Amateur Photographer - May 31 2014 UK

FIRST LOOK: SONY RX10
MK III WITH POP-UP EVF
NEW NIKON CSC

TO ARRIVE IN JUNE
RLDS NO.1 WEEKLY PHOTO MAGAZINE
ON TEST
Saturday 31 May 2014
www.amateurphotographer.co.uk
ANIMALMAGIC
PAGE 45
CANON G1 X MARK II
Your best animal images in print, as we reveal

the winners in the latest round of APOY 2014
We put Canons top-of-the-range

PowerShot camera to the test
AP GUIDE
INCREDIBLE INFRARED
Follow our step-by-step guide

to taking these striking images
STREET PHOTOGRAPHY
PAGE 33
THE PERFECT LIGHT
How Rupert Vandervell uses

contrast for his street photos
PAGE 26
Contents
Amateur Photographer For everyone who loves photography
WHEN I was learning to print in the darkroom,
I was fortunate enough to spend some of my
time trying to print in colour. I say trying, as in
total darkness, with only a kettle to help keep the
expensive chemicals at the right temperature,
the results were somewhat hit and miss. I quickly
gave up on colour printing and didnt take it up
again until I was at university, when I used
automated developing processors.
I guess my initial experience was similar to that
of Rupert Vandervell (see page 33). He shunned
the complexity of colour darkroom printing, but
even with the simplicity of digital imaging he still
shoots only in black & white. The power of his
NEWS, VIEWS & REVIEWS

5 NEWS
Innocent photographer in shock over deletion of picture; June

debut for Nikon 1 S2; Canon unwraps new wideangle zooms;
Pentax 645D price slashed 50% in four years; Jessops
launches motorsport courses; Calumet reopens US stores
11 REVIEW
The latest books, exhibitions and websites
44 MASTERING DSLR VIDEO

Take part in our one-day DSLR video tuition seminar at
Pinewood Studios with leading lm-maker Victoria Grech, in
association with Tiffen
90 THE FINAL FRAME

Time is the basis of all value, says Roger Hicks, and we
should spend it wisely, whether in photography or in life
16 PHOTO INSIGHT
Photographer and mountaineer Doug Kofsky discusses
his epic image of the Baltoro Glacier in Pakistan and the
advances in camera technology that have made his images
more easily achieved
45
e test Canon
owerShot G1
ark II premiu
ompact camer
1 AP GUID
N
NFRARED LANDSCAPES
frared doesnt have to be daunting. Phil Hall reveals
ow to take striking infrared landscape images
3 TESTBENCH
yelead Sensor Gel Stick and Be-ez LA Robe graphite bag
5 CANON POWERSHOT
1X MARK II
anons latest premium compact sets its sights on improving
here the PowerShot G1 X left off. Michael Topham nds out
hether the new model is a signicantly better camera
3 SAMSUNG NX MINI
eet the worlds smallest and lightest interchangeable-lens
amera, the 20.5-million-pixel NX mini. Jon Devo takes a loo
6 INTERFIT EX400 Ti 2-LIGHT

OFTBOX KIT
TESTS & TECHNICAL
ndrew Sydenham tests Interts most powerful offering

rom the well-established EX budget range of ash heads
Michael Topham takes a rst look at Sonys Cyber-shot

DSC-RX100 Mark III the rst premium compact camera
to feature a pop-up electronic viewnder
aunched back in the 1990s, Gitzos carbon-bre Mountaineer

ange of tripods still have a reputation for excellence. Now they
ave been given an overhaul, as Callum McInerney-Riley explain
6 SONY CYBER-SHOT
DSC-RX100 MARK III
9 GITZO MOUNTAINEER GT1542
IN AP 10 MAY WE ASKED
When you buy new camera gear, do you prefer to shop on
the high street or online?
YOU ANSWERED
A On the high street I prefer dealing face to face 25%
B Online its more convenient and/or cheaper
27%
C It depends on the price of the item
20%
D I look online but buy on the high street
14%
E I look on the high street but buy online
8%
F None of the above
6%
THIS WEEK WE ASK How do you create black &
white images?
OTE ONLINE www.amateurphotographer.co.uk
0 ASK AP
ur experts answer your questions
OUR WORDS & PICTURES

4 LETTERS
P readers speak out on the weeks issues
5 BACKCHAT
P reader Dave Mason takes a lighthearted look at the
engths people go to in their quest to upgrade their camera
6 APOY RESULTS ROUND 2

e reveal the top 30 photographs in our Animal Planet
ound of Amateur Photographer of the Year
8 APPRAISAL
amien Demolder examines your images, offering
ords of wisdom and constructive advice
EATURES
RUPERT VANDERVELL
COVER PICTURES: STEVE WEBB, PHIL HALL AND RUPERT VANDERVELL
TECHNIQUE
stunning street photographs comes from

the dramatic contrast between highlight and
shadow they would lose their
haunting quality if they were
shown in colour.
We can all learn something
from just concentrating on lookin
at highlights and shadows. This
week, why not shoot solely in
black & white and see what
difference it makes to your
photography? Then send us
Richard Sibley
a selection of yo r i
t
show us how yo
THE AP READERS POLL
3 SPIRIT OF
HE STREET
ine-art photographer
upert Vandervell
iscusses the themes
ehind his personal
nd haunting take on
treet photography
nd explains how the
ight camera helped
im realise his vision.
liver Atwell reports
P33
HOW TO HAVE YOUR PICTURES PUBLISHED IN READER SPOTLIGHT Send in a selection of up to ten images. They can be either a selection of different images or all have the same theme.
Digital les sent on CD should be saved in a Photoshop-compatible format, such as JPEG or TIFF, with a contact sheet and submission form. Visit www.amateurphotographer.co.uk/spotlight for details.
We cannot publish images without the necessary technical details. Each RGB image should be a minimum of 2480 pixels along its longest length. Transparencies and prints are also accepted. We
recommend that transparencies are sent without glass mounts and posted via Special Delivery. For transparencies, prints or discs to be returned you must include an SAE with sufcient postage.
HOW TO CONTACT US Amateur Photographer, IPC Media, Blue Fin Building, 110 Southwark Street, London SE1 0SU AP Editorial Telephone: 0203 148 4138 Fax 0203 148 8123
Email amateurphotographer@ipcmedia.com AP Advertising Telephone: 0203 148 2516 Email mark_rankine@ipcmedia.com AP Subscriptions Telephone: 0844 848 0848
Email ipcsubs@quadrantsubs.com AP test reports Telephone: 01707 273 773 www.testreports.co.uk/photography/ap
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31 May 2014 I www.amateurphotographer.co.uk
us w en you
thought a pocket
compact couldnt
get any better
News I Analysis I Comment 31/5/14
Sony Cyber-shot DSC-RX100 III, page 6
Shopping centre pics spark complaint Security staff alert police
INNOCENT PHOTOGRAPHER
IN SHOCK OVER PIC DELETION
RIGHTS
WATCH
Committed to defending
your photographic rights!
AN 80 -year-old photography
enthusiast has told of his shock
after police urged him to delete
an image of a child playing on
a bungee trampoline inside a
shopping centre.
Mike ORegan (pictured)
had been taking pictures while
waiting for his wife inside the
Westeld Centre in Derby on
Easter Saturday (19 April).
A woman identifying herself
as the boys mother complained
to the malls security guards,
who alerted police.
ORegan told AP: I used
my [Samsung Galaxy S4]
phone to take a shot of an
ingenious bungee/trampoline
device for children.
I took three shots in quick
succession, all showing the
complete trampoline apparatus,
and the same small boy
strapped into it.
It then transpired that a lady
had complained to two security
guards that I had taken a shot
of her son.
A Derbyshire Police
spokeswoman told AP that
ORegan who says the boy
was fully clothed agreed to
delete the photo when asked
by ofcers, although he had
not broken any laws.
ORegan says guards
prevented him from leaving
the scene until police ofcers
arrived, but did not explain
why he had been stopped.
I was not physically touched
by the security guards, but
when I made a move to nd
my wife (who was in M&S) they
moved in to block my way.
ORegan said two police
ofcers arrived around 30
minutes later, took down his
name and address and insisted
he erase the offending shot
from his phone.
In the end, he erased all
three. I found this episode both
upsetting and embarrassing,
said ORegan, who lives in Toton,
Nottinghamshire, and has been
a keen photo enthusiast for
more than 60 years.
The attitude of all those
involved was not what an
80-year-old should have
Police took no action against

ORegan, who said security
guards had detained him
to endure.
ORegan added: I was so
shocked that I didnt think to
take any badge numbers of
either the security guards or
policewomen.
A spokeswoman for the mall,
which has since become part
of property group Intu, told AP
there are signs at entrances
about photography.
ORegan does not recall
seeing any notices.
In a statement, Intu Derby
added: Staff acted according
to Westelds policies, who

were the owner and manager
at the time.
Child protection is, of course,
our number-one priority, but
we also support families right to
take photographs of their loved
ones and our photography and
lming policies reect this.
We are currently training
all our staff at the centre on
Intus policies and procedures,
including those around
photography.
Derbyshire Police said in
a statement: A complaint
had been made to security
staff regarding a man taking
photographs inside the centre.
Ofcers attended and spoke
to the man and asked him to
delete one of several images he
had taken. This was done on the
request of a woman whose son
appeared in the picture.
The man deleted the image
as requested. No offences
took place.
The force says it works
closely with the centres staff
and security personnel to
ensure the safety of the centre
and its customers.
Sony camera sales
fell by a third in the

year to 31 March 2014.
Combined sales of
compact system,
compacts and
lens-style cameras
dropped by 32.3% to
11.5 million. Sony
partly blamed the
decline on a
signicant fall in unit
sales of compacts.
Sony expects demand
to decrease to 8
million in the next
year. Overall sales
revenue at Sonys
Imaging Products &
Solutions division fell
2% to 741.2m yen.
Olympus has
tweaked its Pen E-P5

CSC and Stylus 1
compact camera
via new rmware
upgrades. Claimed
improvements of E-P5
rmware version 1.4
and Stylus 1 rmware
1.1 include improved
remote control
functionality when
using the Olympus
Image Share app. For
full details, and to
download, visit
www.olympus.co.uk.
JUNE DEBUT PLANNED FOR NIKON 1 S2 CSC

NIKON UK has conrmed that its new
Nikon 1 S2 compact system camera will
be out in June.
The S2 carries a 14.2-million-pixel
imaging sensor, 135 AF points (including
73 phase-detection points) and sensitivity
ranging from ISO 200 to 12,800.
It will be out in a kit with an 11-27.5mm
lens, priced 379.99, while an outt that
adds a 30-110mm zoom will cost 529.99.
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Nikon claims that the camera is ideal

for people wanting to make the step
up from smartphones and compact
cameras.
The S2 incorporates an Expeed 4A
dual-engine image processor and boasts
a 20-frames-per-second burst rate, for
up to ten raw images.
It will be available in a choice of black, red,
white and yellow.
Do you have
a story?
Contact Chris Cheesman
Tel: 0203 148 4129
Fax: 0203 148 8130
amateurphotographer
@ipcmedia.com
16-35mm and 10-18mm
CANON UNWRAPS
NEW WIDEANGLE
ZOOM LENSES
CANON has unveiled a pair
of wideangle zoom lenses in
the shape of the EF 1635mm f/4L IS USM and EF-S
10-18mm f/4.5-5.6 IS STM.
Aimed at professionals and
enthusiasts, the 16-35mm
zoom is Canons rst ultrawide L-series lens to include
optical Image Stabilizer (IS)
technology (offering a 4-stop
advantage over non-IS lenses).
It features a nine-blade
circular aperture and boasts a
water and dust-resistant build.
The compact and
lightweight EF-S 10-18mm
f/4.5-5.6 IS STM is designed
for DSLRs with an APS-C-
AP hands-on
sized imaging sensor.
The 10-18mm lens is
due out this month priced
299.99, while the 16-35mm
zoom is expected to cost
1,199.99 when it is released
in June.
Sony Cyber-shot
DSC-RX100 Mark III
Just when you thought a pocket compact couldnt get any
better, Sony unveils the RX100 III. Michael Topham reports
THERES been a lot of talk in the past
PENTAX 645D SLASHED

50% IN FOUR YEARS
THE PRICE of the Pentax
645D medium-format
camera has dropped to less
than half what it was when
launched in the UK under
four years ago.
The 645D (pictured below)
has fallen from 8,999.99
a reduction of 4,750.
Pentax had already cut
the price to 6,299.99 in
October 2012.
The price repositioning is
one of several announced by
Pentax camera maker Ricoh
Imaging, which includes the
.99), the
K-50 (now 499.99) and
Q7 (now 339.99).
Ricoh has also cut the price
of 15 Pentax lenses, including
sistant DFA
100mm f/2.8 macro, which
is now 549.99.
For full details, visit
www.shop-uk.ricohing.eu.
4
two years about the future of the compact

camera, and more so about the direction
theyll take given the ever-evolving nature
of smartphones. Never one for resting on
its laurels, Sony understood that to ensure
the compact camera had a future it had
to improve signicantly for the better
something the manufacturer successfully
achieved in 2012 by launching the RX100.
At the time of its launch, the RX100
was revolutionary in the way it managed to
squeeze a 1in sensor inside a tough, travelfriendly aluminium body. With a sensor
approximately 4x larger than conventional
1/2.3in-type versions found in traditional
point-and-shoot compacts, the RX100
quickly became the compact to own for
those who wanted to resolve the highest
level of detail from a pocket camera.
Ever since, Sony has been working hard
to develop the RX100 to ensure it stays
one step ahead of its competition, and 12
months later, the Mark II version arrived.
Improvements included a back-illuminated
Exmor R CMOS sensor that was claimed to
be 40% more sensitive to light, a tiltable 3in
WhiteMagic LCD screen that improved on
the xed variety found on its predecessor,
and the addition of a multi-interface shoe,
which opened up the opportunity to attach
an external ash, electronic viewnder or
stereo microphone.
In addition to these new features, the

RX100 II introduced Wi-Fi/NFC connectivity
and the option to shoot HD video at 24p
for cinematically styled movies. Another
year on, and Sony has gone one better by
releasing the third member in the RX100
series the RX100 III.
FEATURES
After consulting consumers about the
experience and expectations from the
RX100 II, Sony looked to improve its
RX100 III premium compact in three key
areas. While the 1in, 20.1-million-pixel
With a ick of a switch at the side of

the body, the RX100 IIIs electronic
viewnder pops up ready to be used
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Exmor sensor is essentially the same as that

found in the RX100 II, it is now partnered
with Sonys latest and most powerful Bionz
image processor, which has already
seen use in other recent cameras such as
the Sony Alpha 77 II. Claimed to operate
3x faster than the previous Bionz engine,
the RX100 III maintains a maximum
sensitivity of ISO 25,600 and is capable of
shooting at up to 10fps in its speed priority
continuous shooting mode.
The biggest change of all is found in
front of the sensor, with the RX100 IIIs
lens better suited to those who would like
to squeeze more into the frame. Equivalent
to 24-70mm, the lens doesnt extend
as far as its predecessor at the long end,
although it is a brighter optic that permits
an aperture of f/2.8 to be used at full
telephoto. Added to this, the improved
focusing distance of the lens sees it capable
of focusing up to 30cm from a subject at
the long end of the zoom. The improved
light-gathering capabilities of the lens also
allow faster shutter speeds to be used to
freeze fast-moving subjects, while the
addition of a built-in ND lter gives users
the option to use slower shutter speeds
in bright lighting conditions.
Another area Sony has looked
to improve in the RX100 III is its
viewnder. Those familiar with the
RX100 II will remember the optional, and
very expensive (309), EV1MK electronic
viewnder that was designed to clip onto
the camera via the hotshoe and
connect via the accessory port.
The accessory port and hotshoe
have both been removed from
the RX100 III and in
is a pop-up ash tha
using a small switch above
the screen.
Instead of clipping
a viewnder onto
the body, Sony
has produced the
rst-ever premium
compact with a
pop-up EVF. This rises
ingeniously from the corner of
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A
20.1-million-pixel
1in Exmor CMOS

sensor
Zeiss VarioSonnar T* 2470mm f/1.8-2.8
Bionz X imageprocessing
engine
ISO 80-25,600
Retractable OLED
Tru-Finder
5-axis image
stabilisation
3in, 1.23-milliondot, tilt-angle
LCD
Price to be
announced
Left: Other than the pop-up EVF and

pop-up ash, the design of the RX100
III is much the same as its predecessor
Above: The RX100 IIIs brighter lens

allows a maximum aperture of f/2.8 to
be used at the long end of the zoom
the body, helping to keep the camera as

streamlined as possible. It features 1.44
million dots and uses a Zeiss T coating to
reduce reections and deliver excellent
edge-to-edge clarity. Impressively, it can
also be used to power up the camera as
an alternative to using the on/off button.
Other improvements to note on the
RX100 III include the option to record full
HD video footage at up to 50Mbps, or
up to 100fps in the XAVC S format. Dual
video recording will also be appreciated
by those who would like to record highquality AVCHD/XAVC S footage alongside
a smaller MP4 format le thats easier
to share. To help ensure steadier movies
are created, the RX100 III also features a
5-axis stabilisation system a rst on the
RX100 series.
Working out at just 9g heavier than the
RX100 II, the RX100 III also features a 3in
Xtra Fine LCD that ips by 180 and down
by 45. It is perhaps no surprise to nd
that Wi-Fi and NFC connectivity have also
carried over, and with the support of Sonys
PlayMemories app, theres the option to
enhance the cameras functionality by using
a selection of free or paid-for creative
effects and lters.
Flicking the EVF switch pops up the

