Amateur - Photographer 20.may.2017 FiLELiST
Amateur - Photographer 20.may.2017 FiLELiST
Neighbourhood
watch
● Get better pics in your own patch
● See familiar places with fresh eyes
● Plan and shoot a local project
Billingham
Hadley One
Tested: a new version of
this classic British bag
. $&"(("! *-&( ! " $* "1%
*&*! /* ! !& #+ $"!* (1(* !
".(% *-&! ! 0$*"!
(!(*.*1 -$ *" #,22 ! ! 0*&"&!&1 #2222 $0( *&! (!("&% !$& -((
' *" "!!* 1"-& & *" " $* ( &* .( "/! 1"- *" -*" *1
-$" 1"-& (% "!!*&* $&"& !%
' /"& & ! ""( & &(*& *& &( "/! 1 -*""* !% ! !1 -( " (-
&( 1 "! "&$"&*"! ( -!& !(%
7days
COVER PICTURES © FINN HOPSON / ANDREW SYDENHAM
A week in photography
There’s a great expression we found on your doorstep. This issue’s cover
heard recently on AP – ‘pay feature helps you take better shots locally,
and display photography.’ This from planning a neighbourhood project to
refers to people who can afford shooting the very familiar in creative new
to jet off to exotic places and ways. Meanwhile, we put Canon’s powerful
then love to show off their images of the locals new SLR through its paces and reveal why
In this issue and associated beauty spots. Now, there is Google’s Pixel phone is (or should be) giving
12 Local heroes nothing wrong with heading to far-flung Apple and Samsung sleepless nights when it
We talk to three places if you have the cash, but you shouldn’t comes to camera performance.
photographers who have forget that great photographs can also be Nigel Atherton, Editor
found inspiration close
to home – with some JOIN US amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
impressive results ONLINE co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
18 The collective
unconscious ONLINE PICTURE OF THE WEEK
To coincide with his talk
at Photo London 2017,
© DAVID BALL
© DAVID WATKINS
HULL NEWCASTLE
Datacolor, a leader in colour management solutions, has launched
PhotograpHER, a campaign to celebrate women in photography.
The company wants to hear from women who are willing to share
their stories. A number of prizes will be up for grabs. The
competition runs until 31 May. See more at www.datacolor.com
© LAVINIA GREENLAW
Lomography Kickstarter
campaign Revisiting the Coal Coast
Lomography has returned to Kickstarter Sirkka-Liisa Konttinen’s photographs
with its Neptune Convertible Art Lens explore the ‘terrible beauty of Durham’s
System. This consists of a lens base Somewhere Becoming Sea coal-scarred coastline’. The wreckage of
with three interchangeable lenses, In this exhibition international artists work with the mining industry that defined a
3.5/35mm, 2.8/50mm or 4/80mm. The moving images and take a closer look at the culture lies strewn across its beaches,
aperture can be adjusted using drop-in ever-changing boundaries between land and sea. The discarded. Konttinen’s images document
aperture plates. Backers will save up exhibition looks at Hull’s long-standing prominence this detritus through a series of
to 45% on the $990 on-sale price. See as a gateway to the North Sea and beyond. beautifully strange images.
www.kickstarter.com. Until 17 June, www.humberstreetgallery.co.uk Until 8 July, www.amber-online.com
The most interesting things to see, to do and to shoot this week. By Oliver Atwell Essentially what
DEVON BRADFORD
photography is,
is life lit up
© JOSEPH GLOVER
© LINDA PEARSON
Sam Abell
© DAVID CLAPP
US photographer, b.1945
GLASGOW
846.07
An Interval of Time is the second This landscape workshop will take full Pinhole photography involves exposing
annual exhibition by the New advantage of the beautiful carpets of a piece of film using light filtered
Photographers Guild, a photographic wild bluebells and fabulous white through a small hole in a light-proof
mentoring initiative led by Elaine hawthorn trees that bloom at the end box. In Poetics of Light, more than 200
Livingstone, Claire Stewart and of May. There are beautiful rivers, photographs and 40 cameras are
James Pfaff in association with fabulous viewpoints and possibly misty brought together to tell the story of
Street Level Photoworks. forests to explore and photograph. contemporary pinhole photography. number of gigapixels in the
world’s largest panorama,
Until 11 June, 26-28 May, www.lightandland.co.uk/ Until 25 June, www.scienceand consisting of over 31,000 images
www.streetlevelphotoworks.org photography-tours mediamuseum.org.uk
Astro-photography shots
Venus Optics is no doubt hoping to
land the Laowa 7.5mm f/2 MFT,
with its wide 110° angle of view and
f/2 aperture, into the hands of
enthusiastic night photographers to
help them create impressive
astro-photography shots with ease
Subscribe to
– as well as providing customers
with a fast and wideangle option for
landscape photography and
low-light shooting.
The Laowa 15mm f/2 MFT will be
available in either silver or black, and
SAVE *
is available to pre-order from the
Venus Optics website (www.
venuslens.net). The standard version 36%
© TSE HON NING
© PRISCILLA BRIGGS
© ANTHONY LAU/NATIONAL GEOGRAPHIC TRAVEL PHOTOGRAPHER OF THE YEAR
‘J
ust hold a Pentax’ was a An updated Canon EOS 30 would take
memorable SLR advertising modern EF lenses. Intriguingly, Fujifilm has
slogan of the 1970s. Most made a virtue of its X-series looking and
photography students from handling like rangefinder film cameras (I
then on held one Pentax in particular: the have an X100), yet if a lens’s covering
Pentax K1000. This manual, uncluttered, power is great enough to cover an APS-C
mechanical, robust 35mm SLR lacked only sensor, it could cover a 35mm half-frame
the near-essential depth-of-field preview format. So, anyone for a new half-frame
button. Some three million were made. that takes X-series lenses?
College, university and school
photographic departments bought them, Strategic move
and many would like a modern equivalent. And what if Pentax were to offer its
You can find them second-hand, still K-1 buyers a full-frame film camera as
working (but beware cheap lookalikes), as well, taking the same lenses? That would
you can the ever-robust Mamiya RB67 that be a strategic move, as well as building
introduced many a student to medium- brand loyalty and enabling all those
format’s quality. There was also the Nikon K-mount lenses to work again. Its parent
FM and Minolta, as well as Canon’s own firm, Ricoh, could use its copier expertise
equally significant equivalents – all of
which shaped modern DSLR design.
I recently sold some film SLRs on eBay,
primarily to young buyers. Research
to produce high-end film scanners for
photographers who shoot film and scan.
Pentax, too, is the only DSLR
manufacturer that offers crop-sensor,
Cheap
shots
confirms my experience: young full-frame and medium-format cameras,
photographers are enjoying film, and want so reintroducing a 6x4.5cm-format film
quality film cameras, not because of SLR to use the same lenses as fit the
nostalgia but because they want to learn. 645Z would be so logical.
Many Lomo users want to move on. Film brings discipline to imaging: only
So who will be far-sighted enough to 12 or 24 shots in which to get the shot. 28 ways to keep costs down
introduce a new film SLR? There would Film’s unique look, creative possibilities
be challenges: estimating demand, and the skills required to make it work can – by AP readers and pro
ensuring a large enough production run make future generations better photographers
for it to be affordable, ensuring simplicity, photographers. I hope the industry will
and re-engineering designs to work with advance the cause of photography and
© MICHAEL TOPHAM
electronically controlled lenses. Nikon photographic education with new film
even still makes some manual-focus cameras. Or does the young
lenses, so how about an FM3M? photographer have to resort to a used
1977 K1000 from eBay?
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TIME INC. (UK)
Happy customer
I found several parts of the 6 May
issue riveting. I have shot raw files
ever since making the transition
from film, and ‘Shoot Raw Now’ is
C
D E
Farnborough Business Park, Farnborough, Hants GU14 7BF the sort of detailed, useful, gutsy
material that AP is really all about. B
The same can be said about
LETTER OF THE WEEK ‘Lightroom Tips: Sharpening and In AP 6 May,
Noise Reduction’. Since starting to we asked…
Tripod use Fujifilm X-series cameras, I
have been working with Adobe Have you ever bought
tribulations
I have just been re-reading the
Lightroom, and AP’s ongoing
Lightroom tips are very useful.
Oliver Atwell also looked at the
secondhand equipment?
You answered…
‘Lose Your Tripod’ issue (AP, upcoming Photo London. So,
A Digital camera 43%
1 April). The only times I have please can we have some further
damaged any of my camera features on some of these B Film camera 15%
equipment in more than 50 photographers? For a start, Laura C Lenses 31%
years of dabbling with Pannack’s pictures of the world’s
D Accessories 5%
photography occurred when youngsters, Roger Ballen’s
I was using a tripod. In the late haunting images, and Martin Essi’s E I never buy secondhand 6%
1980s at Loch Lomond, my ‘Le Chateau Rouge’ series?
tripod, with my cherished Adrian Lewis, Bristol What you said
Pentax MX mounted on top, ‘I try, where possible, to buy
keeled over while my back was Your wish is granted. Turn to everything secondhand. Why pay for
LETTER OF THE WEEK WINS A SAMSUNG EVO PLUS MICROSD CARD. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
turned. It hit a rock, and the page 18 for a feature on Roger the depreciation when plenty of others
camera’s top-plate and shutter write-off. After the second Ballen – Nigel Atherton, editor are willing to do it for you?’
speed dial were damaged. episode, I decided not to use a
Then at Coniston Water in tripod again, and I never have. Lensbaby ‘All my cameras and most of my lenses
are secondhand. Accessories not so
the late 1990s, the same As far as I am concerned, In AP 24 September 2016 in
tripod, this time with my Pentax tripod is an acronym for ‘Bargain lenses under £200’ the
much, because I’ve usually found the
MZ-5 on top, fell over and the Toppling Rapscallion Inflicts Lensbaby Spark received a
savings are not worth it.’
lens copped it against another Potentially Odious Damage. paragraph and recently I saw some ‘I bought a Canon EOS 5D Mark III
rock. The MX was repaired, but Douglas Thomson, online reviews praising the quality bundle with three kit lenses and a
the lens on the MZ-5 was a Edinburgh of a couple of Lensbaby optics. I’ve shed-load of accessories from an eBay
never seen a feature about the seller in the US. It all worked perfectly,
specialised manual focus optics and there was no delay in delivery.’
In the
Fieldhouse is
a landscape
photographer
bag
based in
Staffordshire.
He is a regular contributor
to a number of magazines.
Visit his website at
www.davefieldhouse
photography.com This seascape was taken at Elgol on the Isle of Skye
6
5
2
Fujifilm X-T2 compressing the landscape. The Selection of filters Although I haven’t yet had to change
teleconverter simply doubles the memory cards halfway through a shoot I
1 This was purchased as a light
alternative to my DSLR kit for long range of the lens for when I want to get
I use filters a lot less since
4 acquiring the Fujifilm but if there’s always carry a spare just in case.
walks or wild camps. Having been blown even closer. This saves carrying an room, I like to have them with me. I tend
away by the image quality and usability extra lens, while only sacrificing a to only use the Big and Little Stoppers Cleaning cloth/blower
couple of f-stops.
of the camera it soon became my number
one choice. I have since sold all my DSLR
for coastal work, but the polariser can be
useful in a number of situations, and 6 There is no point spending
hundreds of pounds on equipment
kit to buy more Fujifilm equipment. Fujinon 16-55mm f/2.8 R LM WR really comes into its own in the autumn. and then shooting with a dirty lens. I try
The 16-55mm is a great everything to keep my gear clean and
Fujinon 50-140mm f/2.8 R LM IOS 3 wideangle lens and is fitted to Spare batteries always pack a couple of glass-cleaning
WR and Teleconverter XF 2X TC W my camera most of the time. It’s perfect I find that the Fujifilm does get cloths and a blower.
for capturing wide vistas and at f/2.8 5 through batteries quickly, so it’s List of kit Fujifilm X-T2, Fujinon 16-55mm f/2.8 R LM WR,
2 Although this is a heavy lens, it
oozes quality. It is ideal for picking it’s very quick, which makes it ideal for worth having a few spare in your bag Fujinon 50-140mm f/2.8 R LM IOS WR & Teleconverter XF 2X TC W,
out details from a distance, or for handholding in poor light. (especially during the colder months). selection of filters, spare batteries, cable release, cleaning
cloth and blower, hand warmers, map, flask and food.
Fujifilm’s AF-C
Custom Settings
© WUNDERVISUALS
We show you how to
use the new Continuous
AF Custom Settings
feature on Fujifilm’s
X-T2 and X-T20
F
ujifilm introduced a new feature
called ‘AF-C Custom Settings’ in the
AF/MF Setting page of the X-T2’s
menu designed to help you tailor the
response of the autofocus system to suit specific
subjects or shooting conditions. It’s proved a
popular addition, and has subsequently been
included in the X-T20’s feature set. AF-C Custom Settings
Both cameras have five preset AF-C Custom are designed to help the
Settings – Set 1 Multipurpose, Set 2 Ignore autofocus system
Obstacles & Continue to Track Subject, Set 3 respond to specific
shooting conditions
For Accelerating/Decelerating Subject, Set 4
For Suddenly Appearing Subject and Set 5 For
Erratically Moving & Accel/Decel Subject. Each shooting a team sport when other players Using the AF-C Custom Settings
option sets specific settings for three focus come between you and the subject. The AF-C Custom Settings are selected via the
tracking parameters, Tracking Sensitivity, Speed AF/MF Setting page of the menu. Before
Tracking Sensitivity and Zone Area Switching. Speed Tracking Sensitivity making a selection it’s a good idea to give a
Speed Tracking Sensitivity controls how little thought to your subject and surroundings.
Tracking Sensitivity sensitive the tracking system is to changes in In many instances Set 1 Multipurpose will
Tracking Sensitivity determines how long the the speed of the subject. The higher the value, serve you well, but you may get a higher hit
camera waits before adjusting focus when the more the camera will attempt to respond rate in some situations with the others.
another object enters the focus area. The to sudden changes in speed. However, the If you’re panning in an area with trees or street
higher the number, the longer the camera will camera will have more trouble than usual with lamps, for example, Set 2 Ignore Obstacles &
wait. A high value could be useful when low contrast or very reflective subjects. A high Continue to Track Subject may be a good choice
value is useful for subjects such as wildlife that to keep the camera focused on your subject.
© FGORGUN
can move and change speed quickly. Set 3 For Accelerating/Decelerating Subject
is a good choice for motorsports or races
Zone Area Switching where the subject is likely to slow into a corner
Zone Area Switching only takes effect when (for example) before accelerating away.
Zone AF mode is selected and it sets the focus Set 4 For Suddenly Appearing Subject is
area that is given priority within the selected useful when you don’t know when or where a
zone. There are three settings; Center, Auto subject will appear - perhaps if you’re waiting
and Front. When Center is selected the below the brow of the hill or further round the
camera prioritises objects in the centre of the bend in a race.
zone while in Front it gives priority to the Set 5 For Erratically Moving & Accel/Decel.
subject nearest to the camera. Auto locks focus Subject makes a good choice for wildlife,
Speed Tracking Sensitvity is useful for shooting on the subject at the centre of the zone but especially birds in flight as they move randomly
subjects that move and change speed quickly switches focus area as necessary to track it. and with varying speed.
Local
heroes
If you’re stuck for a photo project idea look no
further than your own neighbourhood. Here three
photographers show us what’s on their doorstep
30 of these shops in and around London.
