AmateurPhotographer - 09.08.2022_downmagaz.net

Tuesday 9 August 2022 Canon R5 vs 5D IVHreoawl-wmourlcdhsbiteutatetiroinssC?aAnobnu’ssympirrorofirlnedsss kit in out Passionate about photography since 1884 Reach for the sky Transform your photography with a drone – it’s easier than you think! Eventful shots Top tips for capturing gigs and festivals £3.75 Colin Watkins Panasonic ia 9mm f/1.7 KELSEYmedia Film shooter inspired by Julia Margaret Cameron Affordable wideangle prime for Micro Four Thirds users Alnis Stakle award-winning circular images • Tenba Fulton V2 backpack

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7days COVER PICTURES © CHRIS GORMAN/BIG LADDER Drone photography may seem at arsenal. You can get amazing results without / © COLIN WATKINS / © CLAIRE GILLO best bewildering and expensive, having to go to pilot school. Coming back down to at worst downright scary – who earth in a good way, we also share some great tips wants to have their collar felt for for summer festival and gig photography, while top upsetting an airport? As drone pro and AP regular Denise Maxwell delivers a expert Chris Gorman reveals in real-world test of Canon’s mighty EOS R5. We’ve this issue, however, getting into this type of got plenty for film photographers to enjoy too. photography is not only fun if you exercise Don’t forget to check out our great new common sense, but it’s also affordable and a great subscription offer on page 51 to be sure of delivery, way to add another creative tool to your imaging and save money. Geoff Harris, Deputy 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 stunning photo of 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]. Stonehenge was taken by JOIN US ONLINE Post your pictures into our Flickr, Facebook, Twitter or Instagram communities. Chris Gorman, aka The Big Ladder Photographer. amateurphotographer.co.uk facebook.com/ flickr.com/groups/ @AP_Magazine @ap_magazine See page 12 for his tips amateur.photographer.magazine amateurphotographer on drone shooting This week in 1936 In this issue TREASURES FROM THE HULTON ARCHIVE 3 7 days © GETTY IMAGES 4 It’s good to share Crowd and Zeppelin by Fox Photos 12 Get started with drones The Hindenburg, Zeppelin LZ-129, being taken out people, and with public faith in the transport of its hangar at Friedrichshafen before leaving for shattered by the accident, it signalled an end to 18 Inbox New York, 9 August 1936. The airship was in commercial airship travel. The last international operation from March of that year until 6 May 1937 passenger airship flight took place the next day, when 22 Photo stories when it was destroyed by fire while attempting to land the Hindenburg’s sister ship, the Graf Zeppelin, in New Jersey. The disaster claimed the lives of 36 landed safely in Germany. 24 Evening class 26 Muse little youth 32 Reader portfolio 34 Better backgrounds, better images 36 Sound and vision 40 Canon EOS R5 field test 47 Panasonic Leica DG Summilux 9mm F1.7 ASPH 50 Accessories 52 Tech talk 55 Buying Guide: Best buys 66 Final analysis The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic Company in 1854, today it houses over 80 million images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com.

*NOTE: PRIZE APPLIES TO UK RESIDENTS ONLY Our favourite photos posted by readers on our social media channels this week www.amateurphotographer.co.uk AP picture of the week Haweswater Sunrise by Phil Howell Sony A7R IV, Sigma 24-70mm f/2.8 at 25mm, 1/60sec at f/16 ‘I took this image one recent weekend above Haweswater Reservoir in the Lake District, looking back down towards said reservoir from a point on the path between Harter Fell and High Street. Having set off on the Friday afternoon, the walk was a real challenge in the heat of the day. But a few hours later camp was established and this image was captured after an excellent night’s sleep on the hillside.’ Website: www.philhowell.photos Instagram: @phil.howell.photos #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

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Little Owl by Doron Margulies Fujifilm X-T4, Fujinon XF100-400mm, 1/1250sec at f/5.6, ISO 2500 ‘Photography in general and wildlife photography especially is my escape from the everyday rush. This picture was taken in a deserted quarry where this owl family decided to nest. I spent half a day there enjoying watching them interact, teaching the newborn to hunt and so on and taking a lot of pictures from my hideout.’ Facebook: www.facebook.com/ doron.margulies Instagram: @doronmargulies We also liked... www.amateurphotographer.co.uk Fly Me to the Moon by Mark Cox Sony A7R III, Sony FE 100- 400mm F4.5-5.6 GM OSS, 1/320sec at f/9, ISO 1250 ‘Whilst sitting in my garden looking at the moon I was wondering if the airlines would cross the moon. So after waiting patiently and using my Plane finder app, I happened to look up and see one heading for the moon. I grabbed the camera, took the stance and pressed the trigger.’ Instagram: @markcox_1973 Want to see your pictures here? Share them with our Flickr, Instagram, Twitter, or Facebook communities using the hashtag #appicoftheweek. Or email your best shot to us at ap.ed@kelsey. co.uk. See page 3 for how to find us. 6

Buy. Sell. Trade. Create. mpb.com Photography can Together, let’s change the bigger the way picture. MPB puts cameras and lenses we see into more hands, more sustainably. ourselves. MPB. The platform to buy and sell used photo and video kit. mpb.com #ChangeGear

Tamron ultra telephoto for Sony E full-framers Available now, the Samyang AF 85mm F1.4 TAMRON has announced it is developing half-macro photography, with a minimum FE II prime costs £767 the 50-400mm F/4.5-6.3 Di III VC VXD, focusing distance of 0.25m at the 50mm an ultra-telephoto zoom lens for full-frame end. Ergonomic features, such as the Smaller and lighter Sony E-mount cameras. adoption of a new design with improved Samyang 85mm F1.4 The 8x zoom ratio starts at 50mm, while texture and operability, are claimed to support the compact body weighs in at 1.155kg and comfortable shooting. Other handy extras SAMYANG Optics has announced the is just over 183mm long. The stabilised lens include a focus-limiter function and an AF 85mm F1.4 FE II lens, for Sony’s also features Tamron’s VXD linear motor optional Arca-Swiss compatible tripod mount. E-mount full-frame and APS-C mirrorless focus mechanism designed for quick and cameras. Four High Refractive (HR) and quiet operation. The new lens is scheduled for an autumn one Extra-Low Dispersion (ED) glass Because the new lens provides up to release, but Tamron has cautioned that, ‘due elements of the new 85mm f/1.4 are said one-half life-size magnification during close to the current global health crisis, the release to ‘provide a stunning contrast and focus, users should also be able to explore date or product supply schedule could resolution, and its centre resolution is change.’ Pricing to be confirmed. superior to other telephoto lenses.’ The AF 85mm F1.4 FE II is an update of the company’s full-frame 85mm f/1.4 telephoto lens that is optimised for portraits, headshots and full-body images. Smaller and lighter than its predecessor, the new lens is available now, priced at £767. See www.samyanglens.com/en. Tamron’s upcoming ultra-telephoto zoom is for Sony E-mount full-frame mirrorless cameras Sport photographers on the podium Annabel Lee-Ellis’s ‘Humanity’ image A STRIKING image of tennis star Naomi gymnastics, football and many more. ‘It was Osaka gently removing a butterfly from great to see some new faces in the ‘Pro’ Students of life her dress has won the 2022 World Sports space being shortlisted too – the bar has Photography Awards. David Gray, a definitely been raised for next year,’ added CANON has revealed the winning professional sports photographer, took the Sophie Collins, chief marketing officer at images from its Between the image at the 2021 Australian Open. ‘This is a awards sponsor, MPB. Lines student competition which took place breathtaking image,’ said Simon Burton, in the run-up to the recent Commonwealth World Sports Photography Awards co-founder. You can see the full list of the winners at Games. Entries showcased the three core ‘Sports bit.ly/apsportwinners. values of the games: ‘humanity’ conveying photography benevolence, togetherness or human captures special David Gray’s overall winner nature: ‘destiny’ conveying fate, aspiration moments and tells or ambition; and ‘equality’ conveying unique stories, but collective spirit, fairness, non- most of all it draws discrimination, or inclusion. The three you in and reveals winners were Charlie Rodwell, Annabel the unexpected. It Lee-Ellis (see her image above) and forces you to look Caroline Vining. See the full selection of again and winning images at bit.ly/canonbtl. reconsider.’ Gray’s image was 8 selected from 24 winning entries across categories that included American football, boxing, cycling, www.amateurphotographer.co.uk

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Viewpoint Books Andy The latest and best books from Blackmore the world of photography Andy Blackmore argues that simply converting to b&w does not a great artistic picture make THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR KELSEY MEDIA LIMITED A fter a certain number of hours Taking a good black & white image is not Paul by Harry Benson at the helm of a busy picture as simple as some seem to think. In this desk the steady soft rhythm, case, I thought about the image I wanted £50, Taschen, hardback, 172 pages, ISBN: phut, phut, phut, of expletives to capture – and waited for it to happen 9783836592048 uttered under your breath sounds like some spluttering Seagull outboard in the right hands will have your spine Released last year as a large-format motor. While the stress of avoiding the tingling with as much frequency as Meat collector’s edition, this more compact rocks has one urging to vent like some Loaf battering you with Bat Out Of Hell or – and more affordable – version was exasperated ship’s foghorn. Ian Curtis electrifying you with Love Will released to celebrate the 80th birthday Tear Us Apart. of its subject, Paul McCartney. Of course, you will dream of truly letting off steam which in its way is a That’s because black & white is not The book features more than 100 release valve. So at the risk of black and white. It’s not easy; its colour and black & white images, some of which sounding like an angry old man, which creativity inhabits the world of shades of were rarely seen before the publication of last year’s is precisely what I am, I feel the need to grey. It’s simply not as simple as taking edition. You’ll see pictures from Paul’s time as a get this off my chest before I explode, a colour file and changing its mode. To member of the Beatles, as part of his and wife’s frightening the newsdesk. the visually tone-deaf, that fundamental Linda’s band, Wings, including behind-the-scenes lack of understanding is why we suffer shots and on stage during the 1975-76 ‘Wings Over Now, it’s been said that you can’t so many bum notes. America’ tour. Perhaps more fascinating or polish a turd, but even so, that’s not illuminating are the shots from his family life, living in stopped many a charlatan making a nice Consequently, opening an email is like their quiet rural farm in the early 1990s. little earner in rolling them in glitter. pulling a creative cracker. Instead of the Nowadays, it would seem that instead anticipation of discovering it holds a An all-access book that shows off two huge talents of bling, we are at the mercy of the latest brilliant blast of visual inspiration, too – Paul the musician and Harry the photographer. A gimmick, as a new panacea becomes often it is a damp squib: inside, nothing recommendation for all music and portrait fans. the latest comprehensive solution to an but mediocrity, invariably in monochrome, age-old problem – a lack of talent. no jokes, and it’s not funny. Life As It Is by John Myers I’ve lost count of the number of times Come on ‘creatives’, I’ve got news for £45, RRB Photobooks, hardback, 150 pages, I’ve spent hours hassling, schmoozing, the monochrome set. Converting an ISBN: 9781838268367 pleading, sometimes begging, a PR image to greyscale is not like running it agency or company for an image of some through some Photoshop Cartier- Featuring 80 previously unpublished city bigwig. Only, to curse with a word Bresson filter. You can’t just dial in Larry photographs from the archives of that rhymes with PHUT, on opening the Towell, James Nachtwey, Ian Berry or Tom John Myers taken in and around email. Phut this, phut that, it’s always Stoddart like it’s some special effect. It’s Stourbridge in the 1970s and 1980s, the phutting same. both naive and disrespectful. this is an excellent study in social documentary work. You see, a fad has sprung forth among Andy Blackmore is the Picture Editor and Chief Myers has always focused on the ‘ordinary’ and PR agencies and from the corporate HQs Photographer with City A.M. Previously he has been ‘under-appreciated’. In 2020 he revisited images of trendy young things that issue images Picture Editor at Metro, The Independent on Sunday, made 30-40 years previously and dismissed at the from exulted heights like Papal The Independent and The Guardian. time. This selection sees Myers challenge his own commands. And that craze is this: rather youthful eye in an attempt to build a more lived-in than send out a nicely composed, nicely picture of the Middle England the photographer has exposed, and nicely-thought-out portrait diligently documented. Most of the images were or photo – no. Now, you can send out taken in the living rooms, workplaces, backyards and any old crap, all you have to do is make asphalt streets of the town, and most within walking it monochrome. distance of his house using his 5x4 Gandolfi plate camera. An intriguing set of images for fans of Some folks can carry a tune, some archival or historical work, and general b&w imagery. bring us to tears, and some make us cry for the right reasons. It’s the same 11 with photography, especially black & white. Its creation is a true art, one that Do you have something you’d like to get off your chest? Send us your thoughts in around 500 words to the email address on page 3 and win a year’s digital subscription to AP. www.amateurphotographer.co.uk