viewnder much like a pop-up ash, the
only difference being that youre required
to pull the EVF towards you slightly before
it can be used. I didnt nd this to be a
problem, though, and the eye sensor
performed responsively just as weve
come to expect from Sonys electronic
viewnders. Up to the eye, the viewnder
offers a clear, bright view with good clarity.
The resolution sadly doesnt match that
of the clip-on viewnder as offered for
the RX100 II, but itll be more than good
enough for most users.
Beneting from Sonys new Bionz X
processor, the cameras autofocus and
lock-on speed seemed just as snappy as
that of the RX100 II, locking onto subjects
with minimal fuss, even in fairly low-light
conditions. Some users will appreciate
the improved customisation control, and
the customisation thats been added to
the control ring is an advantage over the
previous model. Anyone coming to the
RX100 III from a previous version will be
able to pick it up and use it from the word
go very little has changed in the menu
other than a few new additions.
Overall, its an improvement on an
already excellent premium compact. The
RX100 II picked up numerous accolades
and theres no reason to say the RX100
III will be any different. Now with an
in-built EVF, it offers the perfect blend
of what users want from a premium
compact camera. The only question is,
how much will consumers have to pay to
get their hands on it? Pricing information
was unavailable at the time of writing, but
based on the launch price of the RX100
II and the benet of having a new EVF
built in, Im guessing that the price of the
RX100 III wont be a million miles away
from a four-gure sum. The good news,
however, is that anyone looking at the
RX100 or RX100 II can expect the price
of both to fall in the coming months. AP
FIRST IMPRESSIONS
Although the shape and design of the
RX100 III are very similar to the earlier
models in the RX100 series, the removal
of the multi-interface shoe makes it look
a little more like the original RX100 than
the RX100 II. In the hand, the RX100 III
feels every bit the same as the RX100 II,
and for those who purchased an RX100
but didnt feel there was enough on the
RX100 II to justify an upgrade, the RX100
III is a tempting proposition for its in-built
electronic viewnder alone.
The way Sony has engineered the
1.44-million-dot OLED Tru-Finder into the
body is a great technological achievement
considering how small the camera is.
JONATHAN HOBLEY
JESSOPS LAUNCHES
MOTORSPORT COURSES
JESSOPS has announced
experience, plus the chance to

meet competitors taking part
in the Milltek Sport Volkswagen
Racing Cup.
Areas covered will include
focusing methods and effective
panning. Participants are
advised to bring a DSLR, a
telephoto lens, spare battery
and a monopod.
The courses run from
8.30am-3.30pm.
For details call 0844 800
4444 or visit www.jessops.com/
academy.
JONATHAN HOBLEY
the dates for a series of

photography courses for
motorsports enthusiasts.
The next Jessops Academy
Motorsport Photography
Experience will take place on 21
June at Snetterton in Norfolk.
Sessions are also planned
at Brands Hatch, Kent, on 29
August and at Donnington Park,
Derbyshire, on 13 September.
Hosted by Volkswagen Racing
UK, the 199 course promises
a behind the garage doors
CALUMET REOPENS US STORES

CALUMET has reopened the rst of its US stores since
being rescued by C&A Marketing, the licensee of Polaroid
instant digital cameras. The store is the Oak Brook shop, which is
around a 30-mile drive from Calumets Chicago base and one of
the newer locations.
C&A recently bought Calumet Photographic, a 75-year-old chain
that was forced into bankruptcy in March, closing its 14 US stores.
C&A, which is based in New Jersey, said the reopened shop
employs core staff.
In a statement, the rm added: For 75 years, Calumet dened
photo retailing to professionals and C&A is determined to rebuild
the brand as quickly and efciently as possible.
The statement added: C&A will make further reopening
announcements shortly. However, it is not clear what other
Calumet stores are due to reopen.
In March, Calumet UK said the closure of the US stores would
have no direct impact on the UK, where it runs nine shops.
Calumet said its European operations are nancially and
operationally independent.
8
www.amateurphotographer.co.uk I 31 May 2014
Amateurs and
professionals are
urged to enter the
Taylor Wessing
Photographic Portrait
Prize, which offers
12,000 to the winner.
The deadline for
entry to the
competition is 7 July
2014. An exhibition will
open at the National
Portrait Gallery in
November. For full
details visit www.npg.
org.uk/photoprize.
Dozens of
photographers are due
to be laid off at one of
Australias biggest
publishers. Fairfax
Media Ltd, which
publishes newspapers
including The Sydney
Morning Herald,
plans to reduce its
photographic team
from 50 to 20, reported
news agency Reuters.
Staff threatened to go
on strike over the cost
cuts, which will also
affect journalists.

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Books, exhibitions and websites
BOOK
APReview
The latest photography books, exhibitions and websites. By Jon Stapley
DAV D DOUB LET
PAUL N CKLEN
JOEL SARTORE
By Cristina Mittermeier
National Geographic, 27.50, hardback,
224 pages, ISBN 978-1-42621-301-4
WHATS left to say about National

Geographic? Its a name that has basically
become a kind of shorthand form of
peerlessly good photography. Cristina
Mittermeiers collection of images from
National Geographic is titled Sublime Nature,
and is just that. The beauty of the subjects
is at times overwhelming, but its the skill
subscribe 0844 848 0848
of the photographers thats often most

on show here. Sit back and appreciate
the intrepidness of Frans Lanting, the
compositional skill of Art Wolfe and the
painterly wisdom of Jim Brandenburg. I
have to make a personal special mention
for David Doubilets half-in, half-out
underwater images (see top right), which
are absolute triumphs of composition and
timing. When you view these, it wont be
the last time the book will make you say,
How did he do that?, but itll probably be
the loudest. Honestly, its hard not to just
keep gushing Paul Nicklens Arctic and
underwater images (top left and above
GEORGE STE NMETZ
PAUL N CKLEN
Sublime Nature:
Photographs that
Awe & Inspire
left) are well worth a mention, and the

awe-inspiring landscapes of Carsten Peter
and George Steinmetz display not only the
beauty of nature, but also its power.
Its hard not to read the book with a
little melancholy, though. As the scientic
communitys warnings grow increasingly
dire, you cant help but wonder if youre
going to have to explain to your children and
grandchildren why the amazing things these
exceptional photographers
captured no longer exist.
Still, its a really cool
book to have on your
coffee table.
11
SUSANNAH ALLT MES
CONDENSED
READING
A round-up of the latest
photography books on the market
CANON POWERSHOT G16: THE

EXPANDED GUIDE by David Taylor,
14.99 The Canon PowerShot G16 is
one of the best premium compacts
around and it has plenty of nice
features good Wi-Fi with geotagging,
excellent image quality and a lovely
fast f/1.8-2.8 lens. It is an easy camera
to get to know, so you may well be able
to survive without a strategy guide,
but if you do need a helping hand
David Taylor is, as ever, here to help.
NEW YORK by Ron Galella, 34
The godfather of modern paparazzi
gets a book to himself, and if you
dont nd that thought off-putting
then you may enjoy this collection.
Most of the book consists of famous
faces squint in the glare of popping
ash. There is artistry, I suppose, in
photographing people who clearly
dont want to be photographed. Ron
himself is a character. At one point
he recounts a story of sneaking
past airport security to pap Brooke
Shields and John Travolta, and uses
this anecdote to liken himself to
Cartier-Bresson. Hmm. PIKIN SLEE
by Viviane Sassen, 30 Viviane
Sassen takes a detour from the
fashion work for which shes known
to focus on inhabitants of a village
on the Upper Suriname River on the
coast of South America. The village
is inhabited by the descendants of
people who escaped slavery under
the Dutch. Theres a lot of focus on
the signicance of objects, seemingly
humdrum things that nevertheless
form integral parts of these peoples
lives. Theres beauty in the everyday,
to paraphrase Sassen herself.
EXHIBITION
Double Exposure Portraits
7-22 June. Zebra One Gallery, 1 Perrins Court, Hampstead,

London NW3 1QX. Tel: 0207 794 1281. Website: www.zebraonegallery.com.
Open Tue-Sun 11am-4pm. Admission free
THE DOUBLE Exposure Portraits

exhibition is the culmination of a tenmonth project by YOUYOU Mentoring that
brings together the work of four aspiring
photographers from London and Essex.
Mohamed Abdi (18), Marina Tilahun (20),
Susannah Alltimes (20) and Chloe Thacker
(21) were mentored by professional
photographers and the fruits of their labours

are displayed in a series of celebrity portraits,
including Game of Thrones star Maisie
Williams (above) and Spandau Ballets Martin
Kemp, whose daughter Harley Moon Kemp
is one of the mentors. Its fantastic to see a
project like this giving young photographers
a start in an ever more difcult industry.
www.photographyblogger.net
AS A SOURCE of inspiration, this site is
slick, readable and easy to lose yourself in.
Posts come generally twice a day, and offer
bite-sized chunks on various subjects. There
are some good tips on getting the most
out of your gear, as well as short interviews
and galleries that throw the spotlight on
individual photographers. None of it is terribly
complicated, nor does it
give of the impression of
taking all that much time or
effort to pull together, but
its eminently consumable.
12
WEBSITE
The worlds best-selling

weekly photography magazine
NOW AVAILABLE
TO DOWNLOAD!
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THUMYV[[VJV\R
Have your say
Letters
Share your views and opinions with fellow AP readers every week
Write to
MEMORIES OF 126
Does anyone remember those little SupaSnaps Snappit cameras from the 1990s
that used 126 cartridges and produced square photographs? Mine was a bright
pink one that came with stickers and was the rst camera I ever owned when I was
a kid. My gramps used give me tips on how to get the best pictures. Looking back
through some of my dark and blurry photos, it seems I didnt take much heed of his
advice. One time, I used up an entire lm by taking pictures of pigeons in Warrington
town centre in Cheshire. When I got the pictures developed, my mum conscated
my camera for a month for wasting her money.
I still have that camera under my bed. The stickers are hanging off, but I bet it
would still work. Its a shame they dont make 126 lms any more, as it would be fun
to use the camera again to take more pictures of stupid things, as my mum would
say. Gareth Houghton, Merseyside
I dont remember the camera, but the story made me laugh, Gareth. Your mum
sounds like someone not to be messed with! Nigel Atherton, Group Editor
OPPOSITE EXPERIENCE
Mike Hay paints a rosy picture indeed of
the merits of independent retailers (Letters,
AP 17 May). I dont dispute that this is an
accurate mirror of his personal experience,
but Im afraid my experience was the
exact opposite.
About ten years ago, I wanted to by a
Konica Minolta Dimage A2. This was a
bridge camera that was highly regarded in
its day and it retailed, if I remember rightly,
for around 450 (even now, incidentally,
that camera is an object lesson in ergonomic
design, although image quality is obviously
somewhat lacking by modern standards).
My local retailer had the camera in stock,

but I couldnt help noticing that I could get
the camera for 100 less online, which was
a very large difference in percentage terms.
It seems slightly quaint now, but like many
people ten years ago I was nervous about
making a major purchase online, so I went to
the shop, looked at the camera and liked it.
Then I made my big mistake and said,
This is being sold for 100 less online, but I
also appreciate that you have overheads and
give personal service and advice that I value,
so can we compromise halfway? The reply
was, If you wish to do that, you may leave
these premises and never come back again.
: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
LETTER OF
THE WEEK
Wins a great shockproof,

waterproof and dustproof 5-Proo
Technology 16GB Samsung SDHC
Plus memory card offering up to
48MB/sec transfer speed.
www.samsung.com/memorycard
Letters at the usual

AP address (see page
3) fax to 020 3148
8130 or email to
amateur
photographer
@ipcmedia.com and
include your full
postal address
Earn 50
Backchat
Send your thoughts

or views (about 500
words) to Backchat
at the usual AP
address (see page 3).
A fee of 50 will be
paid on publication
Needless to say, that retailer was

instrumental in pushing me into the online
experience which I have been doing ever
since. Personally, I only use online retailers
who also have a main showroom attached to
their operation or those who operate a chain
of shops as well. I nd that if I pay a visit, I
invariably get good advice from enthusiastic
staff, but the really big advantage is that they
carry a vastly bigger range of stock than any
independent can hope to do. Judging from
the way the market has changed in the past
ten years, I suspect I am not alone.
Roger King, Essex
I wonder if that independent retailer you
refer to is still in business. It certainly
doesnt deserve to be, if your experience
is anything to go by Nigel Atherton,
Group Editor
MORE ABOUT MOVIES

I read with interest that your magazine
is going to give more attention to
videographers (Letters, AP 19 April). I have
been reading AP since the late 1950s and,
as I was working selling cameras when
cameras were cameras (just joking) with GE
Williamson a big name in Glasgow I have
followed cine cameras, from 9.5mm, 8mm,
Super 8 and now digital. My interest was
still photographs, with a passing interest in
movie photography.
But six years ago, I bought a budget
Panasonic camcorder and, with help
of iMovie and YouTube, I became an
enthusiast. I am sure there are thousands
of keen moviemakers out there lming their
interests. I nd it odd there has never been
a magazine for the amateur in this eld.
Maybe its because there is plenty advice
on the net. But its still nice to read reviews,
advice and comments the old way relaxing
in an armchair! I am glad to hear that you
intend to rectify this. I wait with eager
enthusiasm.
Stuart Smith, Ayrshire
I should make it clear that we are not
going to start writing about camcorders,
but we will be offering advice on getting
more from the movie-mode button
on still cameras. Were also about to
hold our rst masterclass on video at
Pinewood Studios, details of which can
be found on page 44 of this issue Nigel
Atherton, Group Editor
CAMERA TEST QUERY

Your tests provide a good picture of
handling of a camera, but they tell the
reader nothing about the extent of intracamera variability within a particular model
population. For example, if I were a camera
distributor, I would ensure that the specimen
received by AP for testing was faultless,
so how condent can a reader be that the
individual camera they buy off the shelf
or online will meet the same standards of
quality as the model tested by AP?
You always focus on the contrasts
between different models, but never on the
variability within a specic model population.
14
subscribe 0844 848 0848
Have your say
AP reader Dave Mason takes a

lighthearted look at the lengths
some people may go to in their
quest to upgrade their camera
KEEP UP THE FIGHT

I was shocked to see that the screening the
council had put up around a primary school
in Woodford Green, north-east London, has
started to break. Shock horror! This means
someone walking down the road might see
a child playing hop, skip and jump. Should
I ring the police or try to repair it myself?
Actually, of course, the screening has long
been a local joke a perfect example of the
paranoia of todays world.
My son, Dr Patrick Green, who has
been photographing the development
of the Olympic site nearby as a record,
says he nds it virtually impossible to
visit the area today without being stopped

by security guards or police. We will
soon be like Hungary where, as reported
(AP 19 April), one should not photograph
if there are people in the area unless one
has their permission.
Years ago a friend recorded a video of
his grandsons sports day. He took 12
copies to sell at the Christmas Bazaar.
The headmaster was horried.
I hope AP will keep up the ght for
photographers to photograph in a public
place otherwise, in a few years, the use of
the camera in public places will be banned.
Alan Green, via email
The increasing hostility towards photography in public places by the public, while the
exponential growth in surveillance of the public continues unabated, is one of the
most depressing aspects of modern life. The only thing that saddens me more than
seeing us sleepwalking towards Orwells vision is the widespread support for it from
large sections of society.
However, a school sports day is another matter. Giving out copies of the video to
other parents who want them is one thing, but selling them is another. Schools are
not public places and they have a duty to protect the children in their care. There
are good reasons why some childrens identities and whereabouts need to kept
out of the public realm Nigel Atherton, Group Editor
Just how consistent are individual cameras

within the same model range? It would be
illuminating if you were to test, say, three
specimens of the same camera and assess
just how consistent is their performance.
I should hasten to add in APs defence
that this is not an issue peculiar to AP.
Whichever magazine or website one
chooses to read, just how condent can a
reader be that the camera they purchase
will perform as well as (or better than) the
specimen provided for magazine/website
testing? Pete Jeans, Gloucestershire
Most cameras we receive for test are
sealed and packed in the same way as
they would be when sent to a store or
to a consumer. Manufacturers build
their products to within a certain
tolerance, and having visited factories
myself, I know that these tolerances
are very small, and that manufacturers
subscribe 0844 848 0848
test a number of items that roll of the

production line in each batch. Sensors,
for example, are rejected if they have a
certain number of defective pixels.
To really test any form of consistency,
I would suggest that a test of a lot more
than three cameras would be needed,
all of which would probably come from
the same initial batch. The problem is,
manufacturers have a limited number of
review samples and a lot of publications
wanting to test them, so even if they
were from different batches, hogging
potentially the entire loan stock of a new
model for a test would not be possible
unless it were done once everyone
else had nished with them, in which
case who knows what knocks and bangs
they may have endured along the way.
Besides which, AP always strives to
be rst on the list for samples, not the
last Richard Sibley, deputy editor
THE 1970S were notorious for crimes against good taste,