They hold the memories of a largely
Pie and mash undocumented working-class culture. In
decline, they are however still recognisable
– serving warm comfort food. Steam. Tea.
T
he Englishman and the Eel is a Laughter. In Essex, the East End’s new
journey into the culture of that spiritual home, they are undergoing
most London of institutions, something of a renaissance – identifying
the eel, pie and mash shop. In as they do with a reimagined and distilled
a sense it follows on from my last book, working-class culture that’s geographically
The Palaces of Memory, which was about separate from its traditional roots.
the forgotten spaces of the Indian coffee
houses – my shelter during 20 years of Talk, listen and wait
working and sometimes living in India. The execution of the project was relatively
The palaces reminded me of my own straightforward. The resulting book is not In terms of execution of the work, I do
past growing up in Hackney in the 1970s encyclopaedic, rather I wanted to record what I usually do – talk, listen and wait.
and, after spending much of my working the most interesting culture of the places. The key to good reportage is time and if
life in the developing world, I wanted to I extended the work outwards, shooting you spend long enough, good images will
re-explore this. eel fishing in Lough Neagh in Northern come. I don’t think anybody refused to
Eel, pie and mash shops, along with Ireland as well as two of the remaining eel have their picture taken and I captured
rough pubs and greasy spoon cafes, were processors in London. I also wanted to customers and staff going about their daily
the landmarks of my upbringing and I felt explain the changed landscape by lives. In terms of narrative, I decided early
it would be interesting to document a including East Enders too frail and elderly on to document the rhythm of the day,
culture I grew up in but travelled away to get to the shops. I photographed them from opening up to closing, ensuring that
from. I’ve photographed and written about at home, with the food brought to them. I had a comprehensive list of images but
ALL PICTURES © STUART FREEDMAN
At Arments Pie and Mash shop they use an old family recipe The customers at Arments Pie and Mash shop span generations
leaving enough space for serendipity. It but I’ve always tried to pitch editors was that that made me realise how
was a simple matter of observing the ebb stories that I feel are important, and that significant the shops were and how they,
and flow of daily life and those moments speak to me in some way. When I left and the eel in general, – rare, endangered
that were both interesting and banal, and university in 1989 (I did a politics degree, but surviving – could be used as a
making the best images that I could. nothing to do with photography) one of metaphor for both the culture that I come
I shot the series with two cameras and the first places I photographed to try and from and my own journey.
two lenses – a Leica M-240-P and f/1.4 build a portfolio was the (now closed) local
35mm Summilux lens and a Canon EOS pie and mash shop I’d grown up with in To back Stuart’s crowd-funding campaign to produce a
5D Mark III with a 50mm f/1.4 lens. Dalston. Years later in 2011, I pitched beautiful limited edition book of this project visit
I’ve spent much of my career as an (successfully) a story to a German Kickstarter.com and search ‘The Englisman and the Eel
assignment photographer for magazines magazine about the shop’s culture and it - London’s Eel, Pie & Mash shops’.
A joyous exchange at The Heath Pie Shop in Dagenham, Essex Scaffolder Joe eats lunch at Robins Pie & Mash shop in Southend-On-Sea
I
grew up in Brighton, and when and when and where they like to
I began taking photographs on murmurate each evening in winter. I have
the beach I had a notion that this a much better sense of where the sun will
was in some way just ‘practice’ for be rising and setting in the sky throughout
the more serious photography projects the year, and how this plays into the light
I would get round to starting one day. A we get on the beach, and I have a much
little while later it came as something of a better idea of how the local weather will
revelation to realise that this had become affect the kind of shots I can get. I also
the project, and that a small body of work learned exactly where the biggest waves
was beginning to emerge. Significantly, will land on you if you stand in the wrong
I was more inspired by this most local of place on the Palace Pier in a storm! You
landscapes than I had been by any of the don’t forget that in a hurry. I’ve also met
other places I had attempted to shoot. all sorts of interesting characters. My
The huge bonus of embarking on a local fellow locals are a goldmine of useful
project like this is continual access to the information, ideas and opinions. All of
subject matter. Before even picking up a which is feeding back into creating work
camera I had years of experience of living that I hope is more than just pictures.
here to draw on. Locations were familiar,
access was simple and there was more Reaching a wider audience
than enough variety to keep me happy for In 2014 I used some local exhibitions of
years. Sounds great, but my familiarity these images as a springboard to open my
with it can occasionally make it feel like own gallery, which is rather conveniently
I’m stuck in a bit of a rut. The real located right on the beach where they were
challenge is keeping myself inspired by taken. This has proved a fantastic way to
trying to capture the familiar in an show this project to a bigger audience,
unfamiliar way, to use the ever-changing which is made up of both locals and
weather and light to my advantage, and tourists alike, and listen to what they have
give the viewer a sense of the place that to make of it all. The variety of
can only be gained by spending an awful conversations that can begin with one of
lot of time here. the pictures is astonishing and keeps
adding to my list of ideas for images I’d
Time and tide like to add to the project. Having started
Along the way I’ve discovered all sorts of this project by accident, I’m starting to
things about my home town that I had realise that I may not ever finish it either. The sand in
previously taken for granted. I’ve had to In fact it may only be ended if I cease to be Brighton is hidden
under the sea most
learn more about the tidal range across a local, and I hope that’s not something of the time
the year and the way in which winter that will happen any time soon.
ALL PICTURES © FINN HOPSON
Seafront reflections and some structural remains of the West Pier A swimmer’s-eye view of the West Pier taken with a waterproof camera
Learning about the migration patterns of starlings helps Finn plan pictures If you stand in the wrong place during a storm you’ll soon know about it!
M
uch of my personal work
is based around my
experiences of living and
working in East London.
A few years ago, I became interested in the
workspaces of Hackney, especially those
used by people in creative industries. I met
a girl, Isobel Webster, at a market stall.
She looked like a Pre-Raphaelite goddess,
her red hair falling over her technicolour
catsuit. I asked if I could photograph her in
her studio (see below) so that I could see
the tools of her trade and what she was
making, and she agreed. Clues to her craft
were scattered all around her space: a gold
bike helmet stashed on top of a cupboard,
swatches of fabric and a stack of patterns.
At the end of the session, I felt energised
and wanted to do it all again. I invited
Isobel to suggest someone to photograph,
someone she found inspiring – someone
she wanted to celebrate. She took me to
Louise, who took me to Alex, who took me
to Anna. And that’s how it all started.
Isobel Webster, fashion designer, Hackney Studios Dan Holliday, artist, Hackney Studios
Sense of community
Each setting was fascinating: I would be
given a name, and then I would look them
up, and a few days later I would be in the
space where they worked. Rather than a
cold starting point, with no connection, it
became a really warm discussion about
their relationship with the person who
nominated them, their work, and our
community. I’ve lived in Hackney for
25 years, so it felt like I was allowed to be
there. After many conversations, certain
themes began to emerge about the
gentrification of the area, the evictions
and the lack of affordable studio space.
Cities seem to demand change with little
regard for individuals, punishing those
loyal inhabitants who have seen it through
rough times when no one else was
interested. What is happening in Hackney
is not unique – it’s being repeated in cities
the world over.
As much as I wanted to investigate all of
these individuals, it was almost like I was
trying to find my place in the community
– I wanted to figure out who I was and
how I fitted in. I was trying to find my
tribe and to feel more connected.
Fred Butler, accessories
designer, Hackney Studios Jenny’s book, Hackney Studios, is published by
Hoxton Mini Press.
Prop and accessory maker Rosy Nicholas, Hackney Studios Kevin Francis Gray, sculptor, Hackney Studios
The
collective
unconscious
Sometimes a little self-reflection goes a long way. On the eve of
his talk at Photo London 2017, photographer Roger Ballen
reflects on his controversial career. He talks to Oliver Atwell
O
f all the photographers a photographer who, at the in retrospect that I can look back at
who have passed earliest stages of his career, often my reaction and realise that my
through culture’s found himself accused of exploiting horror of it was inspired by my own
gates of consciousness marginalised and mentally inability to face a photographer who
in the past few decades, only a unstable South Africans in order was utterly untroubled by plunging
few have been known for their to create sensationalist portraits in into his own subconscious.
ability to raise the hackles of the books such as Platteland, ‘People don’t want to talk about
audience. Photography has often Shadow Chamber and Boarding the dark recesses of their mind
found itself subject to accusations House. However, there’s an because they’re scared of their own
of exploitation, whether that argument to be made that this tired thoughts and feelings,’ Roger tells
exploitation occurs within the – almost clichéd – condemnation of me from his office in Johannesburg.
context of blasphemy, pornography Roger Ballen’s work is something of ‘This is what a lot of members of
or, most commonly, taking a smokescreen. society have, unfortunately, done to
advantage of those who may not be In my own experience, when I themselves. But look, I don’t take
in a position to judge whether or not first saw Ballen’s work some years pictures with a preconceived
they should be photographed. ago, it caused me look away, to formula that I imagine might
In the case of Roger Ballen, he’s almost attempt to ‘unsee’ it. It’s only unleash the subconscious mind of
the next person. If I start with a
‘Apprehended’ premise at all, it’s that I want to
2005, from take pictures that challenge me and
Boarding House open me up to my own mind. If the
pictures do that for me then I feel
confident enough to let them out
into the world, and it would appear
the nature of my pictures does that
to other people. I hear that a lot, so I
guess it’s true.’
It would be easy to imagine
Ballen as a foreboding character,
emanating surly growls and
nihilistic proclamations. In fact,
quite the opposite is true. He is
patient, open and generous. It’s a
strange prejudice we have about
the kinds of figures who create
work that some would find
uncomfortable. There’s something
in that. Some artists create images
that explore those facets of our
mind that we would like to shy away
from. But through an honest and
ALL PICTURES © ROGER BALLEN
Down to earth
It may surprise you to hear that
Ballen’s background isn’t exactly in
photography. Apart from his
mother’s influence, he has received
no training in the art. In fact, for
years Ballen worked as a geologist,
hence his move from New York to
Johannesburg in the 1970s. There’s
an interesting metaphor there.
Ballen spent years plunging his
hands into the dark soil of the earth
and has now become known as a
photographer who spends his time
diving into the shadowy spaces of
the subconscious.
‘It’s so difficult to know exactly
what influences your aesthetic,’ he
says. ‘You have things that influence
you in certain ways, but you don’t
know how it affects your pictures.
The human mind is made up of
billions and billions of brain cells,
and how they all interact to create
what you generate as an artist is
really hard to understand. You
could easily make metaphors if we
take the example of geology, where
you’re looking at the earth for
minerals and you’re trying to pierce
below the surface. When I
work with my subjects, I’m
respect me. And I feel the same another way of working with ‘The moment I started to
towards them. It has to be a drawing and photography. mix these paints together on the
win-win situation, otherwise things ‘During the time I was shooting glass, I started to get all these
would never happen.’ the Shadow Chamber book, which cracks and the chemistry. It was
Ballen’s most recent body of work was published in 2005, I was in a unexplainable. I got different
takes this removal of the human women’s prison in Johannesburg,’ formal relationships of these
subject to the extreme. The Theatre says Ballen. ‘One of the cells had materials. The way the paint
of Apparitions has been years in the drawings on the blacked-out cracked opened up the aesthetic of
making and was, in fact, made in windows and the glass had a the work. That was the decisive
the same period as his two books strange luminosity to it. The Roger Ballen is a New moment of the project.’
Boarding House and Asylum of the drawings had a ghost-like, York-born photographer Up next is an onstage talk at this
Birds. These newest images are an metaphysical feeling to them. This living in Johannesburg, year’s Photo London. He’ll be in
intriguing departure for Ballen, was quite an amazing experience South Africa. He has conversation with Mark Lubell,
who has produced a series of for me. I took a picture and that published several books executive director of the
unusual images painted onto glass. ended up in Shadow Chamber. At and has been called one International Center of
The images feel almost like cave the same time, I was working in a of the most influential Photography. Then, in early
paintings or fossils. There’s warehouse with a lot of windows, September, Thames & Hudson
photographers of the
something archetypical about them. so I started experimenting with will be releasing a weighty volume
In 2002, drawings started to play a some pictures. The project lasted
21st century. To see more called Ballenesque, which will get to
big role in Ballen’s images. By the about eight years and it kept of his work, visit www. the heart of just what that term
time he began The Theatre of metamorphosing all the time into rogerballen.com. means. It’s certainly a distinct
Apparitions, drawings had already different imagery and aesthetics. He will be presenting aesthetic and one that requires
established themselves as All these pictures were all taken on a talk at Photo London careful analysis. With any luck it
something important in what he glass windows with a 6x6 and on 20 May. www. will create a few converts for
was doing, so for him this was eventually 4x6 camera. photolondon.org the pro-Ballen camp.