Technique DRONE BASICS Chris Gorman Chris (The Big Ladder Photographer) works as a drone photographer for The Daily Telegraph, The Times, the RHS and many more. He also runs one-to-one drone workshops and gives talks. Visit www.bigladder.co.uk for more details. Instagram @bigladderphotographer, Twitter @bigladderdrone, Facebook: The Big Ladder Photographer Get started with drones Drones have revolutionised image making but many ground-based photographers are still unsure about taking their first steps, or the legal aspects. Chris Gorman, aka The Big Ladder Photographer, is here to help Take the test www.amateurphotographer.co.uk On first look, getting into drone photography can seem to be a little daunting. Beginners need to firstly register the drone with the Civil Aviation Authority (CAA). This involves a simple online test based on the ‘drone code’, but it’s not like a driving test, so don’t worry. Then you obtain an operator ID which must be attached to the drone by law. See full details at bit.ly/droneregsuk 12

Where can I fly? Hey Mr DJI It’s highly advisable By far the most to undertake your popular drones are first-ever drone flights on the DJI Mavic range. This open private land (see if includes models such as you can befriend a local the Mini 3, the Air2S or farmer). You also need to the high-end Mavic 3. The make sure you can fly drone of choice for most legally in your chosen beginners is the Mini 3 airspace – use the Drone because it comes in under Assist app for Android and 250g – heavier drones iOS, or the CAA drone require a qualification to safety map at fly in built-up areas. As a dronesafetymap.com. It is result, it has become illegal to fly within 5km of popular with professional an airport and this is a drone users, too. very serious offence, so be sure to check before Getting your launching. Note that wings permission was granted for all the images used in Most modern drones this article. are fairly easy to control. Fixed by GPS, they www.amateurphotographer.co.uk will sit anchored in the sky, but don’t be afraid to experiment. Learn how to shoot in a cinematic style (if video is your thing), or swoop around your subject – twisting the camera down or up while in flight can add dramatic effect. It’s also important to know what to do in an emergency. Aircraft can suddenly appear, so descend out of their way or return to ground. Activate the ‘return to home’ feature so your drone doesn’t get lost. 13

Technique DRONE BASICS Choosing a subject Work the angles We’d all like amazing drone images of well-known With a drone almost every angle is possible. If landmarks but in reality this is usually only you have a telephoto zoom on your drone, think possible with permission from the landowner. Always about using it to compress the perspective. A drone check the drone policy of each location/landmark angle can make everything look quite spaced out, before setting out. The National Trust, for example, has while the zoom can give your images more of a punch. a blanket drone ban on all its land and property. Other Also think of top-down images (looking straight down), organisations will allow drone use, if you enquire. or add a person to a scene to give a sense of scale. 14 www.amateurphotographer.co.uk

Make the most Composition of the weather is key Probably the single It’s not all about most important going as high as ingredient for a great you can. A common drone landscape is the rookie error is to weather. While rain is assume that just terrible for a drone flight, because the picture misty conditions or even is taken from high-up, snow are fantastic. Do that’s all you need for remember in mist that you a great picture. This need to keep a visual line is not the case. of sight with the drone, for Rather, think about obvious safety reasons. the drone as a Always keep an eye on the conventional camera weather forecast for those that can go where beautiful sunsets or you can’t, over water sunrises; the golden hour for example. Look for before sunset is a superb shapes and shadows time to get airborne and – looking down on a see how the colours and subject shows just shadows ‘pop.’ how symmetrical the world is when shot www.amateurphotographer.co.uk from above. 15

Technique Get set up for stills Many of the lower-end drones have a fixed aperture (usually f/2.8), partly because depth of field isn’t so vital when in the sky. If you’d like to do more creative shooting using slow shutter speeds, a variable aperture is important. This is also a big help when shooting video, so think carefully what you’re likely to need before buying your drone. Get set up for video Recording drone video has become extremely popular, particularly on social media. All the drones mentioned here shoot at least 4K footage. Do be aware that if video is your thing, you will need a very powerful computer. For example, only the latest Apple M1 computers will play D-Log (raw) footage from The DJI Mavic 3. You will find that 4K footage will stutter on a computer older than about five years. Editing drone stills As with conventional stills photography, most drone users favour Lightroom or Photoshop for editing. Remember to shoot raw at all times. Allowing the drone to compress the image to a JPEG loses vital image information that could otherwise be retrieved at the editing stage. 16 www.amateurphotographer.co.uk

Intermediate and Use ND filters advanced drones Neutral-density (ND) filters are basically A good intermediate choice sunglasses for your drone camera, and is the DJI Air 2S, featuring a come in useful if you are using a fixed- 20MP sensor which is great for aperture drone on a very bright day. ND filters low-light images. It works are essentially doing the job of a variable particularly well in windy aperture, enabling slower shutter speeds. conditions, too. Serious drone They are particularly important for getting the users should consider the DJI lower shutter speeds required in video. Mavic 3, featuring a 20MP Hasselblad Four Thirds sensor The next step with variable aperture. You also get up to 5.1K video with To fly a drone commercially there are two Apple Pro Res (Cine Version). qualifications to consider. The A2 A great all-round choice for Certificate of Competence (A2 C of C) is more-ambitious users. suitable for most landscape photography. The full qualification for professional drone users, www.amateurphotographer.co.uk meanwhile, is the General Visual Line of Sight Certificate (GVC). There’s a wide range of companies offering to help you get these qualifications online, such as 3iC – see the website at 3ic.co.uk. 17

YOUR LETTERS Amateur Photographer Inbox JPEG generation Email [email protected] Thank you for your recent article on improvements Editorial to raw processing. Perhaps a future article Group Editor Nigel Atherton you could consider is an article on JPEG results Deputy Editor Geoff Harris straight from the camera? Take a mid-range camera, Technical Editor Andy Westlake with APS-C sensor or similar from each of the Features Editor Amy Davies main brands, with the standard zoom attached. Technique Editor Hollie Latham Hucker Take a portrait, a landscape and perhaps a Online Editor Joshua Waller flower image at closest focusing, all at same ISO, Deputy Online Editor Jessica Miller then show the JPEG images straight from the Production Editor Jacqueline Porter camera. This is the type on equipment many 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 amateurs use, with little the post as there is no one in the office to receive them. Replies are from the Editor unless otherwise stated further processing apart Photo-Science Consultant from cropping and adjusting saturation to Professor Robert Newman personal taste. I think an article along these lines Special thanks to The moderators of the AP would interest many readers of AP. website: Andrew Robertson, lisadb, James Callow Nick Roberts, The Fat Controller Great minds think alike, James – we are doing a Advertisement sales & production LETTER OF THE WEEK major feature on getting the most from JPEGs in Head of Market Neil Tillott our issue on sale 6 September. Commercial Manager Brian Lynch Six decades of negative thinking 75 years and counting Ad Production Neil Hepden (01233 220245, I read with interest the [email protected]) two recent letters from R King and Tony Jones. I am Management another 90-year-old subscriber to AP. I am still Chief Executive Steve Wright The articles about the Mamiya C3 according to what the image is used shooting with film, but no and scanning have made me look for. By using film I can play around longer processing or Chief Operating Officer Phil Weeden back at my own photography. I have with different film types (although FP4 printing myself. I first both a C330 and a Bronica ETRS. My is my normal choice) and clouds can purchased AP in 1947 for Managing Director Kevin McCormick negative collection goes back 60 be enhanced using yellow and red my father, who had a years and I still regularly use the back filters, or skin tone improved by using passing interest in Subscription Marketing Director Gill Lambert on my ETRS which is loaded with FP4 a green filter. photography, but also for (the other is loaded with myself. Back in those Publisher Liz Reid Fujifilm transparency film). The ETRS This negative from the 1960s was days I was struggling with is more convenient than the C330, scanned on the V500 and could be a Balda film camera and a Retail Director Steve Brown but for both cameras I still need a scanned at a far higher resolution. Kodak exposure JPEG image to meet modern needs. Bill Fisher calculator. I moved on to a Brand Marketing Manager Rolleiflex and a Leica M3, For many years I used an Epson Thanks, Bill, and thanks for sending which I still use. I do Rochelle Gyer-Smith Perfection V500 photo scanner, in the scanned image below. Not sure shoot digitally too, again having found negative copiers we’ll be booking a trip on this plane with Leica, and also with Print Production Manager Georgina Harris attached to a camera too much of a any time soon! There’s a lot of an Olympus XZ-1. The faff to use. When it expired due to interest in this subject to judge by the landscape mode option Print Production Controller Hayley Brown software update I moved to the V600 steady stream of correspondence helped lift this image of which meets all my requirements, that we’ve received from readers, Mumbles Lighthouse (see Subscriptions scanning print and negatives from so we will be revisiting the various facing page, top). Getting half frame to 6x9. The resolution can ways to digitise negatives in future AP is still my weekly ‘high 51 issues of Amateur Photographer are be altered from 50dpi to 12000dpi, issues of AP. published per annum. UK annual subscription price: £152.49 Europe annual subscription price: €199 USA annual subscription price: $199 Rest of World annual subscription price: £225 UK subscription and back issue orderline 01959 543 747 Overseas subscription orderline 0044 (0) 1959 543 747 Toll free USA subscription orderline 1-888-777-0275 UK customer service team 01959 543 747 Customer service email [email protected] Customer service and subscription postal address Amateur Photographer Customer Service Team, Kelsey Publishing Ltd, Kelsey Media, The Granary, Downs Court, Yalding Hill, Yalding, Maidstone, Kent ME18 6AL Find current subscription offers on our website shop.kelsey.co.uk/AMP Already a subscriber? Manage your subscription online at shop.kelsey.co.uk/site/loginForm Classifieds LETTER OF THE WEEK WINS A SAMSUNG 64GB EVO PLUS MICROSDXC CARD WITH SD ADAPTER. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY One of Bill Fisher’s images from the ’60s, scanned on his Epson V500 Telephone 0906 802 0279. Premium Win!The Samsung 64GB EVO Plus microSDXC memory card rate line, operated by Kelsey Publishing with SD adapter offers fast U1, Class 10 rated transfer Ltd. Calls cost 65p per minute from a BT speeds of up to 130MB/s, offers 6x Multi Proof protection and a Limited landline; other networks and mobiles may 10-year warranty. www.samsung.com/uk/memory-storage/ vary. Lines open Mon-Fri, 10am-4pm Email [email protected] Kelsey Classifieds, Kelsey Media, The Granary, Downs Court, Yalding Hill, Yalding, Maidstone, Kent ME18 6AL Distribution in Great Britain Marketforce UK Ltd, 121-141 Westbourne Terrace, London, W2 6JR Telephone 0330 390 6555 Distribution in Northern Ireland and the Republic Of Ireland Newspread. Telephone +353 23 886 3850 Printed by Precision Colour Printing Kelsey Media 2022 © all rights reserved. Kelsey Media is a trading name of Kelsey Publishing Ltd. Reproduction in whole or in part is forbidden except with permission in writing from the publishers. Note to contributors: articles submitted for consideration by the editor must be the original work of the author and not previously published. Where photographs are included, which are not the property of the contributor, permission to reproduce them must have been obtained from the owner of the copyright. The editor cannot guarantee a personal response to all letters and emails received. The views expressed in the magazine are not necessarily those of the Editor or the Publisher. Kelsey Publishing Ltd accepts no liability for products and services offered by third parties. Kelsey Media takes your personal data very seriously. For more information of our privacy policy, please visit www. kelsey.co.uk/privacy-policy. If at any point you have any queries regarding Kelsey’s data policy you can email our Data Protection Officer at [email protected]. www.kelsey.co.uk 18 www.amateurphotographer.co.uk

