Photography Monthly 201303

for people who love making pictures
Brought to you by PHOTOGRAPHY MONTHLY
MARCH 2013
PORTRAITS
BECOMING AUDREY HEPBURN WITH KATE HOPEWELLSMITH CRAIG FLEMINGS TATTOO SPOTLIGHT
NATURE
AMPHIBIAN ANTICS MONOCHROME BLOSSOMS EXPLORING AMERICAS WILDERNESS GEAR CAPTURE POLAND CANON EOS 6D WITH OUR TRAVEL GUIDE FUJI XF1 | TAMRON 70-200MM
LANDSCAPES
MOVIES
SOUND CHECK ADVICE STOP MOTION HOW TO
3.99 ISSUE 145
WIN A NIKON D600 I WIN A NIKON AW100

DIY ZOETROPE | THE THREE PEAKS CHALLENGE | WOW! IMAGE | SLEEVEFACE: PORTRAIT FUN WITH VINYL
PH
OT
Lorna Dockerill Features Editor lorna.dockerill@archant.co.uk
Jessica Bracey Features Writer jessica.bracey@archant.co.uk
Noel Hibbert Art Editor noel.hibbert@archant.co.uk
Jade Price Multimedia Writer jade.price@archant.co.uk
WELCOME
FROM THE TEAM EU EUREKA MOMENTS
I cant help but love my job. I work ca with some truly amazing people, fro from the writers and designers on the PM team, through to key ind industry figures that have a huge pa passion for photography. I get to p play with lots of new gear, I get to travel and, unlike many jobs, I get to see the results of my en endeavours in a very real way. But the most exciting part is having the ability to still be learning some 20 years in. And, do you know what, its not the big things. Ill explain. My favourite feature this month is the recreation shoot. Yes, the lovely, the timeless, the demure and the playful Audrey Hepburn is gracing the pages of our magazine. She recently met us at a secret Buckinghamshire location for a days shooting and she was everything youd expect whats more, the equally lovely Kate Hopewell-Smith was the photographer and has created simply stunning images. Okay, so its not the real Audrey, but it definitely was in spirit. This was an eye-opening shoot. Yes, I watched the styling gradually take place; I saw Lorna actually becoming Audrey through the skill and direction of Kate, and Cat the stylist. Kate and I experimented with lighting and backgrounds it was more of a challenge for us as we were desperate not to copy the images in the books we were using for inspiration. All these things were very exciting and the resulting images, as you will see, are beautiful. However, I had a eureka moment. Actually understanding just what a shoot like this can do for a person how good it can make them feel really surprised me. I was taken aback at how Lorna described the variety of emotions she experienced, from butterfly nerves to being disappointed the shoot was over and how excited she was when the contact sheets came through. She adored the images, even though Audrey wasnt whod she would have chosen for her shoot. I spoke with Kate about this; she admitted that she experiences this all of the time, particularly on her boudoir shoots, and feels its a key reason for her loving what she does. As photographers have the ability to lift people to create magic through our craftmanship with camera, lens and a few simple props, we can turn someone more comfortable in skinny jeans and baggy jumpers into the most elegant icon of a bygone age. Thats quite special. Kate herself described it as a powerful experience, and Id agree. My second eureka moment was later. We are a young team, full of energy and ideas. But I realised that we have come into this world of photography via very different routes. We are all multi-skilled journalists and photographers, as much at home with Final Cut Pro X as we are with Lightroom. Tweeting and Facebooking are second nature. We all blog, one of us even has a weekend radio show and sings in a folk band. Yes, all take their photography seriously, from Lomo cameras to Nikon D800 owners, Hipstamatic apps to art filters. However, even with these combined passions, these diverse interests, its the fact that, to a man, what is most important to all of the team is that their photography is fun. Its not always about f-stops and Kelvin values, inverse-square laws and chromatic aberration avoidance. What really sums this up, for me, is our sleeveface feature on pages 94-95. I am so really proud of all of them, and it gives us all hope that the next generation of photographers deeply value creativity, technology and narrative. Photography is as exciting now as it ever has been, in fact more so.
Mar Marc Adamus Lan Landscape pho photographer Simon Booth Sim Wil Wildlife photographer pho
MARCH 2013 | ISSUE 145
THIS MONTHS CONTRIBUTORS
Drew Buckley Landscape photographer
Paul Coghlin Nature photographer
Craig Fleming Portrait photographer
Kat Kate HopewellSm Smith Lifestyle Life pho photographer
Tom Martin Film maker
Ian Robertson Film maker/ photographer
Adrian Sommeling Portrait photographer
Adam Scorey Editor and Group Editor, Imaging adam.scorey@archant.co.uk
Karl Shaw Portrait photographer
www.photographymonthly.com - March 2013
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REGULARS 3 WELCOME | THE CONTRIBUTORS 8 FOCUS ON IMAGING 10 THREE PEAKS CHALLENGE 11 YOUR GUIDE TO ONLINE 12 PROJECT 52 14-18 READERS GALLERY 21 LITTLE PEOPLE - MACRO 22-23 CHARITY SHOP CHALLENGE 98-99 SUBSCRIBE TO PM 109 FREE DIGITAL MAGAZINE
24
31
39
LANDSCAPES
GEOCACHING THE STRIKING BEAUTY OF SOUTH WALES
LANDSCAPES
MARC ADAMUS STUNNING IMAGES, STUNNING LIGHT
PORTRAITS
WE RECREATE CLASSIC AUDREY HEPBURN IMAGES AT HOME
45
50
59
PORTRAITS
CRAIG FLEMING INKD: A PERSONAL PROJECT ON TATTOOS
PORTRAITS
ADRIAN SOMMELING - WOW!: MIND-BENDING IMAGES
NATURE
PAUL COGHLIN SHARES HIS WONDERFUL PETALUM SERIES
65
74
87
NATURE
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WILD BRITAIN SIMON BOOTH TALKS FROGS, TOADS & NEWTS
IAN ROBERTSON TIME LAPSE & TOP TECHNIQUES ON SOUND
DSLR MOVIES
TRAVEL
POLAND A PICTORIAL GUIDE TO KRAKW BY ART EDITOR NOEL
CONTENTS
12 | 24
COVER IMAGE Taken from Adrian Sommelings WOW! Backstory feature, this shot shows his skill with a camera and
P12 P24
Photoshop, plus its pretty eye-catching too. To see more of his amazing work, turn to page 50 for a real treat.
NIKON D600 PHOTOSHOP PROJECT 52 ELEMENTS 11
NIKON AW100 CRUMPLER BAG BERGHAUS BAG GEOCACHING HONL PHOTO SPEED WRAP
107
WIN!!
LANDSCAPES 24-28 GEOCACHING PEMBROKESHIRE 31-37 MARC ADAMUS PORTRAITS 39-43 AUDREY HEPBURN 45-47 CRAIG FLEMING INKD 50-55 ADRIAN SOMMELING NATURE 59-63 PAUL COGHLIN 65-71 WILD BRITAIN SIMON BOOTH
WIN!! WIN!! WIN!!
GEAR
FUJI XF1 IS THIS A CASE OF STYLE OVER SUBSTANCE? NOT AT ALL...
TRAVEL 87-93 RECAPTURING HISTORY POLAND DIY PHOTOGRAPHER 94-95 SLEEVEFACE 96-97 ZOETROPE DSLR MOVIES | FILM MAKING 74-77 IAN ROBERTSON STOP MOTION 79 TIME LAPSE TECHNIQUE 81-85 TOM MARTIN DSLR MOVIES
GEAR 100-102 CANON EOS 6D 103 TAMRON 70-200MM VC 107 FUJI XF1
Our m aga zin e
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5 for 5
P
AGE 9
PRE ORDER
THE NEXT ISSUE
AND SAVE 1
Use discount code EG35 at www.buyamag.co.uk/PM
TURNING PRO
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PAGE 114
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ga kin
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MONTHS * S E XT
ORE OF VUL T EM
BS AM E LA A UR
WOW! IMAGE BY VULTURE LABS

Urban environments and symmetry play a big part in my photography, and using long exposure times to capture movement. The idea for this image was to combine both of these elements. vulturelabs.500px.com
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WORK IN N NG E ZI
WOW! Picture VULTURE LABS Category Story
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Exhibition
Focus On Imaging
F CUS
JOIN US AT FOCUS ON IMAGING 2013 STAND E18
3-6 MARCH
Will you be at Focus? We certainly will, and as always wed love to meet our readers to chat about photography, inspiration, life or the latest magazine. If youre not yet a subscriber there will be a cracking offer at our stand, and weve invited some of our favourite writers and photographers to join us. So come along and meet the gang: CRAIG FLEMING SUNDAY 3 MARCH From advising our dear readers on lighting lust and lenses to taking the latest gear out for a test, Craig is our jack of all trades and master of fashion and portrait photography. KATE HOPEWELL-SMITH SUNDAY 3 MARCH Queen of lifestyle photography, Kate is experienced in her art and in training photographers on combining the craft, the people and the business. Best of the best. STEWART RANDALL MONDAY 4 MARCH Stewart is a man with a vision. You may have met him in his camper van when he toured the country last year, or at the SWPP show where the camper van mysteriously made it to the third floor, or you may have admired his stunning, eco-friendly wedding albums or his wedding photography on the pages of our sister title Professional Photographer. Stewart is joining us at our stand on Monday 4 and Tuesday 5 March. JONATHAN LEWIS MONDAY 4 MARCH Jonathan is a wildlife photographer, ecologist and writer. He also teaches photography and has a regular photography feature in the Norwich Evening News. TOM MARTIN MONDAY 4 MARCH If youre planning to start creating videos or just want to get a feel for the subject, look no further than our movie-making guru, Tom. He knows about all the little things that work differently when youre capturing a moving image, and hell be at our stand to chat with curious readers.
www.focus-on-imaging.co.uk Focus on Imaging, National Exhibition Centre, Birmingham B40 1NT

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on Imaging
Three Peaks Challenge

Charity
reach our
Help us
goal
T
We have begun our training and so the clock is ticking down to our mountainous charity effort in the form of the Three Peaks Challenge
owering ahead of the Photography Monthly team is one of the biggest charity challenges we have faced; we will be climbing Ben Nevis, Scafell Pike and Snowdon in 24 hours in the name of Cancer Research UK. Cancer is something that touches everyone at some point in their lives and it is the dedicated people at charities like Cancer Research UK that bring hope and care to millions. An amazing charity to therefore support as we take on the peaks. We hope that you will show your support by helping us in our plight via donations to our JustGiving page. If we can get to the end of the task with the biggest donation possible to hand over to Cancer Research UK, then it will be well and truly mission complete. Its going to be tough and we have to admit we are even a little bit afraid, as we will be scrambling up Scafell Pike under the cover of night before bombing our way down to the finish line at Snowdon in the early hours. So please, help make the challenge worth it by showing your support.
VISIT OUR JUSTGIVING PAGE HERE www.bit.ly/WwxxRK (CASE SENSITIVE) OR YOU CAN TEXT TPCH99 AND THE AMOUNT TO 70070. SO PLEASE, DIG DEEP FOR THIS OUTSTANDING CHARITY. THANK YOU FOR YOUR SUPPORT AND DONT FORGET TO FOLLOW OUR BLOG POSTS TO SEE HOW WE ARE GETTING ON IN THE RUN UP TO THE MAMMOTH MOUNTAINS IN MAY ON THE PM WEBSITE!
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Online
Digital
FR
WEVE LAUNCHED OUR FIRST PHOTO TV PROGRAMME
Taking you beyond the still image Photography Monthly has aired its first TV programme and is ready and waiting for you to enjoy. From the launch of the new GoPro HERO3 to a look at the latest trend, boudoir, Photo TV also teaches you how to create your very own long-exposure wire wool shots and showcases one of our readers videos too, its jam packed with all things photography. Photo TV also updates the channel every day with new and exciting movies shot all over the world, and also features home-grown talent that deserves some exposure. This month we have set out to inspire and get your creative brains ticking. First up with our 50 Pics Project where we challenge your innovative thinking by putting up the barriers to one subject and one subject only. Be it a flower or a building, then photographing it in all ways imaginable. Also, we take you behind the scenes on our Audrey Hepburn inspired shoot to show you just how its done by the pros. Our latest podcast welcomes landscape photographer and former Picture Editor of
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H P
T O
T O
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WA OUR TCH FULL FIRST L TV-STENGTH Y SHOWLE NOW !
The Times, Paul Sanders, to the studio for an exclusive insight into his work and life at one of the UKs biggest national newspapers. Glean his top photo tips - which include taking your shoes and socks off and listen to our question time with Paul by visiting our website and clicking the podcast tab. Happy listening.
JOIN US ONLINE
We have some exciting times ahead here at Photography Monthly and we want you to be part of it by staying plugged in to the action online. Keep up to date with the teams progress as they train for the Three Peaks Challenge via our blog and tune in every day to see which gallery image we pick as our Photo of the Day. Weve also done a Fashion Week special to give you handy tips on shooting all angles of the biggest fashion event in the diary, from bloggers to the catwalk, press and even going backstage on one of the biggest names in the industry. We have some fun personality quizzes for O you to giggle over, including Which outdoor OT camera are you? And our Valentines Day Special. What will you be? Join the Photo So pour a brew and pull up a comfy chair TV crowd here and bask in our online glow. www.photographymonthly.com/PhotoTV www.photographymonthly.com/Blog or scan the QR code with your phone.
PH
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Last month we kicked off a competition to get the younger generation of photographers to not only get creative with their cameras but to get online savvy too by hosting their own photography blog...
SH
OP ELE M
ere on the hunt for some fresh talent between the ages of 10 and 16 to showcase their skills by taking an image every week from April onwards of their daily routine. It could be anything from landscapes to portraits, food, fashion or just fun times with friends, the choice is yours. Think Instagram on your phone, think creative filters on your camera, think originally about what will make you stand out. This is not just a contest to get the youngsters starting out in photography early, Project 52 is an opportunity to build a professional platform that people can see around the world. Not only that but youll get the chance to be featured in the magazine and the best bit of all, a brand spanking new Nikon D600 is up for grabs, complete with 24-85mm f/3.5 lens! Here at Photography Monthly we know that photography doesnt just stop in the camera so were offering the whole package with a copy of Adobe Photoshop Elements 11 for the winner too. All you have to do is set up your blog, get posting and get hashtagging. Tweet us your link to @photomonthly with the hashtag #project52 so we can keep track, then well watch your blogging beauties grow over the next year, crowning the talented young photographer in 2014. Seems so long away, but think of the memories youll get to gather in the 12 months, not to mention the prizes you could win as well. Over the next coming weeks well keep you updated on the blog front with hints and tips as to what makes a good one, but in the meantime why not head over to the PM website to see our favourite photography blogs to get you inspired when creating your own. To find out more information and to read the full terms and conditions about Project 52, head to our website www.photographymonthly.com/competitions/photography-competitions/project-52
FAST TRACK: HOW TO SET UP YOUR OWN BLOG - Think of a catchy name - Choose a blog platform: this could be anything from WordPress to Blogger or Tumblr - Host your blog (optional): have a professional URL that people can go to, to make yourself stand out as a pro blogger, instead of diverting them straight to the blog hosted site. Choose a reliable host for your blog that will look after your domain name - Choose a theme or design for your blog: this is where youll get to personalise it to your own style, create a brand with what your blog looks like, but make it relevant to your photographs - Promote it! Use Twitter and Facebook to your hearts content to make sure that people know it exists - Once the blog has gone live keep checking your stats and analytics to see how many people are viewing NEED SOME INSPIRATION? Scan the QR code or visit the link below for some of our faves!
www.photographymonthly.com/Blog/2013/1/ Project-52-Our-top-photography-blogs
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TS
D600
PLUS...
11 *
Competition
Blog togs Win a Nikon D600
WI N
IN *W *W
IN
NIKON
* PHO
TO
READERS GALLERY
Piotr Haskiewicz Curiosity
Daiva Ziliute I Love Christmas

Ph
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ra p h e r * Yo
ap
ge See pa et 12 to g d involve
*
un Yo
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Pho
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Jade Greenbrooke Drifted
Upload your images to www.photographymonthly.com then well choose our favourites and feature them in a future issue
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Readers Gallery
Upload
Tracey Whitefoot Vying for attention
Are you a young photographer aged between 10-16? Then visit p12 for an exciting new project!
Simon Maidment Missie the cat reflection Liam Carroll Departure
Warren Millar Cold thoughts
Join us on Facebook: Photographymonthly to see photo of the day

