Innholdsfortegnelse for 21-May-2016 i Amateur Photographer

Thanks to the internet, we now have access to an almost infinite supply of photographs. Some are great, but they’re ephemeral – with a single click they’re gone, replaced by another. At AP we strive to bring you the best of them and, by telling you how they came to be, encourage you to look a little deeper. But, like digital screens, magazine pages also have limitations. The finest way to view an image is in an exhibition. Someone has taken the trouble to convert their image into a physical object, and this encourages us to stand back, reflect on it and notice the small details. This week in AP we feature Don McCullin and Nick Brandt, who are both exhibiting at Photo London 2016. Their work is amazing, but…

PHOTOGRAPHY enthusiasts will be able to glean tips from imaging experts at National Trust properties across the UK over the coming months. The events, organised by Panasonic, will give participants the chance to attend photo walks hosted by the company's Lumix Pro Ambassadors. Panasonic says a number of Lumix cameras and lenses will be available for loan, including the Lumix DMC-GX80 (pictured above). Participants will also have the chance to print out their photos. The events are free for National Trust members and paying visitors to each property. For details, visit www.panasonic.com/uk/National-Trust/Lumix-Event.html. Subscribe to Amateur photographer SAVE 35%* Visit amateurphotographer subs.co.uk/15W (or see p52) * when you pay by UK Direct Debit…

Jon Gibbs Jon is a professional landscape photographer. He co-owns a photographic gallery and runs workshops in his home county of Norfolk. To see his work, visit jon-gibbs.co.uk Beaches with dune systems have always held a huge fascination for me. The Norfolk coast, where I photograph most often, has what you’d call a ‘soft’ coastline, I suppose. Don’t get me wrong, it can be wild, but we do not have the kind of imposing rocks, towering cliffs or indented bays where the sea can thrash around that you get in other parts of the country. What we do have in my home county, though, are brilliant examples of fine, atmospheric, expansive beaches, and their dunes have become something of an obsession for me over the years. As my photography has…

Raw vs JPEG Professor Newman's article JPEGs: the raw truth in AP 2 April spurred me to write to you. I have been an amateur photographer for over 30 years and used film cameras for most of that time. My first digital camera was a 4MP Canon PowerShot G2 and I now have a10MP Sony Alpha 230. Until recently, I had not been able to open raw files, so I deleted them. Then I ungraded my PC to Windows 10 and found that it can open the raw files, but can't alter them. I can see a slight difference between the two pictures, but it's so small that I feel I can adjust the JPEG image quality using Windows Live Photo Gallery to achieve almost the same image that I…

Panasonic Lumix DMC-GX80 Check out Panasonic’s 16-million pixel CSC, with sophisticated dual image stabilisation and 4K video recording Summer accessories AP tells you which of this year’s accessories are not to be missed APOY results We reveal the top 30 images from our Creative Wideangle round and the winner of the Sigma prize CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE…

What are the main benefits of being in the group? ‘Landscape photography can be a singularly lonely pastime. Many times I have travelled to a location and returned without seeing a soul. Occasionally, one might bump into a fellow photographer, but more often than not there is a brief nod of the head before going our separate ways again. It is therefore refreshing to belong to a group of like-minded individuals that shares a passion for landscape photography and, where we can, be able to show and discuss our work. I do belong to other groups, but LCUK has a wonderful mix of people and styles.’ Have your landscape skills improved as a result of being a member of the group? ‘I would like to say that my landscape skills…

Tide timetables With a location like this, turning up 20 minutes late could find your location underwater, so planning is critical. Tide times are readily available from the internet, but I use Tide Times (www.tidetimes.org.uk/porlock-bay-tide-times). ND filters and tripod If you are going to try to shoot on the beach, a few neutral density filters will be very useful, such as Lee Filters’ 10-stop Big Stopper or its new 15-stop Super Stopper, which will allow for long exposures even in the middle of a sunny day. A good tripod is also a must. Chamois leather cloth Having a chamois leather cloth handy to keep sea air, spray and salt off your camera is always a good idea when you are shooting near the coast. Protecting your camera is incredibly important…

