feature for a portrait of a handsome gorilla at San Diego
Choosing when to let it accompany us and Zoo; The roar of the water at Niagara Falls could not be
capture our adventure not only for us to look captured, but the impressive sight was very photogenic;
back on, but to show the folks at home, and Glacier Point provided a vantage spot of the spectacular
scenery of Yosemite, including Half Dome (far right);
when to just experience it for ourselves. I A sunny day in Paris, taken in Las Vegas; A cable car
have to thank my last-minute stowaway for making its way up the steep hills of San Francisco.
[90]
Panasonic
Lumix TZ30 Travel
TOP TEN SPOTS

1. Grand Canyon
2. San Diego Zoo (for animals, it is amazing)
3. Big Sur Coast, central California
4. Golden Gate Bridge (while cycling it)
5. Yosemite tunnel view and Glacier Point particularly
6. Niagara Falls
7. New England Fall Kancamagus Highway for pretty
stop offs, rivers, covered bridges
8. Whale watching in Boston for a view of Boston
skyline from the water, and the whales (also viewing
from top of Prudential Tower is good, but you have to
contend with glass)
9. National Mall from the Lincoln Memorial
10. New York from the Empire State Building for
an alternative view, get the cable car to Roosevelt
Island for further photographic opportunities

TRAVEL TIPS
We planned every detail of our six week trip
ourselves, booking each element separately.
Although daunting it meant it was perfectly
tailored to what we wanted to see and do at
our own pace. Here are some tips for booking
a big adventure:
- Be realistic about what you want to see and

what is achievable, with enough time at each
destination to enjoy it. We scaled back our
ambitions to get the best balance of quantity
and quality.
- Set a budget. We planned to spend 100 a

day while we were out there (between us).
This was modest but we managed to stick to
it and we ate well, took taxis when we needed
to and did everything we wanted. With our
remaining budget we found we could spend
around 100 a night on accommodation,
affording us four star hotels in every city,
nice B&Bs in New England and a couple of
over nighters in between destinations at
decent chain hotels. It could have been done
cheaper but we found good deals and wanted
to have a bit of luxury.
- Tell the hotel its a special trip. We got

quite a few upgrades to bigger rooms and
better views. (Although we also had more
than our fair share of brick walls to look at!)
- Focus on what you want to see in each city.