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Upload
Readers Gallery
Milos Skundric Circus
Natalie Ivanova Maria
Oliver Pohlmann Time Served
Dont forget to follow us on Facebook. We constantly send out requests for your images here and post our photo of the day, so dont miss your chance to be seen!
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Upload
Readers Gallery
Natalie Ivanova Self portrait with cake
Cindy-Lue Els Paper-Art4
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PHOTO TOURS & WORKSHOPS

Led by professional travel photographer TIM MANNAKEE Small groups, well-researched locations & great value!
WO WORLDWIDE:
Burma China Iceland Norway Ven Venice Carnival
FRANCE:
Alsace in autumn - Spring in the Dordogne - Provence lavender - Languedoc - Camargue White Horses
www.euretphotoholidays.com
h k Thanks so much f making the h for ma workshop extremely rewarding, p y rew f memorable and beyond fabulous
Little People Get involved!
Project
ITS THE SMALL THINGS IN LIFE...
Gary McDermott Wee man in a boat
Chris Kemp Just married Filip Overmeire MINI Nostalgia
Gary Jones Ice rescue
maginative souls that you are, youve soaked up our Little People project and then some, plonking tiny model folk in puddles, ice cubes and on old tape, all in the name of photography. Now were packaging up some new mountaineering models and sending them out to these select photographers who really probably just want to be Borrowers theyre that good at tiny tales. Get creative people and get the miniature party started! Have some incy wincy scenes you reckon are top notch? Upload them to our dedicated gallery online and share, share, share!
Tim Constable Toxic treat
www.photographymonthly.com/gallery/Little-people-December
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As promised in the last issue, the team and I have loaded up this beast of a camera and found funny, anecdotal things to shoot after all this is the point of the feature, to have fun with your camera. I must admit to being slightly nervous about shooting on a film that went out of date in November 2005 and having a two-page hole in the magazine this month. But, rather surprisingly and testament to quality of Fuji film it all turned out fine. But next its your turn. So thank you to all of the readers who have responded. By the time you are reading this, others will be out there, in the wilds, snapping away on our 6.99 camera on film! Well bring you the results shortly. In the mean time, pop online and take a closer look at our images.
And were off!
In the first leg of our charity shop challenge, the team head out with the Canon Ixus Z50 APS film m camera and shoot some things that are important ant to them, from socks and cats to dogs and doughnuts. Scorey takes up the story
Lorna Dockerill Features Editor, PM The cash machine

When you think about it, it is weird how a rectangle of plastic allows you to pump out cash from a machine in the wall. I took this on my lunch break when a shop requested real money to buy stuff. Pah. Who does that these days anyway?
Too Funky for me

This is Funky the cat looking a little startled on the stairs one morning. He actually moved the very moment I took this so he looks slightly earless, but I only had four shots.
Jessica Bracey Features Writer, PM & PP Shoes

Think Im in love with these shoes a little too much. On a
Noel Hibbert, Art Editor, PM Doggy

This is Bella, my miniature schnauzer in out in out... wishing for me to hurry up and take the picture so she can go back in... again!
rainy day the vibrant colours certainly brightened up the shot and you can see my reflection in the puddle beneath my feet prominently in focus.
Bars
Ah the walk to work, something we take for granted. I liked the idea of shooting through bars to the view beneath me, and when using film the element of surprise is always there, so the nice shallow depth-of-field was an added bonus.
Camouflage
My daughter Lottie posing on the stairs in our yet to be refurbished house, blending nicely with the granny carpet, which, thankfully, doesnt smell of wee! [22]
Kathrine Anker Features Editor, PP Chicken

Everybody else in the office must have been wondering why there was a big chicken in the fridge, but I had a smile on my face all day, knowing that this baby was going home with me.
Ch Charity Shop Challenge
Handbag
If you study my handbag closely youll be able to tell what time of the year it was photographed, the fact I love chocolate (in fact, all food) and which vegetable was going to complement my chicken.
Adam Scorey, Group Editor, PM & PP Stripes

I have a thing about socks, in particular matching socks. I hate them. Irrational, I know. Well, you can imagine my horror looking down one morning only to find my butler had given me these!
The road
I do around 25,000 plus miles per year, so tarmac is my friend. But I love driving, and I love driving in my Land Rover Discovery. I have time to think, plan, sing and drink coffee until I wee neat caffeine.
Jade Price, Multimedia Writer, PM and PP Kipper the cat

I wanted to snap a shot of my cat as he has beautiful markings and deep yellow eyes. I also wanted to see if the charity shop camera could catch him in a pose before he (predictably) moved.
Door number four

I like the almost Gothic number four on my front door, standing out darkly against the white paint, so I decided to photograph it in the rare morning sun.
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LANDSCAPE TREASURE COMPETITION

This month DREW BUCKLEY takes us on a tour around his local patch in Pembrokeshire and buries our hidden treasure from one of the best views around
ell, its the day after most of the country was blanketed in a covering of snow. Its grey, raining (nothing new) and I have to go out and stash the tickets for another selection of fantastic prizes for this months Photography Monthly Geocaching competition. The first thought that comes into my head is where do I hide it? My home and where Ive spent most of my life growing up, Pembrokeshire, is famed for its stunning beaches, seaside villages and rugged coastline; its a holiday hotspot at any time of year. Youll also discover a great amount of history here with a vast number of castles, burial chambers and churches. The main draw to Pembrokeshire, for most, is not only the fact its Britains only coastal National Park, but that it has fantastic walking possibilities thanks to its unique coastal path. This is great for us photographers, as youve always got access to little bays and coves off the beaten track. The Pembrokeshire Coast Path winds its way through 186 miles of the most breathtaking and stunning coastal scenery in Britain. Starting at Amroth in the south-east of the county and finishing at St. Dogmaels in the north-east, the path encompasses almost every kind of coastal landscape from rugged stacks, coves and sea cliffs to vast golden beaches stretching as far as the eye can see. As you can imagine, with the array of different scenes and subjects on offer, it makes taking lovely coastal images much easier I say easier, as being situated next to the Irish Sea and more importantly the Atlantic Ocean, we tend to get our fair share of rain. Pembrokeshire has an essentially maritime climate, so its often cloudy, wet, windy and wild, sometimes all at once! Although misty drizzle and grey
skies arent the best conditions to show off the landscape at its best, usually prior to, or after, these weather patterns can produce some rare but fantastic light. Pembrokeshire has some great potential for fantastic coastal and in-land views for photography, and hopefully with this little insight, youll discover its many charms. Ive chosen the Stackpole Estate for this cache as its a brilliant place to visit at any time of year. There are loads of walking and photographic opportunities thanks to the network of paths that criss cross the estate, taking in fabulous views of the surrounding lakes and woodland. Not forgetting to mention youll be in close proximity to two of the finest beaches in Pembrokeshire. Starting your trip off at the north of the lakes, follow the footpath that extends out from the car park across towards the Stackpole Court site. Unfortunately now demolished, there once stood a very grand mansion here and there are still remnants on show today which depict its history and grandeur. Walking past this to the top of the steps will give you a fabulous view down and along the eastern arm of the lakes, the famous Eight Arch bridge filling your view in the distance creating an interesting background focal point to any image. The bridge, built in the late 1700s was constructed with small dams and sluices beneath each archway helping to control and regulate the water level of the lakes. As youll see walking around the whole of the estate, the lakes and nearby Bosherston lily ponds were all man-made features constructed by building a series of dams. The result of this is a wildlife haven for water and woodland birds, and of course the resident family of otters. Heading down the steps and through the
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Landscap
archway, youll need to turn left and head downhill toward the lake. Here you can take the high route or the low route, either option will pass by the lovely Boathouse Hide. Judging by the name, yep youve guessed it, the former boathouse is nowadays used as a place to sit and do a spot of bird watching (or otter watching if youre lucky) and is also a handy place to shelter from the rain. Heading along from here will take you to the Eight Arch Bridge. I definitely recommend walking across it to get some better views of the bird life here, and also of the lakes underneath. If youre feeling energetic you can take the road up and over the field toward Stackpole Quay with its lovely small pebble beach great for photos. Also, there is a path from there leading Barafundle Bay; commonly rated as one of the finest golden beaches in Britain. Anyways, back to standing on the bridge. Carry on walking south using the path sign posted Broad Haven Beach. Along here is a great area for woodland birds. Nuthatch, jay, woodpecker, along with the usual tits and robins are found here. Youll notice around the estate how very tame the robins are, you can even get them perching on your hand if youre patient enough and tempt them in with a bit of grub. Keep an eye out along the sides of the lake as its easy to spot herons perching just metres away youll need a midsized telephoto lens for these, but nothing too big or expensive. Moorhens, coot and countless species of ducks reside on the lakes so theres plenty of ornithological interest to keep the twitcher in the family entertained. As you near the Grassy Bridge keep an eye out for the classic v-
shaped lines of bubbles on the water surface as this will indicate an otter swimming beneath. They cant hold their breath for long, so if youre lucky youll be greeted with the iconic pop-up of the otter surfacing hopefully with a fish! Ive seen them in any weather here, and at any time of day on the stretch between the Eight Arch Bridge and Grassy Bridge, but earlier is definitely a better bet as the lakes are a beautiful and serene place to walk at dawn. Youll notice another signpost on the right side of the bridge, here follow the signs Alternative Route and keep walking until you reach a fork in the path. Keep heading uphill along the track on the alternative route. At the top youll need to turn right (almost back on yourself) and keep walking until you reach a break in the hedge to your right. Turn off the main path and onto the small track which opens up to the viewpoint. Here at the end lies the prize. Not only in the value of your newly acquired photography gear, but also the superb view that lies in front of you. From this elevated position, youll enjoy the sight of the three arms of the Bosherston Lakes converging into one. The lake is rich with wild birdlife, meandering its way towards the sand dunes at the rear of nearby Broad Haven beach and onto the sea beyond. One thing to mention here is that the alternative route is a loop walk and is in place due to one occasion, the water levels of the eastern arm flooding the paths near the Grassy Bridge. So, if youre feeling up for a trickier but shorter ascent to the viewpoint, then you can turn off the main path just after the Eight Arch Bridge uphill to the right. There are usually signs put out notifying you if the paths are flooded and as always, wellies are recommended!
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es
Geocaching Stackpole Estate
Competition
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Geocaching Stackpole Estate
Competition
When the weather is at its best These were taken before we had the spell of snow, so it pays to visit a few times... if you can!
CLUES
1) After youve parked at the Stackpole Court car park, head towards the steps near the court site 2) Using the paths go towards the Eight Arch Bridge and continue down the lake towards the Grassy Bridge 3) Head up the tracks on the alternative route using the signposts until you reach the viewpoint 4) Walking to the end of the track with the fabulous panoramic view all around, youll find the treasure at the base of the bush to the left
GPS COORDINATES
513652.65 N 45534.07 W
OS EXPLORER GRID REFERENCE

SR 975 946
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Geocaching
Competition
March h
NIKON COOLPIX AW100
1st prize
Its the true Action Man of compacts; the Nikon AW100 is not only dressed for the outdoors in its camouflage case, but is also built to withstand Mother Natures less than sensitive side. Waterproof to depths of 10m, shockproof from heights of up to 1.5m and freezeproof for temperatures down to -10C this is one camera companion everyone would want to have with them. Its 16MP sensor and wide-angle zoom lens means that there is no mountain too high nor river too wide to keep this camera from capturing the action. The panoramic shooting mode and GPS tagging with a world map view make this camera a true explorer thats suited to the outdoor types, such as your Geocaching-mad selves! If that wasnt enough, the dedicated action button on the camera allows for full control and stability whether filming or taking stills under or over water. All it needs is a pop up tent to erupt from the lens cap and you have the perfect adventure buddy! www.nikon.co.uk
Winner r
2013 2013 013 01
IN W
230
Worth
March h
Runner-up p
2013 2013 013 01
Runners-up
3rd prize
BERGHAUS LEVIATHAN 25 DAY SACK
This rough, tough and ready Day Sack is an essential item for an outdoor adventure, featuring handy pockets in as many easy-to-reach places as you can think, and a laptop sleeve for editing on the move. The padded back panel adds extra comfort too, important when its packed full of sometimes heavy gear. Its an adventurers best buddy. www.berghaus.com
2nd prize
JACKPACK FULL PHOTO BACKPACK
Designed with the urban photographer in mind this is the ultimate accessory for the city slicker. Stylishly cool but built so that you can fit in pretty much your whole kit collection. Its big enough to hold two cameras, three lenses, a laptop and all your accessories too, complete with handy compartments to store them in. Padded with soft protective lining it is made with Crumplers 1000d Chicken Tex Supreme hyper performance fabric which is lightweight, durable, resists tearing and is quick drying. Not only that but you get a 30 year guarantee, so you know its going to last! www.crumpler.eu.co.uk
Winning geocachers should send a portrait of themselves with their ticket at the cache location to lorna.dockerill@archant.co.uk to claim their prize. p ,y y Go and explore, you know you want to!
4th prize
HONL PHOTO SPEED WRAP
This professional grade wrap with nylon shell and fleece interior will protect valuable gear from wear and tear even when its slung in your rucksack or buried in luggage travelling to wild landscapes and far away shores. www.flaghead.co.uk Light meter not included
Winner
ERBYSHIRE -D
WINNER: Giles Bertenshaw