1LNRQ
1LNRQ ' $)6 PP I( 95
1LNRQ ' $)6 PP PP I( 95 .LW PP I' $)
PP I' $)'&
1LNRQ 0%' *ULS IRU ' PP I' $)'&
1LNRQ ' '6/5 ERG\ PP I' $) ,)('
1LNRQ ' 0%' JULS .LW
1LNRQ ' $)6 PP I* (' 95 .LW
( + " ##
1LNRQ ' $)6 PP I* (' 95 .LW $)6 PP I* ('
1LNRQ ' '6/5 ERG\ $)6 PP I*
$)6 PP I* ('
1LNRQ ' 0%' *ULS .LW $)6 PP I*
1LNRQ ' $)6 PP I* (' 95 1LNNRU $)6 PP I*
0%' *ULS IRU ' $)6 PP I* ('
1LNRQ ' '6/5 ERG\ $)6 PP I* ,)
$)6 PP I*
1LNRQ ' PP I( (' $)6 PP I*
1LNRQ 0%' JULS IRU ' $)6 PP I*
1LNRQ ' '6/5 ERG\ VDOHV VWDUW -XQH $)6 PP I*
1LNRQ ' '6/5 ERG\ $)6 PP I( ('
1LNRQ ' PP I* 95 '; ,)(' .LW $)6 PP I* ,)('
$)6 PP I* (' 95
1LNRQ ' 0%' *ULS .LW $)6 PP I' ,)('
,QOQ\IT IVL ÅTU JWLQM[ UIV]IT 1LNRQ ' '6/5 ERG\
1LNRQ ' 0%' *ULS .LW
$)6 PP I*
$)6 PP I* ,)('
IVL I]\WNWK][ TMV[M[ [XMMLTQOP\[ 1LNRQ ' PP I* 95 '; ,)(' .LW $)6 PP I( (' 95
1LNRQ ' PP I* 95 '; (' .LW $)6 PP I* (' 95
KTW[M]X MY]QXUMV\ IVL 1LNRQ ' 6/5 ERG\
$)6 PP I* (' 95,,
$)6 PP I* (' 95
\PW][IVL[ WN 6QSWV IKKM[[WZQM[ 1LNRQ ' $)3 PP I* 95 '; .LW $)6 ±PP I( )/ (' 95
1LNRQ ' $)6 PP I* 95 '; (' .LW $)6 PP I* 95 ,, ,)('
ITT ]VLMZ WVM ZWWN 1LNRQ ' '6/5 ERG\ $)6 PP I* 95 ,)('
$)6 PP I* 95 ,)('
1LNRQ ' $)3 PP I* 95 '; .LW $)6 PP I* 95,, ('
1LNRQ ' $)6 PP I* 95 '; .LW $)6 PP I* 95,, ,)('
1LNRQ ' '6/5 ERG\ $)6 PP I( 95 ('
.WZ UWZM QVNWZUI\QWV KWV\IK\ 1LNRQ ' $)3 PP I* 95 '; .LW $)6 PP I* 95 ,, ,)('
1LNRQ 'I $)6 PP I* 6SHFLDO (GLWLRQ $)6 PP I( 3) (' 95
! 1LNRQ 'I '6/5 ERG\ FKURPH RU EODFN ¿QLVK
$)6 PP I* 95 ,, ,)('
$)6 PP I( 95 )/ ('
1LNRQ 'I $)6 PP I* 63(&,$/ *2/' (GLWLRQ $)6 PP I( )/ (' 95
$)6 PP I( )/ (' 95
-#( $)6 PP I( 95 )/ (' LQF 7&( (' WHOHFRQYHUWHU
1LNRQ 9 PP *ULS .LW
7&( ,,, [ WHOHFRQYHUWHU
1LNRQ $: PP I
(
7&( ,, [ WHOHFRQYHUWHU
1LNRQ $: PP I PP I 7&( ,,, [ WHOHFRQYHUWHU
1LNRQ - PP 3' =RRP OHQV EODFN
1LNNRU 95 PP I
"" ##
" # 1LNNRU 95 PP I
1LNNRU 95 PP I
1LNNRU 95 PP I
$)6 PP I* '; 0LFUR
PP I' 0LFUR
$)6 PP I* (' 0LFUR
$)6 PP I* 95 '; ,)(' 0LFUR
1LNNRU $: PP I $)6 PP I* $)6 95 0LFUR ,)('
1LNNRU PP I PP I' $) 0LFUR ,)('
1LNNRU PP I
1LNNRU 95 PP I 3'=RRP
!(#
1LNRQ 6%1 6SHHGOLJKW 6% 6SHHGOLJKW
1LNRQ *31 *36 8QLW 6% 6SHHGOLJKW
6% 6SHHGOLJKW
0RXQW DGDSWHU )7 6% 6SHHGOLJKW
6%5& &ORVH8S &RPPDQGHU .LW
" ## 6%5 &ORVH8S 5HPRWH .LW
PP I* $) '; (' )LVKH\H 68 :LUHOHVV 6SHHGOLJKW &RPPDQGHU
$)6 PP I* '; 6%5 :LUHOHVV 5HPRWH 6SHHGOLJKW
$)6 PP I* ,)(' ';
$)6 PP I* ,)(' ';
* *# "
##
PP I 1LNNRU
$)6 PP I( (' 95 '; PP I 1LNNRU
?M IZM IT_Ia[ [MMSQVO UQV\ $)6 PP I* (' 95 ';
$)6 PP I* '; ,)('
PP I 1LNNRU
PP I 1LNNRU
WZ VMIZUQV\ M`IUXTM[ WN $)3 PP I* 95 '; PP I3 1LNNRU FKURPH
PP I 1LNNRU
$)3 PP I* ';
6QSWV .5) .5 .08 $)6 PP I* 95,, (' ';
PP I 1LNNRU
KIUMZI[ IVL UIV]IT NWK][ $)6 PP I* 95 '; ,)('
! *"!# "#!(+
$)6 PP I* 95 '; (' (" "" ##
6QSSWZ TMV[M[ $)6 PP I* 95 ,, '; ,)('
$)6 PP I* (' 95 ';
PP I( 7LOW6KLIW3HUVSHFWLYH &RQWURO (' 1LNNRU
PP I' 3&( (' 1LNNRU
$)6 PP I* (' 95 '; PP I 3& 1LNNRU
$)6 PP I* '; (' 95 ,, PP I' (' 3&( 1LNNRU
8TMI[M \MTMXPWVM $)6 PP I* '; 95
$)3 PP I* (' 95 ';
PP I' (' 3&( 1LNNRU
PP I 0LFUR1LNNRU
PP I 0LFUR1LNNRU
! $)3 PP I* (' '; 3& 3HUVSHFWLYH &RQWURO 3&(7LOW6KLIW3HUVSHFWLYH &RQWURO
NWZ W]Z WMZ \WLIa 8ZQKM[ QVKT]LM >)< 8ZQKM[ ;]JRMK\ \W +PIVOM -7- 72 25'(5 7(/(3+21(
+P]Z\WV ;\ZMM\ 4WVLWV ;?> 48 -VOTIVL <MT" ! .I`" ! 5WV.ZQ IU "XU ;I\ IU XU
QVNW(OZIa[WN_M[\UQV[\MZKW]S >Q[Q\ W]Z _MJ[Q\M" ___OZIa[WN_M[\UQV[\MZKW]S
(" *#
WV \PM NWTTW_QVO KIUMZI[ _PMV aW] ]XOZILM
aW]Z 6QSWV JMNWZM [\ 5Ia
1LNRQ
$)..
*76=; '%
<:),-16
1LNRQ
..
' . *76=;
<:),-16
1LNRQ
$.
*76=; ' .
<:),-16
.IKMJWWS" /ZIa[ WN ?M[\UQV[\MZ AW]<]JM" /ZIa[ WN ?M[\UQV[\MZ <_Q\\MZ" (VQSWVI\OZIa[ 1V[\IOZIU" (VQSWVI\OZIa[
.TQKSZ" /ZIa[ WN ?M[\UQV[\MZ 4QVSML1V" /ZIa[ WN ?M[\UQV[\MZ /WWOTM" /ZIa[ WN ?M[\UQV[\MZ 8QV\MZM[\" VQSWVI\OZIa[
Technique
Classics Revisited
Judy Dent
By Brian Duffy
We recreate Brian Duffy’s
portrait of Judy Dent taken on
Westminster Bridge in 1961
for a Vogue fashion shoot
B
rian Duffy is best assistant to learn the trade. In
known for his 1957 he landed a job at Vogue.
portrait and fashion It was a turning point in his
photography of the career. Duffy shot many
sixties and seventies. He was popular models during his
one of three photographers, time at Vogue, including
alongside David Bailey and Jean Shrimpton, Joy Weston
Terence Donovan, who broke and Judy Dent. In 1963 he left
the mould of traditional the magazine to set up his
fashion photography. Society own studio.
photographer Norman Duffy was a regular
Parkinson called them the contributor to The Sunday
Black Trinity, and The Sunday Times magazine, The Telegraph
Times dubbed them the magazine, The Observer and
Terrible Trio as they broke Harpers & Queen. He also
all the rules and became worked for French Elle and big
celebrities, often better known advertising clients such as
than many of their sitters. Pirelli and Benson & Hedges,
Brian Duffy was born in to name but a few.
London, in 1933 to Irish However, he is perhaps best
© ANDREW SYDENHAM
breakdown, which led him to attempt one of a group of prominent photographers who transformed
the pages of Vogue and Elle as fashion became more
burning his archive in his garden’ widespread.
FURTHER READING
Duffy Duffy Bowie: Five Sessions Duffy: The Man Who
ACC Editions, 2011 ACC, 2014 Shot The Sixties
Published a This book by Linda Brusasco, 2010
year after his showcases
death, and Duffy’s photo
with the full shoots with
cooperation David Bowie,
of the Duffy including previously
archive, this book takes a unpublished images. It An hour-long special
look at Brian Duffy’s career as documents Bowie’s career documentary with Brian Duffy,
one of the best known British and reinvention, as well filmed on the eve of his first
fashion photographers of the as revealing Duffy’s ever exhibition. He speaks
1960s and ’70s. Throughout relationship with the artist about his work, life and career
his career he revolutionised over almost a decade as they as a fashion photographer and
fashion photography and collaborated on a number of his controversial decision to
the fashion industry. various projects. burn his negatives in 1979.
67$57
Ζ1
$7 -8 *
67
e
)5((
8. 6+
Ζ33Ζ1*
29(5
e
)($785(6
(OLWH )LOWHU +ROGHU RQ
1LNRQ ' FDPHUD
$)6 1LNNRU PP 1(: 6FUHZLQ (OLWH
I* OHQV OWHUV WR HOLPLQDWH
OLJKW VHHSDJH
t
5RWDWLQJ PHFKDQLVP
Ő
t %ō|Ő
Gŏ
ō
ŐŐŐ ō|ō|
t
8VH XS WR WZR 3 6L]H PP
3URIHVVLRQDO ΖPDJH 0DNHU PDJD]LQH 0DU VTXDUH OWHUV DW RQHWLPH ZLWK
WKH VFUHZLQ (OLWH )LOWHUV
(OLWH %XQGOH .LW e
&HOHEUDWLQJ \HDUV RI 65%
[ (OLWH +ROGHU
[ (OLWH 3RODULVHU
[ (OLWH 1'
* (7 7+ ( .Ζ
6$9( e7
1 Sildpollnes 4
Church
1 Here Steve wanted
to capture the fishing
boat and its wake
passing the church
to add something a
little different to a
location that has
been photographed
many times before
Nikon D810,
28-300mm,
1/640sec at f/11,
ISO 200, Lee 105mm
polarising filter
3
YOUR PICTURES IN PRINT
NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY
Hamnøy Å (ore)
4 Steve’s main aim 5 In this beautifully
here was to balance simple shot, Steve
the busy right side of has isolated the
the landscape with building and used a
the expanse of water long exposure in
on the left-hand side order to smooth
of the image out the sky
Nikon D810, Nikon D810,
28-300mm, 155secs 28-300mm, 15secs
at f/11, ISO 100, Lee at f/11, ISO 64, Lee
big stopper, 105mm 105mm polarising
circular polariser filter, 06 medium
and 0.6 medium grad filter and a
grad filter Little Stopper
Reine
6 Steve has gone for
grandeur here and
succeeded. This
impressive panoramic
image was created
from eight images
stitched together
Nikon D810,
28-300mm, 1/50sec
at f/11, ISO 100, Lee
0.6 soft graduated
filter
Customisation secrets
Pentax
What if you could get
even more out of your
Pentax camera?
Matt Golowczynski is
your expert guide to
realising its potential
Pentax cameras are often praised for offering
great value for money but something far less
appreciated is just how much control over
customisation is offered, even on the lower-end
models. On the following pages, we examine
some of the ways you can adjust current
Pentax models to suit your liking; looking at
everything from longstanding but underused
settings to newer adjustments that you might find
extremely useful when shooting.
What follows is based on the functionality inside Matt Golowczynski
the latest Pentax KP DSLR, but much of it also Matt Golowczynski is a London-based journalist and photographer. He has
applies to older models and other cameras within contributed to a range of magazines over the past 10 years and graduated
the current line-up. Read on and you might be from the University of Westminster with a BSc in photography and digital
surprised by what’s on offer. imaging. You can see more of his work at www.mattgolowczynski.com.
One Push Bracketing is ideal for shooting moving subjects, and will increase your hit rate
THERE are often times when you need Fortunately, a quick fix is available.
to activate a feature for one or two Simply find the Save Menu Location
images before deactivating it once option from the Custom Menu, which
again. Frequently this requires you to tends to be somewhere towards the end You can dictate the strength of the anti-aliasing filter simulator
re-enter the menu to find this feature of this section. The default option
but it can be frustrating if your camera should be to reset the menu back to BRACKETING, where three or more middle image from that sequence
has already gone back to the start of the start but the other option is to images are taken with just a single is also available.
the menu, rather than staying where have this remain at the last place you variable changed between each frame, Given that moiré, and other aliasing
you left off. left the menu. used to be a feature that simply artefacts, can be very problematic to
changed an exposure-oriented deal with in post-production, this is a
parameter, such as shutter speed. useful option to have activated if you
This principle was subsequently tend to shoot subjects that easily give
MEMORY applied to flash exposure, white rise to these effects, such as
balance and colour and filter options, architecture, textiles or anything else
and with its most recent models Pentax that may involve fine repeating
has provided the same control over its patterns, such as strands of hair.
Anti-aliasing filter simulator. These effects cannot always be
Here, one image is captured with the anticipated as they are partly down to
simulator activated, before another is the very specific positioning of the
captured on its standard setting, and camera to the subject. In other words,
then one final image with a stronger they can appear or disappear with just
corrective effect over moiré (at the a slight shift or change in focus.
expense of resolution). On the KP, This option is found within the
a further option that removes the first set of menu tabs.
You can select which features remain active when the camera is switched off
THIS is hardly a secret option, having – for example, Skin Tone and HDR
long featured on even some of Pentax’s Capture. Some of the functions
cheaper compact cameras, but it’s introduced in newer models, however,
useful to acquaint yourself with what it are filtered into the latter camp,
allows as you may want to adjust it in although it’s likely you’ll want to keep
different shooting situations. some of these on depending on what
It gives you the option to select those you’re photographing.
features that are to remain at their The Pixel Shift Resolution option, for
current settings after the camera is example, might be worth keeping on if
turned off. The default set-up has you’re shooting outdoors for an
roughly half the options within this extended period of time and turn the
feature kept on and the remainder camera off to conserve battery. The The anti-aliasing filter simulator can be adjusted via the Shooting Menu
readjusted to their default settings. Outdoor View Setting is also probably
There is logic in this since the something else to keep on if you’re
features that are kept on are core taking pictures over the course of a ‘There are often times when you need to
options incuding sensitivity, white sunny day when you’re likely to be activate a feature for one or two images
balance and Custom Image, while the turning your camera on and off with
others are very much secondary ones some frequency. before deactivating it again’
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 20 May 2017 31
Technique
Quick Zoom allows
you to jump deep
into the centre of
the frame
Most models offer 2x, 4x, 8x and 16x magnification options Using the electronic shutter is ideal when you need to be discreet
USUALLY, when you zoom into a and this is the first point the camera THIS is a relatively new option that’s still have the issue of the mirror
captured image, the camera will zoom will reach when you start zooming. The included on the KP as standard but swinging up and down, which means
further into the image with each click of middlemost 8x setting provides the which was also made available to K-1 there is less of an advantage.
the control dial. This is also the case on best approximation as to what you see users via a firmware update. It lets you For this reason, this feature is only
many other cameras, and it allows you when viewing an image at 100% in an decide whether to use the camera’s really intended for live view shooting.
to zoom into a certain part of the image image-editing program, so this is manual or electronic shutter, an option However, another key advantage of
when used in conjunction with the perhaps the best option if you want to that’s fast becoming standard on using this, namely much faster shutter
directional controls. check focus and sharpness, and compact system cameras. speeds, does seem to be available when
Most of the time, however, it’s more whether depth of field extends as far Normally, the camera will use a using the viewfinder.
helpful to have the camera jump deep into the frame as you want. mechanical shutter to take the image, Whereas the KP can only fire at up to
into the centre of the frame, and then It is most useful for those who need but there are downsides to this. The 1/6,000sec with its mechanical shutter,
give you the option to adjust this if you to do this with any frequency, such as main one is that it’s noisier than using this increases to 1/24,000sec when
need to. This is what the Quick Zoom portrait photographers looking to see an electronic shutter, which can be an using its electronic one. This is likely to
function allows. Most models offer 2x, whether eyes are in focus, or those issue when you need to be discreet. It be useful for those wanting to use the
4x, 8x and 16x magnification options, shooting macro and close-up images. can also cause vibrations that camera for very fast-moving subjects or
compromise image sharpness. when using wide-aperture lenses in
‘Quick Zoom is particularly useful for Using an electronic shutter on a bright sunlight, where the camera’s
compact system camera gets around mechanical shutter may not allow for
macro and portrait photographers’ both of these issues but on a DSLR you sufficient fast shutter speeds.