YOUR LETTERS In next week’s issue © ANGELA NICHOLSON Veteran AP reader Bill Williams’s moody image of Mumbles Lighthouse spot,’ as it still has good it for ARPS and FRPS photographer Barney Mirrorless © ALESSANDRA BUCCI information and good distinctions for good Cokeliss, where once special contributors! reason. You’re right, again someone tries to CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE Bill Williams though, it shouldn’t be explain why film is better If you shoot mirrorless, we used as a fig leaf to draw than digital. Perhaps it is, reveal how to get the most We’re honoured to hear attention away from but why use over 400 from you Bill, and a great uninspiring work and words when a couple of from the technology image. Thank you ever so yes, a mediocre image is photos would demonstrate much for supporting the a mediocre image, no the difference? Could it be A matter of degree magazine over all these matter what fancy that the advantages of years. Without loyal analogue process was film are as elusive as the Enjoy some of the best work from readers like you we’d used to make it. Loch Ness Monster? this year’s degree shows never have become the Maybe Professor Newman world’s longest-running Old camera info could examine prints from Canon EOS R7 reviewed photography weekly. film and digital and I’m just looking at the identify the factual The definitive test of this power- Clinch the real deal Straw Boaters picture on differences. If the real packed mirrorless heavyweight page 3 in the 5 July issue problem with digital is, as I would just like to and am astounded by the Mr Cokeliss suggests, Readers’ favourites congratulate Tim Clinch quality and clarity of it. As that it is ‘too perfect’, I for telling it like it is, there are no clues as to it can suggest some ways to AP readers reveal their choice of regarding the ludicrously having been taken almost mess up his digital mirrorless cameras and lenses pretentious titles given to 100 years ago it could images. I have no doubt some images, and quite easily pass for that some talented On sale every Tuesday some people’s even more something taken only last photographers believe in ludicrous descriptions of week, especially with the the special qualities of 19 themselves. Not to rise in analogue use these film, but please, AP, spare mention the out-of-date days. I wonder, when you us rambles that are colour film used to publish these pictures, if it impossible to produce depressing, might be possible to substantiate. washed-out images. I also mention the camera that Stephen Wood agree with Tim about the was used as I think that ‘artist’s statement’ which would be an interesting Barney was stating his some people send out addition. David Richards personal preference, and with their work. Just it’s great we can now pick because something is Film Barney and choose. As the French different from the norm say, chacun à son goût! does not make it better. In AP 12 July there is an I would even say that in article about the some instances it’s shades of the Emperor’s YOUR FREE APOY ENTRY CODE new clothes! Frank Marwick Enter the code below via Photocrowd to get one free entry to Round 8 – Wildlife. Go to An artist statement can amateurphotographer.co.uk/apoy 2022 to enter be a useful document of intent – the RPS requires APOY32745798 www.amateurphotographer.co.uk

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Photo Stories Now for something completely different Peter Dench talks to Alnis Stakle, winner in the creative category at the 2022 Sony World Photography Awards ‘A rt is a way to survive. I like work. meanings. The collages are grounded in my I don’t see it as something search for syntactic visual language complicated or hard. I like to be connections in the images pertaining to an artist. It’s like breakfast or various periods, media and domains of the gym,’ explains Alnis Stakle. Born in 1975, visual culture. I have used images from Alnis is a Latvian artist, photographer and open-source collections of museums, Assistant Professor of photography at the Riga scientific institutions and image banks whose Stradinš University department of archives may be considered iconic communication studies. He holds a PhD in art testimonies of the present and the past. The education from Daugavpils University. ‘I teach collages make use of the ideas and technical photography, mostly theoretical things about codes established in the visual photography, about communication, ideas communication that transcend borderlines of related to photography, history.’ ages, media and cultures. The codes that are so deeply engrained in culture that they are I’m talking to Alnis via Zoom about his used without thinking and are understood series which won the creative category at the through pre-existing schemas in recipients’ 2022 Sony World Photography Awards. He minds.’ Did I mention he had a PhD? was surprised and delighted. I’m not sure if it’s the language barrier, intermittent internet One collage groups three sets: stuffed zoo connection or his kids playing noisily around animals from different expositions, him but by the end of the conversation, I’m aristocratic, ancient and city centre not much wiser on what the series is about. architecture mostly from Europe, and ethnic Which isn’t necessarily unintended. Alnis’s groups in national costumes. Simple images collages go round and round posing more put together, creating a decorative collage. ‘It questions than answers. ‘I try to create an becomes a comment about the language of environment, set a stage on which I bring photography, which is what I’m interested in. many images. I don’t think I have expectations It’s like a repeating pattern. Is there any for one fixed meaning or one fixed mood for meaning from these boring images?’ the viewer,’ I’m pleased to hear him say. Alnis doesn’t have a precise vision of the The title, Mellow Apocalypse, is his finished collage beforehand. There are response to the situation with open source reference points but deciding when it’s image archives that institutions increasingly complete is more of an emotional decision. have. ’The world of images is ever more saturated and our capacity to comprehend it His approach to constructing them can be is becoming more and more limited. Poetically quite loose. ‘The technical execution of the speaking, the map has grown larger than the collages is based in the image post- territory. We can access almost the entire processing software algorithms, letting them visual culture that humanity has amassed. In overtake the accuracy and precision of image this day and age, when every one of us has depiction. Thus, the digital post-processing become a producer and storyteller who strives technological features become a part of the to express and draw attention to oneself, collages’ notional and technical code.’ publicly wallow in melancholy in the social media, to earn money, practise civil journalism Throughout our conversation, Alnis etc., the accessibility of the world of images is continually chuckles as his mind races off to no longer a privilege, but a self-evident explore tangents. ‘If you’re doing art it doesn’t tradition,’ is his succinct statement. matter what you’re doing but do it. Approach some kind of reality around you and use it to ‘I am interested in the fate of the canonised help you understand yourself, what’s going on artistic, scientific and journalistic images and around you, how you relate to it.’ Alnis’s Mellow their potential to embody contemporary Apocalypse collages are Penrose stairs into his mind and well worth the climb. 22 www.amateurphotographer.co.uk

www.amateurphotographer.co.uk Alnis Stakle Alnis has won dozens of different photography prizes around the world, and his work can be seen in many varied collections in museums and institutions across the globe. His most recent exhibition took place at the Latvian Museum of Photography. See the Instagram profile @theoryofme or www.alnisstakle.com for more information. Clockwise from top: Works from the Mellow Apocalypse series by Alnis Stakle, Latvia, Winner, Professional competition, Creative, Sony World Photography Awards 2022 23

Evening Class Martin Evening merges a series of exposures to create a ‘reflective’ time-slice image Fisherman’s Wharf Photoshop. I have learned to refine the way I shoot the sequence and have gone from using a tripod to shooting handheld, as it makes for Fisherman’s Wharf on Vancouver Island is noted for its colourful better photo merges. It also helps if the water is calm, which will house boats and I was attracted by the reflections. The finished produce smoother reflections. There is no set image processing image here comprises a series of exposures, merged to create a formula; I may make use of different combinations of stack modes time-slice image that combines multiple reflections. This was and layer blending modes and it mostly depends on the subject. I may achieved using a post-processing technique I have devised that even create copies of the Smart Object layers and combine two or makes use of Stack mode processing on the Smart Object layers in more Stack Mode process effects with a different layer blend. BEFORE Martin Evening has a background in advertising and landscape photography. He is also well known for his knowledge of Photoshop and Lightroom, as well as for his books on digital imaging. Visit www.martinevening.com. Get the book Martin Evening is the author of the worldwide bestselling series Adobe Photoshop for Photographers. First launched in 1998, the latest edition is packed with practical examples of how to use Camera Raw and Photoshop to enhance your photographs. On sale now priced £45.59. ADD LOCALISED ADJUSTMENTS WITH THE NEW MASKING USER INTERFACE 1 Select 2 Create a Smart Object 3 Apply a Stack Mode the capture In Photoshop I I selected the Smart Object in the Layers images made a duplicate panel and chose Layer>Smart Objects> of the uppermost Stack Mode>Maximum. I selected the copy In order to layer. Next, I image layer and set the blending mode to create the selected the five Hard Light at 60%. I copied this layer again, composite image layers set the blend to Luminosity and masked the image I below and chose layer so it adjusted the sky only. selected five Layer>Smart exposures Objects>Convert taken of the houseboat reflections. I generally to Smart Object. find that a minimum of four exposures are This merged the required to create a successful image. In selected layers to Lightroom, I chose Photo>Edit in>Open as create a new Layers in Photoshop. Smart Object. I also rotated the image by 180°. 24 www.amateurphotographer.co.uk