Sheffield
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SERVOIR RE
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INNER W
DYBOWE R LA
Atmospheric Moments
[30] Gulless Self Portrait Sinead Nikon D3100 | 18-55mm f/3.5-5.6 | 48mm | 1/13sec | f/5.6 | ISO 3200
Marc Adamus Landscapes
Interview
CAMPFIRE CAPTURE
The landscape genre periodically needs a fresh injection of talent, and the 21st century has MARC ADAMUS to thank. Matt Henry catches up with him between photo tours to discuss camping, cooking and getting down and dirty in the great American wilds
andscape photography has its fair share of critics and the naysay goes that its a routine genre with little new to offer in the way of creativity. You have your foreground interest looming out of the photographs base (large rocks perhaps surrounded with a mist blur of shallow water) and some pleasant faraway backdrop featuring a heavily burned in sky with some cloud interest and a suitable coloured tinge. Theres nothing fundamentally wrong with this setup but the human mind seems to crave newness in everything it sees, and faced with a palette fixed ultimately by nature, its no mean task to reinvent the wheel. Yet now and then, perhaps every 20 years or more, a photographer comes along who seems to do just that. Step forward professional picture taker, trained chef and accomplished mountaineer, Marc Adamus. Aside from the deliciously organic composition that subverts the traditional linear, rule-of-thirds based approach, Marcs sense of colour and tonality can only be described as other-worldly; the colour seems to pulse and glow out of the screen like some bejewelled treasure from the confines of its chest. Yet not in the gooey, mawkish sense that HDR images seem to offer something extra over the naked eye; theres a naturalness here that makes you want to believe and an acceptance that Marc just might have found something truly incredible that none of us will get to see.
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Unless of course you happen to be lucky enough to attend one of Marcs photo adventure courses that keep him firmly on the road and doing what he does best, covering large swathes of the wildest, highest and most remote areas of the great North American landscape. Picture a man in red and black wool check, a fur trappers hat and some sturdy brown leather boots, appearing periodically between the smoke plumes of a campfire on which he cooks. Surrounding him are an array of tents and hungry photographers waiting patiently for the spoils prepared by this ex-professional chef, after a hard days trekking across some of the most jaw-floating landscapes of the North American continent. I love camp cooking, says Marc excitedly on the telephone with his strong West Coast flavoured accent. If I ever wrote a book on
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anything besides photography it would be on camp cooking! I cook for everyone on the tour. I am actually a trained chef. I dont disappoint! I give them good food. The menu depends on whether were car camping or out in the Yukon on a seven day backpacking trip but there are a wide variety of options anything you might see on a restaurant menu. What do you order when you go to a restaurant? Thats pretty much what youll get. Yes this could be you, assuming of course that youve managed to book a place on courses that are sold out before they even hit his website. You might want to take a backpacking and helicopter tour into the Yukon, or visit Alaska to capture the magnificent green shimmer of the Aurora, or maybe the infinite skies of Death Valley in the Eastern Sierra, or perhaps even the Olympic rainforest of North West
Interview
ASIDE FROM THE DELICIOUSLY ORGANIC COMPOSITION THAT SUBVERTS THE TRADITIONAL LINEAR, RULE-OF-THIRDS BASED APPROACH, MARCS SENSE OF COLOUR AND TONALITY CAN ONLY BE DESCRIBED AS OTHER-WORLDLY
Washington; a place of pristine solitude that offers some of the most verdant forests, rivers and canyons of the American wilds. Another area that has fascinated me for years now is the coastal mountain range of British Columbia and South Eastern Alaska, says Marc. Its just such a wild, rugged, enormous place. There are just a handful of roads, a handful of tiny villages and a handful of trails over a two thousand kilometre expanse of mountains. I feel such a great sense of freedom and great sense of adventure every time I go over those mountains and its been a big part of my summer schedule over the last couple of years. Course attendees are now lucky enough to get a glimpse into Marcs post-processing techniques, which he has only recently begun to teach. His work doesnt revolve around any sort of automated processes like HDR; everything is blended manually using some very unique techniques painstakingly developed over his last few years as a pro. What I really strive to maintain is something of a natural look and feel but I do want control over every aspect in that image, says Marc. I want the post-processing to be a big part of my art. People ask me what I do because its such a big part of workflow now and the best way that I can describe it to them is to say that the subject matter you see in the images; the lakes, the mountains, the trees, whatever it is it was all really there. But I try to optimise everything in terms of the light and colour, and I do this all by hand. I have a very unique style of blending that is entirely my own I can do the whole thing without any masks layers or anything. It really relies on having a good eye for colour and tonality. Everything is painted
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Interview
on how I want and where I want. I dont use HDR software or anything automated. But everything in the camera existed. Thats part of the documentary aspect that I want to bring to photography. Marcs schedule is action-packed and he says happily that his entire year is a trip. Hes on the road pretty much non-stop, with a whopping 20 Yukon trips booked into every year (thats 40 per cent of my year right there). He also does a lot of personal trips in addition to the photo adventure courses, completing a 35 day solo trip in the Calgary range in Northern British Columbia and Alaska this summer that he describes as just incredible. I do get home to Oregon but I also bring family with me to different places during the course of the year so you know, we make it work. I definitely have a lot of friends and family that meet up with me at different locations.
COURSE ATTENDEES ARE NOW LUCKY ENOUGH TO GET A GLIMPSE INTO MARCS POST-PROCESSING TECHNIQUES, WHICH HE HAS ONLY RECENTLY BEGUN TO TEACH. HIS WORK DOESNT REVOLVE AROUND ANY SORT OF AUTOMATED PROCESSES LIKE HDR; EVERYTHING IS BLENDED MANUALLY.
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BIOGRAPHY
Marc Adamus is a professional chef turned pro landscape photographer who runs extensive outdoor adventure courses in the thick of the North American wilderness. Marc grew up in a rural area of Maine before moving to Oregon and has been a fully pro photographer for the past eight years, with a passion for mountaineering and adventure. Check out Marcs work at www.marcadamus.com Growing up firstly in a rural area of central northern Maine before relocating to Oregon half way through elementary school (the place he still resides), Marc made the transition from chef to professional photographer over the course of a few years (hes been fully pro for the last eight). He started out simply documenting his travels as an avid mountaineer with a Canon A-1 film SLR before the work of Galen Rowell (famed adventurer and photographer) convinced him that photography was a creative art form worth exploring, beyond the simple desire to document. Landscape photography for me has always been part of an interest in outdoor adventure.
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Interview
GEAR
I consider myself a minimalist with gear, along the same lines of the people that I was really interested in and inspired by, claims Marc. Fast and light, far and high, thats my motto. I do like the zoom lenses and have full Canon and Nikon systems. Ive been a Canon shooter for more than a decade straight but very recently tried the D800 that Nikon came out with. I was already using the 14-24mm Nikkor lens adapted for my Canon. I thought why not get D800 too check out what it has to offer. Ive been very impressed. More often than not I shoot with this now in combination with the 14-24mm, 24-70mm and 70-200mm Nikkor lenses. Im actually testing a new filter system for the 14-24mm at the moment and am really impressed with it. I think it works a whole lot better than the Lee system for this lens. Thats a step in the right direction. I use an ND filter (its impossible to make a long exposure without it) and a polariser for those times when youve got to shift reflective light. I use both of those quite often. Grads for the most part I dont use them 99 per cent of the time. I do it in post with different exposures. The one per cent of the time is where youre dealing with rapidly moving subjects like the Aurora it moves incredibly fast. Then you need both foreground and background shot together before the light changes.
Ever since I was young I had a great desire to just get out there and really experience wild places and greatly appreciate everything about spending time out there. In my late teens, early twenties I was very much interested in mountaineering and backpacking and especially winter backpacking getting out there in very high and cold places. I felt the solitude and the real power of the outdoors in those types of environments. I knew Galen as a mountaineer before I realised what a great photographer he was. I was about 21 or 22 years old and I read his
book Mountains and was really inspired by the way he details his adventures and his climbs but also the way that he illustrates his photographic techniques for his readers. Teaching photography eventually became very natural to me and its now the core of my business with help from the books, calendars, magazines and other licensing projects. The tours really encapsulate my core passion for everything in photography and to be able to get people out into the field and show them everything that Ive loved. I can tell you honestly that I absolutely love doing it and I wouldnt do anything else.
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Footprints |
Audrey
Icon for a day
In our new series we turn the cameras on the PM team and shoot recreations inspired from the world of fashion and the movies. Celebrating true icons, we re-shoot our favourite stars with the help of specially chosen photographers who we know will add their own unique touch. Adam Scorey tells the story
INSPIRATION For the PM team, this book was definitely an inspirational force when looking for ideas and images, especially some of the unseen images and the quotes within. We
ow many of you have what Ross from the US sit com Friends called a laminated list? You know a hypothetical list of five celebrities with whom if such an opportunity should arise you could have a night of unbridled passion with no repercussions from your partner a kind of pass. Bar talk, admittedly. But, for our purposes, rather than a night of passion, the suggestion is a list of celebs who youd love to photograph instead past or present. Admittedly not quite as exciting, but a great exercise to contemplate over a glass of wine, iPad in hand researching Hollywood icons. Now, in a recent editorial planning meeting this subject matter just happened to crop up (ahem!) and lists of names started flying through the air. After the gathered editorial cohort realised it was supposed to be to capture on camera, not between the sheets, new lists began in earnest. >>
actually used the book on the shoot for reference. Audrey The 60s by David Wills and Stephen Schmidt This is obviously a book written by someone who adores Audrey. It uses plenty of glossy, stylish images from the period but also adds in anecdotes and quotes from the people who knew and worked with her, personally and professionally, including some of the biggest names in photography. There are both new and old images, some never seen. Essentially its an author who is sharing his obvious obsession with this amazing icon. If you love Audrey, get the book.
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The team Fast forward a few months and Lorna Dockerill, Jessica Bracey and I are splashing down Buckinghamshire B-roads on our way to one of the UKs best lifestyle, portrait and wedding photographers, Kate Hopewell-Smiths house. Awaiting our arrival is a crack team of Kate, her assistant and stylist Cat Fransham and her assistant. You will notice, again, that I have managed to land myself a day of shooting with a team of six lovely ladies its a tough job Holly Unfortunately for Lorna (sorry Lorns) she kinda got the short straw and landed the job of being model for the day not sure how that happened (ahem). And today Matthew, she is going to be: Holly Golightly or to you and me, the sublimely gorgeous and iconic Audrey Heppers Hepburn. Luckily for me, and I only found this out while sharing the hospitality of a hotel bar with her, Kate Hopewell-Smith has a lady-crush on Heppers and was a bit more than keen to be our photographer for the day. No Louboutins, sorry Now, we are not heading off on flights of fancy spending huge quantities of my editorial budget (pfff) on kitting Lorna out with Givenchy frocks, Tiffany diamonds and Louboutin shoes much as she tried to negotiate (diva-ish tendencies already!). Instead, this whole thing has got to be done on a shoestring. After all, why suggest to my readers to do this and then say it cost five grand! Youd send a sniper after me. No, this is the preserve of charity shops, vintage clothing shops and, believe it or not, ASOS. And its the same with gear too see the panel on page 42 for what we used in the end. Why Audrey? Lorna does resemble Audrey, yes, but its more than that. As a person she echoes some of what we understand Audreys characteristics were; this stems from knowing Lorna and made our job that much easier in picking a muse. So yes, its partly appearance but personality is crucial. Of course the ability of the photographer to bring Audrey to the fore with careful posing, styling and direction on the day of the shoot is too. Part One I had a few aims from the shoot. The first was to capture some beautiful images in a home studio environment with a basic set-up, no more than two lights for example, and to show what can be done with a bit of teamwork and planning; I would love readers to be inspired and have ago, but a very important factor is that quality begets quality; from the photographer to the model and the styling. You have to put the initial work in, but its so worth it. And two The second has two elements: yes, to shoot some images that
will make Lorna feel really special, creating a unique memory for her shell enjoy for the rest of her life. But also for Lorna to observe first hand what its like to be in front of the camera and be the centre of attention for a day, just as Audrey would have 40 years ago after all, this is part of the experience of a shoot like this, especially with Kate. Most important though, is that Lorna can now fall upon this experience and use it to improve her photography, direction of models and lighting technique in the long term. Elements were a bit Heath Robinson, from a Harrods bag barn door affair and borrowed clothes, but this is what made it such fun and part of the challenge. In the end, its probably best that I let the real stars of the shoot share with you their experiences, from Kate as the photographer and Audrey sorry, Lorna as the icon. Kate Hopewell-Smith I jumped at the chance at this shoot for a number of reasons; first to have a creative project and to show the readers what can be done with minimal equipment. But second, to expand my own knowledge with lighting and work with a person, Lorna, who has little modelling experience. I do love Audrey Hepburn too, I wont deny it. Its important to point out that we didnt set out to replicate; our inspiration and general guidance came from images of Audrey; Lorna was part of this inspiration too of course. We each had our favourites that we wanted to shoot but I was also asked as I have a specific style, which I know Adam and the team really like. The challenges included shooting at home, with all the usual confines, getting the styling right which is harder than you think. Take the lighting, for example, its easy to make assumptions about how it was created but the reality was achieving the subtly and balance. What we thought was simple ended up being a challenge, and visa versa. Lorna did exceptionally well. I recognise she had to really trust me as a photographer; she did say to me at one point, Im not really sure what my face and body are doing, From her point of view, especially as Lorna the person, the images are being published in a national magazine and shes inexperienced at modelling they have to be right and Lorna would have felt that responsibility and perhaps be slightly nervous to start with. She really did get into the part, but Lorna is such a lovely person, which really helped. What also helped was the research into the styling, the clothes and details her and Adam had found together, and then using Cat Fransham to bring all of these styling cues together with hair, make-up and accessories. It was a powerful experience. Also, I couldnt have done the shoot without Adams knowledge with lighting and his creative direction. I am very experienced with directing women, this is my comfort zone, but I am still learning the intricacies of studio lighting I am happy to admit this as I pride myself on my desire to be >>
Hair & make-up by Cat Fransham After researching the prime era of Audrey Hepburn (1960s) and what features of hers were most prominent when in front of the camera, I was able to emulate the hair and make-up styling on Lorna this was a breeze because they were uncannily alike. Focusing on big eyebrows, lots of black eyeliner on the top lid, false eyelashes and back-brushed, bouffant hair we were able to recreate this look based on Audreys back catalogue of imagery. The biggest challenge on the day was time, usually on a shoot with so many different looks I would be working to a much bigger schedule, but having an assistant on board was very beneficial. (Ed: Cat, you were excellent, thank you for all of your skill and hard work.)
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Footprints |
Both of these images were lit the same way. Twin Ranger Quadra RXs. The main light used a 1m Deep Octa camera right, with the second bare head behind Lorna, bottom left pointing top right. Though for the above image, the head was turned slightly into Lorna to give a rimlight effect. A reflector was used to soften shadows in the hat and hands.
Nikon D800 | 85mm f/1.4 | 1/125sec | f/4.5 | ISO 100
D Nikon 800 | 8 1.4 | 1/1 5mm f/ 25sec ISO 1 | f/5 | 00
Watch the behind the scenes film on Photo TV.

Go to www.photographymonthly.com/PhotoTV
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Below: Here we used two lights, the Bessel KQ400 with a lightly gridded stripbox camera right, just above Lornas face. The background was lit with a Ranger Quadra RX (in channel B) from high to the right, pointing down at a 45 degree angle onto the black Studio Decor background paper.
Kates gear
A pair of Elinchrom RXs Ranger Quadra
(mainly in channel B) and a 1m Deep Octa and centre diffuser. A single Bessel KQ400 monoblock modified with either an 18in beauty dish with a tight grid, or a Bessel stripbox which had a loose grid. A couple of Lastolite reflectors were added when needed for fill. Camera-wise, Kate was using a Nikon D800 and three lenses: 85mm f/1.4, a 24-70mm f/2.8 and a 70-200mm f/2.8.
>> continuously learning and evolving it keeps me fresh. This is what I came away with most, a greater understanding of what can be achieved with flash and higher confidence with lighting. This was very much a team effort, practically and creatively, so hugely enjoyable for me. When shooting weddings and portraits, the vision for the shoots is solely mine so this was a refreshing change. While Cat was sorting hair and make-up, Adam and I were setting up the lights and testing after all, we couldnt keep Audrey waiting could we! It ended up being an all day shoot and was all hands on deck, no shirking here. I feel so stimulated by the whole shoot, I have committed to a creative shoot project a month to keep myself inspired and fresh its so easy to get stale. Lorna Audrey Dockerill, Features Editor Its not every day youre asked to become Audrey Hepburn: style icon, timeless waif, coveted actress. Deserting the comfort of my skinny jeans and t-shirt for a slinky column dress and classic pearls, if Im completely honest though, made me feel anxious. Im used to hiding behind the comfort of my notepad and pen, interviewing photographers like Kate about their style and approach, not flouncing around in front of the camera working it. Thats what models are for. I have heavy features, features as my Nan would say, you can grow into, unlike Audrey whose elfin appearance and delicate bone structure teased the camera so graciously. But I have always loved Audreys persona and style, which seemed so effortless. And research into her polished image confirmed that she was a leading lady who, although known for her signature style in her role as Holly in the 1961 movie Breakfast at Tiffanys, was known as a good humoured onscreen and off screen darling that many fell in love with, despite the popularity of other more obvious sex symbols such as Marilyn Monroe. This meant that sourcing a fitting wardrobe was important to help Kate create a similar high class look, so we searched rails of retro frocks, hats and jewels in vintage shops to try and emulate the same quality. The most suitable dress was found online and between us we searched our own collections for accessories including a fabulous 1920s style turban which Kate dug out that combined with the backgrounds, just worked. Overall, the day was a wonderfully luxurious experience, full of laughter and positive energy that made me realise why Kate is able to create such brilliant images. She has the ability to make women feel at ease with themselves. Modelling is a whole different language from posing for your photo-pals and is as much about acting as it is about sitting pretty. Afterward I definitely had a newfound respect for models, oh and a newfound sense of sassiness. I havent demanded champers for breakfast in the office. Yet (Ed: Oh god!). My favourite image The image I most enjoyed shooting was the classic Holly picture with sunglasses, pearls, gloves, cigarette holder the works. Kate managed to capture a bit of magic and female attitude in me that rarely rears its head at work, and Im still stumped that this is actually me! Twinned with the atmospheric lighting, direction and subtle editing, this sums up an awesome day.
Nikon D800 | 70-200mm f/2.8 | 170mm | 1/125sec | f/4 | ISO 100
Below: The classic Holly shot was lit with two lights. The Bessel KQ400 with the 18in beauty dish and grid, almost centre line high up but pointing down to light Lornas dress. The backdrop was lit with a Quadra RX (in channel B), positioned right behind Lorna to accentuate her figure.
Nikon D800 | 24-70m m f/2.8 | 62mm sec | f/ | 1/125 8 | ISO 100
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Footprints |
D Nikon 800 | 7 0-200m m f/2.8 | 140m m | 1/2 50sec | f/3.2 | ISO 8 0
Costs dress black Little ASOS rom 25 f o ld e r tte h C ig a r e arrods om H ce 14 fr n e c k la arl Pe sers Brow 10 tge, Vina nham Chelte hats, s, Glove and lery jewel s sorie acces team d by owne
Above: The main light was diffused available light through a door, camera left. We used a single Ranger Quadra as a hairlight and then a reflector on Lornas left side to fill shadows.
The backgrounds. Graciously provided by Lux S Studio Dcor in Beaminster, so a huge thank you to them. We used two backdrops, Rose Pink and Black. www.studiodecor.co.uk
NEXT MONTH WE SHOOT 60S FILM STAR, ELIZABETH TAYLOR

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Craig Fleming Tattoos Portraits
inkD
Inked bodies intrigued fashion & portrait photographer CRAIG FLEMING enough to launch a personal photo project into tattoo culture. He gives a different perspective on needles and getting under peoples skin to Features Editor Lorna Dockerill
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WHY DID YOU START YOUR INKD PROJECT?

