Scenic stunners. 85mm marvel. Get better still-lifes. Antiques weirdshow. How wild camping on location gives your shots the edge

Save this PDF as:

Size: px
Start display at page:

Download "Scenic stunners. 85mm marvel. Get better still-lifes. Antiques weirdshow. How wild camping on location gives your shots the edge"


1 Saturday 15 September mm marvel Why Canon s 85mm f/1.4 is one of the best portrait primes out there Passionate about photography since 1884 Scenic stunners How wild camping on location gives your shots the edge Get better still-lifes Hassle-free continuous lighting tips for great still-life & product shots Shooting long lost villages A masterclass at the lost village of Tyneham Antiques weirdshow John Wade s cabinet of camera curiosities A marriage made in f/11 Could you run a photo business with your spouse?

2 $ % %!!$$!$ "!!$$$ % \5)&/&0*4.:13*."3:-*()5 *5.",&4"--5)&%*''&3&/$&*/5)&803-%[ 6,9*?$59??-. *,- 01,:?? )BMM 45"/% $?*5?9!5!*9 =>+#)8)<%)/)(?*!!! :94?4? +2&(23/)(?*:?: :5 5?5 38'(23/)/;&?*4 9!:: 4? 2)8)'%"#8/)(

3 COVER PICTURE ALAMY STOCK PHOTO/ALAN NOVELLI In this issue 12 Arrive late, leave early James Abbott shares practical tips for camping at photogenic locations 18 A marriage made in f/11 Keith Wilson speaks to three couples who have highly successful photographic marriages 22 Legends Trent Parke s photography keeps taking him back to his childhood. Ailsa McWhinnie learns more 30 Light crat With continuous lighting, polished product shots and carefully crafted still-life photos are a joy to create, explains James Paterson 34 Location guide Explore the small ghost village of Tyneham in Dorset on a chilly, foggy day, says Jeremy Walker 36 Curious cameras John Wade on the world of quirky and unique cameras, some of which you will find irresistible to add to your collection 43 Prime sensation Michael Topham puts the Canon EF 85mm f/1.4 USM through its paces Regulars 3 7days 24 Inbox 28 Reader Portfolio 46 Accessories 49 Tech Talk 66 Final Analysis *PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY Youmayhaveheardof glamping butwhataboutwild camping andwhywouldany self-respectingapreaderwish tosufertheindignitiesof midges, uncomfortable sleeping bags and tinned food,wolfeddownoveracampingstove?simple. Stayingoveratalocationcantransformyour landscape photography, ensuring you capture the scene at itsbest.youalsofeelpartofa JOIN US ONLINE amateurphotographer. ONLINEPICTUREOFTHE WEEK Colours of the New Forest by Emily Endean Nikon D610, 20mm, 1/3sec at f/16, ISO 125 This colourful scene was uploaded toourtwitterpageusingthehashtag #appicoftheweek. It was taken by photographer Emily Endean. She tells us, Livingclosetotheborderof Hampshire and Dorset, I am so incrediblyluckytohavethisonmy doorstep. The colours in the New Forest are simply perfect at the moment and that combined with weather conditions like these, well, that s photography at its most satisfyingforme.thegorgeousgreen fernswerecatchingmyeyeandi wanted to make it my focal point, surrounded by the equally stunning heather.photographersflocktothis areainthelatesummerandwhocan blame them? It s so beautiful. Win! Each week we choose our favourite pictureonfacebook,instagram, Flickr, Twitter or the reader gallery using #appicoftheweek. PermaJet proudly supports theonlinepictureoftheweekwinner,whowill receiveatop-qualityprintoftheirimageonthe finestpermajetpaper*.itisimportanttobring images to life outside the digital sphere, so we encourage everyone to get printing today! Visit to learn more. photographer.magazine EMILY ENDEAN IMAGES MAY BE USED FOR PROMOTION PURPOSES ONLINE AND ON SOCIAL MEDIA 7days Aweekinphotography magnificentplace,inawayyoudon tatab&b. Turn to page 12 for James Abbott s full starter guidetowildcamping.otherhighlightsofthis varied issue include John Wade s round-up of curiouscamerasonpage36,andalong-term fieldtestofcanon sexciting85mmprimeon page43.husbandandwifephotographerteams alsosharetheirexperiencesonpage18,addinga newmeaningtotheterm wedding photography. Nigel Atherton, Editor amateurphotographer magazine Send us your pictures Ifyou dliketoseeyourworkpublishedinamateur Photographer,here showtosendusyourimages: CD/DVD Sendusadiscofhigh-resolutionJPEG,TIFForPSDimages(atleast2480pixelsalongitslongestlength),withacontactsheet,totheaddressonpage51. Via our online communities PostyourpicturesintoourFlickrgroup,Facebookpage,Twitterfeed,orthegalleryonourwebsite.Seedetailsabove. Transparencies/prints Well-packaged prints or slides (without glass mounts) should be sent by Special Delivery, with a return SAE, to the address on page 51.

4 BIG picture Taylor Wessing Photographic Portrait Prize 2018 shortlist revealed Four photographers have been shortlisted for the prestigious international portraiture prize, which is celebrating its 11th year of Taylor Wessing sponsorship. The portraits include photographs of a London mother holding her baby, a child from a remote village in the jungle of Sierra Leone s Eastern Province (pictured), a series on the all-female teams of drum majorettes in South Africa s Western Cape province and a double portrait of a pair of shoppers taken in London. The winning photographer, who will be announced on 16 October, will take home a 15,000 prize and their image will be displayed as part of an exhibition at the National Portrait Gallery, running from 18 October until 27 January See for more details September 2018 I I subscribe

5 NEWS ROUND-UP The week in brief, edited by Geof Harris IGPOTYandFredOlseningardeningtie-up The International Garden Photographer of the Year competition has teamedupwithcruiseandtouroperatorfredolsentooffergarden photographytripstoplacesofoutstandingnaturalbeauty.the firsttouristomeranoandthegardensoftrauttmansdorffcastle, insouthtyrol,italy,andbeginson9may2019.tobookthistouror formoredetails,callfredolsentravelqueston Brexit makes Panasonic go Dutch PanasonicistomoveitsEuropeanheadquartersfromtheUKto AmsterdaminOctober,reportedlytoavoidpotentialtaxissues postbrexit.if,afterleavingtheeu,theukgovernmentendsup slashing corporate tax rates to attract more companies, then Panasonic sjapanesetaxliabilitycouldincrease,accordingto LaurentAbadie,PanasonicEurope schiefexecutive. Words & numbers The photographer is filled with doubt. Nothing will soothe him Raymond Depardon Photographer, photojournalist and filmmaker 95 Number of people who have signed the petition to get the Nikon Z a second memory card slot (at time of press) PORTRAIT OF STRONG JOE SMART FROM THE SERIES TOMBO S WOUND, 2017 JOEY LAWRENCE SOURCE: CHANGE.ORG ThinkTank revamps popular shoulder bag The Retrospective shoulder bag series from ThinkTank has been upgraded.designedforarange ofdslrandmirrorlesscamera andlenscombos,thev2.0bags are lighter than the original Retrospective bags. Its Sound Silencer closure is also improved,souserscanwork morequietly,thefirmclaims. See com/collections/ retrospective-series. Instagram contest gone to the dogs Pictures of dogs overwhelmed the Photobox Instagram Photography Awards, the judges have revealed. The PIPAs attracted over 180,000 entries in less than three weeks, many of which were shots of dogs. We could have run an award for the best dog photos on their own such is the quality of some of the shots, said judging chair Rory Scott. Winners will be announced on 3 October. Wex runs Women in the Industry day Wex Photo Video has announced a Women in the Industry day on 28 September a showcase of the work of female photographers and cinematographers taking place in London, Manchester, Birmingham, Bristol, Norwich, Glasgow, Edinburgh and Belfast. The day will include workshops, photo walks, masterclasses and seminars. See subscribe I I 15 September

6 CanonEOSRgoes full-frame mirrorless JUST AS we went to press with this issue, Canon revealed a brand-new full-frame mirrorless system. The 30.3MP EOS R features an SLR-like design, with a 3.69-million-dot EVF and fully articulated touchscreen. It sbasedaroundabrandnewrfmountwitha 54mm internal diameter, 20mm flange distance and 12-pin data connection thatcanonsaysallows faster focusing and increased flexibility in lens design. Headline specs include 8 frames-per-second (fps) shooting with focus fixed, or 5fps with AF tracking. No fewerthan5,655focus pointsareselectablewhen using the touch-and-drag AFfunction,andCanonis claimingthe world sfastestaf of as little as 0.05sec. 4K video recordingisalsoonoffer. Alongside the camera, Canon announcedfourmatchedlenses. TheRF24-105mmf/4LISstandard zoomandrf35mmf/1.8ismacro arejoinedbytheultra-fastrf 50mmf/1.2LandRF28-70mm f/2lzoom.allfourlensesfeaturean additional customisable dial that can be used to control aperture, ISO or exposure compensation. Canon s groundbreaking ultra-fast RF 28-70mm f/2l will cost 3,050 The full-frame EOS R is based around the new RF mount Thecameraisfully compatible with EF and EF-SmountSLRlenses,with three different mount adapters available. One of these includes acontroldial,whileanother accommodates drop-in polarising and neutral density fi lters. However EF-M mount APS-C mirrorless lensescan tbeused. TheEOSRisduetogoonsaleon 9Octoberfor 2,349.99inakit with the basic EF-mount adapter, or 3, with the mm f/4 added thislenswillcost 1, onitsown.the50mmf/1.2will beavailableatthesametimefor 2, Theothertwolenses will follow in December, with the 35mm f/1.8 costing , and the28-70mmf/2fully 3, Canon also revealed the EF-M 32mm f/1.4 STM for its EOSMcameras,andupdatedsupertelephotoprimesintheshapeof the 12,000 EF 400mm f/2.8lisusmandtheef 600mmf/4LISUSM ( 13,000). Lookoutforourdetailed hands-on first look of the Canon EOS R next week. The RF mm f/4l is one of four new lenses for the EOS R Tamron updates wideangle zoom TAMRON has updated its SP 15-30mm f/2.8 Di VC USD lens, which cameoutin2014.the newultra-wideanglezoom, which targets landscape photographers who use DSLRs in particular, is made of 18 elements in 13 groups, and includes an expanded Glass Molded Aspherical (XGM) lens element and low dispersion elements to minimise distortion and aberration. A new Anti-reflection expand (AX) coating helps reduce flare and ghosting, and the front element has also been treated with a fluorine coating to resist dirt, dust and moisture. The moisture-resistant body has a minimum focusing distance of 0.28m, with a constant f/2.8 aperture across the zoom range. The SP 15-30mm F/2.8 Di VC USD G2 (Model A041)willbeavailable in Nikon mount on 21 September and Canon mounton12october.see Subscribe to SAVE 35%* Visit amateurphotographer (or see p48) * when you pay by UK Direct Debit 6 15 September 2018 I I subscribe

7 Nikon announces entry-level DSLR NIKON has just announced the entry-level D3500 DSLR as areplacementtothepopular D3400.Nikonclaimsthe newcameracanfireoff 1,550imagesonasingle battery, compared to 1,200 with its predecessor. Other headline specifications include a 24.2MP APS-C sensor (the same as the D3400), an EXPEED image processor, an ISO range of ,600,an11-point AFsystem,a3infixed 921,000-dot screen at the rear and five frames per second burst mode. The ergonomics have been made more intuitive, too. A simpler and more spacious button layout makes the camera easier to grip and manipulate, and the user s thumb has plenty of space torestonthebackofthecamera, sabitlighterandmore compact than its predecessor too; the newcameraweighsinat365g(down from 395g on the D3400) and measures 124x97x70mmcomparedtothe D3400 s 124x98x75mm. The new camera will be on sale from 20 September with the AF-P DX VR lens for 499, or the AF-P non-vr lens for 479. See www., and watch out for a Nikon claims the camera can take 1,550 shots on a battery The Nikon D3500 is set to replace the popular D3400 review in AP as soon aswegetholdofa review sample. Sony travel compacts offer raw shooting SONY hasexpandeditscyber-shot range with the DSC-HX99 and DSC-HX95 travel compacts. Both camerasarebasedaroundan18.2mp 1/2.3typeExmorRCMOSsensorand Zeiss24-720mmlenswith30xoptical zoom,andcanshootcontinuouslyatup to10fpswithabufferlimitofupto 155 images. They also have Optical SteadyShot image stabilisation and Zoom Assist mode, which helps with shooting when zoomed right out. The major addition,however,istheabilitytoshoot in raw. The autofocus acquisition speed, meanwhile,goesaslowas0.09sec,and you also get full 4K video recording. TheHX95costs 430andtheHX99 costs 450 theextra 20ontheHX99 gets you Touch Focus and Touch Shutter functionality, along with a customisable control ring. Both cameras will be available in October this year. For the latest news visit Back in the day Whatwasmyfavouritemagazinelike on 11 September 1968, professor? 1968 ANOTHER SUMMER of love was just winding down whenthisissueofapcameout,butweweren thaving anyofthatpeace,freeloveandlonghairmalarkey, thankyouverymuch.ap scoverfeaturedno,nota youngronaldreagan,butavunculartvpersonality LeslieCrowther hewasverypopularbackthenfor hosting TheBlackandWhiteMinstrelShowand other less controversial projects such as Crackerjack. Crowther sgrinningboatracewasonthecoverto promote a feature on blow-ups. Other highlights of this issue included TheShadowofShe creative portraitsusingshadows,basically andarathersid James-sounding piece called Excuse Me Miss. Politicallycorrect?Thisissuewasn t.meanwhileneville Maude (who sounds very sensible) tested the Minolta AL-F,whileTugoresMatthias(whosoundslikean anagram) wrote A Frenchman goes Freelance. There s also a piece on what is modern photography? Hmm, we still don t know the answer to that one, class... This modern article looks dated, but 60s cool lives forever subscribe I I 15 September

8 Exhibition Alex Prager Silver Lake Drive This exhibition in London ofers a fascinating mid-career survey of American photographer and ilmmaker, Alex Prager. Oliver Atwell inds out more Alex Prager: Silver Lake Drive runs until 14 October 2018 at the Photographers Gallery in London. Admission is free before 12pm every day. Day passes cost 4 and advanced online booking is priced at What is it about the suburban aesthetics of 1950s and1960s Americana that fascinates artists so much? This period of American history seems to occupy an almost folkloric territory. We can see it in the projects of David Lynch (Twin Peaks and Blue Velvet in particular) and the hit series Mad Men. It crops up time after time in our retro-obsessed age and keeps us fascinated by the stories of Raymond Carver, Richard Yates and John Cheever. The thing that perhaps all these have in common is that in the homes that sit beyond those picket-fence borders something has gone wrong. Beneath the surface, there lies an insidious darkness of alcoholism, infidelity and secrets. American photographer and filmmaker Alex Prager is certainly a contemporary artistwhoisfascinatedbytherotbeneath utopia andisclearlyinspiredbythose artists previously mentioned. Walking around this exhibition now on show at The Photographers Gallery in London youcouldalmostbelieveyouareseeing images from many decades ago. The attentiontodetailisextensiveyetrarely flashy. Take her image The Big Valley, Susie and Friends from The hair andclothing(suchastheglasses)arekey here,thoughinfactit sthemagazinethat lies open in front of the central character thatanchorsit.wecanprobablyassume thisimagetakesplacearound1963.that wastheyearwhenbobbyvinton,profiled in the magazine s pages, had his US No 1 hit Blue Velvet there sthatlynch influence again. What s especially impressive about Prageristhatsheisentirelyself-taught. Before pursuing photography, Prager made her money flitting between roles as a receptionist, a clothing store assistant andhandingoutflyersforclubs.feeling thatperhapsshewouldbehappier pushingherlifeintoacreativelineof workshevisitedawilliameggleston exhibition at the Getty Museum in Los Angelesandhadanalmostvisceral reaction to the great photographer s work.atthatmoment,sheknew photographyheldthekey.withinaweek The Big Valley: Susie and Friends, Prager has often spoken of her fascination with street photography The Big Valley, Eve, 2008 she had bought herself a second-hand camera and scoured ebay for everything necessary to build her own darkroom. Street fascination You can clearly see the influence of Eggleston on her work, especially in her beautiful image The Big Valley, Desiree from Desiree is a character that seems to have been pulled out of Eggleston s world, particularly his image of a young redhead reclining on a lawn (Untitled, 1975). But Eggleston isn t the only photographer to inspire Prager. In fact, we can look to the whole world of street photography. She has often talked of her fascination with the genre, particularly Diane Arbus, Weegee, Martin Parr and Bruce Gilden. Prager s images do in fact feel a little like images that she s happened across during her travels around California. There s an intimacy to them; they feel real but in a way that is eerie and uncanny. In every scene, there seems to be something a little off. It s often in the face of her characters, particularly the eyes and gaze. Why is the girl in the background of the aforementioned The Big Valley, Susie and Friends staring daggers at the foreground character, for example? These are all images that inspire questions and the answers will depend largely on who is looking at the image. She works in the same way Gregory Crewdson does she wants to construct images that are 8 15 September 2018 I I subscribe

9 Also out now The latest and best books from the world of photography CRISTINA MITTERMEIER ALL PICTURES ALEX PRAGER STUDIO AND LEHMANN MAUPIN, NEW YORK AND HONG KONG. The Big Valley: Desiree, 2008 ambiguous; that hint at a larger narrative and feel like they are fi lm stills. Unlike Crewdson whose big-budget, cinematic and strange frames often risk overwhelming the audience with their scope Prager allows us to be close spectators with her characters, rather than holding us at a distance. This is her great success. You don t stand back in awe; you want to get close and drink in every detail. Each of her characters (and there are often many in one image) has been carefully constructed to make you believe they have their own thoughts and dreams; that they are more than this one image and they will soon leave the frame and go off into their own little narratives. Prager s work is a fascinating and fantastic thing to behold. The images are beautiful and will likely leave you pondering their meaning for some time after. You may ultimately feel they mean nothing. But then life doesn t always have to mean anything at all. Amaze By Cristina Mittermeier, teneues, 65, 256 pages, hardcover, ISBN We veseenmanytraveland environmental photography books in APbutonlyahandfulstandoutfrom thecrowd.oftentheonesthatleap outarebyindividualswho,rather thanbeginninglifeasa photographer, actually come from careersinscienceand environmentalism, hence they offer a unique, informed and educational experience for the reader. This is one suchvolume.cristinamittermeierbeganlifeasa marine biologist. This collection of images illustrates herobservationsaboutourrelationshipwithearthand sea,andthewaysinwhichvariouscommunitiesacross theworldareabletosustainthemselvesinthefaceof a rapidly shifting global climate. Each of Mittermeier s images are utterly captivating. She switches seamlessly betweencolourandblack&white,utilisingthedistinct qualitiesofeachformattocommunicatetoher audience the vitality of her message. Amaze is a beautifulpublicationandamustforfansoftravel photography Oliver Atwell Bau1haus Modernism Around the Globe By Jean Molitor, Hatje Cantz, 35, 160 pages, hardcover, ISBN While the Weimar- Dessauand Berlin-based Bauhaus art schoolranfromjust1919to 1933, its influence over modernist design in Western Europe, the US, Canada and Israelisstillfelttothisday.In thisbook,germanphotographerjeanmolitorhas travelledtheworldseekingoutarchitecturethat carriestheclearmarkoftheinfluentialschool.itisa missionhehasbeenengagedinsince2009andhe has done a fine job of capturing the functional and sometimessplendiddesignsthatheuncovers.each simple black & white frame is more than enough to justify Molitor s excursions and demonstrates that sometimes it is perfectly fine to allow the subject to speak for itself Oliver Atwell subscribe I I 15 September