FINAL Fujifilm X-T30, 35mm, ISO 800, f/8, 1/200th second. Stack it all up version of Photoshop. These menu options are now accessible to all Photoshop CC customers. Some of the blending options are not too The Stack Mode processing is a rather interesting feature, one that is different from the regular layer blend modes, but it is the Maximum, Mean and Median Stack modes I find the most useful when creating somewhat hidden away in the Photoshop menus. At one time Stack these types of composites. The possibilities are endless. Mode processing was only available to purchasers of the Extended 5 Apply Basic Panel adjustments I saved the image in Photoshop. This automatically saved the Photoshop edits and added the edited image to the Lightroom catalog. I then applied some Basic panel adjustments to mainly lighten the shadow areas and add more midtone texture. 4 Add a Gradient 6 Transform the image adjustment For the last step, I went to the Transform I added a Curves adjustment to lighten the panel, where I adjusted the Vertical slider image, and followed this by selecting the so that the vertical lines converged slightly Gradient tool and added a white to black more. This also necessitated making edits gradient to the adjustment layer mask. This to the Scale, X Offset and Y Offset sliders lightened the top section of the image and to trim the image. balanced the overall exposure. 25 www.amateurphotographer.co.uk

DEDICATED FOLLOWERS OF FILM Muse lyitotuleth A muse, some odd lenses and the influence of Julia Margaret Cameron are what drive film photographer Colin Watkins, he tells Damien Demolder D uring this interview I Above: Self portrait discovered that Colin 10x8 Plaubel Film Watkins and I used to use the same enlarger. I don’t cherry-pick ideas. I might be inspired mean the same type of enlarger, but by the way grain is shown in a the actual same De Vere 504 cold picture, or the way dark hair stands cathode enlarger that was still in the out from a background, a pose or same position in the darkroom at composition, and then I assemble all Southend College of Art and Design those elements into my own work. when I went there some years after he did. We were taught by the same ‘Julia Margaret Cameron is a big tutors – some of whom are even still influence on me, as are the Pre- alive today – and spent quite a bit of Raphaelite painters. When I was a time chatting about people we know kid I’d spend ages looking at art in common. I won’t bore you with books. I was a funny kid – I was ten all that, but I might with our shared or 11 and I’d be down the library love of film photography, odd lenses and of Julia Margaret Cameron. ‘If I could paint I’d be a painter. But I can’t, so I use photography,’ Colin explains. ‘I’m not really a photography person in the sense I’m not interested in photographing windmills, birds or landscapes, I’m just a portrait photography person. My field is a bit narrow, and I’m slightly obsessed. I love looking at portraits too, and can spend hours trawling through websites of portraits, saving the ones I like so I can look at them again. I like to see what works, what doesn’t and what I can apply to my own work. We all like to pinch a bit here and there, 26 www.amateurphotographer.co.uk

Chantelle Pentax 67, Projector lens looking through art books. My dad Above: Marnie and thought I was weird as we didn’t Harvey 1870 really have books in our house and 10x8 camera, Positive paper I was supposed to be into football or something, but I loved the beauty I found in art.’ Marnie the muse Below: Colin’s primary camera Most portrait photographers will equipment photograph a person once, or twice; and, unless they are related, rarely go back to them. But most portrait photographers are taking pictures of that person being themselves; Colin often shoots people being someone else. One of the things that first struck me about Colin’s website and Instagram page is that the same girl crops up and seems the subject of every other image. Julia Margaret Cameron did the same thing, and used house servants and friends who repeatedly appeared in her pictures playing different roles. The idea of having a muse has been somewhat lost in recent photographic history but in times gone by it was common in all forms of visual art. ‘I’ve known Marnie since she was 11 and she’s 16 this year. She is far and away the best thing that www.amateurphotographer.co.uk 27

DEDICATED FOLLOWERS OF FILM has happened to my Above: The Aves be able to play the role perfectly. She to close her eyes or to look away photography. She’s been a great Sisters comes over bigger and more than from the camera. model from the beginning and I 10x8, Positive paper she is, because she’s actually tiny, but don't know whether she’s got better she’s got something that works.’ ‘It’s different with different models because she knows me and she feels though and sometimes eye-contact comfortable with me now or Eyes wide shut can really work. Some models just whether she’s just naturally good at look at the camera while others look it. There are other girls I know that We have an interesting discussion through the camera and engage with are quite comfortable with you about eyes. Eyes are the gateway to the viewer. That can be very having a chat or a coffee, and they’re the soul we are told, but Colin also powerful and it can work nicely. If it all quite friendly, but they don’t notes that they can make a portrait isn’t working though it’s better that really engage as well. It’s a strange less appealing. ‘Portraits can be hard they look away completely. dynamic that goes on between the to sell in an exhibition as they tend photographer and the model. Some to be quite personal. People don’t ‘I try to eradicate any sense of era people have it, some don’t. want someone they don’t know in my pictures too, as I want my ‘When I came back into staring back at them from the wall, photographs to be timeless. If you photography I was looking around so however much they say “Oh, I dress the model in their own clothes for things to shoot. I was taking love your pictures” they don’t want the picture becomes very date- landscapes and trees, and it was to own one. However, the pictures specific, so I dress them in kimonos boring me to death. I’d enjoyed do sell when the subject has their and outfits that can’t be placed in portraiture at college but didn’t want eyes shut, as it becomes a different time – or that certainly aren’t of this to be a pest to my friends so I kind of image and less of a portrait age. I don’t want them to go thought I’d try the kids of people we of someone. I’ll often ask the model out-of-date, and I want their value to know. I met Marnie and she be enduring.’ immediately made my pictures better. She was a catalyst that started me off in a new direction. She has become my muse. She is very photogenic and is far more than the sum of her parts. A hat maker I know asked me to do a shoot for her and asked that I bring Marnie to model as she loved her look. As soon as she saw her in the flesh though she said “Oh, you’re only a child!” She is a little girl, but she has this far-away look in her eyes and she photographs beautifully. Every picture I take of her is better because she is in it. ‘As she’s known me for so long now she knows the sort of thing I want, so I don’t have to explain – she just gets it. It’s very difficult to describe what she brings to the picture, but she reminds me of the Pre-Raphaelite models and the people who sat for Cameron. I thought I knew what I wanted to do photographically, but her look has taken me down a new path. People now tell me I’ve got a very particular style in my pictures, but that all stems from photographing her.’ As Colin uses Marnie in his pictures so much, playing different roles and in different situations, the pictures become less about her and more about Colin’s idea for the shot. It’s like a theatre group putting on different plays with the same actors playing different parts in each – we somehow suspend the personality of the actor and concentrate on what they are playing. ‘She's an easy source if I have an idea in my head, and I know she’ll 28 www.amateurphotographer.co.uk

DEDICATED FOLLOWERS OF FILM Left: Marnie Aves Optical tools Pentax 67 with 140mm projector lens ‘I have a serious obsession with shallow depth of field. I mean very, Left: Robyn and very, very shallow. I sometimes have Molly to use a head brace for the model to Pentax 67, Kodak ensure her head doesn’t move so Aero Ektar lens I can keep her eyes in focus. People Below: Ghost can try all they like to sit still but Plaubel 10x8 camera, Direct they sway about. When your focus positive paper zone is only 5mm they drift out of it very easily. I used to take ten shots hoping to get one in focus, but now I use a snare drum stand to help keep their head in the same place. The effect of the tiny focus area can be beautiful and people like it. I have one shot where the model’s wavy hair goes in and out of focus; people assume it was done in software but it all happens in-camera. ‘I get my shallow depth of field by combining larger formats with very fast lenses. I have big projector lenses that I’ve had adapted to work with my medium format and large format cameras. One is an 18in lens that I’ve worked out has an aperture of f/3.5 and I use it on a 1870s wooden camera like the one Julia Margaret Cameron used. As the camera has no shutter and the lens aperture is really wide I have to slow everything down by using paper in the camera instead of film. Film would be too sensitive, and the paper I use has an ASA [ISO] of about 3 which makes exposure times manageable. I do have an old Packard Bell shutter that’s controlled with an air ball that you squeeze, but the shortest www.amateurphotographer.co.uk 29

DEDICATED FOLLOWERS OF FILM shutter speed I can get with it is difference to me whether I’m using a Above left: Evie slamming. I can’t use my adapted about 1/60sec. If I’m using a field camera or a technical camera. Mamiya RB67 with 55mm lens lenses on them though as the more normal lens with a shutter Mamiya system has its shutters in then I will use film but with the big ‘I also use a Kodak Aero Ektar Above: Marnie the lenses. I need a body that has its camera it has to be paper. With 178mm f/2.5 from an aerial camera Pentax 67 with 150mm lens own shutter, so the Pentax 67 is paper I often get an exposure of 3 that used to hang beneath a Flying perfect. I just wish hipsters weren’t seconds, so things that are moving Fortress for bombing raids. It doesn’t pushing the price of medium format in the frame will be blurred too. have any coating so it needs a lens equipment up at an alarming rate.’ ‘The big lenses give my pictures a shade to avoid dramatic flare, but it’s unique look, as only a small part of a brilliant lens. Some of my lenses, Positive thinking the image will be sharp. The centre like my Russian 140mm projector will be crisp but the rest will be a lens, don’t focus close enough so I’ve ‘I have had a go at wet collodion and blur; they’re crap lenses really. They had to get adapters for them to use loved the effect, but working in an are alright for projecting film – with helicoid focusing extensions. A unventilated darkroom with the which is what they are meant for – firm in Poland, RAF Cameras, adapts chemicals gave me horrendous but they aren’t very good at taking the lenses to M65 so they can then headaches so I had to stop. The photos. It’s only the centre that is work with the helicoid – and fit on chemicals are the sort that you use any good, so the edge blur combined all my cameras. to knock people out before throwing with the motion blur of leaves and them in the boot of your car to make grass in the wind looks great. ‘When I worked in advertising no them disappear, and every time I ‘The big camera is really a process one used a Pentax 67, but now all used them I had to go to bed for the camera with enormous bellows and the hipsters want one because it has rest of the day. After that I switched rising front and back standards. I a wooden handle. You can pay £200 to Harman’s Direct Positive paper bought two old models at auction for the handle alone – it’s pretty which is a lot simpler to use and and made one working camera from infuriating! I don’t need a handle as more predictable. I use a 10x8in back the good bits. It’s designed for I always use mine on a tripod and on my 14x12in camera and load my 14x12in plates, but I use it with don’t wander around with it in my darkslides with the paper. Sometimes 10x8in paper. It’s really too big to hand trying to decide what to shoot. I’ll pre-flash the paper in the take outside so I also use a Plaubel I like to have it fixed so I can run my darkroom depending on the contrast 10x8in camera which is much more eye around the frame and make sure I want for the shot. I have my portable and a Toyo 5x4in monorail. everything is right – I don’t want to formula written on my darkroom I don’t see the point in paying the have to crop later. Really the Mamiya wall – I set my enlarger height to extra to get a field camera so I’m RB67 is a better camera as you can 36in, set the lens to f/5.6 and expose happy with a monorail – it makes no easily rotate the back and they are for 2 seconds. A lot of people literally bomb-proof – and they don’t have a fire a flash but I like to know exactly shutter that sounds like a barn door 30 www.amateurphotographer.co.uk