When you photograph models you realise that the images you get are not real, theyre acting. This project started when I was kicking back and got sick of shooting models because its all a bit false. Ive always appreciated the artwork of tattoos and I came across people on various shoots with them, some with sleeves and tattoos on their legs and neck, and it just kind of interested me because I wondered what makes them do it. To put something on your body which is permanent is quite a big thing. When I was a kid people with tattoos were the guys at the back of the pub, the ones you avoided. Whereas now some models have them and they actually look cool.
WHY DO YOU THINK TATTOOS ARE INTERESTING TO PHOTOGRAPH?

Its not so much the tattoos in general; its the people who have them that are interesting from a photographic point of view. Its almost like theyve covered something up, so when youre doing a portrait theyre often quite nervous. Its sometimes their front or persona, but its their character I want to get across. Some like showing them off and some are almost embarrassed of them, but Im keen to differentiate between the two. Im interested in the ones who live that life and arent just doing it for vanity, but because they love the artwork and being inked. The main point is to show people with tattoos and get inside them to see what makes them tick and why theyve done it.
DO YOU THINK YOU HAVE DISCOVERED THAT?

I think so, its like a way of life. I do think some of them get tattooed because theyre covering something up but some just love adorning themselves in them. I dont think a lot of them realise what theyll look like when theyre older.
SOME PEOPLE LOOK A LITTLE APPREHENSIVE. HOW DO YOU COMBAT THE NERVES OF YOUR SUBJECTS?
Well I dont because if they are nervous thats what I want to show. I want to show that although they are covered in art and ink, they have this vulnerability. The first girl I ever shot was really nervous and it showed in the pictures, but that was her, whereas a model will cover it up and put on this act which is what I was sick of shooting. I dont mind photographing awkwardness because thats how they felt on that day and if I can get that across, then thats the point of a portrait for me. For a project I have to shoot a person, its not about an image. Amazingly enough the actors that Ive shot in my career have tended to be the most awkward ones and more concerned about how they look. And yet these are actors that get gritty roles and so its kind of a paradox really. Theyre often more vain than models.
IT LOOKS LIKE THE LIGHTING YOU HAVE EMPLOYED HIGHLIGHTS TATTOO ARTWORK. WHAT DO YOU USE?
Its all natural light. This shoot [with Alexandra] was taken during late October in a derelict room above a fruit and veg shop in Gainsborough, so there wasnt much natural light and it just lent itself to what we were doing perfectly because it didnt suggest anything. Im trying to move away from using studio lighting and work more with natural light. I just liked it as it gave it a film quality. For a lot of my portraits Ive being doing that, putting people in the darkest parts I can find with a little shaft of light so you get an ambience rather than this polished flash photography type image.
REALLY, AVAILABLE LIGHT? THAT MUST HAVE BEEN VERY DIFFERENT FOR YOU AS A PHOTOGRAPHER WHO USES STUDIO LIGHTS?
These are some of my favourite portraits Ive ever shot because theyre so different. People look at my work and know its mine because it has that glossy, high class look to it, so with this it needs to be more gritty and real and with natural light you get that. You get where they work or where they live. If its in a shop with strip lighting,
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Craig Fleming Tattoos Portraits

FIVE MOST DEDICATED PHOTO FANS
See the lengths photographers are prepared to go to for visual art with our list of the most imaginative photo tattoos on the PM blog. Ouch!
www.photographymonthly. com/Blog/2013/1/5-mostdedicated-photo-fans
PENTAX PAINTED LADY

Dutch photography student Lotte van den Acker, 24, expressed her love for photography with a tattoo of an Asahi Pentax 35mm SLR embossed on her forearm. The result? She looks like shes taking a picture every time she lifts her arm to her face!
TATTOOIST LAID BARE
Alexandra Batty, 28, lives in Stourbridge and has been a tattooist for the past four years. We had a quick chat to her about her shoot with Craig between inking schedules.
WHAT MADE YOU WANT TO BE A TATTOOIST?
5
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Its been my dream job since the age of twelve and I think its because my auntie and uncle had tattoos. thats how it would appear when you walk in. If you light it with flash you can just kill all that and its just gone in an instant. Plus, setting up a studio flash with people who arent used to it makes them instantly more nervous, whereas if its just me with a camera set to ISO 1200 and Im chatting to them and asking them about their tattoos, they open up.
WHICH IS YOUR MOST MEANINGFUL TATTOO?

On the back of my leg I have this guns for hire which are lyrics from a Bruce Springsteen song Dancing in the Dark. That was my first. Most of my tattoos dont have much meaning, but they mean something to me from the time I had them done.
NO ONE LIKES A FROZEN MODEL. WHAT ARE YOUR FUTURE PLANS FOR THE PROJECT?
Its something I plan to do over a period of about three or four years to build up a collection. I always give the people in the pictures the images, theres no money that changes hands though.
WHAT DID YOU THINK TO SEEING YOUR COLLECTION OF BODY ART IN CRAIGS PICTURES?
Really pleased. It was a bit weird because Im not a model and havent done anything like that before. I look a bit scared on most of the photos, but I relaxed toward the end! We were having a bit of a laugh while doing it. Tattoos make good subjects because they come under the same genre as fashion I guess. People wear different clothes to show their individuality and I think its similar with tattoos.
WILL YOU BE SHOOTING THE ACTUAL TATTOO PROCESS AT ANY POINT?

Possibly yeah. Maybe for filler images but it is mainly about the people and the reason behind the tattoos. But I might do something like that if theyll let me. Well see if Ill ever have one done.
YOULL HAVE TO SEND PM A PICTURE IF YOU DO GET INKED. WHAT WOULD YOU HAVE?
I like the traditional ones like ships and things. I dont like tribal stuff and I think it should mean something to you. My Dad was into ships. Itd be something like that. I wouldnt have Snoopy on me bum or anything. Itd have to be something cool.
HOW IMPORTANT IS IT FOR PHOTOGRAPHERS TO HAVE PERSONAL PROJECTS?

It depends on how happy you are doing what youre doing. If youre happy shooting commercial stuff and paying the bills and stuff like that then thats fine. But creatively, I operate like an artist in a way; I shoot what I want first and then chase work. I havent lost my passion for it. When you get your teeth into something that youre really interested in, you carry on riding that wave and it turns into something else. For me it was always about producing beautiful images and getting under peoples skin to show who they are. http://craigfleming.4ormat.com/
I WAS USING A 24-105MM F/4L, BUT ID LIKE A 50MM OR AN 85MM F/1.2 SO I CAN DO MORE NATURAL LIGHT PORTRAITS; WITH A FASTER LENS, IN THESE DINGY PLACES I WOULDNT HAVE TO RAMP THE ISO UP. ID RATHER SHOOT A LITTLE BIT FASTER WITH A SHALLOWER DEPTH-OF-FIELD.
Advertorial
Lenses 24-70mm
24-HEAVENTY
Exotic glass maybe out of our reach to buy, but for the price of a night down the pub, you could have three amazing days shooting with top end technology, Nikons AF-S 24-70mm f/2.8G ED
here are a few characteristics that are hugely desirable in lenses. Unfortunately they tend to only be in that kind of really expensive glass that is the preserve of professionals. You know, a fast constant f/2.8 aperture, lightning speed autofocus, and optical quality that can really make the difference to your images, can give them a real sense of depth and edge. This kind of glass often costs half a months wage, and are the stuff of long term savings or lottery wins. But there is another way. If you can afford 40, you can have Nikons AF-S 24-70mm f/2.8G ED! Okay, not to keep, but what about for a long weekend? Imagine just how inspiring
it would be to see your images lifted from the good to the simply stunning, to shoot beautiful, wide aperture soft bokeh portraits, crystal clear landscape vistas that you could almost walk into and, lets be honest, just attaching a Nikon 24-70mm to the front of your D7000 or D3200 would make you feel amazing. Well you can. Simply give Lens Locker a call or log onto our website and book your lens online. www.lenslocker.co.uk www.facebook.com/LensLocker @LensLocker
Atmospheric Moments
Rob Tarren Tramlines Nikon D800 | 70-200mm f/2.8 | 200mm | 1/1600sec | f/2.8 | ISO 125
KEEPING IT
Being a photographic illusionist is really a true art. Here image wizard ADRIAN SOMMELING tells Jade Price exactly how he creates the magic in his photos
e all love photos that make us look twice, question their credibility or just make us say, wow I wonder how they did that? Thats certainly the case with magic-man Adrian Sommelings work.
CONJURING UP IDEAS
Perhaps one of the most difficult elements of an image that appears to defy reason and reality is coming up with the concept in the first instance. For Adrian, innovative creative compositions such as children flying around on windmill sails or being lifted into the air by gusts of wind are ideas which are often fuelled by emotions. Ideas often just pop up in my mind, normally after I see a situation that plays with my emotions, he says. That can be sadness or frustration but most of the time its something which made me laugh. Sometimes its something I read in the news, or a situation in the street, but often it is my son who does things that remind me of my own childhood.
THE REAL DEAL

Though it may be hard to believe, almost everything in Adrians images is real. While models and certain aspects of the image may look like CGI, Adrian is adamant that almost all elements of the image are real and that the magic comes from the way in which all of the parts come together in Photoshop. Adrian admits that he may draw small elements within his images but this is rare and he likes to avoid it as much as possible. He says: Almost everything is real. I mean, I dont use CGI images and I only occasionally draw a little bit by hand like snow or rain, but thats very rare. I do sometimes change the texture of materials by overlaying them with another texture. All the photos that I use for a composite I shoot myself.
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REAL?
Adrian Sommeling WOW! backstory Technique
The Worker (Part 1)
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Wind
Perhaps Photoshops biggest involvement in Adrians photos, apart from creating the final image by piecing the different layers together, is the use of shadows to apply a more believable finish when coupled with Adrians use of natural lighting, which he always tries to use. Most of the lighting is done by natural light and my three speedlights, Adrian reveals. What I do in Photoshop is emphasise the lights and the shadows. Sometimes I use a kind of lens flare brush or mask for the final touch. By adding in shadow and perhaps a touch of light to certain areas, Adrian is able to make his photos of the seemingly impossible look almost plausible and the eye is happy to sit back and believe in the final image before it. Adrian has some particular favourites when using Photoshop actions, with the dodge and burn tools appearing in all his photographic creations. They are the tools that I use to emphasise light. I never use these tools on the real image, but always on a new layer upon the layer that I want to edit, the photographer says. I fill this layer with 50 per cent grey and put the blending mode on soft light. This is what adds the final layer of believability to Adrians images.
BUILDING BACKGROUNDS
The backgrounds to Adrians images hold a high level of importance to making the finished product look realistic, and for the series of Adrians giant humans taking over the city, some serious location scouting had to be carried out. Once he had found locations that fit the specific composition Adrian had in his mind, all he had to do was shoot them and
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Windmill Fun
then rope in some helpful handy friends from an office to pose as the giant subjects. It was then up to Adrians Photoshop skills to pull the elements together to create the series of images which look like people rampaging through the city, Godzilla style. The key, he says, is making sure that the natural light and positioning of the speedlights ensure that the lighting and shadows fall in exactly the same way as those in the original background image. Using realistic backgrounds is paramount to Adrians want of realism in his images. He says: When I think about an image, I have something in my mind. Compared to many advertising photographers I cant let somebody build the background, so I go outside and drive around until I find a background that comes close to what I have in mind. Often not everything is there that I need for my background so I take more photos at different places and put them together to make one final background.
THE HARD GRAFT

Adrians kit is relatively simple, using a Nikon D3100 and with a 50mm prime lens or a 10-20mm Sigma lens for the majority of the background shots, accompanied by natural lighting. The lighting for the models needs to be recreated to mirror similar effects in the background image, and so for this the photographer uses three YN560 speedlights and a RF602 trigger. Setting up all these different elements for one mind-blowing image can be a little time consuming as you may expect, as Adrian
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explained that location scouting and shooting takes up the most of his time for each image he produces. He says: Its not only because backgrounds are hard to find, but also because I like to take my time in searching for the right background that will fit my idea. Adrian went on to say that after the task of finding and shooting the background is complete, photographing the models is a quick and easy job as it only takes him around ten minutes to set up the lighting and then take the shots. He estimates that photographing the models normally never takes more than an hour to complete. The harder graft occurs in the post-production, which can take Adrian up to four hours before the finished image is in front of him.
ALL IN A DAYS WORK

From the array of Adrians impressive images youd think it would be difficult for this Photoshop wizard to pick a favourite, but you would be mistaken as he landed easily on his image Snowball Fight (right). He says: It turned out exactly how I wanted it and I had also never made snow before and always wanted to try it. It doesnt always go so smoothly and to plan however, as Adrian struggled with the production of his image Angry Birds (below). The shooting of the photos was terrible, explained Adrian, and I really had to force everything in post-production to make it all a little bit more believable. I am still not satisfied with the result. It appears perfection can be hard to master even with total control over all the elements in Photoshop. But we like what we see.
ADRIAN ESTIMATES THAT PHOTOGRAPHING THE MODELS NORMALLY NEVER TAKES MORE THAN AN HOUR TO COMPLETE. THE HARDER GRAFT OCCURS IN POST-PRODUCTION, WHICH CAN TAKE ADRIAN UP TO FOUR HOURS BEFORE THE FINISHED IMAGE IS IN FRONT OF HIM.
Angry Birds
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Snowball Fight
BIOGRAPHY
Born in 1966 and one of four siblings, Adrian took a great interest in his mothers art work, painting and drawing alongside her when he was a child. This gave him the grass roots for innovative and imaginative thinking that would later lead to his inspiring images. After his military service in 1990 he started his own graphic design agency, combining this with the biggest inspiration in his life, the birth of his son, he started his creative and eye-catching photography in March 2011 alongside designing and programming websites. Scan the QR code to see Adrians Photoshop work in action. www.adriansommeling.com
! IN THE OW
BRUARY I FE
L UE * AST SS
ONTHS W M
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Atmospheric Moments
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Darren Evans Cardiff Bay Canon 7D | 24-105mm f/4 IS USM | 28mm | 806secs | f/8 | ISO 100 | Lee 0.6 ND Soft Grad and Lee Big Stopper
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Nature
Paul Coghlin Nature
Technique
B LO O MING MARVELLOUS
Encapsulating blossoming petals in a 30-strong picture series gained PAUL COGHLIN a prestigious Fellowship from the British Institute of Professional Photography (BIPP). He tells Lorna Dockerill how he did it
seal of approval can float into the arms of photographers in numerous ways. Whether its the knowing nod of appreciation from a proud parent beaming over their child caked in mud buried within the pages of the family album you printed, or a Flickr follower rating your latest pictures and adding them to their favourites. For Suffolk-based photographer, Paul Coghlin, it was receiving recognition for his excellence in fine-art photography after being awarded a Fellowship by the British Institute of Professional Photography (BIPP). PM chatted to the professional photographer about the needs and musts for his Petalum project which helped his career bloom.
BROWNIES AND PLANT POTS

I started to photograph flowers, with the intention of producing art-based work rather than just a pretty picture, this came as a result of some pale-pink tulips in a terracotta pot given to us as a gift a few years ago, Paul says. It had been sitting next to our kitchen door for a week or so in the spring sunshine, and one day I brought it indoors to see if I could develop my own floral photography style. And grow a trademark trail of imagery he did. Paul whose love of photography began at the age of 12 after becoming fascinated by the reversed image his grandparents old box Brownie camera produced received an Agfa 126 film camera for his 13th birthday and the rest is history. Soon I was developing my own 126 cartridge films and producing my own prints using my parents airing cupboard as a make-shift darkroom, Paul tells PM. Although most of the linen was taken out for developing, I imagine some must still have had the slight odour of chemicals! the 45 year old adds.
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BETWEEN THE SHEETS

When selecting a paper to emphasise black and white contrast, Paul opted for Hahnemhles smooth Photo Rag 308gsm, which is a popular product for fine-art prints due to the fine, smooth surface. Paul says: Photo Rag worked best for the botanical prints as it provides a more naturalistic feel to the photographs and is completely matte, so there are no problems with reflections masking some of the photographs details. For vibrant projects Paul recommends a paper such as Ilfords Gold Fibre Silk with the appropriate ICC profile for punchy blacks and good colour. www.ilford.com www.hahnemuehle.com
KODAK PORTRA 400 FILM

Though Kodaks demise is still fresh in our minds, this film, which is designed to deliver great colour saturation with various lighting, is still available to buy on Amazon. With its colour capabilities that are ideal for skin tones, it wasnt an obvious choice for Pauls black and white floral portraits. His reasoning was down to the lack of grain. Some of the earlier botanical photographs on the Mamiya were of pink flowers and I found that the new wide-latitude Portra 400 film worked well with these, especially with the often relatively low-lighting levels, and allowed more control during the digital conversion to black and white. Plus it has very low grain for an ISO 400 film.
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Paul Coghlin Nature