and yet against all odds the period produced some extremely
attractive cameras a point not missed by Fujifilm and
Olympus, among others, which have taken advantage
of the retro trend.
In your review of the Fujifilm X-T1 (AP 15 March), I read
that I should prepare to want one. Thank you. I do now.
However, the problem is one of funds because my income
just cant keep up with the speed of upgrades and new
cameras. Unfortunately, my original wealth-creation plan,
to create a global brand of potato-sack pockets for the
discerning photographer who wants to discreetly carry his
large DSLR, failed. With cameras in said pockets, robust
braces were necessary to offset gravity. However, during
field trials, an unforeseen side effect was that with the braces
attached, my trousers behaved like a berserk bungee jumper,
resulting in what was described by our local police officer
as repeat boxer shorts-related incidents. My solution to
liberate some components from the Clifton Suspension
Bridge has been stalled by not being able to work out what
wont be missed. So its time for plan B.
Under cover of darkness, I shall write anonymously to
all the camera manufacturers, detailing enhancements to
their existing cameras that will truly recreate that retro film
experience. These suggestions will be so irresistible that they
will be unable to help themselves as they claim them for their
own, and so the next generation of cameras will be born.
As everyone part exchanges their old cameras, I shall take
advantage of the now over-supply of equipment. Simple.
Its a work in progress at the moment, but Im thinking along
the lines of a scratch-and-sniff panel with that authentic film
smell, for when you put the card in the camera. Or, how about
no matter how many gigabytes on the card, it will only save
36 pictures? Maybe, when downloading, it will take a week
to transfer the pictures to the computer, with the equivalent
cost of postage deducted from your bank account. As an
added bonus, random images could be stamped with a digital
label stating overexposed or camera shake. These could be
automatically uploaded to photo-sharing websites, for a game
of photo bingo, creating a whole new entertainment industry.
Of course, there is an alternative. I could just get off the
upgrade express, rather than letting my lack of willpower
consign me to a life of camera envy and angst. Would
that be so bad? Film, digital, APS-C or full frame? I could
go on. Each solution has its
own characteristics that will
find favour with some and
fault with others. Whatever
your preference, they are
all different roads to the
same destination taking
photographs. That said, though,
I still wouldnt mind if my road
were 1970s shaped with a
twist of the 21st century.
15
Photo insight Doug Kofsky
PHOTO
NSIGHT
BRINGING
YOUESSENTIAL
EXPERTADVICE
EVERY WEEK
DOUG
KOFSKY
American photographer
Doug Kofsky took
his rst hike into
the mountains when
he was just 18 and
right away began
documenting the
sites through his
photographic work.
Since then, he has
travelled to various
locations throughout
the world, including
the Himalayas in 2008.
He lives in New York
City. To see more of
his work, visit www.
dougkofsky.com.
16
Photographer and
mountaineer Doug
Kofsky discusses
his epic image of
Pakistans Baltoro Glacier
and his fascination
with the history of
mountaineering
THE REASONS for my love of
mountaineering are very personal. The
earliest parts of my life were spent growing
up in the suburbs of Boston in the USA,
and when I reached the age of 18 I decided
to take my rst trip. I spent a month hiking
in the Sangre de Cristo [Blood of Christ]
mountains, a subrange of the Colorado
Rockies. I was following in the footsteps of
my father, who had been on expeditions
to the Alps in Nepal and to Pakistan. He
had this beautiful book full of newspaper
clippings that I would leaf through on an
almost daily basis. I was struck by how these
adventurers would go to these places and
then come back with images to show that
these kinds of places existed.
When I went on my rst trip, it was,
without any sense of hyperbole, absolutely
life-changing. While I was in the Rockies, I
discovered a different order and structure.
It gave me a lot of strength. I had just started
photography around the same time and I
realised that my success lay in combining
my twin passions of photography and
mountains. I quickly understood that
photography is about more than just
skill its about knowing what to shoot. If you
shoot something you really care about, it will
consistently show through in your images.
That gave me the focus to concentrate on
one subject in my photography, and, as a
result, photograph the greatest mountains
in world in the best possible way I could.
This image was taken on the Baltoro
Glacier in Baltistan, Pakistan. Its a region
that is particularly signicant for me. Ive
spent a lot of time studying the exploits of
world mountaineers, and the stories and
history that dened them. The great British
mountaineer Chris Bonington has been on
expeditions to this area, and in 2011, I nally
got the chance to travel there myself.
The picture was taken about halfway down
the glacier near a camp called Urdukas,
which is the last place you can step onto the
glacier. The glacier is potentially the biggest
cliff in the world, and Id read about the
various attempts to get to the summit.
The Baltoro track is very hemmed in.
The sun shone through a thick bank of

clouds and gave a stunning pop of light on
each of these mountains across the glacier
Youre always looking at the huge glacier
looming above you. I was standing on a
grassy slope where I could trek a little way
up the glacier. I only hiked a little way
because everywhere you go youre afraid
somethings going to fall on your head. You
need to be a bit of a climbing arachnid!
During my trips, I always make a point
of getting up when its still dark because I
nd that I have the greatest luck with the

light as its rising over the landscape. On
this occasion, the sun shone through a thick
bank of clouds and gave a stunning pop of
light on each of these mountains across
the glacier. It was incredible and I spent the
entire morning documenting the scene.
On my rst few trips to the Himalayas
I took a compact camera. The pictures I
subscribe 0844 848 0848
Doug Kofsky Photo insight
DOUG KOFSKY
produced were very disappointing. The

camera unfortunately suffered on the
pixel front when it came to trying to make
big prints. The picture here was taken
using a Canon EOS 500D with a 50mm
lens. I chose the EOS 500D over a more
professional DSLR because of weight.
The digital sensor of the EOS 500D
is fairly close to that of a more expensive
camera, although what you do get with
the more professional camera is weather
sealing, which I knew Id miss. However,
the need to travel light outweighed my
other requirements.
I fund my own expeditions, which take
subscribe 0844 848 0848
place every 12-18 months and usually last

for a minimum of ve weeks. The longest
I have been at a location is around ten
weeks. You have to consider the logistics
of getting to somewhere like Asia, the
altitude and also the fact that some of
the areas are quite remote so it can take
a while to get there.
I enjoy travelling in Asia the region has a
mythical feel to it. Gaining an understanding
of the cultures in these areas is something
I nd fullling. Its interesting because the
14 greatest mountains in the world are all in
the areas of Nepal, Pakistan and Tibet. The
logistics of how people travel to these places
also fascinates me. For example, when the

Duke of Abruzzi, an Italian mountaineer
and explorer, rst came to the Baltoro in
1909, he had 500 porters and probably
brought four-poster beds. Im fascinated by
the evolution that has taken place over the
past 100 years or so, and whats possible
now compared to what they did then. When
the Italian photographer and mountaineer
Vittorio Sella visited the Himalayas, he
used horses to transport his tripod, largeformat camera and around 40 30x40cm
glass plates. Now, all I need is a converted
backpack and a DSLR full-frame camera.
It couldnt be simpler. AP
Doug Kofsky
was talking to
Oliver Atwell
17
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Infrared AP guide
AP guide to...
Shooting
infrared
landscapes
Infrared can
produce some
wonderful
effects that give
the image real
bite with a
surreal look
Infrared doesn't have to be

daunting. Phil Hall reveals
how you take striking
infrared landscape images
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21
AP guide Infrared
THANKS to its unique characteristics,

infrared photography can produce some
truly beautiful results that have a lovely
ethereal quality about them. Its a perfec
technique for landscapes, and one that
doesnt require you to get up at the crack
of dawn for the best light. Well discover
why a little later, but rst we need to
understand a little more about the
science behind infrared.
In a nutshell, infrared light is a spectrum of
light beyond what the human eye can see.
This is because our eyes can only detect a
small range of wavelengths that make up
the frequencies of visible and invisible light,
known as the electromagnetic spectrum.
The light we see is classed as visible light
and ranges from red to blue (violet), with
the typical human eye responding to
wavelengths from about 390-650nm
(nanometers). Infrared light has a
wavelength longer than is visible to the
red receptors in our eyes at 700nm and
sits just below visible red light in the
electromagnetic spectrum. This results in
an invisible infrared light world that looks
completely different to the one were
accustomed to, with subjects reecting
back infrared light as well as visible light.
Hoyas R72 filter is

point for infrared
photography
INFRARED LIGHT
The sun is by far the best source of infrared
light, although how much infrared light a
subject reects back will vary, with some
subjects reecting infrared light better than
others. For instance, we perceive a leaf to
be green as the chlorophyll in the leaves
has a high green reectivity. However, it
also reects infrared light incredibly well, so
when you're shooting an infrared black &
white image, it results in foliage appearing a
ghostly bright white.
In contrast to this, bright-blue skies
absorb infrared light, rendering them almost
pitch black, while even relatively pale skies
can take on a much darker tone. In both
instances, the effect is most pronounced
when the sun is at its most intense during
the middle of the day. While shooting under
such conditions normally means harsh
shadows and high contrast that arent suited
to a lot of landscape images, its perfect
for infrared, with the combination of the
bright-white foliage and rich, dark skies
resulting in an image with bags of contrast
that has real bite.
Compared to
unfiltered images,
infrared images
render foliage
bright white and
blue skies almost
pitch black
SHOOTING INFRARED
While shooting with lm simply required a
dedicated infrared lm and lter, things are
a little different for digital imaging. This is
because digital sensors have been designed
to block out infrared light to ensure that the
captured visible light is rendered faithfully,
with sensors engineered with an infrared
blocking lter (also known as a hot-mirror
lter) that sits in front of the sensor.
To shoot infrared, one option is to remove
the hot-mirror lter from the sensor lter
pack and replace it with another lter of the
same thickness that only allows infrared
light to pass through it. There are a number
of lter strengths available, but perhaps the
22
Unltered
most popular is the 720nm lter. Blocking
out the entire visible colour spectrum, only
infrared light can pass through. It requires
only around +1EV of exposure adjustment,
so handheld shooting is possible. And
because the lter isnt blocking the optical
path between the lens and the viewnder,

you can compose and focus as you would
do normally.
This is a great option if you wish to shoot
infrared regularly, but because the camera
can no longer capture visible light, the more
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Infrared AP guide
HOWTOSHOOTINFRARED
INFRARED lters are almost black in
appearance, and by blocking out any visible
light they bring with them their own specic
shooting characteristics.
The rst of these is that the exposure time will
be extended considerably, increasing by 5-6 stops,
so even in bright conditions a tripod or support
will be required. The knock-on effect of this is
that in many instances, it wont be possible to
freeze elements of your scene.
Just as you might have experienced when
shooting with a strong neutral density lter,
focusing and composition also need to be set
before the lter is tted. This isnt too much of an
inconvenience once you get used to this process,
but youll need to take extra care with focusing.
Lenses are designed to focus on visible light and
not infrared light, so its advisable to offset your
focus accordingly to compensate for this. While not
so prevalent on mode lenses, many optics carry
an infrared focus marker to indicate how far you
must offset your focus to compensate for infrared
light. This is merely a guide as it will vary depending
Falsecolour
on the lter you use, and so long as an aperture

of around f/8-11 is used, it should be enough to
ensure that the depth of eld is sufcient to be
maintained throughout the scene.
Finally, perhaps the most important creative
decision you make when shooting infrared is
whether you want your images to display a
dramatic mono look or a
more surreal colour
treatment. Black & white
images offer a more
readily accepted
representation, with
colour infrared images
a little too unnatural
for many viewers.
Older lenses
feature an infrared
focus marker, as is
the case with the
white dot on this
Nikon lens
Traditionalmono
When shooting infrared, you have the choice of shooting false colour or more traditional mono shots
If youre serious
about infrared,
you may want
to think about
converting a DSLR
Infrared
casual shooter will need a second or third
body that can be converted. Opening up
and operating on your DSLR and removing
the hot-mirror lter is a skilled job, with
some DSLRs being easier to adapt than
others. This is because some hot-mirror
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lters are glued in place and require

chemicals to release them from their
mounts, while in other cases its just not
practical to convert certain models.
If you do fancy taking the conversion
route, look for an affordable second-hand
model and either attempt the conversion
yourself or use one of the specialist
companies that offers infrared conversion,
such as www.advancedcameraservices.
co.uk. They offer conversions from 290

and will be able to tell you whether or not
your desired model can be converted.
FILTERS
The alternative to converting your camera
to infrared is to attach a dedicated infrared
lter to the front of your lens, allowing
infrared light to pass through but blocking
out all or most visible light. This is a much
more cost-effective solution.
Infrared lters are available from the
likes of B+W, Cokin, Hoya and Tiffen, and
are available in various strengths, indicated
by the wavelength at which it passes light,
measured in nanometers (nm). The strength
you opt for will depend on their intended
application (some are used in the scientic
eld, for example), but for general infrared
photography, Hoyas R72 circular infrared
lter is a popular choice. Available in thread
sizes from 46-77mm (35-85), the lter
has a strength of 720nm and is classed as
near-infrared as its near the red
light wavelength (600-700nm) on
the electromagnetic spectrum.
23
AP guide Infrared
TROUBLE
SHOOTING
LENSES
that can beset you when shooting
infrared. One major issue is the
lens you shoot with, as some can
produce a hotspot at the centre
of the photograph caused by
internal reections of the infrared
light within the lens. With this is
mind, its worth experimenting
with the lenses you intend to
shoot with at different apertures
and focal lengths to assess how
they perform, while there are
extensive lists online of suitable
lenses for a range of systems.
ANDY L NDEN
THERE are a couple of pitfalls
Andy Linden
www.andylinden.co.uk
ANDY L NDEN
I FIRST tried infrared

photography about 25
years ago with an Olympus
OM-1, Kodak High Speed
infrared lm and a red lter. I
loved the photos I could get
with it, but the lm was quite
tricky to process without fogging it.
With the advent of digital, I started using
the Hoya R72 Infrared lter. The only
problem with this technique is that the lter
is opaque to normal light and the minimum
exposure time required is about 30secs. Its
possible to take decent photographs in this
way, but Ive found that the long exposure

often causes a lot of noise in the nal image.
It was then that I decided to invest in
a camera converted to infrared, allowing
me to take infrared photos handheld, with
normal exposure times, and without the
need for a tripod. I bought a second-hand
Canon EOS 1000D and had it converted,
opting for the 720nm lter. In the old days
of lm, taking an infrared picture was very
hit and miss, and the nal result would be
unpredictable, so the great thing about a
converted digital camera is that you can
see straightaway whether a shot is going
to work or not. Images straight out of the
camera usually have a reddish-brown tone,
so I usually adjust the colours a little in
Lightroom and Photoshop.
STEP BY STEP GUIDE

Whitebalance
Composeandfocus
Best practice is to shoot in raw and set a custom

white balance. With your infrared lter attached,
select custom white balance from your cameras
menu and then, pointing the camera downwards, take a
reading from a patch of grass. This will massively reduce
the appearance of red in the display.
24
Remove the lter and frame up your image before

setting the focus. Then set the focus to manual and
if your lens has an infrared focus marker, use that to
adjust focus. Failing that, ensure youre using a smaller
aperture than usual to ensure theres sufcient depth of
eld in your shot to compensate for this.
Reviewhistogram
Shooting in manual or aperture priority, take a test

exposure and then review the histogram. Youre
looking for a wide histogram that spreads out to the
edges as much as possible. This will perhaps require +2 to
3EV exposure compensation to achieve this. Adjust, shoot
again and then review.
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LEE CASTER
Lee loves infrared

for the extra
dimension it gives
his mono images
Lee Caster
www.leecaster.com
I HAVE only recently
started shooting infrared,
but am already a massive
fan. I nd its perfect
for producing impactful
landscape and architectural
images, especially when
the light is too harsh, or too dull for shooting

decent colour images. Although its great for
shooting the more usual trees and clouds,
Ive also been very impressed by the extra
dimension it has added to my more usual
black & white shots, nding clouds and
contrast in seemingly empty blue skies, and
bringing out shadow details which are barely
visible on the standard spectrum.
I had my Canon EOS 5D Mark II
converted with a 720nm lter, shooting in
raw to give complete control over the image

in processing. I have the camera mode set
to black & white, and using live view I can get
a fairly accurate impression of what the nal
shot will look like as it takes a little getting
used to seeing the world in infrared. The
direction of the sun in relation to the camera
has a massive impact. Shooting into low sun
can make for a very washed-out image,
whereas shooting with your back to the sun,
or side on, can totally transform a scene.
Falsecolour
Mono
To swap the brownish red cast that youve probably

got in the sky, we need to channel swap the Red and
Blue channels. Select the Channel Mixer from the
Adjustments panel and for the Red Output Channel set Red
at 0 and Blue at 100, while for the Blue Output Channel,
reverse this.
If you want to produce a mono infrared image, select

Black & White from the Adjustments panel and
adjust the sliders until youre happy with the look of
the image. Noise can be introduced here, so make sure you
assess the image at 100% to ensure that the image hasnt
been compromised.
Autocolour
Bring the images into Bridge and open them in Adobe

Camera Raw. Here you can make some minor
adjustments to the contrast and exposure, but the
biggest change in the colour characteristics of the image
needs to happen in Photoshop. First, open your image and
then go to Image>Auto Color.
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25
The UKs most prestigious competition for amateur photographers

1
2nd
2 Mark Helliwell
Cheshire 49pts
PRIZE
Nikon D300, 18-200mm, 1/125sec at f/5.6, ISO 100

Hes Behind You Judges say Looking at this image
of two owls a great grey and a horned theres a
very famous photograph that instantly springs to
mind: David Baileys image of the Kray twins. This
is such a different and humorous take on animal
portraiture that we couldnt help but award it
second place
26
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1 Gerard Sexton Oxon 50pts