PLUS
ENJOY THESE FANTASTIC
SUBSCRIPTION BENEFITS
Q Save up to 36% on the normal
subscription rate
Q Enjoy the luxury of home delivery
Q Get exclusive rewards for subscribers
every month. Join Rewards at
amateurphotographer.co.uk/rewards
From just
£1.94
an issue
Complete this coupon and send to: FREEPOST Time Inc (No further address needed. No stamp required – for UK only)
YES! I would like to subscribe to Amateur I would like to send a gift to: 3. Pay only £24.74 every 3 months by Direct Debit (UK only)
Please also fill out ‘Your Details’ on the left. To give more than one subscription, please
Photographer saving up to 35% supply address details on a separate sheet.
Instruction to your Bank or Building Society to pay by Direct Debit
Please tick your preferred payment method For office use only. Originator’s reference - 764 221
Mr/Mrs/Ms/Miss: Forename:
Q UK 3 monthly Direct Debit- pay only £24.74 per TOP Surname:
Name of Bank:
quarter, SAVING YOU 36% of the full price of £38.88 OFFER Address:
Address:
Q 2 years (102 issues) Credit Card - Pay only £200.99 Postcode:
Postcode:
(full price £311.00) saving 35% across the two years Account Name:
Q 1 year (51 issues) Credit Card - Pay only £107.49 Choose from 3 easy ways to pay: Sort Code:
(full price £155.50) saving 30% across the year
Your details
QQQQQQ
1. I enclose a cheque/postal order made payable to Time Inc. (UK) Ltd., for £ ________
2. Please debit £ ________________ from my:
Account No:
Q Visa Q Visa Debit Q MasterCard Q Amex
Please pay Time Inc. (UK) Ltd. Direct Debits from the account detailed on this instruction subject
Surname: to the safeguards assured by the Direct Debit Guarantee. I understand that this instruction may
Expiry Date:
remain with Time Inc. (UK) Ltd. and if so, details will be passed electronically to my Bank or
Email:
QQQQ
M M Y Y Building Society.
Address:
Signature: Date: Signature: Date:
(I am over 18) (I am over 18)
Postcode:
*Pay just £24.74 every 3 months by Direct Debit, with the price guaranteed for the first 12 months and we will notify you in advance of any price changes. Offer open to new subscribers only. Direct Debit
Home Tel No: (inc.area code) offer is available to UK subscribers only. Please allow up to six weeks for delivery of your first subscription issue (up to eight weeks overseas). The full subscription rate is for 1 year (51 issues) and includes
postage and packaging. If the magazine ordered changes frequency per annum, we will honour the number of issues paid for, not the term of the subscription. Offer closes 31st May 2017. For full terms
and conditions, visit www.magazinesdirect.com/terms. For enquiries from the UK please call: 0330 333 4333, for overseas please call: +44 330 333 4333 (lines are open Monday-Saturday, 8:00am- 6:00pm
Mobile No.
UK time ex. Bank Holidays) or e-mail: [email protected]. Calls to 0330 numbers will be charged at no more than a national landline call, and may be included in your phone providers call bundle. The
Rewards scheme is available for all active print subscribers of magazines published by Time Inc. (UK) Ltd, free of charge. Digital subscribers also get access as long as the subscription has been purchased
QQQQQQQQ
directly through the publishers at magazinesdirect.com. For full terms and conditions visit mymagazinerewards.co.uk. We will process your data in accordance with our Privacy Policy (www.timeincuk.com/
Date of Birth: D D MM Y Y Y Y privacy). By providing your information, you agree to be contacted by Time Inc. (UK) Ltd, publisher of Amateur Photographer and other iconic media brands, with
information about our goods and services and those of our carefully selected third parties. Please tick here if you do not wish to receive these messages: by QAP code 12LK
email and/or SMS by post and/or telephone about carefully selected third party goods and services.
LOCATION GUIDE
Sherborne,
Dorset
You’ll feel inspired by this
traditional English market
town nestled in a bucolic
landscape. Jeremy Walker
passes on his best tips
© CROWN COPYRIGHT 2015 ORDNANCE SURVEY. MEDIA 009/15
KIT LIST
▲
Wideangle lens
A wideangle is essential and
if you have one, a wide tilt
shift lens for shots of the
Abbey. A 70-200mm zoom
will also be useful for the
more distant shots.
A distant view
Look to the footpaths
around Sherborne for a
slightly more distant view,
perhaps try the small hill to
the south, which gives an
elevated view of the town.
The small meadow in front
of this hill tends to trap the
mist in the early morning
and there is a view through
the trees toward the ruins
of the old castle.
Sherborne can be shot
at any time of day but my
preference would be early
morning for the old castle
and late afternoon or
evening for the Abbey.
Billingham
Hadley One
● £265 ● www.billingham.co.uk
GOLD
make it equally useful as a work or overnight FREE DELIVERY ON ALL ORDERS *
bag. So yes, it’s expensive, but in the long term
it should end up being money well spent. To order call 01252 555213 or email
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 20 May 2017
[email protected]
* UK ADDRESSES ONLY
Testbench CAMERA TEST
Towards the end of our time
with the 800D, we were
lucky to witness a beautiful
sunset over Trebarwith Strand
in north Cornwall. We used a
tripod and a Lee Filters Big
Stopper to take a series of
long exposures
Canon EF-S 18-55mm f/3.5-5.6 IS II,
13secs at f/5.6, ISO 100
At a glance
Canon
● 3in/1.04m-dot vari-angle touchscreen
● Pentamirror viewfinder,
95% coverage at 0.82x
● Full HD video recording at 60p
● Guided User Interface (optional)
EOS 800D
Newcomers to DSLR photography are well served by
Canon’s entry-level models. Does the latest addition to
the range continue the trend? Audley Jarvis finds out
C
For and against Data file anon’s triple-digit EOS 750D, while the 77D is intended
range has long been a as more of a 760D replacement
Sensor 24.2MP APS-C CMOS popular option for those that is positioned just below the
Excellent image quality Output size seeking either an upper enthusiast-grade 80D.
6000x4000 pixels
Lens mount Canon EF/EF-S entry-level or step-up DSLR. In Also referred to as the Rebel
Speedy live view AF Shutter speeds 30sec to 1/4000sec recent years, Canon has muddied T7i for the US market, the 800D
performance ISO 100-25,600 (extendable to ISO the waters somewhat by offering shares the same key specs of the
51,200) not one triple-digit EOS model 77D, although in keeping with the
Exposure modes PASM, Scene Intelligent Auto, at a time, but two. This has come 750D/760D differences outlined
Intuitive and easy to use Creative Auto, Creative Filters to consist of a standard model above, gets a simplified controls in
Metering system 7560-pixel RGB+IR sensor alongside a slightly more advanced order to enhance its appeal with
Lightweight and compact by Exposure comp ±5EV in 1/3EV or 1/2EV steps one. In 2015, this approach first-time and novice DSLR users.
DSLR standards Drive mode 6fps resulted in the launch of both the This deliberate simplification
Screen 1.04m-dot, 3in vari-angle 750D and the 760D. The main extends to button configuration,
More expensive than its touchscreen difference between the two was with the 800D getting a four-way
main rivals Video Full HD (1920x1080) up to 60fps that the 760D featured a top-plate directional pad on the back that, in
Viewfinder Pentamirror, 0.82x magnification, LED display and dual control addition to acting as a controller
95% coverage wheels, whereas the 750D lacked for AF point selection and
ALL PRICES ARE APPROXIMATE STREET PRICES
Lacks 4K video AF points 45 cross-type AF system both and was purposely designed in-camera Menu scrolling duties,
Memory card SD, SDHC, SDXC to be more beginner friendly. Fast also provides access to Drive
Power Canon LP-E17 li-ion, 1040mAh forward to 2017, and Canon has Mode, White Balance, AF mode
Plasticky finish Battery life introduced two new models to and Picture Style settings. The
600 shots
Dimensions 131x99.9x76.2mm succeed the 750D and 760D: the 77D, on the other hand, gets a
Weight 532g (with battery and card) 800D and the 77D. The 800D rotating thumbwheel in its place
serves as the successor to the that can be used as a secondary
ONE new feature for the 800D is the addition of a using the Guided interface for shooting duties, it can
Guided User Interface. This is an optional feature that also be applied to the in-camera menu, where
can be accessed and switched on/off via the Display it essentially just simplifies the standard in-camera
Level tab in the main in-camera menu. Once the menu by grouping all four sub-menu tabs (Shooting,
Guided interface is activated, the rear LCD display will Playback, Function and Display Level) together on a
change from a standard display of key camera single introductory screen with a brief description of
settings to a more animated one that also provides what you can expect to find within each.
some basic information and practical advice specific
to the exposure mode selected. For example, with Av
(aperture-priority) mode selected, the rear LCD
displays an intuitive slider graphic that shows
whereabouts in the aperture range the aperture is
currently set to, along with a brief description of what
kind of photo the chosen aperture value would best
suit along with how much it will blur or bring into
focus the background behind the main subject. The
An example of how
information and advice supplied by the Graphical well the exposure
interface doesn’t go into any great detail, but should system works when
nonetheless prove useful to those users just starting it’s presented with
out with a DSLR who may be unsure of how changing a tricky scene
key camera settings will affect their images, and on Canon EF-S 18-55mm
that level it’s certainly a welcome addition. As well as The Guided User Interface will be welcomed by novices f/3.5-5.6 IS II, 1/100sec
at f/5.6, ISO 200
40
Focal points
The EOS 800D features advanced functionality
in a small form factor. Here we take a closer look
Built-in Wi-Fi Creative Filters
The 800D has a dedicated button that The 800D has 11 built-in Creative Filters
can be used to connect the camera to for those that want to get creative.
a smartphone or tablet. To do so, you These include Grainy B/W, Soft focus,
first need to download and install the Fish-eye, Art bold, Water painting, Toy
Canon Camera Connect app, which is camera, Miniature, HDR standard, HDR
free to both Android and iOS users. vivid, HDR bold and HDR embossed.
131mm
Lab results
Andrew Sydenham’s lab tests reveal just how the camera performs
Overall, the 800D produced a solid set of lab test results. Resolution
was the clear standout, with the sensor returning an excellent set of
images despite Canon’s decision to retain an optical low-pass filter.
While JPEGs returned decent enough results, we found that using
Adobe Camera Raw to sharpen raw images ourselves yielded better
results. Dynamic range has been improved from the two-year-old
750D/760D models, too, with the 800D returning slightly higher
figures than its predecessors across the camera’s sensitivity range.
Taken in dappled sunshine, nothing quite says spring like a bunch of wild
bluebells among green foliage Canon EF-S 18-55mm f/3.5-5.6 IS II, 1/500sec at f/5.6, ISO 200 Dynamic range
also rotate the screen for captures an image once the
overhead and hip-level camera has attained focus on the
shooting. One small improvement chosen subject. Servo AF is also
the 800D does enjoy over the available in live view mode for
750D/760D is the addition of an shooting moving subjects
electronic level that can be used alongside One Shot AF for
to get perfectly straight horizons. stationary subjects.
This is activated via the Info button
just to the left of the viewfinder. Performance
The addition of the newer DIGIC 7
Autofocus image processor certainly makes a
While the introduction of Canon’s difference as far as burst-shooting
Dual Pixel AF technology performance goes. With a 16GB
represents a significant step SanDisk Extreme Pro Class 10/U3
forward for those who like to work SDHC card inserted, we were able At ISO 100, the 800D returned a dynamic range of 12.5EV, which is nearly a
in live view mode, the 800D’s to record 25 consecutive raw full stop higher than the 750D’s figure of 11.6EV and almost identical to the
phase-detection AF system also images at the maximum 6fps 80D’s 12.6EV. It performs well against the Pentax K-70 (12.3EV) and Sony A68
sees notable improvement from with AF-S employed. By way of (11.9EV), although the Nikon D5500 produces the best results of all with a
previous triple-digit EOS models. comparison, the 750D could only maximum dynamic range (at ISO 100) of 13.3EV. Moving up through its ISO
More specifically, whereas the manage eight frames at 5fps range the 800D remains a strong performer, with figures of 11.7EV at ISO 200,
750D/760D both used 19 before slowing down. Switching to 11.3EV at ISO 400 and 10.4EV at ISO 800. Beyond this figures start to drop off,
cross-type AF points, the 800D Raw+JPEG capture, the number with 8.5EV available at ISO 3200 and 7.4EV at ISO 6400.
inherits the same AF system used drops to around 22 images. In
inside the 80D, which benefits JPEG capture, there appears to
from 45 cross-type AF points be no upper limit, aside from the
across the central portion of the size of your memory card and Resolution
viewfinder. While there is still a the amount of battery charge
sizeable gap around the edges remaining, of course. Below we show details from our resolution
that isn’t covered, focusing JPEG image quality is, as we’ve chart test pattern (right). Multiply the
remains speedy and precise with come to expect from Canon number beneath the lines by 200 to give
a working range of -3 to 18EV DSLRs, very good indeed. Even the resolution in lines per picture height.
at ISO 100. But moving between with the camera set to its
RAW RAW RAW RAW
all these focus points can be a ‘Standard’ Picture Style setting, ISO 100 ISO 3,200 ISO 12,800 ISO 51,200
slow affair, first requiring a push of colours are deep and vivid with
the AF area selection button on good levels of contrast. Of course,
the camera’s shoulder, then lots of if you want to boost saturation
presses of the d-pad buttons. then there’s a ‘Vivid’ Picture Style
Switching to the 49-point Dual to choose from, whereas if you’re
Pixel AF live view system, the looking for something flatter, the
working range drops slightly to ‘Neutral’ option will give you
-2EV to 18EV at ISO 100. Either precisely this. Matrix metering
way, that’s still pretty good and from the 7,560-pixel RGB+IR
enables the camera to attain focus metering sensor proves We found that using Adobe Camera Raw to sharpen raw images ourselves
even in dim conditions. When used consistently accurate in all but produced much better results than leaving the 800D to sharpen JPEGs
in live view mode, you can set the the most extreme high-contrast in-camera. For example, at ISO 100 JPEGs processed in-camera returned a
active AF point via the rear situations, resulting in evenly lit figure of 3,400l/ph, whereas with some careful sharpening of raw images, we
touchscreen, simply by tapping on images that are neither too dark were able to stretch resolution to 3,600l/ph. This trend continues as you move
the subject you want to focus on. nor too bright. Likewise, Automatic up through the sensitivity range, and while JPEGs dip just below 3,000l/ph at
Canon also provides a Touch White Balance also serves up ISO 1600, raw resolution figures remain above 3,000l/ph up until ISO 6400.
Shutter function that automatically consistently accurate colour.