A CAPTIVATING PROJECT
After picking up a degree in environmental science and 20 years working in technical jobs, Paul pledged to make his fine-art photography a full-time occupation in 2011. Since then he slipped the BIPPs Photographer of the Year Award 2010 under his belt for the image Pink Tulip, Study IV. Combining his strong interest in the natural world and his individual fine art approach to botanical subjects, Paul put his knowledge into practice with a complete series named Petalum.
Technique
COMPILING A SERIES
There were quite a few requirements for the Fellowship submission, but the main ones were that I needed to compile a series of twenty photographs of a specific subject which had a consistent style and high-quality throughout, plus produce these as highquality prints. It took quite a few months to compile, Paul says. On top of this, a profile of work was also needed, which meant discussing each image in detail, but he found this a cathartic procedure with the added benefit of a BIPP mentor. I found that the process of working towards the Fellowship which also included the opportunity to receive feedback from a BIPP mentor very valuable in that it pushed me artistically, even further than my earlier Associateship submission had done. It really makes you concentrate on style, intention, image, print quality and so on. And, of course, after all the hard work, it also validates your work on an international and professional level, says Paul. The Fellowship (FBIPP), which is attainable for distinguished and exceptional ability and creativity, holds a higher status than the Associateship (ABIPP) and Licentiateship (LBIPP), but what was it that impressed the panel of assessors? Im not entirely sure, he ponders. Perhaps part of the interest in the images is that the monochrome style in some way suggests a more classical approach to photography, hinting at those images from the late 19th and early 20th century. The entire series also maintains a minimalistic style throughout with a high level of detail which may have contributed.
FILM VS. THE D800E

Clicking with a Mamiya RB67 Pro SD camera, a 90mm Mamiya lens and using Kodak Portra 400 film accentuated the intricacy in the first few images of the project and enabled Paul to print larger sizes with the 6x7cm film size. However, Paul soon switched to the Nikon D800E and a Nikkor 60mm macro. This was because of the reduced depth-of-
field limitations for a given light level in macro photography, and it took a considerably lengthy period of time to set up. The set-up time [with the RB67] took much longer than with a DSLR, he says, especially with the focusing, and also compensations were needed to take into account the extension of the bellows and so on. This again would reduce the accurate predictability of the final image on the film. And when youve got a number of cut plants waiting to be photographed, the longer the whole process takes, the more likely it is that they will be affected by the waiting time. Although the RB67 works very well for non-macro work or macro photography where a shallow depth-of-field is required,
for this specific series it was clear that a camera such as the new high-resolution FX Nikon D800E, which had become available just at the right moment, would be far more practical. The filmic quality produced from the Mamiya won in the detail stakes when the images were scanned professionally, but, though the Nikon smoothed out the finer detail, it had much less grain when photographing the flowers, which were chosen for their unusual and intriguing appearances on their velvet background. If you would like to see all of Pauls 30 Petalum images from the series in print, pictures will be on display at the Contemporary Ceramics and Photography in Clare, Suffolk, throughout February.
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IF YOU WOULD LIKE TO SEE ALL OF PAULS 30 PETALUM IMAGES FROM THE SERIES IN PRINT, PICTURES WILL BE ON DISPLAY AT THE CONTEMPORARY CERAMICS AND PHOTOGRAPHY IN CLARE, SUFFOLK
PERSONAL FAVOURITES
Though Pauls series has a special meaning thanks to its recognition, the photographer is far from a one trick pony. With a varied portfolio, which ranges from snapshots of an elephants wrinkled trunk to glossy spot coloured Hot Rods, what are his favourite images from his collection to date?
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1 2 3
First off its the image which won him the Digital Printer of the Year 2010 from B+W Photography magazine. Lions Stare II is very much one of my overall favourites as I feel its a strong image of a powerful animal but also that it achieved everything I had visualised for the photograph. Second is Sentinel, a long-exposure coastal study. I came across a zig-zag sea groyne during a photo trip and the shape immediately lent itself to an abstract photograph, giving the feeling of being drawn out into the sea to the vanishing point. It was worth enduring the howling freezing wind and terrible weather though, as Im very pleased with the abstract minimalism of the final image. Finally, a picture from a series he shot in Berlin. Memorial, Study V was taken on a Mamiya 645 Pro TL camera and 45mm lens, using Fuji Neopan Acros 100 film. I was working to capture the sombreness I felt while visiting the memorial in this abstract study, which I feel it achieved.
Paul Coghlin Nature
Technique
WHY THE BIPP?

With over 100 years of experience supporting more than 3,200 worldwide photographers, the BIPP is recognised for its qualifying organisation that covers a whole range of genres. Their core aims are to train, qualify and support the wellbeing of professional photographers, with benefits including portfolio reviews and exclusive UK access to the Federation of European Photographers. Annual Membership: 150 for Qualifying and Qualified members/50 for students www.bipp.com
STAMP OF APPROVAL
The qualifications the BIPP offer are as follows:
LICENTIATESHIP (LBIPP)
An established professional level of skill and competence
ASSOCIATESHIP (ABIPP) FELLOWSHIP (FBIPP)
A high standard of craftsmanship and creative ability Distinguished and exceptional ability and creativity
For qualifications the assessors look for:
TREATMENT OF IMAGE:
Print quality Tonal range Graphic stability Design Texture Workmanship Technique
CONTENT OF IMAGE:
Creativity Subject matter Interpretation Composition Centre of interest Perspective Direction Use of/control of light Style Expression/narrative The wow factor Freshness
BIOGRAPHY
Award-winning photographer Paul Coghlin was born in south London and now lives in Suffolk, east Anglia. He established his own business in 2009, specialising in fine-art photography. To date Paul has been given a number of awards, including BIPP Photographer of the Year 2010, and the Peter Grugeon Award for Best Associateship Panel. He has also gained representation in California, at the Weston Gallery (Edward Westons family gallery) and the Sea Pictures Gallery in Suffolk.
www.paulcoghlinphotography.com
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Wild Britain Amphibians
Nature
HOP
A BIG JUMP
In the last instalment of our Wild Britain series, ecologist and wildlife photographer SIMON BOOTH covers amphibians as they embark on their dangerous migration across our countryside to their breeding ponds and lakes
s an ecologist working on the front line of wildlife conservation, I am in the fortunate position of being able to work in the countryside on a daily basis and as part of this, am able to have some involvement, with the aid of legislation, in how our wonderful variety of plants and animals are protected in the long term. While undertaking this work it recently struck me that it would be a good idea to document fully, the plight of a particular group of animals as a way of making my pictures more saleable. By having in my collection, species groups with full ecological coverage rather than patchy coverage, showing only typical behaviour in other words, the norm I could possibly have greater appeal to buyers. In order to stay ahead of the game in todays market place, full pictorial packages are well worth considering if you want to stand any chance of making any money with your pictures. If this sounds appealing, do your research and choose a species, which is currently getting press attention, but not so much targeted at national press or species known globally, as they tend to be pretty much covered already. Im afraid this sort of work will mean the overlooked species, those that are declining but have not yet, or unlikely to get, everyone hopping up and down in front of parliament waving billboards around. There is an advantage to this. Declining species are everywhere today it seems and better still, the chances are they are likely to occur within a couple of miles from your home. The particular group of animals that I have chosen for this feature is amphibians. Think of frogs, toads and newts and your thoughts dont immediately turn to photography. However, these endearing little animals have a big story to tell and whilst they may seem pretty boring to most folk, during my time working with them, I had to implement a range of key photographic skills to get the images that I wanted.
SKIP AND
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COMING OUT OF HIBERNATION

Each spring, amphibians appear in their hundreds of thousands in our countryside as they re-emerge out of winter hibernation and begin to move en-mass to ponds and lakes where they mate and spawn the next generation. What many people fail to realise is that amphibians only spend about four months of the year in the aquatic environment, with the rest of the time being found in terrestrial habitats foraging for food, seeking refuge and ultimately hibernating again. For my first picture in the series (top right) I wanted to show an amphibian, in this case a smooth newt, on land but showing night-time migration as this is when most of the migration activity takes place to avoid predation. The shot was taken on site and during the daytime for convenience, but with all ambient light excluded, the idea being to simulate moonlight as best possible. For this I used three Canon flashguns; two placed to the front of the newt with the power output set to 1/16th power and a third gun placed behind the newt with the power output set to 1/4 power with the cameras ISO at 100. A shutter duration of 1/200sec was chosen with my camera working in Manual mode. Most modern cameras will synchronise with flash at this speed, but with slow moving species such as newts, a longer shutter duration would have worked too. If working during the hours of daylight with flash as your light source, you must be sure that the required shutter speed for your chosen aperture is sufficiently fast enough that all ambient light will be excluded to prevent a second image appearing on the shot. This is referred to as ghosting. I used a 100mm macro lens with the aperture set to f/18 to give plenty depth-of-field to cover the scene without compromising optical quality. Because amphibians do migrate during the day as well, albeit not as often, it is important to show this too. This particular common toad (middle right) was found under a rock on a dry river bed in France. Before putting it back I photographed it at the base of a large mature tree which had a good covering of moss over the roots. I photographed the toad at eye level to show how other small creatures see toads when they encounter them. I set my camera to aperture priority and used f/2.8 to focus attention on the toads beady eye.
Female smooth newt.
Common toad emerging.
Un-natural shelter.
THE DANGERS OF ROADS

Often migration occurs close to roads and many amphibian populations suffer heavy losses during this time, especially when ponds have become isolated from hibernation areas resulting from new road networks. Fortunately, the new National Planning Policy Framework is in place to protect biodiversity in its many forms today,
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so ponds with good populations of amphibians are unlikely to be separated by new roads in the future. However, to raise awareness of this unfortunate annual event, I decided to illustrate toad vulnerability in a number of ways. Image 1 Amphibians are adept at seeking new places of shelter and one such place following an unfortunate fall from a large kerb stone is beneath the wheels of cars parked near to their ponds. Its not a pleasant thought but without such strong images, local councils and Highways departments are unlikely to use dropped kerbs near to ponds, which would ultimately assist amphibians in getting back to where they belong. My idea was to showcase this to the public through a strong image of an adult toad sheltering beneath the tread of a car tyre at night. The shot was taken with a 100mm macro lens at f/18 and an exposure time of 25 seconds. It was taken with natural light at the end of the day but with a small amount of fill-in flash was added to give some directional lighting and to add mood. Image 2 One of my ideas was to have a picture of a toad sitting in the middle of the road, caught in the headlights of an oncoming car, with the inevitable death to follow. So that I didnt become a toad statistic, I made sure to select a lane that rarely sees any cars and used my own car for the shoot. The car lights were used to base the main exposure upon with a tiny amount of fill-in flash, set to -2 stops, to illuminate the side of the toad facing the camera to avoid an unrecognisable silhouette. Rather than remove flare from the picture I allowed it to persist as it adds to the atmosphere of the shot. The picture was taken with a 100mm macro lens at f/25 and ISO 200. Image 3 For my last image in the road sequence I wanted to get a shot of a toad actually jumping out of harms way, but this was to prove harder than I had ever imagined. In order to get an exposure time that would arrest a leaping toad at night, I had to sacrifice almost all ambient light, which meant the lovely warm light from the cars headlamps; they just werent powerful enough to register as anything other than small spots of light when used in combination with flash. My first attempt did capture the car headlamps, but not as bright as I had hoped, but the shot was always going to have to be a compromise between the two. Another hurdle I had to overcome was the immediate fall off of flash light from within a few inches of where the toad was leaping, to where the car was parked a few metres away. To remove as much of this blackness as I could, I introduced a third flashgun to illuminate as much of the road between the car and the toad as possible. In reality I probably needed another two guns for this, with five being the ideal total. In the end I
Nature
POND PREDATION
For amphibians, life can only be described as extremely tough. Even when they reach their breeding ponds they are not safe and pretty much top of the menu for most other animals. My version of pond predation was to show the unpleasant goings on beneath the surface with tadpoles, which are prone to being eaten by whole range of animals, with the most common of all being the great diving beetle. The shot you see here (bottom left) was taken in a homemade tank and it illustrates the horrific goings on beneath the surface of the pond. Obviously this is quite a shocking image and not one I will likely repeat as it just doesnt seem fair, even though it is common place in the wild. But its all about education at the end of the day, and just this week this image was purchased by a well known natural history title. Granted I made a few pounds in the process, but the magazines and journals that often use this type of image are doing so for scientific reasons and it makes the learning experience better if illustrations are provided. The shot was illuminated by three Canon 550EX flashguns, firing at 1/8th power, a Canon 100mm macro lens hand held at f/9 at 1/200sec, ISO 160.
Road crossing.
Leaping toad.
Diving beetle. placed my willing volunteer on the ground and waited for a Greg Rutherford-style leap, which I did get on many occasions but almost never in a straight line and almost always missing the plane of focus getting this right became a battle of wits. After an age of persisting I did get the shot that you see here but with one amazing discovery toads never jump with their eyes open! Obviously this is a mechanism that protects their eyes from injury, but after all my efforts this was never going to look ideal in this magazine, so in the end Photoshop was used to clone in an artificial eye. The unedited image could still be used in a science journal so the moral of the story is, never throw images away without careful consideration first.
DISPLAYING THE DYNAMICS OF A SPECIES

The glass tank used in the previous beetle image was purposely homemade with photography in mind and has proven invaluable over the years. It has two compartments, one for the animals and one for vegetation, so that the two can be kept apart, making clutter free images easy to achieve. I wanted to create an image that had lots of action in it and so came up with
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Nature
Create an infinity pool In addition to building his own tank, Simon created an infinity pool to capture the natural images pictured here. Learn the dos and donts and how to build your own by visiting our how to online guide on the link overleaf.
GETTING IT WRONG When using an infinity pool like Simons, you have to pay great attention to background and camera angle. If you shoot from too high, then the there is a good chance that you will see the base of the pool, as can be seen here. Diving frog. GETTING IT RIGHT There are ways around including the base of the pool, such as adding swamp vegetation but ultimately, playing around with your shooting angle should give an idea of what is achievable and what is not.
the idea of showing a frog as it landed in a pond (above). The image was captured with artificial lighting provided by three Canon flashguns firing at high speed. Two guns were placed to the front of the tank at 45 degrees to the glass, which avoids light bouncing back into the lens, and a third gun position directly above the tank pointing into the water. All three guns were fired wirelessly and all set to 1/32 power to ensure all movement was frozen. The tank has a removable black glass panel in the rear compartment to prevent any stray light picking out unwanted distractions behind. It is just possible that the frog is enjoying this or so it would appear by the smile on its face!
Simons homemade miniature infinity pool.
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The glass tank shown was made at home in just a couple of days using standard picture frame glass and is ideal for photographing aquatic dwelling species. The two compartments make it easy to keep your subject clear of all the messy vegetation behind, which your subject would otherwise hide in. The vegetation can also be changed at will throughout the shoot depending on the environment you wish to portray.
MAKE YOUR OWN TANK AT HOME

To see how this tank is constructed for under 30 visit Photography Monthlys website at www.photographymonthly.com/Magazine/PhotographyMonthly-articles/Wild-Britain-Create-your-own-tank-for-amphibian-photography
BIOGRAPHY
Photographing the wild world is Simons passion. With almost 30 years behind the camera, the Lancashirebased photographer specialises in pictures of Britains varied wildlife, places and environments. Hes also an ecologist and his clients include BBC Wildlife magazine, The Wildlife Trust and The Great Outdoors. www.simonboothphotography.com
For full instructions and illustrations about how to make your own tank visit the web link above.
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SUPER CAMERA BUYERS GUIDE

To tackle this species of photography youre going to need a camera that can get up close and personal with your subjects. From those with a great superzoom lens to ones with a brilliant macro function, heres our pick of the best compact and bridge cameras on the grapevine.
ZOOM
Wild Britain Cameras
Gear
NIKON COOLPIX P510

With a whopping 42x optical zoom and highly advanced VR image stabilisation, this bridge camera from Nikon should be on every macro enthusiasts wish list. With an incredible focal range of 24mm wide-angle to 1000mm super-telephoto, it is the perfect camera for capturing pin-sharp details and those little rascals in the wildlife that fancy challenging the P510s high-speed continuous shooting at 7fps.
RRP PRICE: 400 WWW.NIKON.CO.UK CANON POWERSHOT SX260