With just two or three days you have to be
THE 20X ZOOM WAS selective and pick out the highlights that
ALSO NIFTY ALLOWING matter most and prioritise them with your
ME TO GET FAR CLOSER camera, leaving a little time for discoveries
along the way.
THAN MY COMPANION
the snaps that will prompt a memory of an TO EVERYTHING FROM - Keep a spreadsheet. My boyfriend teased
anecdote, and ones that captured the beauty
of what we were seeing and even some fun
ELEPHANTS TO THE me but I kept a log of everything we booked,
the reference number, how much it was, what
ones that show just how happy we were, or STATUE OF LIBERTY. we had paid upfront, what we had to pay on
how big a pancake breakfast we ate (almost arrival and what was on our credit cards. It
every day), but I also have some gaps in the Above: Using the kept us to budget and we could easily see
album. I dont think this travel buddy could Miniature setting when we had to find a cheaper hotel or when
on a New York
ever have recorded the elation I felt as I avenue from the we could splurge!
cycled over the Golden Gate Bridge, or just top of the Empire
State Building.
how delicious an ice-cream sundae made - We opted to pick up and drop off cars at
with melted peanut butter can be, or how each city as we didnt need them to get
special it was to sit out on the deck of our around. Look for car rental that allows this
lodge in Yosemite with a cold beer and gaze BIOGRAPHY without a one way drop off fee. Some even
at a billion glitter-like stars (I tried, but the Katy Green allow this between states such as Nevada and
zoom just wasnt that good!) or even how has written for California. Airport to airport often proved
weird it felt to be walking down Fifth Avenue English Home magazine for over four years cheapest and most convenient.
with only a handful of other people just hours where she loves admiring new fabrics and
before the storm hit. Those things can only working with images of beautiful interiors. - Driving times on Google are accurate. Try to
be shared with a real-life travel companion The amazing sights of her recent trip take the old highways where you can its
and although the TZ30 was good, it wasnt as unleashed not only the travel bug but a much more scenic and the driving should be
good as him. desire to learn more about photography to part of the experience.
capture all her adventures.
www.panasonic.co.uk
[92]
Panasonic
Lumix TZ30 Travel
TRAVEL CAMERA
A camera is always on our must-pack list
when we venture off on holiday, but what if
youre looking to upgrade to something that
BUYERS GUIDE
has all the essential features when
exploring somewhere new? If youre after a
camera that includes GPS, is waterproof, or
has a stonking optical zoom lens then check
out our must have list.
THE CLASSIC: Fuji X-F1 THE ADVENTURER: Olympus TG-1 THE MINIATURE: Praktica DigiPix 1027
A timeless looking camera that has all the state-of- For those that want to take their camera everywhere, A little camera that packs a punch this 10MP offering
the-art functions, the latest Fuji is a stylish camera and we really mean everywhere, with them, this is the from Praktica is the perfect accompaniment for your
you wouldnt want to be without on your travels. Fast perfect choice. In the sea scuba diving, hanging from a travels and fits right in your pocket. In a classic black
processing and response times with advanced anti mountain in an exciting climb or hiking in glacial casing or eye-catching red body it features an 8x
blur, at 12MP with up to 8x digital zoom when Arctic landscapes, the TG-1 can handle it all while digital zoom lens and comes as an absolute bargain at
combined with optical zoom its a neat camera that is taking photos you will want to keep forever. Its built- around 40! Not only that but it takes two AA
great in low-light situations with its f/1.8 lens. Not in GPS and electronic compass will record all your batteries which means that you dont have to be
only that but it also shoots 360 panoramas to ensure coordinates even when youre not taking shots of your shuffling around for a charger when on the move.
that no breathtaking view goes amiss. Read our full adventures, so you can really keep track. Waterproof 43. www.amazon.co.uk
review of the Fuji X-F1 on the PM website. Around to 12m, shockproof to 1.5m, crushproof to 100kg and
300. www.fujifilm.com freezeproof to -10, its extra durable design will make
sure that any action man, or woman, will be sure to
get that shot. Around 290. www.olympus.co.uk
THE ALL ROUNDER: General Imaging G100 THE SOCIAL CAMERA: Samsung DV300F THE SNIPER: Sony Cyber-shot HX20V
If youre after a camera that has it all when it comes Up there in the list of ultimate smart digital cameras If youre after a camera that has a lot of zoom
to a tourist companion, then look no further. 14MP, 15x the Samsung DV300F is one for those who love to capacity much like the Panasonic, then Sony would be
optical zoom, high speed continuous shooting at 10fps share their special moments on the spot. Upload your your next best option. At a incredible 20x optical
in full resolution, all coming in under 150, whats not photos instantly to Facebook with the built-in Wi-Fi to zoom that doubles to a staggering 40x magnification
to like! With the Pan Capture feature you can shoot show off your travel stories, or send loved ones a shot youll be sure to capture those must have views from
stunning panoramas of your favourite landmarks and via email to let them know youre having a good time, afar that your legs cant quite reach, topped off with
ensure those pin-sharp details are captured in camera theres no need to take that cable with you again. The high-quality results of course. Record Full HD films on
with its image stabilisation function. Complete with a 2View Dual LCD with 1.5in front screen is an added the move while tracking your every step with the built
wide-angle lens and Full HD video you wont miss a bonus to the 16MP camera as you can always keep an in GPS unit too. 300. www.sony.co.uk
moment. 130. www.general-imaging.co.uk eye on getting that must have shot in front of a world
famous monument. 120. www.samsung.com