Verdict
CANON has a long history
of producing excellent upper
entry-level DSLRs through its
triple-digit EOS range and the
800D is no exception. While
the differences between the
800D and 77D are primarily
limited to how advanced the
two camera’s control schemes fall very much into line with what
RAW ISO 6,400 RAW ISO 12,800 are, the differences between we’d expect from a DSLR of this
the 800D and its two-year-old type and price.
predecessors – the EOS 750D The 800D stands up well
and 760D – are more against its main rivals, and even
pronounced. Far from being surpasses them in certain areas
limited to a new sensor and image such as video capture and live
processor, the 800D also sees view AF performance. Our only
notable improvements in several minor gripe is that build quality
other key areas. This is especially can feel a little plastic next to
true of its focusing systems, both more expensive DSLRs, which
through the viewfinder and poses some question marks over
especially when using live view. its longevity. Unlike the Pentax
RAW ISO 25,600 RAW ISO 51,200 Through the viewfinder, there are K-70, the 800D also lacks
many more cross-type AF points weather sealing. Overall, though,
that you can call upon, while the the 800D provides an excellent
addition of Canon’s Dual Pixel AF gateway to Canon’s extensive
on-sensor phase-detection range of DSLR lenses, and could
technology eliminates the sluggish be used as the starting point to
focusing speeds that used to be build up a collection of specialist
a feature of previous triple-digit optics. For
Canon DSLRs that relied on newcomers
contrast-detect technology to DSLR
when operated in live view. photography,
As an upper entry-level or even this is likely to
Recommended
step-up model, Canon’s optional be a major
As with resolution, our testing revealed quite a bit of difference between Guided User Interface is another selling point.
in-camera JPEGs and manually processed raw images. Raw was again the clear welcome addition to the 800D.
winner, with manually processed images showing noticeable gains in image The on-screen information and FEATURES 8/10
quality over in-camera JPEG processing. While JPEGs do display very low levels advice it provides is pretty basic, BUILD & HANDLING 8/10
of noise all the way up to ISO 3200, the effects of in-camera noise reduction led but should help DSLR newcomers METERING 9/10
to a noticeable loss of fine detail. While this is not quite so apparent at ISO 100 get to grips with their camera, AUTOFOCUS 9/10
and ISO 200, by ISO 400 the effects of in-camera noise control begin to produce while more advanced users can AWB & COLOUR 9/10
a smearing of fine detail. With careful raw processing, however, it is possible to simply turn it off and revert to the DYNAMIC RANGE 8/10
retain this fine detail. That said, for most users the overall image quality of standard interface. Elsewhere, IMAGE QUALITY 9/10
JPEGs remains pretty good and is eminently usable until about ISO 6400. handling and performance all VIEWFINDER/LCD 8/10
Google Pixel
The new Google Pixel smartphone
camera works overtime to woo iPhone The Google Pixel has
a 12.3MP camera
users. Geoff Harris falls for its charms with an f/2 lens
H
aving been a denizen of the recommendation came from Lars Rehm, headline specs include a 12.3MP main
Apple ‘ecosystem’ since the AP’s resident phone-camera guru, so the camera, paired with a fast f/2 lens. Autofocus is
early 1990s, both personally deal was sealed. taken care of by laser-detection (LDAF) and
and professionally, the decision I’ve now had the phone a month, and while phase-detection (PDAF) systems, and the
to dump my iPhone for a younger Android the honeymoon period is over, I am still Pixel can also record 4K video at 30fps, and
model did feel rather caddish. But this callous besotted with the quality of its images. There 1080p video at up to 120fps.
decision wasn’t taken lightly, and the Google are a few quirks, but hey, when is a new There are four main areas where the Pixel
Pixel isn’t just any old Android phone. Camera partner ever 100% perfect? Let’s look at scores highly – detail, noise, exposure/
performance has always been a major criterion some of the key photographic features of the autofocus and storage options. For a 12.3MP,
for me when choosing a new phone, so when Google Pixel before considering how it small-sensor device, the level of detail
the Google Pixel stormed to the top of DxO’s compares with its main rival, the iPhone 7. captured is very impressive, as is the dynamic
mobile rankings last year with an impressive Despite the natty blue casing, the Pixel and range. Shoot in decent light and the images
score of 89, my head was turned. ‘The latest iPhone look so similar that even deliver rewarding levels of detail, which then
Google smartphone is the highest-rated knowledgeable colleagues didn’t realise at first generate very pleasing prints at everyday sizes;
smartphone camera we have ever tested,’ I had changed phone. While the Pixel lacks the you can even get away with some quite
gushed DxO’s notoriously fastidious imaging fancy dual camera set-up of the iPhone 7 Plus, enthusiastic cropping if you are only publishing
pundits. Another wholehearted it certainly makes the most of what it’s got. The the images online. Noise levels are also
An impressive low-light
performance in a gloomy chapel.
Some highlights have blown
out on the woman’s jumper,
but it’s not a disaster
Our verdict
DOES the Pixel offer enough to lure other
photographers away from the iPhone? I’d
say it does. Apart from the less-effective
lens blur feature, the sheer effectiveness of
the Pixel’s HDR+ JPEG processing and fast
AF, combined with very attractive extras
such as unlimited Google Photos storage,
make it a formidable rival. It’s a closer run
thing with the iPhone 7 Plus, with its dual
camera feature, 2x optical zoom and
waterproofing, but this also comes at a
premium price (there is a larger version of
the Pixel, the Pixel XL, but the camera is
identical – I suspect the XL will be
differentiated more from the standard Pixel
when both are upgraded). Google has also
made it as easy as possible to transfer data
from an iPhone via a supplied cable. I’ve
never looked back since changing to the
Pixel, and the few interface niggles I’ve
mentioned diminish over time. I no longer
feel guilty about using a smartphone more
than my ‘main’ camera, and while the Pixel is
never going to replace a full-frame SLR for
my professional wedding
or portrait work, I’m very
happy to use it for
day-to-day photography.
Sorry Apple, it’s looking
like my new romance will
GOLD
stand the test of time…
0'9
ÃÃ
>ÀÞÌ> ÎÓä
#XCKNCDNG KP
Ƃ{ Ì ƂÓ ÃiiÌÃ
>` > À>}i v
£xÌÀ À ð
YYYRGTOCLGVEQO
Tech Talk
TechSupport
Email your questions to: [email protected], Twitter @AP_Magazine and #AskAP, or Facebook. Or write to Technical Support,
Amateur Photographer Magazine, Time Inc. (UK), Pinehurst 2, Pinehurst Road, Farnborough Business Park, Farnborough, Hants GU14 7BF
A
Sharpening is all about i2757Fm Full HD 27in a catalogue of about 5,000 images, stored on a
adjusting the contrast monitor for something network (NAS) drive.
between pixels along with a higher resolution. The I must admit, compared with using Adobe Photoshop and
boundaries or edges of lighter primary use is for photo editing. Bridge I initially found learning to use Lightroom a bit of a
and darker areas of detail in your My options would appear to be to headache, but now it’s clicked and I really wonder how I ever lived
images. The brightness of each stick to the 27in form factor and without it. So you can imagine my dismay when I attempted to
pixel can be adjusted accordingly. go for 2560x1440 QHD, or a import my latest batch of images, and I was greeted with an error
To do this effectively you can 28in Ultra HD or 4K resolution message informing me the import had failed because the folder
manage the application of the screen, or the same in a 32in was write protected. Please help!
pixel modifications using Amount, screen. I really need some help in Clare Denby
Radius, Detail and Masking working out what would be best.
A
parameters. Different Yannick Jones This has most likely been caused by an accidental
combinations of these values can change of the import destination drive in your import
A
result in similar effects, and Your focus is on settings. I’ve experienced this myself. For no apparent
resolution and screen size reason I could no longer import images. The problem was that
but that should not be at the destination drive had changed to a write-protected USB
the expense of the panel type, key that was plugged in to one of the USB ports. It’s easy to
display refresh rate and overlook the destination details in the import window. Check
connectivity options. The needs that and you will probably discover the problem.
of a photographer are different
from someone needing a monitor
for gaming or watching TV and can refresh at higher frequencies, card can support higher
video. Although there are avoiding issues with motion bandwidth DisplayPort
variations on each, there are flicker. TNs are not so good for connectivity. You will probably
three basic types of LCD panel. photographers. Vertical want to aim for the best
To get the best viewing angles Alignment (VA) and Multi- concentration of dots per inch on
the most dependable panel domain Vertical Alignment (MVA) the screen, so UHD (4K) on a
type for colour and viewing are better than TNs for colour 27in or 28in panel would be the
angles is in-plane switching (IPS), and have very good black levels most desirable. However, a 32in
also known as PLS. Twisted but IPS remains the 4K screen would still be very
Nematic (TN) panels have poorer photographer’s choice. good for editing your
viewing angles and less QHD and UHD (4K) screens photographs, as would a 27in
Set a small radius to enhance fine dependable colour accuracy can mean HDMI cables won’t QHD screen.
detail when sharpening images but are better for gaming as they work, so make sure your graphics Q&A compiled by Ian Burley
) ! )"*
)? >8 ,, . '? ';
/7 $,, />; />7 8)-0, #/7- ;
@@@4-7@/7,4/4>+9>8
&'
+ ?.;& /# /. /# />7 8>07
7(0 ##78 /7 *>8; ;+ ;' -/.B "
¬
"
!
"-- #4'##'#+
"
!"
@@@4-7@/7,4/4>+9;8;)-/.),8
&+"&$"$*
4/4 *+.+ 44
>*; ;/ ).80;)/.4 4 4 4 //8 . ,)?7B 87?)8 8>*; ;/ 8;/+ . ?),),);B4
7)8 8>*; ;/ '.&4
);>78 7 #/7 ),,>8;7;)/. 0>70/88 /.,B4 ,, 07)8 ).,> =C34 4 44
Contact
Amateur Photographer, Time Inc (UK) Ltd,
Pinehurst 2, Pinehurst Road, Farnborough,
Tech Talk Hampshire GU14 7BF
Telephone 01252 555 213
Email [email protected]
Picture returns: telephone 01252 555 378
Email [email protected]
Tony Kemplen on the … Subscriptions
Enquiries and orders email
[email protected]
The Diana
Alternatively, telephone 0330 333 1113
overseas +44 330 1113 (lines open Mon-Fri GMT
8.30am-5.30pm excluding bank holidays)
One year (51 issues) UK £155.50; Europe e259;
USA $338.99; Rest of World £221.99
Test Reports
This instantly recognisable simple Contact OTC for copies of AP test reports.
Tel: 01707 273 773
camera with its plastic lens and pale-blue Advertising
Email [email protected]
colour scheme is wearing well Inserts: Call Mona Amarasakera, Canopy
Media, on 0203 148 3710
Editorial team
Group Editor Nigel Atherton
© TONY KEMPLEN
Deputy Editor Geoff Harris
T
here is no single PA and Senior Brand Assistant Leeanne Wright
definition of what Technical Editor Andy Westlake
Deputy Technical Editor Michael Topham
constitutes a toy camera, Technique Editor Tracy Calder
but most would agree Senior Features Writer Oliver Atwell
News editor Hollie Latham Hucker
that the Diana falls into this category News assistant Liam Clifford
– it certainly wasn’t intended for Production Editor Jacqueline Porter
Chief Sub Editor Jolene Menezes
serious photography, yet is quite Senior Sub Editor Amanda Stroud
capable of taking pictures. Art Editor Sarah Foster
If you’re under the age of 40, Senior Designer Robert Farmer
Studio Manager Andrew Sydenham
the chances are that mention of Picture Researcher Rosie Barratt
the Diana camera will bring to Video Production Dan Laughton
Photo-Science Consultant Professor Robert Newman
mind the cute plastic camera Senior contributor Roger Hicks
marketed by the Lomography Special thanks to The moderators of the AP
people. Those of us old enough to website Andrew Robertson, lisadb, Nick Roberts,
The Fat Controller
remember the 1960s might recall
Advertising
the original Dianas. Lomography Head of Market Paul Ward 01252 555 342
makes no secret of the fact that its Head of Market Justeen Jones 01622 861 148
Account Manager Liz Reid 01252 555 354
offering is basically a clone of the Media Advisor Lucy Willans 01252 555 348
original with a few added features, Media Advisor Tommy Sullivan 01252 555 344
Production Coordinator James Wise 0203 148 2694
but the cheap feel and plastic lens,
together with the pale-blue colour Marketing
Head of Marketing Samantha Blakey
scheme make this an instantly Marketing Manager Amy Golby
recognisable camera. Publishing team
Chief Executive Officer Marcus Rich
My grandmother gave me one Group Managing Director Oswin Grady
as a birthday present when I was Publishing Director Simon Owen
around seven. Sadly it has long A light-leak free shot taken with the Diana at the Yorkshire Sculpture Park Group Magazines Editor Garry Coward-Williams
Printed in the UK by the Wyndeham Group
since disappeared, so when I Distributed by Marketforce, 5 Churchill Place,
spotted one in a local charity Three focus zones no f numbers are given, instead London E14. Telephone 0203 787 9001
shop a wave of nostalgia washed The camera takes square there are three weather symbols Editorial Complaints We work hard to achieve the highest standards of
editorial content, and we are committed to complying with the Editors’
over me, and even though I negatives on 120 film, so one – sunny, overcast and cloud. I Code of Practice (https://www.ipso.co.uk/IPSO/cop.html) as enforced
by IPSO. If you have a complaint about our editorial content, you can
already have the modern version, might expect to get 12 6x6cm guess they roughly equate to f/16, email us at [email protected] or write to Complaints Manager,
Time Inc. (UK) Ltd Legal Department, Blue Fin Building, 110 Southwark
I couldn’t resist paying the exposures per roll, but the Diana f/11 and f/8. Street, London, SE1 0SU. Please provide details of the material you are
complaining about and explain your complaint by reference to the Editors’
£3.50 asked, it even came in its manages to squeeze in 16 photos, Like other toy cameras of the Code. We will endeavour to acknowledge your complaint within 5 working
days, and we aim to correct substantial errors as soon as possible.
original box. As the camera is now by using a 4x4cm mask, which, of era, the Diana had a reputation for
All contributions to Amateur Photographer must be original, not copies
in its fifties, the plastic is becoming course, effectively wastes some of light leaks, which depending on or duplicated to other publications. The editor reserves the right to
shorten or modify any letter or material submitted. Time Inc. (UK) or its
rather brittle, and one of the the film. The box carries an your approach, could ruin or associated companies reserves the right to re-use any submission sent
to the letters column of Amateur Photographer magazine, in any format
strap lugs is missing, but other actual-size image of a 4x4cm enhance your photos. I’m always or medium, WHETHER PRINTED, ELECTRONIC OR OTHERWISE Amateur
than that it looks pretty good contact print, so there can be no up for a happy accident when using Photographer® is a registered trademark of Time Inc. (UK) © Time
Inc. (UK) 2017 Amateur Photographer (incorporating Photo Technique,
for its age. confusion as to what to expect. old cameras, and was mildly Camera Weekly & What Digital Camera) Email: amateurphotographer@
timeinc.com Website: www.amateurphotographer.co.uk Time Inc.