Compact, colourful and creative to its core the Powershot SX260 features 20x optical zoom, Intelligent IS and high-speed shooting, so you wont miss a moment with this portable camera. Its 58 scene detection modes allow you to fine tune the camera to your needs, and the discreet mode combined with the continuous AF will allow you to shoot wildlife on the sly. Not only does it produce high-quality images in low light, there is also an optional 40m waterproof case if you really fancy going wild.
RRP PRICE: 330 WWW.CANON.CO.UK GENERAL IMAGING X600

Part of its Power Pro series, this offering from General Imaging includes a 26x mega-zoom with optical image stabilisation to eliminate pesky wobble in your photographs. Complete with a 26mm equivalent lens and electronic viewfinder youll be able to compose your shots accurately to make the most of your subject. Record films in Full HD and utilise its High Dynamic Range feature to really bring out the vibrancy that mother nature has to offer. At a steal under 150, this is a great camera for the nature photographers wanting to advance from their compact.
RRP PRICE: 130 WWW.GENERAL-IMAGING.CO.UK OLYMPUS SZ-30MR

When it comes to multi-tasking Olympus are the masters. Complete with a multi-recording function that captures stills at 16MP and Full HD movies simultaneously, the SZ-30MR is a great companion for nature photographers who like to go on an adventure. Lightweight and compact, its exceptional 24x optical zoom and 15fps high-speed continuous shooting gets you right in the midst of the action without disturbing any natural habitats. Not only that but you can edit on the move and experiment with its 3D Photo mode to really bring your subjects to life.
RRP PRICE: 280 WWW.OLYMPUS.CO.UK SONY CYBER-SHOT DSC-HX20V

If youre a wildlife photographer thats always on the move the HX20V from Sony is a handy compact that packs all the essential features. Dont let its miniature size underestimate just how powerful this camera really is. Shooting 18.2MP images with a 20x optical zoom lens, get high quality results reminiscent of a DSLR with ease. The 20x zoom also doubles to an incredible 40x magnification to get close ups of far away wildlife. And if that wasnt enough, the Tracking Focus feature keeps your subject in focus even when its moving. Complete with GPS and in-camera editing this is a great all rounder.
RRP PRICE: 220 WWW.SONY.CO.UK
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Atmospheric Moments
Paul Jones Yamba B&W Nikon D5000 | 18-200mm f/3.5 | 18mm | 13sec | f/11 | ISO 100
MOVIE MAGIC WITH STOP-MOTION PHOTOGRAPHY MOVIE MAGIC WITH STOP-MOTION PHOTOGRA MOVIE MAGIC WITH STOP-MOTION PHO MOVIE MAGIC WITH STOP-MOTIO MOVIE MAGIC WITH STOP MOVIE MAGIC WIT
JP: How did you get the idea for the video? IR: I was in touch with the band, Delta Heavy, as I was pitching
for their music video. The track has a kind of nostalgic theme to it because it uses old 1990s dance music sounds, so they wanted that theme to come through in the video. Naturally I thought of equalising classic board games from our childhood. Then because of the dubstep drop during the chorus it seemed sensible that these board games got destroyed. Then I thought that a nice way to tie everything up would be if they were being destroyed in order to produce another Delta Heavy record.
JP: What equipment did you use for the video? IR: I had the assistance of some animation software called
Dragonframe, so my camera was hooked up to a big iMac, and a Canon 550D with 17-55mm and 50mm lens.
JP: How long did it take to plan? IR: There were a couple of weeks throwing ideas back and forth and
once they were happy with the concept it was maybe two or three weeks preparation, which involved a lot of trawling eBay for classic board games, finding a butchers block and other pieces of equipment. All in all, around four to five weeks writing and prep. Shooting was some 32 days filming over a five week period, so I feel like I only had two days off for Easter so it was pretty intense!
JP: So why did you decide to do the video as stop motion? IR: The band was interested in my stop-motion work and they
were keen for that style. Also, I cant draw or make models or anything along those lines so I tend to animate live objects, hands and things like that.
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JP: Was that difficult to get all your crew members to be around at the same time?
ie-makin ov
PHY TOGRAPHY ON PHOTOGRAPHY P-MOTION PHOTOGRAPHY TH STOP-MOTION PHOTOGRAPHY
Jade Price caught up with pro stop-motion photographer, IAN ROBERTSON to find out how he produced his mind-blowing music video for Delta Heavys, Get By
IR: Yeah my brother, who played the butchers hands, lives in London and he had to come on the weekends and shoot the butcher scenes, then in the week I would shoot all the equaliser scenes. It was a pretty intense few weeks; 12-14 hour days just plugging away! JP: Wow. So which was the hardest sequence to produce? IR: The most time consuming was definitely the Rubiks Cubes
because we had 80 to solve for each frame, so it took about half an hour to 45 minutes to solve all the cubes with the help from my two brothers, who are Rubiks Cube fanatics! We ended up doing about 18 different frames and it took so long that we had to loop the sequence, the only looped sequence in the film, but it would have taken a whole week to film if we had done each unique frame. It would have killed us! Technically the difficult sections were probably mincing up the Hungry Hippos, which was a nightmare as they have all these moving
parts and theyre surprisingly difficult to chop up with a hacksaw. There were a lot of details to line up between each frame. That shot alone took about four hours. I have to give a shout out to Annie Ward, who meticulously hand painted all the illustrations, including terrified Guess Who faces, playing cards and Hungry Hippo eyes.
JP: What part are you most proud of? IR: I am particularly pleased with the Subbuteo equaliser with the
ball bouncing around the butchers block. I had the idea to animate the ball just before I started shooting and I bounced it around, I didnt plan where it was going and it just sort of ended up in the goal.
JP: Thats pretty impressive then! So was there anything you didnt enjoy when shooting? IR: The Scrabble was a killer because there were so many little piles to change for every frame and I shot that quite early on. I was
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Ian Robertson Time Lapse Movies
Technique
hunched over the butchers block messing around with little scrabble piles and in a lot of pain because it was just such an uncomfortable position to be in for a long period of time! I thought, this is going to take forever, I will never finish in time and I will eventually go insane.
JP: I suppose as you see it coming together it becomes quite exciting. IR: Yeah and when the shots start to cut together and it takes shape
you feel better about it.
JP: Do you have any plans for future projects? IR: No more animations planned for the near future; I am keen to do
a live action film or mixed media next. Hopefully I will be pitching for Delta Heavys next music video too, which will be some time this year. Not sure I can face another animation right away! I am still recovering.
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Ian Robertson Time Lapse Movies
Interview
NUMB3R CRUNCHING
11,008 3,184 10 18 148 7 Make sure you see this amazing video, scan the QR code or visit the link below. 160 12 600 200 200
http://youtu.be/8cOt9UcYGOU
Photographs were taken for the film Photographs made the final cut The amount of hours taken to animate Frames of the Rubiks Cube equaliser Subbuteo men were hired for the shoot Hungry Hippos were harmed during the making of the film Pick-up sticks were equalised Photographs per second appear in the film The amount spent on games alone Of the original 600 was the amount spent on just hiring the Rubiks Cubes The total spent on the butchers materials
BIOGRAPHY
Ian is a recent graduate of Film Studies from Glasgow University and works as a freelance film-maker, specialising in classic stop-motion visuals and narrative short films. His hip-hop music video, Lyrical Spread, won a BAFTA New Talent Award in 2011. In 2012, Ians music video commission for dubstep duo Delta Heavy racked up over two million views in one week, won a Young Director Award in Cannes and is nominated for two UK Music Video Awards. Ians comic allegory The Phone Box has been shown at leading British film festivals and picked up a range of awards. You can see Ians earlier videos at www.bit.ly/aAfnF2 and www.bit.ly/11WeELg www.irobertson.co.uk Twitter: @ianR0B
Annie Ward, professional Guess Who and Hippo face painter, can also be found at www.annieward.tumblr.com
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STOP-GO STILLS
DSLR MOVIES Time Lapse
Technique
Having read how Ian created his impressive music video, we asked resident movie maker TOM MARTIN for the basics on how to shoot time lapse on a DSLR
ven before the advent of video capable DSLRs, it was possible to use stills cameras to make moving images. Movies are, after all, simply still images recorded and played back at around 25 frames per second, which tricks the eye into perceiving constant movement. Two creative ways of taking advantage of this are time-lapse and stop motion videos. Here is a beginners guide on how to produce them:
TIME LAPSE
Time lapse photography is in many ways the polar opposite of slow motion video. Both allow us to bend time and perceive the world in ways that would be impossible with the naked eye. By taking a series of images at a set interval, and playing them back at around 25 frames per second, we can see things occur much faster than real-time, such as a seedlings growth, or stars moving across the night sky.
3 4
ice melting or a busy street scene. Next youll need to figure out the interval of the shots youll need to shoot. This is heavily dependent on the subject youre shooting. If it is something that will take, for example, an hour to complete, a shorter interval of perhaps one shot every three seconds will work best. If it is something that will take much longer to complete, a longer interval of maybe one shot every 30 seconds will be better. Next, youll need to set up your camera and frame a shot. In most cases youll want to shoot JPEG to save space and make the end movie easier to work with. Set your white balance and exposure manually, so that they remain consistent over all of your photos. Set the appropriate interval time on the intervalometer, and start the camera taking photos.
The idea is to take a picture of your subject e.g. a mobile phone, then move it a small amount, then take another picture, and so on. When played back, the object will appear to move by itself. The possibilities of this basic technique (as demonstrated by Ian Robertsons superb music videos) are nearly endless. A good tip is to make sure that the amount of movement between each frame is quite small, and that you take lots of photos to ensure the final animation is smooth and not jerky.
EDITING
Once you have finished taking your pictures, youll need to use software to combine them together and produce a video you can actually watch. There are numerous ways of accomplishing this using different pieces of software. iMovie, Photoshop, Quicktime Pro and all professional editing suites allow you to import sequences of images and control the speed and duration they are played back at in order to produce a movie from the stills youve taken. All of these basic techniques can be expanded upon to produce some truly stunning work, so get out there with your camera and get experimenting.
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To get started, youll need a camera, a tripod and, if your camera doesnt have one built in, an intervalometer. Youll also need a suitable subject. Some good ideas include a cloudy sky,
STOP MOTION
Many of the same basic concepts apply to creating a stop motion video. This is the technique used to create animated movies like the popular Wallace and Gromit series.
DSLR Movies
Technique
A SOUND FOOTING
COVERED THIS MONTH
1
Sound
Producing a great video isnt just about capturing beautiful images. Video is an audiovisual discipline, so the success or failure of your video will also be determined by the quality of your audio
n oft quoted adage is that sound is more than half the picture and this is most certainly true no matter what type of video youre producing. No matter who the audience is for your video, theyll almost certainly watch something that is poorly shot if the sound (and most importantly the dialogue) is well recorded, in sync and easily audible. The reverse, however, is not true. Unfortunately, the importance of good quality audio is often overlooked, and that issue is compounded by DSLRs being almost completely unsuitable for recording audio, and possessing little or no functions which aid the user in recording good audio. When compared to video cameras, they lack many vital audio-centric features and functionality. Until the Canon 5D Mark III came along, no DSLR had a headphone socket to enable you to monitor what you were recording, or any means of manually adjusting the levels of the audio whilst recording. Most entry- and mid-level cameras still lack this basic functionality. You might ask, how can I record good quality audio using a DSLR?
Thankfully, necessity is the mother of invention, and there are a number of ways of achieving a good audio recording, they just require a little bit of work. Ill cover a few possible scenarios, and how to record the best possible audio in those situations.
GENERAL SHOOTING
For all but the most basic of situations, the inbuilt microphone in your DSLR just wont cut the mustard. The first step to improving the quality of the audio you can record is to invest in a decent quality external microphone. This will sit on top of your DSLR mounted to the hotshoe, and will plug in to the jack present on most DSLRs. This will immediately increase the quality of the audio you can record, and is perfect for capturing useable sound when shooting in a large variety of different situations. The best currently on the market is the Rode Video Mic Pro, which is available at a very reasonable 130. However, if youre looking to record dialogue, youll need to use a slightly more complex method.
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ITS ALWAYS WORTH LISTENING OUT FOR BACKGROUND NOISE THAT COULD AFFECT THE RECORDING BEFORE PRESSING RECORD. COMMON CULPRITS INCLUDE HEATING PIPES, AIR CONDITIONING, TRAFFIC NOISE, COMPUTER FANS, FRIDGES AND A MULTITUDE OF OTHER NOISES THAT WILL SPOIL YOUR RECORDING WITHOUT YOU EVEN REALISING.
EXTERNAL RECORDERS AND SCRATCH SOUND

To record great quality dialogue youll need to employ a system used since the dawn of Hollywood; recording sound externally to the camera itself. This technique bypasses all of the problems associated with recording sound with DSLRs, at the expense of adding another piece of equipment to your setup, and having to sync the sound in post-production. The basic technique involves the use of an external recorder such as the Zoom H1n, which has much higher quality audio preamps built in, has a high quality built in microphone, and can also be used with a good quality external microphone. There are a couple of ways to use this recorder. First, its small enough to be mounted directly on top of your camera using the hotshoe. This will enable you to use its high quality built in stereo mics and high quality recording formats to capture a much better audio recording than the DSLR itself. You could also pair it with a good quality external lavalier microphone, which is a small microphone which clips onto the subjects clothing, and place the recorder discreetly in their pocket, enabling the easy recording of great quality dialogue remotely. The key in both cases is also to record audio in the DSLR at the same time. This is known as a scratch track, and the relatively low quality recorded by the DSLR doesnt matter, as the scratch track will be discarded at the editing stage. Once the filming is complete, the two audio recordings can be synched up in the editing suite, either using a clever piece of synching software like PluralEyes 3 or the one built into Final Cut Pro X, or manually, in which case its best to use a clapper board (or to just clap your hands!) before the start of recording to give you a common sound over both recordings to enable easy synchronisation. Once the tracks are properly synched, discard the low quality scratch track and youll have great quality audio synched to your beautiful images. In practice, it does add a bit of work at every stage of the production, but it is the best solution to recording high quality audio when using a DSLR. If youve got the budget, you could also invest in a higher quality recorder, such as a Zoom H4n, which is the H1ns big brother. This
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features professional balanced XLR connectors, enabling the use of high quality (but expensive!) professional XLR microphones, such as a shotgun mic or boom mic to record your audio with, allowing even higher quality audio to be recorded.
TIPS AND ADVICE

Now you know what equipment to use to overcome DSLRs audio shortcomings, its worth looking at a few tips and tricks to ensure you can get the best recording possible in any situation. Generally speaking, the best advice when recording audio is to get the microphone as close to the person or sound source as possible, without ruining the shot. This will ensure a high quality, crisp recording. Another common mistake to avoid is setting the recording levels too low or too high. Both will result in unusable audio. Its best to take some audio levels prior to the start of recording, and adjust the recording levels so that the sound is peaking at its loudest point around two thirds of the way up the audio levels displayed on the cameras or recorders monitor. Another common mistake is to record audio somewhere with lots of background noise, which in most cases is almost impossible to remove properly after recording. While you might not notice it, there are very few places that are completely silent. Our ears are clever enough to block out a lot of useless background noise, but microphones are not as discerning. Its always worth listening out for background noise that could affect the recording before pressing record. Common culprits include heating pipes, air conditioning, traffic noise, computer fans, fridges and a multitude of other noises that will spoil your recording without you even realising. Minimising them where possible will ensure your audio recording sounds as good as possible. You should now be well equipped to record some great quality sound using your DSLR, but thats just part of the story. Youll also need to learn how to combine that with music, sound effects and foley when editing to produce your final video which will have great sound. Well cover those techniques and much more in a future issue of the magazine.
DSLR Movies
Technique
HEADPHONES BUYERS GUIDE - TOMS TOP 5

A good set of headphones is vital to allow you to monitor the audio youre recording in the field so youre not left with any nasty surprises when you return to do your editing. The best monitoring headphones give a clear, neutral sound which doesnt colour the recording in anyway, making it easy to hear if theres any problem with the sound youre recording. While you can use budget, consumer headphones to monitor audio, if youve got the cash its worth forking out for the professional headphones, they do make a huge difference!
1. SONY MDR-V150 - 14: These entry-level on ear headphones are

ridiculously good value for money. Originally meant for DJ monitoring, they have a flat frequency response giving a clear, neutral sound. For only around 10 online, you cant go wrong! 2. SENNHEISER HD 201 - 18: Another entry-level set of headphones
whose performance belies their reasonable price. Well built and with great outside noise isolation, theyre another great value choice. 3. SENNHEISER CX 300 II - 32: These in-ear headphones provide fantastic levels of noise isolation, great sound quality and are small and discreet. Great for when you need to travel light, or shoot in very loud environments. 4. SONY MDR-7506 - 100: The professionals choice, and a common sight on film sets across the world. These are my headphones of choice for on set monitoring. They have a sharp, neutral sound which is well isolated from outside noise to ensure you can hear whats being recorded. Theyre also rugged, and fold up to save space. Well recommended. 5. SENNHEISER HD 25-1 II - 170: Another industry standard commonly seen on video shoots and film sets. Robustly constructed, and with a rotatable capsule for one-ear monitoring, these are another very popular choice.
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SOUND JARGON BUSTER