Atmospheric
Moments
Anna Theodora - A nous les amour et les roses

Canon EOS Rebel T1i | f/1.4 | 1/2000sec @ 50mm | ISO 100

SOUND
SHAPES
Noel Hibbert and Adam Scorey experiment with

two different liquids, a big speaker and some
phatt tunes to see if they can see sound
ometimes ideas just pop into your head, and this was very
S much the case when Noel and myself sat down in a planning
meeting to come up with some ideas for our next DIY
Photographer feature. Noel had done a great job of his wire wool
images, and Jessica too with her homage to artist David Hockney.
This time we wanted something more home studio based. We came
up with the idea to take liquids and pass sound through them to see
if we could make weird and wonderful shapes.
Noel opted for poster paints; theyre colourful and easily
accessible, especially as he has a young daughter. I went for using a
mixture of cornflower and water. We both were then going to use an
old speaker covered in wrapping film and pass loud music through
the liquids. The hope being that the liquids would create some
interesting shapes that we could then photograph.
As this is very much an experiment, or work in progress, we
thought wed share what we discover on the journey, including where
we think things could be improved. We will both then revisit the
shoot with the upgrades and shoot again later in the year. If you feel
inspired, please do have a go yourself and share the results with us
you could add them to PMs online gallery.
[96]
Paint with sound
DIY Photographer Technique
Part one Poster paints
WHAT I USED:
N Poster paints
NWrapping film
NGaffer tape
NGround mat or sheet METHOD
NSpeaker (an old one) I rolled out a large ground sheet and then connected my speaker to
to connect to a sound my amp and computer, ready to blast out some dark and grungy
source dubstep dance music with some serious bass frequencies. I wrapped
ND800 the speaker in cling film nice and taut, and gaffer taped the edges so
N80-200mm & that when the speaker vibrated the cling film stayed in place.
24-70mm lenses I focused the camera to the centre of the speaker cone with the aid
NOn camera flash of a miniature model and splodged some paint on top in the centre. I
and SB-910 used the 80-200mm lens with onboard flash and the second flash to
in Commander mode the right side of the speaker. I shot two lots of images, one lot at
NTripod f/2.8 and the second at f/5.6, all at 1/320sec with the music at
NCable release various volumes.
After several shots with the wrapping film on the speaker, I
removed it and squirted paint directly into the speaker cone. The
effects were very different, so if you arent too attached to the
speaker paint it!

AFTER SEVERAL SHOTS WITH THE
WRAPPING FILM ON THE SPEAKER,
I REMOVED IT AND SQUIRTED PAINT
DIRECTLY INTO THE SPEAKER CONE.
THE EFFECTS WERE VERY DIFFERENT,
SO IF YOU ARENT TOO ATTACHED
TO THE SPEAKER PAINT IT! Part two
Cornflour & water
While Noel was having a merry old time with his daughters poster
paint and a speaker, I decided to experiment with something a
little more culinary cornflower and water, also called Oobleck.
Why? Well this solution is a non-Newtonian liquid that when a
form of stress is applied it changes what you would normally
expect to happen. In its resting state it looks and behaves like a
normal liquid. However, give a bowl of the stuff a whack with a
hammer and it goes rock hard! Leave it a few seconds and it turns
runny again. How neat is that.
OOBLECK?
THINGS TO WATCH OUT FOR This photography experiment came about after being reminded of
+ The sound of the music volume changes the way the paint this after watching an episode of E4s The Big Bang Theory
vibrates or jumps recently. They made up a solution of Oobleck, laid wrapping film
+ I couldnt get close enough to the paint to see the detail. A over the speakers exposed cone, poured the Oobleck in and hit
macro lens is more advisable. the play button. The result was a bit like a melted Morph dancing
+ The paint WILL flick all over the place so be prepared for all over the place, blobs and globules squirming in time to the
music. My plan was to repeat this but to try and shoot the
mess not advisable to do in the house!
resulting extra-terrestrial globule-like behaviour with my Nikon
+ Use a small object as the base of your focal point - I used a
D600 and a 60mm macro lens, this time using only my on-camera
small person model
flash. I then planned to get all funky in Photoshop and add to this
off-World experience atmosphere.
METHOD
I put two teaspoons of cornflower in a cup and then gradually
added water, slowly mixing as I did. I wanted to get it to the
consistency of honey. I placed a speaker flat on a table (in my case
a sub-woofer) and laid wrapping film over the exposed cone I left
the film quite loose. I then poured a small amount of the Oobleck
into the depression and ran sound through the speaker.
TRICKS OF THE OOBLECK

