Amateur Photographer - 7 June 2022

On sale Tuesday 7 June 2022 £DAom1n1’at,tf0oerug0retP0thooeotnotfegrpryaorpuihrzeberesotsfphtthooteosYboefeaBrrwi2ta0i2no2innto! PREMIUM EDITION Passionate about photography since 1884 JPUaNssEio2n0a2t2e about photography since 1884 INSIDE Best of32-page pull-out Britainguide l TOP20BUILDINGS Bumper issue packed with tips and and how to shootthem inspiration for great shots across the UK l UK GARDENS: capture them in their summer glory l RAIN CHECK:make the most of wet weather Britain then & now £4.99 Celebrating UK documentary photography past & present Sgt. Pepper’s The story of the album cover PLUS that defined a generation OM System OM-1 Made in Britain A top wildlife pro gives his verdict Discover the wide range of ia Fujifilm 23mm F1.4 WR KELSEYmedia home-grown pho9tocp2r3od6ubc2ts8-87c3-40e9-b0fe-88Sf4ha0rpbe5r,7fa3s9teer 9and weather-sealed

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7days COVER PICTURES © ANDREW WOOD / © PADDY SUMMERFIELD The UK is a great place to be a found within the UK, even when it’s raining. A photographer. It may be modest highlight for me is a peek at Gerry Badger’s Another in size, but the variety of our Country, a fantastic new book featuring the finest landscapes, our rich architectural British documentary photography since 1945 that heritage and our ever-changing should be on every AP reader’s coffee table. We also weather provide endless subjects present a round-up of outstanding British photo for pictorial photographers. In addition, Britain’s brands, and a selection of top British photographers class-obsessed society offers a similarly rich vein of across multiple genres that we think you should material for social documentary photographers. know about. Enjoy with a cup of Earl Grey and a This week we celebrate the photo opportunities slice of shortbread. Nigel Atherton, Editor This week’s If you’d like to see your words or pictures published in Amateur Photographer, here’s how: cover image SOMETHING TO SAY? Write to us at [email protected] with your letters, opinion columns (max 500 words) or article suggestions. This week’s cover image is PICTURES Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to [email protected]. of the Edinburgh skyline JOIN US ONLINE Post your pictures into our Flickr, Facebook, Twitter or Instagram communities. from Calton Hill, and was taken by Andrew Wood amateurphotographer.co.uk facebook.com/ flickr.com/groups/ @AP_Magazine @ap_magazine (@ woodytea_nosugar) amateur.photographer.magazine amateurphotographer This week in 1954 In this issue TREASURES FROM THE HULTON ARCHIVE 3 7 days 8 First Look 12 Building sights 20 Inbox 22 Greatest album covers 26 APOY R3 results 32 The Future is here 36 Garden variety 42 No rain, no gain 46 Another country? 52 Home-grown produce 56 Contemporary © GETTY IMAGES masters 64 APOY R5 launch 68 Reader portfolio Hulton and Wisdom by Thurston Hopkins 70 Common video The journalist and founder of Picture Post, Edward Edward Hulton as a semi-independent operation. It headaches cured Hulton (1906 - 1988), congratulates the comedian was sold several times before Getty acquired it in Norman Wisdom on his successful day running the 1996 for £8.6m, where it is still retained to this day. 74 Olympus OM-1 magazine for a comic photostory. The image was The archive contains everything from images from the field test published in a 1954 Picture Post story entitled ‘How 19th century, through to the political movements of to Run Picture Post’. The Hulton Archive – where we the 1930s, pop culture of the 1960s and many more 81 Fujifilm XF 23mm draw our weekly picture in AP from – was set up by contemporary photographs. F1.4 R LM WR 84 Accessories 87 Buying Guide: The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic DSLR lenses Company in 1854, today it houses over 90 million images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com. 98 Final analysis 9c236b28-87c3-40e9-b0fe-88f40b5739e9

*NOTE: PRIZE APPLIES TO UK RESIDENTS ONLY Our favourite photos posted by readers on our social media channels this week AP picture of the week Reflecting by Claire Marsh Sony Alpha 7, Samyang 35mm, 1/4000sec at f/1.8, ISO 80 Claire tells us, ‘This shot was taken at Hengistbury Head in Dorset, where there are numerous beach huts known to sell for upwards of £350,000! I am not the biggest fan of shooting in harsh or bright light, and so in these conditions will look for the detail in a scene. Whilst exploring the area on this occasion, I was taken with the reflections in the window of this particular hut. I used a wide aperture to show depth, and muted the colour a little in post-processing.’ Instagram: @clairemarshphoto #appicoftheweek Win! To congratulate the AP Pic of the Week winner, Fujifilm is giving the winner a £25 voucher* to spend on any photo prints or gifts at myFUJIFILM.co.uk, so that they can print their image any way they like! Simply go to myFUJIFILM.co.uk, select what you want, then enter your given voucher code at checkout. The voucher is valid for 6 months and can be used in multiple transactions. No monetary eligibility or exchange. Need help using your code? Contact [email protected] 4 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

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Avocet by Darren Price Canon EOS R6, Canon EF 500mm F4 IS Mark II, Canon 1.4x Mark II Converter at 700mm, 1/1600sec at f/6.3, ISO 100 ‘With a 4am start to get from Fordingbridge to Keyhaven by sunrise, I have visited numerous times to try to get a nice low-angle image of an avocet. This day was the first time things came together. A couple of uncomfortable hours on my belly but the outcome was worth it.’ Facebook: Darren Price Photography Instagram: @darrenpricephotography We also liked... Pub People (No.1) by William Dore Nikon Z 7, 24-70mm F2.8 at 66mm, 1/60sec at f/2.8, ISO 900 Managing director William turned to photography as a way of escaping the stress of the daily grind. ‘I mainly focus on landscapes; however I also enjoy street and documentary work, and I’m currently working on a (possibly never-ending) project, documenting my home town of Irvine, Ayrshire, where I’ve lived since 1971. This was taken on a wet April night, during a short visit to London. I was in the St Paul’s area looking for street subjects when I came across this pub with steamed-up windows. I took a few shots from this perspective and some others from around the corner.’ See more of William’s work on his website and social media: williamdore.com @wmdore_images Want to see your pictures here? Simply share them with our Flickr, Instagram, Twitter, or Facebook communities using the hashtag #appicoftheweek. Alternatively, you can email your best photograph to us at [email protected]. See page 3 for how to find us. 6 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

Buy. Sell. Trade. Create. mpb.com Photography can Together, let’s change the our bigger picture. MPB puts understanding. cameras and lenses into more hands, more sustainably. MPB. The platform to buy and sell used photo and video kit. mpb.com #ChangeGear 9c236b28-87c3-40e9-b0fe-88f40b5739e9

Fujifilm X-H2S Andy Westlake takes a first look at Fujifilm’s impressive new professional APS-C camera At a glance CFexpress Add-on fan £2499 body only Like many recent An optional cooling fan high-speed cameras, the bolts onto the back for ■ 26.1MP APS-C stacked X-H2S employs a CFexpress longer video recording CMOS sensor Type B card slot, alongside times at high ambient ■ ISO 80-51,200 one for UHS-II SD. temperatures. ■ 40 frames per second Controls shooting ■ 6K 30p video recording Fujifilm has dropped the ■ 5.76m-dot viewfinder X-H1’s analogue dials and ■ 3in fully articulated switches in favour of touchscreen electronic dials and ■ 5-axis in-body customisable buttons. stabilisation Screen FOUR years ago, Fujifilm launched Fujifilm has been determined not to the X-H1, its first camera to feature make the same mistake again, and as a The side-hinged fully in-body stabilisation. While it was a very result, the new X-H2S is a very different articulated screen can be set competent performer, it was eclipsed proposition. Instead, this pro-spec model six months later by the appearance of the debuts a new sensor, which is the same to face almost any angle, X-T3, which was more charismatic, and 26.2MP resolution as before, but now including forwards. crucially debuted a new 26.2MP sensor. employs stacked technology for faster Out-spec’ed by its younger sibling, the shooting speeds. It also introduces supposed flagship faded from view. Fujifilm’s first AI-based subject recognition system for autofocus tracking. As a result, not only does the X-H2S become the undisputed king of the X-system line-up, quite simply it’s the most ambitious and sophisticated APS-C format camera we’ve yet seen. So what makes the XH-2S so impressive? First is sheer speed. It’s capable of shooting at 40 frames per second in full resolution using its electronic shutter, with full autofocus and autoexposure tracking, and with a buffer of at least 140 frames. Switch to the mechanical shutter, and it’ll keep going at 15fps until either the power or card space runs out. Then there’s the autofocus. Fujifilm’s new AI subject detection is capable of recognising and focusing specifically on humans (both faces and eyes), animals, birds, cars, motorbikes, airplanes or trains, with subject selection via the onscreen quick menu. Thanks to the 8 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

This bolt-on New 18-120mm and cooling fan 150-600mm zooms extends video recording times sensor’s rapid 120fps readout speed support tethering to a 5G mobile device ALONGSIDE the X-H2S, Fujifilm has announced two and a new X-Processor 5, the camera for file transfer. new lenses that reveal the firm’s thinking about the can also take autofocus readings more kind of jobs the camera is designed to do. frequently, promising greater accuracy. Design and build First is the XF 18-120mm F4 R LM PZ WR, which is a The firm says it’s also tweaked the power zoom lens that’s optimised for both stills and behaviour when using focus-point One area where the X-H2S stands out video shooting. It offers a 27-180mm equivalent range, groups to reduce the risk of focusing in Fujifilm’s range lies with regards to with an internal zoom design that doesn’t change the too close to the camera. its design. It’s clearly been designed to length or balance when using a gimbal. There are three attract users of high-end DSLRs, such means of operating the zoom, with each offering Video specifications as the Nikon D500 and Canon EOS 7D different benefits: a traditional ring for stills, a lever for Mark II. So rather than use analogue controlled zooming during video recording, and a pair of Video specs are equally advanced. The dials and switches, it employs a buttons for precise control. The latter can also be used camera is capable of internal recording conventional exposure mode dial to adjust the focus. The lens measures 77.3mm in in 6.2K resolution at 30fps, 4K at (including seven custom modes), twin diameter, 123mm in length, and 470g. It’s due to go on 120fps, or Full HD at 240fps; all with control dials, an AF-area joystick and a sale in September for £899. 4:2:2 10-bit colour. Raw video can be top-plate LCD showing key settings. It output to an external recorder. Subject also boasts a large, comfortable Long zoom for sports and wildlife detection AF is available during video handgrip and, of course, weather- recording, and Flog2 output promises sealed construction. Second is an ultra-telephoto zoom, the XF 150-600mm 14 stops of dynamic range. Fujifilm F5.6-8 R LM OIS WR, which offers a 225-900mm claims that the X-H2S can record for up Fujifilm has equipped the camera equivalent range for sports and wildlife shooters. It to 4 hours at 25 °C, and an add-on fan with a large electronic viewfinder that employs an internal zoom mechanism, which is quicker will be available to avoid over-heating at offers 5.76m-dot resolution, 0.8x and easier to user than an extending zoom on a lens higher ambient temperatures. magnification and up to 120fps refresh this size. Built-in optical stabilisation is rated for 5 rate. It’s also said to offer improved stops of blur reduction, while stepper motors promise Other features include 5-axis in-body optics, along with a more responsive rapid autofocus. The relatively small maximum aperture stabilisation that’s rated for 7 stops, eye-sensor for switching with the rear allows the lens to be surprisingly lightweight, at and the option to output files in HEIF screen. The latter is a 3in, 1.62m-dot 1,606g, while measuring 314.5mm in length and rather than JPEG format. The XH-2S touchscreen of the side-hinged, 99mm in diameter. It boasts a weather-resistant uses Fujifilm’s standard NP-W235 fully-articulated type. design, a fluorine coating in the front element to repel battery, which promises 390 shots per fingerprints and raindrops, and a tripod foot with an charge when using the EVF, or up to 40MP sensor coming Arca-Swiss profile for mounting to a tripod. It’s also 720 shots with the LCD in ECO mode. compatible with teleconverters for even longer reach. The firm will also be offering a matched Fujifilm has also revealed that it’s The 150-600mm is due in July for £1,899. vertical grip with a duplicate set of developing a 40MP APS-C sensor. With controls, which holds two more a backside-illuminated (but not Updated lens roadmap batteries, effectively tripling the stacked) architecture, it’ll be known as camera’s stamina. A network grip is the X-Trans CMOS 5HR (for ‘High Fujifilm has also updated its promised in September, which will Resolution’). This sensor will be used lens roadmap to include three include a built-in ethernet socket and in a variant of the X-H2 body, which will new lenses, including a new XF most likely be revealed in September. 56mm F1.2 to replace the current optic, and a compact XF 30mm F2.8 R Macro. Both of these are due for release in 2022. Then in 2023, the firm is planning to release an XF 8mm F3.5 ultra-wideangle prime. First impressions Fujifilm’s new XF 18-120mm FUJIFILM has identified a gap in its camera line-up, and pulled out all the stops to f/4 power create the X-H2S for sports, wildlife and news shooting, both stills and video. On zoom (left) paper it looks extremely capable, and our first impressions hands-on with the and XF camera are pretty positive, too. Look out for our upcoming full review. 150-600mm f/5.6-8 telezoom www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 9