How to apply localised adjustments THIS is an unusual photograph by Benjamin Sapsford, because only one lane of traffic was open when it was taken. The light coming from the headlights of the cars heading away from the camera lit up the road and kerb, but the overall illumination was quite dark. This meant it was possible to process the photograph to achieve a low-key effect, in which the red light trails could be made to stand out more brightly. The following steps show how I was able to apply a series of localised adjustments to selectively darken and add more contrast. This achieves a dramatic photograph in which the red trail lights contrast sharply with the road surface. 1 Darken the side of the road In this first step…

Nikon D7200 Sensor 24.2MP APS-C CMOS ISO 100-25,600 Price £715 (body only) The D7200 is the 80D’s main rival. It’s aimed at enthusiasts who’d like a 3.2in LCD screen, dual card slots, a 51-point AF system, ISO range of 100-25,600 and 6fps continuous shooting. It’s also capable of recording full HD movies at 60p, 50p, 30p, 25p and 24p. Sony Alpha 6300 Sensor 24.2MP APS-C CMOS ISO 100-25,600 (exp to 51,200) Price £1,000 (body only) The Alpha 6300 is the flagship model in Sony’s APS-C mirrorless range. It boasts an impressive spec, which includes 4K video capture with full pixel readout, 11fps continuous shooting and a 4D focus system with 425 phase-detection AF points across the frame. Pentax K-3 II Sensor 24.3MP APS-C CMOS ISO 100-51,200 Price £710 (body only)…

Resolving noise Q The photo (right) of a night scene taken on an Olympus OM-D E-M1, using its Live Time feature for eight minutes, shows the regular noise you'd expect but also more intense red, green and blue speckles that seem almost impervious to noise clean-up in software. A quick poll of the OM-D users group on Facebook got a few responses, saying this is typical of the E-M1. Apparently, one way of reducing it is to use the in-camera noise reduction, but on a long exposure that means another long idle time, since it takes the black image at the same exposure time (I believe) – and there will still be some noise. Are there other ways to reduce this noise, either in settings or in post-production? Also, what…

In the first really successful autofocus system, which was fitted to the Minolta 7000 in1985, the motor that drove the focus scroll of the lens was in the camera, with a mechanical ‘screwdriver' link from camera to lens. As other manufacturers introduced their own autofocus systems, they generally followed that same architecture. Nikon, Yashica and Pentax produced similar ‘screwdriver' systems, with the only major manufacturer breaking ranks being Canon, whose designers decided that the right place for the autofocus motor was in the lens. Over the next 30 years or so, it became clear that Canon's designers had got it right, and the other manufacturers converted their systems to follow the Canon architecture very closely. Canon's release of the EOS (Electro Optical System) in1987 included two different types of motor.…

There’s something fascinating about metal against the sky, whether it’s the Eiffel Tower or an electricity pylon or – as here – a particularly vicious variety of fence. Few photographers can resist; I know I can’t. Even fewer succeed more than occasionally; I know I don’t. Why does this one succeed so well? Partly it’s the sheer relentlessness. Not only is the fence generously supplied with evil-looking spikes, it’s also roofed in with more wires. You could not throw a blanket (or better, a sleeping bag) over the top and clamber out. No – you are conclusively trapped. It doesn’t look like a cage for animals, either. It’s hard to say why, but it seems to have a peculiarly and unpleasantly human scale. The relentlessness is emphasised by the sky.…

I have often felt a photograph needs supplementing with words for maximum effect. Whether it's a caption, details of where and when it was shot, or more extensive prose to explain its wider context, the addition of written content is almost guaranteed to add to my appreciation. After all, that's why magazines such as Life and Picture Post were so effective. Great writing and brilliant pictures, together on a page, were intrinsic to the golden age of photojournalism. However, Browsing Paul Strand's photos recently made me think again. I was at Strange and Familiar, the stimulating Martin-Parr-curated exhibition now at the Barbican in London. The show features 250 pictures of Britain taken by 23 international photographers. A dozen or so are by Strand, all drawn from the book Tir a’Mhurain…