The key is to get as low and close to the liquid as possible to make
the most of those whacky shapes that it makes. I decided to
handhold the camera so I could keep flexible. As I was using the
D600s in-built flash, ensuring it was at its fastest setting, so
1/250sec, which I had to select in the menu. At f/11 I also needed
to dial in +1/3 flash exposure compensation. I used f/11 to aid
focusing and depth-of-field.
I chose a sound track with a beefy base, in this case R&B artist
Amerie and her second studio album from 2005, Touch. I messed
about with the equaliser to add more bass and then cranked up
the volume.
WHAT IS A NON-NEWTONIAN LIQUID?

Normal liquids, such as water, have a constant viscosity or
rate of flow. Their behaviour only changes when you apply
temperature or pressure. Non-Newtonian liquids change
their viscosity or flow behaviour under sudden stress or
strain in this case running sound waves through the
cornflower and water solution (called Oobleck) which makes
the fluid become more viscous, almost solid also called
dilatant or shear thickening.
[98]
Paint with sound
DIY Photographer Technique
WHAT I USED:
N Cornflower
THINGS TO WATCH OUT FOR
There were a few key things that I
N Water
would point out as challenges in the
N Cup
photo experiment.
N Spoon
N Wrapping film + CONCAVE The first is the shape of
N A large speaker the speaker/cone. The slightly indented
connected to a sound and concave shape meant that I couldnt
source get level with the liquid so was always
N Tissues shooting at a downward angle. A larger
N Nikon D600 speaker would mean I could get closer.
N 60mm macro lens + OVERHEAD LIGHTING This
reflected off of the wrapping film and
N On-camera flash
created too shiny a surface, adding
loads of specula highlights that I found
distracting. Turning the studios lights
off and using a side or table lamp would
have resolved this issue.
+ FOCUSING You have no idea what
shapes will be created or where, so
choosing your focusing point is tricky,
THE RESULT especially using a macro lens. Stopping
down to f/11 helped, but it meant I had to
WAS A BIT LIKE up the ISO, or I would have to use more
A MELTED powerful lighting.
MORPH + LIQUID COLOUR Next time I would
add some colour into the liquid; as it
DANCING ALL stands its an off-white, which is a bit
OVER THE dull, and can create problems with flash
PLACE, BLOBS hotspotting. A food dye would also
suffice here.
AND GLOBULES + SOUND I used a sub-woofer but
SQUIRMING IN would try not only a larger speaker but
TIME TO THE not limit myself to a sub next time.
MUSIC.
50
F I F T Y
PICTURES
O N E
SUBJECT
Feeling a bit rusty after some down time and need to sharpen up your skills? Heres a simple project to
up your game and find your inner creative. 50 shots, one subject and a whole host of opportunities
50 images of one subject can either sound like a doddle to some, or a sheet to see all your glorious shots in one frame,
mind boggle to others. Well if the latter applies to you then this is a they make unique presents too!
great exercise to explore your creativity and versatility in photography. Using three different formats the Photography
It opens up your mind to all kinds of possibilities when it comes to Monthly team took on the challenge in their own
angles and lighting, but it also focuses your skill as a photographer to unique way, with a mixed bag of results.
experiment with different depth-of-fields and exposures dependent on To see the full uncropped 50 pictures from
your surroundings. The most important starting point is finding a Adam, Noel and Jessica of each subject visit the
subject matter that is interesting to look at, thus making the shooting link or scan the QR code right!
process simpler and the opportunities vast when taking 50 unique www.photographymonthly.com/Magazine/Photography-Monthly-articles/
images. Think colour, think texture, think shape. Flowers are a beautiful 50-pictures-one-subject
foundation to launch your 50 pics project with as they encapsulate all
of the factors above. Combine them with a number of backgrounds, STUCK FOR IDEAS? WHY NOT FOLLOW
from wallpaper, to baskets and bright natural light coming through a THESE USEFUL SHOOTING OPTIONS TO
window, and youre onto a winner. Armed with imagination and extra GET YOU STARTED
accessories such as artificial lighting and a tripod, if needed, and
away you go. - Shoot with a shallow depth-of field
Like Bailey in the zone shooting off frames like theres no tomorrow, - Shoot macro
as soon as you get going youll find that your image count reaches far - Look for leading lines
beyond the magic number and your technical side starts to switch off - Shoot through the subject
as the creativity takes over. And if you want some added pressure to - Shoot a long exposure
make sure you get the job done, then set yourself a timer. Dont think, - Backlight your subject
just shoot, as the wise-old saying goes. The great thing about the 50 - Diffuse the flashs light so its soft
pics project is that anyone, any age, any ability can have a go, and it - Use the rule of thirds, or be a rebel and break it
can be done on whatever type of camera takes your fancy. - Shoot with a fisheye lens
The options dont just stop within the camera itself as you can - Use a filter
manipulate your 50 pics to your liking in post-production. Crop where - Shoot from down low
necessary, increase contrast and saturation or flip them, the choice is - Use shutter burst mode while you move around the subject
yours. Whilst youre glued to your computer why not create a contact
[100]
Fi n e A
r
t&
50 Pictures
Abstra
One Subject Technique
c
t
Adam Scorey
Group Editor
Subject: Norwich City centre
kay, so a city is not exactly one object, but I wanted to ensure that you kept a open mind when approaching your own 50 pictures project. Why
O have limitations? My own preference or style is more street orientated, so this appealed to me more than say, a car or a pet. I must admit to
being a bit lucky with the weather as it was the only sunny day I can remember for flippin ages. Basically I just wandered around shooting
anything and everything that I thought looked good, but attempting to have a loose this is Norwich narrative to my set of images. It was refreshing to
have quite a free hand, added to by leaving the camera to sort the technical details. For me, though, its not until you see all of the images together that
the full effect is seen.
All of my images were taken with the latest 16MP Samsung Galaxy camera,
shooting using the Auto mode.