E ST. 1997 4.9 out of 5 based on over 40,000 reviews Don’t miss out FREE NEXT on a used bargain DAY DELIVERY Stock updated every weekday§ FOR ITEMS‡ OVER £500 All stock is quality checked and graded accordingly 45-day returns Recently listed products∆ at wex.co.uk/used policy† Used item Condition Price** All used items come with a Canon EOS 1D X Mark III Body 9 Excellent £4,499 12-month warranty* Olympus OM-D E-M1 Mark III Body 9 Excellent £989 Olympus OM-D E-M1 Mark II Body 9- Very Good £504 Olympus OM-D E-M1X Body 9 Excellent £990 Canon EF 70-200mm f4 L USM Lens 9 Excellent £350 Nikon 35mm f1.8 G AF-S DX Lens 9 Excellent £369 T&C’s: E. & O. E. §Online stock only. ‡Exclusions apply, visit website for details. ∆Products listed are correct at time of going press, goods subject to availability. **Prices subject to change. †Some items are excluded from our 45-day returns policy. Software, memory cards, DVDs can only be returned if still sealed, unless they are deemed to be faulty. Any other items must be returned in an ‘as new condition’, with no damage to the packaging. If the item has obviously been used you may only be offered a partial refund. Proof of purchase must be supplied. Further T&Cs apply, visit wex.co.uk/terms for more details. *Except those classed as for ‘spares only’. Wex Photo Video is a trading name of Warehouse Express Limited (Company Registration Number: 03366976). Registered in England & Wales. Registered Office: 13 Frensham Road, Norwich, Norfolk, NR3 2BT, United Kingdom. VAT Number: 108237432. © Warehouse Express Limited 2022. View the full range at wex.co.uk/used or9cca2l3l6ubs2o8-n870c136-0403e49-8b604fe1-3887f4d0aby5s7a39we9eek

Two of the new H&Y Books CPL and ND filters The latest and best books from the world of photography H&Y launches CPL and ND Big: A Photographic Album of filters for RevoRing system the World’s Largest Animals by Marko Dimitrijevic and Amos H&Y FILTERS has launched lenses and need to use many adapter Nachoum adjustable-sized circular polarising rings or filters of different sizes. (CPL) filters and Magnetic Clip-on Fixed £50, teNeues, hardback, 256 pages, ISBN: ND filters in varying strengths for its The H&Y Magnetic Clip-on ND filters 9783961713851 unique RevoRing system. simply snap onto the front of the CPL RevoRing is a filter system that uses filter. The use of fixed strength filters With a combined 70 years of an adjustable multi-blade iris, that fits aims to overcome the cross-polarisation experience as wildlife photographers, onto the front of a lens with a twist of problem that can occur when using there’s not many species that Marko its outer ring. This design allows one variable ND filters, which work by rotating Dimitrijevic and Amos Nachoum Revoring filter or adapter to fit lenses two polarisers relative to each other. haven’t come across. In this excellent with a wide range of thread sizes. volume, they combine some of their Revoring CPL filters come in a choice The H&Y RevoRing MRC CPL Filter has award-winning images – some previously unpublished of three variable sizes: 46-62mm, an suggested retail price (SRP) of £130 – to showcase some of the world’s largest animals. 58-77mm and 67-82mm. The Magnetic for its 58-77mm and 67-82mm versions. There are also stories and information about how Clip-on ND filters are available to fit Meanwhile, the 46-62mm version has an the images were taken. The book is structured these three sizes in four grades – ND 4, SRP of £120. around emotions, including amazement, admiration, 8, 16, and 400 (2, 3, 4 and 8.5 stops). fear and love – making it an interesting way to move H&Y’s RevoRing MRC CPL Filter is The H&Y ND Magnetic Clip-on Filter for through the chapters. If you’re a lover of wildlife desirable for those who use multiple RevoRing has an SRP of £109 in imagery, this is worth adding to your wishlist, as it 46-62mm and 58-77mm versions. The covers the breadth and depth of the animal kingdom. 67-82mm version has an SRP of £129. Visit www.handyfilters.com How to Photograph People by Demetrius Fordham Nikon offers cut-price deals on gear £20, Ilex Press, softback, 176 pages, ISBN: 9781781578247 Nikon is offering photographers a f/2.8 S (at £2,319 instead of £2,499) Basing his advice on many years of experience working on portrait shoots, range of ’Instant Savings’ deals on – and four Nikkor DSLR lenses. Check this guide by pro photographer Demetrius Fordham is a great way to cameras and lenses for its mirrorless the Nikon Store and participating brush up on your skills – whether portraiture is an entirely new genre for and DSLR systems. The savings are retailers. Offers run until 18 July 2022. you or you just want to boost your existing portfolio. You’ll get tips on a range of factors, including applicable when purchasing selected posing, creating a rapport, group shots, formal situations, action portraits and more. It doesn’t camera bodies, including the Nikon Z 5, matter what type of device you use either, as there’s information to cover all types.With plenty of Z 6II, and Z 7II full-frame mirrorless examples to draw on, it’s a great guide for inspiration and with it covering so many different types of models, along with the APS-C Z fc. portrait, there’s bound to be something which catches your attention. For example, a Nikon Z 7II body can be bought for £2,919 instead of £3,099, while the Nikon Z fc body is available at £859 instead of the usual £949. There are also savings on 14 mirrorless lenses – from the Nikkor Z 24-200mm f/4-6.3 VR (at £769 instead of £949) up to the Nikkor Z 14-24mm The Z fc body is available for £859 www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 11

Technique TOP BUILDINGS AND MONUMENTS Building sights Picking the UK’s top 20 most photogenic buildings and monuments is tough, but here’s our list – with tips and insight from pros and readers London l St Paul’s Cathedral, EC4M 8AD (St Paul’s tube) l www.stpauls.co.uk London is full of photogenic buildings so it was a hard choice, but few things capture the spirit and dynamism of the ’ capital more than St Paul’s and the City skyline. ‘To get this shot I liased with St Bride’s Church in Fleet Street and shot from the tower – the view is dead on, so it’s worth getting in touch to see if you can also get access,’ says Graham Lacdao, official photographer of St Paul’s (www.lacdao.com). ‘I used a 70-200mm Canon L lens at f/8, which is an ideal focal length. Get the best viewpoint you can: during the day, the most successful shots are from distant viewpoints with a zoom lens. If you’re much nearer to the cathedral, a tilt and shift lens is very handy.’ London l The Shard, SE1 9SG (nearest tube London Bridge) l www.the-shard.com The Shard is one of the most striking modern buildings in the capital and there are lots of great photo opportunities nearby. ‘I shot this from one of the piers on Tower Bridge – they don’t usually kick you off for having a tripod, so it’s rock solid,’ advises Jeremy Walker (jeremywalker.co.uk). ‘Timing is important: I took this just after sunset, which is a great time to shoot. I also used a 2-stop soft grad ND filter and opened up a few shadows in software.’ 12 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

South East England © GETTY l The Brighton Pavilion, Brighton BN1 1EE l brightonmuseums.org.uk/royalpavilion/ Brighton is full of photography ideas, from the beach to the Lanes, but the Royal Pavilion is rightly popular all year round. The gardens are open every day, so there are lots of opportunities to shoot this iconic building. ‘Keep a look-out for the ideal conditions of soft light on partly clouded days or around sunset and sunrise,’ says local photographer Matt Goddard (www. mattgoddardphotography.co.uk). ‘Soft light makes the Pavilion’s stonework glow with a soft warmth that needs to be seen to be believed.’ You can also get some really eye-catching reflections. Remember that tripods are not allowed inside the museum. NCP’s Brighton Theatre car park is three minutes away. South West England: Cornwall South West England: l St Michael’s Mount, Marizion, TR17 0HS Wiltshire l www.stmichaelsmount.co.uk l Stonehenge, Try a shot from the shore near Marizion. ‘I took this on a Hasselblad 500C/M with a Zeiss 80mm f2.8 lens along SP4 7DE with a Formatt-Hitech Firecrest Ultra 4 ND soft edge grad filter to balance the exposure,’ says reader Matt Watkins l www.english- (www.qmphoto.co.uk). You can park at the St Michael’s Mount and Long Stay Marazion car park. heritage.org.uk ‘Here I created a five-shot vertical panorama using a 24mm lens at 3200 ISO to maximise the light, then stacked the images in Lightroom,’ says photographer and tour leader, Dion Hitchcock (dionhitchcock.com). ‘Use a light pollution filter if possible. Earlier in the year will give you an arch on the Milky Way: the PhotoPills app is a big help.’ See bit.ly/ stonehengefreepath for a guide to easy access. © GETTY The Midlands: Birmingham l Selfridges, B5 4BP l www.bullring.co.uk Some modern buildings date quickly but this iconic structure is still looking fresh. You have a range of approaches: use a wider lens to capture the whole of the building, or zoom into the 15,000 aluminium discs and elegant curves. The latter can look particularly striking against a bright blue sky, so consider using a polariser to boost the colours and reduce glare. Pick your time too. ‘If you get there early enough, Selfridges makes for one of the best spots in the whole city to take in the sunrise,’ says photographer Dave Musson (bit.ly/mussontips). Show shutter speeds will give attractive starburst effects on street lights. There is ample parking at Moor Street Car Park. www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 13