Canon EOS 1D Mark 1V, 400mm, 1.4x
converter, 1/3200sec at f/4.5, ISO 800
Heron Judges say This was one of
those shots where the judges had to
stop and stare to work out whether
or not the heron was real. The reason
is that its such a perfectly captured
moment. The position of the legs, the
spread of the wings and the arc of the
branch have all come together to form
a dynamic image. Not only that, but
the subtle lighting has resulted in a
dramatic and engaging shot
In association with
1st
OF THE YEAR
COMPETITION
PRIZE
Animal Planet
There were a number of strong entries for

round 2 of APOY 2014. Here we reveal the top 30
photographs from our Animal Planet round
Gerard Sexton, of Wallingford in Oxon, is the
winner of our Animal Planet round of APOY
2014. Gerard will receive an Olympus OM-D
E-M10 with a 14-42mm EZ Pancake zoom, a
45mm f/1.8 portrait lens, a 40-150mm zoom, a
9mm sheye lens, a macro adapter and a street
case. Thats a total retail price of 1,200. The
E-M10 has a 16.1-million-pixel, four thirds-sized
CMOS sensor and a TruePic VII image processing
system. The 14-42mm EZ Pancake zoom lens is
the most compact pancake lens and the 45mm
f/1.8 portrait optic is ideal for low-light portrait
work without ash.
Our second-placed winner is Mark Helliwell,
of Maccleseld in Cheshire, who will receive an
Olympus Pen E-PL5 camera plus a 14-42mm
and 40-150mm twin-lens zoom kit worth 500.
Despite its small size, the E-PL5 offers serious
image quality with its powerful 16.1-millionpixel sensor and a new OM-D component in the
TruePic VI image processor. It also has lightningfast autofocus.
Ellie Willis, of Newton Abbot in Devon,
nished third and wins an Olympus Stylus
SP-100EE Ultra Zoom camera, with a 16-millionpixel sensor and 3in LCD screen. The SP-100EE
includes an autofocus lock so you need never
lose a shot due to fuzzy focusing. The camera
also features a 50x optical Ultra Zoom lens with
a focal length ranging from 24-1,200mm.
THE 2014 LEADER BOARD
3 Ellie Willis
Devon 48pts
Nikon D90, 18-50mm, 1/125sec at f/16, ISO
200, 2-point ash lighting and two large
softbox attachments
Ferrets Judges say Ellies image of her
brother and his two beloved ferrets after
building them a new home was a shot we
kept revisiting. Where it succeeds is in its
simplicity. Its a portrait that brings together
the human and animal world in a clean and
unfussy photographic manner and who
doesnt love ferrets?
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Jevgenijs Scolokovs from Latvia has leapt into the top spot with 82pts,
having taken tenth place two months in a row. In second place with 79pts
we nd 2012 APOY winner Dan Deakin. In third place is Chris Wood, who
took fourth place in the rst round and 28th in this round
3rd
PRIZE
1
2
3
4
5
Jevgenijs Scolokovs
Dan Deakin
Chris Wood
Conrad Ziebland
Steven Webb
82pts
79pts
70pts
68pts
64pts
6 George Taylor
6 Jianwei Yang
8 Andrew Blake
9 Gerard Sexton
10 Dusica Paripovic
61pts
61pts
60pts
59pts
58pts
27

4 Chris Dixon Hampshire
47pts
5 Iain McConnell Wrexham
46pts
6 Angela Nelson Tyne and Wear
45pts
7 Steve Webb West Midlands
44pts
8 Leo Walton Nottingham
43pts
9 Dennis Low West Sussex
42pts

Working on the chain gang Judges say A moving image
from Chris bringing home the reality of captive animals
Olympus E-510, 14-45mm, 1/160sec at f/8, ISO 100, 2 remote

ashes with RF-602 triggers
Cat and toy Judges say Iains accomplished image really
impressed the judges and is more than deserving of fth place
Canon EOS 60D, 60mm macro, 1/200sec at f/18, ISO 100
Baby tree frog Judges say Angela keeps frogs as pets, and
as such, is well equipped to capture these small creatures in
unique ways
Sigma DP1 Merrill, 19mm, 1/160sec at f/7.1, ISO 100

Derwent the duck Judges say This was a very popular shot with
the judges. Getting down low, Steve has given us a ducks-eye view
Nikon D600, 70-200mm, TC-14E teleconverter, 1/1250sec

at f/4, ISO 200, tripod
Going for a waddle Judges say Taken in Antarctica, this shot of
chinstrap penguins makes great use of simplicity and depth of eld
Sony Alpha 7R, 50mm, 1/125sec at f/1.8, ISO 320
Orphaned lambs Judges say The colour and light are the key
ingredients here in this nicely observed shot from Dennis
10 Jevgenijs Scolokovs Latvia
41pts
11 Susan Harding West Sussex
40pts
12 Yehya Belhadad Algeria
39pts
13 Bill Sell Carmarthenshire
38pts
14 Conrad Ziebland Hertfordshire
37pts
15 Ian Bramham Cheshire
36pts
16 Al Punja East Sussex
35pts
Canon EOS 5D, 35mm, 1/2000sec at f/1.6, ISO 100

On a lead Judges say The success of this image hinges on two
factors perspective and depth of led. The monochrome is also
vital in its ability to reveal the details
Nikon D800, 70mm macro, 1/8sec at f/2.8, ISO 640

Daydreaming Judges say This was shot during a day trip to the
British Wildlife Centre and is an image many of us could easily miss
12
Sony Alpha 33, 18-55mm, 1/125sec at f/7.1, ISO 400

Buttery Judges say What a beautiful image. The background
colour and insects details are genuinely mesmerising
Nikon D100, 50mm, 1/200sec at f/1.8, ISO 500
Eye of the duck Judges say This is a typically excellent image
from Bill. The focus on the eye really draws in the viewer
Pentax K-3, 35mm, 1/180sec at f/3.2, ISO 400, ash, radio trigger
The look Judges say Pet portraits are not an easy task, but with a
little technical ingenuity Conrad has certainly pulled it off
Nikon D700, 16-35mm, 1/100sec at f/4, ISO 6400
Moon jellysh Judges say Theres an eerie alien quality to these
moon jellysh, photographed in Ians local aquarium
Canon EOS 7D, 15-85mm, 1/800sec at f/4.5, ISO 100

Lunch in the park Judges say Theres so much to say about this
shot. Its a great nd and exposes one of the great virtues of having
a keen photographic eye capturing the moments others may miss
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In association with
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29

17 Peter Warrington Oxon
34pts
18 Farid Sani Iran
33pts
19 Mark Crocker Greater London
32pts
20 Florinel Sandu Romania
31pts
21 Dan Deakin Bristol
30pts
22 Seshikanth Middela Manchester
29pts
Olympus E-3, 14-60mm, 1/3500sec at f/22, ISO 100

Gull perch Judges say Peter waited near a post that was popular
with gulls to catch this nice backlit image
17
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Olympus E-30, 12-50mm, 1/400sec at f/5.6, ISO 320

Bluethroat bird Judges say The vivid colours and simple
composition made this a real stand-out image in the competition
Canon EOS 5D Mark III, 70-200mm, 1/2500sec at f/6.3, ISO 800

Stag Judges say A truly majestic representation of an iconic and
revered creature. This image oozes atmosphere

Great tit Judges say Florinels image of a great tit benets from a
vivid clean background and pin-sharp focus on the subject
18
Nikon D700, 24-70mm, 1/125sec at f/11, ISO 560, Speedlight,

softbox
Joey Judges say A lovable portrait of a friends dog from APOY
2012 champion Dan Deakin. Using just a small squeaky toy, Dan
was able to grab the dogs attention for just a couple of seconds

Capuchin monkey in a glass house Judges say Patience is a virtue.
Seshikanth waited for over an hour to get this beautifully abstract
portrait of a capuchin monkey through enclosure glass
23 Jenny Coughlan Ireland
24
28pts

Toowit Judges say This is a stark and moody portrait, one that
benets from the fact that Jenny has exposed for the highlights
24 Alison Lythgoe Buckinghamshire
27pts
25 Aaron Karnovski Kent
26pts
25

Four mallard ducklings Judges say What an idyllic scene. The
still water and haze of the sun are beautiful elements
Nikon D800, 180mm, 1/500sec at f/4, ISO 800

Red squirrel Judges say Considering the declining numbers of
red squirrels, its always a pleasing sight to see images of them,
particularly when the pictures are as good as this
26 George Taylor Nottinghamshire
26
25pts
Olympus OM-D E-M5, 75mm, 1/160sec at f/5.6, ISO 1250

Walking with my dogs Judges say George was looking to capture
the power and grace of his Weimaraner dogs with this image
27 David Tolliday Cheshire
24pts
28 Chris Wood Gloucestershire
23pts
29 Andrew Blake North Yorkshire
22pts
30 Dusica Paripovic Sweden
21pts
27

Kruger National Park, South Africa Judges say This is a beautifully
lit monochrome image that exudes a tender atmosphere

Bow to the king Judges say Sometimes all you need is a simply
composed portrait to convey the power of a subject
Canon EOS 400D, 70-300mm, 1/640sec at f/22, ISO 1600
Tchaikovsky Judges say What a stunning image. The reection
adds necessary compositional balance to lead the viewers eye
Nikon D5000, 35mm, 1/250sec at f/6.3, ISO 200

Wet through Judges say APOYs 2013 overall winner enters our
second round with a hilarious shot of her cat post-bath
30
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In association with
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Black & white Street photography
Spirit of the street

Fine-art photographer Rupert Vandervell discusses the
themes behind his personal and haunting take on street
photography and explains how the right camera came to
help him to realise his vision. He talks to Oliver Atwell
subscribe 0844 848 0848
33
Street photography Black & white
Its often the case that Ill nd

the right location, but theres
too much pedestrian trafc
Left: Rupert uses
architecture, light
and shade to frame
his human subjects
ALL P CTURES RUPERT VANDERVELL
Below: While
daylight figures in
much of Ruperts
work, he is not
averse to working
at night
THE CITY can be a lonely place. Despite

the rapid rise in population and the seeming
overnight construction of architecture to
accommodate the swarm, cities can often
make you feel like youre the last person
on earth. These themes of isolation are the
underpinning of a body of work created
by London-based photographer Rupert
Vandervell, a man who revels in the solitude
life can bring. Each graphic image in four
series called Urbanites, Man on Earth,
Late Night Tales and Duel tells its
own story, yet easily functions within an
overarching narrative about urban isolation.
Im obsessed with one particular
theme the lone gure in the street, he
says. Ive often asked myself why. The
idea of isolation is very indicative of my
character. I have always enjoyed spending
time alone. Sometimes I feel like Im taking
a photograph of myself in these gures
surrounded by light and shade.
It would be easy to imagine Rupert
as a morose misanthrope from this
opening admission. In fact, nothing could
be further from the truth. During our
conversation, it becomes clear that Rupert
is an individual infected by the joy of
image-making, particularly when it
comes to shooting in the city.
I feel happiest when Im shooting in
the urban environment, says Rupert.
That really is the only place I want to
take photographs. I love concrete and
architecture, and the way light interacts with
it. Its never the same two days in a row.
The sun is always moving, which of course
creates different lines and shadows. I get
genuinely excited when I see these things,
and I feel compelled to record them.
Rupert shoots exclusively in London,
which is his home town. However, it is
more than convenience the architecture
that makes up the buzzing metropolis
perfectly complements the images
Rupert forms in his head.
Im drawn to the modern side of London,
says Rupert, particularly in the smooth
surfaces that often go hand-in-hand with
34
he says. The summer is perfect because of

the brilliant sun we often experience over
London. I always look for what the light is
doing in a location. Ill then gure out where
I want to photograph it from and where I can
make the most interesting picture. I need to
consider how the geometry of the location
will work with the light. It can sometimes
take a while to get it all right.
As any street photographer worth his
or her salt will tell you, the time of day
you shoot is crucial. Different times offer
different types of light, and for Ruperts
images to work he must act within a
relatively tight window.
I cant go out all day, he says. The best
time for me seems to be between 10am
these buildings. The way the light comes

off smooth modern structures is interesting
and clean. Theres an area I adore around
the Barbican. Its freshly done and the
roads look great. It looks like a scene from a
Futurist lm. The great thing about shooting
in London is that its always changing.
Every time you wake up, theres another
fascinating structure.
THE RIGHT LIGHT

Ruperts images are a wonderful example
of the interaction between form, light and
shade. Of course, such considered images
need the right conditions and Rupert has
strict ideas about what he requires.
Ill only ever go out when the light is right,
and 11am. If you have guaranteed sunshine,
its a good hour to work. The middle of the
day is the worst. Its like when you have a
uorescent bulb in a room its harsh light
where nothing looks attering. I could also
shoot between 4pm and 6pm, but things
can look a little softened then. Morning
lights seems to be a little cleaner. If theres
any kind of optimism in my work, its to be
found in that clean light.
PEOPLE AND PLACES
The time of day that Rupert shoots is crucial. He tends to favour

the hour from 10am to 11am, when he says the light is cleaner
The human element is what each of

Ruperts images hinges on, and all that
each image requires is a single gure.
However, working in such a populated
city can often be a problem.
Its becoming harder and harder to get
the right kind of gure in my images, says
Rupert. And even when I do have the right
person, sometimes someone extra wanders
into the frame. Its often the case that Ill
nd the right location, but theres too much
pedestrian trafc. This will mean I have to
return to the location another time, but of
course that means the look of the light will
have changed.
That said, revisiting locations is
not something Rupert is averse
to. In fact, it forms part of his
working method.
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EXPOSING FOR HIGHLIGHTS

RUPERT generally exposes for the
highlights in his images. The details in
those areas of the frame are crucial to
the image, so I cant afford to blow them
out, he says. Given the times of day I
like to work, exposing for those areas
works perfectly. Ill see where the lights
hottest point is and ensure everything
is correctly exposed in that area. As Im

sure everyone knows, blown highlights
can be a nightmare to x. There are a
couple of minor tweaks I have to make
in Photoshop such as the Levels but
otherwise I try to get everything right on
location. Doing everything in Photoshop
just wouldnt look right at all.
Street photography Black & white
LATE NIGHT TALES
AS RUPERT wanted to do a series where he was able to
It benets a project to introduce

restrictions. When you work with the
minimum resources, creativity kicks in
I do tend to go back to places
because, as Ive said, they always
look different each time, says
Rupert. As places are often reconstructed
and altered, the way the light falls on them
differs. Consequently, the way people
interact and walk within the space changes.
Thats all part of the picture-making process.
One thing I do nd particularly benecial
is giving myself restrictions, continues
Rupert. These days, I shoot mostly within
a square mile. When I restrict myself to
small areas, I look harder for shots rather
than casting my net too wide. It benets
a project to introduce restrictions. When
you work with the minimum resources,
creativity kicks in.
In addition to the location and light,
stark black & white serves to further
communicate the themes of urban solitude.
By his own admission, colour would do
nothing more than complicate matters.
I guess Im a black & white person
through and through, he says. I dont wear
colourful clothes and my house features
minimal tones, much to the dismay of my
girlfriend. Black & white has always spoken
to me. To be honest, I get a little confused
by colour. Theres a quality to black & white
thats sorrowful and Im very happy with
how the aesthetic functions. Even when Im
faced with a vivid colourful scene, Im always
thinking how it can function within the
parameters of monochrome.
Of course, Rupert isnt averse to colour
as a medium. In fact, hes full of admiration
for those who are able to master it.
Honestly, my opinion is formed from the
fact that I began my journey in photography
by producing black & white prints in the
darkroom, he admits. Printing in colour
was never an option for me because
the resources simply werent available.
36
Therefore, my images have always taken

place within the world of black & white.
OLYMPUS FEVER
Most photographers have their favoured
weapon of choice, and for Rupert there
has only ever been one camera brand that
has accompanied him on his photography
odyssey Olympus.
Im a big fan of Olympus OM-D series,
says Rupert. I actually had a break from
photography for around 25 years. During
that time, I was working making short
fashion lms for brands such as Vogue and
Glamour. Prior to that, I was working in
photography capturing minimalist natural
landscapes that look similar to the work I
create now. I used Olympus cameras, then
and returned to them when I put down the
video camera and picked up an Olympus
OM-D E-M5 camera. Once Olympus
produced its micro four thirds technology,
I knew Id found what I was looking for.
The size of the camera is perhaps the
control things a little more, he worked with some models so

he could position them in a way that he wanted. The images
have a very lm noir feel to them, he says. That particular
genre and its aesthetic is something Ive always loved. With
Late Night Tales, I thought it would be interesting to create
something where there was more of a narrative running
through it. I could dress the models up and direct them.
I was able to create a bunch of characters from all walks
of life. I found some places in the East End of London that
were fantastic, such as in Bethnal Green. All the images
are set at night. At that time, these areas were like ghost
towns. Something else that was new for me was working
with articial light. Sometimes the characters needed a little
extra illumination, so I used a single portable light panel.
Above left:
Through the
considered use
of location and
subject, Rupert
is able to hint
at mysterious
narratives
Below: Using
a lightweight
Olympus OM-D
E-M5, Rupert is
able to get covert
shots in the city
biggest appeal for Rupert. The ease of

carrying around such a compact camera
means that it can be slipped into his jacket
pocket with no concern for bulk and size.
I have no interest in carrying around
something like a Canon EOS 5D, says
Rupert. Ive used the EOS 5D for video and
if I was working in a studio perhaps Id be
more tolerant. But for street work, I need
something I can easily carry and conceal.
I dont want people to know Im carrying
around a camera. Its difcult to blend
in when youre advertising yourself as a
photographer. You stand out and, as a result,
the nature of your subjects actions change.
That thinking extends to the lens too I use
a 20mm f/1.7 pancake lens. I dont want to
use a zoom lens, as Id prefer to be in the
best position to begin with.
Ruperts upcoming project continues
the themes so familiar from his previous
work. This time the project is less about the
architecture and more about the abstract.
Im working in similar locations to my
previous projects says Rupert. However,
this time Im also including a couple of
shots from Barcelona. The way the light
falls on this Spanish city is fantastic and its
been brilliant for my latest work. Im using
the human gure in a much more abstract
way. Its like looking at a piece from an
incomplete puzzle youre not quite sure
what youre looking at. Its been a challenge,
but Ive had a lot of fun doing it. AP
subscribe 0844 848 0848
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Your pictures assessed
APappraisal
Expert advice, help and tips from AP Editor Damien

*P I
PP I T
PICTURE
OFTHE
Over The Edge Sergiy Srednytskyy WEEK
Canon EOS 550D, 70-300mm, 1/640sec at f/13
WE ALL love to be amazed by the tricks

of a conjurer and feel a sense of wonder.
Here the conjurer is Sergiy. Through sleight
of hand and subtle suggestion, he shows
us a massive view but forces us to look at
a tiny part of it. The draw is undeniable and
irresistible. When the picture is seen at the
right size, the rst thing our eyes go to is
the skier even though he occupies
only a minuscule part of the frame.
The skier stands out for several reasons:
he is the only black part of the scene; he
contrasts dramatically with the bright tones
behind him; he is perched on the seam where
the ground meets the distant slopes; and he
GaussianBlur
38
is the only person in a subtle landscape.