Noel Hibbert
Art Editor
Subject: Eagle Tower Cheltenham
y subject is what a lot of people in Cheltenham consider an eyesore due to its vulgar contrast to the beautiful regency architecture. Built in the
M 1960s it overshadows the town, and being the tallest building here you can see it near and far from all directions. I really wanted to capture this
building from all sides; for me this building is part of Cheltenhams skyline. Its not the prettiest building, granted, but neither were the Twin
Towers in New York and they were a huge part of the skyline there and are now much missed buildings. I took these around 9am and the sky was just
great, a good mix of cloud, blue sky and a rising sun giving a slight golden hue to the ambient light.
Taken with a Nikon D800 and a range of lenses.

24-70mm f/2.8 | 80-200mm f/2.8 | 500mm Mirror Lens | 16mm f/2.8 fisheye.
[102]
50 Pictures
One Subject Technique
Jessica Bracey
Features Writer
Subject: Bouquet of flowers
girls best friend, other than diamonds and chocolates, is flowers. Packed with vibrant colours, shapes and inspiring textures, they ooze a
A multitude of photographic gems. Using the Expressive filter on my Lumix TZ30 and the Food setting to ensure some great close-up shots,
I was able to capture those intricate details that make flowers so beautiful to look at. Using a household lamp as a direct light source to
illuminate sections without the use of flash, I moved positions and the direction of light to get a range of results. Theres something quite dreamy about
macro photography, especially with a natural subject matter such a flowers, that open up your eyes and makes you appreciate Mother Natures offspring.
Taken with a Panasonic Lumix TZ30 with a number of filters.