Technique TOP BUILDINGS AND MONUMENTS The North East: Gateshead l The Millennium Bridge, NE8 3BA l bit.ly/gatesheadbridgeinfo This hugely photogenic bridge spans the River Tyne between the Gateshead arts quarter on the south bank and Newcastle’s Quayside area on the north bank, also encompassing many eye-catching buildings. Reader Rob Cole shot it with a tripod, using a Sigma 10-20mm (10-second shutter speed at f/16, ISO 100). ‘I set up before sunset and waited for the blue hour, slightly tilting the camera down to give a sense of stepping into the frame. The lines of the old iron railings and pavement kerbing lead nicely into the scene.’ Gateshead Quays are served by a range of council-owned and private car parks. The Midlands: Lincolnshire l Lincoln Cathedral, LN2 1PX l lincolncathedral.com Picking one cathedral was a challenge, but it’s a favourite of many experts, such as Simon Jenkins, author of England’s Thousand Best Churches. ‘Including the Tennyson statue gives foreground interest and he’s associated with the area,’ says photographer Derek Forss (www.youtube.com/c/DerekForss). ‘I shot handheld, using an Olympus 12-60mm lens at f/8 and 1/400sec, so I was able to move fast; with such a popular cathedral, there are usually people about to walk into the frame.’ There is free parking outside or several public car parks nearby. The North East: Northumberland l Hadrian’s Wall – suggest Cawfields NE49 9PJ l www.english-heritage.org.uk/visit/places/ hadrians-wall/ It was a hard choice between this or the Angel of the North sculpture, but as the latter is also close to Gateshead, we went with the wall – it’s not too long a drive from the Lake District and North Yorkshire, either. ‘Where Housesteads Crags and Cuddy’s Crags meet is one of the iconic views of Hadrian’s Wall,’ says photographer Roger Clegg (www.hadrianswallpictures.com). ‘Views to the south take you across South Tynedale to the distant North Pennines. It is one of my favourite places – one reason is its tendency to early morning mist and fog. A wideangle lens is handy for dramatic images from close range while a telephoto will pull in distant views.’ Cawfields Milecastle has a Northumberland National Parks car park nearby. The Midlands: Derbyshire © GETTY l Chatsworth House, DE45 1PP l www.chatsworth.org Again, the choice of English stately homes is massive, but we picked Chatsworth as it’s at the heart of the equally photogenic Peak District, and is within striking distance of major conurbations including Manchester. For this image, Derek Forss included the iconic fountain for extra interest. ‘You often get a rainbow as the wind is blowing – it blows the spray from the fountain to one side, though at certain angles you can’t see it.’ Note that tripods are not allowed in the gardens, however. There is a dedicated car park. 14 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

Scotland: Edinburgh l Calton Hill, EH1 3BJ l www.edinburgharchitecture.co.uk/ newtown-dugaldstewart Edinburgh Castle is a wonderfully photogenic building, but why not include it as part of the city skyline, taking in the Dugald Stewart Monument? ‘Calton Hill is a great Edinburgh location,’ says pro Jeremy Walker. ‘I shot this cityscape after sunset, when the street lights came on, using a 35mm lens for width, a tripod (the shutter speed was 15 seconds) and a LEE 0.6 ND filter. As I was on a hill and parallel to the monument, with the camera level, the lines were nice and straight.’ The Q-Park OMNI car park is close. Scotland: Falkirk l The Falkirk Wheel, FK1 4RS l www.scottishcanals.co.uk/falkirk-wheel/ This eye-catching rotating boat lift connects the Forth and Clyde Canal with the Union Canal and opened in 2002 as part of the Millennium Link project. ‘This image was carefully planned, rather than just turning up,’ says AP reader John Cuthbert. ‘I chatted to the Falkirk Centre in the day and arranged to photograph the wheel at night, making security aware, and ensuring the lights were turned on – they were very helpful. I shot at 10 seconds at f/8, ISO 50, using a tripod on a Sony Alpha 99 with a 24-70mm Zeiss lens. I didn’t have to do much to the image apart from sharpening, and it has done well in compeitions.’ There is a main car park just a few minutes away. Scotland: Falkirk l The Kelpies, FK2 7ZT l www.thehelix.co.uk Yes, Falkirk again, but The Kelpies, the largest equine sculptures in the world, were another popular reader suggestion. ‘I took this shot early in the morning to get the best light and have the place to myself,’ says reader John Cuthbert. ‘I shot at 1/8th of a second on a tripod at f/10, using a 26mm focal length. The Kelpies are on a public right of way so there are no access issues, and you can walk along there at night too.’ There is parking at the Kelpies and Visitors Centre. Scotland: West Coast© GETTY l Eilean Donan Castle, Dornie, IV40 8DX  15 l www.eileandonancastle.com Again, trying to decide on one Scottish castle was difficult, but this is one of the most beautiful, principally because of its location. Eilean Donan is situated at the meeting of three lochs, with the Highlands surrounding it. A wideangle lens is highly recommended to soak in the wonderful scenery and as with most of the buildings here, choose your time carefully – the blue hour is ideal. ‘Once the colour has disappeared from the sky you tend to get a nicely illuminated castle but the background fades to black with little detail so you don’t get the same beautiful surroundings in the shot,’ advises photographer Nick Cockman (www.nickscape.co.uk). There is a car park, which happily, also offers one of the best vantage points. www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9

© GETTYTechnique Wales: Cardiff l Millennium Centre, CF10 5AL l www.wmc.org.uk This one of the most widely photographed buildings in the capital, and it’s not hard to see why. It is the national arts cenre of Wales, and a great source of pride, with some wonderful typography on its stunning façade – the building is a fascinating shape, too. ‘It’s a good idea to get there early in the morning to avoid passers-by, again using a longer lens, or you can take advantage of pedestrians by slowing them down via motion blur, or removing them altogther,’ advises AP’s features editor and Cardiff resident, Amy Davies. ‘A Neutral Density is great for achieving this without blowing out the exposure. The Centre is made from slate, metal, wood and glass and looks great against a clear blue sky, so consider using a polariser to deepen the blues.’ There are numerous car parks nearby. Wales: North l Conwy Castle, LL32 8AY l cadw.gov.wales/visit/places-to-visit/conwy-castle Conwy, built by Edward I between 1283 and 1287 as he took on Wales, is a classic Welsh castle. For this image, Derek Forss included Thomas Telford’s equally famous bridge to add interest. ‘Including it makes for a more interesting image than a conventional postcard view of the castle. I took this image handheld, at 1/200sec and f/8.’ There is a car park outside the castle. Wales: West l St David’s Cathedral, SA62 6RD l www.stdavidscathedral.org.uk This was taken in the graveyard of this beautiful church by pro Drew Buckley (www.drewbuckleyphotography.com). ‘It’s an hour compilation (a 60x30sec image stack in StarStax) of stars rotating around Polaris. I shot during a full moon, which kept the sky blue (f/4, ISO 1250). Other good viewpoints are from the top of the steps, or from the path behind the gatehouse.’ Parking nearby. Wales: Anglesey l South Stack Lighthouse, LL65 1YH l bit.ly/southstackinfo Lighthouse fans may berate us for not including more, but this is a classic. ‘I shot this at sunset in autumn, a great time,’ says reader Dibs McCallum (www.dibsphotography.com). ‘The sunlight complements the colour of the vegetation, while the very clear water at this location gives a calmer look for long exposures. I shot on a Fujifilm X-T2 and the wide 10-24mm lens (f/8, 40 seconds, ISO 200). I also used 100mm Formatt-Hitech Filters, which included a polariser and 3-stop soft grad filter and 6-stop ND. It can get windy there so please be careful.’ There is a large car park at the South Stack Visitors Centre. 16 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

Northern Ireland: Belfast conventional approach is to shoot from the Recommended shipyard side of the river, but you can try gear l Titanic Building, BT3 9EP shooting across the River Lagan from the Belfast l www.titanicbelfast.com city side. The Titanic Building creates beautiful We’ve covered a very wide reflections, especially during the blue hour – you variety of iconic structures This jaw-dropping modern building is located will get attractive starburst effects too. You’ll in this feature, so which exactly 100 metres in front of where Titanic’s hull usually need a tripod or good image stabilisation lenses and accessories will was constructed and launched, so you really feel if you are shooting handheld. Titanic Belfast prove the most useful? part of the fateful vessel’s history when you visit. has 520 underground parking spaces. You also get a strong sense of the long industrial Lenses heritage from the Harland & Wolff shipyard. The An obvious choice for soaking up the © GETTY subject within its wider context is a wideangle zoom. A good starting point is a Northern Ireland: Coleraine you’ve got one of those showery days with bright 16-35mm (or equivalent), which is handy spells it works exceptionally well, as you can go for both interior and exterior work. But l Mussenden Temple, BT51 4RP for some real dark moody images. It’s also a many interesting buildings will also have l bit.ly/ntmussenden great location for astro photography; you do have fascinating details, and to capture these, some light pollution coming from the hills of especially if you can’t get close access, try You can capture some superb images of this Donegal to the east and from Castlerock to the a 24-70mm or 70-200mm zoom (or ‘temple’ (built as an 18th century library) west, but looking out north you have nothing but equivalent). nestling in the surrounding North Coast horizon.’ There is a car park at the nearby headland. ‘From October to March, it’s a great Downhill Demesne. Tilt and shift lenses location to shoot at any time of the day,’ says pro Tyler Collins (bit.ly/mussendentips). ‘When Converging verticals/leaning-lines don’t look very professional, so for the slickest © GETTY results, consider a tilt and shift lens. Wideangle 24mm lenses tend to be ideal for architectural exteriors, while wider optics are great for interiors. These don’t come cheap, however, with few choices under £1,500 – so try hiring one. See our recent round-up at bit.ly/aptiltshift Filters A neutral density filter can help to remove people from the scene if needed by using a longer exposure time, while a polariser can reduce glare from a reflective surface.  Tripod A tripod’s useful if you want to shoot at night without resorting to using a high ISO speed. Many cameras now have powerful image stabilisation for shooting handheld. Editing software If you can’t stretch to a tilt and shift lens, both Lightroom and Photoshop have some powerful perspective-correction tools. Lightroom Classic’s Transform panel, found under Develop, has options including Auto (often very effective), Guided, Level, Vertical, and Full. What are your favourites? What, no Bath, Oxbridge or Manchester? Over six pages it’s impossible to fit in every amazing UK edifice. Share shots of your favourites on our Facebook and Twitter pages, or email them to [email protected] www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 17