Carole Laura what I’m getting so I stick with my 6x6cm negative on coated Wet plate formula as it’s repeatable. glass and gold leaf on reverse ‘If you don’t pre-flash the paper www.amateurphotographer.co.uk the results will be really contrasty, which works well for some things, but the pre-flash gives you a lot more tones. I’ve been processing it in regular paper developer but I’ve been told you can get even more tones if you develop it in Ilford ID-11 film developer. I haven’t tried that yet, but I will. ‘The way I prepare the paper will be part of my planning for the shot I have in my head, along with the depth of field I want, which lens I’ll use and the overall look of the image. I love the results the Direct Positive paper gives – it’s more painterly and soft than when you use film, and it looks more arty. I love too that each picture is a one-off, as the paper that comes out of the camera is the final print. They are like Polaroids in that way. It’s expensive though now, and a box of 25 sheets of 10x8in paper will cost over £80. When I’m using film now I only use Fomapan as the Ilford and Kodak films just cost too much. ‘I tend to stay away from colour unless I can get someone else to check the pictures for me as I’m colour blind. I don’t know what mauve or purple look like – they are just words to me – and greens and browns all look exactly the same.’ Advice for newcomers ‘It’s amazing what photographers these days don’t know and can’t do, but I think it’s important to know the basics at least. I know professional photographers who have no idea how to focus manually, and most people couldn’t pick up an old projector lens and know how to work out the focal length and the aperture. Learn things like this and get to know your camera really, really well. ‘Also think about your shots in advance. Some photographers turn up to a portrait shoot and decide what they are going to do when they get there, but I plan my pictures, think about what I want, collect the props, think about the lens and the look before I get to the shoot. Get some structure to the way you work and think, so you don’t have to take 50,000 pictures in the hope of getting one good one.’ www.instagram.com/photoboothportraits www.photoboothportraits.co.uk 31

Reader Portfolio Spotlight on readers’ excellent images and how they captured them 1 Peter Jeans, Cotswolds 55-200mm; Sony RX1R; Ricoh GR III. 2 About Peter Favourite accessory Tell us about your pictures Peter is a retired geologist, Circular polarising filter. I believe three aspects of photography now a student of landforms. are under-reported or under- Dream purchase appreciated: handheld shooting, the Favourite subjects A Ricoh GR III with a full-frame quality of modern JPEGs, and HDR. I Landscapes – trying to understand equivalent 75mm lens. travel light and have an uncomplicated how it came to look as it does – and approach, shooting handheld. Then, flowers and gardens, for their beauty. What software do you use? just cropping and occasional exposure Picasa 3. correction. The quality I get from my How did you get into photography? JPEGs, with this minimal editing, is Studying geology at university, I started Favourite photographers sufficient for me (printing up to A4+). recording the geological features I saw Peter Watson: he shows how much The GR III’s HDR mode gives dramatic on field trips. hard work and patience goes into skies, perfectly exposed foregrounds, landscape photography; Giles Norman: and a gritty texture to rocks and crags What do you love about photography? he shows that one can take stunning which, as a geologist, I find attractive. Being out in the fresh air, and trying to landscapes just by being there as the capture the beauty and drama of the light becomes right, with minimal gear. See more rocks, scenery, and skies. www.pj-exploration.co.uk Favourite photo books First camera Wild Atlantic Way, by Giles Norman. A little Russian fixed lens. Where do you find inspiration? Current kit Anyhow and anywhere – it’s just when Fuji X-Pro2 with XF 18-55mm and XF fortune strikes. 32

NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY The Reader Portfolio winner chosen will receive a copy of YOUR PICTURES IN PRINT Skylum Luminar AI, worth £79. See www.skylum.com Submit your images Luminar is a fully featured photo editor for Mac and PC designed for photographers of all skill levels, blending pro-level tools with remarkable ease of use and an enjoyable experience. A new Library feature lets you organise, find and rate images easily, while Please see the ‘Pictures’ section on page 3 over 100 editing features, plus a suite of fast AI-powered technologies under the hood, will make any image stand out. for details of how to submit. You could see your photos here in a future issue! 3 Wigmore Castle www.amateurphotographer.co.uk 1 Without HDR, I would not have been able to capture the sky and Wigmore Castle’s distant towers through the gap in the curtain wall. I love the craggy texture of the walls. Ricoh GR III, 28mm, 1/50sec at f/9, ISO 200 Powis Castle 2 Here HDR gives Powis Castle a sky with some character, while the autumn colours come through undiminished. Ricoh GR III, 28mm, 1/30sec at f/9, ISO 400 Stiperstones 3 I like the craggy nature of the rocks at Stiperstones, the dramatic sky, and the rough texture of the heather in the mid-ground. Ricoh GR III, 28mm, 1/100sec at f/9, ISO 200 Avebury 4 The contrast between Avebury’s 4 Neolithic standing stones and the village church visible between them attracted me. Two expressions of the importance of religion through prehistoric to medieval times. Ricoh GR III, 28mm, 1/500sec at f/9, ISO 200 33

Marsel van Oosten Marsel van Oosten was born in The Netherlands and worked as an art director for 15 years. He switched careers to become a photographer and has since won Wildlife Photographer of the Year and Travel Photographer of the Year. He’s a regular contributor to National Geographic and runs nature photography tours around the world. Visit www.squiver.com Better backgrounds, better images In his latest column for AP, nature photographer Marsel van Oosten reveals why you must always strive for the best backgrounds in your pictures Golden snub-nosed A rguably the biggest monkeys, China difference between Nikon D810,AF-S VR images made by amateur photographers and 70-200mm f/2.8, 1/250sec, those shot by professionals is the f/7.1, ISO 400, with flash backgrounds. Most beginners are so focused on their subject that they can forget to pay attention to you’re able to create silky-smooth the background. When I look back backgrounds that have zero detail, at my images from the early days, creating maximum separation that certainly applied to me. The between foreground and background. background seemed unimportant, something I simply ignored. You can also use light – ambient or flash – to put more emphasis on It wasn’t until a professional your subject while having less in the wildlife photographer told me that background. This will make your backgrounds are just as important as subject pop out of the frame. I have foregrounds, that I started to notice used this technique very effectively them in my shots. And when I did, I with flash when shooting my became obsessed with them. A good popular snub-nosed monkey images. background makes your image For this shot (left) I underexposed better. While it is purely subjective as the background and I used the flash to what a good background is, here to add some extra light on the are some simple guidelines… subjects. Some people think that using flash on wildlife may be If your background doesn’t feature harmful, but no scientific research anything worth showing, or is exists that supports that notion. You detracting from the subject or the shouldn’t use flash on nocturnal overall mood or story, you could try animals though. to make it less dominant. There are many ways to do this. A popular one Another solution is to move your in wildlife imagery is to shoot from camera physically – this will not ground level, so you don’t see any only change the angle towards the surface behind the subject. Another subject but also change the angle of is to shoot with shallow depth of the light hitting your subject, and it field to reduce unwanted details. Do this with a long telephoto lens and 34 www.amateurphotographer.co.uk

will change the background. This is Above: Bornean what I do most in my photography, green keeled pit whether it’s landscape or wildlife. viper, Indonesia When I’m in the field, the first thing Nikon D4,AF-S VR 70-200mm I do when spotting an animal is look f/2.8 lens, 1/4sec at f/11, at the background. If the background ISO 800, with flash is not good, I often don’t even bother to take a shot… that’s how Right: Marsel van important backgrounds are to me. Oosten out in the field in China with A good background adds to the his Nikon D810 image, the subject, the mood or the story. A bad background distracts. creative. When I was in Indonesia, I like the cluttered, high-contrast Think of a contrasty background found this Bornean keeled pit viper. background. Fortunately, I saw a with clutter, dominant shapes that These are venomous snakes that are palm leaf on the ground that I liked; draw attention away from the named after the deep depressions it had great graphic lines and the subject, a vibrant blue sky while between the nostril and the eye, same colour as the viper. It worked your subject is more muted, which is the external opening to an from an aesthetic perspective unwanted lines and shapes touching extremely sensitive heat-sensing and added context to the shot. or cutting through your subject… organ. I loved the pose, but I didn’t As told to Steve Fairclough etcetera. Especially for landscape photographers using a wideangle lens, moving a centimetre to the left or right will have a big impact on the relationship between your foreground and background. Sometimes you just have to be www.amateurphotographer.co.uk 35

Technique SHOOTING LIVE EVENTS KIT LIST Fulu Miziki, taken at Sea Change 2022. Nikon D810 Look for in-between moments like this In my kit bag I have the Nikon 1/1250sec at f/2, ISO 1600 D810 DSLR. Although the camera body is heavier and bigger compared with a mirrorless set-up, for the time being I am happy with my camera as it produces great shots in low light. Sigma 50mm f/1.4 DG HSM Art I love to shoot with prime lenses and my current favourite lens is my Sigma 50mm f/1.4. I tend to shoot with it at f/2.8 or wider and love the beautiful blurred background and bokeh that it creates. Nikon 85mm f/1.8 G AF-S The other lens I take with me for any event photography is my Nikon 85mm f/1.8 G AF-S. This lens comes in handy when I want to get in closer to the action compared with my Sigma 50mm. Spare battery and memory card I always pack a spare memory card and battery. It’s amazing how many pictures you can snap in a few minutes and you need to be fully prepared so that you don’t miss the perfect shot when it arises. ALL IMAGES IN THIS ARTICLE © CLAIRE GILLO Try to include foreground and background elements 1/5000sec at f/2.8, ISO 100 36 www.amateurphotographer.co.uk