The Diana has three focus disappointed that mine proved light switchboard tel: 0203 148 5000 Amateur Photographer is published
weekly (51 issues per year) on the Tuesday preceding the cover date by
zones, and had a ‘B and I’ tight. I used it (above) on a family Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London SE1
0SU. Distributed by Marketforce (UK) Ltd, 5 Churchill Place, London
(bulb and instantaneous) so day out, and there was no evidence E14. ISSN 0002-6840. No part of this publication may be reproduced,
stored in a retrieval or transmitted in any format or medium, whether
you have the option to of light leaks. The contrasty image printed, electronic or otherwise, without the prior written permission
of the publisher or the editor. This is considered a breach of copyright
make long exposures if you is as much due to using cross- and action will be taken where this occurs. This magazine must not be
want. The single-element processed expired slide film as it is lent, sold, hired or otherwise disposed of in a mutilated condition or in
any authorised cover by way, or by trade, or annexed to any publication
plastic lens is fitted with to the low winter sun. or advertising matter without first obtaining written permission from
the publisher. Time Inc. (UK) Ltd does not accept responsibility for loss
Waterhouse stops, though The lens can hardly be or damage to unsolicited photographs and manuscripts, and product
samples. Time Inc. (UK) reserves the right to use any submissions sent
described as pin-sharp, but if, as to Amateur Photographer Magazine in any format or medium, including
electronic. One-year subscription (51 issues) £155.50 (UK), e259
Fifty years old and still the box suggests, you were only (Europe), $338.99 (USA), £221.99 (rest of world). The 2015 US annual DEU
subscription price is $338.99, airfreight and mailing in the USA by named
going strong – the Diana having contact prints made, this Air Business Ltd, c/o Worldnet Shipping Inc, 156-15, 146th Avenue, 2nd
floor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY
is instantly recognisable wouldn’t be much of an issue. 11431. US Postmaster: Send address changes to Amateur Photographer,
Air Business Ltd, c/o Worldnet Shipping Inc, 156-15, 146th Avenue, 2nd
floor, Jamaica, NY 11434, USA. Subscriptions records are maintained at
Tony Kemplen’s love of photography began as a teenager and ever since he has been collecting cameras with a view to testing as many as he Time Inc. (UK), Blue Fin Building, 110 Southwark Street, London, SE1 0SU.
Air Business Ltd is acting as our mailing agent.
can. You can follow his progress on his 52 Cameras blog at 52cameras.blogspot.co.uk. More photos from the Diana at www.flickr.com/
tony_kemplen/sets/72157649670839070/
;A1$ <A1,
;1<2 $
;1<2 $
5 '7@ .A '7@
5 2FF#? K,F M5I>?# @,55F.3+! # @@I?#" ,# )OO '#FI?#@ HO;4 @#3@5?!
5' I3[email protected]+ .2+# =I1.FM 3" 6O'7@ 53F.3I5I@ @,55F.3+! *
F,5?5I+,1M 7?5'#@@.531 7#?'5?23#; J."#5 ?#5?".3+! 3" 3 .27?#@@.J#
?3+# 5' 6OO-)6!HOO;
&<A 9;$,1AA
J.11# HA;O*;6A - H$;OB;6A; ## K#@.F#; . :@0+ #90- 9;$,,1AA
*+0. )1; @@ 9G '9*2 #09 ?A&/4HH . :@0+ #90- 9.5<,1AA
353 5K#?,5F 353 B 353 )
.053 )BOO
.053 AHOO
.053 B6O
GO
<$1< <$1< <$1< <$1< <$1;
5 5 6 6
3 @F50 F 531M 5"M 531M <6)-*)22 5"M 531M <6)-*) <6$-)) <6$-6*O 5"M 531M <6$-6O) 5"M 531M <H*-$)
9.5"1<A 95<,1AA 9;,1AA 9,,,1AA 9.A5,1AA 96;$1AA 9,,1AA 9$,1AA 9.A,,1AA 9.<,,1AA 9.6,,1AA
''#? J.11# K,.1@F @F50 "" 353 -H "" @7?# 353 -6A ?.# 'F#? E*) @,0 ""
.053 -6) FF#?M ""
.053 -6* FF#?M
1@F@& ## K#@.F# '5? "#F.1@ J.#K(3"#? '5? 531M E64A& FF#?M '5? 531M E*H;44& '?52
.053; 3"@ O*;O$;6A +?.7 '5? 531M EHH4;OO +?.7 '5? 531M EHH4;OO
353 $OO 353 AA 353 $O
.053 A)O
.053 $6O
.053 )
<$1< <$1< <$1< <$1; ;61; <A1
6 6 5 61" 5 .<
5"M 531M <6$-)) 5"M 531M <6$-)) 5"M 531M <6$-)) 5"M 531M <H*-6HO 5"M 531M "" -6H M7# M7#
+?.7 '5? 531M
955,1AA 96,1AA 9<,1AA 9,.,1AA 9,,,1AA 9.A<,1AA 9.",,1AA 9<<5,1AA 9<.,, 1AA
9"A,,1AA 9$,,,1AA
&
& "" 353 -6* FF#?M ""
.053 -6B FF#?M ''#? J.11# I3F.1 H*;O);6A J# ): 53 #@@5?.#@ K.F,
## K#@.F# F5 1#?3 25?#; ## K#@.F# F5 1#?3 25?#; +?.7 '5? 531M E6*4;OO& +?.7 '5? 531M EHH4;OO ## K#@.F# '5? "#F.1@ F,# )& ## K#@.F#;
353 A ?0 353 )@ 353 -6 ?.#@ I7"F#" & [email protected] I@ .3 @F5?#! 531.3# F
03(*341-* 5? 11 I@ 53 A.$$$ <; 5A 6A
<A1< "A16 <A1< - 6O;)22 'CH;$ - *OO22 'CH;$
.A .$ - 6*22 'CH;$
- )OO22 'C*
- 6B22 'CH;$ .@,#M# - BOO22 'C*
5"M 531M "" -6B 5"M 531M "" -66 5"M 531M "" -64
+?.7 '5? 531M +?.7 '5? 531M FF#?M '5? 531M - HO22 'C6;$
- $OO22 'C);B
9.<$,1AA
9<5,,1AA
9$5,,1AA
- HO22 'CH;$
- 6O-H*22 'CG;)-*;)
"" @7?# 353 -B "" 353 -6 .-. "" -$ K.?#1#@@ .1# - H*22 'CH;$
- 6*-H*22 'CH;$
FF#?M '5? 531M EB*;44& "7F#? '5? 531M EG4;44& ?[email protected]#? '5? 531M E*O4;OO& -
.005? H*22 'C6;*
- 6B-$O22 'CH;$-*
- H$22 'CH;$
- 6B-$)22 'CG;)-);B
?.#@ I7"F#" & [email protected] I@ .3 @F5?#! 531.3# F G)22 'CH
.005?
- 6A-G)22 'CH;$
03(*341-* 5? 11 I@ 53 A.$$$ <; 5A 6A - G)22 'C6;$
&$-- #=B4!
)O22 'C6;*
- 6$-6*O22
B&-- #=14& +
/H-- #=B4!
- )O22 'C6;*
- 6$-HOO22
B&-- #=B4!
!)1$-- #=& *:( G
- )O22 'C6;$
- 6$-GOO22 'CG;)-B;G
B&-- #=B4!
1H)1!-- - )O22 'C6;$
- H*-$)22
B!-- #=14!
1H)BB-- #=A4$)&4$
- BO22 'CH;$ .?5
- H$-GOO22
B!-- #=B4!
11)B&-- #=&
- BO22 'CH;$ .?5
- ))-HOO22 'C*-);B
A$-- #=14&
1$)!$-- #=A4$)$4<
- $)22 'CG;)
- AO-HOO22 'CH;$ 9.,,1AA
A$-- #=B4H
1<)A$-- #=B4!
- $)22 'C6;$
- AO-GOO22 9$,,1AA
A$-- #=B4! 90
1<)A$-- #=B4!
- 6O)22 'CH;$
- HOO-*OO22 9",,1AA
&H-- #=B4!
1<)A$-- #=&4H
- 6G)22 'CH;O
$H-- #=14B
1;)&H-- #=&4H
- 6$O22 'CH;$
' */
$H-- #=14&
1;)$$-- #=B4!
- HOO22 'C*
[email protected] I@ .3 @F5?# 531.3# 5? 11 O6***
$H-- #=14!
1!)1A$--
- HOO22 'CH
HG AO BO F5 #3#(F '?52 @,0
<H-- #=B4! 90
1!)1A$-- #=A4$)$4<
- GOO22 'CH;$
53 ?3+# 5'
.053 1#3@#@&
!$-- #=14B
1!)BHH-- #=A4$)$4<
- GOO22 'C* -
!$-- #=14!
B&);H-- #=B4!
- GOO22 'C*
1HH-- #=B
B&);H-- #=&4H
1HH-- #=B4! 90
B&)1H$-- #=&
1HH-- #=B4! 90
B&)1H$-- #=A4$)$4<
".1$ /#
1A$-- #=B4H
B!)AHH-- #=A4$)$4<
;1<2 .AA0
1!H-- #=A4$
$$)B$H-- #=&)$4<
BHH-- #=B4H
;H)BHH-- #=B4!
3F?5"I.3+ F,# I1F.2F# ,.+,-#3" 2.??5?1#@
BHH-- #=B4! =B
;H)BHH-- #=B4!
2#? 527F 3" 1.+,FK#.+,F 5"M
AHH-- #=B4!
;H)BHH-- #=&4H
K,., 5J#?FI?3@ 52253 7#?#7F.53@ 5'
AHH-- #=&4H
;H)BHH-- #=&4H
2#".I2 '5?2F ".+.F1 2#?@;
&HH-- #=B4!
;H)AHH-- #=&4H)$4<
*D 9<"A -+=4 E( . G0C @9 )*. G0C9 F*:*@*.'
&HH-- #=&4H
;H)AHH-- #=&4H)$4<
C,, 9- 09 *'*@, *C- 09-@ - 9"
"
&HH-- #=$4<
;H)AHH-- #=&4H)$4<
$HH-- #=&4H
1HH)&HH--
I/(.12 -H I/(.12 -H 6*22 'CH;$ EB$4;OO
<HH-- #=&4H
BHH)&HH-- #=&4H
6B22 'C6;* EAB4;OO
!HH-- #=$4<
14&F F@ . 9
HA22 'CH;$ EGH4;OO
1;-- #=&4H
B4HF F@ . 9
<$1; <$1; G)22 'H EG*4;OO
$
)B22 'C6;H EAB4;OO
+-+ <" 6O-H*22 * EAB$;OO
6B-)O22 ; ; E644;4A
:*'. @0 -@( @( 9 @*D 2::*0. 0# 5"M 531M ?7,.F# 5"M 531M ?7,.F#
6$-6G)22 EB64;OO
D* 0 .@(C:*:@: @( B$ # @C9 : 9.;$,1AA 9<.$,1AA 9.;,,1AA 9.6$,1AA )O-HGO22 ; ; EH44;OO
E* .', , .: F@ .:*D -.C, 0.@90,: . LF? EHOO 53I@ K,#3 M5I LF? EHOO 53I@ K,#3 M5I )O-6*O22 ; ; E6!GH4;OO
F 2@*0., C*0 #09 :@C..*.' -0D* :4 .,G ?$</4HH F?"# .3 M5I? 51" 2#?& F?"# .3 M5I? 51" 2#?& 6OO-*OO22 ; ;E6!**H;OO
##7 I7-F5-"F# K.F, 11 F,# 1F#@F 3#K
7?5"IF@ 3" 3#K@ K.F, ?0 2#?@&
*:*@ 0C9 E :*@ ) C2@ *,G 11 53# 5' 5I? 035K1#"+#1# @1#@ "J.@5?@
???103(*341-*70 53"M - FI?"M 84 OO2 - ) GO729
5? #-2.1 I@ '5? @1#@ "J.# [email protected]+
@1#@7?02#?@;52 A.$$$ <; 5A 6A
>@ 1?+#@F .3"#7#3"#3F 7,5F5 @F5?# K?" K.33.3+ I@F52#? @#?J.# 2.1M 5K3#" I3
<A1$ ;61$
;1A2 $
;1<2 .AA0
." '7@ $ '7@
5"M 531M <6*-*H 5"M 531M <6*-*H 5"M 531M <6H-*O22 5"M 531M <6$-)O22 5"M 531M "" #3FL 5"M 531M <))22
-A FF#?M
9$<,1AA 9"<,1AA 9$.,1AA 9"A,1AA 956$1AA 9..6$1AA 9",,1AA 95<,1AA 9.A,,1AA +?.7 '5? EH)4;OO 9"5,,1AA 966,,1AA
"" 3 1M27I@ )O ?.# 'F#? EBO @,0 ?.# 'F#? E$) @,0
)O22 'C6;$ 1#3@ K,#3
G)22 'CH;* 1#3@ ## K#@.F# '5? H* 253F,@
@7?# FF#?M '5? 531M E*A& '?52 1M27I@; 3"@ 6);OA;6A '?52 1M27I@; 3"@ 6);OA;6A 5I+,F K.F, F,#
-AO& K,#3 5I+,F K.F, F,#
& O: (33#&
5I 7M
@,
0
(#
$ " , '7@
?.#@ I7"F#" & [email protected] I@ .3 @F5?#! 531.3# F ?.#@ I7"F#" & [email protected] I@ .3 @F5?#! 531.3# F
03(*341-* 5? 11 I@ 53 A.$$$ <; 5A 6A
03(*341-* 5? 11 I@ 53 A.$$$ <; 5A 6A
2?53 6O-H*22 2?53 H*-AO22 2?53 6B-GOO22 .+2 6O)22 .+2 6A-AO22 .+2 6)O-BOO22
#=A4$)&4$ *) #=B4! * #=A4$)<4A * #=B4! #=B4!)& #=$)<4A
52.3+ @553& AA22 (1F#?@ 3 @F50& J.11# .3 3 @F50& J.11# .3 3 @F50 F J.11# .3 3 @F50 F J.11# .3 3 @F50 F J.11# .3
J.11# '?52 353!
.053 353!
.053 353!
.053 353!
.053 353!
.053
9"5,1AA EH4;44 95$,1AA 5? 53M (F 9;,,1AA 5? 53M (F 9;",1AA 5? .+2 (F 9;$,1AA 5? #3FL (F 95,,1AA 5? .+2 (F
#?3 25?# 5IF F,.@ 1#3@ F ?.# 'F#? E)O @,0 ?.# 'F#? EGO @,0 #?3 25?# 5IF F,.@ 1#3@ F #?3 25?# 5IF F,.@ 1#3@ F "" .+2 6;*L 53J#?F#?