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YOUR LETTERS Amateur Photographer Inbox years ago I was in a charity shop and I spied Email [email protected] an Ansco Bear box camera on a top shelf. Taking it Editorial down, out of interest, I noticed a price of £112 on Group Editor Nigel Atherton a label. I queried this with the assistant and was told Deputy Editor Geoff Harris that that was the price. I later found out that it was Technical Editor Andy Westlake quite rare. Richard Bond Features Editor Amy Davies Box clever Technique Editor Hollie Latham Hucker I read the Lo-fi for less article by Adrian Gray (AP Online Editor Joshua Waller 3 May) with interest and it reminded me of a project Deputy Online Editor Jessica Miller a few years ago using the Coronet Portrait, one of Production Editor Jacqueline Porter the cameras featured. Design atg-media.com (Calum Booth) Write to the Editor at [email protected] and include your full postal address. Please don’t send letters in My Coronet seemed the post as there is no one in the office to receive them. Replies are from the Editor unless otherwise stated incapable of holding the Photo-Science Consultant film flat, the result of which was that portions of Professor Robert Newman the image area were out of focus, but not in any Special thanks to The moderators of the AP predictable way. Quite a lot of debris appeared on website: Andrew Robertson, lisadb, the images too. Nick Roberts, The Fat Controller What struck me most about the results was that Advertisement sales & production LETTER OF THE WEEK if there were no modern references within the Head of Market Liz Reid images, then they appeared to be ‘old’ Ad Production Neil Hepden (01233 220245, Still going strong photos. Do old photos appear to be old because [email protected]) they are old, or does the equipment have Management something to do with it? Chief Executive Steve Wright I did this until I ran out of film, which in this Chief Operating Officer Phil Weeden I read with some amusement the Having read AP since around case was six rolls of Ilford letter you published in AP 26 April 1946, I am now a subscriber to Pan F  Plus 120. This Managing Director Kevin McCormick from R King at 90 years of age and keep up to date with the latest kit. gave me eight 2 ¼in x still printing his images. I am also I use both a Nikon Z 6II and a 3 ¼in shots per roll – Subscription Marketing Director Gill Lambert 90 this autumn. Lumix G9 with the Leica-designed therefore potentially 64 zoom lenses, printing to A3 or A3+. images in total. Publisher Liz Reid I went to a boarding school just I find this amazing, given the size of after WWII and hated it but they did the sensor. I can’t tell you how Retail Director Steve Brown have a wet darkroom and I started Tony Johns much fun this was. I felt printing then from 120 films I had liberated from the need to Brand Marketing Manager developed using an Ensign folding A reader since 1946 – wow! Thank check focus, histograms, camera. I have continued ever you so much for your continued aperture etc… I simply Rochelle Gyer-Smith since. I thought I would send you a support. We love hearing from pointed the Coronet as picture I took in 1953 – taken at readers who’ve been enjoying AP for accurately as I could with Print Production Manager Georgina Harris dusk, it shows the Mumbles a long time, so please keep the such a vague viewfinder, Lighthouse in 70mph gales as letters coming. and clicked. Print Production Controller Hayley Brown recorded by the nearby coastguard. I recommend this type Subscriptions Tony Johns took of activity to anyone. 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YOUR LETTERS SPECIAL SUBSCRIPTION OFFER! Subscribe now & save 73% One of Howard Pratt’s images, taken on his Coronet Portrait camera out on something quite interested; together with become a ‘keeper’? £1 magical; it’s far less having something Neil St John daunting and it’s cheaper lightweight to take on my an issue than might be imagined. travels and review images Technical editor Andy Next stop – pinhole. better than off the back of Westlake replies: The best Howard Pratt the camera. I’m not Android option is most looking to try to do any likely to be the Samsung Taking the tablets editing. Recently I bought Galaxy Tab S8, but it costs a Microsoft Surface Go £700. For Windows, a I’d just like to start by based on advice from a Surface Go 3 should do saying how much I enjoyed store assistant, but after the job, but it might be the ‘Preserve your reading a review I got cold necessary to buy a highlights’ cover feature feet and returned it to the higher-spec version with a (AP 19 April). This is store. I then tried an iPad decent processor and something I’ve had Mini – it recognised proper SSD. We can’t see difficulty dealing with until images from my D610 on any reason why the Core now. I’ve been subscribing a card but not those from i3/128GB/Wi-Fi version for about a year and don’t my D850. A batch of wouldn’t do the job for think I’ve missed any images on a USB stick £579. Both will need an features on tablets. I was also unrecognised.  external card reader/USB could do with some help So, the main alternative hub for copying images, as I intend to buy one. My appears to be Samsung. and a good working plan is to use it to show Would something from its knowledge of the operating my images to friends, range do the job and system and file handling. family and anyone The Galaxy Tab S8 is 2 EASY WAYS a strong option, but TO SUBSCRIBE not cheap Visit shop.kelsey.co.uk/ AMP4F4P Call us on 01959 543 747 and quote AMP4F4P *Offer available for UK Direct Debit customers only. You will pay £4 for 4 issues via Direct Debit saving 73% on the shop price. You will then continue to pay £24.99 for 3 months. Offer closes 10 September 2022. Full UK subscription rate for 51 issues is £191.25. Full terms can be found at shop.kelsey.co.uk/terms. **You can unsubscribe from the weekly newsletter at any time. www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 21

ALL-TIME GREATEST ALBUM COVERS FACT FILE © APPLE CORPS LTD/PARLOPHONE The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band Musicians: George Harrison, John Lennon, Paul McCartney, Ringo Starr, Sounds Inc. (horns), Neil Aspinall, Geoff Emerick, Mal Evans, George Martin. Released: 26 May 1967 (EMI). Best chart performance: No. 1 in the US, UK, West Germany, Australia, Canada, Finland, Norway, Sweden. Sales: Over 32,000,000 certified sales. Fascinating fact: There is some dispute over exactly who shot the cover, with Cooper’s assistant on the day, Nigel Hartnup, telling the music magazine MOJO he had released the shutter. The stage set’s images of famous people were created by shooting pictures from image libraries and enlarging them to life-size on 20x16in paper. They were then sent off to be professionally mounted. Sgt. Pepper’s Michael Cooper T he creation of arguably the Lonely Hearts (1941-73) was a British most iconic album cover Club Band photographer who is ever produced involved a remembered for his misheard request for salt By Michael Cooper images of leading rock and pepper, Indian gurus, an art musicians of the 1960s dealer nicknamed ‘Groovy Bob’, Steve Fairclough reveals the intricate and early 1970s. His Day-Glo satin uniforms, specially tale of the major players involved in best-known work is the made props, pop art legend Peter creating a classic album cover… cover photography for Blake and a young photographer Sgt. Pepper’s, but he who died tragically within six years also created the cover of shooting the cover; it can only be lenticular for the Rolling Sgt. Pepper’s Lonely Hearts Club Band. Stones’ LP Their Satanic Majesties Request. He At the heart of the idea was that died by suicide, after The Beatles just didn’t want to be becoming caught in a The Beatles any more and the ‘glue’ spiral of depression and that brought that idea to fruition heroin addiction. was London art dealer Robert Fraser (aka Groovy Bob). It was Fraser who commissioned pop artist Peter Blake, and his then wife Jann Haworth, for the Sgt. Pepper’s cover concept. In the 2017 Sky Arts documentary, Peter Blake: Pop Art Life, Blake explained, ‘It was a concept. They didn’t want to be The Beatles any more; they wanted to do something 22 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

© APPLE CORPS LTD/PARLOPHONE © APPLE CORPS LTD/MICHAEL COOPER The inner-gatefold photograph of The Beatles The Beatles pictured in their Sgt. Pepper’s satin band uniforms with Michael Cooper’s son, Adam © APPLE CORPS LTD/MICHAEL COOPER © APPLE CORPS LTD/PARLOPHONE Preparing for the Sgt. Pepper’s shoot (foreground, from left to right, faces visible): Mal Evans, Paul McCartney and photographer Michael Cooper The back cover had all the album’s lyrics printed on it different and Robert Fraser said, look. I sort of got this military look THE PANEL ON SGT. PEPPER’S “Why don’t we use a proper artist thing going and one of my ideas and do something different?” They’d was that they were being Christie Goodwin Aubrey Powell Rankin had the uniforms made, but the idea presented by the Lord Mayor of of the crowd was my idea. I’d used some northern town in a park. In There had been a The Beatles had Possibly the greatest crowds a lot until then. I’d done a the old days they used to have whole series of collages of circus floral clocks – a clock made of gradual evolution taken a step forward album cover of all using the crowds as a motif.’ flowers. I did drawings of the floral clock and then, “Sgt. Pepper’s with what artists did in making the LP time. It’s conceptual, Salt and pepper Lonely Hearts Club Band”, aka The Beatles, getting some sort of on their album cover an important it has two versions of In a 2017 interview, Paul McCartney award from the town.’ revealed, ‘I was coming back from a covers, pushing art form. It was an the band, every trip abroad with our roadie, Mal Blake recalled, ‘I offered the idea Evans. We were eating and he that if they had just played a creativity always a intentional design. celebrity that was mumbled to me to pass the salt and concert in the park, the cover pepper. I misheard him. I thought he could be a photograph of the tiny bit further. With There were decisions important, plus it said, “Sergeant Pepper”. I went, “Oh! group just after the concert with Wait a minute, that’s a great idea!” the crowd who had just watched the cover of The on the day of flowers represents the music We had a laugh about it, then I the concert. If we did this by using started thinking about Sergeant cardboard cut-outs, it could be a Beatles’ Sgt. and plants to fill perfectly. Add to this Pepper as a character. I thought it magical crowd of anyone they would be a very interesting idea for wanted from history. The Beatles Pepper’s LP, Peter spaces, and how The that it is realistically us to assume alter egos for this each made a list of people. Paul album we were about to make.’ and John chose a lot – both really Blake broke all Beatles should be photographed, with interesting lists. George only McCartney added, ‘I started doing chose Indian gurus and Ringo boundaries and arranged within the photography at its drawings of how the band might expanded our notion staging, but by and heart. Finally, it’s of creative large the geometry made by one of the possibilities. It was a and design remained greatest British pop visual gamechanger. as conceived. Genius. artists, Peter Blake. www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 23