Claire Gillo Based in Devon, former AP staffer Claire Gillo is a photographer specialising in event and business-branding images. See her website at www.clairegillo.com and Instagram: @clairegillophotography Sound and vision Claire Gillo shares her top tips for photographing music events, from outdoor spaces to low-light stages Punch the Sky, E vent photography requires you to think Dart Music fast, act to the ambient light and to Festival predict where your subject will end up in the frame. It draws lots of parallels with 1/500sec, f/2.8, ISO 800 wildlife photography and your aim is to record the optimum moment and to capture the Tano Taiko, atmosphere. There are many challenges that Dart Music come with event photography, such as low Festival, 2022 light, however if you enjoy people-watching and 1/5000sec at f/2.8, connecting elements in the scene then you’ll enjoy photographing events too. ISO 400 When it comes to shooting an event, less is more. You want to be nimble, light, and not have a backache from an overloaded rucksack! A mirrorless camera system has distinct advantages such as a lighter body frame, touchscreen focus, and a silent-shooting mode so you can be discreet in quiet situations. However, really it doesn’t matter what you shoot with. I actually shoot with a DSLR and am very happy with it. You simply need a camera and lens and to be ready to go. With event photography, the conditions will determine what lens or lenses you’ll want to pack. For example, in low light, prime lenses are preferable as the aperture can be opened to a wide setting (for example, f/2, f/1.8 or even f/1.4 on some). When you’re shooting in little light this makes a world of difference. The disadvantage with a prime lens is you’re at a fixed focal length so if you want to get in closer to your subject you have to use your feet. Zoom lenses are undoubtedly useful in some 37

Technique SHOOTING LIVE EVENTS situations, although the disadvantage with a suggest either shooting in aperture-priority mode An atmospheric zoom lens over a prime is unless you invest in (adjust the ISO) or use manual. If you do the latter, shot taken at one with a wide fixed aperture (preferably f/2.8, select your desired aperture and shutter speed and the Sea Change which will be expensive) you may struggle in low then put the ISO into Auto setting. This means your Festival, 2019 light. Most cheaper zoom lenses, such as kit lenses, camera is balancing the exposure with the ISO. 1/8000sec at f/2, for example, come with a variable aperture range between f/3.5 and f/5.6 depending on where the With event photography, the less you need to ISO 2500 focal length is set. In low light if you’re shooting at think about your camera settings the more likely f/5.6 you’re really going to struggle and will have to you’ll be able to capture the moment. Learning compensate with the ISO setting, which can degrade where to stand, tweaking your camera settings and the overall image quality. capturing the moment all at the same time comes When it comes to setting up your camera to get with experience so don’t be put off if you find it professional results, you need to be in control. I overwhelming to begin. Ask yourself these questions: What is my aperture setting? In low light, ‘The less you need to think open it wide. What is my shutter speed setting? about your camera settings, the Remember it needs to be fast enough to capture the more likely you will be able to action – 1/500sec or above. If I already am using a capture the moment’ wide aperture setting and my shutter speed is still too slow, what should I do? Increase your ISO. What about focusing? Use the AF setting, with the tracking feature switched on for sharp results. 38 www.amateurphotographer.co.uk

The highly energetic Town of Cats, Dart Music Festival 2022 Claire’s 1/1000sec at f/2.8, ISO 200 1/320 sec, ISO 2000 top tips Metronomy, Sea 1The crowd can be Change Festival, just as good to photograph as the main taken in 2019 event. Look for people 1/320sec at f/2.8, who stand out and find ISO 2000 special moments among all the action. Capture the crowds having fun, too 1/1000sec at f/3.5, ISO 400 2To ensure your When shooting any event, you need to be in the subject stays sharp right place at the right time. This partly comes down in the frame, set your to experience, but preparation is also key. Recce the focus to the tracking location beforehand if possible and speak to event feature. organiser/s or those performing to find out as much information as you can. If you miss a shot, don’t 3When photographing despair, as there will always be another moment to stage lighting it can capture. Although it’s useful to briskly review your be very easy to images as you shoot (really to see if your exposure is overexpose the scene correct), try not to spend too much time ‘chimping’ so knock the exposure as you’ll miss another moment! compensation setting down between -0.3 and Although it can be tempting to stay in one spot -1 stop. The more (especially if it’s a good spot), you need to move images you shoot, the around and explore a space in order to get a variety more you get to know of images. After you’ve taken the obvious and ‘safe’ your camera and how it images, look for gaps in the scene you could shoot exposes the scene. through or think about how to capture the crowd and how they’re reacting to the performance. Your 4Look for foreground images will stand out from others if you can and background show a different angle. subjects that work together in the frame. www.amateurphotographer.co.uk This adds another element of interest to the image. 5Use the histogram setting on your camera to check your exposure. Make sure the highlights don’t blow and the shadows aren’t clipped. 6 Use the noise- reduction filter at the editing stage on your images where you had to push the ISO setting. 7 Both black & white and colour work well for event photography. Sometimes colourful stage lighting can add to an image, whereas other times it can detract. Play around with your images at the editing stage to see what works best. 39

Testbench IN THE FIELD Making thebig decision Professional photographer Denise Maxwell weighs up the pros and cons of switching from her trusty Canon DSLRs to the mirrorless EOS R5 I t’s the question of so many Honestly, if you are spending kit. I have owned two 5D Mark The EOS R5’s face and eye detection photographer’s £10k on new kit, this is not a IVs since 2018. As a full-time is a huge advantage when shooting conversations right now. switch to be made lightly. I know photographer for the past 12 acts that move around a lot Have you changed from how to use my Canon EOS 5D years, I fill up to 4TB of hard drive Canon EOS R5, RF 70-200mm f/2.8, 1/100sec at f/2.8, DSLR to mirrorless yet? It’s Mark IV DSLRs to achieve what space each year, and when ISO 1250 discussed as though it is I need, but could the mirrorless I sold my old EOS 5D Mark IIIs inevitable, and with Canon EOS R5 do better? I tested it on they had shutter counts of around real-life commissions using the gradually discontinuing its EF some working jobs to find out. a half a million each (and were RF 70-200mm F2.8L IS USM and lenses, maybe it is. But what if still working perfectly). I cover RF 800mm F11 IS STM lenses, you feel your current kit does To understand my experience, many different genres, as diverse loaned from MPB for one week everything you need it to do, and it’s important to know how and as sports, weddings, music and and from Canon for two weeks. you don’t feel the need to switch? what I shoot, as you may be fashion (see www.lensi.co.uk). The tests were a sports event looking for something else in your With all this in mind, I need kit (the Diamond League Athletics that is robust and versatile. meet in Birmingham); a festival (the BBC Radio 1 Big Weekend in Testing kit in controlled Coventry); a portrait headshot environments where you have the shoot, and a wedding. I will list time and space to work through the features that are important to everything wasn’t for me. Instead, my work and conclude which I wanted to see how the EOS R5 camera I feel ‘won’ on each. would work when I’m actually working. I tested it on a few Build and handling Anyone who’s used an EOS 5D At a glance Mark IV will know how solid it feels. To me, the EOS R5 seems £4,199 body only less robust, with its magnesium alloy and polycarbonate with l 45MP Dual Pixel CMOS AF sensor glass-fibre body. I put my kit l ISO 100-51,200 (expandable to ISO through a lot: it often frequents the floor, gets dropped on a 50-102,400) couple of occasions, and is l 5,940 selectable AF points l 5.76m-dot electronic viewfinder l Up to 20fps continuous shooting l Twin card slots (CFexpress and SD) 40 www.amateurphotographer.co.uk

Denise with her generally well used. I have shot significant. Also many of us will Canon EOS R5 whole-day festivals in the rain and use our EF lenses via a mount the 5D has been able to cope; adapter, so the weight difference I am not sure the EOS R5 will. won’t be much at all. There are Long term, I’m hoping the R5’s benefits to having shorter lenses build quality doesn’t let it down, when packing though, which is but I am quietly apprehensive where Canon’s retracting-zoom about this. RF 70-200mm f/2.8 wins. On the other hand, the grip is a When I’m shooting, I know my little deeper on the R5, which you way around the 5D Mark IV in the wouldn’t expect with it being the dark, and everything feels smaller body. This helps the intuitive and well placed. The camera feel a little more stable in button layout on the R5 has your hand. It was noticeable even similarities, but it’s not exactly in my small hands, so should the same. I went into my first make a real difference for people shoot with the R5 feeling lost, with bigger hands than me. having to do everything the long way round, going through the With reduced weight being menus and looking at my camera one of the selling points for to read all the buttons. But then I mirrorless, you would think this discovered the M-Fn (multi- would be an obvious difference function) button. (with their 70-200mm f/2.8s, the EOS R5 is about 500g lighter This button works differently to than the 5D Mark IV). However, the 5D Mark IV’s, which only to me this did not feel that controls your autofocus www.amateurphotographer.co.uk 41

Testbench IN THE FIELD point selection. On the R5 it Becky Hill performing at the is a quick button control for BBC Radio 1 Big Weekend a range of settings, including ISO, exposure compensation, drive Canon EOS R5, 70-200mm, 1/1250sec at f/4.5, ISO 500 mode and white balance. Because it’s managed by one finger and one thumb, it works better than the function buttons on the DSLR, as you don’t have to take the camera way from your eye to control these settings. On the 5D Mark IV, these functions are all located on different buttons along the top of the camera. Otherwise, the R5 is much like the DSLR. I was able to switch between manual and Av quickly, and also adjust my ISO and other exposure settings easily during the wedding. This is a win for mirrorless. Other features a battery change part way though photography. Using the eye AF, of act, I’d get some shots in the festival and wedding. you are able to reframe and not focus, and others not. With the Both cameras have dual memory have to worry about having to DSLR you have to make a card slots, and images can be Operationally, the mirrorless quickly move your focus points, or split-second decision about how recorded to both simultaneously. camera is near silent, and focus and recompose, or shoot to focus, but now the R5 does it This is important for me. Ever noticeably quieter compared to wider and crop in. This is useful for you. When you only have three since I’ve had cameras with two the ‘silent’ mode on the EOS 5D when filing to press with minimal songs to shoot, this is precious memory card slots, I could not go Mark IV. This was great in the or no editing. The 5D Mark IV time gained. I didn’t expect to be back to the anxiety of one card press conference when they were also has face detection, but it so taken by this feature. and no instant back up. Every live streaming, and also useful at can only be used in live view, and camera I have owned has used a the wedding during a very quiet I find it less precise. I started the day using both my CF or SD card, so I have not had ceremony. However, when working DSLR and mirrorless, but only to change readers or think about with a model, you may actually The EOS R5’s eye AF was two acts in, I ditched my DSLR buying a whole set of cards. want to hear the shutter to help simply a gift at the festival, and shot else everything with the However, the EOS R5 uses SD the model to cycle through shooting acts like Yungblud and mirrorless. This speaks volumes and the new CFexpress cards. poses. Mirrorless wins here. Harry Styles who moved around about the difference it made. It These are eye-wateringly pricey, the stage a lot! They were easy to almost felt like cheating. and buying into CFexpress is an Autofocus track with little effort. I was investment in itself! therefore able to concentrate on When setting your focus point One huge advantage for the EOS every other aspect of the shot, manually, the EOS 5D Mark IV For continuous shooting, the R5 is its eye-tracking autofocus such as the framing, lighting and has 61 selectable points, but the EOS R5 does 20 frames per system. When this works how you exposure. Normally with this type EOS R5 has 5,940, with 100% second, against 7fps for the EOS want it to, it’s a turning point for sensor coverage! No more having 5D Mark IV. Battery life is often considered an advantage for DSLRs but seemed much the same to me. Both bodies needed The missed baton handover Even at f/11, nicely blurred Canon EOS R5, RF 800mm F11 IS STM, backgrounds are possible 1/640sec at f/11, ISO 1600 Canon EOS R5, RF 800mm F11, 1/1600sec at f/11, ISO 2500 42 www.amateurphotographer.co.uk