Blowing the image up to study it closer,
I noticed that some of the detail and
edges are a little crunchy and digital
from oversharpening. If you shoot in JPEG
format, this is sometimes an effect the
camera introduces to attempt to create the
appearance of super-sharpness, but in a
moderate and relaxing scene like this the
sharpening is a little too erce.
A good way of combating this sharpening
is to introduce blur. Applied correctly, it will
be just enough to ll the white haloes on
edges without destroying detail itself.
First, I enlarged the image on-screen to
Fadingeffect
100% so I could see what I was doing, then I

applied a layer of 1-pixels worth of Gaussian
Blur. I faded this to the Darken blending
mode, and then, using the slider, I faded the
effect of the lter until I had the right balance
of lling in the haloes and masking the detail.
It really is that simple, and while at normal
viewing distance you might not recognise
what the difference is, you will see that there
is a difference digital turns to natural (see
below). You wont see it in the magazine
reproduction, but you will see it in a print.
This is a wonderful picture. I love the
colours, the composition, the beauty of the
place and Sergiys use of space, depth and
scale. My changes are a minor technicality in
a visually stunning photograph. This is a very
worthy picture of the week.
Digital
Natural
The person who takes

the picture of the
week* in Appraisal
will win a Manfrotto
Advanced Active
Backpack 1 worth
79.95. The Active
Backpack 1 is a highcapacity yet compact
rucksack that can also
be used as a standard
daypack. It can hold
a DSLR system with
two standard lenses,
a 15in laptop, as well
as personal items and
plenty of accessories,
including a ash,
laptop, documents and
iPad. This is a useful
everyday bag that is
strong yet exible
enough for anyone
who wants to carry a
wide variety of photo
gear and other items.
www.manfrotto.co.uk
Submit
your
pictures
Send up to six prints,

slides or images on CD
(please include the
original les from the
camera along with
your submitted
versions on your CD).
Tell us about the
pictures and include
details of equipment
used and exposure
settings. Send your
images to Appraisal at
the address on page 3.
Enclose an SAE if you
want them returned
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027 0)7
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Sensor-cleaning stick and bag On test
ench
r questions and technique pointers
z LA Robe
hite bag (15in)
Gel Stick 34.99

www.marchwooduk.co.uk
EYELEAD is a German company that specialises in producing

sensor-cleaning products. One of Eyeleads new additions
to its commercial range is a product that has been used in
professional sensor-cleaning circles for a long time. The Eyelead
Sensor Gel Stick is quite a simple concept. Essentially, its a stick
with adhesive gel on the end that is designed to be used on
a cameras sensor to remove dust and oil. The gel is specially
formulated to capture all the dust without lifting the glass off
the sensor and to leave no residue behind from the gel.
When tested on a variety of camera sensors, I found the
Sensor Gel Stick performed well, removing all the visible dust
with a couple of passes. It also removed minor oil residue on
the sensor. One thing to note is it doesnt
work with Sony sensors, as the adhesion of
the gel is too much for the surface of the
sensor. However, Eyelead states that it is
working on a Sony-specic solution.
An easy-to-use
solution for
Included with the Sensor Gel Stick are
removing dirt
ten strips of sticky paper that are stickier
than the gel. By simply dabbing the gel on and dust from
the paper, the paper removes the dust and your sensor
dirt from the gel so it can be used again
and again. Callum McInerney-Riley
The AP
guarante
to you
All our tests are

conducted by peo
who understand t
product area, as w
as photography. We
aim to discover any
shortcomings, as
well as nding those
aspects that deserve
praise. All our tests
are thorough, honest
and independent
A padded laptop
case that offers a
fantastic level of
protection
a lap op pro ec e . e e-e
o e
bag offers a high level of protection while
not adding much extra weight. The outside of the bag is made
from jersey fabric. Inside the case is 5mm of low-resilience
polyurethane foam that absorbs impacts and excessive pressure.
The inner lining, available in grey, red and blue, is a eece material
that helps prevent the laptop from being scratched.
Dimensions of the bag are stated to t laptops up to the size
of 359x247x18mm. However, I found the older MacBook Pro
with dimensions of 364x249x24mm would also t, but it was
a squeeze. Other versions of the LA Robe bag are available to
t the iPad Air, MacBook Air 11 and 13, MacBook Pro 13 and
MacBook Pro 13 with retina display.
The bags are available from a number of outlets in the UK or
online. Check website for details. Callum McInerney-Riley
FORTHCOMING TESTS In the next few weeks AP hopes to run the following equipment through the most rigorous testing procedures in the industry
Leica T
With a 16.3 million pixel

APS C sized sensor, is
Leicas highly anticipated
CSC as good as it looks?
We put it to the test.
AP 7 June
Wacom Intuos Pro
We test the latest high end

Wacom graphics tablet,
with improved multi
touch sensor and wireless
accessory kit included.
AP 7 June
Tamron 16-300mm
f/3.5-5.6 macro
We nd out how the

Tamron 16 300mm f/3.5 5.6
Di II VC PZD macro lens,
with 18.8x optical zoom
range, performs.
Sixofthebest
Six of the best bags for

compact system cameras
are reviewed.
AP 14 June
SonyAlpha77II
Superseding the Sony

Alpha 77, we nd out if the
new Alpha 77 II lives up to
Sonys claim that it is the
king of APS C.
AP 28 June
AP 14 June
CONTENT MAY BE SUBJECT TO CHANGE
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43
READER EVENT
MASTERING
DSLR VIDEO
Monday 9 June 2014 O Pinewood Studios, Bucks

Join us at Pinewood Studios, the home of British lm, for a
one-day DSLR video tuition seminar with leading lmmaker Victoria Grech, in association with Tiffen. The session
is essential for amateur photographers wanting to learn
the basics of lm-making with a DSLR or compact system
camera, and will cover everything you need to know to get
more out of that red button on your camera.
We will provide you with the technical and practical skills
needed to start shooting high-quality video including:
O Setting up your camera for optimum results
O Essential shooting skills
O The importance of good audio
O Understanding the jargon
O Putting your new skills into practice with a live shoot
In addition, youll get the chance to try a Steadicam, sample

video accessories and see the latest EOS DSLRs. Of course,
you'll soak up the history and heritage of Pinewood the
home of James Bond and many iconic lms, including the
new Star Wars trilogy which is currently being lmed there.
The AP Editor and members of the AP team will also be on
hand during the day.
Book your place
EMAIL us at spiadmin@ipcmedia.com with

the words DSLR video in the subject line.
PLEASE INCLUDE YOUR NAME, ADDRESS AND
TELEPHONE NUMBER.
POST a cheque for the full amount of 199

made payable to IPC Media Ltd, to DSLR
Video seminar, ROOM 09-E1-01, AMATEUR
PHOTOGRAPHER, IPC Media, Blue Fin
Building, 110 Southwark St, London SE1 0SU.
PLEASE INCLUDE YOUR NAME, ADDRESS AND
TELEPHONE NUMBER.
Phone 020 3148 4326

to pay by card
199 per person

Places are not confirmed until receipt of payment.
Tickets are non-refundable but are transferable.
www.victoriagrech.com
www.tiffen.com
PLUS!
WIN A
CANON EOS 70D
on the day
For full details please visit www.amateurphotographer.co.uk/pinewood
Canons latest premium compact, the PowerShotG1XMarkII,

sets its sights on improving where the PowerShot G1 X left off. We
nd out whether the new model is a signicantly better camera
Michael Topham
Deputy technical editor
REWIND to the year of the millennium
and it was the PowerShot G1 that sparked
the creation of Canons G series a camera
out to appeal to photographers who desired
more sophisticated control than your
average point-and-shoot compact without
the cumbersomeness of a heavy DSLR.
It came with a 3.3-million-pixel, 1/1.8in
CCD sensor and a 3x optical zoom lens
that was equivalent to 34-102mm, but
the G1 was soon overshadowed by the
PowerShot G2, G3 and G5 (there was
no G4 model as Japanese rms avoid
this number).
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Fourteen years down the line, Canon is

continuing to develop its range of agship
compact models that have picked up such
high acclaim from prosumer photography
enthusiasts for more than a decade.
Perhaps most interesting has been the
manufacturers decision to continue
developing its line of G-series models
equipped with relatively small 1/1.7in
sensors, while at the same time producing
a premium model in the range with a larger
1.5in (18.7x14mm) sensor capable of
challenging the level of detail resolved by
other premium compacts and CSCs using
micro four thirds and APS-C-sized sensors.
The rst model in this new direction for
Canon was the G1 X. Two years on and
we have the G1 X Mark II a camera that
has it all to do if it is to answer some of
the concerns that were raised when we
reviewed the original G1 X in 2012.
AT A
GLANCE
12.8-million-pixel
CMOS sensor
(13.1-million-pixel
in 4:3 aspect)
5x optical zoom
(24-120mm)
f/2-3.9
ISO 100-12,800
DIGIC 6 imageprocessing engine
3in tilting
touchscreen,
(1.04 million dots)
Street price 749
FEATURES
ark II
The G1 X had a number of aws, including a

rather hesitant focus system, a limited closefocusing distance for macro photography
and an optical viewnder that was little or
no better than the kind wed been used
to seeing on previous G-series models.
However, where it did pull out the stops was
its sensor, so its no surprise to nd that its
successors 1.5in-type CMOS chip is the
same physical size (18.7x14mm), working
out at 16% larger than a micro four thirds
chip and only 20% smaller than Canons
APS-C-sized sensors.
The size of the G1 X Mark IIs sensor
places it slap bang between the 1in sensor
found in the Sony Cyber-shot RX100 II
and the APS-C chip used in Fujilms
X100S xed-lens compact. While
the 12.8-million-pixel resolution may seem
a bit of a comedown from the original
G1 X, the new sensor conguration means
the pixels on the sensor are larger, allowing
for greater light-gathering capabilities and
a sensitivity ceiling of ISO 12,800. Whats
more, by being able to adapt and
capture images using the full width
of the image circle of the lens,
45
Camera test Canon PowerShot G1 X Mark II
WithoutNDlter
regardless of which ratio is being
used, a maximum resolution of 13.1
million pixels is achievable when the
aspect ratio is switched to 4:3 from its 3:2
(12.8-million-pixel) default setting.
Canons most advanced DIGIC 6 image
processor has also been used to improve
performance, produce less image noise and
reduce shooting lag by as much as 56%.
In addition, Canon has replaced the G1 Xs
4x zoom lens (28-112mm) with a 5x zoom
optic (24-120mm), making it superior to
its predecessor at both ends of the focal
length. The larger optic also allows it to be
faster and boast an impressive maximum
aperture of f/2 that closes to f/3.9 at full
WithNDlter
telephoto. Furthermore, the G1 X Mark II
addresses the risk of camera shake and blur
by implementing Canons tried and tested
Intelligent Image Stabilizer (IS) technology,
and any close focusing concerns are put
to rest by having the option to focus within
5cm a signicant improvement on the
G1 X that can only shoot from 20cm.
Also improved is the AiAF system, which
more than triples the G1 Xs nine AF points
to an altogether more impressive 31 that tie
in with the cameras single, continuous, servo
AF/AE and touch AF modes. The latter is
the giveaway that the G1 X Mark II supports
touch functionality via its 3in, 1.04-milliondot display, and users can expect the same
The built-in ND
filter allows users
to set a shutter
speed up to 3
stops slower than
would otherwise
be possible, which
is great for turning
flowing water
silky smooth
intuitiveness and sensitivity response as that

found on Canons touchscreen DSLRs such
as the EOS 100D. Whereas the original G1 X
had a vari-angle screen that could be pulled
out to the side and rotated, the G1 X Mark
IIs display is the tilt-angle type. While it can
still ip out to aid low-level and high-angle
shooting, it doesnt offer quite the same level
of manoeuvrability, although it still provides
the option to be ipped to shoot selfportraits at arms length.
The G1 X Mark II looks slimmer than the
G1 X due to the absence of a viewnder.
The G1 X Mark II is the rst model in the
G-series range not to feature a built-in
viewnder, and rather than attempting to
improve the G1 Xs optical variety, Canon
has decided to axe it altogether and give
the user the choice of whether or not a
viewnder is a necessity by offering an
optional clip-on electronic viewnder
(see Features in use, below).
Other features to note include a pop-up
ash thats concealed within the top-plate,
a built-in 3-stop ND lter that can be used
to create longer shutter speeds or wide
apertures in bright light, not forgetting full
manual control and 14-bit raw support. With
Wi-Fi connectivity now expected by todays
standards, the G1 X Mark II provides Wi-Fi
and NFC to sync images with mobile devices
running Canons CameraWindow app.
Alternatively, wireless remote control of the
camera can be taken, provided the mobile
device that its paired with remains within a
5m range.
8/10
BUILD AND HANDLING
In an effort to give the camera a premium
look and feel, a stainless-steel chassis and
aluminium exterior have been used, which
makes the G1 X Mark II 24g heavier than
the previous model. Pick it up and the
FEATURES IN USE EVF-DC1

VIEWFINDERS on Canon G-series
cameras have traditionally been of the
optical type, but due to their small size
theyve often suffered from parallax error,
whereby what is framed through the
viewnder is different to what the lens
is actually seeing. The eld of view has
also typically been way below the 100%
coverage youd expect. One example is
the original G1 Xs optical viewnder that
showed approximately 73% coverage
at wideangle and 74% coverage at full
telephoto not an accurate view, but
perhaps better than none at all.
The removal of a viewnder altogether
on the G1 X Mark II is a bold move, but
one Canon has had the foresight to
make in an attempt to keep up with the
46
competition and the likes of Sony, which

offers the EV1MK electronic viewnder
with a resolution of 2.36 million dots for
premium compact models such as the
RX100 II.
The Canon EVF-DC1 for the G1 X Mark
II is designed to attach to the accessory
port on the hotshoe. It translates a
100% eld of view of what the sensor
sees, which is a vast improvement over
the optical coverage, and offers the
exibility for it to be tilted up by 90. The
2.3-million-dot resolution delivers an
incredibly sharp image and faithful colour,
and as well as complementing the G1 X
Mark IIs touchscreen it doubles as a way
of composing and reviewing images in
high-contrast conditions.
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Canon PowerShot G1 X Mark II Camera test
Wideangle24mm
body strikes you as being reasonably sturdy
and robust, but its the new handgrip that
transforms the handling. It allows you to
curl your ngers around the body to get
a more secure hold and it uses the same
rubber grip that appears at the rear where
the thumb rests beside the screen. Our only
gripe about the grip is the way it isnt integral
to the design and is bolted to the body,
suggesting it was an afterthought. From
certain angles, especially from underneath,
it has a rather disappointing nish.
The larger lens has two dual-control
rings around the barrel, which can be
customised to offer independent control
of the most commonly used settings
in different shooting modes. With the
front control ring being as smooth as it
is, it wouldnt take much to knock it and
accidently adjust the exposure. It is set up
to control exposure compensation when
the cameras focusing mode isnt set to
manual focus, and we did accidently knock
it a couple of times while out shooting. The
rear control ring is easy to operate with the
thumb and index nger when the camera
subscribe 0844 848 0848
Telephoto120mm
The G1 X Mark IIs
new lens allows
the camera to
shoot wider and
zoom closer than
was previously
possible with the
original G1 X
The improved
focusing distance
allows you to focus
on subjects as close
as 5cm. However,
when set to f/2, the
camera did create
a dreamy and hazy
appearance around
the point of focus
is supported in the left hand, but it could do

with being a touch smoother. The position of
the mode dial is well placed on the corner
of the body for control with the thumb and
the general layout of buttons will be familiar
to those whove used a PowerShot G-series
model before. The only criticism regarding
button placement concerns the playback
and Wi-Fi buttons. The latter sits just above
the thumb rest and was accidently pressed
numerous times, while the placement of the
playback button on the top-plate doesnt
feel like the best place for it. Wed much
prefer to see it at the back of the camera,
ideally where the MF button is found.
7/10
METERING
When photographing outdoor scenes,
the camera has a bias towards ensuring
images appear brighter rather than darker,
so to preserve detail and prevent clipped
highlights in bright areas, such as the sky,
I found myself dialling in around -1EV
to -2EV at times to compensate. With
evaluative mode selected, metering is