drugs], and two who aren’t.’ The final cost for the cover art was nearly £3,000 (equivalent to just over £49,000 today), which was a very extravagant sum for a time when album covers would typically cost around £50 (£820 today). © APPLE CORPS LTD./MICHAEL COOPER Lyrics on back cover said, “Oh, leave it to the lads.” by the London theatrical costumer, John Lennon (left) The album’s lyrics were printed in He didn’t choose anybody.’ M Berman Ltd. There was no specific and Ringo Starr full on the back cover – the first time reason behind who wore what (right) inspect the this had ever been done on a rock LP. Stage set colour, as McCartney revealed in stage set before The inner sleeve featured artwork by 2017, ‘We just chose a material. Said, the Sgt. Pepper’s Dutch design team the Fool – artist At first glance, many think the cover “I’ll have that, he’ll have that”. It photo shoot Marijke Koger and her partner Simon of Sgt. Pepper’s is a collage, but it was was just whoever wanted what Posthuma – which eschewed, for the in fact a photograph by Michael colour.’ Next to the real-life Beatles first time, the standard white paper Cooper. Blake recalled, ‘It was like a were waxworks of the band from the in favour of an abstract pattern of stage set. So, the figures were life-size Beatlemania era, which had been waves of maroon, red, pink and and most of them were plywood borrowed from Madame Tussauds. white. Only the first pressing of the cut-outs. The Beatles arrived with LP included this element, and it’s no their entourage with Robert [Fraser] In total, the stage set included 57 longer available today. and took the pictures.’ photos and nine waxworks. The group included the deities Buddha Included as a bonus gift was a The centre of the cover depicts the and Lakshmi; singers Bob Dylan and sheet of cardboard cut-outs designed Beatles standing behind a bass drum Bobby Breen; film stars Marlon by Blake and Haworth. These on which fairground artist Joe Brando, Tony Curtis and Marlene consisted of a postcard-sized portrait Ephgrave had painted the words of Dietrich; comedians Laurel and of Sgt. Pepper, based on a statue the album’s title as SGT: PEPPERS Hardy; boxer Sonny Liston; writers from Lennon’s house that was used LONELY HEARTS CLUB BAND. Two HG Wells, Oscar Wilde and Dylan on the front cover, a fake moustache, drum skins were painted and the Thomas, and the scientists and two sets of sergeant stripes, two lapel one chosen used a colon below the philosophers Albert Einstein and badges and a stand-up cut-out of the GT in ‘SGT’ and left out an Carl Jung. EMI, the record company, Beatles in their satin uniforms. apostrophe after the R in PEPPERS. rejected John Lennon’s requests for images of Adolf Hitler and Jesus Some time after the photo shoot, Jann Haworth made props for the Christ and George Harrison’s for the head of EMI, Sir Joseph stage set, including a doll of Shirley Mahatma Gandhi. Lockwood, visited McCartney’s Temple that appears on the LP. In a house and demanded that letters be 2017 BBC interview she said, ‘My The 30 March 1967 photo session sent to seek permission to use the vision was to do it as a set and that is with Michael Cooper – shot on a likenesses of the people in the stage supported by my work at the time. Sinar 5x4in camera – also produced set. According to McCartney, all of The crowd really is Peter’s [Blake’s] the back cover and the inside them agreed bar ‘one of the Bowery idea.’ She was also responsible for gatefold image of the band. Boys who wanted to cut a deal.’ the idea of spelling out BEATLES in McCartney recalled the inner- flowers. ‘The idea of doing lettering gatefold image, ‘We all said, “Now Peter Blake said of the album like that, I just loved, so I suggested look into this camera and really say I cover, ‘I feel enormous pride in that as another form of lettering, love you! Really give love through having done it. If I’m in a cab I besides the drum, that would keep this!” If you look at it you’ll see the know that the instant I admit I did the integrity of the cover.’ big effort from the eyes.’ But Sgt. Pepper’s, then we’ve according to John Lennon, Cooper’s communicated. There’s only ever Satin uniforms photos of the band showed, ‘two been one black cabbie who said, people who are flying [high on “Nah, I’ve never heard of that mate,” The Beatles’ colourful satin, military- and I think he might have been style uniforms were specially made winding me up. But if people bought it, and it introduced them into a world of other art and fine art, I’m very happy about that.’ OUR PANEL OF JUDGES Some of the finest names in music and photography chose the series’ covers Janette Beckmann Jill Furmanovsky Aubrey ‘Po’ Powell Jason Bell Christie Goodwin Rankin Harry Borden Peter Hook Jamel Shabazz Ed Caraeff Simon Larbalestier Mat Snow Andy Cowles Gered Mankowitz Howard Wakefield Kevin Cummins Dennis Morris Kirk Weddle Dr Andy Earl Peter Neill Rachael Wright 24 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

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2 Amateur Photographer of the YearInassociationwithMPB Here are the top ten images uploaded to Photocrowd from Round Three, Travel, with comments by the AP team and our guest judge Round Three 1 Travel The aim of nearly all photography is to give a sense of place. Even if the viewer has never been to the location depicted, they should be left feeling as if they have stepped into the scene, and have an idea of its atmosphere, light, sounds, temperature, even smell. This is particularly true of the travel genre, where the whole point of the image is to transport the person looking at it. At the same time, the image has to be elevated beyond the picture postcard. It has to tell a story and take the viewer beneath the superficial. It’s an art, and a surprisingly tricky genre to master. Happily, all the images in our top ten fulfil this brief in imaginative and creative ways. 26 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

2 Azim Khan Ronnie Bangladesh 90pts Canon EOS 5D Mark IV, 16-35mm at 16mm, 1/30sec at f/2.8, ISO 1250 In this image by Azim, the viewer is sucked straight into the scene, with the eye going immediately to the figure in the middle, his raised arms contrasting dramatically with the quiet attention of those on the ground. The light and smoke given off by the hundreds of candles imbues the image with atmosphere; and the composition, with the candles forming a ‘V’ shape, introduces dynamism but also control to what might otherwise have been a rather confused scene. Outstanding work. 3 1 Osama Elolemy 3 Peter Murrell Dubai 100pts UK 80pts Unknown Nikon D700, 50mm f/1.8, 1/125sec at f/13, ISO 200 As we said in the introduction, a good travel Here we have a quiet, contemplative moment photograph should give a sense of place, and that Peter has done well to observe, where the this image by Osama simply sings with connection between child and adult is subtle and atmosphere and connection. The boy’s pose, as touching. We can relate to the universal pleasure he walks towards the camera, is relaxed and of sharing a view of the sea – but we can also natural, as the cattle plod behind him. We can appreciate the protectiveness of the woman almost choke on the relentless heat, thanks to gripping the boy’s clothing. The blue and beige the dust being kicked up and the hard contrasts colour palette keeps things simple and effective in the sky. Placing the boy centre frame is bold – and the placement of the walking stick and its and clever, and completes a cracking shot. shadow ties everything together beautifully. www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 27

4 4 Inge Schuster 5 Charles Ashton Denmark 70pts UK 60pts Canon EOS 5D Mark III, 24-70mm at 53mm, 1/320sec at f/8, ISO 100 Nikon Z 7, 105mm, 1/160sec at f/2.5, ISO 280 5 Guest judge Philip Lee Harvey says: Photographing through a train ‘The best images often have a surreal edge. Not all information is given to the viewer – in fact, it is their imagination that adds window is a tried-and-tested the last ingredients to the story. There is a lot going on in this wonderful image. A beautifully observed street scene, excellent symbol of travel – both in the literal sense of the genre, composition and a great use of a minimal colour palette. But, look again and you will see much more. The chair on the right perfectly mirrors and also as a representation of movement from one the woman’s position, although it’s been a long time since it was used in the conventional sense. Even the plastic bottle fits into the restricted colour palette place to another. What lifts Charles’s shot out of the and those handprints on the wall tell of another story, not seen. There is a painterly feel to the lighting, which contrasts light against dark, making it ordinary is the contrast between youth and age. On the almost 3D. And although I am aware that an image can be broken down into elements not always noticed at the time, many may have passed this scene by.’ left we have a younger man in modern clothing, absorbed, in all likelihood, in a film, TikTok or YouTube clip on his phone. On the right is an older man in what appears to be more traditional clothing, lost in thought as he gazes out of the window. Had he been looking ahead, hands on his lap, the picture would have lost all impact, so Charles did well to capture a moment that encapsulates two separate worlds existing just inches from each other. 6 Daniel Newton 6 Dubai 50pts Sony A1, 14mm, 1/800sec at f/9, ISO 320 Ask someone to imagine a typical travel shot, and they’d almost certainly picture something that included people in it, but this entertaining capture by Daniel demonstrates that animals can transport us to a place just as effectively as any human being. We don’t need any more context to know that we are in the Middle East. Achieving a coeherent composition would have been no mean feat here, and the fact that the camel second from right is looking down into the frame is what pulls it all together. 28 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

IN ASSOCIATION WITH Winning kit from MPB The gear our winners used can be found at MPB ROUND THREE WINNER, YOUNG APOY Inge Schuster in 4th place and Bogdan Zarkowski in 8th place both shot their Kareem Ayman Egypt 100pts images using a Canon EOS 5D Mark III. Launched in 2012, this full-frame Nokia 7.2, 25mm, 1/170sec at f/1.8, ISO 96 DSLR workhorse features a 22.3MP It takes an extremely good and talented eye to stand in front of a busy, complex scene such as CMOS sensor and DIGIC 5+ image this and take a picture that makes visual sense, but Kareem has managed this expertly. Our eye processor, with 61-point autofocus, immediately goes where it’s supposed to – to the man and boy on the left, working together with 63-zone metering system and 6fps the dripping, fuchsia-pink wool. From here, we move across to the man on the right, absorbed in continuous shooting. When reviewed in his task, his clothing merging with the undyed wool in front of him. The steam and detail of the AP, it was described as ‘extremely fast dirty floor and walls takes away any sense of romanticism that we may have been inadvertently and responsive’, and ‘difficult to fault’. drawn into. This is hard work, pure and simple, and very well captured indeed. This camera can be found at MPB from £369 for a heavily used model to £739 for one in excellent conition. In third place, Peter Murrell chose to shoot with a Nikon AF-S 50mm f/1.8G lens. This focal length is ideal for the travel images, and this particular lens is lightweight and compact. The maximum aperture of f/1.8 makes it great for low-light photography, while Nikon’s Silent Wave Motor means it’s quiet in use. It received five stars when reviewed in AP, and can be found at MPB for £99 to £149. Taking 9th place, Bruce Harley took his excellent environmental portrait using the Ricoh RX100 III. This camera is great for travelling, and features a 20.1-million-pixel, 1in sensor, 24-70mm f/1.8-2.8 zoom lens and pop-up EVF. When reviewed in AP, it was described as ‘a companion compact camera to take with you everywhere’. You can pick one up at MPB for £299. To browse the extensive range of stock at MPB, visit mpb.com www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 29

8 Bogdan Zarkowski 8 7 Marco Tagliarino UK 40pts Italy 45pts Canon EOS 5D Mark II, 24-105mm at 70mm, Canon EOS 6D, 70-200mm at 200mm, 1/500sec at f/2.8, ISO 320 1/60sec at f/4, ISO 100 What’s the point of travelling if not to have fun? And that’s what this image exudes. Abstract pictures are something of There’s a fine line to tread between reflecting a rarity in the travel genre – perhaps reality and ‘othering’ those you photograph, because photographers assume they but this falls on the right side, the judges need to reflect the reality of where felt. While there’s no doubting the intensely in the world they are. However, this hard slog of working in the rice fields, as eye-catching abstract by Bogdan turns these women had been, to suggest they that assumption on its head. The can’t also enjoy the spectacle of a judges were fairly certain it was taken photographer taking their picture would in Amsterdam, and they were right, so be patronising. The closer you look at it demonstrates that even unusual this image, the more you appreciate the images can say something about the individuals who make up the whole. As place in which they were shot. There’s something of a Monet painting about 7 with all good pictures, it’s worth spending the composition and tones, particularly some time with. those in the top third of the frame. The complexity of the top area could 9 Bruce Harley have tipped over into confusing if it UK 35pts hadn’t been for the relative simplicity of the sinuous windows in the lower Sony RX100 III, 24-70mm at 40mm, 1/80sec at f/2.8, ISO 4000 part. A clever shot, well seen. An environmental portrait such as this one is an essential part of any photographer’s travel portfolio. 9 The composition is spot on, with the rickshaw driver placed towards the right of the frame, and just the CAMERA right amount of the rickshaw wheel and seat CLUB included in the frame for us to know instantly what he does for a living. The diagonal line of the arms HIGHEST descending from right to left creates a strong SCORE triangle, emphasised further by the angle of the man’s leg. The contrast between the rickshaw and the motorbike alongside it is a strong one, and the pillars heading out of frame to the left help to anchor everything. Finally, the muted tones keep everything contained, and the man’s pensive expression seals the deal. A great shot, which Bruce should be extremely pleased with. To see more images from APOY Round 3 and Young APOY, visit www.amateurphotographer.com/APOY2022 30 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