KKK;7?02#?@;52 '?52 2?53; 3"@ GO;OB;6A '?52 2?53; 3"@ GO;OB;6A KKK;7?02#?@;52 KKK;7?02#?@;52 8-6*O69 '5? 531M E6OO
5? K,51# ?3+# 5' F.7@ 3" F?.0@ 3" 3#K@ 53 11 F,# 1F#@F 3#K 7?5"IF@! [email protected]
;
/RZHULQJ WKH FRVW RI SULQWLQJ
:H DUH D VPDOO IDPLO\ RZQHG DQG UXQ FRPSDQ\ VSHFLDOLVLQJ LQ SKRWRJUDSKLF
FRQVXPDEOHV s DQG SURXG ZLQQHUV RI PXOWLSOH *RRG 6HUYLFH $ZDUGV
:H DUH ORFDWHG LQ /HDPLQJWRQ 6SD LQ WKH KHDUW RI :DUZLFNVKLUH
,I \RXoUH SDVVLQJ SOHDVH SRS LQWR RXU VKRS DQG PHHW &RRSHU s RXU RƯFH GRJ
( (2 3ULFHV PD\ EH VXEMHFW WR FKDQJH EXW KRSHIXOO\ QRW ZZZSUHPLHULQNFRXN 7HOHSKRQH RU 3UHPLHU ,QN 3KRWRJUDSKLF /RQJƬHOG 5RDG /HDPLQJWRQ 6SD :DUZLFNVKLUH &9 ;%
/RZHULQJ WKH FRVW RI SKRWRJUDSK\
2UGHUV DUH VKLSSHG SURPSWO\ E\ 5R\DO 0DLO VW FODVV SRVW IRU ZKLFK ZH FKDUJH MXVW ~ SHU
RUGHU $OO SULFHV LQFOXGH 9$7 DQG D IXOO 9$7 UHFHLSW LV SURYLGHG ZLWK HYHU\ RUGHU 3D\PHQW
DFFHSWHG FUHGLWGHELW FDUG FKHTXH RU SRVWDO RUGHU 2UGHUV DFFHSWHG VHFXUHO\ RQOLQH
ZZZSUHPLHULQNFRXN RYHU WKH WHOHSKRQH E\ SRVW RU E\ YLVLWLQJ RXU VKRS
3UHPLHU ,QN 3KRWRJUDSKLF /RQJƬHOG 5RDG 6\GHQKDP ,QG (VWDWH /HDPLQJWRQ 6SD &9 ;%
ZZZSUHPLHULQNFRXN
ZZZSUHPLHULQNFRXN 7HOHSKRQH RU 3UHPLHU ,QN 3KRWRJUDSKLF /RQJƬHOG 5RDG /HDPLQJWRQ 6SD :DUZLFNVKLUH &9 ;% ( (2 3ULFHV PD\ EH VXEMHFW WR FKDQJH EXW KRSHIXOO\ QRW
:KDW D FXVWRPHU VDLG DERXW XV «
i -PWF 8FY :PV DBO BMXBZT CF SFBTTVSFE ZPVSF HPJOH UP
HFU HSFBU TFSWJDF BOE B HSFBU JUFN BU UIF CFTU QSJDF 5IBOLT w
4 1SBEIBN o &TTFY
2YHU 3URGXFWV )UHH 'HOLYHU\ RQ RU RYHU :H FDQ GHOLYHU RQ 6DWXUGD\ RU 6XQGD\
ϱ ϳϱϬ
Ϯϰ
ϯ
ŵĞŐĂƉŝdžĞůƐ
ϮϬ
ϲ
ϱ ĨƉƐ
ŵĞŐĂƉŝdžĞůƐ
ϭϬϬƉ
ϭϮ
Ϭ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ
&RPSHWLWLYH SULFHV )UHH FROOHFWLRQ RI \RXU JHDU
)DVW WXUQDURXQG RI \RXU TXRWH DQG FUHGLW
ZH[FRXN &ƌŽŵ άϭϲ
ϲϱϬϬ //
ϳZ // ůĂĐŬ 'yϬ 'yϬϬ
ϰϮ
ϰ
EĞǁ
ϰϮ
ϰ Ϯϰ
Ϭ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϲ ϭϲ
Ϭ
ϱ
Ϭ ĨƉƐ ϭϭ
Ϭ ĨƉƐ ϭϮ
Ϭ ĨƉƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ZKDDE >E^^
ZKDDE &h>> &ZD DKhEd >E^^ ZKDDE DKhEd >E^^ WĂŶĂƐŽŶŝĐ ϭϰϰϱŵŵ Ĩϯϱϱϲ άϮϱ
EĞǁ ^ŽŶLJ & ϱŵŵ Ĩϭϰ ' άϭϱ ^ŽŶLJ ϯϱŵŵ Ĩϭ d ^D άϭϰ WĂŶĂƐŽŶŝĐ >hD/y ϰϱϭϱϬŵŵ ĨϰϬϱϲ ^W, K/^ άϭϳ
EĞǁ ^ŽŶLJ & ϮϰϳϬŵŵ ĨϮ ' άϭ ^ŽŶLJ Ϯϳϱŵŵ ĨϮ ^D άϱ WĂŶĂƐŽŶŝĐ ϰϱϭϳϱŵŵ ĨϰϬϱϲ >hD/y ' y sĂƌŝŽ άϯϰ
^ŽŶLJ & ϮϰϳϬŵŵ ĨϰϬ K^^ sĂƌŝŽdĞƐƐĂƌ Ăƌů ĞŝƐƐ dΎάϳ ^ŽŶLJ ϳϬϰϬϬŵŵ Ĩϰϱϲ ' ^^D // άϭ WĂŶĂƐŽŶŝĐ ϭϬϬϯϬϬŵŵ ĨϰϬϱϲ >hD/y ' sĂƌŝŽ άϰϮ
^ŽŶLJ & ϳϬϮϬϬŵŵ ĨϰϬ ' K^^ άϭϮϰ WĂŶĂƐŽŶŝĐ ϭϬϬϰϬϬŵŵ Ĩϰϲϯ WŽǁĞƌ K/^ DŝĐƌŽ &ŽƵƌ dŚŝƌĚƐ &ŝƚ άϭϯϰ
ϲϬ ĨƉƐ ϭϲ
ϯ ϲ
ϱ ĨƉƐ Ϯϰ
ϯ EĞǁ ĨƉƐ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϬϬƉ &Ƶůů &ƌĂŵĞ ϭϬϬƉ
ŵŽǀŝĞ ŵŽĚĞ
ϱ ĨƉƐ DK^ ^ĞŶƐŽƌ
Ϭ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ
KD Dϭ // &ƌŽŵ άϭϰ DϭϬ // &ƌŽŵ άϰϰ <ϭ ŽĚLJ άϭ ydϮϬ &ƌŽŵ άϳ yWƌŽϮ &ƌŽŵ άϭϯϰ
EĞǁ KD Dϭ // ŽĚLJ άϭϰ KD DϭϬ // ŽĚLJ άϰϰ <ϭ ŽĚLJ άϭ EĞǁ ydϮϬ ŽĚLJ άϳ yWƌŽϮ ŽĚLJ άϭϯϰ
EĞǁ KD Dϭ // н ϭϮϰϬŵŵ άϮϯ KD DϭϬ // н ϭϰϰϮŵŵ άϱϲ <W ŽĚLJ άϭϬ EĞǁ ydϮϬ н ϭϲϱϬŵŵ ά yWƌŽϮ ^ŝůǀĞƌ н y&Ϯϯŵŵ άϮϭϰ
KD Dϱ // ŽĚLJ άϰ WE W> ŽĚLJ άϯ <ϯ // ŽĚLJ άϰ EĞǁ ydϮϬ н ϭϱϱŵŵ άϭϬ
KD Dϱ // н ϭϮϰϬŵŵ άϭϮϰ WE W> н ϭϰϰϮŵŵ άϰ <ϯ // н ϭϱϱŵŵ ά
WE& ĨƌŽŵ ά <ϯ // н ϭϭϯϱŵŵ άϭϭ &h:/EKE >E^^
<ϯ // н ϭϲϱŵŵ άϭϮ ϭϲŵŵ Ĩϭϰ Z tZ y& άϳϲ
ZKDDE >E^^ <ϳϬ ĨƌŽŵ άϱ ϯϱŵŵ ĨϮ Z tZ y& άϯϰ
ZKDDE >E^^ KůLJŵƉƵƐ Ϯϱŵŵ Ĩϭ άϯϰ ϱϬŵŵ ĨϮ Z tZ y& >ĞŶƐ άϰϰ
KůLJŵƉƵƐ Ϯϱŵŵ ĨϭϮ WƌŽ άϭϬ KůLJŵƉƵƐ ϳϱŵŵ Ĩϭ άϲ ZKDDE >E^^ ϱϲŵŵ ĨϭϮ Z y& άϳϲ
KůLJŵƉƵƐ ϯϬϬŵŵ Ĩϰ /^ WZK >ĞŶƐ άϮϭ KůLJŵƉƵƐ ϭϮϰϬŵŵ ĨϮ WƌŽ άϳ WĞŶƚĂdž ϭϱϯϬŵŵ ĨϮ άϭϰϰ Ϭŵŵ ĨϮ Z >D tZ y& άϳϰ
KůLJŵƉƵƐ ϭϮϰϬŵŵ ĨϮ WƌŽ άϳ KůLJŵƉƵƐ ϭϰϭϱϬŵŵ Ĩϰϱϲ άϱϰ WĞŶƚĂdž ϮϭϬϱŵŵ Ĩϯϱϱϲ άϱϰ ϭϲϱϱŵŵ ĨϮ Z >D tZ άϰ
KůLJŵƉƵƐ ϰϬϭϱϬŵŵ ĨϮ WƌŽ άϭϭϮϱ KůLJŵƉƵƐ ϰϬϭϱϬŵŵ ĨϮ WƌŽ άϭϭϮϱ WĞŶƚĂdž ϱϱϯϬϬŵŵ Ĩϰϱϲϯ άϯ ϭϬϬϰϬϬŵŵ Ĩϰϱϱϲ Z >D K/^ tZ н ϭϰdž ƚĞůĞĐŽŶǀĞƌƚĞƌ άϭϰ
:H[ 6KRZURRP
8QLW % )UHQEXU\ (VWDWH YLVLW ZH[FRXN
2II 'UD\WRQ +LJK 5RDG
1RUZLFK 15 '3
0QFO GSPN BN EBJMZ
&DOO XV 0RQ)UL DPSP 6DW DPSP 6XQ DPSP
'D\ 5HWXUQV 3ROLF\ 3DUW([FKDQJH $YDLODEOH 8VHG LWHPV FRPH ZLWK D PRQWK ZDUUDQW\
ϮϬ
Ϯ ϱϬ
ϲ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϮϬ
Ϯ ϰ
ϱ ĨƉƐ ϱ
Ϭ ĨƉƐ ϮϬ
Ϯ
ŵĞŐĂƉŝdžĞůƐ
ŵĞŐĂƉŝdžĞůƐ
ϭϬϬƉ ϭϬϬƉ
ϭϬ
Ϭ ĨƉƐ ŵŽǀŝĞ ŵŽĚĞ ŵŽǀŝĞ ŵŽĚĞ ϭϲ
Ϭ ĨƉƐ
ϭϬϬƉ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ &Ƶůů &ƌĂŵĞ
ŵŽǀŝĞ ŵŽĚĞ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ DK^ ƐĞŶƐŽƌ
ϳ DĂƌŬ // ŽĚLJ άϭϮϰ ϲ &ƌŽŵ άϭϯ ϱ^ Z ŽĚLJ άϮ ϭ y DĂƌŬ // ŽĚLJ άϰϳ
ϳ DĂƌŬ // ŽĚLJ άϭϮϰ ϲ ŽĚLJ άϭϯ ϱ^ Z ŽĚLJ άϮ ϭ y DĂƌŬ // ŽĚLJ άϰϳ
ϲ н Ϯϰ ϭϬϱŵŵ άϭϲ
dƌŝƉŽĚƐ
ϰϯϬy /// Zd ϲϬϬy Zd DZ ϭϰy // Dd Ϯϰy ^ϱϬϬϬ ^ϳϬϬ Zϭ ůŽƐĞ hƉ Zϭϭ ,s> &ϰϯD ,s> &ϲϬD &> ϯϬϬZ &> ϲϬϬZ & ϱϰϬ &' // & ϯϲϬ&' //
άϮϯ άϰϮ άϰ άϯ άϰ άϮϯ άϰϮ άϱ άϮϰ άϰϮ άϭϯϰ
άϮϳ άϯϰ άϮϰ
&ůĂƐŚŐƵŶƐ DĂĐƌŽ ŇĂƐŚ &ůĂƐŚŐƵŶƐ &ůĂƐŚŐƵŶƐ
7+( :(; 3520,6( 2YHU 3URGXFWV _ )UHH 'HOLYHU\ RQ RU RYHU _ 'D\ 5HWXUQV 3ROLF\
& Ϯ
ϯϬϬŵŵ Ĩϯ ϱϱ ϲ > /^ h^D άϮϮϰ ϭ
ϯϱŵŵ Ĩϯ ϱϰ ϱ' &^ άϲϯ ϭϱϬϲϬϬŵŵ Ĩϱ Ϭϲ ϯ ^ ' K^ ,^D άϭϯϮ
&^ ϱϱϮϱϬŵŵ Ĩϰϱ ϲ /^ ^dD άϮϲ ϭ
ϭϬϱŵŵ &^ y Ĩϯ ϱϱ ϲ ' sZ άϮϯ ϭϱϬϲϬϬŵŵ Ĩϱϲ ϯ ' K^ ,^D άϳ
& ϳϬϮϬϬŵŵ ĨϮ
> /^ h^D // άϭ ϭ
ϭϰϬŵŵ Ĩϯ ϱϱ ϲ ' &^ y sZ άϰϳϬ
EKE >E^^ & ϳϬϮϬϬŵŵ Ĩϰ> /^ h^D άϭϬϰ ϭ
ϮϬϬŵŵ Ĩϯ ϱϱ ϲ ' &^ y sZ // άϲϲ
& ϮϬŵŵ ĨϮ
h^D άϰϰ & ϳϬϯϬϬŵŵ Ĩϰ Ϭϱ ϲ > /^ h^D άϭϬϮ ϭ
ϯϬϬŵŵ Ĩϯ ϱϱ ϲ &^ sZ y άϳ
& Ϯϰŵŵ Ĩϭ ϰ> // h^D άϭϰ & ϭϬϬϰϬϬŵŵ Ĩϰ ϱϱ ϲ> /^ h^D // άϭϳϱ ϮϰϳϬŵŵ ĨϮ
' &^ άϭϱϳ
& Ϯϰŵŵ ĨϮ
/^ h^D άϰϯ ϮϰϳϬŵŵ ĨϮ
&^ sZ άϭ dDZKE >E^^
ǁŝƚŚ ϱ zĞĂƌ DĂŶƵĨĂĐƚƵƌĞƌ
& Ϯ
ŵŵ Ĩϭ
h^D άϰϭ Ϯϰ
ϱŵŵ Ĩϯ ϱϰ ϱ &^ ' sZ άϰϯ tĂƌƌĂŶƚLJ
& Ϯ
ŵŵ ĨϮ
/^ h^D άϯ ϮϰϭϮϬŵŵ Ĩϰ ' &^ sZ ά ϯϱŵŵ Ĩϭ
^W ŝ s h^ άϱ
& ϯϱŵŵ Ĩϭ ϰ> // h^D άϭϳ Ϯ
ϯϬϬŵŵ Ĩϯ ϱϱ ϲ ' &^ sZ άϮ ϰϱŵŵ Ĩϭ
^W ŝ s h^ άϱ
& ϯϱŵŵ ĨϮ /^ h^D άϰϲ ϱϱϯϬϬŵŵ Ĩϰ ϱϱ ϲ ' &^ y sZ άϯϭ
ϱŵŵ Ĩϭ
^W ŝ s h^ άϳϰ
& ϰϬŵŵ ĨϮ
^dD άϭ ϳϬϮϬϬŵŵ ĨϮ
' &^ sZ // άϭ Ϭŵŵ ĨϮ
^W ŝ s h^ DĂĐƌŽ άϱϳ
& ϱϬŵŵ Ĩϭ Ϯ> h^D άϭϯϲ E/<KE >E^^ ϳϬϯϬϬŵŵ Ĩϰ ϱϱ ϲ ' &^ /& sZ άϱϭ ϭ
Ϭŵŵ Ĩϯ ϱ ŝ ^W & DĂĐƌŽ άϳ
& ϱϬŵŵ Ĩϭ ϰ h^D άϯϰ ϭϬ ϱŵŵ ĨϮ
' /& & y &ŝƐŚĞLJĞ άϱϱ
ϬϰϬϬŵŵ Ĩϰ ϱϱ ϲ ' &^ sZ άϮϭ ϭϬϮϰŵŵ Ĩϯ ϱϰ ϱ ŝ // > ^W & ^W /& άϰϭ
& ϱϬŵŵ Ĩϭ
^dD άϭϬϲ ϭϰŵŵ ĨϮ
& >ĞŶƐ άϭϯ ϮϬϬϱϬϬŵŵ Ĩϱ ϲ &^ sZ άϭϮϰ ϭϱϯϬŵŵ ĨϮ
^W ŝ s h^ άϮ
&^ ϲϬŵŵ ĨϮ
h^D DĂĐƌŽ άϰϭ ϮϬŵŵ Ĩϭ
' &^ άϲϱ ϭϲϯϬϬŵŵ Ĩϯ ϱϲ ϯ ŝ // s W DĂĐƌŽ άϯ
&
ϱŵŵ Ĩϭ Ϯ> // h^D άϭϳ Ϯϰŵŵ Ĩϭ ϰ ' &^ άϭϮ ϭ
ϮϬϬŵŵ Ĩϯ ϱϲ ϯ ŝ // s άϭ
&
ϱŵŵ Ĩϭ
h^D άϯϯ Ϯϰŵŵ Ĩϭ
' &^ άϲϰ ϭ
ϮϳϬŵŵ Ĩϯ ϱϲ ϯ ŝ // s W άϮ
& ϭϬϬŵŵ ĨϮ
h^D DĂĐƌŽ άϰϱ Ϯ
ŵŵ Ĩϭ
' &^ άϱϳ ϮϰϳϬŵŵ ĨϮ
ŝ s h^ ^W άϳ
& ϭϬϬŵŵ ĨϮ
> DĂĐƌŽ /^ h^D άϲ ϯϱŵŵ Ĩϭ
' &^ άϰϰ ^/'D >E^^
ǁŝƚŚ ϯ zĞĂƌ DĂŶƵĨĂĐƚƵƌĞƌ Ϯ
ϯϬϬŵŵ Ĩϯ ϱϲ ϯ ŝ s W άϱ
& ϯϬϬŵŵ Ĩϰ Ϭ > /^ h^D άϭϭϯ ϰϬŵŵ ĨϮ
' &^ y DŝĐƌŽ άϮϯ tĂƌƌĂŶƚLJ ϳϬϮϬϬŵŵ ĨϮ
ŝ s h^ άϭϬ
&^ ϭϬϭ
ŵŵ Ĩϰ ϱϱ ϲ /^ ^dD άϮϭϯ ϰϱŵŵ ĨϮ
W DŝĐƌŽ άϭϰ Ϯϰŵŵ Ĩϭ ϰ ' ,^D άϲϰ ϭϱϬϲϬϬŵŵ Ĩϱϲ ϯ ^W ŝ s h^ άϳϰ
&^ ϭϬϮϮŵŵ Ĩϯ ϱϰ ϱ h^D άϰ ϱϬŵŵ Ĩϭ ϰ ' &^ άϯ ϯϬŵŵ Ĩϭ ϰ ,^D άϯϱ
& ϭϭϮϰŵŵ Ĩϰ> h^D άϮϲ ϱ
ŵŵ Ĩϭ ϰ ' &^ άϭϰϭ ϯϱŵŵ Ĩϭ ϰ ' ,^D άϲϰ