10 THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TI MEDIA LIMITED Viewpoint Tracy Calder An Instagram takeover where a third party is invited to take charge of a company s Instagram account comes with a certain amount of risk. The host wants the guest to post content that supports its brand values, while the guest wants to reach a wider audience, creating a lift in sales or general awareness of a product or project. Most of the time, this is a mutually beneficial exercise. However, as with all takeovers, hostilities can arise, and that s what happened on the World Press Photo (WPP) account in July this year. Award-winning freelance photographer AlessioMamowasinvitedtotakeover thewppfeed,andhechosetoshowcase photographsfromaserieshecompleted in 2011 entitled Dreaming Food. The pictures were made in the states of Uttar PradeshandMadhyaPradesh,andthey showvillagerspositionedbehindared table laden with fake (plastic) food. Mamo asked the participants to cover their eyes and dream about the food they would like tofindonthetable. Striking, but in good taste? There snodenyingtheimagesare striking, but the Dreaming Food series left some Instagram users with a bad taste in their mouth. Mamo was accused of povertyporn creatingimagesthat trigger an emotional response, without revealing the bigger, more complicated, picture. Images such as these suggest poverty and hunger can be dealt with relativelyeasily,butintruthasolution oftenrequireschangeandcommitment from local government, landowners, communities and individuals. Onefollowerparticularlyoffendedby the series was Olivier Laurent, photo editor for TheWashingtonPostand former editor of the British Journal of Photography. This wasaverybadly-thoughtconcept, he declared.havingreceivedapublicflogging Mamo issued a statement defending theseries. ThepeopleIphotographed werelivinginavillageandtheywerenot suffering from malnutrition any more, they When photographer Alessio Mamo was invited to take over the World Press Photo Instagram account he was ill-prepared for the fallout World Press Photo s Instagram feed showing one of Mamo s Dreaming Food pictures Isitthecontext (i.e.instagram)that exacerbates the issue? werenothungryorsick,andtheyfreely participatedintheproject, heurged, before revealing that he had received an unprecedented level of abuse over the worksinceitappearedonthewppfeed. This work raises several questions. Have we become so desensitised by images of poverty that artists are going further out of their way to shock us? Did Mamo become so preoccupiedwith creating art that he forgot to check his ethics? Is Mamo solely responsible for the offence? Hemayhavecreatedthework,butan (unnamed) Indian NGO assisted him with thelogistics.what smore,theserieswas praised at the International Festival of PhotojournalismVisapourl Imagein 2012, exhibited at the Delhi Photo Festivalin2013,andgivenaplatformby thewppin2018,soisitthecontext(i.e. Instagram) that exacerbates the issue? Personally I m not a fan of the series I just don t think it works but it does encouragedebateandthat,i msure,was Mamo s intention from the outset. Tracy Calder hasmorethan20yearsofexperiencein the photo magazine industry. She has written numerous photography books, including one on close-up and macro photography (her specialist subject), and is the co-founder of Close-up Photographer of the Year. Visit Doyouhavesomethingyou dliketogetoffyourchest?send us your thoughts in around 500wordstotheaddressonpage24andwinayear sdigitalsubscriptiontoap,worth CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE In next week s issue On sale Tuesday 18 September SECOND-HAND SPECIAL Success on a shoestring Youdon tneedexpensivekit towinphotocontests eight pros tell you what they used Closing the sale Turn your old, unused gear into cash with Angela Nicholson s top tips Bargain hunt A second-hand lens round-up; Audley Jarvis highlights their pros and cons Used&approved Michael Topham speaks to second-hand stockists about their interesting used kit JOCELYN HORSFALL SARAH JONES September 2018 I I subscribe

11 (! $' # )$ $'$ #$(% $ $' *** '#$ '# #"

12 Technique WILD CAMPING Arrive late, le Give your landscape images an unfair advantage by camping at photogenic locations. James Abbott shares practical tips for staying in the great outdoors Nothing beats being out in the great outdoors shooting landscapes at the golden hour. But the problem with shooting at sunrise and sunset, particularly in the summer months, is that they can be extremely early and late, respectively. Throw in a drive and a two-hour trek to the location into the equation, and it quickly becomes apparent that you may as well stay up all night. But, it doesn t have to be like that; there s a much simpler solution that will give you plenty of sleep. With wild camping you re on location at the best times to shoot landscapes, and if you plan carefully you can pick locations suitable for both sunset and sunrise, astro shots and of course a shot of your tent lit from the inside at dusk. You don t have to spend a fortune on camping equipment either; just a few hundred pounds will get you a lightweight tent, warm sleeping bag, sleeping mat and a hiking rucksack which might all provide years of use. KIT LIST Travel tripod For landscape photography a tripod is essential, and the lighter the better so choose a carbon fibre travel option. Backpacking tent A one- to two-person hiking tent will weigh between 1.5kg and 2.5kg, with the most expensive models being the most lightweight September 2018 I I subscribe

13 ave early James Abbott James is a landscape and portrait photographer based in Cambridge. He s also a freelance photography journalist and editor specialising in photography techniques, tutorials and reviews. See more of his work at Hiking backpack Useahikingbackpack withacapacityinthe region of litres so youcancomfortablycarry everything you need. Camera insert Useacamerainsertsuch as the Tenba BYOB 10 whichwillkeepyour camera safe when carried in your main backpack. ALLPCTURES JAMESABBOTT Don t forget campsites If trekking up a mountain carrying all your photography and camping equipment isn t your thing, that doesn t mean you can t enjoy the great outdoors and stay as close to your desired locations as possible. Everything you need for a wild camp could weigh 10-20kg, and carrying that up a mountain is hard yet rewarding work, but only if you can manage it. Staying at campsites means you won t have to carry a heavy backpack, and you can still enjoy simple luxuries such as toilets, hot showers and other facilities that will help to make your stay more comfortable. The main thing is that you re close to desired locations, and campsites are often closer to more remote locations than hotels or B&Bs. Another advantage of the campsite option is that you can use a much larger tent than if you were wild camping, which in turn means you can have a more comfortable bed and generally more space to move around. You ll still have to get to your desired locations for sunrise and sunset, but this may only mean waking up an hour or so earlier than if you were on location. subscribe I I 15 September

14 Technique WILD CAMPING Castell Y Gwynt in Snowdonia at sunset Sony A7R III, 16-35mm, 4 sec at f/8, ISO 100 A tale of two camps Things don t always go to plan, but there are ways to maximise photo opportunities and remain motivated Whenyou reupinthe mountains only one thing iscertain thatconditions can change in an instant, andtheweathermaybethecomplete opposite of the forecast. Checking the weatherreportbeforeleaving,however, remainsimportant,andthereare mountain-weather forecasts that can be found online. Onarecentwild-campingtripto Snowdonia, this was exactly what happenedonthefirstnight.aftera gruellingclimbtothesnowdonsummit, despiteclearskiesandcalmweatherbeing forecast,thesummitwascoveredinthick cloud and extremely windy. So, with sunset just over an hour away I headed downthewatkinpathtosetupcampata location I d found on my OS Map when planning the trip. At4ammyalarmwentofandI tentativelyunzippedmytenttoseewhat kindofamorningi dwokenupto. Unfortunately, my location was shrouded inthickcloud,or clag asit softenreferred to.bythetimethesunwouldbehigh enoughtobreakupthecloudthelight wouldn t be favourable, so I made the toughdecisiontoheadbacktomycarto plantheseconddayandreplenishmy food and water. Thingscanonlygetbetter Theplanfordaytwowastocampon Glyder Fach, which is a fantastic location for sunset, sunrise and astro photography. Looking at the PhotoPills app I knew that the moon was going to be rising at 9pm, and it was going to be in the same part of the sky as the Milky Way, so sunset and sunrise would be my focus. Later that day I drove back to the Ogwen Valley where I could park my car and walk to Cwm Idwal and take the Devil s Kitchen route up to the Glyders. The walk was hard work in the 30 C heat, and carrying an 18kg backpack wasn t helping. But after many breaks and quite a few Fruit Pastels, I reached the summit of Glyder Fach and set about looking for a flat piece of ground to pitch my tent. At this time it was about two hours before sunset, so I decided to set up camp early and explore the area for suitable viewpoints for sunset and sunrise. The sky was still fairly clear, but clouds were moving in from the south so there was potential for a more impressive sunset than the previous evening. Candy loss colour My plan for sunset was to shoot a classic composition of Castell Y Gwynt a jagged outcrop that looks like something from Game of Thrones. I found my shooting position and waited as cloud came into the shot and the scene was filled with bright pink light. The flufy clouds looked like candy floss, and after the previous night s sunset I was extremely happy and shot a number of compositions before heading back to my tent. It was now after 10pm and still fairly light so I set up my camera to shoot a glowing tent shot. After another hour of waiting I was able to take the image I wanted, and seeing the moon was as bright as it was, I knew that there was no chance of astro photography tonight, so I went to bed ready for a second 4am alarm. After thick cloud the first morning I was slightly more anxious about what I d wake up to. When I emerged from my tent I was IS WILD CAMPING LEGAL? WildcampingisactuallyillegalinEngland, Wales and Northern Ireland, with Dartmoor beinganexception.youcancampwiththe permission of landowners, but this isn t always possible to obtain. In places like the Lake District and Snowdonia wild camping is often tolerated away from roads, buildings and enclosed farmland. As long as you respect the land and don t turn up to have a party, you ll generally have no problems. The key to success is to arrive early, pitch up just before sunset, and pack up early the next morning just before sunrise so you re ready to shoot as the light gets good. You should leave no trace of your camp. In Scotland, things are slightly different, and you can camp almost anywhere as a result of the Land Reform (Scotland) Act As long as you re not camping on enclosed farmland, in someone s garden or in a park, you ll have no problems at all. When it comes to wild camping, common sense and respect prevail. Rock formation on Glyder Fach in Snowdonia, North Wales, at sunrise Sony A7R III, 16-35mm, 1/4sec at f/11, ISO September 2018 I I subscribe

15 Top tips greeted with amazing cloud to the east which was just beginning to pick up the colour of the rising sun, whereas facing north-west towards Snowdon there was mist and a lot of haze. I headed over to the Tryfan side of the mountain to hopefully capture this iconic mountain in a sunrise shot, but here too the haze was extremely thick in the valley. I took a few shots before heading back to the side facing Snowdon, where I was able to take an atmospheric shot of Moel Siabod shrouded in mist. It certainly wasn t the cloud inversion we all dream of, but it was still a pleasure to experience. Once the sun had risen further it was time to head down and enjoy a cooked breakfast and mug of cofee before the four-hour drive home. Despite tricky conditions throughout the short trip, it was still possible to get some images I was happy with shots that certainly would have required a lot more work and efort if I d not camped on location. And as always, if you don t try, you ll never have a chance of shooting locations in the conditions you dream of, so overall it was a great trip. Plan your trip It goes without saying that planning your wild-camping trips will make them easier and more enjoyable. OS Maps and Google Maps are a great way to plan routes and fi nd potential locations, and if you re using the OS Maps app you can download routes (GPX fi les) that other people have created and use these in conjunction with the GPS on your phone. Carrying enough food and water is essential, and there are lots of options available ranging from dehydrated meals that simply need water, to ready-cooked meals that can be eaten hot or cold. In the summer eating cold food is no problem, but in winter hot food and drink is a great way to warm yourself up. And most important, don t forget to tell someone where you re going and how long you ll be. Atmospheric sunrise shot of Moel Siobod from Glyder Fach in Snowdonia, Wales Sony A7R III, mm, 1/30sec at f/11, ISO 100 Walking down the Watkin path, Snowdonia Samsung Galaxy S8, 4.2mm, 1/200sec at f/1.7, ISO 50 Keep camera kit to a minimum When you mix photography with wild camping you quickly realise how little kit you actually need when you re out shooting landscapes. Of course, when you re out for the day there are all sorts of things that are nice to have in case you need them, but when you re hiking with a heavy backpack it is ideal for you to get your kit down to the bare minimum possible. A camera and wideangle lens is a must, and if you have one it pays to carry either a superzoom or a medium telephoto such as a mm f/4. A shutter remote, spare battery and some simple lens-cleaning accessories are also helpful. Finally, don t forget your fi lters and make sure they re safely packed to avoid damage in transit. subscribe I I 15 September

16 Technique WILD CAMPING How to executeawildcamp The key to a successful wild camping trip is planning and taking suitable equipment Use digital and paper maps Technology is amazing, and the ability to pinpoint your location using OS Maps on your phone makes life so much easier. But what happensifyoudropyourphoneorthebattery runs out? For these two reasons alone, it s essentialtocarryatraditionalmapand compass because these could be lifesavers inadifficultsituation. ThegreatthingaboutbuyingOSMapsthese days is that they come with a digital download ofthemapwhichcanbesavedintheos Mapsapponyourphoneortablet.Irarelyuse apapermapmyself,butialwayshaveone with me just in case there s a problem with myphone;youreallyneedtoknowexactly whereyouareifastormorfogrollsinand reduces visibility because a cliff may only be a few metres away. Use photo apps to plan shoots TwoofthemostpopularappsforphotographersareThePhotographer sephemeris andphotopills;bothallowyoutoplanshootsusinggooglemaps,andprovide information about things like sunrise and sunset times and position, moonrise and set,andalsothemoonphase.photopillsevenincludesfunctionalitytohelpyou locatethemilkyway perfectforclearnightsinthemountains. YoumightbesurprisedtohearthatonmanymountainsinSnowdoniaandthe LakeDistrictyoucangeta4Gconnection,whichisfantasticfromasafetypointof view, but it also means you re able to use photo apps that require a network connection to function. What to take We vealreadycoveredthebasicsofphotographykitand campingequipment,butwhenventuringintothe mountainswhereweathercanchangeinaninstant,you need to have everything you could possibly need. But this, ofcourse,mustfitintoasinglebackpack.waterproofsand awarmjacketareagoodideaeveninsummer,anddo makesureyouhaveacompletechangeofclothes,incase yougetwetinastorm. You ll also need plenty of water to drink, but at 1kg per litreitreallydoesaddtotheweight.carrying2-3litres workswellinsummer,andifyourequiremorewateryou caneitherboilwaterfromastreamoruseawaterfilterto purify.anddon tforgetaplastic trowel and toilet paper. Essential items First-aid kit Whistle Hand sanitiser Torch (x2) Spare laces High-protein food Spare clothes in a dry bag Water September 2018 I I subscribe


18 PHOTOGRAPHIC COUPLES A marriage made in What is it like when you and your partner are both photographers? Keith Wilson speaks to three couples who have highly successful photographic marriages Two female ptarmigans balancing on a snow-covered ledge, Sarek National Park, Laponia, Sweden Nikon D800E, 300mm f/2.8, 1/1250sec at f/8, ISO 400 Photography is often described as a solitary pursuit, undertaken by individuals answerable only to their own creative instincts. It s a description that suggests there is no place for another person s input, let alone teamwork. And as for social interaction, well, let s leave that for when the light s gone and it s time for a drink. Now, however, an increasing number of photo couples are gaining attention and critical recognition for their work. Last year, the wildlife and landscape photographers Orsolya (Orsi) and Erlend Haarberg were keynote speakers at many of Europe s nature photography festivals as they presented images from their latest book, Laponia Majestic Stillness. The book is the result of a three-year project documenting one of Europe s largest wilderness areas. Laponia is an area of Swedish Lapland, located above the Arctic Circle and accessible only on foot. The Haarbergs made many expeditions, camping for weeks at a time and carrying all their provisions, totally dependent upon each other. Luckily, HAARBERGPHOTO HAARBERGPHOTO Erlend had made several visits to this area before, so we knew how far we could travel, Orsi recalls. Our stays in the wilderness have been very challenging, but always achievable. For the sake of photography, sometimes we took chances, but luckily things always turned out right. Tents and trees Their first time together in a tent wasn t quite so smooth a few months after their first meeting in 2004 in his native Norway, Erlend took Orsi on a mountain hike to photograph reindeer. Orsi had recently arrived in the country from Hungary to undertake a PhD research scholarship in wildlife management. Erlend takes up the story: The first trip we had together almost became our last! This was an area where I have had many great experiences and I was eager to show her, but the trip did not go to plan. There was a lot of walking September 2018 I I subscribe

19 with heavy backpacks, without finding any animals. The first day ended with a fierce quarrel about where we should place the tent. Not exactly a good start. The first meeting of British wildlife photographers Sarah and Andy Skinner was less onerous. Andy explains: Let s just say I never expected to meet my future wife while I was hanging from a tree. It was 1996 and Andy was working as a professional arborist. Sarah had moved back from university to her mum s house. I had to carry out some pruning work to a tree opposite, and she came out and started cleaning her car. We made eye contact a few times and you could say it took a little longer than usual to carry out the pruning work. The Skinners have been married for 16 years, and it is their shared passion for nature and photography that has sustained their life together as leaders of photo safari tours, primarily to Botswana, Uganda and India, through their company Images of Wildlife. While they work closely together, they maintain a stylistic diference with their photography, despite being drawn to the same subjects. Sarah explains: I love how Andy always likes to inject a creative style using diferent techniques, never afraid to take risks and experiment. This always results in some interesting images and compositions. Andy continues: For me it s about how she captures a mood of a scene so beautifully and her wildlife portraits. This is where her love of wildlife shines through. The diference in styles is more marked with the Haarbergs. Erlend was already an established wildlife photographer before meeting Orsi, who has since earned wide acclaim for her landscapes. However, this obvious separation of subject interest doesn t mean they ignore each other s work. In fact, Erlend clearly admires his wife s approach: She doesn t do things by half. When she sees the Siberian jay in the old pine forest of the Stora Sjöfallet National Park, Laponia, Sweden Nikon D3S, 14-24mm f/2.8 at 14mm, 1/3200sec at f/11, ISO 1250 Orsolya and Erlend Haarberg are award-winning nature photographers based in northern Norway. Their latest book, Laponia Majestic Stillness, can be ordered online, price 42, at www. laponia/en. potential in a subject, she has unlimited patience to wait for the right conditions. Her perfectionism in every aspect of image making from the planning phase, through field work to image processing made me much more aware about my approach to my own work. For landscape photographers Ted Leeming and Morag Paterson, there is a more unified objective to their compositions as they seek to depict their surroundings as abstract impressions with a singular voice. Whether Ted or Morag triggers the shutter, their fine-art prints are all signed as Leeming + Paterson. Their photography was markedly diferent when they first got together in 2006, but there was enough respect for each other s work for one to inspire and influence the other. Although Morag admits Ted s studies of smaller rivers and moss-clad trees influenced her later images, it is Ted who has experienced the subscribe I I 15 September

20 PHOTOGRAPHIC COUPLES greater transformation in style since the couple began collaborating. He says: Morag showed me an entirely new way to look at the world, refusing to accept conventional thinking. Once I recognised this, it opened a whole new world for me. This joint interpretation of the landscape is best demonstrated by their 2014 book, Zero Footprint, a homage to the changing mood and light of the Glenkens in Dumfries and Galloway, Scotland. Every image was taken from the same spot on their kitchen patio (hence the book s title) but the variances in light, season, weather, focal length and direction meant no two images were the same. Four years on, they continue to make abstract impressions of their surroundings, only this time from the Ligurian coast in north-west Italy. LEEMING + PATERSON LEEMING + PATERSON The evening sea at Albenga, Liguria, Italy Canon EOS 5D Mark III, mm at 100mm, 0.4sec at f/16, ISO 100 Strengths and preferences When on safari and confined to their vehicles, Sarah and Andy Skinner are also faced with the same subject to photograph, yet they try to avoid duplication. But, as Sarah admits, it does sometimes happen: I always know Andy will be keen to capture movement, and although I sometimes do the same we try to avoid doing this at the same time. Instead, I might focus on more environmental images. As a result, we often come out with very diferent images to each other at the same sighting. This recognition of each other s preferences is an important aspect for each of the couples to ensure the widest variety of images from a field trip, even when sharing the photo credit, as with the case of Leeming + Paterson. Morag Leeming + Paterson specialise in abstract representations of the landscape Canon EOS 5D Mark III, mm at 400mm, 1/5sec at f/36, ISO 100 explains: We re quite good at divvying up a shoot when we have time pressures on a commission where we usually split [the work], with Ted taking the wider and more tripod-based shots, and me going for longer lens work and experimenting with motion blur. Having said that, we can inadvertently have a complete and unintended role reversal at times. Below left: The Onlookers by Andy Skinner Nikon D810, mm at 300mm, 1/5sec at f/11, ISO 72 Below right: Framed by a Giant by Sarah Skinner Nikon D500, 500mm f/4, 1/800sec at f/4, ISO 125 Such an empathic understanding of each other s viewpoint is no doubt essential for a smooth-running partnership, but when it comes to competitions and award success, doesn t rivalry sometimes get in the way of domestic harmony? The Haarbergs, who won more than 30 awards for their photography last year, including European Wildlife Photographer of the Year for Erlend, ANDY SKINNER LEEMING + PATERSON September 2018 I I subscribe