tied to the active AF point, and despite
there not being a button on the body
dedicated to adjusting the metering mode,
evaluative, centreweighted and spot are
easy to nd from the quick menu thats
loaded from the func.set button. The
histogram loads at the same time as the
rule of thirds grid and virtual horizon
indicator, offering a live visual representation
of whether the highlights or shadows are
at risk of being of being clipped.
7/10
AUTOFOCUS
When I reviewed the original G1 X, I
remember cursing the autofocus system
at times as it hunted and hesitated in
use. Thankfully, Canon has addressed
the issue on the G1 X Mark II by
incorporating a new 31-point AiAF system
thats accurate and more responsive.
However, this cant compete with the
same split-second lock-on speeds offered
by some of the very latest hybrid AF
systems, and the focusing speed is a fraction
slower at full telephoto than at its wideangle
setting. Focusing in low-light conditions is
helped by the bright-white AF-assist beam,
but with this switched off I found that it
didnt affect the acquisition speed greatly
and the performance against low-contrast
subjects devoid of detail remained relatively
quick. Only in the most extreme low-light
conditions did the lens show signs of hunting
back and forth before focus was acquired.
The cameras ability to focus within
5cm with its macro mode enabled makes
it good for capturing detailed close-ups,
but you will need to bear in mind that this
is only available when the lens is set to its
widest setting. With the aperture opened
to f/2, we also noticed that our macro
shots had a rather soft and dreamy feel
to them. Touch AF functionality, combined
with the highly sensitive touchscreen, greatly
improves the speed at which the AF target
is moved across the frame. Set to
continuous AF, focusing between near
and far subjects is extremely smooth and
doesnt jump as you tap focus
making it possible to achieve uid
focusing transitions when shooting
47
HD video. Switched to manual

focus, the front control ring provides
precise control with a visual gauge
displaying focusing distance at the side of
the screen. A feature that ties in well with
focusing manually is the focus-peaking
mode, which displays the point of highest
contrast by outlining the relevant area in
a choice of red, yellow or blue. Combining
the two transforms manual focusing and
helps users to achieve sharper results
much more easily.
Facts & gures
RESOLUTION&NOISE
Theseimagesshow72ppi(100%onacomputerscreen)sections
ofimagesofaresolutionchart,capturedwiththelenssettoan
equivalentsettingof50mm.Weshowthesectionoftheresolution
chartwherethecamerastartstofailtoreproducethelines
separately.Thehigherthenumbervisibleintheseimages,thebetter
thecamerasdetailresolutionisatthespecifiedsensitivitysetting.
JPEGISO100
RAWISO100
JPEGISO200
RAWISO200
JPEGISO400
RAWISO400
JPEGISO800
RAWISO800
JPEGISO1600
RAWISO1600
JPEGISO3200
RAWISO3200
JPEGISO6400
RAWISO6400
JPEGISO12,800
RAWISO12,800
24
26
8/10
DYNAMIC RANGE
The dynamic range readout from the
sensor is incredibly good, falling only slightly
short of the 12EV value we associate with
cameras that allow a high level of detail
to be preserved from the darkest and
lightest areas in an image. This impressive
range drops off slightly beyond ISO 400
to a value of 10.19EV, but it remains a
respectable result given that its up there
with readouts from cameras with larger
APS-C-sized sensors such as the Canon
EOS 1200D.
As expected, the dynamic range
decreases as the sensitivity is increased and
a readout of 6.22EV was attained at the
maximum ISO 12,800 setting fractionally
behind the result you could expect from an
entry-level DSLR. For those who would like
to shoot images with an even wider dynamic
range, an HDR mode is also available from
the creative modes. We found it rather
frustrating, though, having to wait until the
task bar disappeared off the screen before
the mode could be changed using the lens
control ring nearest the body.
9/10
NOISE, RESOLUTION
AND SENSITIVITY
The drop in effective pixel resolution
hasnt had a detrimental effect in the
level of detail the 1.5in-type CMOS sensor
can resolve. Shooting in the default 3:2
aspect (12.8 million pixels), the camera
can just about resolve 26 lines per
millimetre (lpmm), which is the same
readout as when we tested the original
G1 X. Detail drops off slightly to 24lpmm at
ISO 400, but even at ISO 6400 the chip
resolves detail to around 20lpmm, which
is impressive given its compact status.
However, detail drops off considerably at
ISO 12,800, so this sensitivity setting
should be avoided.
An inspection of high ISO JPEG images
revealed the importance of shooting
in raw. Although the sharpening applied
to JPEGs isnt overly aggressive, shots
at higher sensitivities are smoothed out
so ne detail is compromised. To test
the claimed improved light-gathering
capability, we compared JPEGs and raw
les of the same scene taken on the
original G1 X and the Mark II. Our
comparison revealed truth in the
claim, with the G1 X Mark II showing
48
24
24
24
RRP
Sensor
Output size
File format
Compression
Colour space
Shutter type
Shutter speeds
Max flash sync
ISO
Exposure modes
Metering system
Exposure comp
White balance
Drive mode
LCD
Viewfinder type
Field of view
Dioptre adjustment
Focusing modes
AF points
DoF preview
Built-in flash
Flash control
Video
External mic
Memory card
Power
Connectivity
Weight
Dimensions
749
12.8-million-effective-pixel CMOS (18.7 x 14mm)
4352 x 2904 pixels
JPEG, raw (CR2), JPEG+raw, AVI (motion JPEG)
2-stage JPEG (Fine, Superfine)
sRGB
Mechanical
60-1/4000sec
1/250sec
100-12,800
PASM, hybrid auto, auto, creative shot
Evaluative, centreweighted average and spot
(can be linked to active AF point or face detection)
3EV
Auto, 7 presets, 2 custom modes
5.2fps, or 3fps with AF
3in, 1.04-million-dot touchscreen
Optional (EVF-DC1 249)
100%
Yes
Single, continuous, servo, touch AF
31-point system
No
Yes
Three levels with internal flash (up to 19 levels
with external EX Speedlites 270EX II and 430EX II.
22 levels with 580EX II, 600EX and 600EX-RT)
Full HD 1920 x 1080 at 30fps
Not available (no accessory port)
SD, SDHC, SDXC UHS-I
NB-12L rechargeable Li-Ion (240 shots)
Hi-Speed USB, HDMI Micro, Wi-Fi
558g
116.3 x 74 x 66mm
Canon, Woodhatch, Cockshot Hill, Reigate, Surrey RH2 8BF.

Tel: 01737 220 000. Website: www.canon.co.uk.
22
20
20
18
24
24
24
22
22
20
18
The high level of detail means its possible to crop

tightly into images without concern. This image
was originally shot in the portrait format, but still
preserves excellent detail when viewed at 100%
subscribe 0844 848 0848
Canon PowerShot G1 X Mark II Camera test
FOCAL POINTS
Pop-up ash
Mode dial
The G1 X Mark IIs pop-up flash

is activated using a small button
at the side of the body just below
the camera-strap lug. The camera
provides three levels of manual flash
adjustment, but is also compatible
with E-TTL and EX-series Speedlites
The mode dial is positioned right

where you want it on the corner
of the body where it can be easily
accessed and controlled with the
thumb. It notches positively into
place with each turn, meaning it
wont be knocked unintentionally
Zoom control
The zoom is controlled using
the zoom switch located around
the shutter button. Switching
the camera from stills to video
mode slows down the speed at
which the zoom operates for
smoother zooming transitions
Camera shown actual size
Wi-Fi functionality
The G1 X Mark II paired up
with the Canon Camera
Window app on our iPhone
with no hesitation. Our
only gripe with the Wi-Fi
is the positioning of the
Wi-Fi button, which was
accidentally knocked
several times in use,
thus slowing down the
shooting process
Touchscreen
Menu
The 3in touchscreen is incredibly

responsive and only requires the
lightest of touches to navigate the
menu or adjust settings. It makes
the camera more intuitive to set up,
especially when it comes to focusing
The G1 X Mark II should be complimented

for its excellent menu system. Settings
are broken down into three categories
and for times when you want to access
commonly used camera settings, the
func.set button should be used
Manual focus peaking
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Wind lter
Built-in ND lter
49
Those faced with

challenging lighting
conditions may
want to use the
cameras HDR
mode. This helps
to produce images
with a wider
dynamic range
most noticeable in
shadow areas
Competition
Sony Cyber-shot
DSC-RX100 II
TESTED AP 6 APRIL 2013
TESTED AP 27 JULY 2013
HDR
fractionally less luminance noise in
JPEG and raw les at ISO 6400
and 12,800 most obviously in
the darkest shadows.
27/30
WHITE BALANCE AND COLOUR
Leaving the G1 X Mark II set to AWB
produced an accurate white balance
performance, with reliable results recorded
both indoors and out. Colours are punchy
and are a true reection of the scene as I
remember them. Reds, greens and blues
are superbly represented in bright sunlight,
and in overcast conditions where theres
typically a distinct lack of colour tones
images remained neutral and lifelike. Back
on the computer, images rarely needed any
work with the temperature and saturation
sliders, and while there is the option to
shoot in black & white and enhance colour
in-camera from the creative modes, there
are no options to add more contrast or
choose from a number of mono-contrast
treatments such as infrared.
8/10
VIEWFINDER, LCD AND VIDEO
The touch functionality of the G1 X Mark II
makes navigation of the menu a breeze,
but the way the screen protrudes from the
body, even when its pushed back, means
its not attractive to look at from the rear.
Flipped out, the display feels rather imsy.
When its tilted by 180 and the camera is
held at arms length, the raised prole of the
50
NoHDR
hotshoe also obscures the exposure settings
at the bottom which is not ideal when
youre attempting to shoot a self-portrait.
More complimentary things can be said
about the EVF, which, although not cheap,
is an accessory most users will want to
consider. Theres a reassuring click as the
small electronic pins make contact with the
accessory port, and just like most EVFs,
the same screen information appears in
the viewnder unless the display button
is used to overlay a rule of thirds grid and
present the histogram in the top right corner
of the display. The near-instant switch
from screen to EVF is courtesy of a highly
sensitive eye sensor, and although theres a
fraction of a second delay when pulling the
camera away and returning to the screen,
its not a cause for concern.
The movie-rec button can be used to
start high-denition video recording in any
manual-shooting mode, with a maximum
frame rate of 30fps. Moving subjects are
recorded very well and the zoom control in
video mode benets from being purposely
slowed down to encourage smoother
results. Theres the option to shoot movies in
mono or with a sepia tone too, and the veaxis enhanced dynamic IS system makes it
easy to record judder-free videos when the
camera is handheld as opposed to being
locked off on a tripod or similar support.
Missing a mic port, users are limited to the
cameras in-built microphone, but listening
to our footage revealed perfectly reasonable
audio when the wind lter was set to auto.
7/10
THE CANON G1 X Mark IIs direct rival is the Sony

Cyber-shot DSC-RX100 II. The G1 X Mark II offers some
key advantages in the way it benets from a touchscreen
and a wideangle lens, plus the larger 1.5in sensor should
see it resolve fractionally more detail from its images.
However, as well as the RX100 II being able to shoot twice
as fast as the G1 X Mark II in continuous mode at up to
10fps, its around 50% lighter and 40% thinner, making
it a true trouser-pocket-sized compact. Added to this, the
RX100 II boasts a higher-resolution screen, longer battery
life and faster f/1.8 maximum aperture, not to mention
the difference in price that stood at 180 cheaper at the
time of writing. Fujilms X100S is another rival and comes
with a larger APS-C-sized sensor. It does have a xed lens,
however, so it wont be as versatile for those feel a zoom is
necessary. With a beautiful tactile feel, it currently works out
at 120 more expensive than the G1 X Mark II.
Verdict
AT THE beginning of this review I questioned whether

the Canon PowerShot G1 X Mark II is a better camera than
the G1 X, and Im glad to report it is. A lot of this comes
down to its improved optics, but its not as revolutionary as
one might expect. Battery life is still rather poor at around
240 shots per charge, the screen and handgrip arent
as rened as other parts of the body, and then theres
the price. For 749 you get good image quality, but it is
overpriced for what it is made more so by adding the
viewnder, which takes it close to a four-gure sum. This is a
price above what many will be happy to pay for a premium
compact and its not a camera Id strictly associate with the
word premium for the way it feels in the hand. Overall,
while the G1 X Mark II is an improvement, it is some way
off providing the perfect blend of advanced features and
premium build quality in a size that ts the pocket and at a
price most will be prepared to pay.
1
Tested as a
Premiumcompact
Rated Verygood
81
10
FEATURES
8/10
BUILD/HANDLING 7/10
NOISE/RESOLUTION 27/30
DYNAMICRANGE 9/10
AWB/COLOUR
8/10
METERING
7/10
AUTOFOCUS
8/10
LCD/VIEWFINDER 7/10
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Samsung NX mini Camera test
Samsung NX mini
8/10
Meet the worlds smallest and lightest interchangeable-lens

camera, the 20.5-million-pixel Samsung NX mini
Jon Devo
Technical writer
NO ONE could ever accuse Samsung of
failing to innovate; the number of different
devices the company releases each year is
evidence of that. Yet while some may turn
their noses up at the Korean tech giants
previous digital compacts, Android-powered
cameras and bridge cameras, the NX mini is
an interesting prospect that deserves some
attention from enthusiast and beginner
photographers alike.
With the NX mini, Samsung joins the
Nikon 1-series cameras and Panasonics
Lumix DMC-GM1 in the miniature
interchangeable-lens camera category. If
size is a deciding factor, these cameras are
your main options, although alternatives
could include highly rated pocket travel
model such as Sonys 20.4-million-pixel
Cyber-shot DSC-HX60V and Panasonics
18-million-pixel Lumix DMC-TZ60,
both of which carry a 30x optical zoom
that gives the range and exibility of an
interchangeable-lens system.
FEATURES
A 20.5-million-pixel BSI CMOS 1in
(13.2x8.8mm) sensor is housed inside the
Samsung NX minis diminutive frame, which
is the same-sized sensor used by Sony in its
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popular Cyber-shot DSC-RX100 II.

Combined with the supplied wideangle
lens and its ability to automatically take a
picture once a face is detected (up to a
maximum of ten faces) with the Wink or
Smile Shot turned on, the cameras 3in
ip-up LCD touchscreen is perfect for selfcomposed portraits. Samsung seems keen
to capitalise on the current global sele
trend, and this camera will undoubtedly
appeal to the vanity victims of that craze,
but it will also be attractive to people who
make video diaries or blog posts.
There is a host of wireless-connectivity
options with this camera. As well as being
able to connect to the internet and share
images directly to familiar networks such
as Facebook, Picasa, Dropbox and Flickr,
its also possible to link the camera to
other smart devices via Wi-Fi or NFC for
le transfer, remote viewing and shooting.
One of the things I like most about the
le-sharing features of the NX mini is that
you have the option to choose whether
to transfer the original le or a smaller
compressed version. Parents will nd the
option of using the NX mini as a baby
monitor an added bonus, as it connects
to a smartphone when both are on the
same Wi-Fi network.
Samsung has also developed an entirely
new NX-M lens mount to accommodate the
cameras ultra-compact format, although
NX-mount lenses can be used with the
optional ED-MA4NXM adapter.
The NX minis 2,330mAh battery life is
another great feature of this camera,

having almost twice the capacity of the
battery featured in Samsungs more
advanced NX30, and rated to shoot up to
650 shots with the 9mm kit lens before
draining completely.
BUILD AND HANDLING
AT A
GLANCE
20.5-million-pixel,
1in BSI CMOS
sensor
460,800-dot TFT
LCD with C-type
touch control
ISO 160-12,800
(extendable to
ISO 100-25,600)
21-point AF
system in normal
mode, 35 points
in close-up
6fps high-speed
mode
Street price
around 400 with
9mm f/3.5 NX-M
kit lens
Available in multiple colours at launch, the

magnesium-alloy frame of the NX mini
is covered in a leather-look tough plastic,
giving it an instantly stylish nish, but the lack
of actual leather or even a leatherette-type
material prevents a premium feel. Dont
be fooled by commentators online or even
Samsungs own description of the camera,
many of which Ive seen describe the body
as being bound by natural leather-like
material. Only the feeling of cool metal on
the NX minis top-plate reminded me that
I was holding an all-metal-bodied camera
and not a plastic one.
At 119.4mm wide, 61.9mm tall and
22.5mm thick, and weighing 196g body
only, the NX mini is petite indeed, making
less of an imprint in your pocket than most
current agship smartphones. It slips into
a pocket quite easily, even with the 9mm
f/3.5 prime kit lens attached. However,
your pocket will need to be a little deeper
if you choose to buy it with the 9-27mm
f/3.5-5.6 (24.3-72.9mm equivalent)
collapsible zoom lens.
The forward-ipping motion of the
cameras 460,800-dot (320x480-pixelresolution) LCD screen is assured and
positive, with the graphical display ipping
instantly once in position. Some of the button
placement is a little frustrating, though: direct
link is positioned too close to the power
button and movie record is directly under
your thumb at all times. I accidentally
pressed each of these buttons
regularly while testing the NX mini.
7/10
53
Camera test Samsung NX mini
Facts & ures
RESOLUTIONAND
NOISECONTROL
These images show 72ppi (100% on a computer screen)

sections of images of a resolution chart, captured using the
Samsung 18mm f/4.5 macro lens. We show the section of the
resolution chart where the camera starts to fail to reproduce
the lines separately. The higher the number visible in these
images, the better the cameras detail resolution at the
specified sensitivity setting.
JPEGISO100
RAWISO100
JPEGISO200
RAWISO200
JPEGISO400
RAWISO400
JPEGISO800
RAWISO800
JPEGISO1600
RAWISO1600
JPEGISO6400
RAWISO6400
JPEGISO12,800
RAWISO12,800
JPEGISO25,600
RAWISO25,600
29
RRP
Sensor
Output size
Focal length mag
Lens mount
File format
Compression
Colour space
Shutter speeds
Max flash sync
ISO
Exposure modes
This is a challenging metering scenario.