&^ ϭϱ
ϱŵŵ Ĩϯ ϱϱ ϲ /^ h^D άϲϰ ϲϬŵŵ ĨϮ
& DŝĐƌŽ άϰϬ
ϱŵŵ Ĩϭ ϰ y ' ,^D άϲϭ
& ϭϲϯϱŵŵ ĨϮ
> DŬ // h^D άϭϰϮ ϲϬŵŵ ĨϮ
' &^ άϱϮ ϭϬϱŵŵ ĨϮ
WK y ' K^ ,^D DĂĐƌŽ άϯϱ
EĞǁ & ϭϲϯϱŵŵ ĨϮ
> /// h^D άϮϬ
ϱŵŵ Ĩϭ
' &^ άϰϰ ϭϱϬŵŵ ĨϮ
y ' K^ ,^D DĂĐƌŽ άϳϳ
& ϭϲϯϱŵŵ Ĩϰ> /^ h^D ά ϭϬϱŵŵ ĨϮ
' &^ sZ /& DŝĐƌŽ άϳϲ
ϭϲŵŵ Ĩϰ ϱϱ ϲ ,^D άϱ
&^ ϭϳϱϱŵŵ ĨϮ
/^ h^D άϳϰ
&^ ϭ
ϱϱŵŵ Ĩϯ ϱϱ ϲ /^ ^dD >ĞŶƐ άϭ
ϭϯϱŵŵ ĨϮ Ϭ & άϭϭϰ ϭϬϮϬŵŵ Ĩϯ ϱ y ,^D άϯϯ &Žƌ ĂŶŽŶ
Įƚ dĂŵƌŽŶ1
ϭ
Ϭŵŵ ĨϮ
& /& άϳϱ ϭϮϮϰŵŵ Ĩϰ ϱϱ ϲ y ' ,^D // άϲϰ
&^ ϭ
ϭϯϱŵŵ Ĩϯ ϱϱ ϲ /^ ^dD άϯϳ ϯϬϬŵŵ Ĩϰ Ϭ &^ W& sZ άϭϱϳ ϭϳϳϬŵŵ ĨϮ
ϰ Ϭ K^ ,^D άϯϰ ^ŝŐŵĂ Žƌ ^ĂŵLJĂŶŐ ůĞŶƐĞƐ1
&^ ϭ
ϭϯϱŵŵ Ĩϯ ϱϱ ϲ /^ h^D άϰϮ ϱϬϬŵŵ Ĩϰ Ϭ &> &^ sZ άϰϰ ϭ
ϮϱϬŵŵ Ĩϯ ϱϲ ϯ DĂĐƌŽ K^ ,^D άϯϰ
&^ ϭ
ϮϬϬŵŵ Ĩϯ ϱϱ ϲ /^ άϰϲ ϲϬϬŵŵ Ĩϰ Ϭ &> &^ sZ άϭϬϬϭϱ ϭ
ϯϬϬŵŵ Ĩϯ ϲϲ ϯ DĂĐƌŽ K^ ,^D άϯϲ ǀŝƐŝƚ ŽƵƌ ǁĞďƐŝƚĞ
& ϮϰϳϬŵŵ ĨϮ
> /^ h^D // άϭ ϭϬϮϰŵŵ Ĩϯ ϱϰ ϱ ' &^ y άϳϰϱ Ϯϰϯϱŵŵ ĨϮ ' ,^D άϳϱ
& ϮϰϳϬŵŵ Ĩϰ> /^ h^D άϳ ϭϲ
Ϭŵŵ ĨϮ
ϰ' &^ y sZ ά ϮϰϳϬŵŵ ĨϮ
/& y ' ,^D άϱϮϲ
& ϮϰϭϬϱŵŵ Ĩϯ ϱϱ ϲ /^ ^dD άϯϳ ϭϲ
ϱŵŵ Ĩϯ ϱϱ ϲ ' &^ y sZ άϱϳ ϳϬϮϬϬŵŵ ĨϮ
y ' K^ ,^D ά
EĞǁ & ϮϰϭϬϱŵŵ Ĩϰ> /^ // h^D άϭϬϲϱ ϭϳϱϱŵŵ ĨϮ
' y &^ /& άϭϯϰ ϭϮϬϯϬϬŵŵ ĨϮ
K^ άϮϲ
ŝŐŝƚĂů ŽŵƉĂĐƚ ĂŵĞƌĂƐ ŝŐŝƚĂů ĐŽŵƉĂĐƚ ĐĂŵĞƌĂ ĂĐĐĞƐƐŽƌŝĞƐ ĂƌĞ ĂǀĂŝůĂďůĞ ŽŶ ŽƵƌ ǁĞďƐŝƚĞ
ůĂĐŬ Žƌ ^ŝůǀĞƌ
ůĂĐŬ Žƌ >Ƶŵŝdž &ϭϬϬϬ άϱϳ
^ŝůǀĞƌ >Ƶŵŝdž dϳϬ άϮϳ
Ϯϰ2ϯ >Ƶŵŝdž &ϮϬϬ άϮ
ŵĞŐĂƉŝdžĞůƐ ϮϬ2ϭ >Ƶŵŝdž dϬ άϯϮ
Ϯϰdž ϮϬ2ϭ ŵĞŐĂƉŝdžĞůƐ
ϭϬϬ ŽƉƟĐĂů njŽŽŵ ŵĞŐĂƉŝdžĞůƐ
ŵŽǀŝĞ ŵŽĚĞ
>Ƶŵŝdž >yϭϬϬ >Ƶŵŝdž dϭϬϬ >Ƶŵŝdž D
>yϭϱ
yϭϬϬ& άϭϮϰ άϱϰ άϱϮ άϱ
ůĂĐŬ
ϭ2Ϯ
ŵĞŐĂƉŝdžĞůƐ ϭϲ
ŵĞŐĂƉŝdžĞůƐ
ϯϬ2Ϭdž ϮϬ ϮϬ
ŽƉƟĐĂů njŽŽŵ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ϭϬϬ
ŵŽǀŝĞ ŵŽĚĞ :/ DĂǀŝĐ WƌŽ
LJďĞƌ
^ŚŽƚ ,yϬs LJďĞƌ
^ŚŽƚ ZyϭϬϬ DĂƌŬ /s LJďĞƌ
^ŚŽƚ ZyϭϬϬ DĂƌŬ s YƵĂĚĐŽƉƚĞƌ ƌŽŶĞ ĨƌŽŵ άϭϬ
άϯϯ άϳϮ ά ŽŽůƉŝdž tϭϯϬ άϰϳ
##%% :4#+''
+ ''+DJJ
+
/DVW IHZ UHPDLQLQJ
"
=,//,1C GI C3 >*33C E1&3=)"CC/" *,)*+!"&,1,C,31 5*3C3>
1! 03F,"> C*,> >0// 1! /,)*CG",)*C + ,> 53G"=&E/
30&3=C/" C3 ==I =3E1! 1! ,1="!,/I >,05/" C3 35"=C"9
$
$
15=//"/"! ,0)" ;E/,CI *"
+=3D 3&&"=>
1! 3EC>C1!,1) ( 03F," C*" G3=/!<> 31/I I=,!
E/C,
="3=!,1) 0!" 53>>,/" ,"G&,1!"= 1! &"CE=">
I C*" /C">C >"1>3= 1! =1! 1"G D(
+=1>
5=3">>,1) "1),1"9 >"1>3=
75$'(,1
%2186
" 75$'(,1
%2186
" #
5)=!,1) + G" G1C I3E= 3/! 0"=> 1! 5*3C3)=5*, ";E,50"1C%
>. E> C3!I 1! >"" *3G 0E* I3E= 3/! ";E,50"1C ,> G3=C* + ,C 0I " G3=C* 03=" C*1 I3E C*,1.%
%
%
1 !F1"! >I>C"0 3&
,113FC,F" C"*13/3)I 0"= C*C &,C> I3E=
1! &"CE="> !">,)1"! C3 !,>"=1,1) >CI/" 1! ,> C*"
&3="F"= *1)" C*" 53G"= 3& 5"=&"C 3051,31 C3 C."
5*3C3)=5*I9 "F"=IG*"=" I3E )39
75$'(,1
%2186
"
"
%%%
!% $%
*33C "CC"= G,C* C*" @JJJ E//+&=0" ;E/,CI 1!
>E5"= D(
;E/,CI ECC,1)+"!)" 0"= >*."
;E,. EC3&3E> $ 1! F"=I 305"1>C,31 305C,/"
53=C/"9 G,C* G,!"+=1),1) /"1>">9
3. 4 2(4 2 ($! (")' $). ")1(" -'## $( !$). .!)'
9 9 9 =,"> ;E3C"! ,1/E!" DJ89 =,"> >E-"C C3 *1)"9 33!> >E-"C C3 F,/,/,CI9
To advertise here, call Tommy Sullivan: 01252 255344 Email [email protected]
Black & White Processing Wanted
""
Printing
!
Camera Fairs
Accessories
Accessories
3ULQW \RXU RZQ FDUGV IRU DOO 6SHFLDO 2FFDVLRQV ZLWK [ $ RU [ $ ,PDMHW 3UH6FRUHG 6DWLQ0DWW
J &DUGV ZLWK (QYHORSHV«2QO\
6LJQ XS IRU ODWHVW HQHZVOHWWHU SURPRWLRQV DQG VSHFLDO RIIHUV
)5((
8.
3 3WLOO -XQH
0$5&+
-DQXDU\
WK &KHFNRXW
VW
&KHFNRXW &RGH$3
&RGH
$3
$3
Final Analysis
Roger Hicks considers…
‘Railway lines, Bristol’, 1974, by Stephen Dowle
© STEPHEN DOWLE
A
lthough this is Bristol, it could colour reinforce this impression, they are several (especially in colour) that are as
be anywhere. This is a large also a part of its everydayness. It looks like striking and memorable as this one.
part of the appeal of the picture something any of us could see and snap. This is, however, the third major factor
and why I chose it. So much Which we could, if we were lucky. The in the picture’s appeal: it is part of a set.
is typical: the shabby brick, the dirty bushes bracketing the picture; the Of course, it will be of far more interest to
foliage, the apparently broken window, chimneys, left and right; the background those who know Bristol than to those who
the industrial-looking background, the haze; yes, it’s what you’ll get if you stand in do not, but it’s also an object lesson in how
slightly wonky curves and indeed straights the right place. You could hardly compose the everyday slides into the past, so that
that mark it out as an old, run-down it otherwise. Except, of course, that you the common becomes uncommon. It also
urban railway. Then again, although I say could. A little closer or a little further away; shows the difference between a theme and
‘it could be anywhere’, the unusual layout a different focal length; suddenly, you’ve a random collection of whatever caught
of the lines might give the game away to lost it. At this point, how much is luck and the photographer’s eye.
railway lovers: it was laid out in 1835 as how much is the photographer’s eye? This is why I rarely have much time for
part of a horse-drawn tramway. those who look at a picture like this and say,
Another large part of its appeal is the Ongoing project ‘Huh! I’ve got lots of better pictures than
deceptively mundane composition. It is In all fairness, if we look at the rest of the that.’ Well, they may have, although in this
reminiscent of the Düsseldorf/Neue pictures in the book from which this case I doubt it. What they don’t usually
Sachlichkeit school of so-called ‘objective’ photograph is taken (Bristol, A Portrait have are enough related pictures for an
photography, without the emphasis on 1970-82, Amberley Publishing), we see exhibition or (as here) a book. There’s
extreme technical quality. In fact, it’s that Dowle’s eye is/was not infallible. nothing behind their ‘better pictures’,
pretty much a snapshot, but although the Quite a lot of his photographs are because ‘better’ can mean a whole lot
hazy background and rather old-fashioned distinctly ordinary, although there are more than just ‘superficially attractive’.
Roger Hicks has been writing about photography since 1981 and has published more than three dozen books on the subject, many in partnership with his wife Frances Schultz (visit his new website
at www.rogerandfrances.eu). Every week in this column Roger deconstructs a classic or contemporary photograph. Next week he considers an image by David Zimmerman
0'0
F9N<
05
K6!E!
H0L GN5@9 !! J!?-E! E4 0!>2 14>!$ 2 ?E4/ E 420L #% )) !! J!?-E! E4 0!>2 14>!$
;;;-+0%'01-)'4&(0#)'+6$6$)(#8<*2
)'+6$6$)( 09(1 <*-<-*2 # 7*-<-*2 !>2 14>! -2 ?E4>! 4> I-?-E JJJ96>/1!>?941B0!>2!