21 Clouds swirl around the slopes of the Ligurian Maritime Alps in Italy Sony A7R II, mm at 130mm, 1/3200sec at f/8, ISO 50 are probably best placed to answer. Ever diplomatic, Orsi says: Awards are a positive feedback that are nice to receive, but we don t give them too much importance. We have diferent priorities and interests in photography, but we often share our goals and projects, so there is no reason to compete. Sarah is a little bit more forthcoming: I would be lying if I said there wasn t a little ANDY & SARAH SKINNER friendly competition between us. We feelthat shealthyasitensureswe continue to push ourselves. Lens diferences Unsurprisingly, all three couples use thesamecamerasystems Tedand Morag shoot with Canon (although TedalsousesaSonyAlpha7RII), while Andy, Sarah, Orsi and Erlend are Nikon users. Being wildlife photographers, Sarah and Andy bothreachforlongtelephotoprime lenses before any other, but Andy prefers the Nikkor 600mm f/4 FL EDVRtoSarah snikkor500mm f/4fledvr,therebyavoidingan unseemly tussle over the big lens. ForTedandMorag,thereisagreater variance in lens choice that is indicative of their diferent ways of observing the same scene. Ted will haveafewmoreatthewiderendof things, says Morag. He is seriously in love with his Zeiss 25mm and 55mm lenses, whereas more often I minthe mmrange. As they often camp in remote areas, Orsi and Erlend keep their equipmenttoaminimumandshare their lenses, particularly the Nikkor 105mmf/2.5Micro,12-24mmf/2.8 Sarah and Andy Skinner run wildlife photo safaris in Botswana, Kenya, Tanzania and Uganda, as well as in India and Canada. For bookings in 2019 see Ted Leeming and Morag Paterson run workshops in Italy, Iceland and the Faroes. Founders of the Zero Footprints project org, their book, Zero Footprint, is available from www. and17-35mmf/2.8zooms.but whenitcomestotheirpersonal favourites,orsican tletgoofhis Nikkor mm f/ g ED VR. IlovetheVRfunctioninthe windy, low-light Scandinavian winter conditions, she says. For Erlend,hisfocusonbirdsand mammalsmeanshisfirstchoiceis thenikkor500mmf/4efledvr. So, with the gear divided and sorted, subject and vantage point decided and tent site agreed before thepegsarenailed,isthereany otherkeyadviceourcoupleswould givetopartnerswantingtopress the shutter together? Andy Skinner takestheplunge: Don tbeafraidto betotallyopenwitheachotherand giveconstructivecriticismofeach other swork s about recognising that it s perfectly OKtosaytoyourpartneryoumay notlikeanimage,aslongasyoucan articulate the reasons why. After all, photography is very subjective. Aboveall,nevertakeyourpartner s feedbackpersonally.weapplythis verypieceofadvicewhenweare choosingimagesforourwebsite then,it saboutthemeritsofan imageandnotwhotookit. subscribe I I 15 September

22 Legends of photography Racing car fans on their way to Mount Panorama for the Bathurst V8 car races, Australia. Minutes To Midnight TRENT PARKE/MAGNUM PHOTOS TRENT PARKE/MAGNUM PHOTOS Trent Parke Trent Parke realised his photography was taking him back to his childhood. Ailsa McWhinnie learns more BorninNewSouth Wales, Australia, in 1971, Trent Parkefirstpicked upacamera hismother s PentaxSpotmatic whenhe was12yearsold.itwasalso hismotherwhooversawhim ashemadehisfirstblack& whiteprintsinthefamily s rudimentary darkroom (which doubledupasthelaundry room). However, her influence cametoatragicendwithher sudden death from an asthma attacktowhichparke,whowas aged 13 at the time, was the only witness. Although he admits to blanking out the experience, he continued to use the makeshift darkroom, making bits of money from photography on the side, while he pursued his first love of cricket. Photography, however, wastakingover,andhis growing fascination with it wouldin2007eventually lead to him becoming the first and indeed still the only Australian photographer to be acceptedasafullmember of Magnum Photos. To call him a street photographer would be to undersell the achievements of the47-year-old.nocartier- Bresson wannabe, Parke was placed in the World Press Photo in 1999, 2000, 2001 and again in He also won the WEugeneSmithAwardfor humanistic photography in 2003,withhismajorbodyof work Minutes to Midnight, whichwastheresultofa 56,000-mileroadtriphetook aroundaustraliawithhiswife, the artist and photographer NarelleAutio.Intheimages, he explores the Australian outback itsdesertedtowns and disenchanted people and itsuneasycontrastwiththe country smajorcities.the grain, contrast and deliberately blown highlights oftheblack&whiteimages servetoemphasisetherawness and tension inherent in the subject matter. Life and death ItwaswithhisprojectThe Black Rose that he eventually found he was able to face up to hismother ssuddendeath.the name came about after Parke tookacuttingofabizarrelooking plant while travelling through Victoria. On researching it, he learned that the black rose symbolises death, or the completion of a longjourney.thisdiscovery coincided with a move from thebustleofsydneytothe slowerpaceofadelaide a by-product of this was that it gave him time to observe his young sons growing up and enjoyingthesortofcarefree childhood that his mother s death had robbed him of. Theseedwassown,and,as Parke said, I began writing andtakingphotographs,asi sought to get those memories back. The resulting body of work whichtooksevenyears to complete before it went on to become a major exhibition at theartgalleryofsouth Australiain2015 comprised 14 diaries and images culled from many thousands of rolls of film exposed across Australia s vast expanse. In an interview with The Australian newspaper, shortly before the opening of the exhibition,parkesaid, Youget life and death, dark and light that sveryimportant in my work September 2018 I I subscribe


24 YOUR LETTERS Inbox NIKON Write to Inbox, Amateur Photographer, TI Media Limited, Pinehurst 2, Pinehurst Road, Farnborough Business Park, Farnborough, Hants GU14 7BF LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY LETTER OF THE WEEK A new friend It was earlier this year when you printed my letter asking what I coulddowithmyredundantfilm-processingequipment,including enlarger and associated gear. It certainly raised some interest resultingincontactbeingmadewithsomeofyourreadersand an interesting dialogue too about their photographic interests and aspirations.intheprocess,ifeeligainedfriendswherebywe could, if we wished in the future, contact each other about our favourite subject. Fortwoofus-thatismyselfandmynewfriendBill-itresulted inameetingwhereienjoyedhishospitalityandgainedafurther insightintohisinterests,whilehebenefitedwiththedeliveryofall myequipmentplusacoupleofmycameraswhichalsoappealed tohim.iamsurethatwewillbeincontactinthefuture,too. Sothisistothankyouforyouradviceandassistanceandfor providing a further benefit for a few of us by being Amateur Photographer readers. Martin Pagett How lovely, Martin. I m glad we have helped you to make a new friend Nigel Atherton, editor Win! TheMicroSDHCEVOPluswithSD adapter 32GB Class10 UHS GradeU1cardwillsupport4Kandhasreadspeeds ofupto95mb/sandwritespeedsupto20mbs. D850orZ7? I m writing with regard to your reviewofthenewnikonz7 mirrorlessmodelinap1 September,whichIreadwith interest. I wonder how these new cameraswillaffectthesalesof currentmodelslikethed850? IownaD750andwas thinking of buying a second body sometime soon, so the D850 wouldhavebeenonmyshopping list. However, with the new mirrorless models on the horizon, I mgoingtoholdfireuntilican handle them for myself and decide which suits me best andican tbetheonlyone. Also, I guess that lots of current D850 owners will be selling them to finance the purchase of one of the new mirrorless models, so will thedemandandpricesforthe old full-framemodelsfall? Thanks for your excellent magazine which arrives on my doormat every Saturday and never fails to interest me and inspiremetotake better pictures. Ralph Jones Wheneveranewcamera comesout,thepreviousmodel fallsinpriceandyouareableto findmoreofthemsecond-hand. It sacannywaytobuygear. AlthoughtheZ7isnotaD850 replacement there will probably be many owners switching systems. But you re right to wait to handle the Z system before making a decision about whetheritisrightforyou Nigel Atherton, editor Nikon s first full-frame mirrorless system prompted several reader comments Nikon moves on, like everyone else does I enjoyed your review of the Nikon Z6andZ7(AP1September), butwhathappenedtothered stripe that Nikon cameras always had?thecameraslookedalot like clones of the Sony full-frame camerasthatyourmagazinesaid wereuglyanddifficulttogripwith abiglensattached? Idon tseewhypeopleshould complain about the new lens mount; things are always evolving. Youcouldn tmakealensoffyour Nikon F work properly on a Nikon D5, so you have to expect change. IamabiguserofCanon cameras,butitdoesn tbotherme that they did away with the FD mountinthe1980s.thelast CanoncameraIusedwithanFD lens was an old F1n that was sold on ebay 20 years ago. People will go out and buy the new lenses and stick the old ones on ebay too. One question remains: why the 50mmf/1.8inthenewmount? Surely an f/1.4 would be better. AndrewSRedding Buying with your eyes Car makers, fashion houses and restaurants are among many who know it, but camera makers tend toforgetit.thetruthisthatmany customers buy with their eyes, andit sbeenprovenrepeatedly. Having the right look counts for a lot of persuasion, so the current unanswered question is about thevisualappealofthemuchheralded new Nikon mirrorless camera. Diehard Nikon followers will probably be satisfi ed, but those withoutabrandlinkmightwell prefer to look elsewhere. Styleoversubstancecanbea pitfall and visual attraction is often onlythestart.whenyouconsider Nikon could have started with a cleansheetforthismajor breakthrough you can only wonder why the camera looks the way it does. Gary Knowles Apartofmewouldhaveloved Nikontohavetakenitsdesign cuesfromthefm2.thedfwas inspired by it but was too big to be a digital version. With the Z system they actually could make a digital FM2 for the 21st centurymuchmoreakintothe size of the original. In the meantime making a mirrorless version of the hugely popular D850 (AP s current Product of theyear)isn tabadwaytokick off the new system Nigel Atherton, editor Savour the moment IverymuchenjoyedAmyDavies s Viewpoint (AP25August)and think she is completely correct: thereisafinelinebetweenbeing an enthusiastic photographer and enjoying the moment, and letting photographytakeovertosuchan extent that enjoying the moment is completely subordinated to the endless, frenetic pursuit of photo opportunities. Ihaveverygoodexperienceof this latter phenomenon at first hand,fromthedayswhenitook clientsonsafariinkenya,looking at animals and birds. I was already aphotographerinthosefaroff days and so could get our party September 2018 I I subscribe

25 into viewpoints that promised good photographs but when I didsoinoticedtwocleartypesof behaviour. There were those in the partywhospentthewholetime either with their eyes glued to their viewfinders or changing their films (there were only 36 frames percassetteinthosepre-digital days), and there were those who, aswellastakingafewphotos,also savouredthemoment theplace, thesounds,thesmells,thewhole experience. The second group wouldhavecomeawaywithfewer images,andprobablynotsuch photographically perfect ones, but added to all their other memories of the moment, those fewerimageswouldundoubtedly helpthemtorecall whatitwaslike beingthere,whichissomething Ialwaystry-sometimes successfully, sometimes not - to instil in my photographs. Andthesethoughtsapplyeven more,inmyandamy sview,to subjectsandplacesthat,asshe puts it, have been photographed to death. After all, which is going to be more important: spending endless time and energy trying to make your photo stand out from themillionsthathavealreadybeen takenofwhateveritisyou re pointingyourcameraat,orsimply taking some reasonably quick, off-the-cuff record shots and actually enjoying where you are? AsAmysays,it sthe qualityover-quantityapproach.andas muchasanything,it sthequality of life over quantity approach. Adrian Lewis Faulty memory WhileIdowholeheartedlyagree withamydavies(viewpoint,ap 25August)thattherearetimes when we should simply enjoy the moment rather than photograph it,ihaveadifferent take ontwo ofherothercomments:thata study suggested you re less likely to remember something if you James Styles says the Brownie 127wasarare British success takeaphotoofit and sitona harddrivewhichimaynever look at. MyscreensaverontheiMac pullsinphotosfrommyharddrive soidoseethem,plusihaveother imagesrunningasaslideshowon mytvandothersonsmaller digital photo frames around the house. I m proud of my photos, I want to look at them, recall the occasion and, in this way, it is those events which I do remember. As confirmationofthis,therehave been numerous times when other membersofmyfamilyhave referred to some event, outing or visit,andihavenorecollection. WhenIcheck,Irealisethat,for whatever reason, I took no photos at the time. Mike Dodman I m exactly like you, Mike. If Ihavenophotosofanevent then within a few years it s like it never happened. No memory at all. Conversely some of the memoriesithoughtihadof past events turned out, on reflection,tobeaplayback of my photos of it Nigel Atherton, editor British-made cameras Although we are good at design, manufacturing high-precision products in quantity is where we fail.thepre-warcompasscamera was designed in England but had to be made in Switzerland by Jaeger-LeCoultre, the watch makers,asnooneonthissideof the Channel had the skills. The Ilford Witness was another failure becausealthoughitwasdesigned in the late 1940s it took several yearsbeforeitcameontothe market as it was impossible to find afirmtomakeitinquantity.only around320weremadeandleica then produced the M3. Our success was found in the Kodak Brownie 127! James Styles CHRIS MCPHEE In association with TheUK soldestand most prestigious photo competition for amateur photographers is now open Amateur Photographer of the Year Competition 10,000 OF PRIZES TO BE WON *FOR THE PURPOSE OF THE COMPETITION, THE DEFINITION AMATEUR REFERS TO A PERSON WHO EARNS 10% OR LESS OF THEIR ANNUAL INCOME FROM PHOTOGRAPHY OR PHOTOGRAPHIC SERVICES. Round Seven Worldinmotion EnterthecodebelowviaPhotocrowdtogetone free entry to Round Seven World in Motion APOY Enter today! FOR THEsecondyearrunning,APhasteamedupwithSigmaand Photocrowd to bring you more than 10,000 worth of Sigma prizes and an easy-to-use portal that makes entering the competition straightforward. APOY is open to amateur* photographers from around the world. Recordingactioncanbetricky,sobepreparedtoexperiment.Weare lookingforshotsofanythingintheprocessofmoving fromcarsto animals, waterfalls or sports people. Alternatively, you might decide to moveyourcameraupanddownorfromsidetosideduringthe exposure to create an Intentional Camera Movement (ICM) shot. YOUR FREE ENTRY CODE ROUND SEVEN CLOSES ON 21 SEPTEMBER TO ENTER VISIT subscribe I I 15 September 2018


27 ǎ ÿïíá ÿǡǡǡ A ÝÝÏÝÂ ááǣǐ A èè É ù1lnrq}j B61337:BUUN;!!! ;ITM[[\IZ\;MX\MUJMZ XZMWZLMZ aw]z[\wlia 7225'(57(/(3+21(.IKMJWWS"/ZIa[ WN?M[\UQV[\MZ AW]<]JM"/ZIa[ WN?M[\UQV[\MZ <_Q\\MZ"(VQSWVI\OZIa[ 1V[\IOZIU"(VQSWVI\OZIa[ 4QVSML1V"/ZIa[ WN?M[\UQV[\MZ

28 Reader Portfolio Spotlight on readers excellent images and how they captured them 1 4 Bernard Dawson, Holt, Norfolk Bernard has been an amateur photographer for over 50 years, having been started off by his ather who was also a keen photographer. As a naturalist, his favourite subjects are macro shots of insects, but as this selection shows, he also has a penchant for abstract forms. Bernard loves that photography encourages him to visit interesting places, making him look more closely at the world around him. At the moment, Bernard is experimenting with in-camera multiple exposures and intentional camera movement (ICM). Arterial 1 Taken at a pond in Holt Lowes, Bernard liked the way the sunlight was highlighting distorted shapes in the water. Sony DSC-H1, fixed lens, 0.8sec at f/6.3, ISO Odyssey 2 The main challenge for this bubble image was keeping the camera still during the required lengthy exposure. Sony DSC-H1, fixed lens, 2.5sec at f/5.6, ISO Visions 3 Bernard couldn t resist taking this shot, with its apparent face staring back at him. Sony DSC-H1, fixed lens, 0.4sec at f/6.3, ISO 100

29 UR PICTURES IN PRINT NOTE:PRZEAPPLESTOUKANDEURESDENTSONLY The Reader Portfolio winner chosen will receive a Manfrotto PIXI EVO tripod worth Visit Lightweight and portable, the Manfrotto PIXI EVO boasts two different leg angles with a sliding selector enabling you to shoot ground-level images. It s adjustable, with two-section legs featuring five different steps that adapt the footprint to uneven surfaces. With a payload of 2.5kg, you can tilt the camera 90 to capture incredible images. Submit your images Pleaseseethe Sendusyour pictures section on page 3 for details or visit Spiral 4 This striking subject reminded Bernard of a miniature catherine wheel. Sony DSC-H1, fixed lens, 0.8sec at f/6.3, ISO Fusion 6 Another image taken at Holt Lowes. For Bernard, the subject conjures up images of a Picasso painting, an artist he has always had a liking for. Sony DSC-H1, fixed lens, 1.6sec at f/6.3, ISO 100 Beyond 5 Bernard was attracted by the glow at the end of the red lines, which reminded him of the lures used on deep sea fish. Sony DSC-H1, fixed lens, 2sec at f/6.3, ISO 100 subscribe I I 15 September

30 Technique Constant lighting makes shooting still-life setups much easier Nikon D850, 105mm, 1/5sec at f/13, ISO 100 KIT LIST Rotolight AEOS This disc-like LED can be used in the studio or on location. It offers both powerful constant LED illumination and High Speed Sync flash, with an optional battery pack that offers five hours of use. Rotolight NEO 2 The NEO 2 is the most portable light in the Rotolight range. Like the AEOS, it also offers a combination of bright, constant LED illumination and High Speed Sync flash September 2018 I I subscribe

31 IN ASSOCIATION WITH James Paterson James is an award-winning journalist, skilled photo editor and photographer. His work has appeared in countless magazines and books, and he is editor of Practical Photoshop. Although James specialises in portraiture, he shoots a range of subjects. A softbox helps create clean, solid reflections when using metal and glass ALL PICTURES JAMES PATERSON Light crat With continuous lighting, polished product shots and carefully crafted still-life photos are a joy to create, explains James Paterson One of the idiosyncrasies of photography is that we are accustomed to the idea of lighting subjects with a light that none of us can properly see. A burst of flash is impossible to judge by eye, but it s the accepted norm for photographic lighting, and has been so for more than a century. For this reason, flash has always been one of the biggest stumbling blocks for those learning photography. Its unpredictability means that flash takes years to master, and so it s rightly a source of pride for those users who have learned how to control it. But with advancements to continuous lighting in the past few years, this century-old AEOS sotbox A must for product photography, a softbox diffuses and softens the light. It also lets us create clean, hard-edged reflections when shooting glass or metal. Relector Useful for bouncing light back into shadows and to even out the contrast in still-life photos, a reflector is an inexpensive and invaluable piece of kit for all kinds of photography. Skyport Trigger The NEO 2 and AEOS used here come with inbuilt Elinchrom Skyport receivers, which means you can pair them with a Skyport transmitter like this to control and trigger HSS flash. subscribe I I 15 September

32 Technique mindset is shifting. High-powered LEDs like the Rotolight range make it easier than ever to light becausewedon thavetorelyonlightmetersand endless test shots. We can simply eyeball it. Precise control The convenience of shoot-what-you-see lighting isespeciallyhelpfulwhenshootingstilllife, product shots, macro or any subject where you havethefreedomandtimetocraftthelight. Whethermakingelegantstill-lifephotoslikethis AndréKertész-inspiredclose-up(seemain image, page 30), or shooting professional product photos,therotolightrangeofledsofers alltheledsintherotolightrange,theaeos used here not only gives us powerful continuous lighting,butalsotheoptiontochooseacolour temperature (with an astounding colour accuracy ofcri:96+).wecanfine-tunethebrightness fullpower,theaeosiscapableof5750lux. What smore,italsofeaturesahighspeedsync (HSS)flashmodethatmore than doubles this. Exposure freedom Thoseweddedtotheirspeedlightsandstudio monoblockswillarguethatledscan tcompete struethatthe flashwillproduceahighermaxoutputevery time.butthisshouldnotbethedecidingfactor onwhichlightisbest.anyonewho sboughta camerainthepastfewyearswillknowthat modern sensors don t need to guzzle light to produce stunning photos. With still-life photography max output doesn t necessarilyhavetobethatimportantatall.ifthe subject isn t moving and the camera is fixed to a tripod,wecanchooseanaperture,droptheiso andthenusealongershutterspeed.inthiskind of situation it s all about quality of light. Qualityoflight ThehighdensityoftheRotolightLEDbulbs meanthequalityoflightismoredifusethanyou mightthink.italsomeansthattheydon tsufer fromtheweirdshadowshapesyouoftenseewith cheaperleds.what smore,theydon theatup oremitanyloudfansounds,whichmakesthem ajoytoworkwith,especiallyifyouplanon spending several hours methodically working in thestudio.theyalsocomewithasetofcolour gels(weusedtheorangegeltolightthebackdrop inthebottlephotoonpage33),andbecausethe light never gets hot these can be fastened directly infrontofthebulb. Instant feedback Instant feedback with constant lighting means allthefactorsthatmakeup good lighting like controlovershadows,qualityoflightandcorrect lightingratios canbeassessedandtweakedby eye.wecanjudgethequalityandstrengthofthe light, have the shadows fall where we want, and seehowtwoormorelightsworktogether,all before taking a single shot. Best of all, we don t needtobeamasteroflight wejustneedtohave agoodeye.suddenlylightingbecomesless of a mystery and ultimately more fun. AFTER ONETHINGtobeawareofwhenusing continuous lighting for still life and product photosisiftheambientlightwillaffectthe exposure. Often this will mean shooting in adarkroomforcompletecontroloverthe light.butwecanuseambientlighttoour advantage. We could, for example, light our subject using window light from one side as we ve done here. The Before image shows the effects of the window lightalone,whileinthelargerimage,the RotolightAEOSfillsintheshadowsonthe right and defines the shapes. TheRotolightsreallyshowtheirworth inaset-uplikethis.colourtemperature controlbetween3150and6300kelvin makesiteasytobalancetheaeoswith daylight (around 5600K), letting us use bothnaturalwindowlightandartificial LED light in perfect harmony. Similarly, if we need to shoot in an interior where IN ASSOCIATION WITH Harmonious colour temperature BEFORE Window light from the left and LED light from the right Nikon D850, mm, 2.5sec at f/16, ISO 100 theoverheadtungstenlightingisdifficult tocontrol,orcouldeventurnoff,we cansettherotolightstothesame temperature and avoid any white balance safeaturethatwillprove usefulforallkindsoflocationshooting whenever we need to supplement the ambientlight,whatevercolour temperature it may be. Use a combination of ambient light and artificial LED light for a perfectly balanced picture September 2018 I I subscribe