Expressive | Food | 24mm I f/3.3 | ISO 100-800.

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CREATIVE
COMPACT
Nikon enjoyed great success when it launched its diminutive
CSC range in 2011. Now the original Nikon 1 J1 has been
updated with the release of the J2. KEITH WILSON checks
out the improvements
s everyone knows, SD cards are

A wafer thin and very small, but when
I slid a fresh 8GB SD card into the
new Nikon 1 J2 for this review, I thought the
card was bigger than usual. It wasnt of
course; its just that the J2 is so incredibly
small. I had never handled the J2s
predecessor, the J1, when it launched barely
12 months ago, so my surprise was genuine.
Nikon says the J1 is the best-selling
compact system camera (CSC) of the past 12
months. The J2, therefore, has a lot to live
up to, but a quick inspection of its exterior
and spec sheet reveals that this is a modest
upgrade rather than a complete overhaul.
SUBTLE CHANGES
For those familiar with the J1, it is worth
noting that the changes to the new camera
are mostly cosmetic. The J2 uses the same
sensor, processor and autofocus system as
the J1, but there are two notable
improvements on the new camera: a 921k dot
3in screen compared to 460K dot on the J1,
and the addition of a new Creative Mode
setting on the Main Mode dial. A glance at
the mode dial reveals only four other modes:
green Auto Photo; Smart Photo Selector;
Above: Here was an instance where the Smart Photo
HD Movie and Motion Snapshot. Selector with its rapid burst rate of up to 20 frames
The increased screen resolution is vital to made a real difference to getting a result. These
the operation of the J2 because much of this swans took off behind me and the camera saved five of
the best images from my shoot from the hip
cameras user experience is tied to the response to the card. It chose image number two as
playback of bursts of still images, creative the best (pictured). Im inclined to agree.
filter effects, HD Movie and an interesting
fusion of stills and movie in the Motion
Snapshot mode. On the surface, there are
just a handful of controls the essentials
that you see on any camera, so the J2 shooting modes and Keiths verdict on the
doesnt intimidate and is far from camera by reading the full review with high
complicated. More importantly, beyond resolution downloadable images by visiting
the ultimate point and shoot simplicity of the link below or scanning the QR code right
the green Auto Photo setting, it remains with your mobile phone.
easy to use, no matter how far you delve
into its menu. http://www.photographymonthly.com/Magazine/
Read more about the J2s array of different Gear-Tests/Creative-compact-The-Nikon-J2
[106]
Nikon 1
J2 Review
Above and opposite page bottom: In Auto Photo

Mode, the J2 impressed with its metering and
gave an accurate exposure every time.
Left: The Selective Colour setting in Creative
Mode has great potential for emphasising
different single colours of a scene and
comparing their impact. In this shot of a river
barge at Putney Pier, I took a normal colour
image followed by shots to pick out the blue,
green and yellow details respectively, while the
rest of the scene is depicted in black and white.
There wasnt a lot of colour to be seen on this
grey day
QUICK SPEC
Street Price: 450 (10-30mm f/3.5-5.6 kit) I MP: 10.1 I 13.2 x 8.8mm CMOS sensor I Max
resolution: 3872 x 2592 pixels I Max burst rate: 60fps I ISO: 100-6400 I Video: Full HD
1080p I LCD: 3in 921k-dot Live View I Compact dimensions: 61 x 106 x 30mm, 238g

Fuji
Review F800 EXR
ALL EYES ON THE

FUJI F800 EXR
Eagerly sharing the 16MP F800 EXR with her photography peers,
BOO MARSHALL sees if it really is the top trump of travel cameras
In the arms of nine different professional

photographers, the Fuji FinePix F800 EXR
has certainly received some attention and
a work out beyond the norm. In the hands
of three different photography groups the
compact has been packed up for its travels
and jetted off to the lands with opportunities
aplenty. Boasting speedy response, a
remarkable 40x Intelligent Digital Zoom and
wireless image transfers, can it live up to its
impressive spec for the avid traveller? Find
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Professionals-Playing for the full story or scan
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the F800 EXR is worth investing in.
THE CAMERA WAS SO DISCRETE THAT NO ONE