IN ASSOCIATION WITH The 2022 leaderboards 10 Things are always tight at this early stage of the competition, and with only 60 points separating first and joint-seventh places in the main competition, there is still a long way to go. As the rounds continue, we are likely to see new names appearing in the leaderboard. Things are equally competitive in Young APOY, with several entrants on the same points as each other. It all goes to demonstrate the value of entering as many rounds as possible. In the camera clubs leaderboard, Launceston are still in the lead, but Kempsey are slowly but surely creeping up on them. 10 Venkatesh Kumar centre of the frame, taking in the floral APOY 150 Uganda 30pts painting and gilded details on the way. This is 120 no snapshot – it would have taken time and 1 Azim Khan Ronnie 110 Canon EOS 5D Mark IV, 70mm, 1/500sec at f/11, ISO 640 observation to ensure everything remained 2 Tommaso Carrara 110 completely balanced and cropped in exactly 3= Bogdan Zarkowski 110 Who doesn’t love a pleasingly symmetrical the right way. Even the smallest step to the 3= Ian Bramham 100 architectural image, particularly one as pristine left or right would have thrown it off kilter. His 3= Sabrina Garofoli 100 as this? Venkatesh has photographed the patience and precision has paid off. 6= Osama Elolemy 90 Sheikh Zayed Grand Mosque in Abu Dhabi in 6= Tom Ponessa 90 a way that draws the viewer straight down the 7= Ales Krivec 7= Peter Murrell CAMERA CLUB COMPETITION YOUNG APOY 1 Yousef Naser 140 2 Tallulah Cartlidge 115 3 Pubarun Basu 110 4= Kareem Ayman 100 4= MohammedBahithKamal100 6= Eros Burch 90 6= Naveen Kumar 90 6= Suraj Sunil Jankar 90 9= Jan Martin 80 9= Taka Hashimoto 80 CAMERA CLUBS 1 Launceston Camera Club 230 Tim Burgess 2 Kempsey Camera Club 140 UK 10pts and his stunning shot of lupins at Lake Tekapo 3 Plymouth Camera Club 50 Sony A7 Mark III, 17-28mm at 17mm, 1/3200sec at f/8, ISO 200 in New Zealand was awarded ten points for Plymouth Camera Club, which currently sits in 4 Livingston Camera Club 35 As with last year’s Amateur Photographer of the third place. He’s made great use of the wide Year competition, this year the entrants can pick end of his 17-28mm zoom, with the distortion 5= Bristol PS 30 their club from the dropdown menu when at the edges making the multicoloured blooms uploading their images. Any points they are appear to explode out of the frame. He’s 5= Edinburgh PS 30 awarded will be added to their camera club’s included just enough detail of the mountains total, with the winning club being awarded £500 beyond to give context to the scene. Definitely 5= Royston PS 30 of MPB vouchers. That’s what Tim Burgess did, one to print, frame and hang on his wall. 5= Truro Camera Club 30 5= Visions Photo Club 30 www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 31

ADVERTISEMENT FEATURE The Future is here Nigel Atherton and Jessica Miller spent a day with the latest Rotolight kit on a sci-fi themed photoshoot in Sussex hosted by The Creativity Hub F ans of Grand Designs may remember a Events by The Creativity Hub family home made entirely from bare, unpainted concrete blocks. Inspired by The Creativity Hub runs immersive, themed photography experiences in unique, exclusive locations around the post-war brutalist architecture, it made UK. Rotolight is The Creativity Hub’s official lighting partner. For details visit www.creativityhubevents.com the perfect setting for a sci-fi themed photo shoot. OFFER! Buy the Creativity Hub Bundle (an AEOS 2, NEO 3 plus R90 softbox and other accessories) and get a free ticket to a future Creativity Hub event worth £400. For details visit www.rotolight.com/creativityhub Rotolight teamed up with bespoke photo events organiser The Creativity Hub to create a photo experience day with six models using Rotolight’s latest, award-winning lights – just like the Gatsby-themed shoot featured in AP 26 April. This time Rotolight brought a couple of new modifiers for us to try out: The R90 Parabolic Umbrella Softbox and the SmartSoft Box. Here are a few of the pictures we took during the day. @CONCRETEHOUSESUSSEX The Concrete House in Lewes, Sussex Rotolight AEOS 2 and NEO 3 Rotolight’s new LED lights are a leap in technology. More power, softer illumination (thanks to the new dome diffusers) and the addition of RGB WW LEDs that enable up to 16.7 million colours to be selected using the touchscreen interface, which can be used in flash as well as continuous mode. A new iOS and Android app enables multiple lights to be controlled remotely. Rotolight R90 and R120 MODEL: MEG BIFFIN @MEG_BIFFIN Rotolight has released two 16-sided universal umbrella-style parabolic softboxes: the 90cm diameter R90 and 120cm R120. Both come with removable 1-stop outer and 0.5 inner baffle diffusion panels, and 40° fabric Honeycomb Grid for fine control over the level of diffusion. SmartSoft Box ▲Model Meg Biffen was lit using an AEOS 2 in an The world’s first intelligent electronic R90 Parabolic softbox as the key light. The wall was softbox. This patented technology uses lit by two AEOS 2 lights, one set to a blue gel and the LCD crystals to provide 1.5 stops of other to magenta. Picture by Jessica Miller. Pentax electronically variable diffusion. K-70 with 18-135mm lens. 1/100sec, f/4.5, ISO 1600 32 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

MODEL: KATIE WILLY @KATIE.T.WILLY MODEL: LEE HOY @LEEJAYHOY ▲ Actor and model Lee Hoy, photographed in a corridor of the Concrete House. The green light on the wall came from an AEOS 2 hidden in the doorway, while the cyan light came from another AEOS 2 next to the photographer. Picture by Jessica Miller. Pentax K-70 with 18-135mm lens. 1/400sec, f/4, ISO 3200 ▲ A hanging sheet of highly reflective mylar film provided the distorted reflection for model Katie Willy in this shot. The key light was an AEOS 2 with the dome diffuser, set to a cyan colour, while a second AEOS set to orange lit her from behind. Picture by Nigel Atherton using a Nikon Z 7 with 24-70mm f/2.8 S lens. 1/80sec, f/2.8, ISO 400 MODEL: ROXANA GAVRAU @GAVRAUROXANA MODEL: HAMISH SCOTT @ HAMISHWJSCOTT ▲ Roxana Gavrau was photographed in front of a yellow curtain through which daylight was ▲ Hamish Scott was photographed against an shining. She was lit using a blue light from a Rotolight Titan, with magenta fill from an AEOS 2. illuminated red sign on the wall and lit using an Picture by Nigel Atherton using a Nikon Z 7 with 85mm f/1.8 S lens. 1/100sec, f/4, ISO 400 AEOS 2 fitted with the SmartSoft Box, set to a matching red gel. A NEO 3 was placed directly behind the model’s head facing towards the camera, to produce the blue rim light. Picture by Nigel Atherton using a Nikon Z 7 with 85mm f/1.8 S lens. 1/250sec, f/4.5, ISO 1600 www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 33

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32 pages Best of ofadvice, tips and inspiration BritainMini Guide to pull out and keep Garden tips PLUS Three seasoned pros share Old & new their UK garden expertise masters The best of British photography Rain check Make the most of our frequently damp climate British made Celebrating the wide range of UK-made photo products Shoot to win The Best iosfnBorwitisohpreonu9ndc236b28-87c3-40e9-b0fe-88f40b5739e9 of APOY

Technique BRITISH GARDENS Garden variety Britain is blessed with a huge choice of diverse gardens to photograph. Tracy Calder speaks to three garden photographers with quite distinct approaches Clive Nichols Work local Clive is one of the UK’s best-known and Taken at Pettifers, in the village I live in widely published garden photographers, – about a two-minute walk from my house. with a photo library of over 110,000 I’ve known the owner for about 20 years, so images. He also lectures for the RHS. See I can get there for sunrise. This was taken clivenichols.com and Instagram: with a 70-20mm zoom with lovely backlight. @clivenichols So a great tip is to make friends with locals with a great garden and go from there. The National Garden Scheme/Scotland Garden Scheme is a great way to find gardens. When I Consider composition started out, I used to visit a lot of the open gardens to arrange a time to come back to get better light Again taken at Pettifers. The rose – usually first thing in the morning or dusk. With frames the view through and the path leads bigger gardens owned by The National Trust, for you through to the back of the image. This example, access can be difficult. You can end up all helps to make the picture feel more shooting in the middle of the day with the sun high three-dimensional, so think about a similar in the sky, leading to burnt out highlights and very technique when taking photos. It was taken dark shadows. In the summer, 4 or 5am or 7-8pm is early in the morning, so you get the early often ideal. I shoot all through the year, however: all light in the fields in the background. It’s the seasons are lovely in different ways. saying ‘come down the path’ and making the most of other garden features. Use the sun carefully This was taken much earlier at Pettifers, in May, so you have the crabapple in full flower on the left, adding visual interest. It’s very green and you get that lovely spring lighting. Backlighting is crucial here – I nearly always shoot into the light, making sure that the sun is blocked in some ways. You don’t want direct sunlight coming into your lens. Master backlighting Another good example of how to use backlighting. This was shot in September, backlit from the top right. Make sure your images aren’t too busy or hectic. It’s important to leave out clutter or distractions, and a zoom lens can help here. I tried to capture repetitions of circles to add visual interest to the composition. 36 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

Make the most of soft overcast light KIT LIST This is a hotel garden in Surrey. The seat is a kind of full stop to draw the viewer through. Again, it invites you to sit in the seat, so it’s adding visual interest. On an overcast day the light can be particularly flattering to borders. Bright sun would have killed the atmosphere. So overcast days can be handy – don’t assume you always need great sunlight. Hedge your ▲ Tripod bets I like tripods that are very Again, I am using shapes quick to set up, such as the repeating from left to right Manfrotto BeFree – you often here, which is another have to work quickly to great framing tip. The capture the great light. clipped green obelisks Tripods help with long arch away into the exposures and make you distance, which gives a more mindful of composition. three-dimensionality to the image. It was taken late in ▲Zoom lenses the afternoon in September, so the light is My favourite lenses are a nice and crisp. So look for Canon 70-200m zoom and a topiary gardens – they 24-70mm f/2.8. I don’t like look amazing in the winter going too wide as it disorts as well. the image a bit too much. I might use a 17mm or 22mm, but I don’t like to foreshorten the perspective too much. Mist opportunities ▲Canon DSLR Sometimes, if you can get to the garden at dawn As well as the BBC Weather with a bit of mist and fog around it can look fantastic app – I prefer to shoot when – so check out your weather apps. It’s like being in it’s as still as possible – I heaven, you get an adrenaline rush when you see light swear by the Canon 5DSR. It’s coming through mist like this. The colonnade/folly is the best camera I’ve ever slightly to the left while the overhanging branch adds owned, with 50.6MP on offer. interest on the left too. It’s perfect for capturing complex garden scenes. www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 37