The subject of this image is well exposed,
but unfortunately highlights in the bright
background were lost in the process
METERING
Its no surprise to discover the same
TTL 221-block-segment metering
system in the NX mini that has featured in
many previous NX cameras. Weve rated the
system as good in the past and that remains
the case; I found metering on the NX mini
to be consistent and reliable, with little need
to delve into the exposure compensation
settings to make corrections. Multi-segment,
centreweighted and spot metering modes
are available, but I was able to stick with
multi-segment metering, which is linked to
the autofocus for the majority of situations.
Metering system
Exposure comp
White balance
Drive mode
LCD
Focusing modes
AF points
8/10
DoF preview
Built-in flash
Video
DYNAMIC RANGE
Given the small sensor housed inside the NX
mini, I wasnt expecting to be blown away by
its dynamic range but it is still respectable,
scoring 10.69EV at ISO 100 in our lab test.
One of the most interesting things to note is
that the dynamic range performance of the
camera is very stable up until ISO 3200,
delivering consistent performance where
other cameras show a much larger decline
as you move through the sensitivity range.
Overly bright skies are easily lost as
the camera ghts to capture information
in darker areas. However, Samsung has
included Smart Range+ and HDR modes
in the dynamic range section of the menu
to help you squeeze a greater amount of
detail from highlight and shadow areas,
and the results are decent. Smart Range+
intelligently analyses the scene and brings
up shadows while preserving highlight detail,
whereas HDR mode combines three images
captured in quick succession at different
exposures settings.
Using the Lightroom software provided,
its possible to adjust the exposure settings
to get more out of the raw les.
External mic
Memory card
Power
Connectivity
Dimensions
Weight
28
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Samsung, Samsung House, 1,000 Hillswood Drive, Chertsey,

Surrey KT16 0PS. Tel: 01932 455 000. www.samsung.com/uk
Its one of the better touchscreen

shooting experiences Ive had
compared to other cameras
7/10
54
400 (with 9mm kit lens)

20.5-million-effective-pixel 1in (13.2 x 8.8mm)
BSI CMOS sensor
5472 x 3648 pixels
2.7x
Samsung NX-M mount
Raw, JPEG, raw+S.Fine, raw + JPEG simultaneously
2-stage JPEG
Adobe RGB, sRGB
30-1/16000sec in 13EV steps plus bulb
1/200sec
160-12,800 (ISO 100, ISO 25,600 available extended)
Auto, smart, program, aperture priority, shutter priority,
manual, Wi-Fi
TTL 221 (17 x 13) block segment metering,
multi, centreweighted and spot
3EV in 13EV steps
Auto, 7 presets, Kelvin, plus custom setting
Single, continuous 6fps, bracket (AE/WB/PW/Depth)
burst (5M) 30fps/15fps/10fps, wink/smile shot, timer
Articulated 3in TFT LCD with 460,800-dots
Manual, single-shot AF, automatic AF, continuous AF,
face detection, touch AF
21 points, or 35 points in close-up mode,
auto or manual selection
Yes
Yes GN 4.9m @ ISO 160
1920 x 1080 pixels (30fps only), 640 x 480 pixels,
320 x 240 pixels, MP4 (H.264)
No
Micro SD, Micro SDHC, Micro SDXC, UHS-I Micro SD
Rechargeable Li-Ion B740AE battery, up to 650 shots
Micro USB 2.0 Hi-Speed, HDMI
110.4 x 61.9 x 22.5mm
196g (with battery and card)
27
AUTOFOCUS
Unfortunately, the NX mini doesnt feature
the on-chip phase-detection autofocus
we saw in its slightly bigger brother, the
NX300. Instead, it is contrast method only
for the minis 21 AF points in standard
mode, or 35 points in close-up mode. In
good light the AF performed well, though,
focusing quickly the majority of the time.

However, on a number of occasions the
camera would capture entirely blurred
frames, particularly when taking selfportraits; for no apparent reason, the
camera would acquire focus and then just
before taking the shot it would hunt, lose
focus and then trigger. I didnt miss any
critical images due to this quirk, but its
still a concern.
Tracking and shooting fast-moving
subjects is a little better, thanks in part to
the ability to track subjects by touching
the screen and the cameras super-fast
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Samsung NX mini Camera test
maximum shutter speed of 1/16,000sec,

and raw+JPEG shooting at up to 6 frames
per second, so its possible to freeze fastmoving subjects well, provided youve got
good light.
8/10
NOISE, RESOLUTION
AND SENSITIVITY
Keeping up with the competition, the NX
mini has a native sensitivity range of ISO
160-12,800, which can be extended to
ISO 10025,600.
In practice, ISO 1603200 produced
pleasing enough results and helped me get
a shutter speed fast enough in low light to
capture decent shots handheld, although
noise is particularly noticeable from ISO
1600. I did attempt to push the sensitivity
to ISO 6400, but around that point images
become quite smudged and unattractive due
to aggressive in-camera noise reduction. Of
course, this can be dialled down somewhat
and cleaned up using the raw les, but for
usable images straight out of the camera I
would recommend avoiding using sensitivities
towards the NX minis limits.
The NX mini actually scored slightly
higher on our resolution chart than the
APS-C-format Samsung Galaxy NX, which
was about three times the price of the
NX mini when it launched last year. The
technology has denitely moved on and
I think its fair to give Samsung credit for
achieving this level of performance with a
signicantly smaller sensor.
26/30
WHITE BALANCE AND COLOUR
The NX mini has a distinct tendency to
lean towards warmer tones when given the
opportunity, but in a standard day scene
it can reproduce attractive blue skies. The
issue I found with this cameras warm tone
bias is that whites and greens in particular
tend to suffer and appear less vibrant than
they should.
Setting the white balance is relatively

easy and can be done by pressing the Fn
button on the touchscreen to bring up all
the available controls. Navigating through to
the white balance setting, you will nd seven
options as well as auto, colour temperature
and one slot for a custom white balance.
Each setting, however, can be tweaked in
seven steps along the amber, blue, green
and magenta axes.
7/10
VIEWFINDER, LIVE VIEW,
LCD AND VIDEO
The resolution of the NX minis 3in TFT LCD
touchscreen is relatively low at 460,800
dots compared to the 1.037-million-dot
LCD on the Nikon 1 J4 and 1.036-milliondot screen of Panasonics GM1, but its the
only one that can ip up. In use, I found the
display a little dark and obviously lacking the
sharpness of its competitors, but its not a
deal breaker as you can, of course, connect
it wirelessly to another device with a better
display for situations where monitoring your
images in greater quality is essential.
Being able to tilt the screen 180 is useful
for more than just taking self-portraits; its
also great for composing shots lower than
eye level without having to crouch, or even
from ground level. I utilised this feature a lot,
especially when taking pictures of wildlife
and plants.
I found the touchscreen responsive and
all the settings I wanted to change were
quite easy to nd and adjust using the
touchscreen alone. Its not as fast as having
dedicated dials and wheels, but its one of
the better touchscreen shooting experiences
Ive had compared to other cameras.
Video can be recorded in full HD
1920x1080-pixel resolution, but it is
restricted to a frame rate of 30fps, no
matter what resolution is selected. Its
limiting, but probably not a big concern for
people who will be considering this camera.
7/10
The cameras slight tendency to lean towards red leaves greens

lacking the same vibrancy as the warmer tones in images
Verdict
ITS ALWAYS good to see innovation in the camera
world, and Samsung is a manufacturer that is currently
willing to try new things, constantly adding to its arsenal.
This latest addition provides some worthy competition to
the other miniature interchangeable-lens system cameras
offered by the Panasonic Lumix DMC-GM1 and Nikons
1-series models. On paper, the Samsung NX mini offers a
decent feature set when compared to its competitors, but
Im now very keen to put the three cameras up against each
other to see how they all compare in real-world scenarios.
The NX mini is a very neat package that enabled me to
capture decent images without having to carry around any
bulky equipment, while the equally mini NX-M lenses (three
announced at launch) are deantly small and well designed.
For day trips, holidays, nights out and family fun, the NX
mini will do a good job, and thanks to its attractive looks, it
will likely acquire many admirers.
1
Tested as an
Entry-levelCSC
Rated Good
78
The NX mini has done a good job of capturing the varying colour tones, but in doing so
the background highlights in this image have been slightly overexposed
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10
FEATURES
8/10
BUILD/HANDLING 7/10
NOISE/RESOLUTION 26/30
DYNAMICRANGE 7/10
AWB/COLOUR
7/10
METERING
8/10
AUTOFOCUS
8/10
LCD/VIEWFINDER 7/10
55
Equipment tes
STUDIO PORTRAIT SET-UP

Storm-grey seamless paper background
Subject
very close to
background
8in reflector
angled towards
background
1m square softbox
angled above subject
1/125sec at f/14 with ISO

250 and 85mm lens
n
2-Light Softbox Kit
Andrew Sydenham tests Interts most powerful offering
from the well-established EX budget range of ash heads
INTERFITS wide product range includes
continuous lighting, ash modiers, reectors
and studio ash heads, and since entering
the market the company has become well
known for its affordable lighting kits. The
EX400 Ti 2-Light Softbox Kit is one of the
most powerful kits in the Intert range, and
with a suggested retail price of 449 it is
one of the most affordable.
BUILD AND HANDLING

At the heart of the Intert EX400 Ti 2-Light
Softbox Kit are two 400 watts per second
ash heads. These provide more than
enough power for a substantial studio
set-up at home or on location, and twice
the power of most entry-level offerings.
The tough moulded casings have a slightly
futuristic style, which on close inspection
reveals hidden ventilation gills that aid the
efcient cooling of the ash tube, model
56
bulb and internal electronics. The cooling

fan is quite a feature and sits proud of the
underside, protected by a chrome grill.
It runs continuously and is very quiet,
looking rather like one youd nd on
your desktop computer.
The metal umbrella attachment slot on
the EX400 Ti is incorporated in the angleadjusting clamp. It is far enough away from
the ash tube and model bulb to avoid any
accidental damage when being attached via
the knurled threaded screw that holds the
umbrella shaft securely in position. The radio
ash trigger casing is rather imsy compared
to the ash heads and wouldnt stand up to
rough handling or many accidental drops
on the studio oor, so it needs to be treated
with care. The 1m2 softboxes are quick to
assemble, with a handy Velcro release tag
making the nal pole easy to tighten. This
assembly process could be slightly tricky if
IN THE
BOX
2x EX400 Ti
flash heads
2x 400W/s flash
tubes (SINT490)
2x 150W modelling
lamps (INT499)
2x 8in (20cm)
reflectors
2x 39in (100cm)
softboxes
1x Dynamic Ti
trigger
2x 8.5ft (2.6m)
air-cushioned
light stands
2x Power cables
2x Sync cables
1x Carry bag
studio set-up for our model

test showing the EX400 Ti with a
storm-grey background and black
polyboards to control reflection
youve never put a softbox together before,

but its no different from the majority of
models on the market. I was astonished at
the quality of the plasticised material used
on the body of the softbox, as it appears to
be virtually impossible to tear accidentally,
while the specular (mirrored) silver lining
is easy to clean. The 4m power cables are
standard lengths at this price point, but for
most situations they wont be long enough
so an extension lead will be necessary.
PERFORMANCE
There is a wide range of reectors, light
shapers and diffusers available to t the
EX400 Tis EX mount, which accepts
anything compatible with Elinchrom
accessories. The mount itself is secure,
so is unlikely to cause any problems.
Ive had a lot of experience with the
150-watt ES light of the type used in
these heads, and they are very long lasting
and resistant to movement. In fact, I cant
remember the last time I changed one and
the AP studio is very busy. The head can be
mounted onto all standard spigot lighting
stands, with an all-metal angle adjusting
clamp bolting it onto the main body of the
head. Clearly, some thought has been given
to this set-up. With the help of the grab
handle on the back of the unit, positioning
the large softboxes is pretty effortless, and
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Intert EX400 Ti 2-Light Softbox Kit Equipment test
Our model lit with

one EX400 Ti head
and softbox, with
a second head and
standard reflector
filling in shadows
on the background
Facts & gures

RRP
Maximum watts/second
Guide number
Recycle time @ full power
Colour temperature
Flash variability
Power range
Fitting type
Modelling light wattage
Triggering
Sync voltage
Operating voltage
Flash-ready indicator
Fan-cooled
Auto dump
Power cable
Mounting
Reflector dimensions
Softbox
Light stand
Weight
Dimensions (head)
Below left: The

catchlight in the
eye has a neat
star-cross when
the softbox is used
without the extra
layer of internal
diffusion
once set, they are locked securely in place.

The inclusion of a wireless radio ash
trigger is rare at this price point. It allows
the photographer to control up to seven
separate heads from the camera without
going anywhere near the EX400 units.
Modelling-light operation and ash output
can be adjusted from the trigger, and each
head is assigned an ID number from1-7 so
the dynamic trigger adjusts the features of
each head individually. If you assign a head
to channel 1 and another head to channel 2,
you can adjust each heads power functions
individually and re the head via the dynamic
trigger by setting its corresponding channel
number on the trigger. When the sync
cells on the heads are turned off, they are
controlled by radio signal alone, which is
great when they are being used in high
levels of ambient light or with obstructions
between the camera and head. The
operating range is 12 metres, which is
adequate rather than spectacular.
When I tried out the EX400 Ti, it took
449
400W/s each
196ft (60m)
2secs
5600K
Full to 1/32 power
6-stop, stepless
EX
150W (INT499)
Built-in 7-channel receiver,
sync cable, IR trigger, optical slave
5V
110-120V AC
LED and switchable audible
Yes
Yes
13ft (4m)
Standard 5/8in stand mount
8in (21cm)
EX softbox 39in (100cm) INT485
8.5ft (2.6m) air cushioned light stands COR751
5lb (2.28kg)
14.6 x 5.1 x 7.9in (37 x 13 x 20cm)
neat star-cross highlights in the eye that are

visible on the surface of the front diffuser.
I would expect the EX400 Ti to last many
years with sporadic use. I couldnt identify
any particular weaknesses, but its worth
noting that if you do damage the ash
tube new ones are readily available. AP
Verdict
THE REAL advantage of a purpose-built ash-lighting
just a short time to set up the lights in a

simple but effective formation, and with the
custom white balance set to 5600K I got
great skin tone and natural colour exactly as
required straight from the box. As you can
see from the image above, the catchlight in
the eyes is very pleasing. I used the softbox
without the extra layer of diffusion, and the
high-reectance silver lining has produced
kit is that everything you need is safely packed away in a

custom carry bag, but it can be easily accessed as soon as
it is needed which is certainly the case with the Intert
EX400 Ti 2-Light Softlight Kit. There is more than enough
usable lighting power for an advanced amateur or semiprofessional photographer in this kit, and the inclusion of
a radio trigger with built-in receivers is a real bonus. While
the system doesnt have the sophistication or versatility of
hi-end systems, the advantages are the lack of sync cables
and not having to stretch up to adjust power on the head.
This kit provides a lot of lighting for not a vast amount of
money, and the value, high build
quality and performance are sure to
help it nd its way onto the shortlist of
students and photographers making
excursions into the wonderful world
of studio lighting.
Intert Photographic, Unit 4 Cleton Business Park, Cleton Street, Tipton, West Midlands DY4 7TR. Tel: 0121 522 4800. www.intertphotographic.com
subscribe 0844 848 0848
57
IN ASSOCIATION WITH
AND
Improve your
photography
this
o
t
s
i
h
t
m
o
Fr
O Study in your own time
O Receive detailed feedback
from a professional tutor
O Students are assigned
a personal tutor
O Split the monthly
payment costs
O Half-price magazine subscriptions
O Subject-specic, bite-sized
courses from only 75
O Dedicated student area
and online forum
The quality of teaching and support that I received was not

only motivating, but also extremely detailed and thorough. This
enabled me to begin to nd who I am as a photographer and
without doubt my skills improved considerably Gill Golding
Foundation in
photography
FOUNDATION IN
PHOTOGRAPHY
COURS
FEES ONLEY
299
COURSE LEVEL BEGINNER/INTERMEDIATE

Winning composition
Landscapes with impact
Expert metering techniques
Shooting striking portraits
Mastering still life
Depth of eld control
Controlling ash
Shooting wildlife and nature
Using colour
Sports and action shots
Choosing the right lens
For detailed course contents or to enrol call 0203 148 4326

or visit WWW.SPI-PHOTOGRAPHY-COURSES.COM
Please quote
ref: SPI008
Gitzo Mountaineer GT1542 Tripod test
Gitzo Mountaineer GT1542

