Innholdsfortegnelse for 13/09/2022 i Amateur Photographer

The Photography Show starts on 17 September, so do drop by the AP stand and say hi if you’re heading to the Birmingham NEC. As well as the chance to meet the team we will have some great new subscription offers. This week we’ve put together the mother of all issues, featuring used buying tips and best buys from the UK’s top dealers. It’s essential reading if you want to save money in these tough times. Another big highlight of this issue is our bumper tips collection, which should help to ease a host of technical headaches. We also test Canon’s EOS R10, an entry level APS-C model taking RF mount lenses, celebrate the proud history of women photographers, and tell the story of Dufaycolor film. See you next week!…

AP picture of the week Still by Karl Horsman Canon EOS 5D Mark III, Canon 50mm f/1.8 with Benro Mach3 tripod and Lee Little Stopper filter, 2sec at f/11, ISO 100 Karl told us, ‘Living so close to the coast, I try and spend as much time as I can down there. This image was taken at Cuckmere, near Eastbourne. It has these old groynes that make for interesting images, but every time I visit there seems to be a bit more missing from them.’ Website: www.karlhorsman.com Instagram: @t_anyone Vero: karlhorsman #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…

In 1939, Anita Conti (the first female French oceanographer) set sail on the cod-fishing boat Viking for a three-month voyage that would see her tossed around the North Atlantic, while trying to take notes and photographs of life in and on the ocean. Dressed in a sailor’s smock and white gloves, she clambered among the masts and ropes, recording the hardships of life at sea, from the loneliness to the physical challenges presented by storms and fierce winds. During World War II, Conti headed out with the minesweepers, producing images that were eventually published in L’lIlustration, a weekly French newspaper, before heading towards Africa, studying fauna and fishing techniques along the way. The challenges of shooting at sea were manifold. ‘Some films were developed in muddy and brackish waters; others…

Matthew Richards Matthew began his career as a broadcast engineer for the BBC in London and for companies across Southern Africa. He then became a technical author, before moving into journalism and photography, for which he’s enjoyed assignments in the UK and worldwide. He currently specialises in reviewing cameras, lenses and photographic accessories. 1 Calibrate for correctness All too often, your printed photos can bear little resemblance to the digital image you see on screen. The prime culprit is your computer monitor, which is likely to need calibration. Even screens that have dedicated sRGB and Adobe RGB modes can lack accuracy, and settings can drift over time, so it’s worth investing in a calibration tool like the Datacolor SpyderX Pro or Elite. 2 Paper chemistry There’s quite a chemistry between…

Hasselblad has introduced a new 100MP medium-format mirrorless camera, the X2D 100C. While looking similar to the existing 50MP X1D II 50C, the new model gains a larger viewfinder, a tilting rear screen, and 5-axis in-body stabilisation (IBIS). The firm says it brings ‘substantial technological enhancements to image quality, camera handling, and system responsiveness’. It’s available immediately for £7,369. Key specs include a sensitivity range of ISO 64-25,600; up to 15 stops dynamic range in 16-bit raw; 294-point autofocus; and 3.3 frames per second shooting. The 100MP sensor measures 44x33mm and incorporates phase-detection pixels for autofocus. There’s a 5.76m-dot OLED viewfinder with a huge 1.0x magnification, which is joined by a tilting 3.6in touchscreen and a top-plate status display. Files are recorded to either a 1TB internal SSD, or a…

James Abbott James is an editorial and advertising photographer producing eye-catching landscape and portrait images for editorial, commercial and private clients. He’s also a freelance journalist and editor specialising in photography techniques, tutorials and reviews. See more of his work at www.jamesaphoto.co.uk 1 What is ISO? Originally, ISO related to film speed; it refers to the sensitivity of the emulsion to light. Digital sensors work in a similar but different way. With digital sensors, when shooting at lower ISO settings the sensor appears to be less sensitive to light and image quality is better, while at higher settings noise becomes more apparent as the sensor becomes more sensitive to light. The reality, however, is that digital cameras have a single base ISO setting, which is often ISO 100, and when…

James Paterson James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com 1 Fix overexposed photos Lightroom offers a range of tonal tools for correcting overexposure, but which should you use? Begin in the Develop Module’s Basic panel and tweak exposure to darken the image. Next, move on to the Highlights slider, which lets you pull back detail. Finally, adjust the Whites slider to rein in the very brightest parts. 2 Save underexposed images This is where shooting in raw really helps, as raws retain…

Preparation Chris Weston Chris was listed by Outdoor Photography as ‘one of the world’s 40 most influential wildlife photographers’. His credits include the BBC, The Sunday Times, and National Geographic. He hosts The Complete Photographer Masterclass online training course. See www.chrisweston.photography and www.chrisweston.training. 1 Shoot in aperture-priority mode I almost always shoot at the extremes of the shutter speed range: fast shutter speeds for freezing action, slow shutter speeds for creating a sense of movement. By shooting in aperture-priority mode, I can very quickly change my f/number, let the camera adjust the shutter speed, and rapidly switch from my fastest available shutter speed to the slowest, without worrying about whether there’s sufficient light, which means I never miss a shot. 2 Don’t take record shots Before you press the shutter,…

Have you noticed recently that manufacturers Canon and Nikon are announcing new mirrorless cameras at a rapid pace, and not announcing any new DSLRs? You’ll also notice that Nikon has officially discontinued several older entry-level DSLRs, and introduced a number of entry-level APS-C mirrorless cameras, such as the Nikon Z50, and Z30. Side note: The price of an entry-level camera has pretty much switched from £400-500 ($400-500), to around £750-850+ ($750-850+). It’s not just inflation, but due to the contracting camera market, camera companies are maker fewer cameras, meaning that in order to make profit they need to increase prices. You’ll also notice that while Canon is relatively tight lipped on what is and isn’t discontinued, you’ll find reports online about Canon’s EF range of DSLR lenses being discontinued, and…

IN ASSOCIATION WITH We have written much about the benefits of continuous LED lighting, especially with modern mirrorless cameras. They enable you to see exactly the result you’re going to get in real time, and can also be used for video. We recently reviewed Rotolight’s latest lights, the NEO 3 and AEOS 2, which boast RGBWW LEDs that offer the ability to select any of 16.7 million colours. While the lights can happily be used bare, or with the supplied diffuser domes, Rotolight recently launched a pair of parabolic softboxes which offer a degree of modification previously only found with more traditional studio lights. The R90 and R120 are identical apart from the diameter (90cm and 120cm respectively) and are compatible with both the NEO 3 and AEOS 2, thanks…

I don’t know when or to whom Robert Capa said, ‘If your pictures aren’t good enough, you’re not close enough.’ In fact, I can’t find proof he said it at all. It is, however, repeated by all sorts of photographers to inspire others, and themselves, to be a little braver in their photography. Being physically close is certainly a good way to create impact, but there are plenty of times when shooting from a distance works much better. As Capa’s fellow Magnum photographer Matt Black demonstrates here, sometimes being far from from a subject produces a stronger image. A close-up of two men on horses would be interesting, but when we can see where they are and the type of terrain they are riding through, we get the whole ‘picture’.…