33 This final image is a composite of three frames with the light repositioned in each Nikon D850, mm, 4 sec at f/16, ISO 100 Product composites ONEOFthegreatadvantagestohaving astillsubjectandcontrolledlightingis that you don t have to nail everything in a single frame. With the camera on a tripod youcanshootseveralframesinalignment then combine them in post-production. Itmeansyoucanmovealighttogetthe perfectreflectionorhighlightononepart ofthesubject,thenrepositionitelsewhere tocreateotherhighlightsandshadows satechniquethatsuits productphotography.tophotographthe bottles here, I used a Rotolight AEOS light fittedwithasoftbox,plusasmallerneo2 fitted with an orange gel trained on the background. The final image consists of three frames: first with the AEOS behind andtotheleft,thenbehindtotheright, then in front and above. Ofcourse,thisrequiresthetimeand Photoshopskillstocompositetheframes together.butit swellworthitfortheextra flexibilityyouhavetopickandchoosethe frames that showcase the subject at its best.what smore,it sidealforthosewho don t have the budget for lots of lights. Composite of final three frames together in post-production AEOS behind, right AEOS behind, left AEOS front, above subscribe I I 15 September

34 LOCATION GUIDE Tyneham, Dorset Explore the small ghost village of Tyneham in the autumn on a chilly, foggy day, says Jeremy Walker KIT LIST Macro lens Tyneham is a great location for close-ups and details, so a macro lens is ideal. If you do not have a dedicated macro lens, a close focus 50mm will do a good job. A 24-70mm (full frame) or equivalent will also be useful. CROWN COPYRIGHT 2015 ORDNANCE SURVEY. MEDIA 009/15 Tripod A tripod will be handy, especially in the dimly lit church and schoolhouse, and for precise close-up focusing. Using a tripod at Tyneham has never been a problem, either inside or out. THE SMALL village of Tyneham lies in a small wooded valley in the idyllic rolling countryside close to Dorset s world famous Jurassic Coast. The small collection of farm buildings, church, schoolhouse and tumbledown cottages have been trapped in a time warp thanks to the preparations for D-Day. In 1943 the residents were given just a few weeks to vacate their houses with a promise that they could return after the war. This never happened and it has remained a ruined ghost village ever since. The large barn has a colourful hay wagon and an ever-expanding collection of farm tools and props, great for detail shots. There is also a theatrical stage showing a view of the old manor house, a fun location for portraits. In the outbuildings there is large farm machinery including an old Fordson Major tractor. In the stables there are rusting oil lamps and tools sat on cobweb-fi lled windowsills, all great material for close-up and urban decay type images. The terrace of abandoned and decaying cottages comes complete with a brief history of what the building was and who lived there a sad and poignant reminder of the passing of time. There is also the old schoolhouse which is lit by just soft window light, giving it a wonderful atmosphere. The church is still intact, complete with stained glass windows, and now it serves as a bit of a historical information centre rather than a museum. Above: Many objects inside the buildings are ideal for detail shots and close-ups Nikon D850, 50mm, 1/100sec at f/10, ISO 1000 Right: In the stables you will find great subjects for urban decay detail images Nikon D850, 50mm, 1/200sec at f/5.6, ISO 2000 Far right: The dusty interior in the schoolhouse makes for atmospheric shots Nikon D850, 50mm, 1/100sec at f/10, ISO 1000 Jeremy Walker Award-winning professional photographer Jeremy Walker has been shooting landscapes, architecture and people for more than 25 years. See more of his work at www. September 2018 I I subscribe

35 Technique ALL PICTURES JEREMY WALKER Various points of interest come complete with a brief history Nikon D850, 50mm, 1/125sec at f/11, ISO 2000 Shooting advice When to go Autumn is the ideal time to visit as the colours, mist, frost and fog will all help make Tyneham a magical, ethereal place to shoot. Because of its location on military land, access to Tyneham is restricted. It is open to the public most weekends and the main holiday periods. Visit visiting-tyneham/ opening-times There is no charge to enter but a suggested donation of 2 will help with the conservation work. This will probably be the best two pounds that you will spend on photography this year! Food and lodging Facilities are limited at Tyneham. There are lavatories next to the farmyard at the southern end of the car park. Ice cream vans and food vendors are not allowed on site but of course Tyneham is a great place for a picnic. If you want a bite to eat visit Clavell s Restaurant on the road to Kimmeridge Bay, just two miles to the east. Clavell s is possibly the best tea room/cafe in Dorset the food and cakes are yummy. As for accommodation there are plenty of B&B s and campsites in the area but the nearest hotels are The Springfi eld just outside Wareham or the Mortons House Hotel in Corfe, both excellent centres for exploring this area. Word of warning Tyneham is still within the boundaries of the Lulworth Ranges, the live fi ring area of the Armoured Fighting Vehicles Gunnery School, and warning notices about unexploded ordnance and areas that are out of bounds should be heeded. subscribe I I 15 September

36 Testbench COLLECTING CAMERAS Curious cameras John Wade takes you into the wonderful world of unusual, quirky and unique cameras, some of which you will ind irresistibletoaddtoyourcollection Some collectable cameras are still usable. Some usable cameras are eminently collectable. But sometimes you come across a camera that for shooting purposes is impractical, not to say downright useless, yet you find it strangely attractive. You know you ll never take pictures with it, yet you want it if only to look at it, play with it and secretly fondle it. If you find yourself in this predicament, beware. You might be turning into a camera collector. If all this sounds alien to you, the best bet is to skip the next six pages. If, however, you feel a certain affinity with cameras that are oddly obscure or weirdly wonderful, then read on. UNLESS STATED OTHERWISE, ALL PICTURES SUPPLIED BY JOHN WADE 2018 BY AUCTION TEAM BREKER, COLOGNE, GERMANY ( The Aptus Firstmadetotakeferrotypeortintypemetalplates, versionsoftheenglishaptus,whichbeganin1895, weremadewellintothe1950s.themodelherehails from1922.plateswereheldinthebaseofthecamera, thenliftedintotheshootingpositionbyaswivellingarm witharubbersuckeronitsend,controlledbyairsucked into,orexpelledfrom,arubberbulbattheendofatube. Afterexposure,theplatewasreleasedtofallintoatankof one-shot developing and fixing solution beneath the body. Minuteslater,thedevelopedpictureonthemetalplate wasretrievedfromthetankusingamagnet. Thompson s Revolver Camera bore only a passing resemblance to an actual gun 1862 Thompson s Revolver Camera Designed in England and built in France to loosely resemble arevolver,thelensonthiswet-plate cameraslidupanddownonbrass tracks.atthetopofitsthrow,itlined upwithaground-glassfocusing screencoveredbyamagnifier.asa trigger-like catch was pressed, the lensdroppedtoitslowerposition, which aligned it with a 7.5cm circular photographic plate, just as the single-speed rotary shutter was released to shoot the picture. The platethenrotatedthrough90, readyforthenextexposure. The Stirn was designed to be worn under a waistcoat 1886 Stirn s Patent Concealed Vest Camera Panderingtoacrazethatbegan inthelate19thcenturyfor hidden cameras, the German Stirn wasmadetobewornunderwhat Americanscallavestandwhatwe mightmorereadilyrefertoasa waistcoat.thelenspokedthrough abuttonholeandtheshutterwas releasedbypullingapieceofstring that led from the camera to a convenient pocket. Six pictures could beshotconsecutivelyonacircular glassplatewhichwasrotatedbetween exposuresbyaknobdisguisedasa waistcoat button. The Aptus shot and processed tintype images in only a few minutes 36

37 In 1900, the Mammoth was the world s biggest camera 1900 The Mammoth The world s biggest camera was built in America to photograph what the Chicago and Alton Railway Company called the handsomest train in the world. The camera was 20 feet long, with specially strengthened rubber bellows. Its plate holder used a roller blind made from 80 square feet of ash wood. The camera weighed 1,400 lbs and took 15 men to operate. Plate development used 10 gallons of chemicals. The picture it shot won the Grand Prize of the World for Photographic Excellence at the 1900 Paris Exposition, after which the Mammoth was dismantled and never seen again Mark III Hythe Machine Gun Camera When training First World War pilots in air-to-air combat, it was obviously impractical to use live ammunition for fear of shooting down an aircraft. That s why English manufacturer Thornton Pickard was asked to build this camera. It looked and handled exactly like a Lewis machine gun of the period. But as the trigger was pulled it shot pictures on special rollfi lm, courtesy of a 300mm f/8 lens in the barrel. Once developed, the images indicated how accurate the airman had been in aiming the camera and, if it had been a real gun, the likelihood of him having shot down an enemy aircraft. The Hythe Machine Gun Camera was made to train pilots in air-to-air combat The Royal Mail Stamp Camera, which produced 15 postage stamp-sized pictures 1907 Royal Mail Stamp Camera All cameras have at least one lens. Some have more. The Royal Mail Camera had 15. This was asmall,box-shaped mahogany plate camera, made in England by W Butcher & Sons. It produced 15 identical portraits in three rows of five on quarter-plate size glass plates. Each of the individual images was about the size of a postage stamp and special masks were available to make a contact print from the plate look like a sheet of postage stamps; hence the name of the camera. As the trigger was pulled it shot pictures on special rollfilm, courtesy of a 300mm f/8 lens in the barrel subscribe I I 15 September

38 Testbench COLLECTING CAMERAS 1936 Photo-See Twelve years before Polaroid s fi rst instant picture camera, the American Photo See Corporation made this small box camera, which shot and developed an image in fi ve minutes. It did so by encasing single sheets of fi lm in light-tight sleeves. With the camera closed, the fi lm was extracted from the sleeve by a mechanism on the back of the body, the picture was taken, and then the fi lm was reinserted into its sleeve. Using a similar process, the sleeve was then placed in the camera s special developing tank and processed by chemicals poured into and out of spouts on the front of the tank The Compass Designed in England, but built in Switzerland by Swiss watchmaker LeCoultre, the Compass measured a mere 6.5x2.5x5.5cm. But into those trim dimensions, it packed three built-in fi lters, a collapsible lens hood, spirit level, rangefi nder, special heads for panoramic and stereo photography, an Anastigmat 35mm f/3.5 focusing lens that stopped down to f/16, shutter speeds of 4.5-1/500sec, a ground-glass focusing screen under a hood on the back, right-angle viewfi nder, depth of fi eld scale and a built-in exposure meter. It was super-sophisticated, but overly complicated to use and lasted only a few years. The Compass was one of the most complicated subminiature cameras ever made Photo-See camera, with its developing tank, original box and instruction book 1930 The Maton This unusual FrenchcamerawasmadeofBakeliteandheldby a handle on the back into which three fingers could be hooked. Inside, an angled mirror reflected the image from the lens through 90 and down onto paper-bakedfilmrunningalongthebaseofthe body. It shot 24 exposures24x30mm.turningaside-mountedcrank advanced the fi lm andfiredtheshutterinsequence.shutterspeedsof 1/25 1/100sec wereadjustedbyacontrolabovethelens,withalever to adjust apertures beneath. With the addition of a suitable light source, the camera also acted as a projector. The Maton with its purpose-made film cassettes and information book The Lucky Strike was designed as a spy camera for use in the Cold War 1949 Lucky Strike Many disguised cameras were made as novelties, rather than for true espionage use. This one, made by the American Mast Development Corporation, was the exception. It was developed for the US Signal Corps, designed so that a real Lucky Strike cigarette packet could be taken apart and then re-glued around the camera body, with the lens behind a shutter in the side. False cigarettes protruding from the top of the packet controlled various functions and the shutter was released by a minute button hidden under the wrapping. It s doubtful the camera got beyond the prototype stage. p I I subscribe

39 1948 Steineck ABC This was a German camera, designed to be worn on the wrist like a watch. It had a tiny Steinheil 12.5mm f/2.5 lens at the 12 o clock position that shot eight circular images, 5.5mm in diameter on a 25mm disc of fi lm. Film discs could be cut from normal 35mm fi lm, using a special punch. After the single speed shutter was released by a button on the case where a watch s winder would be, the fi lm disc automatically rotated ready for the next exposure. When the camera was launched, clip-on fi lters, close-up lenses and even a miniature enlarger were available. The Tom Thumb combined a camera with an old-time radio Steineck ABC, designed to be worn like a wristwatch 1950 Teleca Couplingacamerawithbinocularswasnotuncommon,especiallyin theerawhensubminiaturecameraswerealltherage.thisone,madein Japan by the Toko PhotoCompanyLtd,took16mmfilminitsownuniquetwin cassettes.ringsontherearofeachlensfocusedthebinoculars,whichacted astheviewfinder.thecamerawasmountedabovethebinocularlenseswithits ownlensbetweenthem,focusedbyaringonthebarrel.behindthat,another ringsetaperturesoff/ shutterspeedsof1/25-/1/100secwereseton aslidingcontrolbesidetheshutterrelease.thiswasoneofthebetter subminiature binocular cameras. The Teleca combined picture taking with binoculars 1948 Tom Thumb Camera Radio Is it a camera, or is it a radio? Actually it s both. The American Automatic Radio Manufacturing Company built this hybrid, using a four-valve radio as the basis in the days before transistors were commonly available. The radio received medium wave only, tuned by a knob on top and a needle passing along a numbered scale on the rear of the body. The camera was a simple snapshot type with two lenses: one to shoot the picture, the other to refl ect its image to a viewfi nder on the top of the body. subscribe I I 15 September

40 Testbench COLLECTING CAMERAS The Summa Report was an unusual press camera from Italy 1955 Summa Report When it came to camera manufacturing countries, Italy was never up there with the greats. The Italian Cesare Tiranti company, however, had a goodtrywiththis,builtoriginallyasapress camera. It featured four lenses on a rotating turret: two shot the pictures, the other two changed the scene in the viewfinder appropriatelyaseachwasrotatedinto position. The shooting lenses offered a choiceofaxenar105mmf/3.5orf/4.5 standard or an Angulon 65mm f/6.8 wideangle, both with built-in Synchro- Compur shutters. The camera shot 6x9 cm images on rollfilm, film packs or plates. The Russian Photosniper was used like a rifle 1965 Fotochrome Although made by Petri in Japan, the Fotochrome was designed by an American photofi nishing company to use its own direct positive colour fi lm. The camera s unusual pyramidshaped body featured a lens at the top which used an internal mirror to refl ect the image down to the fi lm running along the base of the camera. Pressing a button on the side fl ipped up a refl ector for a built-in fl ashgun. Exposure was automatic thanks to a large selenium cell meter surrounding the lens. Misjudged marketing led to the camera s downfall. The short-lived Fotochrome, with a box of its film that produced direct positive colour prints The French Mundus Color was a still camera that used 8mm cine film 1960 Mundus Color 60 In 1932 Kodak introduced Standard-8 cine film. It wasactually16mmwide, and ran though a movie camera twice. Split down the middle with the resulting two strips joined after processing, it produced 8mm images. The French-made Mundus used the full 16mm width of Standard-8 to shoot 8x14mm still images, up to 350 to a reel. A lever on the side advanced the fi lm and tensioned the shutter at the same time. With a Som Berthiot 20mm f/2.8 lens focusing from 50cm to infi nity and a shutter speeded 1-1/300sec, the result was an unusual but sophisticated subminiature camera September 2018 I I subscribe

41 The Mick-a- Matic, made to take 126-size Instamatic film 1971 Mick-a-Matic Mickey Mouse, one of the 20th century s most iconic symbols, appeared on many cameras. But with the Mick-a-Matic, made in America by Child Guidance Products Inc, Mickey didn t just appear on the camera, his head was the camera. His nose held the lens,therewasaviewfinderinthe middle of his forehead and flashcubes couldbeattachedtothetopofhis head.picturesweretakenon126 cartridgefilm,introducedbykodakfor itsinstamaticcamerasin1963.inearly models, the shutter was released by pullingmickey sear.latermodelshad aseparatelevertothesideofhishead Photosniper TheRussianKMZfactorybegan mountingcamerasongunstocks in1944.by1965theearlydesignshad evolvedintothephotosniperrange.several models were made in the following years; thisoneisthefs-12from1982.ituseda modified Zenith single lens reflex with a Tair-3S300mmf/4.5lens,allmountedon agunstockwhosetriggerwaslinkedtothe shutterreleaseinthebaseofthecamera. Aknobsetintothefrontofthestock focusedthelens,andanadjustable shoulderpadattherearcompleted theresemblancetoarifle. The Nimstec produced stereo images by using eight lenses 1980 Nimstec lenticular camera It is generally agreed that stereo cameras need two lenses, but the American Nimstec company preferred more. In 1982, when the company launched the Nimslo cameraasaneasywaytoachievestereo images using lenticular technology, four lenses were used. A few years previously, with this prototype,theywentforeightlenses,totake eight 6x6cm images simultaneously on 120 rollfilm. Each lens was a Schneider Super Angulon47mmf/5.6withitsownshutter speeded 1 1/500sec. The shutters were fired manuallyviaalinkageonthebaseofthe camera or by battery-powered solenoids. The Canon Epoca, a curious design from the 1990s 1992 Canon Epoca Evenaslateasthe1990s,whenmost camerasconformedtoafewbasicstyles, some manufacturers still went for something different. In Japan, Canon produced this strangebeast,shapedlikealongtubewitha hinged lens cap. Opening the cap revealed a mm zoom lens in the tube and a flashgunontheinsideofthecap.thecamera featured automatic exposure and autofocus withabattery-drivenmotordrive.asliding catchonthetopchangedtheeye-level viewfindertoatinywaist-levelfinder.controls atthebackofthetubereleasedtheshutter and zoomed the lens. PICTURE COURTESY OF TIM GOLDSMITH If these cameras have opened your eyes to the world of camera collecting and you would like to meet others who share your interests, take a look at the Photographic Collectors Club of Great Britain. It s the world s largest organisation for those interested in the collection and study of classic photographic equipment and images. Full details about the club can be found at subscribe I I 15 September