6-stop and 10-stop filters These filters are ideal for adding a more artistic element to an image. Use them to heighten or accentuate movement in the scene, such as marram grass swaying in the wind or the action of the waves. Tripod Once you start using long shutter speeds, a tripod is essential. Mine is fitted with spikes, so I can dig it into the sand for extra stability. If you don’t have spikes, try hanging your camera bag from the tripod hook attached to a bungee cord. Compact camera or phone Use your mobile phone or compact camera to assess compositions before setting up your main camera. As well as helping identify compositions, this method can also give you a rough idea of the focal length to employ.…

I read Damien Demolder's article on the PhaseOne XF (AP 9 April) with great interest. I've always wanted to shoot medium format, but as the XF is six times the price of my car I don't think I'll ever be able to afford it. At a recent photography show I tried the Pentax 645, which is gorgeous, but also out of my price range. I remember in AP's review the person who tested the camera said it slows you down. That fascinates me and I wish there were an affordable way into medium-format digital photography. As much as I would love to shoot film to learn medium format, I don't have the space or funds to develop film at home or to be continually paying out for film and developing.…

What are the benefits of being in the group? ‘For me, the benefit of being in a group such as LCUK is that I get to spend time with highly talented, creative photographers who cover a variety of styles and perspectives. Because this is such a supportive environment, I feel free to show my most creative work, knowing that I will always get an honest and truthful assessment, but done with sensitivity and a non-judgemental spirit.’ Have your landscape skills improved as a result of being a member of the group? ‘I do think that my work has developed over the time that I have been a member. I have to strive to stay at the top of my game in order to keep up with the incredibly high standards…

Time to visit For me, photographically, the beach is the star attraction. It is a pebbly beach but one that is interspersed with old and failing wooden groynes - a joy for those who like to play with long exposures. Starting right next to the harbour entrance and accessed over a metal walkway and narrow path, there are plenty of weather-beaten wooden stakes with pebbles piled high, and an uprooted wartime pillbox. On the Porlock Beach side of the harbour, and accessed directly from the car park, the pebbles continue for a long way, but there are wooden posts and groynes dotted all along the beach and it is well worth the effort to navigate the pebbles in search of a shot. Porlock Weir is an all-year-round location, although if…

RØDE VideoMicro Andy Westlake tries out a small video microphone designed for compact system cameras Rycote mount This anti-shock mount is designed to isolate the mic from camera vibrations. Camera mount The mic is designed to mount onto your camera’s hotshoe. It also has a 3/8in screw-thread fitting. Audio cable A short, detachable, coiled cable connects the mic and camera using 3.5mm right-angle plugs. • £50 • www.rode.com At a glance • Directional microphone for video recording • Comes with windshield and anti-shock mount • Uses plug-in power from camera AUSTRALIAN company RØDE has gone on to develop a strong reputation for its high-end microphones, and its various VideoMic models have become a staple for DSLR moviemakers. Its latest design, the aptly named VideoMicro, is a very compact unit designed…

Video The 80D’s full HD (1,920x1,080) 60p offering will be welcomed by videographers wanting to capture fast motion or create slow-motion footage. The 80D adds a headphone port or audio monitoring, and features audio level adjustment. Pop-up flash The 80D features a pop-up flash that can be raised by hitting the small flash button above the lens release. It has a guide number of 12m @ ISO 100 and a recycle time of around 3secs. Exposure compensation There’s the option to dial in ±5EV exposure compensation in 1/3 or 1/2-stop increments. It can be accessed quickly from the Quick Menu button and adjusted using the touchscreen. Intervalometer The 80D has a built-in intervalometer. The number of shots selectable ranges from 1-99, with the option to select unlimited. It can also…

1 HoldFast Money Maker This leather multi-camera strap is an absolute essential for weddings. It enables me to carry two camera bodies and go hands-free when required. 2 Nikon D4 S My primary camera body at weddings is my Nikon D4 S . Sturdy, fast and reliable, this camera means I can even shoot in the dark if necessary. I also shoot on a D3 S and have a D3 as a back-up camera. 3 Nikon SB-910 Speedlight I take three flashguns with me for weddings and always have one on me – you never know when you’ll need a little extra light. Once it gets to the dancing part of the evening, I use two off-camera and one on-camera. 4 PocketWizard FlexTT5 I use my FlexTT5 to trigger my…