Launched back in the 1990s, Gitzos carbon-bre Mountaineer range of tripods still have a reputation
verhaul, as Callum McInerney-Riley explains
4, Wet Wet Wet dominated
Love Is All Around, Tom
in Forrest Gump and,
or photographers, Gitzo
rst ever carbon-bre
ountaineer. Now, 20 years
ny has brought out a thirdge of Mountaineer tripods.
ipods in the new

ange, which is divided into
ing from the small and
ies 0 to the largest 3. Each
that is designed to match
od, which is balanced in size
individual series. The tripod
the GT1542 from series 1.
ountaineer tripod range
on eXact technology
Modulus) carbon bre.
incredibly strong and
rittle to be used by itself.
, it is woven together with
n bre to maximise its
properties. Gitzo engineers
hs calculating the precise
r both forms of carbon
is tailored for each individual
ending on its diameter,
r legs using the highest
carbon bre. The result
idity, strength and stability,
ved ability to deal with
weight.
tes that the rigidity of the
ntaineer tripods has been
by around 30%, thanks to
of Carbon eXact and its new
Ultra system. G-lock Ultra is
locking system that keeps
gs in place, and it has been
signed so it is more secure,
Verdict
GITZOS Mountaineer tripods are
built from good-quality materials to
cope with demanding conditions.
As all the castings are made from
magnesium alloy, the GT1542 is
reasonably heavy so theres a trade
off here between build quality and
weight. However, with prices ranging
smoother to operate and better sealed to

prevent ingress of dust and debris.
One of my favourite features of the new
Mountaineer range is the ground-level
adapter. Previously, removing the centre
column meant a complex procedure
involving detaching the head from the
tripod. However, the adapter allows users
to unscrew a locking ring located under
the upper disc so the centre column can
be pulled out. This allows users to drop the
tripod to low angles quickly and easily.
It is reassuring to see that in addition
to these big improvements, Gitzo hasnt
overlooked the smaller details. The part
where the three legs meet and the column
goes down (known as the spider) has
been reshaped and redesigned. Gitzo
claims the new shape has better torsion,
so it is less likely to twist than the older
version. Also, the design of the leg angle
selectors has been overhauled so they
are signicantly bigger.
PERFORMANCE
When using the Mountaineer GT1542 with
the 1-series ball head, I found it supported
a Canon EOS-1D X and 24-70mm lens
perfectly. Even when shooting longexposure time-lapse images in wind and
rain, the camera didnt budge. On hard
ground, its worth using the hook on the
centre column and adding some weight to
increase stability. The feet on the GT1542
are not detachable, but on the series 2
and 3 tripods the feet can be swapped for
spikes or at feet, which are sold separately.
Another benet of the redesign is that
while the leg-angle selectors of the older
models were small and ddly, particularly
in cold weather and when using gloves, the
new versions have a lip on their sides and
adjust much more quickly. AP
from 479.95 to 794.95, anybody

who buys a Mountaineer tripod will
rightfully expect it to last a long time.
Therefore, photographers who rely on
a tripod will need to weigh up whether
the needs of their work justify the price.
If the answer is yes, this range of tripods
offers a fantastic
balance between
size, weight and
portability. Most
important of all,
its rock steady.
Distributed by MANFROTTO, Resolution Road, Ashby-de-la-Zouch, Leicestershire LE65 1DW. Tel: 01530 566090. Website: www.gitzo.co.uk
subscribe 0844 848 0848
59
Your questions answered
AskAP
Let the AP team answer your photographic queries
LOW-LIGHTOPTION
I have a Canon EOS 50D and overall Im overall very happy with
it. However, I was recently trying some low-light photos and was
disappointed with the high level of noise, even at ISO 400 (Im shooting
raw and using Adobe Camera Raw for processing). As I have mainly EF-S lenses
(17-55mm f/2.8, 18-200mm and 60mm f/2.8 macro), I was looking at either the
EOS 7D or EOS 70D, but should I consider full frame with an EOS 5D or
EOS 6D? Are these cameras really so much better at higher ISO settings?
Shlomo Spira
In a word, yes. Although

noise is continually being
combated to make everhigher ISO settings possible (so the
EOS 7D and 70D improve on the EOS
50D), larger photosites on a sensor
result in a better signal-to-noise ratio,
which means less noisy pictures. So,
full frame will almost certainly be the
better option for low-light photography
(at least when cameras of a similar
vintage are compared).
Of the two full-frame cameras
youve listed, the 20-million-pixel EOS
6D would be my recommendation,
because it offers outstanding low-light
performance at a lower price than the
EOS 5D Mark III. You could argue that
the EOS 5D Mark III is better in some
regards, but if shooting in low-light
conditions is your main concern, I
suggest going for the cheaper body and
putting the price difference towards
some new lenses, as your EF-S lenses
will no longer be compatible.
BLURRY SHOTS
I use an Olympus E-410 with 1442mm f/3.5-5.6 and 40-150mm

f/4-5.6 lenses. My photos are ne
in natural daylight, but when the evening
comes or I go indoors all the shots are
blurry. Is the problem caused by my lack of
experience, or should I get a better camera?
A. Kiter
Although you havent provided any

information about your images, Id
have to say that this is probably not
the cameras fault. There are many reasons
why a camera might produce blurred shots,
including lens or camera-based faults, but
I think we can rule out equipment failure if
60
Indeed, if you re talking about

changing your camera body and
lenses, then another question arises:
should you stick with Canon or look
elsewhere? There isnt space here
to cover all the options, but Nikons
24.3-million-pixel D610 is a close
match in terms of performance and
price, while Sonys Alpha 7 boasts a
similar 24.3-million-pixel full-frame
sensor, but in a slightly less costly,
mirrorless body. Chris Gatcum
it isnt happening during the day. Indeed, as

its only happening in the evening or when
youre indoors (when light levels are low),
camera shake would be my prime suspect,
especially as the E-410 doesnt have any
form of image stabilisation.
The rule of thumb with non-stabilised
camera is to use a shutter speed thats
at least the reciprocal of the focal length
equivalent that youre using, so no slower
than 1/50sec with a 50mm focal length
equivalent, 1/100sec with a 100mm focal
length equivalent, and so on. However, its
important to understand that this is the
equivalent focal length, after the cameras
crop factor (or focal-length magnication)
has been taken into account. For example,
ASK
Be it about modern
technology, vintage
equipment,
photographic
science or help with
technique, here at
AP we have the
team that can help
you. Simply email
your questions
to: apanswers@
ipcmedia.com,
via twitter @ap_
answers or by
post to: Ask
AP, Amateur
Photographer
Magazine, IPC
Media, Blue
Fin Building,
110 Southwark
Street, London
SE1 0SU.
if you re using a mm focal-length setting

on your lens, thats an 80mm focal length
equivalent once the 2x crop factor for
the four thirds sensor has been taken into
account. That means you want to be using
a shutter speed of at least 1/80sec any
slower and the risk of camera shake (and
blurred images) increases. Obviously, this
doesnt guarantee success (some people
are naturally shakier than others), but it is a
surprisingly accurate measure in most cases.
I suggest you check the Exif information
of your blurred shots to see what shutter
speeds were being used (the Exif data can
be viewed in most image-editing programs).
If the shutter speed appears much slower
than the effective focal length, I would say
youve found the problem. The solution
would be to use a wider aperture setting
to let more light in and/or increase the ISO
sensitivity so you can shoot with a faster
shutter speed. Alternatively, you might want
to consider using a tripod.
Chris Gatcum
DARK SIDE OF BATTERIES
As a back up, I bought a cheap

battery online (from a reputable
battery supplier) for my Nikon
Coolpix P7700 camera. The battery didnt
last long after recharging and in less than
a year it would only take a 10min charge,
allowing me to take just 24 photos! As it had
a two-year guarantee I arranged to return
it to the supplier, but my local Post Ofce,
learning it was a lithium battery, refused to
allow it to be posted. I was given a leaet
entitled Prohibited and Restricted Items
dated July 2013 that states: Batteries,
specically new and used lithium batteries,
when not sent with or connected to an
electronic device are not allowed in the
mail and that failure to comply with
these controls could result in prosecution.
Apart from the problem for suppliers and
purchasers, where does that leave us with
the idea that we should remove batteries
from our camera for air travel?
Keith Adams
I agree that its a confusing

state of affairs, Keith, but its
one thats become increasingly
necessary given the dangers associated
with lithium-ion batteries. As Im writing
this, there are reports that the missing
Malaysia Airlines ight MH370 was carrying
200kg of consumer lithium-ion batteries
(the type found in laptops, phones and
subscribe 0844 848 0848
Your questions answered
In next weeks AP
On sale Tuesday3 June
AP GLOSSARY
High-sensitivity noise
Although weve seen incredible leaps
in the low-light capabilities of digital
cameras in recent years (with eyewateringly high ISO settings that were
undreamed of with lm), there will always
be a point at which noise appears in the
image. The reason for this is because
the ISO setting on a camera acts like a
amplier for the light recorded by the
sensor (it doesnt, as is often wrongly
stated, change the sensitivity of the
sensor). Just as cranking up the volume
on an old radio or cassette player
will increase background hiss (audio
noise) as well as your favourite tunes,
increasing the ISO on a digital camera
also amplies any non-image-forming
elements, which are seen as noise.
Noise reveals itself in two forms: as
luminance noise and as chroma noise.
Luminance noise is usually the least

objectionable of the two, as it is seen
as a colourless base texture, which is
often described as having slight lm
grain qualities to it. However, chroma
noise is far less pleasant: this is the
coloured speckle effect that becomes
noticeable in mid-to-dark areas, and is
far harder to remove.
In both instances, noise reduction
can help reduce the appearance of
noise, but this can result in lost detail or
an increased plasticity to your images
when applied too heavily. For this
reason, it is better to attempt any noise
reduction using image-editing software
or dedicated noise-reduction programs
where you can ne-tune and undo
the processing rather than tackling it
in-camera.
ON TEST
With a radical modern design and unique

handling features, we nd out whether the
Leica T is the CSC we have been waiting for
In association with
APOY
other device. Again, this makes a lot of sense
from a safety perspective: while theyre in
transit, most packages remain relatively
anonymous and are treated in the same
way. Consequently, a lone lithium battery
overheating in a padded envelope in the
back of a lorry or in the hold of a cargo
plane is possibly not going to be noticed
until the situation is quite serious.
So, while these rules may seem slightly
contradictory, they have been employed for
good reason: as much as we appreciate and
benet from the advantages of lithium-ion
technology, it has a denite dark side that
we need to be aware of.
Chris Gatcum
0844 848 0848
Weve Olympus prizes worth

more than 2,000 in our By
the Sun and the Moon round
ON TEST
WACOMINTUOSPRO
We test the latest high-end
Wacom graphics tablet
PC EXPLANATION
PATTERNSANDTEXTURES
photo opportunities if
you take a closer look
at the world around
you. Lee Frost
goes into detail
LEE FROST
Many thanks for your reply and

explanation in the 26 April issue of
Ask AP about the term PC socket.
I remember the Prontor and Compur
shutters with pleasure, as the rst camera
I ever purchased for myself was a Braun
Paxette with a Prontor SVS-L (light value)
shutter. So the PC makes sense I was
trying to associate this with some form of
computer plug. I just used to call this a ash
sync socket, since as you say it is the
type on all my cameras. I would still describe
it as a miniature co-axial system, rather like
a miniature TV aerial plug/socket.
However, my Yongnuo CTR-301P has
a socket that is marked PC, but it takes a
small jack plug (there is no facility to plug
in the co-axial type). A lead is included, but
this has a mini jack on one end and a 1/4in
large jack at the other. Fortunately, I have
managed to obtain a lead with a mini jack on
one end and a co-axial socket on the other.
Keith Jones
CONTENT FOR NEXT WEEKS ISSUE MAY BE SUBJECT TO CHANGE
cameras), and these have been added to

the list of potential causes for the planes
disappearance.
According to Safe Travel (safetravel.dot.
gov/quick_chart.html) and other travel
websites, loose lithium-ion batteries
those that are not in a camera or other
device can only be taken in your carry-on
luggage, while batteries that are in electronic
items can go in either your carry-on or
checked-in luggage (although some airlines
prefer they are taken in your hand luggage).
The reason for this is simple: a battery
igniting in an overhead locker, or under a
seat in the cabin, is going to be noticed more
quickly than if it were in the cargo hold. It
might be more alarming for the passengers
if there is a re, but having these batteries
in the most accessible place possible means
that the airlines are hoping that
any problems can be swiftly dealt with.
On the other hand, the postal service
which includes other carriers, not just
Royal Mail are refusing to ship lithium
batteries unless they are in a camera or
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www.amateurphotographer.co.uk | 31 May 2014
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subscribe 0844 848 0848
31 May 2014
| www.amateurphotographer.co.uk |
89
The nal frame
Editorial
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ROGER
HICKS
Time is the basis of all value we should appreciate it as

such and spend it wisely, whether in photography or in life
Subscriptions
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Editorial team
THOSE who say that time is money could
hardly be more wrong. Time is value. In fact,
it is the only thing that creates value. Anyone
who pretends that money and value are the
same thing is stupid, or dishonest, or both.
Think of the things that are most valuable or
precious to you. Think of a beautiful day with
perfect light, in a place so beautiful that it seems
almost impossible not to take a perfect picture.
For devotees of traditional photography, think of
an hour or two stolen to spend in the darkroom;
stolen because you should have been mowing
the lawn or doing the ironing. For those who
prefer digital, well, think of reviewing your pictures,
cropping, colour balancing to reect your mood,
whatever: the sort of thing we see just about every
week in the Appraisal column right here in AP.
Remember: these are
times, not objects. We are
doing things; we are alive.
Think too of pain and
discomfort. They will pass.
Knowing that they are
limited in time even in
the extreme case, where
the only release is death
is what makes them
bearable. Their value is
negative, the exact opposite of the positive value of
a beautiful day, or for that matter of a few minutes
extra time in bed, especially if theres a cuddle
involved. In all cases, though, value (happiness/
unhappiness) is bounded by time. Money isnt. You
can die and leave a fortune. You cant die and leave
anyone your own happiness or misery.
If you doubt me, reect upon the nature of
heaven and eternity. In heaven, we are assured,
there is no pain, no suffering; there is only
eternal bliss. But hold on. No pain? No suffering?
Everything is always wonderful? You can saw your
own leg off, to see what it feels like, and it feels
wonderful, because wonderful is all that is on
the menu? For that matter, I have long had a
problem with the idea of seeing my mother again
in heaven. How old would we be, for a start?
Go from the particular to the general, and its
more confusing still. Heaven must be so different
from anything we can imagine that it can only
make sense as the clear white light of reality: the
cessation of duality, when we become one with the

one and all.
Eternity is even more of a problem. We literally
cannot imagine it. The best we can do is more
time. What would we not do if we had more time?
And all the days of Methuselah were nine hundred
sixty and nine years: and he died. All right, 969
years is a long time, but it aint eternity.
In fact, we cant really imagine all the days of our
own lives. When I was younger and had a mortgage
to pay off, I always imagined that when I was older
and had more time, Id spend a good deal of it
taking pictures with my 5x7in/13x18cm cameras.
Well, I am semi-retired, I have got more time,
and if anything, I spend less time on large-format
photography than I did 20 years ago. Nor have
my digital Leicas taken up all the slack. A lot of my
time goes on reading,
especially at the more
radical end of politics
and economics. And,
of course, on writing.
And so, as I grow older,
I become more and more
of an Epicurean. Peace
of mind was, to Epicurus,
the greatest good.
This is not the same as
hedonism, the pursuit of pleasure at any cost: my
own peace of mind cannot decently be purchased
at the expense of others peace of mind. We should
all, therefore, be careful. Few of us change the
world very much, and of the few who do, even
fewer change it for the better: history contains far
too many warriors, religious zealots, builders of
unhappy empires. As Voltaire said in Candide:
il faut cultiver notre jardin: we need to cultivate
our own garden, to manage our own affairs.
We can try to make (and also to leave) the world
a better place, as I think Voltaire did. But leaving
it a better place for other people is a somewhat
quixotic undertaking if we do not at the same time
try to make it a better place for ourselves. Given
that we do not live on this earth for ever, we must
therefore take (or nd) and appreciate time as the
basis of all value. By extension we should mock,
ridicule and ideally beat senseless those narrowminded businessmen, pandering economists and
petty accountants who equate it with money. AP
Eternity is even
more of a problem.
We literally cannot
imagine it. The best we
can do is more time
Roger Hicks is a much published author on photography. He has written more than three dozen books on
the subject, many in partnership with his wife Frances Schultz. He has been a freelance photographer/writer
since 1981, contributing to many magazines. Visit his website at www.rogerandfrances.com
90 www.amateurphotographer.co.uk I 31 May 2014
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Special thanks to The moderators of the AP
website Andrew Robertson, Fenris Oswin, lisadb, Nick Roberts,
The Fat Controller Contributors Chris Gatcum, Jon Stapley
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published weekly (51 issues per year) on the Tuesday preceding the cover date by IPC Inspire,
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9 GITZO MOUNTAINEER GT1542

OUR WORDS & PICTURES

6 APOY RESULTS ROUND 2

COVER PICTURES: STEVE WEBB, PHIL HALL AND RUPERT VANDERVELL

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News I Analysis I Comment 31/5/14

Sony Cyber-shot DSC-RX100 III, page 6

Shopping centre pics spark complaint Security staff alert police

Police took no action against

to Westelds policies, who

Sony camera sales

fell by a third in the

tweaked its Pen E-P5

JUNE DEBUT PLANNED FOR NIKON 1 S2 CSC

Nikon claims that the camera is ideal

31 May 2014 I www.amateurphotographer.co.uk

16-35mm and 10-18mm

PENTAX 645D SLASHED

two years about the future of the compact

In addition to these new features, the

With a ick of a switch at the side of

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Exmor sensor is essentially the same as that

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1in Exmor CMOS

Left: Other than the pop-up EVF and

Above: The RX100 IIIs brighter lens

the body, helping to keep the camera as

Flicking the EVF switch pops up the

31 May 2014 I www.amateurphotographer.co.uk

experience, plus the chance to

the dates for a series of

CALUMET REOPENS US STORES

www.amateurphotographer.co.uk I 31 May 2014

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