Technique BRITISH GARDENS Jane Simmonds Look beyond flowers Jane is an award-winning photographer inspired by her garden and the woods Don’t forget, there are surrounding her home in the Forest of many fascinating shapes Dean. To see more of her work, www. and interesting details to janesimmonds.co.uk and Instagram: @ be found in the garden janesimmonds31. throughout the four Spending time alone in nature has always been Get really close important to me – it gives me space to think and switch off from the world. Perhaps it was inevitable, Try concentrating on a small detail of a flower then, that my photography would come to be head, looking for interesting lines, shapes or colour mostly inspired by the flowers, plants and trees that contrasts. You don’t need the whole flower to create an I find all around me in my garden and local interesting garden abstract – sometimes less is more. woodlands. In my garden photography, I’m more interested in conveying an impression or emotion than I am in trying to record a faithful version of reality. I often use techniques such as ICM (Intentional Camera Movement) and multiple exposures to explore patterns, textures, shapes and colours. I also enjoy bringing my garden inside, creating images from botanical objects such as petals, seed pods and leaves. Be playful Try deconstructing Playing with techniques like multiple exposures and ICM can be very liberating and bring another Just as restaurant chefs dimension to your garden photography. You don’t have like to ‘deconstruct’ to follow any rules, nor do you need an expensive classic dishes to create camera with an in-built multiple exposure option – I use something new, it can be my phone and an inexpensive app to create many of my interesting to garden abstracts. ‘deconstruct’ a garden plant to create something that looks very different from the original. For example, I sometimes use petals to arrange patterns or shapes on a light pad and then experiment with multiple exposures. Apple iPhone PhotoSplit app I use a fairly old Apple iPhone 7 Plus I use this inexpensive app to for many of my garden images – it has create multiple exposures on the advantage that it’s always with me my phone – it enables me to if something sparks my interest. I also layer multiple images together have a mirrorless camera and a small using similar blending modes to selection of lenses, but more often those found in Photoshop. than not I find that my favourite Sadly, the app is currently only images are made with my phone. available for iPhone not Android. KIT LIST ▲ ▲ 38 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

seasons such as seed heads and seed pods. I have planted Lunaria (Honesty) in my garden purely for the seed pods –although it does have lovely pink flowers too. Plants with personality I’m always drawn to flowers and plants that look like they have character rather than just existing simply to look beautiful. For example, I like the way that some flower heads can bend towards each other as if in conversation – in my imagination anyway! Bold colours Soft, dreamy images of garden flowers and plants are undeniably beautiful, but it can be refreshing to experiment with strong colours and bold shapes for a different look – although it’s important to choose colours which sit harmoniously together. ▲ Pocket Smidge Explore other genres I use this mini dispenser of As well as getting inspiration from your own insect repellent if I’m spending garden (if you have one), you can get a fresh any time in the garden making perspective from visiting one of the many botanical images during spring/summer. gardens found in the UK. You’ll see unfamiliar plants It’s very effective and the and flowers and planting on a much bigger scale, all dispenser slips easily into one guaranteed to get your creative juices flowing. I’ve of my pockets. spent many hours at Royal Botanic Gardens, Kew, and can always find something new to photograph, whatever the time of year. (This image was made in the Water Lily House.) www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 39

Technique Tammy Marlar Light savvy Tammy’s colourful and creative garden Choose the right images have done well in big competitions time of day. Light creates including International Garden drama, depth, Photographer of the Year. To see more, atmosphere, shape, www.tammymarlar.com and texture, form and brings Instagram: @tammymarlar colour to life. The early morning and late I’m a nature lover and I’ve been an environmental afternoon will give you soft campaigner for most of my professional life. In light that’s more recent years, however, photography has jumped off complementary than the the back seat and seems to be dictating where I head harsh sun of midday, next. One of the best things about nature which will create deep photography is that it puts you in a mental state of shadows that interfere searching for beauty – and this can be seen in the with shape and colour. grandest of views or the smallest of details. One of Early morning is a special my key aims is to tell the story of our beautiful time with its stillness and planet in the hope it will inspire others to celebrate, quality of light. Also, take preserve and protect it. advantage of overcast conditions to give you Be familiar soft, diffused light – perfect for flower Make yourself portraiture. familiar with the garden. Get to know it well and let it reveal itself. Notice where the sun rises and where it sets. This may take a few visits, at different times of day and in different seasons, but the more you know a garden, the better your pictures will be. Check the weather Colour it up Check the weather forecast. Planning for a flower Learn how to use photography shoot starts with the weather. Watch the colour. A colour wheel forecast for a few days before you head out and gives a visual reference consult a couple of different sources. Wind is rarely guide for using colour. your friend, although modern sensors can cope with Segments of colour higher ISO values and you can make a feature of it if which lie opposite one you wish, by emphasising movement. another are considered complementary, whilst segments that lie next to each other are harmonious. Take the time to notice relationships between colours because this will enhance your images. A skilful gardener has a heightened awareness of how colour works in a garden and it’s one of the main responsibilities of a garden photographer to respond to this heightened sensitivity. 40 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

Background Recognise the importance of backgrounds. Think carefully about the backgrounds you use for your flower portraits. Make the flower the predominant subject. Flowers are beautiful and intricate, and our images should accentuate their allure and detail as much as possible. We’ve all seen images of flowers, birds or insects with cluttered or ugly backgrounds. The main subject gets lost in the melee and the picture doesn’t work. Compose the image in a way that keeps the flower the predominant focus by avoiding things that will be distracting.   A year-long endeavour Shoot all year long. Don’t be fooled into thinking that winter is a downtime for garden photographers. Shooting during late autumn and winter can yield incredible results because of the quality of the light. Winter light brings out the visual play between highlights and shadow, as well as cool and warm tones. In the bag camera, batteries and lenses, are gloves and hand-warmers! Other non- Pack a comprehensive kitbag. photographic kit may include card Wideangle, macro and telephoto lenses backdrops, a kneeling-pad, as well as may all be necessary. Take and use a nail scissors, freezer ties and clothes tripod, ideally one that can go low. In pegs to help you manage stray stems. winter, the most important item after ▲ ▲ ▲ KIT LIST Good gloves Clothes pegs Macro lens Gardening gloves are available Whether you’re holding a plant in a variety of materials. still, keeping unsightly foliage Small details can really matter in this However, when you’re out of the way or suspending a genre. When I’m isolating individual photographing in cold backdrop behind a plant, flowers, I often use a Canon EF conditions the Zeltauto Men’s clothes pegs are a great 180mm f/3.5L Macro USM lens. This Thinsulate Fingerless Gloves are addition to a lens offers true life-size (1:1) ideal. These convertible garden reproduction and is super-sharp from fingerless mittens keep your photographer’s 1.0x to infinity. digits super cosy. kit bag. www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 41

Technique RAIN PHOTOGRAPHY An optimistic couple wait for an event to begin at London’s Somerset House. Photo by Peter Dench No rain Rather than being deterred by the often wet British climate, we should revel in the no gain photo opportunities provided by damper days – as Peter Dench discovers 42 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

S amuel Johnson once remarked: room due to bad weather, Tony screamed than pining for a foggy or rainy day or nice ‘It is commonly observed, that inside. ‘I see rain as a wonderful blue sky, have locations in mind that work when two Englishmen meet, opportunity for good photography. It’s well for each,’ he advises. The joy of rain their first talk is of the weather; surprising how it transforms otherwise photography is that it can be done they are in haste to tell each other, what mundane locations. I have been a fan of anywhere. Tony’s stark images of seaside each must already know, that it is hot or rain for quite a while.’ In Tony’s book, piers reflected in rain collected on cold, bright or cloudy, windy or calm.’ Photographing Landscape Whatever the Nice!boards contrast with his woodland The weather is ingrained in our national Weather (RHE Media Limited 2018), the shots. Using his Canon EF100-400mm psyche. Discussions around rainfall emphasis is to show the reader there’s no f/4.5-5.6L IS USM lens to compress dominate conversations and holiday plans. such thing as bad weather and all offer perspective, he creates a misty effect with On average it rains for around a third of different opportunities. ‘The challenge is to saturated colours in the trees nearest the year. To deny photographing the rain is match the location to the weather, rather to the camera with the middle and far tantamount to treason. Tony Worobiec’s Many famous photographs have been atmospheric shot of snapped in precipitation: Elliot Erwitt’s Swanage Pier leap on a rainy day, taken for the 1/200sec at f/11, ISO 200 hundredth anniversary of the Eiffel Tower, 1989. Actor James Dean walking through the bleak Manhattan rain falling on an empty Times Square photographed by Dennis Stock, 1955. Henri Cartier-Bresson’s photograph of Alberto Giacometti in a Parisian torrent, 1961 and Martin Parr’s debut monograph, Bad Weather (Published by A. Zwemmer Ltd in 1982) in which Martin uses a waterproof camera to document the British having to confront the weather or determined to do something despite it. Any photographer serious about their craft must pull on their wellies and brave the downpours. No such thing as bad weather Tony Worobiec has consistently done just that. When a colleague told him they spent two days of a workshop sitting in a hotel The reflected lights of Redcar Pier make this image by Tony Worobiec really stand out 6 sec at f/16, ISO 400 www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 43

Technique SHOOTING IN THE RAIN KIT LIST distance as if in a slight fog. The of shots and then stopped and watched, it overall aesthetic is pastoral and was an awesome moment. Even the second Lens hood beautiful. rainbow was incredibly bright, which you don’t often see. Helps keep your lens dry Chasing rainbows as well as protect it from ‘I rarely use a tripod when shooting being knocked. ‘I will take a rainy day over a sunny one rainbows, I’m concentrating on the any day. The rain adds so much more to a rainbow. I’ll make sure the camera, usually Long lens photo,’ admits prolific semi-professional my Olympus E-M10 Mk II, has the versatile photographer David Oxtaby. David is based and compact M.Zuiko Digital ED 9-18mm Use it to compress in West Yorkshire, mainly shooting local, F4.0-5.6 wideangle zoom lens attached, as perspective and create a landscapes with sojourns to Wales and Isle you’ll often be near to the rainbow and set misty effect. of Wight. His work has been shortlisted the aperture at 7.1. Adding a polarising two years running in the national Historic filter to enhance the colours, that’s Tripod Photographer of the Year competition important. If there’s no wind I’ll have an and his book, Yorkshire – A Different umbrella to keep the camera dry which Often needed for longer Perspective, is due for publication later this doesn’t always work. Generally with exposures, which can year. He also has a knack for capturing rainbows it blows against your back,’ he yield interesting effects. rainbows. ‘You get this feeling when the remembers. ‘Being a big Olympus fan I use elements are just about right, watching the them for most of my rainbow shots. I’ll Microfibre skies, when I see a break where the sun maybe lighten the shadows in post cloth can shine through and the clouds are production. For the Embsay double moving away, you know there’s the chance rainbow I did very little to it. Once your To dry your lens: much of a rainbow. I get my camera out and polarising filter is on, what you see on the better than your shirt. hope it happens.’ screen is pretty much what you get out of the camera,’ explains David. Phone His stunning photograph of a double rainbow shot on the edge of the Yorkshire ‘To me, the wrong weather is a blue Downpours can be Dales near the village of Embsay (taken on cloudless sky because there’s no drama or unpredictable, so take a 23 October 2020 at a time when rainbows interest, it’s bland. When you have clouds phone for safety. Phone symbolised appreciation for key workers in the sky, storm clouds, rain clouds, it all weather apps can also during the pandemic) was picked up and makes the photo. On a bright sunny, hazy alert you to sunny spells, published extensively in the national press. day when the light is very flat it’s difficult which may mean some ‘I could tell a rainbow was coming because to photograph but when you see the clouds great rainbows. of the movement of the clouds so I got come with tonnes of water in them, there’s myself ready. When the double rainbow drama. The worst weather is a sunny day. I Decent gear appeared I was speechless. I took a couple do love photography, it keeps me sane and Waterproofs will keep you shooting longer. Double Rainbow at Embsay by David Oxtaby 1/250sec at f/9, ISO 250 44 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