43 IN THE FIELD Testbench Centre sharpness is a real strength of this lens when it s opened to f/1.4 Canon EOS 5D Mark III, 1/100sec at f/1.4, ISO 800 Prime sensation TheEF85mmf/1.4USMislovedby Over Canonusersfordocumentary, portrait, and wedding photography. Michael Topham explains why What s your favourite lens? This is a question I ve been asked countless times by guests attending the weddings I ve photographed over the years. As I explain, it s not so much about having a favourite lens but having a select group of lenses that allow me to record the special moments and tell the story of the day as it unfolds the best way possible. The approach I take to photographing weddings today is different from when I first started out. The lenses that were once in my select group consisted of two zooms and a prime. To be more specific they were Canon s EF 24-70mm f/2.8l II USM, EF mm f/2.8l IS II USM and EF 85mm f/1.8 USM. I still carry these lenses with me, but they see a fraction of the use that my faster f/1.4 primes get today. With prime lenses I find they force me to think more creatively about composition. Not only that, they encourage me to move my feet, which in turn helps me engage more with the couple to find the optimum position and angle to shoot from. the past eight months, the CanonEF85mmf/1.4LISUSM has been one of my go-to lenses an optic that I was besotted with whenireviewedit(seeap16 December 2017) and one I was fortunatetoreceivealong-term loan sample of soon after. It has occupied the space in my roller bagthat susuallytakenbymyef 85mmf/1.8USMandhasbeen used nearly every weekend since. It shardtosayforcertain,buti guessimusthavetakencloseto 10,000 shots with it, putting me in a good position to offer some feedback having used it extensively. First impressions As anyone who has used or owned the Canon EF 85mm f/1.8 USM will tell you, this conveniently sized prime might be old, but it s very Ataglance 1,349 CanonEFmount 14 elements in 10 groups f/1.4 maximum aperture 9diaphragmblades 85cm minimum focus distance 77mm filter thread 960g capable of producing attractive results. Okay, it doesn t boast Canon s professional L-series status, it doesn t create the same dreamybokehthatyougetwith theef85mmf/1.2liiusm ( 1,729)andit swellknownfor exhibiting severe purple fringing at wide apertures. But having spent alittleover 300ononeseven years ago, I feel my example has more than paid for itself. Retiring it to my redundant kit wasn t a difficult decision to make when theef85mmf/1.4usmarrived on my doorstep, though I was scepticalofthedifferencein weight and whether its larger size mightbereceivedasbeingmore intimidating when snapping candids. Prior to pressing it into service, I coupled it to one of my EOS 5D Mark III bodies subscribe I I 15 September

44 Testbench IN THE FIELD Users of the lens will be delighted with its fast and quiet autofocus performance Canon EOS 5D Mark III, 1/320sec at f/1.4, ISO 100 to remind myself of how it handles. The long, thickset barrel is immediately obvious when it s supported in your left hand, and its mottled matte black barrel, weathersealing and large switches bring it bang up to date. Making the switch Substituting my 85mm f/1.8 for the 85mm f/1.4 did take time to get used to. As I d envisaged, the extra 525g in weight is noticeable when it s lugged around on your shoulder all day and coupled to a full-frame DSLR. The good news is that it presents a 180g weight saving over Sigma s 85mm f/1.4 DG HSM ( 999) a lens I nearly splashed out on before I found out about Canon s plans to launch its own with image stabilisation (IS). As a photographer who often finds himself challenged by low-light venues and dark interiors, any assistance I can get to stabilise my camera set-up is welcomed. My documentary style means I shoot handheld, and as such, the stabiliser switch hasn t moved from its on position since the day it arrived. You may read in reports elsewhere that this switch is easily knocked, but I ve never found this to be an issue in all the time I ve used it. The image stabiliser is the pièce de résistance of this lens and is what makes it stand out from Canon s other 85mm primes and many of its rivals. We have of course seen image stabilisation introduced into 85mm f/1.8 lenses before Tamron s 85mm f/1.8 SP Di VC USD ( 749) is an excellent example but never on an 85mm f/1.4. In the past I wouldn t have dreamt of shooting below 1/60sec with an unstabilised 85mm prime for the fear of handshake creeping into my shots. Thanks to its highly effective image stabiliser I ve often found myself shooting at 1/10sec when I ve needed to capture static subjects or details under poor lighting conditions and don t want to push the ISO too high. Photographing people is slightly different as it comes with a much greater risk of motion blur so I m always conscious of making sure my shutter speed never drops too low so I m able to freeze any fast or unexpected subject movement. This couple shot offers a good impression of the bokeh that s rendered wide open at f/1.4. The wide aperture helps distract the eye from busy backgrounds Canon EOS 5D Mark III, 1/3200sec at f/1.4, ISO 100 Image quality What I have always loved about fast 85mm lenses is how they offer such a satisfying portrait perspective and draw a viewer s eye into the heart of an image with no risk of distorting facial features. At more than three times the price of the EF 85mm f/1.8 USM, you d imagine the EF 85mm f/1.4l IS USM to be the sharper of the two lenses, which I can confirm it is. The extremely shallow depth of field attained at f/1.4 is great for drawing a viewer s eye to the heart of the frame Canon EOS 5D Mark III, 1/160sec at f/1.4, ISO 800 Green and purple fringes of colour are only noticeable when you inspect images closely at high magnification Canon EOS 5D Mark III, 1/80sec at f/1.4, ISO September 2018 I I subscribe

45 However, I must point out that it doesn t offer the big increase in sharpness that those looking at the lens as a possible upgrade might be hoping for. Where the lens gets my vote ahead of my old 85mm f/1.8 is the quality of the bokeh it renders wide open. The extra two-thirds of a stop benefit results in smoother, less detailed background blur, which is more attractive for candids and couple shots where a strong separation between the subject and what lies behind is paramount. Unlike Canon s faster EF 85mm f/1.2 L II USM a lens I ve used many times before but have never associated with getting a high hit rate of pin-sharp shots when using wide open this optic has proven to be quite the opposite. The combination of fast and accurate autofocus, with image stabilisation, has supplied me with a higher number of keepers than I ve got with any other Canon 85mm prime I have used before. There s a lot to be said for having the confidence to open a prime lens to its widest aperture and know you re going to capture consistently sharp and attractive images with each and every shot you take. It s just one of the reasons why it has become such an important part of my kit. Although the lens is prone to displaying chromatic aberration along high-contrast edges, purple fringing is handled far better than Canon s 85mm f/1.8. Enabling lens profile corrections in Lightroom or Camera Raw does a marvellous job of correcting the vignetting that occurs between f/1.4 and f/2.8, and I ve found setting the purple and green amount defringe sliders to values of 10 under the manual tab helps remove chromatic aberration most effectively. Final thoughts When the loan sample gets recalled I have a very difficult decision to make. Do I part with my EF 85mm f/1.8 USM and upgrade, or hold onto what I already have and make do? After falling in love with Canon s new 85mm f/1.4 and the delightful look to the images it creates, particularly wide open at f/1.4, Michael in action with the 85mm f/1.4 coupled to his Canon EOS 5D Mark III it s hard to imagine rocking up to a wedding without it. It doesn t come without its cons: it is larger, heavier and draws slightly more attention when trying to shoot inconspicuously; however its effective image stabilisation, useful weathersealing and attractive bokeh are the main reasons why documentary, portraiture and wedding photographers have become so enthralled by this lens. The fact that it requires me to spend over 1,000 once I ve traded in my old lens is a bitter pill to swallow. A question I always end up asking myself when it comes to making difficult decisions like this is: will it improve the images I take and submit to my clients? On the basis that my answer to this is yes and that I consider it to be one of the finest primes Canon has released since the EF 35mm f/1.4l II USM in 2015, I know I have to add it to my kit and select group of lenses. Let the saving commence! subscribe I I 15 September

46 Testbench ACCESSORIES ALL PRICES ARE APPROXIMATE STREET PRICES 3LeggedThing Punks Brian tripod Michael Topham tests a travel-friendly carbon ibre tripod Forsometimenow,3LeggedThinghasbeen usingpeople snamestodistinguishthedifferent products in its line-up. At present its Punks range oftripodsismadeupoffivemodelsandthelatest oftheseisbrian,whichhasbeenrefinedfromthe company sfirstevertripodthatsharedthesame name.thisnewversionisaimedatphotographers who dlikeatripodthatextendstomaximumheight of1.87m,foldsdowntojust41cmandweighs under1.5kg.toensureit sbothcompactand lightweight, it combines two column sections with fivelegsections,andismadefromeightlayersof 100% pure pre-preg carbon fibre. Thanks to its removable and reversible centre column, it allows userstoshootaslowtothegroundas11cm, withtheoptionofaddingthecentrecolumntoits detachablemonopodlegtocreateatallmonopod thatextendsto1.92m.themaximumload capacityisratedat14kg,eachlegcanbesetto oneofthreeangles(23,55,80 )andeachtwist lock only requires a quarter turn to lock and loosen. With 12 twist-type locks and two centre-column twistlocks,it snotthefastesttripodtoerect,but afterafewattemptsimanagedtosetituptoits maximum working height in under 45 seconds. Applyingforcetothetopwhenit sfullyextended did exhibit some flexing of the legs, but this is commonontripodsthathavefairlythinlegsections towardsthebottom.itwasreassuringtofindthat noneofthelocksshowedanysignofslippingand the spirit levels on both the tripod and AirHed Neo ballheadmeansthere snoexcuseforcapturing shotsthataren tperfectlylevel.onthesubjectof thesuppliedballhead,operationiseasyandfluid. ItcomeswithanArcaSwissquick-releaseplate that easily tightens onto the camera with the suppliedtoolanditsportsrubbergripsthat provide excellent leverage when your hands getwetoryou rewearinggloves.thetripod comesinadrawstringcarrybagandifthe grey,blueandcoppercolouringisn ttoyour liking, a less garish matte black is available. Verdict Brianisn tthesmallesttripodin3legged Thing spunksrange,butitsfoldedlengthand maximumheightisimpressiveandmakesitvery versatilewhentravelling.asidiscoveredduring my testing, it provides a solid base for a full-frame cameraandlonglensesandoffersallthefeatures youwantfromapremium-gradetraveltripod. Overall,there slittletofaultandit sasetofsticks you can put your faith in to get excellent results. AirHed Neo Thenameofthesupplied ballhead.itacceptsany standard Arca Swiss-compatible release plate. Detachable feet Therubberfeetcanbe replaced with various foot accessories for different terrain. Recommended Travel friendly The tripod legs are designed to counterfold around the column when notinuse. Tightening tool Atooltotightenthe Arca Swiss plate is included. It doubles up asabottleopener. ALSO CONSIDER ThesmallerversionofBrianisnamedCorey Three LeggedThing sentry-leveltraveltripod.itfeaturesmany ofthesametechnologiesthatarefoundonbrian,but insteadofcarbonfibre,it smadefromaircraft-grade magnesium alloy. It s aimed at photographers who need theirtraveltripodtobeascompactaspossibleandhasthe samearrangementoffivelegsectionsandtwocolumn sectionsasbrian.coreyextendstoamaximum workingheightof1.5m,collapsesdowntoa length of 34cm when folded and weighs 1.5kg. It includes the company s AirHed Neo ballhead and costs 100 less than its big brother Brian September 2018 I Ataglance Fivelegsectionswith AirHed Neo ballhead Removable and reversible centre column Detachable monopod



49 Tech Talk TechSupport your questions to: and #AskAP, or Facebook. Or write to Technical Support, Amateur Photographer Magazine, TI Media Limited, Pinehurst 2, Pinehurst Road, Farnborough Business Park, Farnborough, Hants GU14 7BF LighterlensesformyCanonEOS6D? QIamadisabledphotographerwhois lookingforthelightestzoomtogowith acanoneos6d.ihaveproblemswith carrying anything that s too heavy, which is why Ichosethe6D.AllthelensesI mlooking at seem to be heavier than the camera. David Rowe AAssuming that you re looking for a standard zoom (in other words, one that includes the 50mm focal length), thenthelightestlensyoucanbuynewfor youreos6disthecanonef24-105mm f/ isstm, sa relatively affordable option too, being widely availablefor 414,andevencheaperifyou shop around. Another possibility is the EF 24-70mmf/4LISUSM,whichweighs600g andcostsaround 800new.Ithasaless versatilezoomrangebutahandyclose-up setting, and being an L-series lens, sports superior optics to cheaper alternatives. If you re prepared to buy second-hand, thenthere sawiderangeofsmallerand lighterzoomsavailablewhichwereoriginally madeforusewithfilmslrs.whilethese won tmatchmodernoptics,lensessuchas theef28-105mmf/ usmandthe EF 24-85mm f/ USM were good for their time. Both weigh around 380g. However,whiletheCanonEOS6Dislighter than some of its full-frame Canon stablemates, it remains a relatively large and heavysystemcamera.smaller-sensordslrs fromcanon,nikonorpentaxwillbe significantly lighter and more compact. Even more so are mirrorless cameras such as the FujifilmXsystemorMicroFourThirdsmodels from Olympus and Panasonic. Canon also hasitsmirrorlesseosmsystem.ifyou definitelyneedfullframe,thensony s mirrorless cameras are very small and light. However,thesizeandweightoflensesisa functionofthesensorsizeinthecamera body,sofull-framecameraslikeyour6dwill alwaysadduptoabulkierkitbagwhen it comestolenses. Andy Westlake and Ian Burley Polarising effect better on film? QIhaveaNikonD300SandIcan tget as good polarisation with digital as I get with film. I have tried altering the white balance and the colour balance, to no avail.thecameraiscoupledwithasigma mm lens and I have a B+W F-Pro Fastlaptop,slowcardreading QIhaveanewAcerSwift 3laptopfitted with an 8th generation Intel Core i7-8550u CPU. It alsohasa512gb M.2SSD.TheSSDis very fast, being able to read 1500MB per second and write 500MBpersecond.Ialso havea64gbpanasonicv90 memorycard,whichiusewith my Panasonic Lumix GH5 for recording4kvideo.thecardclaimsto be able to read at 280MB per second andwriteat250mbpersecond.that s veryfastforansdcard.butthetransfer rate I m getting via the laptop s built-in card reader is appalling. It s more like 30MB per second.evenwithausb3.0cardreader attachedtooneofthelaptop susb3.0 ports I m only seeing around 90MB a secondeachway.i msurethessdandthe CPUaren tbottlenecks.thinkingihada faultylaptop,itriedsomeoneelse sbut theirswasevenworse.amiavictimof memory card marketing hype or is there something I am doing wrong? Chris Arlington AUnfortunately, laptop card readers areusuallyconnectedthrough USB 2.0 speed connections internally,whichexplainswhytheyare so slow. However, the problem is made digital filter. Where might I be going wrong? Keith Atack AIn principle, the polarising effect of your filter has nothing to do with whether the camera it s attached toisexposingfilmoradigitalsensor. Howeveranumberoffactorscaninfluence thevisibilityofitseffect.firstisexposure: modern cameras can interpret the deep blue skies rendered by polarising filters asunderexposure,andcompensateby brighteningtheimageagain.isuggest experimenting with dialling-in some negative exposure compensation to counter this. Secondiswhitebalance:again,yourcamera s automatic systems might attempt to UHS-II memory cards will work at much higher speeds if read through a UHS-II card reader worse because your Panasonic V90 card isuhs-ii,whichmeansitneedsaspecial card reader to maximise data throughput. Ifyoulookatthecontactpadsonthe underside of the card you ll see two rows ofcontactsinsteadoftheusualsingle row.ifyouuseauhs-iicompatiblecard readerconnectedtooneoftheusb3.0 (betterstillusb3.1)portsonyourlaptop you should enjoy transfer speeds much closertothecardspecifications.beware of card readers that say UHS-II compatiblebutdon tofferuhs-ii performanceasuhs-iiisbackwards compatible but, as implied, a reader that works may not work at UHS-II speed. Ian Burley neutralisetheeffect.i dsuggesttryinga preset white balance, for instance using thedaylightsettingwhenshootinginsunny conditions,ortakingapresetoffagreycard withoutthefilterinplace. Anotherissuecouldbesimplyoperational; canyoujudgetheoptimalfilterangleas accuratelyonyourd300sasonyourfilm cameras?firstcheckyourfilter smaximum polarisation position by holding it up to your eye, then see how consistently you can match it when looking through the viewfinder of yourd300s(thisiseasiestifyourfilterhas analignmentmark).ifthere samismatch, this might explain why you re not always seeing the same effect. Andy Westlake subscribe I I 15 September


51 Tech Talk My camera collection is nothing if not eclectic. At the top of the range there are a handful of classics including a Leica IIIf, Contarex Bullseye and a Baby Rolleiflex, while at the other end sits a plethora of cheap and sometimes pretty awful cameras, accumulated over the years in jumble sales, charity shops and car boot sales. Most have just the one lens, but I have examples with two, three, four, eight, nine and even16. The Optomax110 Telephoto Camera has three lenses, though only one of these is the taking lens, the other two forming a pair of binoculars. Asfarascamerasgo,thisone definitely falls into the novelty or gimmick category. Neither the plasticlensedbinoculars,northe camera,whichusesthesubminiature110film,canbe consideredanythingmorethan toys. The binoculars are rated at 4x30mm,sotheygiveamodest fourtimesmagnification,whilethe 80mm f/11 taking lens equates to around 160mm on full-frame 35mm,makingitamoderate telephoto.lookingthroughthe binoculars, you re certainly aware The Optomax110 Telephoto had an 80mm f/11 lens and gave a four times magnification Tony Kemplen on the Optomax Binocular Camera Acamerawiththreelenses,ofwhichtwo are binocular? Here s a novel, albeit gimmicky, camera put to the test Kemplen was able to overcome the camera s framing issues and get this shot of the slight magnification given, but the loss of clarity due to the plasticlensesmeansthatyoucan actuallyseemoredetailwiththe naked eye. Anumberofsimilarcamerabinocular combinations were made in the 1980s, one even had interchangeable lenses, though witha13x17mmnegative,it s hard to imagine any serious photographer buying one. I found mine in a car boot sale some yearsback;itwasinverygood condition and didn t look as if it had had much use. With its very basic specifications, it s definitely a camera for bright sunlight, so I waiteduntilsummertoload it up and try it out. Although fresh 110 film is available today, ataprice,ireckoned the quality of the Optomax s optics didn t warrant such extravagance,soi optedtousedsome expired Kodak Gold ISO 400 colour negativestock.ican t remember how old the film was, but it came in a 12-exposure cartridge. The results weren t toobad,takinginto consideration the tiny negative size These,alongwith20exposures, wereonlyavailableintheearlier days of the 110 format, 24 exposuresbecomingthenormin duecourse.withafixedshutter speedof1/125thsec,holdingthe camera steady to avoid camera shakecouldproveaproblem,but the Optomax is equipped with a threaded cable-release socket andatripodbush.soifyoureally feel it s worth the effort, you can useatripodtoreducetherisk. The results weren t too bad, taking into consideration the tiny negative size. The main problem appeared to be framing the scene becausewhatyouseeinthe binoculars does not accurately reflectwhatappearsonthe negative, and many of my photos hadpartsofthesubjectmissing. Perhaps fittingly, and probably as much down to luck as good judgement, I managed to more or less hit the target with this photo, taken at a local archery display. TonyKemplen sloveofphotographybeganasateenagerandeversincehehasbeencollectingcameraswithaviewtotestingasmanyashe can. You can follow his progress on his 52 Cameras blog at More photos from the Optomax: tony_kemplen/sets/ / TONY KEMPLEN Contact Amateur Photographer, TI Media Limited, Pinehurst 2, Pinehurst Road, Farnborough, Hampshire GU14 7BF Telephone Picture returns: telephone Subscriptions Enquiries and orders Telephone Overseas (lines open Mon Fri GMT 8.30am 5.30pm excluding bank holidays) Oneyear(51issues)UK ;Europee259; USA$338.99;RestofWorld Test Reports ContactOTCforcopiesofAPtest reports. Telephone Back Issues Contact ; Advertising Inserts Call Mona Amarasakera, Canopy Media, on Editorial team Group Editor Nigel Atherton Deputy Editor Geoff Harris Technical Editor Andy Westlake Reviews Editor Michael Topham Features Editor Amy Davies Features Editor Ailsa McWhinnie Technique Editor Hollie Latham Hucker Production Editor Jacqueline Porter Chief Sub Editor Jolene Menezes Art Editor Sarah Foster Senior Designer Steph Tebboth Studio Manager Andrew Sydenham Photo-Science Consultant Professor Robert Newman Senior contributor Roger Hicks Office Manager Hollie Bishop Special thanks to ThemoderatorsoftheAP website: Andrew Robertson, lisadb, Nick Roberts, The Fat Controller Advertising Commercial Manager Liz Reid Commercial Director Dave Stone Senior Account Manager Sereena Gill Production Coordinator ChrisGozzett Marketing Head of Marketing Publishing team Samantha Blakey Chief Executive Officer Marcus Rich Group Managing Director Andrea Davies Managing Director Gareth Beesley Editorial Director Simon Collis Printed intheukbythewyndeham Group Distributed by Marketforce, 5 Churchill Place, London E14. Telephone Editorial Complaints We work hard to achieve the highest standards of editorial content, and we are committed to complying with the Editors Code of Practice ( as enforced by IPSO.Ifyouhaveacomplaintaboutoureditorialcontent,youcan us at or write to Complaints Manager, TI Media LimitedLegalDepartment,161MarshWall,LondonE149AP.Please providedetailsofthematerialyouarecomplainingaboutandexplain your complaint by reference to the Editors Code. We will endeavour to acknowledgeyourcomplaintwithin5workingdays,andweaimtocorrect substantialerrorsassoonaspossible. All contributions to Amateur Photographer must be original, not copies or duplicated to other publications. The editor reserves the righttoshortenormodifyanyletterormaterialsubmitted.timedia Limitedoritsassociatedcompaniesreservestherighttore use anysubmissionsenttotheletterscolumnofamateurphotographer magazine, in any format or medium, WHETHER PRINTED, ELECTRONIC OR OTHERWISE Amateur Photographer is a registered trademark of TI Media Limited TI Media Limited 2018 Amateur Photographer (incorporating Photo Technique, Camera Weekly & What Digital Camera) Website: www. TIMediaLimitedswitchboardtel: AmateurPhotographerispublishedweekly(51issuesperyear)on the Tuesday preceding the cover date by TI Media Limited, 161 Marsh Wall,LondonE149AP.DistributedbyMarketforce(UK)Ltd,5Churchill Place,LondonE14.ISSN Nopartofthispublicationmaybe reproduced,storedinaretrievalortransmittedinanyformatormedium, whetherprinted,electronicorotherwise,withoutthepriorwritten permission of the publisher or the editor. This is considered a breach of copyright and action will be taken where this occurs. This magazine must notbelent,sold,hiredorotherwisedisposedofinamutilatedconditionor in any authorised cover by way, or by trade, or annexed to any publication or advertising matter without first obtaining written permission from thepublisher.timedialimiteddoesnotacceptresponsibilityforloss or damage to unsolicited photographs and manuscripts, and product samples.timedialimitedreservestherighttouseanysubmissionssent to Amateur Photographer Magazine in any format or medium, including electronic. One year subscription (51 issues) (UK), e 259 (Europe),$338.99(USA), (restofworld).The2015USannualDEU subscription price is $338.99, airfreight and mailing in the USA by named Air Business Ltd, c/o Worldnet Shipping Inc, , 146th Avenue, 2nd floor,jamaica,ny11434,usa.periodicalspostagepaidatjamaicany US Postmaster: Send address changes to Amateur Photographer, Air Business Ltd, c/o Worldnet Shipping Inc, , 146th Avenue, 2nd floor,jamaica,ny11434,usa.subscriptionsrecordsaremaintainedat TI Media Limited, 161 Marsh Wall, London E14 9AP. Air Business Ltd is acting as our mailing agent. subscribe i I 15 September