CANS
On set nickname for headphones.
DSLR Movies
Technique
LEVELS
The volume at which sound is recorded. Should be adjusted manually so that it is not too quiet, or too loud.
[GLOSSARY]
Here are some common terms you may hear with explanations of why they are important
PEAKING XLR
The maximum level that the audio recording reaches.
Industry standard connector, allowing high quality audio to be recorded. Not available on current DSLRs.
CODEC
A codec, short for compress/decompress, (AVCHD or H.264 are common in DSLRs/CSCs) is the means by which the images captured by the camera are compressed and stored. As the name suggests, the images are compressed during this process and therefore lose quality much like a JPEG file. Its important to understand the strengths and weaknesses of the codecs your camera uses in order to maximise the quality of the final image recorded.
FRAME RATE
The number of still frames that the camera captures per second, giving the impression of a moving image when played back concurrently. The UK standard is 25 frames per second (fps), which gives a filmic sense of movement in the resulting video. Higher frame rates e.g. 50 and 60 frames per second give a smoother, more soap opera video look, or can be slowed down when editing to give a nice slow motion effect.
APERTURE
Controls the amount of light entering the lens, and is measured in f stops. It also controls the depth-of-field in an image. A larger aperture (smaller number) lets more light into the lens, creating a shallower depth-of-field and blurring the background out of focus. This is a key element in creating the film look. (Also see ND filter).
ISO
A neutral density filter is best described as being like sunglasses for your camera. It is a filter which fits over the end of the lens and reduces the amount of light entering the camera. This is the best way to control exposure, as it allows you to use the aperture to control depth-of-field, and allows the use of wider apertures even in bright sunlight.
ND FILTER
This setting changes how sensitive the camera is to light. The higher the ISO the more sensitive the camera is, allowing you to shoot in low light conditions. DSLRs are generally very light sensitive, and allow the use of higher ISOs than traditional video cameras. However, you must be careful not to use too high an ISO, and shoot in multiples of 160 to avoid unpleasant noise in the image.
PICTURE PROFILE RESOLUTION
A very important setting which alters how the camera produces the final image. As DSLRs are not meant for shooting video, some important tweaks need to be made to set the camera up to shoot good quality video.
AUDIO
More than half the picture, recording good audio is a vital part of creating a good video. It can be diegetic (recorded live at the time of filming, e.g. speech) or non-diegetic (added afterwards during editing, e.g. music or sound effects). Learning how to record quality audio and combining it with music and other sound effects is vital to the success of your video project.
A measure of the size and number of pixels the video contains. Most DSLRs will shoot in 1080p HD, which is 1920 pixels horizontally and 1080 pixels vertically. Similarly, 720p is 1280 pixels horizontally and 720 pixels vertically.
FOCUS
Focusing when shooting video needs to be achieved manually, as auto-focus technologies cannot accurately keep up with a moving object, meaning the operator has to manually pull focus to keep a moving object in sharp focus. This can take some practice!
The rate at which the shutter opens and closes per second. Unlike stills photography, to maintain a constant sense of movement the shutter needs to be kept constant throughout filming, and cannot be used to control exposure. For a filmic look, its best to use a 180 degree shutter, which for 25fps is 1/50sec.
SHUTTER SPEED
EDITING
WHITE BALANCE
A necessity when shooting video, it refers to the construction of a programme, usually with a cohesive story, from the elements captured during the shoot. It is necessary to shoot for the edit when creating a video, meaning to think about how the different shots you are gathering will fit together, and ensuring you capture enough footage to guarantee this can occur.
Is a setting which tells the camera to capture the colours it sees correctly, even under different light sources. Unlike when shooting Raw stills, white balance cannot be altered after filming when shooting video on DSLRs, so its important to get it right when filming. You can still use auto white balance, or balance manually. As a general guide, around 3200K is correct for tungsten (red shifted) light, and between 5600 and 6000K is correct for daylight (blue shifted) light.
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Workshop Dates for 2013

March 2013
March 19th - 23rd Isle of Skye/Glencoe (1 Place) Email for pick up and parking in Lakes
April 2013
April 5th - 7th Shropshire Hills and Wild Horses (1 Place) April 8th - 11th Northumberland and Borders (1 Place) April 12th - 14th Dorset Jurassic Coast & Wiltshire (1 Place) April 19th - 21st Lake District Spring Workshop (1 Place)
May 2013
May 10th - 12th Lake District Spring Workshop inc Bluebells and Wildflowers (1 Place) May 14th - 18th Isle of Skye/Glencoe in Spring Inc Wildflowers and Macro (1 Place) Email for pick up and parking in Lakes May 23rd - 26th Norfolk Coast, Windmills Wild Flowers and Marsh Harriers (2 Places Left, Maximum 4) 3 Nights Dinner, Bed and Breakfast 595.00
May/June 2013
June 21st-1st July Iceland Glacier, Geysirs, Waterfalls and Coast Tour 10 Night Tour
MEET ME AT FOCUS IN PHOTOGRAPHY ON THE PLOT IT STAND K5
July 2013
July 5th - 8th Yorkshire Limestone and Waterfalls 3 Nights 595.00 (2 Places)
vel ra
P HEA AY C W A GET
Poland Krakw
Technique Travel
HISTORY
n a photographers bucket list of travel destinations, where we know cameras will get a real work out, the usual suspects come up trumps; the Bahamas, Paris, Rome, New York, etc, we could go on dreaming forever. Last month Katy took you on a roadtrip of a lifetime across the concrete jungle of America, capturing iconic monuments in our visual capsule of wonders the world has to offer. This issue, however, my travels take us far beyond the sunny elations of the US, instead choosing to explore the streets renowned for rather more sombre historical reference and perhaps as the stag do capital of Europe. This was a trip that I wanted to be educational, emotional and eye opening. My wife, Lemara, and I ventured overseas on a mini break to Poland, well Krakw to be precise, with my Nikon D800 and V1 in tow. Its reputation may be in despair, and its history full of trauma, but for a photographer
RECAPTURING
With European breaks being so cheap and accessible, NOEL HIBBERT hops on a plane to Krakw, Poland, to tick off another destination on his travel photography must do list
with a passion for culture it was an interesting experience designed to captivate the mind, with the aim to try and record our experiences in very different ways.
Armed with a Nikon D800, it was my frozen fingers that let me down on the first day in Krakw, the second largest and one of the oldest cities in Poland.
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Lemaras iPhone, instagramd picture of St Marys Basilica.
Auschwitz 130 zoty Wieliczka 130 zoty Coffee 12 zoty 2 Light lunch 15 zoty 3 Train 12 zoty 2.50 Toilet 1 zoty 20p
26 26
Food Excursion Excursion Food Public Transport
The currency in Poland is zoty Some approximate costs in pound
If using a CSC or compact camera at night, take a mini tripod with you so that you dont face camera shake If you plan to go on a day trip take a guide with you instead of going in a group, youll have more chances to stop and take photographs instead of moving on swiftly with the rest of the crowd Soak up your surroundings first, then decide what to shoot. If youre really eager then preplan your photography musts With a DSLR shoot at night time using a tripod to get some unique photographs with long exposures of the trams Climb one of Krakws many churches to get a great panoramic view of the city, this is where an app, such as Panorama or Photosynth, on your camera phone would be an ideal companion Travelling by tram is easy and inexpensive so make sure you explore the city to find the perfect photo opportunity Find the positives in Poland, dont just focus on the negatives, its a lovely city
Weather for stay
Mid January
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Temperatures plummeted from our unusually warm winter back at home and it took hours for my body to acclimatise to the snow-ridden city before my camera could make an appearance. But once my fingers (and other body parts!) had thoroughly thawed, we found Krakws winter wonderland scenery to be a great place for street photography; the variety of sites on offer, from war remnants to architecture and the characters you come across, on top of the accessibility of travel, opened up all kinds of potential photographs. Lemaras camera kit consisted solely of an iPhone and Instagram, so it was fascinating to see her results and what compositions she opted for; two very different approaches, but thats fine. One example I will share was of an up shot Lemara captured of St. Marys Basilica, so much so that I had to make a swift return and shoot it with my Nikon! Sometimes you get so caught up in trying to take the perfect shot worthy of a pro photographer instead of embracing the moment something Im sure we can all relate to. I tried to be too clever and sometimes missed what shed shot, which was often a whole new perspective; Lemara captured some decent photos for a casual snapper and definitely a lesson learned. Having the option to use a DSLR and a CSC was a great help in Poland, although the quality of the V1 didnt match that of its big brother. Lugging the big fella about day
and night would have been tiresome, so opting for the smaller, lighter V1 was ideal; memory shots of food and night time shots, as well as my own snaps convenience definitely plays its part when travelling. The cuisine was vibrant with textures that excited the eyes, while the architecture of the traditional Wawel Cathedral mixed with the contemporary Pawilon Wyspianski were awe inspiring; we were amongst such history. Reminiscent of Italian and French cities, Krakws concrete make-up was what you would expect from a European destination, full of culture with unique localised details, from the greenery to the pebbles and horse drawn carriages. For a country associated with European poverty, carrying around this mammoth and rather expensive DSLR did feel a tad intimidating at times. But the locals seemed perfectly trustworthy. In fact, street artists grasped any opportunity to be in front of a camera. At times I must admit to feeling a little like an outsider with my DSLR/CSC combo as most tourists were actually shooting on their iPhones, and to my surprise, iPads too a fact not lost on Lemara. In the summer Karkws colourful surroundings would be a treat to see once emerged from the snow that blanketed so much of the ground (and temperatures have risen above freezing), but its fairytale aura was no less diminished and more than enough to keep us satisfied for our mini break.
Lemara and myself collared for a fun shot with a local street actor.
Street shot in the Jewish Quarter of locals just off the trams.
Poland Krakw
Travel
HISTORY
The former royal capital Krakw holds a mixture of preserved Gothic buildings mixed with contemporary Art Nouveau constructions, so would be ideal for a photographer with a love of architecture. Its history is enriched with tales of sorrow and invasion as Nazi Germany took over the city at the beginning of the First World War, holding Germanys General Government and Jewish citizens who were sent to Krakw Ghetto before their horrific extermination in the camps of Auschwitz and Plaszow. Within the sealed off parameters of Auschwitz it is said that four million people suffered and died at the hands of the Nazis between 1940 and 1945.
Extended security in the Jewish Quarter spotted on the way to Oskar Schindlers Factory, Krakw.
Eros Bendato sculpture in The Market Square, Krakw.
Nikon D800 80-200mm f/2.8 lens 24-70mm f/2.8 lens 16mm fisheye Nikon V1 iPhone 4s Mini tripod Cable release
The Market Square, Krakw.
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Poland Krakw
Travel
About 60km away, around an hour by road, was a place that brings a shudder just hearing its very name, Auschwitz-Birkenau. For a place that burdens the stories of entrapment, its photographic policy was surprisingly open, bar a few exceptions such as the exhibitions which banned photography out of respect and certain rooms not allowing
flash photography it would have felt wrong to take photographs in such areas that bore prisoners remains. Laden with a history of terrible events for the Jewish prisoners and others who entered its doors, it can be a custom for photographers to switch to monotone to stress the stories behind the location.
Above: Auschwitz just before you enter the camps main entrance. Left: Auschwitz, the old electrified barbed wire barriers. Below: Auschwitz, the patrolled divide between camp sections.
Beware Ryanair are very strict with their luggage allowance so think carefully about the size and weight of your camera bag, a good reason to take a mini tripod!
EXPENSES
This was a Christmas present from my wife; we are both avid travellers and love to go on short city breaks that ooze a lot of culture great for like-minded photographers who have a passion for architecture. Booking through www.lowcostholidays. com we were able to fly with Ryanair from Stansted Airport in January and stay at the Spatz hotel for three nights for 110 each. Auschwitz, watch tower and the patrolled divide between camp sections.
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Journey times
2hrs 15mins - Stansted to Krakw
20mins - Airport to Krakw 1hr - Krakw to Auschwitz 20mins- Krakw to Wieliczka Salt Mines
However, I wanted to go against the expected black and white grain and instead utilise what colours were present at the camps, to show what it was really like. By accentuating the dark tones, bringing out the highlights and incorporating colour I walked away with a true representation that incorporated drama and atmosphere, with moody skies, instead of adding to the desaturated story. Venturing to the Wieliczka Salt Mine next, roughly 20mins from Krakw, we descended hundreds of steps beneath the surface to the 13th century mine that features dozens of statues, three chapels and an entire cathedral carved out of salt rock. Using my 16mm fisheye to capture the pure scale and grandeur of the romanticised construction, strewn with crystal chandeliers, I ramped up the ISO between 3200 and 6400 to ensure I was able to get a well exposed image we were underground remember so a camera with a high ISO in this tourist hotspot is a must! Unlike Auschwitz, photography came at a price of Z12, around 2. Compact cameras would have struggled in these lighting conditions, especially with small flashes, so a tripod would be essential. Once I had returned from my travels I couldnt wait to see the results and perhaps warm up a bit, though the weather wasnt that much better in Gloucestershire! Normally Im the trigger happy type when it comes to trips away, shooting anything from 1000-3000 photographs. But due to it being so blooming cold, the counter stopped at 600. This, in some respects, is far better than shooting until your hearts content as it makes you stop and appreciate your surroundings that much more remember, you are there to look with your own eyes too.
Interested In History?
After my visit to Poland I recently found out about the tragic tale of the village in Oradour-sur-Glane, France, massacred by the Nazis in WWII, a village untouched since, looks like a fascinating place
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Top: Railway lines leading up to the gates to Birkenau camp. Middle: Some of the shoes collected by the Nazis, Auschwitz. Bottom: Inside Birkenau where the Jews and prisoners would of been off loaded for the camp.
Poland Krakw
Travel
Wieliczka Salt Mines, 365 steps down to the first stage. This time I managed to whittle it down to a quarter of the imagery, hand-picking 150 shots from Poland and putting them through a treatment of sharpening and adding clarity to increase the drama and atmosphere. We are already planning on visiting the beautiful city filled with antiquity again, but in warmer weather. Krakw is far more than just the hotspot for stag dos and party weekends that it has become renowned for. Its history is one that every person is familiar with; but to witness it before me was an emotional experience you cant understand the magnitude of it all until you visit for yourself. As a former Communist country I would want to take a look around those most affected areas, aiming for dark and moody shots. The avid traveller always catches the photography bug and, for me, its this that keeps me wanting to explore the world even more.
BIOGRAPHY
Art Editor of PM, Noel, has been a designer for more than 20 years and a keen photographer ever since his father gave him his first camera at the age of 12. He enjoys all photography, but is most passionate about shooting landscapes and weddings. To see more pictures of his Poland trip visit www.cotswoldpictures.co.uk Twitter: @noelhibbert www.facebook.com/#!/pages/ Life-Thru-A-Lens/379172352989
Top: One of the grand rooms and its supports in the Wieliczka Salt Mines. Middle: The New Jewish Cemetery, Krakw, destroyed in the Second World War, restored in the late 50s. Bottom: View from the Wawel Royal Castle grounds looking down to the River Wisa.
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SLEEVEFACE
Inspired by images seen on the interweb, the team have some fun messing about with record sleeves, cameras and doing a little acting
ep, okay the title kinda gives away what the feature is all about. We found this concept on the web somewhere and the whole team thought it was a great way to have fun taking pictures plus we were able to rummage in our lofts to dig out our dusty old records whoop, whoop. Actually, we shouldnt need an excuse for that. Now, what looks like a very simple point and shoot job is actually not quite that simple. It depends on how anal you want to get with the background. Shooting on a Nikon D600, an iPhone 4S using the Hipstamatic app, Noels Nikon 1 V1 and Beckys LG Nexus 4 smartphone, we were essentially experimenting with what works best. After selecting a decent sized subject on the sleeve front, finding a suitable background was the next step, but to be honest, not really a major concern. We actually ended up shooting all of them in the office, using a clear plastic ruler and an assistant to hold the sleeve it would be easier to remove in post. Certainly, what I found to be the most demanding part was choosing the right focal length; in general a medium telephoto was best. A wide-angle messed with perspectives too much. This means you need space and need to watch your shutter speeds and aperture combos, particularly in low light indoor scenarios. Oh, and keep an eye on your white balance too. Other than that, go get some sleeveface!
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Nikon V1
Noely Mathis
Sleeveface DIY Photographer Technique
The Don Dockerill
Madonna Price
Nikon D600
Nikon D600
iPhone 4S
Jessica Jackson
Visit our gallery and upload your own sleeveface image