APPEARED TO NOTICE WE WERE TAKING PHOTOS
WHEREAS I WOULDNT HAVE HAD THE NERVE
TO GET THE CANON MARK II AND THE 135MM
LENS OUT OF MY BAG.
QUICK SPEC
Price: 180 I MP: 16 I EXR CMOS sensor I Zoom: 20x Optical Zoom, 40x Intelligent Digital Zoom I Max burst rate: 11fps I ISO:
100-12,800 I Video: Full HD 1920 x 1080 I LCD: 3in 460k dot screen I Weight: 232g (including battery) I Filters: Six different
special filters including Pop Colour, Toy Camera, Miniature, High Key, Partial Colour and Dynamic Tone

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O

LANDSCAPES PORTRAITS GEAR NATURE

NEVER STOP LEARNING...

THIS MONTHS Ravshaniya

Fran Halsall Ste Landeros

Photography Monthly is published by Archant

Archant Specialist. Archant Specialist is part of Archant Community Media Ltd.

www.photographymonthly.com - February 2013 [3]

N D 68-71 SANDERS SCHOOL PROJECT

U L 30-37 LANDSCAPE RECIPE BOOK

G Fran Halsall looks at time saving options

38-41 REMEMBERING VELVIA

G E Katy Green puts the TZ30 through its

R A paces in a six week stint across the USA

www.photographymonthly.com - February 2013 [5]

WOW! IMAGE BY ADRIAN SOMMELING

My son often shows me something

www.photographymonthly.com - February 2013 [7]

[8] www.photographymonthly.com - February 2013

Nearing the peak

THREE PEAK Climbing towards the

[10] www.photographymonthly.com - February 2013

www.photographymonthly.com - February 2013 [11]

Are you a young, innovative and

[12] www.photographymonthly.com - February 2013

Chris King Daiva Ziliute

Upload your images to www.photographymonthly.com then

Anna Theodora Ahmed Wahdan

Join us on Facebook: Photographymonthly to see photo of the day

www.photographymonthly.com - February 2013 [15]

Barney Gibbons Amy Butterfield

[16] www.photographymonthly.com - February 2013

[18] www.photographymonthly.com - February 2013

After talking with a reader ADAM SCOREY felt

www.photographymonthly.com - February 2013 [21]

www.photographymonthly.com - February 2013 [23]

aybe, just maybe, one day Ill be

Hathersage perfect for fuel and food. Above Hathersage

www.photographymonthly.com - February 2013 [25]

The calm before the storm at the top of the dam

I HAVE BEEN HERE

The walkers clothed in red are

www.photographymonthly.com - February 2013 [27]

Leyburn, North Yorkshire

ROY SAMSON Dave Handson

Middlesborough T BE North Yorkshire

[28] www.photographymonthly.com - February 2013

PHOTOGRAPHY ON THE MOVE

Brackens and ferns are a rewarding subject

at Lens: Canon 100mm f/2.8 Macro

www.photographymonthly.com - February 2013 [31]

A photographic image can be thought of in

www.photographymonthly.com - February 2013 [33]

[34] www.photographymonthly.com - February 2013

On a crisp spring evening the skies

www.photographymonthly.com - February 2013 [39]

THE REALITY DEBATE amount back into the scene giving it a

www.photographymonthly.com - February 2013 [41]

[42] www.photographymonthly.com - February 2013

A Landeros photography. Whiter shades of pale,

Eleven 20 Four I Hasselblad 500 CM I Zeiss 150mm CF

THE KEY TO ANY COMPOSITION IS BALANCE OF LIGHT,

www.photographymonthly.com - February 2013 [45]

[46] www.photographymonthly.com - February 2013