52 In association with Enter today! Amateur Photographer of the Year Competition CLOCKWISE FROM TOP LEFT: 1. HILARY LAKEMAN 2. PAUL GREENHALGH 3. LEE ACASTER 4. ELECTRA STAVROU. BOTTOM ROW L-R: 1. ELENA PARASKEVA 2. GEORGE DIGALAKIS 3. HEATHER ALLEN 10,000 OF Enter the UK s oldestandmostprestigiousphoto competition for amateur photographers. There are eight rounds,soyouhaveeight chances to win some great Sigma cameras and lenses! PRIZES TO BE WON To enter visit

53 ' %, +,),0% ". )% %& %! (!( (%,(! (&(!%,0% ((% %& &!% &((!!!) (% &((%&&&%*#%!*&(!)(-!!(!%#,&)(& %&+!%&!#& &! &()!!& (,!)%((&!+( ///&#(/$("".&$&-! 1,1'(+( 11 & *%*"0% *# + &&%/%$$- 1,, 1 %!! *% &% %%/%$$-!!& *%,&%*&&)((!&(! *(,$%&&)((! $()%&%!%)&(%(! #)%#!&&!,$$ $$ 1 ++('( + *"/# *. + &*.%/%$$- #(/$("&$&-!

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

56 - %&!&& 4>+&K00 C8&+&8> +,/F"; A4D2 4#+4C&00 C8&+&8> A&D2 4#+&&00 D8#+( AD=2 C&00 48( ? 99 AC42 + AC(2 C&00 D +,/F"; ,1B+ AD#2 &>00 48D A#(2 >K00 D8( ; ,1B+ ACD2 4KK+(KK00 (8&+&8> A4 D22 48( "/"31F";B"; ,1B+ AD(2 + AD&2 +4> ;3 HB"1<,31 E" 4> ,1B+ A(2 %"),%&!&& 1<31, #00 C8&,<*"I" AC(2 =+4(00 ( ;, ? 99 A((& + A(=2 4D+CD00 C8&+&8> ?,1B+ A4D2 + A4(2 4D+>K00 C8&+&8> ;, ,1B+ AD42 4(+(D00 C8&+&8> <5* 88 99?,1B+ A4D2 + A4C2 4(+(&00 C8&+&8> ;,388 9? 99 A=2 + A442 4(+4(K00 (+&8# AD(2 4(+(D00 C8&+&8> <5* ?,1B+ A>2 + A=2 4(00 D8& <5* A442 4(00 D8& <5* ,1B+ AD42 DK00 48= 1." ,1B+ A4&2 D&00 48( E00,/EH ?,1B+ AD=2 + AD22 (&+4&K00 (+&8> <5* ?,1B+ A4D2 + A4C2 (&+DKK00 (+&8> A4D2 4KK+CKK00 (+&8> AD22 /I05E< 4D+(K00 D8# 8E, A&C2 4D00 D 8E,.3 +,/F"; 8899?,1B+ AC=2 + AC22 4(+4&K00 (+&8> 8E, AC(2 4(+(D00 C8&+&8> 8E, ,1B+ A4C2 4=00 48# 8E,.3 + / ?,1B+ AD(2 + AD&2 D&00 48# 8E,.3 + / AD42 D&00 48D 8E, ?,1B+ A=(2 + A=#2 CK00 C8& 8E,.3 ; ,1B+ A4>2 (K+4&K00 D8# 8E,.3 ; H? 99 A=(2 + A#22 (&00 48# 8E, ?,1B+ A4(2 + A4=2 >K00 D8# ;3 8E, AD=2 =&00 48# 8E,.3 + / ,1B+ A(>2 =&00 48# 8E,.3 +,/F";99?,1B+ A((2 + A(>2 3,)B/1!"; 4=8&00 K82& <5* A(=2 D&00 K82& 3.B A(=2 (D8&00 K82& 3.B ? 99 A(22 + A&42,)0 CK00 48( ,1B+ A4=2 CK00 D8# ,1B+ A22 >K00 D8# A22 0I1) =8&00 C8&,<*"I" ,1B+ A4=2 4D00 D + / ,1B+ AD42 "!/"-!+!&& 4K+4#00 ( ,1B+ A(22 + A&C2 4>+=K00 ( ,1B+ A&(2 4#+&&00 C8&+&8> A= D8#,) A#2 DK00 D,;,1 3., A((2 D400 D8# 3H, ",<< ,1B+ A2(2 D(+=K00 ( ? 99 A&>2 + A>D2 D(00 48( 0I1) A422 D#+=K00 C8&+&8> A422 CK00 D8#,) ,1B+ A#2 CK00 D8#,) A#2 + A2& CK00 C8& ; A442 CD00 48# 3E,B ",<< ACD2 C&00 D 3H, ",<< ,1B+ A=#2 &K000 48# ,1B+ A4&2 &&+D4K00 (8&+>8C ,1B+ A442 =K+CKK00 (8&+&8> A=#2 4KK00 D8# <B"; ,1B+ A4 4(2 4KK+(KK00 (8&+&8> ,1B+ A4 2(2 4C&00 D8# B,< ; ",<<88888,1B+ A4 K22 %"!), 3!I 1/I A22, 305/"B" 9 ;,< AC(2 (K00 ( A4D2 (K00 ( AD(2 (&+2K00 (+&8> ? 99 AC(2 HB"1<,31 E" 4( A(2 + A=2 "B"; ;,< A&2 4DK, ) A&2!"!&-!& DKK 5""!/,B" ? 99 A2 D=K 5""!/,B" ?,1B+ A(2 + A&2 D=K 5""!/,B" ,1B+ AC2 CKK 5""!/,B" ? 99 A2 + A4& C#K 5""!/,B" A(2 (DK 5""!/,B" ? 99 AD2 &(K 5""!/,B" ? 99 AC& + AC2 &&K 5""!/,B" H? 99 A>2 + A4D2 &#K 5""!/,B" A22 + A4C2 >KK+ 5""!/,B" ?,1B+ AD&2 + AD=2 2K 5""!/,B" A(2 +D( ;3 G,1/,B" A((2 +D ;1<0,BB"; ? 99 A&2 + A>2!"!!&& #+4&00 (,<*"I" ?,1B+ A=42 + A=(2 4K+DD00 C8&+(8& ? 99 A422 + AD&2 44+D(00 ( ?,1B+ A4 2(2 + A4 2#& 4&+(&00 C8&+>8C ,1B+ A442 4&00 D8#,<*"I" ? 99 AC(& + A((2 4>+C&00 D8# E<"! A4 #(2 4>+C&00 ( ,1B+ A=42 4=+(K00 ( ? 99 ACD2 + AC(2 4=+#&00 C8&+&8> & I<? 9 A=2 + A4D2 4=00 (8K ? 99 A4 C#2 + A4 &(2 4#+4C&00 C8&+&8> ,1B+ AC42 4#+DKK00 C8&+&8> & I< A4D2 4#+&&00 C8&+&8> A(2 4#+&&00 C8&+&8> A=2 DK+C&00 C8&+(8& A4D2 D(+4K&00 ( & I< AD22 D(+=K00 D8# ?,1B+ A4 K(2 + A4 4#2 D(+=K00 ( ?,1B+ A&42 + A&(2 D(+#&00 C8&+(8& A4C2 D(00 48( ? 99 A&22 + A>(2 D(00 48( ?,1B+ A#(2 + A222 D(00 D8# A4(2 D(00 C8& & I< A(22 D(00 C8& A A4 DC2 C&00 48( ,1B+ A4 K(2 C&00 48( A>#2 (K00 D8# ?,1B+ A442 + A4D2 (&00 D8# A>(2 &K00 $48D A=22 &K00 48( ? 99 A4=2 &K00 48# ?,1B+ A&2 &K00 D8& ; A4>2 &&+D&K00 (+&8> A=2 >&00 D8# + ; A>=2 =K+DKK00 D8# ?,1B+ A4 D22 + A4 C>2 =K+DKK00 ( A&>2 =K+D4K00 C8&+(8& A22 =K+CKK00 (+&8> A4=2 =K+CKK00 (+&8> A=C2 =&+CKK00 (+&8> A#2 =&+CKK00 (+&8> A422 #+4&00 (,<*"I" ?,1B+ A=42 + A=(2 #&00 48D ? 1E<"! A222 + A4 D(2 #&00 48( ,1B+ A4 422 #&00 48# ? 99 A422 + AD&2 2K+CKK00 (8&+&8> A=2 2K00 D8#,/B+*,$B "1< A>=2 4KK+CKK00 (8&+&8> A>2 4KK+(KK00 (8&+&8> ,1B+ A4 (22 4#K00 C8& ; A=#2 DKK+(KK00 ( G,B* 1B";1/ 48(H HB"1!"; "1< A= 2#2 DKK00 48# & I< A4 (#2 CKK00 D8# ? 99 A4 2#& + AD (=2 CKK00 D8# 99?,1B+ AC A( 4#2 (KK00 D8# ? 99 AC >#2 + AC ##2 (KK00 D8# AD ((2 (KK00 ( ? 99 A4 #=2 + A4 2=2 (KK00 &8> A&=2 &KK00 ( ? 99 A& 2&K + A& 22& &KK00 (8& AD 4(2 #KK00 &8> A> (#2!"!!- =K 3!I 1/I AD2 &K 3!I 1/I AD2 4 *;30" 3!I 1/I A&2 *;30" 9 &K00 48#? H A&2 D(00 D8# H A=2 D#+#&00 ( A#2 C&+=K00 C8&+(8& H? 9 A4& + AC& C&00 C8& AD2 =K+D4K00 ( H? 99 AD& + A=2 =&+DKK00 (8& H? 9 A4& + AD2 4KK+CKK00 &8> A&& 4C&00 C8&?/ AC2 4C&00 C8& AC2 DKK00 ( A22 + A4D2 CKK00 &8> A&& &KK00 # "'"H A4(2 1)/",1!"; D & I< A4& 1)/",1!"; ? 99 A4& + AC& 1)/",1!"; ?,1B+ A#2 I" "F"/,1!"; ,1B+ A>2 )1,%"; ? 99 AD& 5""!,1!"; & I<? 9 AC2 + A(&,<B "F"/,1!"; ?,1B+ A&2,<B "F"/,1!"; A(2,<B "F"/,1!"; A=& "!+.!&& D400 D8# 9,1!"; ?,1B+ AC22 + A&(2 D#00 D8# & I< A4(2 D#00 D8# + / AD22 2K00 D8# ? 99 A4>2 + ADD2 2K00 D8# 9 C 33! A422 4>00,"G%1!"; A4C2 D400,"G%1!"; ,1B+ A4>2 +44K 3!I <" AC& 4 33! ?,1B+ A4D + A4& D 33! + / AD& C 9 D ! AD2 C 33! ? 99 A4K + ADK 4(K /<* & I< ADK "!+.!&& D&00 D8# AC(2 D#+=K00 C8&+(8& ?,1B+ AD(2 + AD=2 D#+#K00 C8&+&8> E<"!? "G AC(2 + AC22 C&00 D8# *,$B A4 K22 &K00 48( AC22 + A((2 =K+DKK00 C8&+(8& AD22 =K+CKK00 (+&8> ? 1E<"! AC(2 + A>(2 4KK00 D A&22 4C&00 D 6>K ";!,B, E<"! AD C=2 4C&00 D8# ?,1B+ A4&2 + AD(2 4C&00 D8# A4>2 4#K00 D8# AC(2 DKK00 C8& ? 99 A4D2 + A4(2 DKK00 ( E<"! A((2 CKK00 ( AD>2 +" #+ %& 131 3G";<*3B C(KK A>2 3G";<*3B CH + / A(=2 3G";<*3B = + / ,1B+ AC=2 3G";<*3B C & I< A(2 3G";<*3B 2K A=2 E-,,/0 4KK + / ,1B+ A#22 4KK +,/F"; A##2 4KK + / A>(2 4KK +,/F"; A>(2 + A>#2 1<31, CK & I< AC2 4& + / AC22 C A=2 +4KK AC(2 31I A4 =22 2K A=2 +4K AC(2 +4KK & I<? 9 A4(2 + A4#2 +4KK AD22 +&=K A>2 +#K & I< AD2 +#KK ,1B+ A(2 +%%"%&& E-,,/0 +D /. 3!I 1/I AD>2 +D *;30" 3!I 1/I & I<? 99 A4#2 + AD>2 +4 3!I 1/I A4 D&K +4,/F"; 3!I 1/I A4(2 +;3D 3!I 1/I A#22 + A2C2 +4 /. 3!I 1/I AC>2 +4 3!I 9 ";B,/ ;, A( !I 1/I ,1B+ A(42 +4K /. 3!I 1/I ? 99 AD=2 +4K,/F"; 3!I 1/I AD&2 +D /. 3!I 9 1!);, A#C2 +D /. 3!I 9 +D ";B,/ ;, ?,1B+ A#C2 + A#>2 +D /. 3!I 9+D ";B,/ ;,5 8,1B+ A#>2 +D /. 3!I 1/I ,1B+ A#(2 +DK 3!I 1/I +,/F"; A&22 /I05E< +4 /. 3!I 1/I AC22 +4,/F"; 3!I 9 += ;, A(&2 +4K. /. 3!I 1/I ,1B+ A(>2 +& ;. 3!I 9 +D );, A&22 +D 3!I 1/I A=2 +& 3!I 9 +# ;, A&=2 +& 3!I 1/I + / A&42 "1+,/F"; 3!I 1/I ?,1B+ A>(2 + A>22 1<31, & 3!I 9 BB";I ;,5 99 A4 CC2 & 3!I 1/I ?,1B+ A A4 D !I 1/I A(2 +C /. 3!I A=2 +D 3!I 1/I A4&2 +C 3!I 9 ;, AC(2 ( 3!I 1/I A&(2 = 3!I 1/I ?,1B+ AD42 + ADC2 # 3!I 1/I ?,1B+ AC22 + A(#2 #K 3!I 1/I ?,1B+ AD(2 + ACK& #K 3!I 1/I 9 ;, ,1B+ AD#2 31I >CKK 3!I 1/I A(22 = 3!I 1/I H? 9 AC22 + A(22 = 3!I 9 +D ;, ,1B+ A##2 = 3!I 1/I H?,1B+ A>22 + A#C2 = 3!I 1/I A4 C=2 = 3!I 1/I A4 #(2 + %& !I 1/I4& I<? 9 A4=2 + AD(2 4. 3!I 1/I A((2 4. 3!I 1/I A((2 + A(=2 4 3!I 1/I & I< A4 (22 C&K 3!I 1/I & I<? 9 A(2 + A=2 (KK 9 4#+&& A442 (K 9 +D ;, A4D2 (K 3!I 1/I A4D2 (&K 3!I 1/I A442 &. 1$; "! 3!I 1/I 6=DK A#(2 & 3!I ;, A4 ((2 & 3!I 1/I888 4& I<? 99 A=(2 + A4 ((2 & 3!I 1/I AD C#2 + AD C22 & 3!I ;, ,1B+ AD K22 & 3!I 1/I ? 99 A4 >(2 + A4 >22 & 3!I 1/I ,1B+ A4 222 >K 3!I 1/I AD(2 >&K 1$; "! 3!I 1/I A(D2 > 3!I 1/I ? 99 A>(2 + A>#2 =K 3!I 1/I A(22 =>K 3!I 1/I A((2 = 9 += ;, AC&2 = 3!I 1/I H? 9 AD#2 + AC(2,.31 C 3!I 1/I & I<? 9 AC=2 + A=22 CKK 3!I 1/I AD=2 CDKK /. 3!I 1/I A4>2 CDKK 3!I 1/I A4&2 CCKK 3!I 1/I ,1B+ AD(2 C(KK 3!I 1/I ?,1B+ AD>2 + AD=2 ( 3!I 1/I AD #=2 &K 3!I 1/I & I< AC2 &KK 3!I 1/I ?,1B+ A4 4(2 + A4 D#2 &4KK 3!I 31/I ,1B+ A4=2 &DKK 3!I 1/I AD(2 &CKK 3!I 1/I AC(2 >4K 3!I 1/I A>22 =K 3!I 1/I A>2 =KKK 3!I 1/I ? 99 AD&2 + AD#2 =K 3!I 1/I ? 99 A>2 + A=2 =4KK 3!I 1/I ? 99 AC22 + A((2 =DKK 3!I 1/I ?,1B+ A&=2 + A>42 =&K 3!I 1/I ? 99 A2#2 + A4 K#2 #K 3!I 1/I A22 + A4K2 #KK 3!I 1/I & I<? 99 A>#2 + A2(2 #KK 3!I 1/I A4 KC2 #4K 3!I 1/I ,1B+ A4 C#2 2K 3!I 9 +#K ;, & I< A4D2 2K 3!I 1/I A4D2 $ 3!I 1/I A4 D#2 " #+& 131 E;" *3B #K AC2 E;"<*3B 4K& AD& E;"<*3B >K A42 E;"<*3B 44& A42 31BH,B1,E & I< AD(2,B1,E & I< AD22 /1EB 3H A=2,B" 3E* 330 4DK AD2,.31 EF,< A AD2 330 CKK AC2