to focus then reframe, because try it, a bit like an air fryer! is that your camera has to be photography world that many you can actually move your focus At the festival, the sun would switched on to use it. So if manufacturers struggle with point to anywhere on the screen. you wanted to quickly frame a getting skin colour right on black With this, the EOS R5 leaves the appear and totally change the scene before deciding to shoot skin. This is one of the things I DSLR standing in the water. Think exposure. On a DSLR, I might not it, you can’t. love about my 5D Mark IV, as about a Mike Tyson vs Michael always notice this at the time, JPEGs out of camera have a Spinks type of difference, a until I look at my screen. By which Image quality beautiful tone on dark black skin. 91-second knockout. time it’s too late, and I have a set I have not printed from the When I shot the same subject of over-exposed shots. On the R5 mirrorless yet, but viewing images with both bodies, the R5 had Viewfinder I was able to notice when this on screens, the mirrorless has more of a green/yellow tone to it, Obviously the 5D Mark IV has an happened while shooting and more contrast and sharpness. whereas the 5D Mark IV had optical viewfinder, while the R5’s make my changes immediately. For events-type work such as a more of red/orange tone to it, is electronic. This means you can Because of this feature I very sports event or music festival, with less sharpness and review the images you’ve shot in rarely got a whole set of this works really well. I used my contrast. I started my headshot the R5’s viewfinder, which for me incorrectly exposed shots. super-telephoto (a Sigma shoot on the R5 and quickly is another game-changer. 150-600mm) for close-ups on the switched back to the 5D Mark IV. How often have we all missed 5D Mark IV and took the wider Once loaded on the computer, the We are used to taking the shots looking at the back of a shots on mirrorless with the DSLR shots remained more camera away from our face to screen to review our images? 70-200mm. I found myself pleasing to me. In this respect, review an image on a DSLR, and This feature means you can say preferring the colour, tones, the DSLR wins. it has never been a bother. But goodbye to those problems. For richness and sharpness on the on the R5, the image you’ve just example, at the athletics I was mirrorless nine times out of ten. For JPEG noise reduction and taken flashes up in the viewfinder. able to know I captured the race So mirrorless wins for me here. high ISO, the R5 has the edge. You get to review your images leader running down the home JPEG noise reduction is adaptive while also continuing to take straight. So then, I was able to I often shoot in JPEG (shock blurring to remove high ISO noise images, and without taking your quickly switch to capture a baton horror to some) and out-of- and gives a degree of skin eye away from the camera. I being dropped between Richard camera colour is important to softening as it takes out the thought I would hate this, but no! Kilty and Reece Prescod. The only me. But it’s not new in the noise. I have the amount set to I love it! You instantly know if you downside of the R5’s viewfinder ‘standard’ on my DSLR and it is have the shot and can move onto acceptable up to ISO 8000 for my something else. It’s a feature you ‘Two acts in, I ditched my DSLR and shot aesthetic. It looked even never knew you wanted until you everything else with the mirrorless’ nicer on the R5, maybe Canon EOS 5D Mark IV, EF 70-200mm f/2.8, Canon EOS R5, RF 70-200mm f/2.8, 1/400sec at f/2.8, ISO 250 1/400sec at f/2.8, ISO 250 When it comes to reproducing black skin tones, the Canon EOS 5D Mark IV (left) still has the edge over the EOS R5 (right) 43 www.amateurphotographer.co.uk

Testbench IN THE FIELD because its high ISO noise am seeing lots of other pros at R5, which produced an odd Above: Eye-detection AF is a capability is higher. You can big events using mirrorless. circular vignette on the image. benefit when shooting weddings shoot at ISO 51,200 on the R5, Colleagues who work full-time for Sigma said that its lenses Below: The RF 800mm produced compared to ISO 25,600 on the the national press have already ‘should work fine with the new an acceptable level of bokeh 5D Mark IV. switched and their kit is seriously systems as long as the firmware Most of my clients use their put through its paces, shooting was up to date’ and offered a images online and my work is full days, five days per week. visit to its store to ensure mostly correct in camera, so I try everything was updated. to do as little post-production as At The Diamond League I spoke possible. Why turn a three-hour with two photographers who had It is obviously to Canon’s job into a six-hour job by deciding also changed over to EOS R5s, advantage that its newest camera to ‘fix it in post’? This means I pairing them with their older technology only works with its very rarely shoot in large raw but telephoto EF lenses using the own-brand lenses. But as users, use medium raw instead, as mount convertor. They said it we want options. Photographers there is no need to take up all worked seamlessly. This is great want to be able to use their that extra hard drive space. The news for all those who can’t or current lenses, which is also in R5 has two raw options, with don’t want to buy a whole range the interest of sustainability. So compressed raw being about half of new lenses. Treat yourself to a the DSLR still wins here. the size of standard raw files. new car instead. However, the DSLR has three The RF system has some options, small, medium and large, Lenses and accessories unique long lenses, though. Does which I prefer. There are obviously much more anyone enjoy having to lug around lenses and accessories on the huge telephoto zooms supported The professionals test market for the DSLR system than by a monopod? Canon has made Increasingly I am seeing more of the mirrorless, including third- some impressive ‘semi-pro’ my professional colleagues party lenses. There aren’t any of lenses that are acceptable image switching to mirrorless. For a these yet for RF, although with quality, weight and price-wise, and good while I was saying, ‘When time this will change. that will save you from the I am seeing more professionals monopod. I tested the Canon RF with this kit in pits and press The R5 uses both Canon RF 800mm F11 IS STM, and there’s rooms, then I will consider it.’ But lenses and EF lenses via a a 600mm version too. now that time has arrived, and I converter (the newer RF lenses can’t be used on the DSLR). I know some of you just paused I tried Sigma EF-fit lenses on the for a moment. Won’t f/11 just have everything in focus and look © LENSI PHOTOGRAPHY 44 www.amateurphotographer.co.uk

terrible? That was my first Conclusion from cassette to disc. No more the automatic vs manual car thought too; however, it produced Do I think the EOS R5 is a better holding your finger down on the analogy, both systems will get you an acceptable level of bokeh to camera than the EOS 5D Mark fast-forward button to get to the to your destination, but one is a still isolate the subject. And all IV? The mirrorless feels like going next track, the switch just made lot easier. It allows you not to have while being able to shoot (shock automatic after you have been listening to your music easier. to think about a whole bunch of horror) handheld! At around driving a manual car for years. It technical stuff, leaving you free to £1,000, these lenses are very makes you question: ‘Why have I The DSLR can still perfectly do concentrate on creativity. Eye appealing. After all, the RF been making my life hard, wearing everything I need it to, and it has autofocus will be praised during 800mm f/5.6 is £20,000, while my left leg out in traffic for all been doing this for over a this summer of festivals! the EF f/5.6 version is £13,500. these years?’ Or for those of you decade. But the mirrorless The 800mm f/11 is definitely a that don’t drive, it feels like going EOS R5 makes it way easier to The upgrade/change is not lens I will consider buying. It do those same things. Just like something everyone needs to enabled me to move around a jump on, in my opinion. If you sports field much easier, and of want to, though, that is a course 800mm gets you in very different discussion. close to a distant subject. So will I be switching? As soon as I can justify the return on investment, yes! I won’t use it for conferences or portrait sessions, and will keep my 5D Mark IVs for these. But for sports, catwalk and music, you will wonder how you ever shot without it. Currently it is a bit too much of an investment for me, though. Taking into account that I shoot with two bodies all the time, three bodies for festivals and sometimes four bodies for sports, along with a whole range of lenses, it’s not an investment to be taken lightly. But it would make a lot of my jobs easier. Update: they got me... Two weeks after writing this article, guess who is now the owner of an EOS R5 and R6, RF 70- 200mm f/2.8 and EF mount converter? The justification of the return on investment came in early. The EOS R5 surpasses the 5D IV for high-ISO performance Canon EOS R5, RF 70-200mm at 115mm, 1/160sec at f/2.8, ISO 5000 Pricing © LENSI PHOTOGRAPHY My most-used workhorse lens is my 70-200mm f/2.8. There are hardly any jobs I do not use this on, so much so that I have two. For many this may not be a huge consideration, but for me it was. The Canon RF lens costs £2,730, compared to the EF lens at £2,400. Likewise, the EOS R5 is £4,300 new from Canon, and £3,900 used from MPB. In contrast, the EOS 5D Mark IV is much cheaper, at £2,870 new and £1,600 used. As an older body, new releases force the price down, so the DSLR kit is therefore more reasonable to buy. In terms of affordability, the DSLR wins. www.amateurphotographer.co.uk 45

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LENS TEST Testbench The 18mm focal length is ideal for subjects such as architecture Panasonic Lumix GH6, 9mm, 1/30sec at f/5.6, ISO 3200 Panasonic Leica DG Summilux 9mm F1.7 ASPH Amy Davies finds out whether this wideangle lens However, it’s also a very for Micro Four Thirds is a wise investment for stills versatile focal length for plenty of photographers, as well as videographers stills applications, with the two most obvious subjects being T hings have been rather however, it’s perhaps no surprise equivalent angle of view to 18mm landscapes and architecture. quiet from Panasonic on to see new optics also appearing on a full-frame camera. Given just With its close-focusing skills and the Micro Four Thirds on the market, and the firm says how much Panasonic has large aperture, it can also be lens front just lately. it’s committed to developing and concentrated on video in the used for close-up work or With the company primarily releasing more. Its new 9mm past few years, it seems isolating the subject from the focusing on its full-frame S series f/1.7 lens is the latest to be reasonable to assume that one background. Similarly, the f/1.7 output, you’d be forgiven for made in collaboration with Leica, of this lens’s intended consumers maximum aperture suggests it thinking that its smaller system meaning that the lens must pass is the vlogger, with that focal should be ideal for low light or had been somewhat forgotten. a stringent set of standards. length being ideal for filming night photography too. pieces to camera in small With the launch of the Four Thirds has a crop factor of spaces, or handheld. With a retail price of £449, the Panasonic GH6 earlier in the year 2x, so the 9mm lens gives the Leica DG Summilux 9mm F1.7 is priced very reasonably. Compared to the Laowa 10mm f/2, for example, it’s wider, offers a www.amateurphotographer.co.uk 47