10 rain tips 1 Take a partner and take it in turns to keep each other dry with an umbrella. 2 Use a very fast shutter speed to capture rods of rain coming down or use a very slow speed for a misty effect. 3 Become familiar with your terrain, keep notes and use a phone to record a particular skyline. 4 Use a UV filter, it’s better to get moisture on the filter than on your lens. Top: A wet I can share it with others. Photography is you learn to actually see the forecast for 5 Play around with Westminster very positive. A photo can brighten rain and go “Brilliant! Get your camera gear the reflections in Bridge, London someone’s day, even if it is of the rain!’ together and go out to take photographs.”’ puddles on the ground. by Alex Saberi His handheld photographs of London 1/30sec at f/3.2, ISO 640 On reflection landmarks reflected in paving, water and 6 A cold, wet cracks are illuminated with streaks of atmosphere can Above: The National Geographic photographer Alex colour. ‘I love colour, my eye is tuned to make for a moody London Eye by Saberi is perhaps best known for his colour. With the rain series it was about portrait with soft light. Alex Saberi photographs, Richmond Park (ACC Editions getting that vibrancy and colour, it would 1/60sec at f/7.1, ISO 500 15 Jun 2012) shot near to where he lives in have to be that point where the sun had 7 Prefocus on a London. He also relishes an urban almost gone down, and the lights come on landmark then downpour. ‘Most people don’t like rain but at Big Ben or Tower Bridge and you get the recompose into the colours of the street lights and dying reflection or part of natural light. With a high ISO you can still the pavement and capture people moving through the scene. wait for a subject. The rain makes more interesting colours and patterns.’ 8 Go for medium-to- high ISO settings As for me and rain, I love shooting posh to get enough shutter events like Royal Ascot or the Henley Royal speed to freeze Regatta. Everyone is dressed up, and if the people if included. skies open, you get a dramatic visual metamorphosis. I like to unleash flash, one 9 Use the flash to three stops under, to crisp up the colours off-camera and and make the raindrops pop. over to the side to create a beam of light So, to be an all-round successful through the rain falling photographer you must learn to work in in front of you. the rain. It teaches you to adapt and incorporate what is in front of the lens 1 0 Carry a flask, creatively. Being a fair-weather shooter for a warm cup means you are missing out. of tea or soup at the end of the rainy day. www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 45

BRITISH DOCUMENTARY PHOTOGRAPHY cAonuonthtreyr? The best British documentary photography since 1945 is brought together in a superb new book. Here, the author Gerry Badger explains more © PADDY SUMMERFIELD A ll photographers love although that in general means a Above: Paddy to travel and make fiction aiming to tell a truth. Summerfield, work in exotic places. Blackpool, Why not? It’s work and But what is ‘documentary’ 1976-77 surrogate holiday in one. But it’s photography? The traditional view is a truism to say that the best work that it is inherently ‘straight’ Above right: Ron done by a country’s photographers photography – the photographer McCormick, is documenting their homeland, observes and reports on something, Street Musician, or adopted homeland. That’s thus making a record of society. But ‘Banjo – Jimmy where they have the biggest stake. many photographers talk about Cross’, So a history of postwar British society in their work, fabricating the Spitalfields, documentary photography is a images like a film director, even London, 1972 history of the country through making photographic collages. Lewis specific eyes. Which is why the book Balts said photography was ‘a Right: Mitra is titled Another Country. It is not, narrow but deep area between the Tabrizian, Correct and can never be an impartial view. film and the novel’; in this way one Distance, 1985-86 And although a ‘documentary’ view, can embrace a wider definition of it is actually a complicated fiction, the documentary, viewing it as an attitude – a desire to talk about 46 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

RUNNING HEAD XYXYXYXY COURTESY THE ARTISTaspects of society – rather than a representing photographers from © RON MCCORMICKstyle as such.working class backgrounds replacing upper middle-class figures like Cecil British photography in the 1940s Beaton. In reportage photography, was clearly very different from today. David Hurn, Phillip Jones-Griffiths, It tended to be regarded as a ‘trade’ and Ian Berry became members of rather than an art form. Art the world’s most prestigious agency, photography was strictly the Magnum, and together with such province of the camera clubs, while figures as John Bulmer, Patrick Ward, professionals worked to get their and Don McCullin working for the imagery in print in the illustrated Sunday supplements gave British journals and magazines – the most photography a greater reputation prestigious of which prior to the internationally. 1960s was Picture Post, edited by Tom Hopkinson and employing such Towards the end of the sixties, a photographers as Bert Hardy, new spirit infused British Thurston Hopkins, and Grace photography, the notion of the Robertson. That magazine closed in ‘independent’ photographer, largely 1957, but after a brief hiatus it was eschewing commercial photography replaced by the supplemental and using the medium as creative magazines of the more serious self expression, as a fully fledged art Sunday newspapers – The Times, form. Photography as art had been Observer, and Telegraph. largely confined to the photographic salons of institutions like the RPS, David Bailey, Brian Duffy, and and although any photographer Terence Donovan became the star would regard their imagery in a photographers in the commercial creative light, the notion of and fashion worlds, importantly www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 47

RUNNING HEAD XYXYXYXY © DOUGIE WALLACE exhibiting photographs as The critical discourse also changed. Above: Dougie works of art in galleries and Two ‘art photography’ magazines, Wallace, Untitled, museums only became widespread Creative Camera and the shorter-lived from Stags, Hens in the 1960s, first in America, and Album, essentially promoted the & Bunnies, 2014 then in Britain in the 1970s. But modernist-formalist approach of the Above right: photographers working American art museum, an approach Martin Parr, New independently and largely taken up by young photographers Brighton, disregarding editorial work needed whose aim was to make pictures in Merseyside, from support and the story of British the way of artists. Many were The Last Resort, photography in the seventies and attracted to British themes, inspired 1983–86 eighties is one of the support by the street photography of Tony mechanisms – critical, financial, Ray-Jones, figures like Chris Killip, Right: Paul Reas, educational, and institutional – Homer Sykes, and Paddy Hand of Pork, from being established to encourage this Summerfield. Such work, usually new spirit in British photography street photography, if not downright I Can Help, 1988 and young photographers embracing documentary photography, was at Far right: Patrick the medium. least in the ‘documentary mode’. In the early 70s, the Victoria and The idea of photography as a useful Ward, Isle of Albert Museum appointed a art runs persistently through the Wight Pop photography curator in Mark British medium. Haworth-Booth; Sotheby’s and Festival, 1968 Christie’s began to sell photographs The late sixties was the age of as works of art; the Arts Council political protest, and this was also established a photography reflected in the critical discourse of administrator, Barry Lane, to provide the seventies. Politically minded grants for photographers; and Sue photographers gravitated towards Davies and Dorothy Bohm founded the Half Moon Gallery and collective the Photographers’ Gallery in 1971, in Whitechapel, whose critical the first British public gallery to be journal Camerawork – the antithesis dedicated solely to photography. of Alfred Stiegiltz’s early 20th Davies and Bohm’s London century art photography magazine enterprise was followed by others of the same name – questioned the throughout the country, such as Val representational nature of the Williams’ Impressions in York. medium and how to turn it to more progressive ends. 48 9c236b28-87c3-40e9-b0fe-88f40b5739e9www.amateurphotographer.co.uk

MAGNUM PHOTOS. © MARTIN PARRBRITISH DOCUMENTARY PHOTOGRAPHY The Half Moon photographers, amongst them Paul Trevor, Chris Steele-Perkins, Mike Abrahams, and Robert Golden, documented the protests and social conditions of the seventies, but the Whitechapel political documentary hotbed was important for another reason. Inspired by the feminist movement and decades of neglect by the photographic establishment, a whole generation of women photographers established their institutions and added a strong and much-needed voice to British photography. Britain had always produced great women photographers – Anna Atkins made the first photobook, Julia Margaret Cameron was arguably the finest portraitist of the 19th century, while Tudor Hart, Grace Robertson, Jane Bown, Lee Miller, and Shirley Baker made significant work, but it could be said that the seventies was the first time a coordinated phalanx of women photographers made a collective contribution. Notable figures from the 1970s include Sirkka-Liisa Konttinen, Markéta Luskacová, and Tish Murtha. © PAUL REAS PHOTOGRAPH © PATRICK WARD www.amateurphotographer.co.u9k c236b28-87c3-40e9-b0fe-88f40b5739e9 49

BRITISH DOCUMENTARY PHOTOGRAPHY Seventies women Association of Black Photographers photographers were often in 1988. As women had been, ethnic coordinated in a literal as well as minority photographers had been psychological sense. For example, working in British photography, the Hackney Flashers Group, which with even less recognition, since the included Jo Spence, Maggie Murray, 1950s. Among the founder members and Sally Greenhill, worked to raise of ABP were Sunil Gupta, Ingrid consciousness about women’s issues, Pollard, and Rotimi Fany-Kayode. an enterprise which culminated in The establishment of their gallery, their Who’s Holding the Baby Autograph, under their director exhibition in 1978, shown at various Mark Sealy, was as significant for venues in 1979. In their work, the British documentary photography as group’s members questioned how that of The Photographers’ Gallery much could actually be shown by or the Half Moon. traditional ‘documentary’ photography and sought to expand Two further notable developments or move beyond the strict genre by mark 1980s photography. The employing such strategies as collage Margaret Thatcher government gave or staged photography. Individuals documentary photographers a also began to work in this way, such much-changed society to document as Jo Spence (ex-Flashers), or fight against, and much of this concentrating upon her own and work was in colour. The use of woman’s health issues, and Karen colour catapulted such figures as Knorr, whose phototext pieces Martin Parr, Paul Graham, Anna Fox, from the end of the decade looked and Nick Waplington into the at a demographic that was far limelight, while others, Chris Killip removed from Whitechapel, wealthy or Graham Smith for example, Belgravia residents. continued to use monochrome. If the 1970s saw the support What is important is that, largely for groups for women photographers the first time, through international established, the 1980s saw the festivals and wider distribution of general neglect of ethnic minority photobooks, British photographers photographers at least partially became internationally known and ended with the establishment of the respected. This has continued, as the internet has created a global photo © SIÂN DAVEY Above: David Solomons, Oxford Street, 2002 Left: Siân Davey, After the Swim iii, from Martha, 2018 Right: Chris Killip, Youth on a Wall, Jarrow, Tyneside, 1976 50 9c236b28-87c3-40e9-b0fe-88f40b5739e9