57 330 =K AD& /I05E< -E 330 4=K A(2 -E 330 4K& ? 99 AC2 ;,5 4K A4& /<* A&2 "1BH <5,3 44& A42 <5,3 4DK ,1B+ AD2 <5,3 4(K AD& <5,3 4>K AD2 <5,3 =C# AD& + AD2 <5,3 =C# A42 <5,3 2D# AD2 3//", C& /<<, + 3/! E<"! A4 D(2 C& /<<, 3/! + =& ";!,B, E<"! A4 (22 C& 3/! E<"! A4 D22 C&,/F"; E<"! A> =K B" AD2 & +! && "BJ (&C,! A(2 (&(,),B/ A22 + A442 (&(,),B/,+! A4(2 (&( /<* ? 99 AC2 (&(,! ? 99 AC2 + A&2 (&4 /<* H? 9 ADK + AD2 (&C /<* A&2 (&(,! AC2 (&& /<* A(2 &K&,! ? 1E<"! A22 + A4D2 =K( /<* A4&2 +(#K "/,)*B ,1B+ AC2,1, 3$B3H A4& E1BE0 2 '<*,/3B A4(2 '<* 3!"/ 9 E;3 DHD,B A422 '<* 3!"/ 9 E;3,B A422 '<* 3!"/ A22 '<* &! E<"! AD(2 '<* &+ HD "!,B 9 "<< AC22 E;3 305B BB";I. 9 "<< ,1B+ A4&2 /E0"B 5""!3H /<*!5B"; A4& 5""!/,)*B ;."B A4& 5""!/,)*B 3!,%"; I<B" G1 A(2 <B3/,B" C0 H (0,)*B /E".);3E1! AD2 CH=0,1".);3E1! A&2 >H& $33B /E"?;"I.);3E1! AC2 >H= /..);3E1! G,B* ;, ,1B+ A4(2 #H> 3BB/"! ;"I? 9 ;, A442 #H> <*,1)B31.3B? 9 ;, A442,+,B" &H=.);3E1! E<"! A4C2,+,B" >H=.);3E1! E<"! A4(2,+,B" >H= //E0,1B"!? 9 ;, AD(2,+,B" =H#.);3E1! 9,1I/ ;, ,1B+ AD(2,)*B /E" "/F"B.);3E1! 4(KH4(K AC2 3BB/" ",)".);3E1! >:H&: AC2 3BB/" /E".);3E1! >:H&: AC2 EB 3$ 3E<.);3E1! >:H(: ,1B+ A(2 EB 3$ 3E<? >:H(: + "* "//3G ,1B+ A(2 ";<5"B,F".);35E1! =:H>: ,1B+ A&2 B31" B"5<?,1B"; ;""<? =:H&: ,1B+ A&2 - - "% + >#K 3!I 9 )J,1" AD(2 >#K.4 305/"B" 9 D&K00 &8> A(22 4&K00 (8& 6>#K ,1B+ A422 D4K00 &8> 6>#K A4&K D4K00 &8> 6>#K A#2 CKK00 >8C 6>#K AD=2 #K00 &8> 6>#K AD22 #K00 &8> 6>#K AD22!&& 4>?4#?D400 ( ;, /0; 9,1!";89? 99 AD >22 + AD 222 D400 D8# / H? 9 A>#2 + A2C2 D400 D8# /. 9,1!"; A##2 D400 C8( *;30" A>(2 D400 ( *;30" ,1B+ A#22 D400 ( *;30" 9,1!"; H? 9 A=(2 + A=22 D(00 48( <5* + / ,1B+ AC D#2 D(00 D8# <5* / H? 99 A#22 + A4 K22 D(00 D8# <5* /. >,B A4 K(2 D(00 C8# <5* / A4 K22 D#00 D <5* /. >,B A4 #(2 + A4 #22 D#00 D8# / A&(2 C&00 48(,B,1E A4 #22 C&00 D <5* / A4 D(2 C&00 D <5* /. >,B8 9? 99 A4 &22 + A4 >22 &K00 48( *;30" ,1B+ A4 (22 &K00 D8# /0; & I< AD#2 &K00 D8# / A&#2 >&00 C8& /0; ?,1B+ A4=2 + AD22 =&00 D 53 /. >,B A4 &22 =&00 D8( /. >,B 9 33! ,1B+ A222 =&00 D8& /. >,B 9 33! A#(2 2K00 D 53 / A4 =22 2K00 D 53 /. >,B A4 =(2 2K00 D *;30" ? 99 A&22 2K00 D8& /. >,B A=(2 2K00 D8# *;30" ,1B+ A(&K 2K00 D8# / ?,1B A>(2 + A222 2K00 ( ;3 "B >,B A4 =(2 /( >(& 305/"B" H AD42 (&00 D8# & I< A=2 =&+4&K00 (8& A4#2 D4K00 ( & I<? 9 A(2 + A22 CKK00 &8> ? 99 A22 + A4K2 &KK00 # "'"H AD=2 DH > 31F";B"; AD& ;,<0,1!"; 6(KD A&2 ;,<0,1!"; A&2 3/;3,! ) 6>(& AD& + AC& /')'$-#!+ = /. 9 #K00 ( A4 222 (C00 (8& 9,1!"; ?,1B+ A=(2 + A=#2 &K00 (8& 9,1!"; A#(2 4&K00 (8& AC(2 D4K00 #9,1!"; ?,1B+ AD22 + A&22,1!"; 4&K?D4K =K( A4(2,1!"; 4&K00 =KD A4D2 13;0,!5B"; =K ?,1B+ A=& E,. *3" =KD ?,1B A=2 + A22 ;,53!!5B"; ADK =KD 3/;,<,1),/B"; ?,1B+ A&2 + A>2 "!!&& 4K+D(00 C8&+(8& 8899?,1B+ A(D2 + A((2 4K8&00 D8#,<*"I" AD#2 4K&00 48( ,1B+ A4 (22 + A4 &#2 4K&00 D8#,; AC#2 4D+D(00 ( ?,1B+ AC(2 + AC22 4(+D(00 D8# A=(2 4>+C&00 ( A>=2 + A=#2 4>+#&00 C8&+&8> 89? 99 A422 + AD>2 4>00 D8#,<*"I" ? 99 A(D2 + A((2 4=+&&00 D8# ADC2 4#+4K&00 C8&+(8& 889?,1B+ A4K2 + A4D2 4#+4(K00 C8&+&8> ?,1B+ ADD2 + AD&2 4#+CKK00 C8&+>8C ,1B+ A(22 + A&42 D(+4DK00 ( ?,1B+ A(22 + A&(2 D(+=K00 D8# A#(2 + A##2 D(+#&00 C8&+(8& H A=2 D(+#&00 C8&+(8& AD>2 D(00 48( A#>2 D(00 D8# ADC2 D(00 C8& ?,1B+ A4 K(2 D#+CKK00 C8&+&8> A(22 D#00 48# ,1B+ AC(2 D#00 D8# ? 99 A4C2 + A4(2 D#00 D8# ? 99 A4D2 + A4C2 C&+4K&00 C8&+(8& A(2 C&00 48( ?,1B+ A=22 (&00 D8# + ; A4 K(2 &KK00 ( A4 222 &K00 48( A4C2 &K00 48# A&2 &K00 48# ,1B+ A442 =K+CKK00 (+&8> AD22 #K+DKK00 D8# AD(2 #K+(KK00 (8&+&8> A(D2 #&00 48( A2(2 #&00 D8#,; G1 A=22 +4( 31F";B"; ,1B+ AC=2 +4= 31F";B"; A4>2 +DK 31F";B"; ?,1B+ A4(2 + A4>2 +DK 31F";B"; ?,1B+ A4=2 + AD(2 &KKK 5""!/,)*B ,1B A&42 >KK 5""!/,)*B ? 99 A4K2 + A442 =KK 5""!/,)*B ?,1B+ A442 + A4&2 #KK 5""!/,)*B A442 #K 5""!/,)*B ? 99 A&2 + A>2 2KK 5""!/,)*B H? 99 A4&2 + A422

58 ',ϱ^ ',ϱ^ &ƌžŵάϯϭ ϭϭ Ϯ ŵğőăɖŝdžğůɛ ϲϭĩɖɛ ϰ<sŝěğž ',ϱ^žělj άϯϭ ',ϱžělj άϭϱ ' Ϭ ϭϲ ŵğőăɖŝdžğůɛ ĨƉƐ ϰ<sŝěğž KD Dϭ//ŽĚLJ άϭϰ άϭϯϯϰŝŷđ άϭϳϱăɛśďăđŭύ KD Dϭ//нϭϮ ϰϭŵŵ άϯϭ άϯϭϯϰŝŷđ άϭϳϱăɛśďăđŭύ KD Dϭ// y,ϭ ůăđŭ y WƌŽϮ ůăđŭ < ϭ// 'y < ϭ//žělj άϭϳ <WŽĚLJ ά < ϯ//žělj άϳ < ϳϬ ĨƌŽŵάϱ 'y ŽĚLJ άϱ 'y нϭϯ ϲϭŵŵ άϳϳ y WƌŽϮŽĚLJ άϭϯ y WƌŽϮ^ŝůǀĞƌнy&Ϯϯŵŵ άϭ KD Dϭ//&ƌŽŵάϭϰ 'y &ƌžŵάϱ y,ϭ &ƌžŵάϭϲ y WƌŽϮ&ƌŽŵάϭϯ ϯϲ ϳ ŵğőăɖŝdžğůɛ Ϯϰ ϯ ŵğőăɖŝdžğůɛ Ϯϰ ϯ ŵğőăɖŝdžğůɛ Ϯϭ ŵğőăɖŝdžğůɛ ϲ ϰĩɖɛ ϬĨƉƐ ĨƉƐ ϭϭ ϬƉ ŵžǀŝğŵžěğ ϮϬ ŵğőăɖŝdžğůɛ ϲϭĩɖɛ ϳDĂƌŬ/// ϳDĂƌŬ///ŽĚLJ άϭ ϳDĂƌŬ///нϮ ϳϬŵŵ άϯϭ ϳDĂƌŬ//ŽĚLJ άϭϭ ϳDĂƌŬ//нϮ ϳϬŵŵ άϭϯ ϳDĂƌŬ///ŽĚLJάϭ ϰ<sŝěğž Ϯϱ ϯ ŵğőăɖŝdžğůɛ ϭϭĩɖɛ y,ϭ άϭϲ y,ϭн'ƌŝɖ άϭ ϰ y dϯžělj άϭϯϰ y dϯнϭ ϱϱŵŵ άϭϰ DϭϬ/// ůăđŭ Žƌ ^ŝůǀğƌ KD DϭϬ///ŽĚLJ άϱϳ KD DϭϬ///нϭϰ ϰϯŵŵάϲϯ KD DϭϬ//ŽĚLJ άϰϰ KD DϭϬ//нϭϰ ϰϯŵŵ άϱϯ ϭϳ Ϯ ŵğőăɖŝdžğůɛ ϲĩɖɛ ϳϱϬŽĚLJ άϭϱϯ ϳϱϬнϮϰ ϭϯϭŵŵ άϭ ϳ ϳϱϬ &ƌžŵάϭϱϯ ϳϱϬ ϳǁŝƚŚĚĂƉƚĞƌ άϯϰ ϳнϮϰ ϳϬŵŵ άϯ ϳнĚĂƉƚĞƌнϮϰ ϳϬŵŵ άϰϭ ϳ ϳǁŝƚŚĚĂƉƚĞƌάϯϰ ϰϱ ϳ ŵğőăɖŝdžğůɛ ϬĨƉƐ &h:/eke >E^^ &ƵũŝĮůŵϭϲŵŵĨϭ ϰztzy& ά ϰ &ƵũŝĮůŵϮϯŵŵĨϮZtZy& άϰϭ &ƵũŝĮůŵϱϲŵŵĨϭ ϮZy& ά ϰ &ƵũŝĮůŵ ϬŵŵĨϮ >DK/^ άϭϭϰ &ƵũŝĮůŵϭϬϮϰŵŵĨϰZK/^y&&ƵũŝŶŽŶ ά Ϯ &ƵũŝĮůŵϭϲϱϱŵŵĨϮ >DtZ&ƵũŝŶŽŶ ά < ϭ//žělj άϭϳ DϭϬ///&ƌŽŵάϱϳ ϱϭžělj άϯϰ ϱϭ ϱϭžělj άϯϰ ϰ<sŝěğž ϬĨƉƐ ϱϭϭ ůăđŭ ϱϭϭ &ƌžŵάϭϳϭ ϱϭϭžělj άϭϳϭ ϱϭϭнϭϲ Ϭŵŵ άϯϲϭ ZKDDE>E^^ KůLJŵƉƵƐϮϱŵŵĨϭ ϮWƌŽ ά ά ϳϰŝŶĐ άϭϯϱăɛśďăđŭύ KůLJŵƉƵƐϰϱŵŵĨϭ ϮWƌŽ άϭϭ άϭϭϳϰŝŷđ άϭϯϱăɛśďăđŭύ KůLJŵƉƵƐϭϮ ϰϭŵŵĩϯ WƌŽ άϳϱ άϲϯϰŝŷđ άϭϯϱăɛśďăđŭύ ϳ///ŽĚLJ άϭ >ĞŶƐ ĂǀĂŝůĂďůĞ ƐĞƉĂƌĂƚĞůLJ dśğƚśŝƌěŝƚğƌăɵžŷžĩ^žŷlj ƐƉŽƉƵůĂƌϳďƌŝŶŐƐĞǀĞŶŵŽƌĞĂĚǀĂŶĐĞŵĞŶƚƐƚŽƚŚĞ ĐŽŵƉĂŶLJ ƐĐŽǀĞƚĞĚ^ůŝŶĞ ƵƉ dśğdăƌŭ///ďžăɛƚɛăŷğǁůljěğǀğůžɖğěďăđŭ ŝůůƶŵŝŷăƚğěϯϰ ϮDWĨƵůů ĨƌĂŵĞdžŵŽƌZDK^ƐĞŶƐŽƌĂŶĚĂƌĞĚĞǀĞůŽƉĞĚ/KEy ƉƌŽĐĞƐƐŝŶŐĞŶŐŝŶĞ ĚĚϲ ϯɖśăɛğ ĚĞƚĞĐƟŽŶĂŶĚϰϮϱĐŽŶƚƌĂƐƚĚĞƚĞĐƟŽŶ&ƉŽŝŶƚƐ ϭϱ ƐƚŽƉƐŽĨĚLJŶĂŵŝĐƌĂŶŐĞĂŶĚϰ<,ZǀŝĚĞŽ ĂŶĚƚŚŝƐůĂƚĞƐƚŵŝƌƌŽƌůĞƐƐĚĞǀŝĐĞŝƐƐƵƌĞ ƚžɖƌžǀğɖžɖƶůăƌǁŝƚśɖśžƚžőƌăɖśğƌɛăŷěįůŵŵăŭğƌɛăůŝŭğ ϳZDĂƌŬ/// ϳZDĂƌŬ//ŽĚLJ άϭ ϳ^DĂƌŬ//ŽĚLJ άϯϯ ϳ^ŽĚLJ άϭϲ ϳŽĚLJ άϳ ϰϯ ϰ ŵğőăɖŝdžğůɛ ϭϭĩɖɛ ϳZDĂƌŬ///ŽĚLJάϮ ϰ<sŝěğž &Ƶůů&ƌĂŵĞ DK^^ĞŶƐŽƌ ZKDDE>E^^ WĞŶƚĂdžϭϱ ϯϭŵŵĩϯ άϭϰϰ WĞŶƚĂdžϮ ϭϭϱŵŵĩϯ ϱ ϱ ϲ άϱϯ WĞŶƚĂdžϱϱ ϯϭϭŵŵĩϰ ϱ ϲ ϯ άϯ 7KH6RQ\$,,,ZLWKQHZO\GHYHORSHG 03 IXOOIUDPH VHQVRU ' Ϭ &ƌžŵάϲϯ ' ϬŽĚLJ άϲϯ ' ϬнϭϮ ϲϭŵŵ άϳϰ sŝğǁžƶƌĩƶůůƌăŷőğžĩđăŵğƌăɛăƚǁğdž ĐŽ ƵŬ ĐĂŵĞƌĂƐ ϮϬ ŵğőăɖŝdžğůɛ ϰ<sŝěğž ϭϭ ϬĨƉƐ ϰϱ ϳ ŵğőăɖŝdžğůɛ ϲ ϬĨƉƐ Ϯϰ ϯ ŵğőăɖŝdžğůɛ ϲ ϱĩɖɛ ϭϭ ϬƉ ŵžǀŝğŵžěğ ϰ<sŝěğž ϰ<sŝěğž ϰ<sŝěğž EĞǁ EĞǁ ϲϱϭϭžělj άϭϯϳ ϲϱϭϭнϭϲ ϳϬŵŵ άϭ ϰ ϲϯϭϭžělj άϳϳ ϲϯϭϭнϭϲ ϱϭŵŵ ά ϳ Ϯϰ ŵğőăɖŝdžğůɛ ϭϭĩɖɛ ϲϭϭϭ &ƌžŵάϰϯ ϲϭϭϭžělj άϰϯ ϲϭϭϭнϭϲ ϱϭŵŵ άϰ Ϯϰ ŵğőăɖŝdžğůɛ ϭϭĩɖɛ ϲϱϭϭ &ƌžŵάϭϯϳ ϰ<sŝěğž ϲϱϭϭ ϲϭϭϭ ϭϭ ϬƉ ŵžǀŝğŵžěğ 2YHU3URGXFWV )UHH'HOLYHU\RQ RURYHU :HFDQGHOLYHURQ6DWXUGD\RU6XQGD\ ¹ 3KRQH &DOOXV0RQ)ULDPSP 6DWDPSP6XQDPSP,QFRUSRUDWLQJ ZKDDE>E^^ WĂŶĂƐŽŶŝĐϮϱŵŵĨϭ ϳ' άϭϰ WĂŶĂƐŽŶŝĐϯϬŵŵĨϮ DĂĐƌŽ'^W, άϯϲ WĂŶĂƐŽŶŝĐϰϮ ϱŵŵĩϭ ϳ άϯ WĂŶĂƐŽŶŝĐϮϬϬŵŵĨϮ ' άϯϲ WĂŶĂƐŽŶŝĐ ϭ ŵŵĩϯ ϰ^w,săƌŝž άϭϭϰ WĂŶĂƐŽŶŝĐϭϮ ϯϱŵŵĩϯ //>Ƶŵŝdž'y ά ϳ WĂŶĂƐŽŶŝĐϭϰ ϰϯŵŵĩϯ ϱ ϱ ϲ'y^w,k/^ άϯ WĂŶĂƐŽŶŝĐϭϰ ϭϰϭŵŵĩϯ ϱ ϱ ϲ άϱϰ WĂŶĂƐŽŶŝĐϰϱ ϭϱϭŵŵĩϰ ϱ ϲ^w,k/^ άϭϳ WĂŶĂƐŽŶŝĐϰϱ ϭϳϱŵŵĩϰ Ϭ ϱ ϲ άϯϰ WĂŶĂƐŽŶŝĐϭϬϬ ϯϭϭŵŵĩϰ ϱ ϲ// άϱϰ WĂŶĂƐŽŶŝĐϭϬϬ ϰϭϭŵŵĩϰ ϲ ϯ άϭϯ ΎWĂŶĂƐŽŶŝĐĂƐŚďĂĐŬĞŶĚƐϭϱ Ϭϭ ϭ &DVKEDFN ZH[FRXN 2QOLQH