Kenny Scorogers
Nexus 4
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In a Spin
Top Tips * Capture a subject matter with a notable movement * Try to keep the lighting and exposure consistent * Spray paint the Zoetrope black to make it easier to see your moving image Create a collection of photo strips with these neat ideas * Fairground ride * Someone riding a bicycle * A pet running * A friend opening a present * If you have enough patience then why not shoot a flowers journey into bloom with the time lapse mode on your camera
In a Spin
In a Spin
As technologies are moving forward in the photography market, JESSICA BRACEY takes a step back to the oldfashioned route of making movies by building a Zoetrope
ack in the days when videos werent filmed on phones and YouTube wasnt inundated with happy snappers piping for a slot on Youve Been Framed, a Zoetrope was the Victorians form of fun and entertainment. For photography geek factoids among us, it was in fact the worlds first device to create moving images. Remember the iconic video of a horse on what appears to be a spinning carousel, that my friend is called the Zoetrope, or as it is also known the wheel of life, and was invented in 1833 but is said to date back to 180AD China. They can be as grand or as minuscule as you like and consist of a cylinder with a number of vertical slits cut into the side, these are the peepholes to see the different images inside the circular device. The secret strip of images beneath the mysterious Zoetrope show a continuous
movement or narrative and once turned at speed it creates the illusion of motion. Disney went one step beyond the traditional method of bringing the two dimensional still image to life by creating a 3D Zoetrope featuring Toy Story characters in 2007, talk about rounding up the troops! Getting a spin with Hollywood even more, the Zoetrope was most recently featured in The Women In Black staring Daniel Radcliffe. Its history is vibrant and can create hours of fun whatever the weather, playing trickery on the eyes with images you have shot yourself. On the high street today you can get a slice of the action for around 17, but why waste your pocket money on a ready-made Zoetrope when you can fashion your own with a few household items. So lets make some magic. First lets start with the image itself. Now there are two ways of producing your roll of film to insert into your homemade Zoetrope. The modern way, or the technophobe way for those who cant quite grasp the functioning of an iPhone app. Starting with the mobilesavvy photographers choice, the panoramic app. Whether youre an iPhone or Android user there are panoramic app options out there for you to choose from such as 360 Panorama, Photosynth, Wondershare Panorama, Photaf, or the aptly named Panorama. Once open and ready to capture, shoot your subject in motion and then sweep the camera right. Taking numerous shots of their movement
Quickfire step by step 1. Take images of a moving object in a continuous motion 2. Align the images together in a strip to a size that will fit inside your circular device which will become the Zoetrope 3. Once printed, place the strip into the cylinder 4. Chop into the cylinder with even vertical strips all round, these will be your viewing strips 5. Spray paint the outside of the Zoetrope black to make it easier to see your moving image (or use black card) 6. Either poke a hole in the bottom of the Zoetrope to twirl it round with a pencil or place it on a self-moving platform like a record player or Lazy Susan to make it spin
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one at a time youll create a ghostly set of images which youll need to overlay with the edge of your next shot, and then hit the shutter. Be sure to stand your subject in the middle of each panorama for consistency. Next on to the foolproof way; with your digital camera follow your subjects movements while taking a burst of shots. Ive opted for about six in total, capturing footsteps. Once youre satisfied with the outcome, measure the circumference of your cylinder (to find a cylinders circumference (C) use: C= D. So multiply 3.1415 ( ) by its diameter (D)) and open up a blank document in your editing software with these measurements. Then one by one place your set of images into the document so that they form a continuative image, then print and insert into the cylinder. Now its time for the hands on bit. With a pair of scissors carefully cut out vertical slits to the level of the image inside these will be your viewing holes. Think castle turrets from medieval times, all hail the photography palace. Once the fiddly part is over, simply spray paint the outside of the Zoetrope black to make it much easier to see the moving image, et voil! Mission accomplished. To complete your finished masterpiece into a toy ready for the playground, poke a hole in the bottom and insert a stick or a pencil to spin it round manually. Alternatively make like a lazy student and watch it twirl to the rhythm of your favourite song atop of a record player. Our choice of soundtrack would have to be Dead or Alives You Spin Me Round, naturally.
DIY Photographer Zoetrope Technique

You will need * A mobile phone with a panoramic application installed, or a digital camera (any kind will do; DSLR, bridge, compact, heck you could even shoot the stills on your mobile phone. * A cardboard cylinder or plastic pot (weve used a Quaker Oats tub) * Matt black spray paint * Scissors * Ruler * A platform to spin your Zoetrope on or a pencil to insert into the cylinder to manually spin * An interesting subject who can shake some moves (or in our case an uncompromising family member)
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Clarisa was determined to crack the depth-of-field and leading lines Boris kept talking about now he gets his magazine delivered!
The Canon EOS 6D. Ideal travel companion? Perfect second body? CRAIG FLEMING discovers the intentions of the app animal that boasts a full-frame sensor and a non-scary price tag
ccording to Canon the 6D is: Ideal for portrait and travel photography. I should hope it is too, but lets have a look and see if their claim holds water. The 6D is obviously aimed at the semi-pro or pro with its full-frame 20-megapixel sensor. Its come at the right time too given that the 5D Mark II is now discontinued to make way for the more expensive and slightly higher specd 5D Mark III. Rumours of a fullframe 7D Mark II making an appearance have now been put to bed (for the meantime) with the launch of this compact and rugged little performer. There are some interesting additions that put this camera firmly in the next generation of DSLRs. First theres Wi-Fi, which has always been available as an expensive add-on, but is now integrated into the camera body, which I have to say is impressive. Theres also an option to download an app that allows you to take advantage of that Wi-Fi and use your smartphone as a remote control for the camera, even showing you whats in the viewfinder. Second, the 6D also boasts GPS, which is probably why its being touted as the perfect travel photographers tool that and the compact size. So you see this isnt just a lower specd 5D Mark III, this is a serious contender in the mid-range DSLR arena. First time out with the 6D and Ive made the rookie error of not even thinking to check which memory card it uses. All my existing cameras utilise the compact flash card system and I assumed this would too, given the market it is aimed at. Luckily I have an SD card in my trusty old G9 Powershot, so Ive procured that for the job. Taking the 6D out into the snow-laden Peak District to shoot landscapes is a little out of my comfort zone as Im more at home in a studio or other
warm locations, but I wanted to make the most of the GPS and also the Canon 16-35mm f/2.8 that has come attached to it. The snow is a blessing in disguise really as it allows me to test how well the 6D copes with retaining detail in the shadows as well as the highlights. You can see in this image that it does indeed handle a difficult scene rather well, maintaining detail in the darker foreground without burning out the highlights in the snowy field (pictured). Thats actually quite a big ask of any camera and Im pleasantly surprised to say the least. There is a Highlight Tone Priority mode, which helps to stop highlights blowing out but this was taken without that feature enabled. As a rule Id do all my black and white conversions in Photoshops Channel Mixer but sometimes my clients want to see the effect in camera. Monochrome mode is nothing new on Canon DSLRs so I thought Id give it a shot with a bit of red filtration to put detail in the blue sky (pictured bottom right). Ive also made use of the 6Ds Electronic Level which to all intents and purposes is a built-in spirit level, meaning no more wonky horizons. I always gauge it by eye but its nice to know the feature is there whether I use it or not. If Im being picky, an audible beep confirmation signal would have been handy allowing you to use this feature whilst handholding and looking through the viewfinder. If you need further assistance
with composition you do have a choice of three grid options when shooting in Live View mode, not something I imagine many pros would use but its there should you need it. The back of the camera is relatively uncluttered and surprisingly quick to negotiate despite me being used to a different camera. All the controls are prominent enough for me to use despite wearing thick fleece gloves. Theres a handy Q button just above the Quick Control dial, which allows you to quickly access and change all the main settings without having to go through the main menu screens. Again a nice touch, simple and usable. Normally on all my DSLRs Id have a battery grip
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Canon EOS 6D
Review
SIX
QUICK SPEC
| Street price: 1649 | 20.2 megapixels I High-speed 11-point AF I 4.5fps continuous shooting I Full HD Movie shooting I Digic 5 Image Processor | Viewfinder coverage 97 per cent I Flash Sync up to 1/180sec I EF lens mount I Wi-Fi & GPS
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Review
Canon EOS 6D
Canon 6D ISO 3200
attached but I must say it is nice not to feel like Im carrying a breeze block around with me. The weight and size of the 6D, or lack of, is again a big plus point. Its actually quite a discreet piece of kit even with an L series piece of glass attached to it.
ISO
Having been so impressed with the 5D Mark IIIs high ISO capabilities I was eager to see what kind of performance the 6D would put in. Testing it alongside my old 5D Mark II may seem a bit of an unfair match, but I think its a relevant one when you think of exactly who might be considering buying a 6D. First thing that struck me was how much warmer the 5D Mark IIs image was, but I did shoot it on a Canon 24-105mm f/4L whereas I used a Canon 16-35mm f/2.8L on the 6D; white balance was set to auto on each. Shooting at ISO 3200 and with an exposure of 1/60sec at f/6.3, I expected to see a lot more noise on both images, but both cameras put in a very impressive performance. The 6D does get the edge over my 5D Mark II with impressive sharpness for such a high ISO. Sometimes were guilty of putting too much emphasis on the amount of pixels when really we should be more focused on the quality of those pixels. This camera certainly excels in this area and Id be very confident at high ISOs.
WI-FI APPS FOR SMARTPHONES

As I mentioned earlier the 6D has Wi-Fi connectivity and five minutes after downloading Canons EOS Remote app Im shooting using my iPhone as a remote with the cameras viewfinder appearing on my phone. A lot of apps these days are just gimmicks, but the ability to upload lower resolution JPEGs directly to my iPhone is something I would actually use, particularly when shooting studio work and the client wants to see the images while Im shooting. I dont like shooting tethered to a MacBook as I find it halts the flow of the shoot so this is definitely something that appeals to me. There are two options in the EOS Remote app, the first being Camera Image Viewing and that basically shows you everything thats on the card with the ability to look at images full screen or as thumbnails. The second option, Remote Shooting is the one that gives you the ability to use your phone as a viewfinder and control the aperture, shutter speed and ISO, as well as focus and take the shot. According to the App Store, EOS remote is only available as an iPhone app but I downloaded this version to my iPad and used it without a hitch so just bear that in mind when searching for it. Something else to note is that you cant view movies on the EOS Remote, although you can view the thumbnails on screen.
Canon 5D Mark II ISO 3200
the metadata so even without the Map Utility software you can still pin point the location of your images.
VERDICT
Its hard to give a true verdict on a camera without actually using it on a day-to-day professional basis over a number of weeks. However, in the short time Ive used the 6D I can honestly say that it hasnt disappointed me whatsoever. What the 6D does is fill a gap in the market; as a 5D Mark II owner Im keen to purchase a back-up body and up until now that meant getting either a 5D Mark III which has an RRP of a shade under three grand, although it is available online for 2335, or a 7D which you can now pick up new for around 1000, but isnt a full-frame sensor. The 6D currently has an RRP of 1800 but is available for around 1649 if you shop around, so you can see why this camera is starting to look all the more appealing to anyone looking to step up to a full-frame DSLR. The GPS will appeal to landscape and travel photographers and the Wi-Fi is certainly something a studio photographer like myself would get some use out of. Despite its compact size there is a certain
rugged-build quality to the body and the layout soon becomes intuitive, even though Im used to a 5D. I must say Im struggling to find anything bad to say about this camera, given the price and the quality of results, and that for me is pretty much all it comes down to. All in all its a feature packed tool and one Ive enjoyed getting to grips with. www.canon.co.uk
GPS
The integrated GPS feature on the 6D is something I can see being pretty much standard on all future models. For a travel or landscape photographer you cant deny how useful it is, allowing the roving snapper to home in on the exact location where an image was shot. The Map Utility isnt initially apparent on the EOS Solutions disc that is supplied with the camera. However, when you download the Image Browser EX software from that same disc the Map Utility instantly appears on my Mac, so just be aware of that if like me you were thinking it wasnt on there. I have to say I am pretty amazed at the accuracy of this utility and my initial thoughts of it being a gimmick are totally blown away. The longitude and latitude co-ordinates are also tagged in
[102]
BIOGRAPHY
Craig is an editorial, fashion and portrait photographer based in the Maldives... err, Sheffield. He loves working in a studio and on location experimenting with gear, finding the best lighting for different looks and effects. In his spare time, Craig likes to carry out personal downtime projects and writes a column for our sister title, Professional Photographer! www.craigfleming.4ormat.com
Tamron 70-200mm
Review
FAST GLASS
Non-marque lenses are something CRAIG FLEMING has tended to avoid since the higher-end DSLRs became available. With better sensors you needed better glass, so how does Tamrons new 70-200mm measure up?
ver the years Ive used various lenses in this focal range. Some Ive been happy with others not so, and I have to admit I dont even own a 70-200mm zoom at all, preferring to opt for Canons prime 200mm f/2.8L simply because I hadnt been happy with the quality that my Canon 70-200mm f/4L was giving me. Also, whenever I reached for that particular lens I was generally using it at the 200mm end anyway, so I figured that my prime lens was not only a cheaper option but would also give me better image quality, which it did. The chance to test the Tamron SP 70-200mm f/2.8 Di VC USD was a no-brainer, having tested their 24-70mm f/2.8 offering last summer and being more than impressed by its quality, I was eager to give this lens a run. To read Craigs review with his collection of high resolution images visit http://www. photographymonthly.com/Magazine/Gear-Tests/ Fast-glass or scan the QR code with your mobile phone.
www.tamron.com www.craigfleming.4ormat.com
FIRST IMPRESSIONS COUNT AND UPON HOLDING THE TAMRON FOR THE FIRST TIME I GOT THE FEELING THAT IT WAS A SOLID AND WELL-PUT-TOGETHER LENS... AN OPTIC WHICH IS AIMED CLEARLY AT THE PROFESSIONAL AND TOP-END ENTHUSIAST MARKET.
QUICK SPEC
| Street price: 1399 I Groups/elements: 17/23 I Diaphragm blades: 9 I Max/min aperture: f/2.8 & f/32 I Minimum object distance: 1.30m I Maximum magnification ratio: 1:8 I Filter size: 77mm I Weight: 1470g I Diameter x length: 85.8 x 196.7mm
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Atmospheric Moments
Aaron Karnovski Malice In Wonderland Nikon D90 | 50mm f/1.8 | 1/200sec | f/2.8 | ISO 200
Fuji XF1
Review
www.photographymonthly.com/Magazine/Gear-Tests/Fuji-XF1
STYLE OVER SUBSTANCE?

The retro chic XF1 is the latest introduction to Fujis X-series of cameras. Slim and attractive with bags of style, but can the internals match up to the externals? Only one way to find out. KARL SHAW reports
uji seems to be churning out new models at an alarming rate. Unfortunately they seem to be giving the DSLR market a wide berth and concentrating on everything else. And unfortunately for every other manufacturer they seem to hit the nail squarely on the head with whatever they bring to the market. Its no secret, Im a huge fan of just about everything Fuji throws at me to test. The X-Pro1 is just about the finest camera that has passed through my hands. Ive yet to try out their X-E1, but I know as soon as those very kind people at Fuji send one out to me, Im going to love it. Is love too strong a word?
FUJI XF1
Possibly. But the thing is, when you look at Fujis pro/enthusiast range and if you have an ounce of passion in your body you cant help but be almost moved by the sheer retro charm of their cameras. Find out whether the XF1 lives up to Karls expectations by visiting the online link below for fully downloadable high-resolution images and his final verdict. Alternatively scan the QR code with your mobile phone. Whilst adorning over the results from the Fuji XF1 why not check out what its made of on our online TV channel, Photo TV. See the manufacturers film of its pride and glory and check out its array of body styles.
DOWNLOAD
THE XF1 TREADS THAT FINE LINE OF REDUCING THE NOISE NICELY WHILE RETAINING SOME LEVEL OF DETAIL.
QUICK SPEC
Street price: 280 | 12MP | 4x Optical | ISO 100-12,800 | Up to 10fps
WANT MORE?
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Lorna Dockerill Features Editor lorna.dockerill@archant.co.uk

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