Landscapes are another excellent choice for a lens like this Panasonic Lumix GH6, 9mm, 1/320sec at f/5.6, ISO 100 faster aperture and includes Features design, but it’s worth noting that as to be barely perceptible when autofocus, but only costs The 9mm f/1.7 employs 12 it’s not guaranteed to survive added to your kit bag. It’s a great £50 more. It’s also much cheaper elements in 9 groups, which against prolonged and extensive little lens to have with you if you than the compact wideangle includes 2 ASPH (aspherical), contact with water. In short, it’ll find yourself in need of an ultra- zooms you can buy for Micro Four 2 ED (Extra-Low Dispersion) and probably survive a rain shower, wideangle, complementing a Thirds, including the Panasonic 1 UHR (Ultra High Refractive) but you should avoid taking it into walkaround-type standard zoom 7-14mm f/4 (£799) and the lenses. These combine together the sea or a swimming pool. lens extremely well. Olympus 9-18mm f/4-5.6 (£549). for what Panasonic claims is Of course, this being a Micro superior sharpness and reduced Seven diaphragm blades create I’ve been using the 9mm f/1.7 Four Thirds lens, it can also be chromatic aberrations. the aperture, and the filter size is with the Lumix GH6, one of used with Olympus and OM 55mm. The closest focusing Panasonic’s larger models. System cameras. The lens features a dust-, distance is just 9.5cm, which Despite the lens’s small size and splash- and freeze-resistant gives a maximum magnification weight, it still balances fairly well of 0.5x (35mm equivalent), with the camera, not feeling too Combining a wide aperture with a wide angle can lead to some nicely making it well-suited to macro- badly mismatched. It would creative results Panasonic Lumix GH6, 9mm, 1/60sec at f/1.7, ISO 400 type subjects. probably be an excellent pairing with one of the smaller Panasonic There’s no image stabilisation cameras, particularly the G100, in the lens, but that’s not but perhaps even something like something we’d expect from a the G9, too. The same is naturally lens of this focal length. Some true for Olympus cameras too, cameras such as the Lumix GH6 with smaller models such as the offer in-body stabilisation, while E-M5 Mark III perhaps being the other models, such as the G100, best partners for the 9mm lens. do not. For the latter, electronic stabilisation is available for video, Although the lens has a mostly so it shouldn’t be too much of a plastic construction, the metal problem for vloggers that this lens mount adds an air of quality lens is not stabilised. which gives you confidence that it will withstand some rigorous Build and handling usage. Included in the box is a This being a Micro Four Thirds lens hood which can be reversed lens, the 9mm f/1.7 is very when not in use to keep the small, measuring just 52mm in overall size as small as possible. length and 60.8mm in diameter. Indeed, it fits neatly into the palm As you’d probably expect from a of my hand and is so light (130g) lens of this size, its outward design is very simple. Indeed, 48 www.amateurphotographer.co.uk

LENS TEST Testbench Half life-size magnification and Verdict close-focusing combine very well for detail shots ALTHOUGH most of the noise in Panasonic Lumix GH6, 9mm, 1/250sec at f/1.7, ISO 100 the camera industry of late has been surrounding full-frame, new ‘It fits neatly into the palm of my hand minimum aperture of f/16. launches into the Micro Four and is so light as to be barely perceptible But it’s not something which is Thirds sector are very welcome, when added to your kit bag’ particularly problematic when especially for existing and loyal looking at images at normal users of this type of set-up. there are no buttons or switches scenarios, there was a little printing or viewing sizes. The anywhere on the barrel, with any more hunting, but I never sharpest results can be seen Offering a good wideangle settings changes (such as experienced a false confirmation between f/2 and f/8, which is equivalent of 18mm, this 9mm between manual focus and of focus being displayed. about what we’d expect. lens is a great addition to the kit autofocus) needing to be carried bag of any Micro Four Thirds out via the camera body itself. You might not ordinarily think Considering this is an ultra- photographer. It’ll be especially of an ultra-wide lens as being wideangle lens, distortion is kept useful if you’re somebody with a Similarly, there is just one suitable for close-up work, but to a minimum, though as you penchant for landscapes, control ring on the lens, which is the close-focusing here puts in a might imagine, there is a little cityscapes and architecture. used for manual focusing. The good performance, giving you the distortion to be seen when Thanks to its wide aperture, it’s movement of the ring is smooth, opportunity to use the wide photographing scenes with lots also a good choice for low-light with just enough resistance to aperture to throw the of straight lines. and night-time photography. make fine adjustments easily. background out of focus and There are no hard stops at either concentrate on something Out-of-focus areas are Vloggers and videographers will end of the focusing ring. As relatively small in the foreground. rendered attractively, with nicely probably also find a lot to like usual with mirrorless systems, On one occasion, I was even rounded bokeh visible in certain about this lens, with its wide there are plenty of tools you able to capture a fairly timid bee. scenarios. Vignetting is visible angle being ideal for recording can use, such as focus peaking when shooting at the widest pieces to camera, or as a good and focus magnification, to help Image quality aperture of f/1.7, but it’s not walk-around lens. Swift and to ensure you get accurate With this being a lens that bears hugely objectionable when near-silent autofocusing are a manual focusing. the Leica designation, we’d shooting busy scenes. However couple of ticks in the boxes for expect a good level of sharpness when shooting plainer subjects, that type of user too. Autofocus and overall high image quality. it might be wise to stop down by Considering this is a lens which That appears to be borne out in a couple of stops if you want to For the price, you get a very will likely be favoured by vloggers real-world shooting, with the lens avoid the problem altogether. well-performing lens that doesn’t and videographers, it’s no performing well in a perhaps You can also switch on suffer too badly from problems surprise to see fast, accurate surprising number of different Vignetting Compensation in such as vignetting and chromatic and most importantly, virtually scenarios. There’s a good certain cameras to mitigate it aberration, and delivers very silent autofocusing. amount of sharpness displayed (including the GH6). sharp results in most scenarios. across the frame, with attractive Strikingly, there isn’t really As already mentioned, I’ve detail shown even when A profile is automatically anything else quite like it for been using the lens with a examining fine details applied to correct for chromatic MIcro Four Thirds users, with all Panasonic GH6 and found it to reasonably closely. aberration to both raw and JPEG the alternative bright ultra-wide perform consistently well in files. Although it’s still possible primes being manual focus. terms of locking onto focus, As expected with Micro Four to find some slight examples of including in lower light Thirds, there is a small amount it happening if you zoom in on Overall, this is a more flexible conditions. In very low-light of softness to be seen at the high-contrast areas, it’s not a lens than you might expect for a major problem for most 9mm ultra-wideangle. It comes ordinary scenes. highly recommended for users of Panasonic and Olympus cameras. Data file Price £449 Min focus 9.5cm Filter diameter Length 52mm 55mm Weight 130g Lens elements 12 Lens mount Micro Groups 9 Four Thirds Diaphragm blades Included 7 accessories Caps, Aperture f/1.7 hood www.amateurphotographer.co.uk Recommended 49

Testbench ACCESSORIES Tenba Fulton V2 Quality build 16L backpack The materials are excellent: 600D thick canvas, reinforced stitching and free-running TKK zips mean it’ll last. Kingsley Singleton tries out the Recommended largest of the Fulton V2 daypacks Side ● £88 ● www.tenba.com/en-gb pockets TENBA’S Fulton V2 16L is the largest in the firm’s Front pocket On the sides there are revamped Fulton range, with 10L and 14L versions strong mesh and canvas beneath it. All share the same daypack design, with The slip pocket has plenty a lower camera section and roll-top upper. It comes of organisation for smaller pockets for a water in black, black/camo (see bottom right), and a bottle and tripod. fetching tan/olive colour scheme which has some items like cards and vintage appeal, looking much like an old haversack. batteries. Roll top But the comparison ends there, as this backpack is packed with modern features. It’s a well-laid-out and At a glance A versatile top section engineered bag, with lots of storage options. lets you take more or less kit, depending on In the rear-opening camera compartment, I fitted a Nikon Z 7II with the Z 70-200mm f/2.8 lens, your needs. although I had to remove the battery grip when it was laid flat. On its side, it fitted, but only just, ALL-WEATHER VERSION because this is not a particularly deep bag. I also At £100, the Tenba Fulton V2 16L All managed to fit Z 50mm f/1.8 and 85mm f/1.8 Weather version comes in a black primes along with 14-30mm f/4 and 24-70mm f/4 and camouflage finish and has a zooms. The compartment dividers are thick and more water-repellent nylon outer as easily rearranged, while on the front, there’s a slip well as storm-sealed zippers that will pocket that’ll fit up to a 16in laptop, plus additional take more of a dousing. Plus there’s organiser pockets. Tenba’s dual sided WeatherWrap™ rain cover, too. The top section has a roll-top closure so it can be expanded to fit a variety of other gear, like lunch or a jacket, or even another lens or a small drone. It cinches down neatly via a metal buckle and assuming you don’t fill it too much, the closure nips shut and rolls over to form a reasonably rain- resistant seal. On that point, the outer is ‘weather resistant’ but being canvas, only so much. Under a light hose, water beaded and soaked in a little, which was fine, but you wouldn’t want to be caught in an extended downpour. There’s no all-weather cover supplied, so you’ll need to add an accessory one for a few quid. The rear-opening main camera section is secure, but the bag has to be taken off to access it. An upside is that you can put the bag down on its face and not get dirt or dust on your clothes when donned again. The bag is comfortable to carry, with well-padded auto-adjusting shoulder straps and a sternum link to take some of the strain. There’s also a belt for stability, but it’s not padded. ALL PRICES ARE APPROXIMATE STREET PRICES Verdict ● Secure rear-access design If you’re looking for a beautifully made, comfortable and stylish backpack, Tenba’s Fulton V2 16L ● Accepts camera and 6-7 certainly fits the bill. It’s not built for big kit, but the lenses capacity is decent. I found it excellent especially when I resisted the urge to overfill it; its medium ● Expandable roll-top section size suits a more thoughtful set-up. ● Measures 28x51x19cm, weighs 1.4kg 50 www.amateurphotographer.co.uk