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ƌžŵ ƚśğ ĚĂƌŬĞƐƚ ƐŚĂĚŽǁ ƚž ƚśğ ďƌŝőśƚğɛƚ ŚŝŐŚůŝŐŚƚ ĂϯϬ ŵğőăɖŝdžğůdk^ɛğŷɛžƌ ĐĂƉƚƵƌĞƐ ĮŶĞ ĚĞƚĂŝůĞǀĞŶŝŶƚŚĞƚŽƵŐŚĞƐƚ ĐŽŶĚŝƟŽŶƐ ǁŝƚŚĂŵĂdžŝŵƵŵŶĂƟǀĞƐĞŶƐŝƟǀŝƚLJ ŽĨ/^KϯϮ ϬϬϬ ^ŚŽŽƚƵĂůWŝdžĞůZtĮůĞƐ ĨŽƌƉŽƐƚ ƉƌŽĚƵĐƟŽŶĂĚũƵƐƚŵĞŶƚƐůŝŬĞLJŽƵ ǀĞ ŶĞǀĞƌƐĞĞŶďĞĨŽƌĞ K^ϱDĂƌŬ/sŽĚLJ άϯϯϰ άϯ ŝŷđ άϯϱϭăɛśďăđŭύ K^ϱDĂƌŬ/sŽĚLJ ϯϭ ϰ ŵğőăɖŝdžğůɛ ϳ Ϭ ĨƉƐ &DVKEDFN &Ƶůů&ƌĂŵĞ DK^ƐĞŶƐŽƌ άϯϯϰ K^ϮϬϬ Ϯϰ Ϯ ŵğőăɖŝdžğůɛ ϱ ϬĨƉƐ ϭϭ ϬƉ ŵžǀŝğŵžěğ K^ϮϬϬ &ƌžŵάϰ K^ϮϬϬŽĚLJ K^ϮϬϬнϭ ϱϱŵŵ K^ϮϬϬнϭ ϭϯϱŵŵ K^ϮϬϬϬŽĚLJ K^ϮϬϬϬнϭ ϱϱŵŵ K^ϰϬϬϬŽĚLJ K^ϰϬϬϬнϭ ϱϱŵŵ άϰ άϱϱ άϳϲ άϯϯ άϰϯ άϯ άϯϰ K^ Ϭ Ϯϰ Ϯ ŵğőăɖŝdžğůɛ ϳ ϬĨƉƐ ϭϭ ϬƉ ŵžǀŝğŵžěğ K^ ϬŽĚLJ ά ϭ ŝŷđ άϭϭϭăɛśďăđŭύ K^ Ϭнϭ ϱϱŵŵ ά ŝŷđ άϭϭϭăɛśďăđŭύ K^ Ϭнϭ ϭϯϱŵŵ άϭϭ ŝŷđ άϭϭϭăɛśďăđŭύ K^ϳϳŽĚLJ K^ϳϳнϭ ϱϱŵŵ K^ϳϳнϭ ϭϯϱŵŵ K^ ϬϬϬŽĚLJ K^ ϬϬϬнϭ ϱϱŵŵ &DVKEDFN K^ Ϭ &ƌžŵάϭϭϭ άϭϭϭ άϭϭ άϭϯ άϳϭ ά ϭ άϭϭϳ άϱ άϲ K^ϳDĂƌŬ// ϮϬ Ϯ ŵğőăɖŝdžğůɛ ϭϭ ϬĨƉƐ ϭϭ ϬƉ ŵžǀŝğŵžěğ K^ϳDĂƌŬ//ŽĚLJ άϭϯϰ K^ϳDĂƌŬ//ŽĚLJ άϭϯϯ ŝŷđ άϭϯϭăɛśďăđŭύ &DVKEDFN άϭϯϰ K^ϲDĂƌŬ// Ϯϲ Ϯ ŵğőăɖŝdžğůɛ ϲ ϱĩɖɛ ϭϭ ϬƉ ŵžǀŝğŵžěğ &Ƶůů&ƌĂŵĞ DK^ƐĞŶƐŽƌ &DVKEDFN K^ϲDĂƌŬ// ĨƌŽŵάϭϱϰ K^ϲDĂƌŬ//ŽĚLJ άϭϱϰ άϭϰ ŝŷđ άϱϭăɛśďăđŭύ K^ϲDĂƌŬ//нϮϰ ϭϭϱŵŵ άϭ άϭ ϰ ŝŷđ άϱϭăɛśďăđŭύ K^ϱ^Z ϱϭ ϲ ŵğőăɖŝdžğůɛ ϱ ϬĨƉƐ ϭϭ ϬƉ ŵžǀŝğŵžěğ &Ƶůů&ƌĂŵĞ DK^ƐĞŶƐŽƌ K^ϱ^ZŽĚLJ άϯϲ K^ϱ^ZŽĚLJ K^ϱ^ŽĚLJ άϯϲ άϯϰ K^ϭyDĂƌŬ// ϮϬ Ϯ ŵğőăɖŝdžğůɛ ϭϲ ϬĨƉƐ &Ƶůů&ƌĂŵĞ DK^ƐĞŶƐŽƌ K^ϭyDĂƌŬ//ŽĚLJάϱϰϮ K^ϭyDĂƌŬ//ŽĚLJ άϱϰϯ ΎĂŶŽŶĂƐŚďĂĐŬĞŶĚƐϭϳ ϭϭ ϭ YƵĂůŝƚLJƵƐĞĚĐĂŵĞƌĂƐ ůğŷɛğɛ ĂŶĚ ĂĐĐĞƐƐŽƌŝĞƐ ǁŝƚŚ ϭϯŵžŷƚśɛǁăƌƌăŷƚljύ ǁĞdž ĐŽ ƵŬ ΎdžĐůƵĚĞƐ ŝƚğŵɛ ŵăƌŭğě ĂƐ ŝŷđžŵɖůğƚğ Žƌ ĨŽƌ ƐƉĂƌĞƐ &ůăɛśőƶŷɛ Θ >ŝőśɵŷő ĐĐĞƐƐŽƌŝĞƐ ^ƉĞĞĚůŝƚĞƐ dƌŝɖžěɛ ^ĞƌŝĞƐϯϰ^y> ϮϬϮĐŵDĂdž,Ğ ϭϭđŵdŝŷ,ğŝő EĞǁ^LJƐƚĞŵĂƟĐdƌŝƉŽĚƐ ^ĞƌŝĞƐϯϰ^y> άϲ ^ĞƌŝĞƐϯϯ^> άϲϯ ^ĞƌŝĞƐϱϰ^y> ά ^ĞƌŝĞƐϱϲ^' άϭϭ dϭϱϱywzkϯ ϭϳϭđŵdădž,ğŝőśƚ ĐŵDŝŶ,ĞŝŐŚƚ DdϬϱϱyWZKϯ DdϬϱϱyWZKϯĂƌďŽŶ&ŝďƌĞ άϯ DdϬϱϱyWZKϰĂƌďŽŶ&ŝďƌĞ άϯϯ tğdž ĞdžĐůƵƐŝǀĞ ĞĨƌĞĞKŶĞ dƌăǀğůdƌŝɖžě ZĞĚ ϭϯϭđŵdădž,ğŝőśƚ ϰ ĐŵDŝŶ,ĞŝŐŚƚ ůƶŵŝŷŝƶŵ ǀĂŝůĂďůĞŝŶůĂĐŬ ZĞĚ ĂŶĚ'ƌĞLJ ĨƌŽŵάϭϬ 'ŽƌŝůůĂƉŽĚ <ŝƚ ϭ< &ůğdžŝ dƌŝɖžěůğőɛ ϮϭĐŵůŽƐĞĚ>ĞŶŐƚŚ ϭ<ődădž>žăě 'ŽƌŝůůĂƉŽĚ 'ŽƌŝůůĂƉŽĚϱϬϬ άϯϰ ϱ 'ŽƌŝůůĂƉŽĚ<ŝƚϭ< άϱϭ ϱ 'ŽƌŝůůĂƉŽĚ<ŝƚϯ< ά ϰ ϱ 'ŽƌŝůůĂƉŽĚ<ŝƚϱ< άϭϯ ΎĂŶŽŶĂƐŚďĂĐŬĞŶĚƐϭϳ ϭϭ ϭ DĂĐƌŽůŝƚĞƐ ^ƉĞĞĚůŝŐŚƚƐ &ůăɛśőƶŷɛ &ůăɛśőƶŷɛ &ůăɛśőƶŷɛ <ŝƚɛ ϰϳϭy / άϰϳ ϲϭϭy// Zd άϱϯ άϰϯ ŝŷđ άϭϭϭ ĂƐŚďĂĐŬΎ ϰϯϭy/// Zd άϯϲ DZ ϭϰy// άϲ ^ ϱϭϭϭ άϱϲ ^ ϳϬϬ άϯϱ ZϭůŽƐĞ hɖ άϰϳ Zϭϭ άϲϱ,s> &ϰϯd άϯϰ,s> &ϲϭzd άϲϭ &> ϯϭϭz άϭϯϰ &> ϲϭϭz άϯϳ &ϱϰϭ&'// άϯϰ &ϯϲϭ&'// άϯϰ &ůăɛśőƶŷɛ DĂĐƌŽŇĂƐŚ &ůăɛśőƶŷɛ &ůăɛśőƶŷɛ ϰϰ& Ϯ άϭϲ DŝŶŝddϭάϭϲϱ &ůğdžddϱάϭ /ĐĞ >ŝőśƚϯ άϱϰ DϰϬϬ άϭ WůƵƐ///^Ğƚ άϯϯ ŽůůĂƉƐŝďůĞ hŵďƌğůůă&ůăɛś <ŝƚ άϭϭ ϱϯ& ϭ άϭ WůƵƐy ^Ğƚ άϭϰ ϲϰ& ϭ άϯϭ njljďždž^ɖğğě >ŝƚğϯάϰϳ ϭϱd^ ϭ άϯ sŝğǁįŷěğƌ ĐĐĞƐƐŽƌLJ <ŝƚ άϯϰ njljďždž,žƚɛśžğ &ƌžŵ άϭϭϳ &ϲϭϭ'^d άϭϭ ϲŵăđŭőƌžƶŷě ^ƵƉƉŽƌƚ ^ƚăŷě άϭϲ njljăůăŷđğ'ƌğlj tśŝƚğ άϯϯ &ϲϭϭ'^ƶɖğƌ άϭϲ &ůăɛśğŷěğƌϯ άϯϳ ϱ ĂĐŬŐƌŽƵŶĚ ^ƵƉƉŽƌƚάϭϯ D ϭϰϭ' DĂĐƌŽ&ůĂƐŚ άϯϯ &ůăɛśğŷěğƌϯ y> WƌŽ >ŝőśɵŷő ^LJƐƚĞŵά ϰ dƌŝ&ůŝɖ<ŝƚɛ &ƌžŵ άϳϭ tăůů DŽƵŶƟŶŐ <ŝƚ άϲϭ hƌďăŷžůůăɖɛŝďůğ άϭϲϯ ŝϰϭ άϭϱ &ŽůĚŝŶŐ ^ŽŌďŽdž &ƌžŵάϯϯ ZĞŇĞĐƚŽƌƐ ϱϭđŵ άϯϰ ϳϱĐŵ άϯ ϱđŵ άϲϯ ϭϯϭđŵ άϳϲ ŝϲϭ άϯϯ ZĞŇĞĐƚŽƌ ƌăđŭğƚ άϯ Kī ĂŵĞƌĂ ŇĂƐŚ ŽƌĚ &ƌžŵ άϯϯ dŝůƚśğăě ďƌăđŭğƚ άϯϲ ^ĞŬŽŶŝĐ> ϯϭ y άϯϭϱ WƌŽ>ϰϳ Z άϯ ^ƉĞĞĚŵĂƐƚĞƌ > ϱ άϲϭϭ dğƌŵɛăŷěžŷěŝɵžŷɛůůɖƌŝđğɛŝŷđů sdăƚϯϭй WƌŝĐĞƐ ĐŽƌƌĞĐƚĂƚƟŵĞŽĨŐŽŝŶŐƚŽƉƌĞƐƐ &ZĞůŝǀĞƌLJΎΎĂǀĂŝůĂďůĞ ŽŶŽƌĚĞƌƐŽǀĞƌάϱϬ;ďĂƐĞĚŽŶĂϰ ĚĂLJĚĞůŝǀĞƌLJƐĞƌǀŝĐĞ &ŽƌŽƌĚĞƌƐƵŶĚĞƌάϱϬƚŚĞĐŚĂƌŐĞŝƐάϮ ΎΎ;ďĂƐĞĚŽŶĂ ϰ ĚĂLJĚĞůŝǀĞƌLJƐĞƌǀŝĐĞ &ŽƌEĞdžƚtŽƌŬŝŶŐĂLJĞůŝǀĞƌLJ ŽƵƌĐŚĂƌŐĞƐĂƌĞάϰ ΎΎ ^ĂƚƵƌĚĂLJĚĞůŝǀĞƌŝĞƐĂƌĞĐŚĂƌŐĞĚ ĂƚĂƌĂƚĞŽĨάϳ ϱύύ ^ƵŶĚĂLJĚĞůŝǀĞƌŝĞƐĂƌĞĐŚĂƌŐĞĚĂƚĂ ƌăƚğά ϱύύ ;ΎΎĞůŝǀĞƌŝĞƐŽĨǀĞƌLJŚĞĂǀLJŝƚĞŵƐ ƚže / Žƌ ƌğŵžƚğăƌğăɛŵăljďğɛƶďũğđƚƚžğdžƚƌăđśăƌőğɛ ΘK WƌŝĐĞƐƐƵďũĞĐƚƚŽĐŚĂŶŐĞ 'ŽŽĚƐƐƵďũĞĐƚƚŽĂǀĂŝůĂďŝůŝƚLJ >ŝǀğ ŚĂƚŽƉĞƌĂƚĞƐďĞƚǁĞĞŶ ϯϭăŵ ϲɖŵdžŷ &ƌŝăŷěŵălj ŶŽƚďĞĂǀĂŝůĂďůĞĚƵƌŝŶŐƉĞĂŬƉĞƌŝŽĚƐ Ώ^ƵďũĞĐƚƚŽŐŽŽĚƐ ďğŝŷőƌğƚƶƌŷğěăɛŷğǁăŷěŝŷƚśğžƌŝőŝŷăůɖăđŭăőŝŷő tśğƌğƌğƚƶƌŷɛăƌğăđđğɖƚğěŝŷžƚśğƌŝŷɛƚăŷđğɛ ƚśğljŵălj ďğɛƶďũğđƚƚžăƌğɛƚžđŭŝŷőđśăƌőğ ΏΏƉƉůŝĞƐƚŽƉƌŽĚƵĐƚƐ ƐŽůĚŝŶĨƵůůǁŽƌŬŝŶŐĐŽŶĚŝƟŽŶ EŽƚĂƉƉůŝĐĂďůĞƚŽŝƚĞŵƐ ƐƉĞĐŝĮĐĂůůLJĚĞƐĐƌŝďĞĚĂƐ /E ŽƌŝŶĐŽŵƉůĞƚĞ;ŝĞ ďğŝŷőɛžůě ĨŽƌƐƉĂƌĞƐŽŶůLJ tğdžwśžƚžsŝěğžŝɛăƚƌăěŝŷőŷăŵğžĩ ĂůƵŵĞƚWŚŽƚŽŐƌĂƉŚŝĐ>ŝŵŝƚĞĚ;ŽŵƉĂŶLJZĞŐŝƐƚƌĂƟŽŶŶŽ ϬϬϰϮϱϱϳ ĂŶĚtĂƌĞŚŽƵƐĞdžƉƌĞƐƐ>ŝŵŝƚĞĚ;ŽŵƉĂŶLJ ZĞŐŝƐƚƌĂƟŽŶŶŽ Ϭϯϯϲϲ ϳϲ ΞtĂƌĞŚŽƵƐĞdžƉƌĞƐƐ>ŝŵŝƚĞĚ ϮϬϭ Ύ^,<^ƌĞƌĞĚĞĞŵĞĚǀŝĂƉƌŽĚƵĐƚƌĞŐŝƐƚƌĂƟŽŶ ǁŝƚŚƚŚĞŵĂŶƵĨĂĐƚƵƌĞƌ WůĞĂƐĞƌĞĨĞƌƚŽŽƵƌǁĞďƐŝƚĞĨŽƌ ĚĞƚĂŝůƐ



62 ',6&2817 =C-00 3:5K:5$ 5(,)( F#>I141#2C-?1#14>IG-C-2*C4# 6CE>#":+#,5KK-?I4E> #F#>I"I 0-'#! 0#CC-2* I4E "4E1#2C I4E>"I C+>4E*+ 6+4C4*>6+I % '!)) 20E"#? B3K-2?C2C"-?4E2C! 24>10 6>-# +#("-?C-0?C+##?C4' C? 2"? C4 6#>'#C0I 02# +-*+ 6#>'4>12# 2" EC+#2C- +2"0-2* G-C+?100?-J#: % #&! -C+4EC?C2"-2*-1*-2*6-0-CI+-?6##" 6#>'4>12# 42C-2#" "I,64G#>!6>#-?-42'0#H--0-CIC46 42#,-2,,0-'#C-1# 141#2C?.E?C? I4E 0 %! +#>#F#> "F#2CE># C/#? I4E! C+# $K 6/? C+# 0C#?C E0 1*# C-0-?C-42 C#+2404*I 2"?CC#,4',C+#,>C)6-0-C-#?-2C4 G#C+#>,?#0#" 4"I 2"/-C 0#2?'4> 1H-1E1 '0#H--0-CI: % #! RQ±6DW DP±SP 1H[WGD\GHOLYHU\DYDLODEOHIURPDOO/&(EUDQFKHV3RVWDJH,QVXUDQFH IRUPRVWLWHPV :::>-#?<E4C#"-20E"#DK9:>-#??E.#CC4+2*#:44"??E.#CC4F-0-0-CI:

63 3$57 6*>"-2*, G# G2C I4E> 40" 1#>? 2" 6+4C4*>6+- #<E-61#2C&?/E?C4"I2"?##+4G1E+I4E>40"#<E-61#2C-?G4>C+ %-C1I#G4>C+14>#C+2I4EC+-2/& :H%X\&DPHUDV " "" " " " " "" "! " """ " "" " " " 9LVLW\RXU ORFDO VWRUH WRGD\ GGG:"(!!( &


65 To advertise here, call Bradley Turner: Wanted Cameras For Sale Black & White Processing 3URIHVVLRQDO%:&RORXU 3ULQWLQJ +DQG 3URFHVVLQJ DOO W\SHV RI OPV IURP P[ $OO SULQWHG RQ JHQXLQH EZ FRORXU SDSHUV 3KRQH IRU SULFH OLVW RI DOO VHUYLFHV 6HQGFKHTXH SS $OO ZRUN VHQW EDFN UHFRUGHG GHOLYHU\.DUO +RZDUG &KDOIRQW&ORVH +HPHO +HPSVWHDG +HUWIRUGVKLUH +3-5 Light Tents %! $$$$#!% $$# &( "+' #!&( #& %) (- ( "!!&' "'' " ''#&' ' '(&#"& (" *& ( #)& +#& + "(+#& # )'(#!&' +& $-" ( '( $&' #&%$& ' %# # ' ## $" $ " ## $& " ' " #(& (#$%) (- &"' Wanted " $ #"(( #"(" &&' #& "!!( %)#( "#+#& +!&,"#) #& $#" ' '$ :$17(')25&$6+ 25&200,66,21 )LOP&DPHUDV/HLFD 0/HLFD 555/HLFD 6FUHZ /HLFD FRSLHV 1LNRQ 5DQJH QGHU1LNRQ)))+)7 &DQRQ)&RQWD[576,,576,,,5;,,61**777 &RQWD[ %URQLFD 5)*664$L)XML [[[ +DVVHOEODG5ROOHLÀH[ 7/55ROOHL 6/6/(6/6(.RQLFD +H[DU 0DPL\D 5=$)'3HQWD[ 3ODXEHO ::.RQLFD +H[DU9RLJWODQGHU%HVVD $OSD&RPSDVV'XFDWL(NWUD)RFD*DPL,OIRUG:LWQHVV 5HFWDÀ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subscribe i I 15 September

66 Final Analysis Roger Hicks considers Croatian Rovinj, 2018, by Piotr Slusarczyk Photo Critique PIOTR SLUSARCZYK What are pictures supposed to look like? In other words,howdoour expectations afect our aesthetic judgement? Obviously they do: we snotalwayseasy todefinethoseexpectations,though.a shortexcursionintoarthistorymayhelp. Chiaroscuroistheinterplayoflight and shadow. By definition it s found in pretty much the whole of photography and painting.normallyit stakentoapplytoa more or less extreme form, with strongly litshapesemergingfrom(andcontrasted with)deepshadow:thinkofcaravaggio, delatourandwrightofderby. Atthedawnofphotography,strong chiaroscuro was the norm, not least because extremely slow materials often led to underexposure and empty shadows. As time went on, more photographers began to explore a flatter, more graphic form: thinkofrejlander,whosechiaroscuro wasmuchclosertoleonardodavinci s than to Caravaggio s. Faster materials and the self-masking nature of printing out paper made this much easier. Then came colour, which greatly compressed the tonal range that could berepresentedwhilestillretaining convincing colours. You could get around this via studio lighting and fill flash; or you couldchooseyoursubjectverycarefully. Thenextstepwasbroughtinto prominence by High Dynamic Range (HDR) photography, which electronically blendedtwoormoreexposurestoallowa long tonal range to be recorded while still retainingconvincingcolours.ofcourse convincing isarelativeterm,butican t helpfeelingthatalotoftheobloquy heapeduponhdrissimplyaresult of expectations previously imposed by technical limitations. Suppose that colour photography had notexisteduntilwecoulddohdr; somethinglikethis,forexample,which actuallyderivesfromasingleexposure and quite a lot of electronic afterwork. We could still admire dramatic chiaroscuro, butwe dexpecttoseeitonlywhenthe subjectandtheartist svisionsuitedit; which clearly it doesn t here. It s also worth thinking about content. Theancientandthepicturesquehavelong fascinated photographers: think of Atget. Here, the bicycles, the souvenir shops, the scooter, the air conditioners are all uncomfortablymodern.butcitiesdonot exist only as photo opportunities for tourists.peoplehavetoliveinthemtoo. Iadmirethispictureequallyasreportage; as (perhaps naïve) art; as a souvenir; and asatechnicalexplorationofthenature andlimitsofphotography.see more on Roger Hicks hasbeenwritingaboutphotographysince1981andhaspublishedmorethanthreedozenbooksonthesubject,manyinpartnershipwithhiswifefrancesschultz(visithisnewwebsite at Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image from the Brady-Handy Collection September 2018 I I subscribe

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

68 &",*1 & /1& 0 &.# 1 &* / * */*&,$ &/* &* &,* $ /*$$ *$&%2 $&!.$$1*$,&.&2&* *.$1*$$$$&&$/**&*$$1/*'3+33(+! **,$ * &&! 1&$,**1,1*$/*.$31$& $&&$&! **,!*&!(&1 & -