Olympus cuts losses Olympus has slashed operating losses in its camera division by 82% and reported a 5% rise in sales of its compact system cameras. Olympus’s Imaging Systems Business cut its year-on-year losses from ¥11,710 million (£75.5m) to ¥2,064 million (£13.3m) for the 12 months up to 31 March 2016. The company attributed the ‘massive reduction’ to a fall in expenses following restructuring. Selfie tragedy A teenager in India – a country that already tops the global list of selfie-related deaths – has become the latest to die while taking a selfie. Ramandeep Singh is reported to have accidentally shot himself in the head while posing with his father’s licensed pistol in Pathankot, Punjab state. The 15-year-old died in hospital from his injuries, following surgery. Pocket projector power A…

Composition Make sure you find a way to lead the eye through the picture. Use pathways or natural curves in the dunes and grasses to lead into the frame. Avoid the bottom of your image being too busy, or bland and uninteresting. Framing decisions Spend time thinking if there is anything you can add to the picture or even subtract from it to make it stronger. Could you use a long exposure to emphasise movement? Does the sky need to be included or can you make a more successful image by adopting a more abstract approach? Take your time and analyse your set-up as there is often another picture within the composition you have chosen. Alternatives If at first the image you are viewing on the back of your camera…

Do you ever go out in the rain with the express purpose of taking photos? You answered… A Often – it’s a great subject for photography 18%B Only if there’s a chance of some dramatic lightor a rainbow 17%C No, but if it starts raining while I’m out shootingI carry on 36%D No, but I’ll go out afterwards and photographwet fauna, streets, and so on 10%E No, I prefer to keep myself, and my camera, dry 19% What you said ‘All the time. And my camera isn’t weather sealed. Nor are my lenses. I prefer shooting in the snow, though.’ ‘In regions like northern Sweden (Lapland) you take the weather as it comes, and you keep your eyes open for the possible picture.’ ‘I don’t plan to go out in…

Jeremy Walker Jeremy is an award-winning professional photographer and Nikon Ambassador,specialising in high-quality landscape photography. www.jeremywalker.co.uk NESTLED at the foot of Exmoor, Porlock Weir is about one and a half miles along the west Somerset coast from its slightly bigger neighbour of Porlock, famous for its steep, tight, twisting hill leading up to the moor. Porlock Weir is one of the most picturesque hamlets on Exmoor and has a small working harbour surrounded by a pub, hotel, café and a few picturesque cottages. It is a short walk to England's ‘smallest parish church' at Culbone, which for a brief time was also a leper colony, and the area is steeped in stories of smuggling and shipwrecks. Porlock Weir is reached via the A39, turning in Porlock onto the B3225 towards…

CANON has used a 24-million-pixel sensor before, in the EOS 750D and 760D. However, these two models don't feature the 80D's Dual Pixel CMOS AF sensor. The jump to a 24-million-pixel sensor is good news for those who like the freedom to crop tightly and, at the same time, preserve a high level of detail. Unlike the Nikon D7200, and some other recent high-resolution APS-C sensors, however, the 80D continues to use an anti-aliasing filter. With this in place, it has its work cut out to achieve the same levels of resolution. At ISO 100, the 80D delivers an impressive 3,400l/ph resolution, much like the Nikon D7200, but at higher sensitivities the D7200 has the edge. Dynamic range At ISO 100, the 80D’s dynamic range result measured 12.6EV – a…

Resolution The graphs from our Applied Imaging tests show that the lens is impressively sharp in the centre of the frame at f/1.4, and gives exceptional results on stopping down to f/2. However, when tested on the full-frame Alpha 7R II, the corners are noticeably weaker, and you’ll need to stop down to at least f/4 if corner sharpness is desirable (it’s not usually important for portraits). As usual on full frame, the very best results are seen around f/5.6-f/8. Shading Fairly strong vignetting is visible wide open on full frame, with the corners of the image around 1.4 stops darker than the centre. This is no bad thing for a portrait lens, as it can help to emphasise the subject. Stopping down to f/2 reduces vignetting to less than…